Two cops arrive at an abandoned house where they've heard screaming. They find a woman hunched over and her eyes are plucked out. A seven-foot monster Jacob Goodnight (Kane) then hacks one of the officers in half and cuts the other officer's arm off--but not before he shoots the maniac in the head. That officer Frank Williams (Steve Vidler) recuperates and four years later is assigned to a youth detention program. His first job is to escort some delinquents to an abandoned Blackwell Hotel where a little old historian Margaret (Cecilly Polson) needs volunteers to help her tidy up. Instead one by one the young people become part of the eyeball collection of the psycho who was traumatized by an over-religious mother. Aren’t we all? Yes there is acting in this including from the World Wrestling Entertainment bad-boy Kane who could develop a Freddy Krueger-like franchise as this homicidal religious freak. He grunts and huffs but also sobs and shows a conscience at crucial times. And he's scary not laughable which is always a danger in these kind of films. With what little they have to play off of the supporting team is good especially Craig Horner as an ambitious thief who has maps of all the secret corridors in the hotel. Among the delinquents are streetwise Christine (Christina Vidal) an a--hole bully Michael (Luke Pegler) a tattooed beauty Kira (Samantha Noble) and a seductive shoplifter Zoe (Rachael Taylor). Taylor’s Paris Hilton-like persona makes her one of the victims you can't wait to see get it. Some of the others hardly last long enough worth mentioning even though many of them have characters that are surprisingly fleshed-out before they become popped-out eye candy. See No Evil offers plenty of jump moments squirming gross-out scenes and hide-your-eyes shocks with a plot reminiscent of any of the Friday the 13th or Saw movies. Some of the gore is particularly gruesome and if you don't know what an eyeball looks like when it pops out of your head then you'll certainly have an anatomy lesson here. First-time feature director Gregory Dark known for making music videos utilizes those fast-cut edits muted colors and washed-out tones to create the horror. The camera closes in on bugs flies and even dives into the eye socket of a hollowed-out face. It follows a line of booby-traps in the hotel a jiggling arm that's cut off and even into a hole in the psycho-monster's head which is filled with maggots. Dark is never shy about any of it and gore fans won't be disappointed.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."