Hostel: Part II picks up where the first Hostel left off—and then Paxton (Jay Hernandez) wakes up. It’s the last nightmare he’ll ever (be able to) have. Cut to Rome where three American girls—wealthy Beth (Lauren German) sex-craving Whitney (Bijou Phillips) and naïve awkward Lorna (Heather Matarazzo)—have completed their art class after painting a nude model (Vera Jordanova) and are off to Prague via train. While en route they bump into that same nude model who convinces them to change their plans and come with her to an exclusive hot-springs spa in Slovakia. And so their fates are sealed. Once they check in at their hostel with the bellboy who might as well be Satan’s little helper the bidding begins. All around the world the well-to-do-but-not-well-meaning vie for a chance at torturing and savagely murdering these fresh American college gals. And the winners are: Stuart (Roger Bart) and Todd (Richard Burgi) two Americans with WAY too much money on their hands. Thus begins the torturing—of the audience. There is an underrated skill in being able to act scared to death for your life—and in Hostel II’s case whatever prop cutlery was used to poke at the victims’ bodies probably made acting spontaneously easier. Most of the cast however tends to overdo it here. The lone exception is German (A Walk to Remember) making this by far her biggest acting splash to date as the heroine…type. She more so than the others is forced to emote rather than just shriek and she shows ability that reaches beyond horror movies. Phillips (Bully) and Matarazzo (Welcome to the Dollhouse) meanwhile though disparate character-wise both over-act: Matarazzo especially tries too hard to be gawky even if it makes for a starker contrast when her character is well you know. And grossly—pun intended—miscast is Desperate Housewives actor Bart who--no matter the volume and amount of F-bombs he drops--isn’t game for the uber-depravity that writer-director Eli Roth was going for. In fact the foreign unknowns outperform their American counterparts quite a bit in this sequel. First thing’s first: If Hostel II managed to snag an R rating then hardcore porn should be rated G! Now on to writer-director Eli Roth. To his credit the horror god possesses a mind sicker than any other contemporary filmmaker including returning exec-producer/endorser Quentin Tarantino but that doesn’t mean he knows how to tell a story. There's not a whole that goes on between the jaw-dropping scenes of torture the audience has come to half-see which begs the question: Would Hostel II be anything at all if not for said sadism? In addition a lack of true story brings to light another potential flaw in the Roth system—he doesn’t frighten us so much as disturb. But therein lies the good as well. If you like to be disturbed in a strictly I’d-never-do-this-but-maybe-it-happens-somewhere kind of way Roth is most certainly your man. Of course if you like to be disturbed by a film in any way Roth is most certainly your man. He’s got a wild and prolific imagination and when he turns it on the resulting images are unlike anything you’ve ever seen or want to see again—impossible to look at or away from. If only he could expend it on the stuff surrounding the imagery.
Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!
With stories like this who even needs the “Inspired by true events” shield? Primeval tells of the world’s most prolific killer Gustave. You see Gustave is a crocodile and he remains at large to this day. His thirst for human blood goes unpublicized until he chows down on a white woman at which point an American newsman Tim Manfrey (Dominic Purcell) his cameraman Steven (Orlando Jones) and TV personality Aviva (Brooke Langton) head down to Burundi Africa where they hope to document the capture of Gustave. They’re joined by a wildlife preservationist of sorts (Gideon Emery)—a rare breed in a post-Steve Irwin world—who doesn’t want to harm Gustave. The deep jungles of Africa become a veritable obstacle course when the locals embroiled in a long-standing civil war and unwilling to have some damn Yankees televising their homeland stand in the crew’s way not to mention Gustave proving an evasive 20-foot-long um little bugger! The names might not ring a bell but you’ve seen these three stooges before--all on TV in fact. Purcell is currently enjoying about half the 15 minutes of fame of Wentworth Miller on Fox’s slipping Prison Break. Purcell plays Tim with steel and virility as he hides his Aussie accent for the most part but he’s still got a ways to go to reach Clive Owen’s caliber of acting--and more importantly Owen’s caliber of roles. Langton of The Net (the TV show adapted from the Sandra Bullock movie of the same name) and Melrose Place fame shows off the beauty that will afford endless opportunities to prove herself as a “real” actress—which is ironically similar to her character’s plight—but will never get there with roles in movies like Primeval. And Jones still best known for and plagued by his 7-Up commercials is in true negligible-sidekick mode here--worthy of a snicker approximately once out of every dozen times he tries overzealously to get one. Jaws may come to mind based on the water creature-stalking-man plot but well it’s tough to even mention those two in the same sentence. Director Michael Katleman a TV fixture himself at least doesn’t even aim high enough to reach that level. No from the get-go he’s shooting more for an Anacondas feel—and yes that’s the horrific sequel to the so-terrible-it’s-fun J.Lo “original.” Katleman almost reaches Anacondas-ian highs but not quite. Among other notable problems the director cannot for one moment strike the right balance between the aforementioned level of guilty pleasure-dom and genuine horror. Instead he catches us off guard with what are supposed to be the thrills—and also with the comedy. Finally once Gustave is revealed which should essentially be the moviegoers’ reward the croc looks more a prop sitting in a theme-park lot. And the script from John D. Brancato and Michael Ferris (Terminator 3 co-writers)—well let’s just hope with the story being uber-derivative and cheesy enough as it is Orlando Jones ad-libbed all of his unlaughable comedy!
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.
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.
September 12, 2003 11:43am EST
New grads Paul (Rider Strong) Karen (Jordan Ladd) Jeff (Joey Kern) Marcy (Cerina Vincent) and Bert (James Debello) head off to a cabin in the woods to let off some post-college steam before entering the working world. They are a pretty likeable bunch except for Bert who gets drunk and starts shooting at squirrels with a rifle--and then accidentally shoots a stranger in the woods. Bert keeps mum about the incident until the man projectile vomiting blood and looking like he's been skinned alive shows up at the cabin and tries to take their truck. While trying to stop him Paul unintentionally sets him on fire and the gang watches as he runs ablaze into the woods. What they don't know however is that he had a contagious flesh-eating virus. When his charred body falls into the local water reservoir everyone becomes vulnerable. The first to gulp down a glass of water filled with strange chunky particles is Karen whom they forcibly quarantine in a shed behind the cabin when she begins to show signs of the disease. Before long the fear of contagion turns the remaining four against one another. What's more a local lynch mob has formed in order to track down and kill anyone who may have come in contact with the virus which has apparently threatened this small town before. Cabin Fever is definitely a rollicking ride; it will scare you gross you out and make you laugh.
Like most low-budget horror films Cabin Fever's cast isn't exactly stellar yet the young actors and actresses really elevate the material. The most refreshing thing about the characters is that they react to what is happening to them in a way you and I probably would as opposed to the typical slasher-flick way: Instead of banding together against the common enemy they bicker act like cowards and put themselves first. Strong who last appeared in My Giant but is probably better known as Shawn from the TV series Boy Meets World emerges as a capable lead as Paul the most sensible of the group. Although his character comes across as somewhat brighter and more sensitive than the rest he is still immature enough to try to cop a feel when his love interest Karen is sleeping and feeling under the weather. Karen meanwhile is played by Ladd who has had small roles in several movies including The Specials and Never Been Kissed. Her character is the most compassionate of the gang and Karen reacts more intensely to events than the others. Kern as cocky know-it-all Jeff Vincent as slutty tough chick Marcy and Debello as party boy Bert perfectly round out the diverse cast of characters.
Because of its gruesome subject matter it is difficult to describe such a vile movie as being good or even well made but this one really is. In his feature directorial debut helmer Eli Roth delivers a truly disturbing horror picture. While most pics of this genre tend to look cold and gritty Roth saturates his sets with golden ambient lighting that brightly contrasts the film's dark dismal subject matter. And dismal is putting it mildly: Cabin Fever shows viewers things that most movies don't because they would be considered too disturbing. Case in point: When the intoxicated Bert drives off for help in his pickup and hits a deer the animal doesn't just die on impact but struggles in pain its hind legs flailing through the windshield. Such disturbing imagery escalates by degrees until the very end when the film takes on a weird surreal quality. For example the scenes of Paul being pushed through a hospital on a gurney have a dreamlike feel bound to make moviegoers question if what is happening is real. The film's score also has all sorts of unusual instrumental influences including a Twin Peaks-inspired number when a sheriff comes to investigate the cabin and a Deliverance-type banjo ditty to accompany the locals folk in front of the general store which adds a touch of humor at the most unlikely moment.