Tag Archives: cult film

My Bloody Valentine (2009)

My Bloody Valentine (2009)

Today, I’m going to look at the 2009 3D remake of the 1981 horror movie, My Bloody Valentine.

The plot of My Bloody Valentine is summarized on IMDb as follows:

Tom returns to his hometown on the tenth anniversary of the Valentine’s night massacre that claimed the lives of 22 people. Instead of a homecoming, Tom finds himself suspected of committing the murders, and it seems like his old flame is the only one that believes he’s innocent.

The cast of My Bloody Valentine includes Tom Atkins (Maniac Cop, The Fog, Halloween III), Jensen Ackles (Supernatural), Jaime King (Pearl Harbor, Sin City), Kerr Smith (Final Destination, Dawson’s Creek), Edi Gathegi (Gone Baby Gone, X-Men: First Class), Kevin Tighe (Rose Red, Newsies, K-9, Another 48 Hours), and Megan Boone (The Blacklist).

The screenplay for the film is credited to Todd Farmer (Drive Angry, Jason X) and Zane Smith, the latter of whom has no other listed credits on IMDb. Additional credits are given to the writers of the original 1981 screenplay: John Beaird and Stephen Miller.

My Bloody Valentine was directed and co-edited by Patrick Lussier, who also directed Dracula 2000, The Prophecy 3, White Noise 2, and Drive Angry, and cut such films as Scream, Vampire In Brooklyn, Mimic, Scream 2, Scream 3, New Nightmare, and Red Eye.

Lussier’s co-editor for the film was Cynthia Ludwig, who served as an assistant editor on Carnosaur 3, Rush Hour 2, Scary Movie 2, and numerous episodes of Mr. Robot, Warehouse 13, and Justified.

The cinematographer for My Bloody Valentine was Brian Pearson, whose other credits include Into the Storm, Final Destination 5, Step Up All In, American Mary, and Drive Angry.

The musical score for the film was composed by Michael Wandmacher, who also provided music for the films Drive Angry, Piranha 3D, Punisher: War Zone, and From Justin To Kelly.

My Bloody Valentine is distinctive in that it was one of the earliest films in the modern 3D gimmick boom, and was even the first R-rated movie to use the modern 3D “RealD” technology. Part of the movie’s eventual financial success can almost certainly be attributed to the novelty of the technology at the time.

Interesting, there is a notable change in this remake from the ending of the original My Bloody Valentine – the killer’s identity is swapped, possibly to deliver a surprise to audience members familiar with the original film.

My Bloody Valentine was made on a production budget of $15 million, on which it took in a lifetime international theatrical gross of $100.7 million, making it hugely profitable. However, it didn’t fare as well critically: it currently holds an IMDb user rating of 5.5/10, alongside Rotten Tomatoes scores of 57% from critics and 44% from audiences.

In my opinion, the biggest issues with My Bloody Valentine are the central performances. Outside of a couple of stalwart character actors, the burden of the movie falls on a weak central cast of television actors who don’t seem equipped to bear the weight. The nature of this story relies on central characters that the audience can identity and empathize with, but in this case, they are all paper thin and far from realistic in their language and demeanor.

It is to the point that I am curious if there was director influence in the matter: did Lussier want the actors to put in shitty performances, for the sake of homage to the golden age of slashers? In his review for the Los Angeles Times, Mark Olsen notes that “the filmmakers have created something too authentic in spirit to the original film, as it also fairly quickly becomes a plodding chore to watch.” Other reviewers have noted the film’s adherence to “old school slasher rules,” and its general appeal to horror genre fans in particular. I think it may be too easy to say that the movie is “bad on purpose,” but I think there was some consideration of the genre’s traditional expectations and norms incorporated into the casting, directing, and writing of the movie.

Next to the less-than-ideal central performances, the biggest issue with My Bloody Valentine are the 3D effects. Frankly, they have aged incredibly poorly less than a decade after the film’s release, to the point that they look amateurish and cartoon-like now. Unfortunately, this is the nature of computer-heavy digital effects in a marketplace that sees constant technological development and improvement: the effects age very quickly as the standards rise. That said, the effects were the primary selling point for the film to begin with, and the 3D gimmick is what brought people to the theaters and made the movie money. Essentially, the movie wouldn’t exist without them. So, it is probably a fair trade-off that the movie lacks longevity because of the effects, given the effects gave it life to begin with.

Overall, My Bloody Valentine has the right spirit of wanting to be a throwback horror film, but it is significantly hindered by the modern 3D gimmick, and it is harder to watch now because of it than it should be. Despite the glory of Tom Atkins being present, too many other movies have done this same sort of concept better. That said, this is still one of the better and more watchable horror reboots of the 2000s, and is a fun enough ride for genre fans.

 

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Hausu

Hausu

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Today, I’m going to take a look at a truly bizarre, one of a kind film: 1977’s Hausu.

The plot of Hausu is summarized on IMDb as follows:

A schoolgirl and six of her classmates travel to her aunt’s country home, which tries to devour the girls in bizarre ways.

Hausu was directed and produced by Nobuhiko Ôbayashi, who was previously known for doing a fair amount of television, short film, and commercial directing in Japan. Obayashi, or “OB,” also provided the film’s distinct special effects, and was notably the primary advocate for the film during its tumultuous pre-production. While he has continued to make many films over the years, and is considered a celebrity in Japan, Hausu is by far his film with the most international recognition and acclaim.

Serving as the production designer and assistant director for the film was Kazuo Satsuya, who provided design work for two other notable cult movies: Lady Snowblood and Godzilla vs. Mechagodzilla.

hausu2One of the producers for Hausu was Tomoyuki Tanaka, a Toho producer who had a hand in the creation of countless Japanese cinema classics, including monster flicks like Godzilla, Rodan, and Mothra, as well as Kurosawa features like Yojimbo, The Bad Sleep Well, Kagemusha, and Sanjuro.

A number of the most distinct elements of the film were based on ideas collected from OB’s young daughter prior to the writing of the screenplay. He has said that he asked his daughter for ideas because “children can come up with things that can’t be explained.” Among the many ideas from his young daughter that made their way into the final film were the hand-eating piano keys, the very concept of a killer house, the watermelon-head being pulled from a well, and the bizarre pillow attack.

hausu5Following the project getting a green light from Toho, none of the Toho staff directors wanted to take it on, fearing that the film could easily be a career-ender due to the screenplay’s outlandish concept. After it sat unproduced for 2 years, OB, the film’s primary driving force, was given permission to direct. Toho was initially hesitant to let him take the reigns, specifically because he wasn’t on staff with the company.

Hausu finally got a theatrical release on July 30, 1977 in Japan as part of a double feature. It wound up being a surprise success, as it particularly struck a chord with cinema-going youth. Despite its popularity, the film didn’t make it officially to North American theaters or homes until well into the 2000s.

The Criterion Collection, which is known for distributing influential and well-regarded films on home video, released DVDs and blu-rays of Hausu in October 2010, bringing a new audience to the film.

hausu1Hausu has had a complicated history with critics: Japanese critics didn’t care for it initially when it was released in theaters, but its long-belated release in North America led to a critical re-evaluation decades later. North American critics have mostly praised it, and time has solidly cemented the movie as a memorable cult classic.

The two most defining elements of Hausu are, without much argument, its bizarre images and odd, often confusing tone. One of the most frequent descriptions I have heard of the movie is that it is like a “fever dream,” and there isn’t really a better way to describe it. There’s a sense of discontinuity between the film’s bleak content, cartoonish color, and whiplashed tone that makes it seem that it could only be the result of madness, and perhaps a wholesale divorce from reality.

One of the most impressive aspects of Hausu is its peculiar production design. The prominent matte painting backdrops and clear set pieces are surreal in how transparently artificial they are. In a sort of rejection of traditional wisdom, the design spits in the face of immersion: there is never a moment where the audience could confuse the events in the film with reality. In that sense, I was reminded a bit of The Cabinet of Dr. Caligari, though with a dramatic injection of frenetic color, gore, and LSD.

hausu3One of my initial issues with the movie while I was watching it was that the characters are incredibly thin, and are mostly boiled down to single character traits. On top of that, the lack of characterization and time on screen for the individual girls makes most of them hard to distinguish from each other. However, as the movie went on, this is an element that started to interest me. Each of the girls have names that are related to their assigned traits, and occasionally to their deaths. It might be fair to write this off as shallow writing, but at the same time, there is also a debatable element of genre-awareness present as well. Given how transparently artificial the movie’s design is, why wouldn’t the characters follow suit? Whether this screenplay is an example of trope-awareness and genre-deconstruction is something that is probably worth discussing, whether it was intended or not by the writer.

hausu4Any of these elements I have mentioned so far could potentially be argued as positives or negatives, depending on who you asked about them. I think this is something that makes Hausu a uniquely interesting movie to discuss, and is one of the top reasons that I would recommend just about anyone give this movie a shot. For cult movie fans, it is absolutely essential. But, for everyone else, I think this is still worth watching. I would recommend going into the movie with as little information as possible, however. There are definitely enough highlights to entertain most audience members, though the movie does take a little time to get going, and the slapstick elements are likely to fall flat with many.

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