When Killer Joe arrived in UK&Irish cinemas it left some cinephiles feeling finger licking good for some of the colonel's favourite recipe and in November you will be able to bring home a box that's a DVD or Bluray box of the film.In Killer Joe Matthew McConaughey delivers what many are calling a career-best performance in this violent and darkly comic neo-noir thriller that marks a blistering return to form for “The Exorcist” and “The French Connection” director William Friedkin.
When small-time drug dealer Chris Smith finds himself seriously in debt to his supplier, he hatches a plan to have his estranged mother killed in order to claim the $50,000 life insurance due to be paid to his younger sister, Dottie. To do the job, he hires Killer Joe Cooper, a creepy, corrupt and crazy Dallas cop who Chris is informed moonlights as a professional hit man. Unable to pay Joe’s fee upfront, Chris agrees to provide a “retainer” in the form of Dottie, with whom Joe has immediately become besotted. However, following the murder of his mother, Chris’ plan begins to unravel in a series of unexpected twists involving the interference of his father’s new wife, Sharla, and the development of an unlikely bond between Joe and Dottie.
As pure, unadulterated entertainment Friedkin’s second collaboration with writer Tracy Letts (following 2006’s “Bug”) has it all – steamy sexuality, shocking violence, a compelling storyline, lashings of black humour and, most of all, a killer cast of actors all at the top of their game. McConaughey effectively shakes off his rom-com shackles once and for all, while Juno Temple delivers a scene-stealing performance in a movie likely to leave viewers both exhilarated and shaken at the same time.
Killer Joe is due out in UK&Ireland on November 5th, starring Emile Hirsh, Juno Temple, Thomas Haden Church and Gina Gershon.
Pre-Order/Buy Killer Joe On: DVD / Blu-ray
Michael Biehn continues to surprise viewers thirty-five years into his career: after rising to fame in the likes of The Terminator and Aliens, Biehn still remains a relevant and much-loved face in the movie world - continuing to impress in cult hits Planet Terror and The Divide. Now the veteran star writes, directs and stars in his debut feature film, The Victim, alongside Jennifer Blanc and horror favourite, Danielle Harris.
The Victim, a horror-infused thriller, follows the unlikely pairing of a shady recluse, Kyle (Biehn), and a young woman (Blanc) who find themselves on a cat and mouse chase from two corrupt cops.
Biehn's debut is a challenging one - it seems to have been labelled as a grindhouse film (one just needs to look at the DVD cover featuring Biehn holding an axe behind a blood-soaked V sign), however, this is not the case. The Victim is far more of a straight-forward thriller with the odd moment of sex or violence thrown in to generate some excitement. Whilst Biehn does deliver a completely competent debut, it proves to be little else than competent, despite some glimpses of potential.
The Victim will prove to be an entertaining way to spend eighty minutes for audiences with an open mind or Biehn fans - with the actor's debut boasting solid performances and tense, unsettling direction. Biehn excels as a man thrust into a deadly chase between corrupt cops and a victimised young woman, Annie. The growing relationship between Kyle and Annie proves to be of some interest, despite the lack of build up it receives - the recluse and the victim sleep together within ten minutes of meeting which seems to come out of the blue. Although, credit is due to Jennifer Blanc, who manages to make a morally questionable character completely likeable. Danielle Harris also makes a welcome appearance in the film's opening as Annie's carefree, floozy friend who is accidentally killed by one of the corrupt officers (leading to Annie escaping and the ensuing chase).
The Victim is filled with moments that could have been far more impressive if carried out with slightly more precision. One such moments sees Annie running through the woods - we are shown the character running but not what is chasing her - with a couple of simple shots of the cops tailing Annie, Biehn could have made the scene far more gripping. This could all come down to Biehn's lack of experience behind the camera or simply due to the shortage of time available on the shoot.
Another issue with The Victim is the film's uneven tone. It lacks the fun, gritty charm that a B-Movie/grindhouse film should have but at the same time does not feel realistic enough to be a serious thriller. Had Biehn's script had a little more fun or moments of grindhouse violence or exploitation then it would have been a far more memorable, vibrant film.
The Victim is a respectable debut for Michael Biehn, who does a solid job as director and star. It proves to be a reasonably enjoyable way to spend eighty minutes, although would have fared far better had it taken itself less seriously and embraced the fun of the grindhouse genre.
Andrew McArthur
Stars: Michael Biehn, Danielle Harris , Jennifer Blanc Director: Michael Biehn Release: 24th September 2012 Certificate: 15 (UK)
Watching an Alejandro Jodorowsky film is an exciting experience - you can expect provocative images, violent surrealism and a dreamlike narrative - all of which are on offer in his recently rereleased 1989 epic, Santa Sangre.
Jodorowsky's feature structured in three parts: present, past and future, tells us of the life of Fenix - a Mexican circus performer. After witnessing a brutal exchange between his performer parents, Fenix is left mentally disturbed and spends much of his youth in an asylum. The future sees his escape where he rejoins his disfigured mother, where the pair soon go on a chilling campaign of murder.
Santa Sangre has been labelled as a horror film, most likely due to bucket loads of disturbing content. However, it would be uncouth to confine Jodorowsky's film to one genre - Santa Sangre is a movie like no other, a truly surreal and unnerving experience. From the onset this is clear, and those new to Jodorowsky may be initially taken aback - it opens with a disturbed, naked feral man (the older Fenix) perched on a tree, growling at asylum staff. The weirdness continues throughout, escalating becoming more and more surreal and hallucinatory.
Jodorowsky's style is completely unmatched, although the religious undertones and surrealism of Santa Sangre could be compared to the work of the late great Ken Russell, most notably The Devils. It is a complete visual feast with set pieces, design, and performances all tying into Jodorowsky's greater psychedelic vision.
The nightmarish imagery proves truly haunting - mainly the twisted relationship of Fenix's parents - most notably his father Orgo's affair with the circus' tattooed lady. There's also some nasty scenes involving genitals and sulphuric acid and the chopping off of arms. However, Jodorowsky does also capture a human side to his characters from the oddball community developed by the circus performers - encapsulated in a sequence where the acts are brought together following the death of the show's elephant. However, disturbing imagery is never far off as the elephant's funeral soon ends in locals ripping up the creature and feasting on its flesh. Tasty.
Some may find Jodorowsky's surrealism and style verging on crude and pretentious (which it does), but underneath this all the director presents distinct moral messages on good and evil, power relationships and revenge. When the film's latter half finds itself falling into more straightforward horror territory, Jodorowsky's vibrant style and craftsmanship makes sure Santa Sangre continues to grip the audience.
Santa Sangre is truly a movie like no other - Jodorowsky's haunting and surreal visual style combined with his tackling of religion, community and revenge makes for an unforgettable experience.
Andrew McArthur
Stars: Axel Jodorowsky, Blanca Guerra, Adan Jodorowsky & Guy Stockwell Director: Alejandro Jodorowsky Release: 21st September 2012 (Cinemas) Rating: 18 (UK)
To celebrate the release of The Aggression Scale (Anchor Bay) on
Blu-ray and DVD on 3rd September, we've got three Blu-rays to give away!
“Home Alone” meets “First Blood” as two teen siblings take on a group
of vicious hitmen in this tense and brutal home invasion thriller from
up-and-coming genre director Steven C. Miller.
Released from prison on bail for 48 hours after being charged with
murder, ruthless crime boss Reg Bellavance is planning on avoiding a
life behind bars by skipping the country with his young son. But first
he needs to lay his hands on the illegally gained stash of cash he had
put aside to fund his departure. Bellavance places the task of finding
the money in the hands of hitman Lloyd and his accomplices, instructing
them to hunt down and kill anybody who could possibly have been involved
in the money’s disappearance. Their bloody trail of murder and
destruction eventually leads to the new home of Bill and Maggie Rutledge
and their kids, Lauren and Owen. On paper, this particular hit should
be the easiest and most rewarding of the lot. What Lloyd and his goons
don’t know – but are soon to find out – is emotionally disturbed Owen
has a secret history of violent behaviour that makes their exploits look
like child’s play in comparison.
To win the The Agression Scale on Blu-Ray please answer the Following Question:
Q.Director Steven C.Miller film he directed After The Aggression Scale premièred at last week's Film4 Frightfest in London, name that film?
Send Your Answer, Name, Address & Postcode to winatcinehouseuk@gmail.com Deadline for this comp Sunday 23rd September 2012(2359hrs), Must be Aged 18 or over to enter.
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The Prize is to win The Aggression Scale on Blu-Ray, 3 winners
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The debut feature from screenwriter Eron Sheean, who was responsible for penning The Divide for Xavier Gens (which also starred Michael Eklund), Errors of the Human Bodyis a film that belies genre-specific categorisation. Part Michael Crichton medical thriller, part David Cronenberg body-horror, with a hint of the classic Frankenstein, it’s both a challenging and intriguing film – although it is not without its faults.
The film follows Canadian scientist Dr Geoff Burton (Eklund) who takes up a position at a scientific institute in Dresden, Germany, with the intention of continuing his research into random embryonic abnormalities – research borne out of a personal tragedy (the death of his infant son) that has haunted him for years. Hooking up with his former intern, Dr Rebekka Fiedler, now one of the top researchers at the institute, Burton becomes fascinated by her research into a regeneration gene, one that could have possibly saved his son. But it’s not only Dr. Burton who’s interested in her research as he finds out when he spies the mysterious and creepy Jarek (Lemarquis) using her formula on the mice in his basement ‘mouse house’. Racked by guilt over his son and fixated on Jarek, sure he’s plotting something nefarious, Burton steals one of the lab mice to run his own tests. However when his experimentation goes wrong and he’s bitten by the mouse, Dr. Burton becomes convinced he’s become infected, a human test subject for Jarek’s modified regeneration gene, and he might not be wrong…
Errors of the Human Body couldn’t be more timely. Playing on the fears of genetic modification and stem cell research, the film is a dark, often bleak, look behind the curtain of science, showing the true price of medical breakthroughs – doctors pushed to the brink, experimentation that many would say borders on the inhumane, and the possible future consequences of (medical) success. These themes, whilst central to the film, run parallel with the very human story of Dr. Burton, whose life and deeds have made him a broken man. Thankfully Eron Sheean cast the perfect actor for Dr. Burton in Michael Eklund. One of the best character actors working today (you’ll know the face even if you don’t know the name), it looks like Eklund really threw himself into the role of Burton and his commitment really gives the character a believability and an emotional resonance that grounds the film come it’s almost fantastical conclusion.
The film is not without its problems however. With an over-long running time, Errors of the Human Body suffers from too many endings and a third act that drags out the action to almost a snails pace. I understand that writer/director Sheean wants to show the gradual breakdown, both physical and mental, of Dr. Burton but that could have been achieved without a ridiculously long montage of him running through Dresden.
However despite the films issues, with Errors of the Human Body Sheean has managed to craft an interesting, intelligent thriller that never panders to the audience, never gets bogged down in medical mumbo-jumbo, and best of all never stoops to the usual “science gone bad” style story we typically see from these types of genre film. For that he must be applauded.
This Was a review from Phil at Blogomatic3000Rating:18
UK Release Date: 27th August 2012 (Frightfest)
Directed by: Eron SheeanCast: Michael Eklund, Karoline Herfurth, Tómas Lemarquis, Rik Mayall, Ulrich Meinecke
L’enfant terrible Jennifer Lynch, whose previous flick Hissss is yet to see the light of day in many territories (at least legally), is back with Chained, a serial-killer flick that looks like something that has stepped off 70s US television, yet plays like the the more sleazier side of the decade as seen in the grindhouse cinema of 42nd Street and movies such as Taxi Driver – with shades of Henry: Portrait of a Serial Killer thrown in for good measure!
Chained tells the story of Tim, a young boy who following an outing to the cinema with his mother, is abducted by Bob, an unlicensed taxi driver whose cab they hail. Driven out to the wilds of Saskatchewan and to the isolated home in which Bob lives, Tim’s mother (played by a cameo-ing Julia Ormond who also starred in Lynch’s Surveillance) is brutally murdered in front of Tim by the unflinching Bob. Taking Tim under his wing, Bob teaches Tim how to be the obedient slave come son-he-never-had, making him cook and clean and wait on his new “father”, not only that but also clean up after his kills and bury the bodies in the basement. Starting with Tim’s mother. Years pass and Tim, now re-christened “Rabbit” by Bob, remains in non-indentured servitude. However Bob is soon eager to teach the grown Tim the ways of the human body and have him experience a woman – in more ways than one. In short Bob’s looking for an heir to his serial-killing empire, and Rabbit is it.
If you’ve seen Lynch’s Surveillance you may remember her fantastic use of stark, almost empty locales, which gave that film a weird ethereal nature. Well with Chained she does it again, shooting the film in the wilds of Saskatchewan which, whilst contrary to the typical claustrophobic nature of the genre, still manages to make proceedings feel closed-in and isolated despite the vast open landscapes on which the film takes place. The sparse setting is also translated inside Bob’s home, with only enough furniture to make the place liveable whilst remaining a functional “lair” for his serial-killing exploits.
But Chained is not about the landscapes or the locales, it’s all about the characters of Bob and Rabbit; and it’s here where Lynch has once again pulled off somewhat of a coup in her casting choices. With character actor turned TV star Vincent D’onofrio (whose performance as Agent Goren in NBC’s Law & Order: Criminal Intent is one of the television greats) in the lead role as Bob, Lynch has an actor that once again brings his chameleon-like quality to this role. The antithesis of Agent Goren, Bob is a lumbering brute of a man who has a no-nonsense approach to life and to death; and D’onofrio plays the role with an air of pathos, which works to humanise the man even if his deeds are reprehensibly monstrous. However the real revelation is Eamon Farren. Last seen in the less-than-stellar wannabe exploitation flick X: Night of Vengeance, Farren brings a quite, often disarming, calm to his portrayal of Rabbit – this is a teenager teetering on the edge of sanity and he balances fragility and strength (both mental and physical) to perfection. And come the films final act you’re never really sure whether Rabbit has given in to Bob’s indoctrination. It’s credit to Farren that his performance is never lost alongside powerhouse D’onofrio.
Director Jennifer Lynch isn’t afraid to go to some pretty dark places in Chained, there’s an incredible streak of black comedy running throughout – nowhere more so than when Bob and Rabbit play “Go Fish” with the driving licenses of Bob’s dead victims. She also mounts an assault on the ears as well as the eyes, often cutting away from Bob’s actions and leaving the audio to tell the tale; and come the films final denouement it’s sound that continues the story…
A tense, bleak drama about a serial killer and his charge, Chained is for the most part a barn-storming success. It’s just a shame that Lynch chose to throw in a final twist that dampens the effect of all that has proceeded it.
This was a review by Phil at Blogomatic3000Rating:15
Release Date: 26th August 2012 (Frightfest)
Directed by: Jennifer Chambers LynchCast: Vincent D'Onofrio, Eamon Farren, Julia Ormond, Gina Philips, Jake Weber, Conor Leslie, Evan Bird
Nine people trapped in a lift facing death? Is this M. Knight Shyamalan’s Devil? Nope this is Elevator. A low-budget genre flick that does more with its limited resources than Devil ever
did. A slow-burning, tense thriller that both knows, and plays with,
genre conventions, the film sees nine people – Henry Barton (whose
cocktail party they are all attending), his precocious granddaughter,
two office executives, a glamorous TV news presenter, a pregnant woman, a
nervous pensioner, the evening’s comic entertainer and a bodyguard –
trapped in a lift after Barton’s granddaughter presses the emergency
stop button as a practical joke on the claustrophobic, and obnoxious,
comedian. Only one of the nine has a grudge against the Barton and his
investment company and has come to the party armed with a bomb…
OK, so the premise may not be that original, but what raises Elevator above others of its ilk is that it is fully aware of the genre in which it belongs – even referencing Alfred Hitchcock’s Lifeboat,
the granddaddy of the sub-genre, at one point. The film also makes a
great statement on modern news, with glamorous reporter Maureen (Sunny)
shooting the incident on her phone to be broadcast live on the nightly
news – with shades of “found-footage” flicks as we see the unfolding
situation from the perspective of the phone’s cameras lens.
Director Stig Svendsen, making his US directorial debut (and what a
debut), balances the claustrophobic in-elevator action with effective
scenes of just how isolated the group are, their voices echoing out of
the elevator into the darkened lift shaft. Svendsen and writer Marc
Rosenberg also have a tremendously dark sense of humour, visible not
only in the gleeful way Joey Slotnick’s comedian George and Barton’s
granddaughter Madeline (played by twins Amanda and Rachel Pace) torment
each other, but also in the more macabre aspects of the films final
third act – which I’m not going to spoil for you here.
Much more than just Devil with a bomb, Elevator
is a great example of the best of horror – taking a horrific premise
and using it as a jumping off point to explore much bigger themes and
ideas. In this case not only the characters and their psyches but also
racism and racial stereotyping in America post 9/11, and the role of
financial corporations and the impact their decisions have on the
everyman (shades of the global financial crisis?).
A tense, taut, thriller which blends an oft-told story with great
performances, a wry dark sense of humour and some gruesome, yet not
overtly graphic, set pieces, Elevator is easily one of the best examples of the (sub) genre yet.
Ian Clark's much anticipated first feature, Guinea Pigs received its debut at this year's Edinburgh International Film Festival. Despite delivering some sharp moments of tension and a realistic style, Guinea Pigs unfortunately lacks in lasting impact.
Eight volunteers are sent to a remote medical facility to begin clinical trials on a new drug, tentatively titled Pro-9. It soon becomes apparent that this is no ordinary drug as extreme side affects begin to appear - you know, like turning into a raging psychopath.
Although the subject of clinical trials has been tackled in the horror genre before, it still remains a chilling concept. Ian Clark furthers these chills by instilling a strong sense of realism throughout Guinea Pigs, most notably through his almost documentary style direction. From the onset, descriptions appear on screen, mixed with unfocussed close ups and establishing shots of the eerie clinical settings which gives Clark's film an unsettling familiarity.
After a rather long but well crafted build up, we get a strong sense of the foreboding horror that is expected to ensue. This is followed by several well executed moments of tension, which fortunately never unveil too much, normally a good tactic in the genre, leaving the viewers' imagination to the work. Unfortunately these tense build up gets wasted with Guinea Pigs lacking in a real scares, jumps or chilling imagery.
Most of the characters are interesting and reasonably well developed, despite all fitting into traditional archetypal genre roles. Leading character, Adam (Aneurin Barnard) although well acted, proves too nice for his own good by making some dodgy decisions - like not leaving the compound when he has the chance. A scene stealing turn from Looking For Eric's Steve Evets, as a clinical test "veteran" adds some wry humour to the proceedings. Other small joys include Chris Larkin's appearance as a wise-cracking Doctor in charge of the proceedings.
Guinea Pigs is a reasonably entertaining watch, with director Ian Clark creating a solid, realistic atmosphere and strong sense of tension, as well as some welcome moments of humour. Unfortunately, Guinea Pigs is lacking in any genuine scares and ultimately proves a bit unmemorable.
A friend said to me recently "the bubble is going to burst" maybe but
for now myself and millions of cinephiles worldwide will continue to
enjoy the current wave of Scandinavian cinema (&television)that's
sweeping us off our feet. The latest invader is Jo Nesbo'sHeadhunters (Hodejegerne),
the first from an author who has refused to climb onboard the trend of
book adaptation but has now thankfully gave into temptation with the end
result that's nothing but fantastic.
Roger Brown (Askel Hennie) seems to have it all, a beautiful wife (Synnove Macody Lund),
luxurious home, a successful business career. He may not be tall in
stature but Roger seems to keep his wife happy despite the fact he can't
keep up with the mortage payments. Been that successful corporate
headhunter Roger crosses paths with many similar successful people ,
mostly potential candidates for the the companies he's working for .
Through his wife's art exhibition he meets Clas Greve (Nikolaj Coster-Waldau)
who becomes the latest candidate for Roger's 'headhunting' who also
help him live his alternative extravagant lifestyle by stealing high
profile artwork they possess. Through Clas Roger learns he owns one of
the most sought after paintings, a painting would answer all his
financial problems and end this crazy alternative second 'job' Roger
has.
Just as Roger pockets the painting he doesn't realise he has
just embarked on his most dangerous heist to date, not even after what
else he finds at Clas home. What follows after is a dark and relentless
game of cat and mouse as the hunter becomes the hunted.
So what is
it that's made Scandinavian cinema so popular these days?It's probably
because it reminds us of the times of Hollywood before it was destroyed
by 3D gimmickry and over reliance of CGI, a time when we focused on the
story giving us a chance to appreciate the characters. At first when we
meet Roger we don't really care much about him, he's smug, cocky, over
confident, full of himself most of all insecure but as the film progress
we become more sympathetic or even just empathetic as hardship
prevails. As for Clas he seems the total opposite of Roger, very
confident, tough as nails, alpha male providing those needs Roger fails
to provide his wife, a threat.
Headhunters is a film stacked to
the rafters with creativity, a little unconventional at times but in a
way that the film's narrative structure holds fantastically well
together. The film hits you at a fast pace you don't want to pause, step
away from the screen as its a gripping exciting film start to the
finish. What this film really excels at is it's ability to throw the
book of common sense out the window to become a film that rarely takes
itself seriously. There is moments what we're watching is totally
farcical but in a way it never feels out of place with the whole tone of
the film.There's one example I don't want to say much about it, but
when I watched Headhunters at the cinema I volunteer for it had the
majority of the screen roaring with laughter apart from those who adore
animals, seeing is believing, that's all I'll say!
When it comes
to calling films, writers, actors "the new...." I do tend to get a
little annoyed as it brings unwarranted pressure on that person or if
its a film gives the viewer a false sense of expectation. In Jo Nesbo's
case he is been labelled 'the new Steig Larsson' I agree to the extent
that Nesbo is keeping the Scandinavian film flag flying high but that is
really where it ends. Larsson was a writer who excelled in writing
dark, gritty psychological even political thrillers as for Nesbo his
stories a dark and do have visceral bloody moments but he brings comedy
to the table so I would go as far as associating him more with Coen
Brothers than Larsson.
Headhunters is probably the best dark
satirical thrillers you'll see this year, it's neither controversial nor
is it overran with violence and blood, it feels more at home with the
farcical elements that made Fargo such a cult hit. As usual Hollywood
has found a new cash cow, I would recommend seeing this before before
it's destroyed by an un-welcomed remake. If you really hate subtitles
there is a dubbed version of the film on the disc which gives the film a
extra layer of humour as the dubbed voices make this even funnier.
Like father Like son The official trailer for Brandon Cronenberg's Antiviral has arrived online providing the body horror that made Daddy famous and what David Cronenberg fans have been crying out for, for a very longtime!
Caleb Landry Jones (X-Men:First Class, Contraband) plays Syd March a worker at a local specialized clinic which people people pay to be harvested by diseases which their idols/celebrity hero's once had to feel closer to them. In a era which celebrity obsession is at an all time high this film is very relevant as some fans do take that obsession to another level some you would call disturbing as it controls their lives. Throw in the fact Syd also deals on the black market using himself as a 'mule' finding himself stuck in a web of deceit which puts his own life in danger. This looks disturbing, creepy very dark narrative but uniquely engaging something you would truly expect from the Cronenberg household. How would you describe this? Could you call it body horror? Thriller? Horror? Mystery? Probably a combo of all them with a big dash of Arthouse gyle making this a interesting film to check out, though I wouldn't watch this munching on your cheese nachos, hotdog or for that matter anything as this will freak some people out!
No UK, Irish or American release date just yet, Antiviral will make its North American premier at next month's Toronto Film Festival, so expect this before the end of 2012 or first half of 2013. Antiviral also stars Sarah Gordon, Malcom McDowell and Douglas Smith.
Watch the film's first clip and short viral clip too!
★★★1/2☆
Forget Chariots Of Fire, hell, forget the actual Olympics - the only sporting feature you need to watch this Summer is the recently remastered 1994 action flick, Pentathlon.
After winning the Olympic Gold in Seoul, German pentathlete, Eric Brogar (Dolph Lundgren) goes on the run from his tyrannical neo-Nazi coach, Heinrech Mueller (David Soul). Several years later, Brogar, now working in a grotty Los Angeles cafe decides to get his life back on track and start training again. However, the arrival of Mueller and a group of American neo-Nazi sympathisers resurrects old conflicts.
Pentathalon stands out because it is not your typical nineties action film, the sporting angle taken by Bruce Malmuth's (Hard To Kill) script proves a fresh and original concept. The focus is less on ass-kicking (although there is still plenty) and more so on the broken athlete Eric Brogar trying to reclaim his former glory. This allows for a glimpse at the little seen, sensitive side of Dolph Lundgren, who proves to be utterly convincing. Let's face it - Dolph is a man who could do anything and Olympic pentathlete is just another of his many talents.
There is something completely watchable about Pentathalon - possibly that it keeps its tongue planted firmly in its cheek. The concept of a former Olympic superstar flipping burgers in a meagre local diner says it all. The relationship between Brogar and the owner of the diner (Roger E. Mosley) allows for some comic fun as well with Mosely and Lundgren having a believable and amusing camaraderie.
However, the main fun of Pentathlon is David Soul's scene stealing performance as sinister sports coach meets Neo-Nazi terrorist, Heinrech Mueller. Seeing the man who patrolled the streets as Hutch or crooned Silver Lady to adoring audiences, as a scheming Nazi makes for an unforgettable watch. Soul spits his words out with angry hatred and commands the screen in this deliciously evil performance - reminiscent of Gregory Peck's turn in The Boys From Brazil.
Pentathlon was never going to revolutionise the action genre, but it is nonetheless memorable nineties action that proves a thoroughly entertaining way to spend an hour and a half. Lundgren's pitch-perfect performance alongside David Soul's over-the-top villain and an original concept makes Pentathlon well worth a watch.
Andrew McArthur
Stars: Dolph Lundgren, Renee Colman ,David Soul Director: Bruce Malmuth Release: 30th July 2012 Rating: 15 (UK) Buy:Pentathlon On Blu-ray
Durban International Film Festival has been playing to South African cinephiles for the past five days and they will be treated to a stylish thriller romp Sleeper's Wake. Barry Berk's latest creation is full of style, dark undertones and plenty of sexy moments but most of all it looks damn good!
John Wraith regains consciousness in hospital, his mind awash with
drugs and amnesia, a huge centipede of a scar spread across his
forehead from a motorcar accident in which his wife and daughter died
because he fell asleep at the wheel. To heal and find solace, he goes to Nature’s Cove, a wild,
unspoilt coastal settlement in South Africa, where most of the holiday
homes are boarded up and eerily empty over the winter months. It is
there that John comes across a 17-year-old girl, Jackie, weeping softly
in a boat outside a chalet. He endeavours to help her, but she turns on
him, blackmailing him, wanting money, or she’ll tell everyone that he
tried to rape her. That night the young girl’s father, Roelf, comes to
apologise for his daughter’s behaviour. He tells John that Jackie’s been
struggling since her mother was murdered in front of her during a
vicious robbery at their home. Despite Jackie’s father’s watchful eye and the ominous presence of
Dirk, a gun-toting security guard who wants Jackie to marry him, John
and Jackie are drawn inexorably toward one another; he, the middle-aged
grieving widow, she, the Lolita, wise beyond her years, united in their
grief and guilt for the death of a loved one.
In Headhunters he was a corporate Headhunter sleek, sharp with a side business of stealing works of art now Askel Hennie a killer in 90 Minutes (90 Minutter). Ever wondered what drives a person to kill? In Eva Sørhaug's film we track the final 90 minutes of a man about to commit murder. Simple but powerful looking film and with the popularity of Scandinavian thrillers outside their native lands you can see this one coming to a local arthouse cinema or DVD player near you.
What happens in the last 90 minutes of a human life before they commit murder? In 90 Minutes we follow Johan who is making a lavish last
meal for his wife, Fred who is on his weekly visit with the kids and
Trond who completely has lost control of his use of violence towards his
young wife who just gave birth to a child. Before the irretrievable act
of murder happens, these men are still considered as human beings. 90
Minutes don't try to give any answers or to find psychological
explanations, but simply to follow these men's perspective and stay with
them and share the minutes just before it's too late.
To celebrate 18th June UK DVD release of The Squad (Momentum
Pictures) we are offering one winner the chance to win a limited
edition, exclusively designed quad poster and a copy of The Squad on
DVD. One runner-up will also win a copy of the DVD.
Bloody horror and nail-biting tension combine in this chillingly
atmospheric story of a group of elite soldiers sent to a remote bunker
to investigate the circumstances surrounding a mysterious communications
breakdown with a fellow unit. With excellent direction from first-time
director Jaime Osorio Marquez, The Squad's part psychological thriller
and part full-blown horror genre will send faint-hearted viewers running
screaming to the hills.
The Squad (Momentum Pictures) is available to download and on DVD from 18th June 2012.(The Squad on DVD
)
To win this prize, please answer the following question:
Q.What country is The Squad set in?
Send your answer , name, address, to have your email to cinehouseuk@gmail.com header As ‘the squad’. Deadline:July 8th, 2012 (2359hrs) . Follow us at our Facebook Page if you haven’t done it already, double entry!
UK & Irish entries only
The Peoples Movies, Cinehouse and Momentum Pictures have the right to alter, delay or cancel this competition without any notice
The competition is not opened to employees, family, friends of The Peoples Movies, Cinehouse,Momentum Pictures employees
This competition is promoted on behalf of Momentum Pictures.
The Prize is to win The Squad on DVD & Limited Edition Poster, runner up getting the film only on dvd
To enter this competition you must send in your answer, name, address only, Deadline July 8th, 2012 (2359hrs)
Will only accept entries sent to the correct email (cinehouseuk@gmail.com), any other entry via any other email will be void.
The Peoples Movies, Cinehouse takes no responsibility for delayed, lost, stolen prizes
The competition is opened to Aged 16 and over
Unless Stated Please Do Not Include Telephone Numbers, we don’t need them
The winning entries will be picked at random and contacted by email
By sending your entry for this competition you are confirming you have read and agreed to these Terms & Conditions.
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