The Wolfman (2010)

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Remakes and sequels and adaptations are all the rage now, because Hollywood is quickly running out of ideas. However, when a company like Universal, a company known for their classic horror films decides to remake one of the most loved films in its catalogue, chances are it will work, right?

Inspired by the classic Universal film that launched a legacy of horror, The Wolf Man brings the myth of a cursed man back to its iconic origins. Oscar winner Benicio del Toro stars as Lawrence Talbot, a haunted nobleman lured back to his family estate after his brother vanishes. Reunited with his estranged father (Oscar winner Anthony Hopkins), Talbot sets out to find his brother… and discovers a horrifying destiny for himself.

It’s obvious Universal tried to recapture the lightning in the bottle after the success of its Mummy franchise re-ignited by Van Helsing director Stephen Sommers. However, The Wolfman unfortunately is a victim of too much meddling from high up in the food chain at Universal. The stories you can find on the internet about such things like an electronic score and company editing don’t paint a pretty picture about the film.

It’s not actually a bad film, but the original, starring Lon Chaney, Jr. still remains top dog. Benecio del Toro plays Larry Talbot with such pain that it’s almost hard to sympathise with him, he’s a bit in a world of his own, detached from everyone else. Emily Blunt is a beautiful woman and fantastic actor but she seemed to be weepy all the time, with eyes constantly watery or full-on crying, and Anthony Hopkins gives what is quite possibly the worst performance he’s ever given. From the trailers I could tell that he was hiding a big secret, and I knew what that was and I was correct when I view this film – but if you have interest in watching this I won’t ruin it for you. The inclusion of Hugo Weaving’s Aberline makes the whole thing a bit crowded, and I didn’t find his character necessary at all.

Rick Baker’s make-up is top form, as usual, but it still seems to be missing something, and I can’t quite put my finger on what that is. It’s a gory film, and a modern version of the original film despite being set in Victorian England – think Sherlock Holmes with Saw-like bloodbaths.

The extended cut feels a bit slow while the theatrical cut gives no real introduction the characters to get us, the audience, involved. The extended cut should be for those who want to try to get involved with the characters while the theatrical cut should please those who just want to see blood splash across the screen.

If there’s any major problems with this, it’s that the film-makers tried to make The Wolfman more psychological and have more depth than the original 1941 film, but how is it that the original film, while cheesy by today’s standards, remains much more effective? Because less is more. Three skulls.

Audio:
All spoken languages are in Dolby Digital 5.1. A Descriptive Video Service is provided for the visually impaired. A loud track, it gives the film a pumping audio experience. The front side speakers and rear speakers give a good sense of place, providing a good epic, horror soundscape to put the audience in. Quite possibly the best audio I’ve heard on Blu-Ray. Five skulls.

Video:
It’s a bit difficult to judge the video on this disc. It’s a very recent film, and therefore looks good, but it also has a bit of softness to it, especially in close-up shots. I don’t know if this is intentional or not, but more often than not, the video it pretty nice to look at. Four skulls.

Features:
A handful of features accompany The Wolfman on Blu-Ray, and most feel like EPK material. Two-and-a-half skulls.

  • Alternate Endings Two alternate endings are provided, and both are slight variations of one another. The ending is pretty much the same as in the finished film, but what happens to Gwen and Lawrence are the slight changes.
  • Deleted and Extended Scenes: Lawrence Talks With Gwen, Singh’s Story, Extended Mausoleum Transformation, Extended London Chase, Extended Final Fight To cut a long story short, should these have been integrated back into the film, it would have made it much more convoluted and much more crowded in content.
  • Return of The Wolfman is a twelve minute puff piece with everyone involved speaking in very Freudian terms about the story and pulling it off as if the film has much more meaning that it actually has.
  • The Beast Maker is about Rick Baker and his make-up, along with his love for the Universal Monster Movies that got him into make-up design
  • Transformation Secrets is a featurette about the visual effects. Another piece claiming “we wanted the effects to not overtake the story, but here’s this featurette about how awesome our effects are”.
  • The Wolfman Unleashed is a featurette about the stunts and action scenes in the film.
  • U-Control (on theatrical cut only) is most facts about the Wolfman and its legacy, with a few cut-away videos with people such as Rick Baker talking us through select scenes. I’m not a fan of U-Control, but the cut away videos interrupt the viewing of the film and when the video is finished, you’ve skipped ahead a few minutes in the film.
  • Steelbook casing

Overall:
The Wolfman is disappointing remake, but after the tonne of remakes and adaptations Hollywood has thrown at us, it’s not exactly surprising. It’s a shame the whole father/son relationship bogs down a tragic and romantic story. It’s a decent film, but it’s also a relative non-event. Go buy the original film instead. Three-and-a-half skulls.

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Låt Den Rätte Komma In (2008)

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I remember hearing a bit about this little Swedish vampire movie called “Let The Right One In” and how it was amazing and fantastic. A love story between two children, one being a vampire, and the world they live in being changed as their characters change. It’s a haunting film, a depressing and painful film, as well as being a beautiful and entrancing film.

Lonely, 12-year-old Oskar is an outsider; bullied, struggling to fit in at school and left alone to fend for himself at home while his mother works nights. One evening he meets the mysterious Eli, a pale young girl, who has moved in next door. Coinciding with her arrival is a series of inexplicable disappearances and murders…

The film is a bit slow, but having watched it twice now, it’s also worth every minute. I picked up things I missed prior, and I was also able to enjoy the film more the second time around. The performances, especially those of the children – all the children, not just the two main leads – is fantastic. But the girl that plays Eli, Lina Leandersson, is quite possibly the best out of all of them. She oozes pain and wisdom and age for such a young person that you genuinely believe she’s been twelve years old for a century or so. All the actors in the film are fantastic, and it’s a shame that the big bucks get spent on actors who can’t act in Hollywood when there’s such talented people all over the world who can do the job a billion times better.

This film is beautifully shot. There are many instances where you go “Wow, that’s cool.” It’s a film that has imagery that will stick in your mind for days after you watch it, imagery that will haunt you in your sleep and in your wake. It’s an absolutely entrancing film and you can’t do anything but be absolutely pulled into this world. It’s almost like a graphic novel – every shot is specific, the camera hardly moves. It’s also a very sterile and cold looking film.

There’s two ways you can view this film, and I’ll try to describe it without ruining anything. You can watch it as a straight up love story between two people, or you can see it as something more sinister happening to the main character, and it’s films that are able to have different perspectives that make them successful, because each person comes out of the cinema with their own interpretation of the story.

This film could, and should, be studied. I’m sure there’s a lot more going on that I still haven’t noticed, but it’s an important film and a film that people should go out of their way to see. This isn’t Twilight, this isn’t Underworld, this is a tragic, haunting love story between a vampire and a boy. And if that’s not scary, I don’t know what is. Three-and-a-half skulls.

Audio:
Let The Right One In is a very quiet movie; a subtle sound mix provides an unnerving experience to accompany the imagery. Rarely is music used as it is in Hollywood horror movies – the scenes of horror linger on the sound effects and screams alone. It’s a clear mix, in Swedish 5.1 (and also in DTS 5.1), with the central speaker doing most of the work. The front two speakers spit out the music while the rear speakers also deal with the music and environmental sound. Four skulls.

Video:
Let The Right One In is a bit of a bleak and depressing looking film, but it’s also one of the better looking ones I have seen on Blu-Ray. There were a lot of instances of grain, but every strand of hair was visible, you’re able to tell what fabric people’s clothes are made out of. It helps the image quality when the film is beautifully photographed, as well. Four-and-a-half skulls.

Extras:
A very tiny amount of extras made up for with an English audio-commentary and all features being in high-definition. Four skulls.

  • Audio Commentary is presented with author and screenwriter John Ajvide Lindqvist, and director Tomas Alfredson, spoken in English, much to my surprise. The commentary is informative and Lindqvist and Alfredson have a great rapport with each other, which shows in the finished film.
  • Deleted Scenes Four deleted scenes are presented. They are simply called “Scene 1”, “Scene 2” etc. Scenes two and four are sweet moments between Oskar and Eli, scene one shows Oskar being bullied and scene three is Virginia rejecting human food and drink.
  • Photo Gallery is a high-definition motion gallery with some beautiful pictures taken during production. It goes for almost four minutes and is worth a watch for budding photographers.
  • UK Trailer
  • Traitor Trailer A forced trailer at the beginning of the disc for the Don Cheadle film Traitor

Overall:
An American remake is on the way for those who are to lazy to read subtitles, but if you’re open minded and don’t mind a film outside of the safety zone of Hollywood, check this out, at least before you see the American remake. I can only rehash what I’ve already said – a bleak and beautiful film with fantastic performances, especially from Andersson. Four skulls.

The Lost Boys 2: The Tribe (2008)

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While many people wanted a sequel to The Lost Boys when that original film was released, as well as producer Richard Donner and director Joel Schumacher thinking up ideas such as vampire politicians and “Lost Girls”, it seemed most fans cried foul when The Lost Boys 2: The Tribe was announced, and cried even more foul when the trailer was released, and then lambasted it when it was released on DVD and Blu-Ray. They were right and wrong, but let me get to why that is.

This sequel takes us to the shady surf city of Luna Bay, California, where vampire surfers quickly dispatch anyone who crosses their path. Into this dark world arrive moody Chris Emerson and his shy sister, Nicole. Having lost their parents in a car accident, the siblings move in with their eccentric aunt Jillian and become new prey for the local surfers. When Nicole unwittingly drinks the blood of a vampire, Chris must locate and destroy the gang’s head vampire before his sister’s transformation is complete.

The problem this sequel has is that it’s grittier and more serious than its predecessor, and loses the fun and innocence the original film had and uses the mythology set up in the first film to make generic horror movie. Where there was hardly any blood in the first film, whereas it’s an absolute bloodbath in this film. It’s an absolute step away from the tone of the original film, which is why many cried foul, but it’s also a decent direct-to-video film if you have an open mind.

The performances in this film aren’t anything special, but the film has pretty decent production values. The sales of the disc obviously helped make the film’s budget back to warrant a third film, entitled Lost Boys: The Thirst which I’ll be looking forward to. Call me generous but I didn’t think this was that bad, it just wasn’t The Lost Boys we know and love. Three skulls.

Audio:
The audio is pretty pumping on the disc, however there is only one track in English. No TrueHD or PCM, just English Dolby Digital 5.1. I didn’t notice much sound coming from the rear speakers. When music was played, however, it sounded pretty sweet. Three skulls.

Video:
Much to my surprise, The Lost Boys 2: The Tribe is a lot more grainy compared to its predecessor. Especially in darker scenes and on darker colours of walls clothes. The grain adds to the gritty feeling the film-makers were obviously going with this sequel, but the image itself is crisp, however the colours are a bit dull, again obviously being intentional for the feel of the film. Three-and-a-half skulls.

Features:
Only a few features are presented for The Lost Boys 2: The Tribe, and all are pretty short, and not really worth it besides the alternate endings. Two-and-a-half skulls.

  • Lost Boys: The Tribe: Action Junkies is a very short featurette about the stunts in the film.
  • Edgar Frog’s Guide to Coming Back Alive is a short featurette with Corey Feldman in character as Edgar Frog teaching the audience what methods and weapons to use against a vampire.
  • Alternate Endings are interesting – they are both pretty much the same, with slight variations in the editing and lines, and obviously setting up the third film.
  • Cry Little Sister Remix Video – the less said about this the better. It completely rapes the original song.
  • Downfall, Hell is Full, It’s Over Now music videos by Yeah Whatever – not my cup of tea, and with these music videos and tone of the film it’s obvious the makers were targeting a goth/supernatural audience for the film.

Overall:
A giant step away from the charms that made the original film so much fun and so enjoyable turns this sequel into a generic horror movie complete with gore galore as well as the obligatory boob shots and lesbian kissing shots. It’s an alright movie, but the original is far better. Let’s hope the third film, entitled The Thirst improves upon this sequel and goes back to its roots. Three skulls.

Vacancy (2007)

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From one crazy hotel to another, Nimrod Antal’s 2007 film Vacancy throws out any and all originality in favour of hackneyed and tired characters and a story that provides no real scares or surprises. It’s not that film is awful, it’s just nothing new.

When David (Luke Wilson) and Amy Fox’s (Kate Beckinsale) car breaks down in the middle of nowhere, they are forced to spend the night at the only motel around, with only the TV to entertain them… until they discover that the low-budget slasher videos they find in their room were all filmed in the very room they’re sitting in. With hidden cameras now aimed at them… trapping them in rooms, crawlspaces, underground tunnels… and filming their every move, David and Amy must struggle to get out alive before they end up the next victims on tape.

What begins (and ends) with heist movie-like credits and a very slow beginning, Vacancy goes for a cat-and-mouse game between the protagonists (despite the fact that ever since the film begins, they’re fighting each other making it difficult to relate or sympathise with them) and motel-owner antagonist (portrayed well but not-creepy-enough by Frank Whaley) as well as a few masked minions of Mason’s over a story that could have been ripe commentary on horror and slasher movies and the audiences that go to see them, but ends up being nothing more than your traditional horror movie.

The film reminded me a lot of Bryan Bertino’s The Strangers, a much more successful film that isn’t bogged down by half-baked characters or plot, for one thing, the protagonists in The Strangers, despite also being introduced after a fight, manage to garner sympathy, and despite the fact they’re teetering on the edge of breaking up, still love each other and make the cat-and-mouse game between them and The Strangers all the more effective, whereas Vacancy makes unlikeable protagonists face off against bad guys that just seem like they’re taken out of the “How To Write A Horror Movie” handbook.

The entire idea of the snuff films, which begins the cat-and-mouse game pretty much falls by the wayside as we go to focus on the two main characters trying not to end up on a snuff film of their own. Again, a lost opportunity. It almost feels like two different horror movies: a movie about a married couple going to get divorced finding a stash of videos showing patrons of the motel they’re staying in getting killed and: a movie about a married couple going to get divorced being chased around a motel by a Norman Bates-wannabe and his posse. This film also proves my theory that if a character calls the emergency line (911 in America), if a man answers it, it’s the bad guy, if a woman answers it, it’s a genuine emergency line receptionist who wants to help the main character(s).

In the end, it’s not an awful movie, it’s just not very good or groundbreaking. Luke Wilson should probably stick to comedies, and Kate Beckinsale has lost a certain something that made her shine in the Underworld films, but I blame that entirely on the script. Heist movie opening and closing titles tacked onto the start and end of an unoriginal film that’s worthy of a rental at best, unless you can find it cheaper than $15 make Vacancy barely earn its three skulls.

Audio:
The traditional quiet sound mix with loud scares accompanies the film, providing an adequate 5.1 mix to go with the adequate movie. There’s really not much to say other than it was a clear and concise mix, but delved into the horror movie tradition of “everything in the soundtrack is quiet compared to the loud, booming scares we provide”. Three skulls.

Video:
Presented in a 2:35:1 aspect ratio, the film did look good. A wise decision to pump the film with warm colours makes the picture easy on the eye, with glowing yellows and orange walls and sickly coloured motel rooms making the film stand out above other, cold and sterile-looking horror movies, and for this I applaud it. I don’t remember noticing any film or digital artefacts, and the picture was crisp and clean and highly detailed. Four-and-a-half skulls.

Features:
Vacancy has only a few features, and not many of them are particularly worth watching. Two stars.

  • The Alternate Opening Sequence is an ambitious opening shot setting up the events we will be watching in the film. I thought it was pretty cool, but who knows why the film-makers took it out?
  • Checking In: The Cast and Crew of Vacancy is a by-the-books half-hour making-of with the cast and crew, especially producers, talking about the film as if it’s the second coming of horror movies making it sound a lot deeper than it actually is, and providing little insight into the actual making of the film.
  • Mason’s Video Picks: Extended Snuff Films are exactly what the title suggests. Why these were put on here, God knows, but I didn’t bother watching more than a minute of it. Only for those who are off-the-wall obsessed with fake snuff movies, and let’s be honest: who is?
  • Raccoon Encounter: Never Before Seen Deleted Scene is a scene that shouldn’t even have made it onto the disc. It’s stupid and one of the cheapest scared ever imaginable.

Overall:
A film that tries to stand on its own two feet but constantly falls over unoriginal plotting and character work makes Vacancy a movie for a horror buff to watch on a rainy day. Not worth a full price, and only worth it on special should you like the film more than I do. Three skulls.

Lonely Werewolf Girl by Martin Millar

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It’s interesting what you find when you aren’t looking for anything in particular. I’m the kind of person that researches almost everything I buy; I want to make sure I’m not copped out. However, I saw this book sitting on the shelf in Big W and thought: “Hey, this looks interesting.” I continued to read the blurb and thought: “I’m interested.” There was no excitement over reading it, no feelings of having to trudge through it; I went into it with an open mind. Luckily, this chain of events has proven to be quite fruitful: thanks to author Martin Millar, his crazy cast of werewolves, supernatural creatures and humans just trying to live from paycheque to paycheque provide a fascinating template for a story bubbling with taking the familial throne, hurt lovers, violent battles and enraged fashion clients.

I read in an interview that Lonely Werewolf Girl came about because Buffy The Vampire Slayer (a show I must admit I weened and teenaged through) ended on that fateful night in 2003 as Sunnydale ker-ploded into oblivion. However, like that theory that The Big Bang was a destruction of a previous universe,leading to the creation of this universe, Buffy’s end brought about another tough, though flawed girl surrounded by the supernatural: Kalix MacRinnalch. However, there are no vampires (yet) and our hero (or is it anti-hero?) is, in fact, a werewolf.

Just like the Joss Whedon-created supernatural show, Lonely Werewolf Girl is not without its drama or comedy. It’s a well-written prose about, well, people, at its core, and the relationships, positive or negative, that those people have between each other.

What works so well about this, and it’s usual in books written in the third-person, is that Millar gets into his character’s heads: he tells the reader what the characters are thinking, whether whatever they’re thinking about his characters agree or disagree with.

The book is a rip-roaring tale set in London (prior to reading the novel, I believed it was set somewhere in America…perhaps I just completely glossed over the fact that it even says London in the blurb? Oh, the ignorance…) It’s a refreshing tale set in London in a market populated by either bloodthirsty, monstrous vampires (Guillermo Del Toro’s The Strain, the recent Daybreakers), sexually driven mysteries (True Blood) or teenage sparkly “vampires” (do I really need to say what I’m referencing here?), Millar’s Lonely Werewolf Girl breathes air into my favourite supernatural creature by providing a fine landscape for his characters to inhabit, and has also developed an almighty mythology the MacRinnalch clan adheres by, giving a true sense of history to the family and the universe he’s built up.

The inclusion of humans may not be surprising in this day and age of interweaving vampires and werewolves with humans (again, True Blood, Twilight, Underworld, and Buffy, of course), but what Millar does with these characters, unlike that author who wrote stories about a superhuman vampiric sparkler, is that he gives his characters dimensions, flaws, addictions, jealousy and other feelings no character should really be without, because that’s what we relate to as humans. We all have flaws, addictions and jealousy, no matter how much we try to pretend we don’t. Millar makes his characters real, and makes you care about them no matter how wooden they try to make themselves (one particular werewolf named Dominil is cold, and seemingly uncaring of events around her, but of course we get into her head to see why she is in fact this way). It truly makes for great reading.

However, not all is well. The edition I read, a recent Australian release, has a few errors in it, but do not fret – Martin Millar knows all about this. It seems that the house that published it didn’t get the memo though…no matter, you still understand what’s going on and absolutely none of the errors are major. Calling the errors ambitious to be minor errors would in itself be an overstatement. You notice them, and then proceed reading the book.

I can’t get over how much I liked this book. At the beginning I cringed at how many times Millar introduced a new character that it felt as if every single chapter would be introducing new characters (and there are 236 chapters, sure they’re only one to two pages, but still), but once the plot actually kicks in and the clockwork begins to tick away, the story is riveting and the characters’ reactions to what is going on is intriguing, and at times, surprising that you can’t do anything but forgive him as every character has a purpose and a place in this story that the effort Millar went to does actually pay off in the grand finale.

The book deserves a purchase for all fans of werewolves, all fans of the supernatural, all self-respecting fans of literature and anyone who wants to figuratively travel to London to escape this incessant vampire phase. I can’t wait for the sequel, Curse of the Wolf Girl in September this year; four out of five.

Halloween II (2009) [Unrated Director’s Cut]

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As anyone who has read my review of Rob Zombie’s Halloween, you might know that I was immediately open to it and generally liked it basically because it was different. It wasn’t a shot-for-shot remake, but it was also a bit messy. The first half was certainly very good; Zombie’s chronicling of Michael Myers’ life stuck in institution was well explored ground and written very well, but then the second half feels like a push-pull between something like Gus Van Sant’s shot-for-shot remake of Psycho to Zombie’s interpretation of the original material, which is where the first film fell a bit flat. However, with the “Unrated Director’s Cut” of Halloween II, Zombie goes in a different direction yet again, and it feels like Zombie’s finally made Halloween his own.

It’s been two years since the psychotic events of October 31st in Haddonfield, Illinois, and Laurie Strode is a mess. She’s living with Annie Brackett, who used to be her best friend, but animosity has grown since the Halloween incident. She’s having bizarre visions and a revelation in the new tell-all book by Samuel Loomis catapults her into events that will finally bring a close to the Michael Myers’ rampage.

From the get-go, this isn’t your typical horror film. It doesn’t even seem like a horror film. Sure, there are deaths, stabbings, and freaky visions, but it plays out more like a drama that used horror as its basis. It’s one of the smartest moves ever made in a horror sequel. Rob Zombie is the thinking horror fan’s director, he won’t do a retreading of material, he won’t rehash ideas, he’ll keep going in different directions, and I never cease being interested in what he has to say within his films.

Scout-Taylor Compton provides a fantastic performance as Laurie Strode and really makes Strode her own; the scenes involving Strode and Margot Kidder’s psychiatrist are of a particular note, showing Strode spiralling out of control and Kidder’s psychiatrist trying to work out how to help this poor girl.

Strode is having psychotic visions, and it is one of these visions that is probably my favourite parts of the film involving lots of profanity, almost silent movie-esque looks and a glass coffin which works very well, it’s a scene that has a great impact and is visually pleasing, despite the amount of profanity being thrown at the camera.

Of particular positive notes is the inclusion of home video footage of Danielle Harris as a young Annie Brackett. The Halloween fan will know Harris played Jamie Lloyd, the niece of Michael Myers and daughter of Laurie Strode in Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers, and there is a poignancy of showing this footage with Harris’ history in Haddonfield. It’s quite moving actually, which leads me to Brad Dourif.

In the first film, Brad Dourif played Annie’s father, Sheriff Brackett, and it wasn’t terribly memorable. It was cool as Dourif is the voice of another horror icon, Chucky the Good Guy Doll from the Child’s Play films, but other than that, there wasn’t anything stand-out about him in Zombie’s Halloween. He completely breaks out in Halloween II, showing a father falling to pieces, and bringing such a reality to his character and such sympathy, making Brackett my favourite character in Halloween II, and is probably the best performance Dourif has ever given on screen. It’s positively fantastic, and words can’t describe how amazing his performance is…you need to see it.

The Blu-Ray disc provides a great picture and sound, loud and threatening, just the way I like it. The image has changed from the cinemascope 2:35:1 of the first film to a normal widescreen image that helps bring across the raw energy the film oozes out of every grainy pore it owns. It’s a faithful representation and helps communicate the raw energy of the film well.

Deleted and alternate scenes are included which aren’t much to write home to mum about, they provide interesting but unnecessary alternative takes of different scenes. What would have been better is the inclusion of the theatrical cut. Audition footage is provided of some newcomers. While interesting to watch, is there a need for it? Do Rob Zombie/Halloween fans demand audition footage of as-yet-unknown actors? Of note is Chase Vanek, replacing Daeg Faerch as Young Michael Myers due to a growth spurt. Vanek provides a good substitute but didn’t seem as gloomy as Faerch was. Make-up test footage is also included, which, too, is interesting, but hardly necessary. A blooper reel is included which probably made me smile once or twice.

There is a fictitious band made for this film named Captain Clegg and the Night Creatures, and about nine minutes of music video is provided, intercutting black-and-white typical “music video shoot” footage with the scene in the film with sprinklings of old horror films and cartoons. They’re all the same and not my cup of tea.

Unce Seymour Coffin’s Stand Up Routines. This guy is also in the club scenes and isn’t funny, but does some jokes that may make you smile, but providing unused footage of unfunny stand-up routines for entertainment is redundant. I didn’t even make it past one minute of it. The whole joke in the film is that this guy is funny because he isn’t funny. Providing 5-10 minutes of unfunny material will keep hitting the nail on the head but eventually bore the hammer into the skull and then eventually into the brain matter, providing a painful experience. My thoughts go out to all who watch this in its entirety.

Finally is the audio commentary from Rob Zombie. Zombie is always great to listen to; he’s intelligible and explains certain ideas, cuts, and things become even more clear. He’s a great guy and while he does fall into the audio-commentary no-no of describing what is on-screen, he balances that out by explaining the ideas behind the scene or a story behind the scene, which is alright. He’s insightful company and worth checking out for Zombie fans.

The disc is highly recommended for Zombie fans and for fans of horror in general. This isn’t your typical horror film, not is it your typical Halloween film. But I liked that; it’s refreshing and visually outstanding and has some fantastic ideas. I challenge all who saw the theatrical cut and hated it to watch this fantastic, albeit somewhat slow director’s cut, and try not to change their minds.

The inclusion of the theatrical cut would have made for some nice analyses, and the inclusion of Captain Clegg music videos and Seymour Coffins’ stand up routines are unnecessary waste of precious data space. A faithful reproduction of the image and audio provides the film with a great visceral experience. I could have loved it more, but I loved it more than I expected to. Four skulls.

Bioshock 2 (Xbox 360)

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NOTE: There is no review of the multiplayer portion of the game.

He’s nicer than the other Daddies…

To judge Irrational Games’ Bioshock as mere by-the-books shooter would be a horrible disservice to everyone involved in the making of the game. It was a refreshing, unique, deep and moral game, filled with mesmerising graphics and textures, a creepy and atmospheric soundtrack, and some memorable characters that could haunt your nightmares, as well as an adaptive storyline and gameplay. So, naturally, I had a feeling of unease when I had heard that, yes, there was a sequel being made, but – by someone else. Of course, Bioshock has stayed in the 2K family (Irrational Games was known as 2K Boston and 2K Australia at time of Bioshock’s release); but its sequel went to 2K Marin (who developed the PS3 version of the original game).

2K Marin have not failed Andrew Ryan.

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