• The Secret World of Arrietty
     
     http://bartybooks.com/the-secret-world-of-arrietty.htm
  • Gone
     
     http://bartybooks.com/gone.htm
  • Wanderlust
     
     http://bartybooks.com/wanderlust.htm
  • This Means War
     
     http://bartybooks.com/this-means-war.htm
  • Ghost Rider: Spirit of Vengeance
     
     http://bartybooks.com/ghost-rider-spirit-of-vengeance.htm
  • The Vow
     
     http://bartybooks.com/the-vow.htm
  • Safe House
     
     http://bartybooks.com/safe-house.htm

Movies under ‘Mystery’

Safe House

One of the CIA’s most wanted, Tobin Frost (Denzel Washington), is back on the run after a ten-year disappearance. This alerts the CIA and sends their team to a gripping chase in Cape Town, South Africa. At a remote location, the CIA’s safe house is guarded by a rookie operative, Matt Weston (Ryan Reynolds). The house have been empty for years, involving no guests or action. At the arrival of Frost and the intelligence, a brutal investigation occurs. Phased by the presence of a notorious criminal, Weston becomes nervous and confused. In the midst of questioning, mercenaries invade the house and begins a killing spree in an effort to kidnap Frost as well. Frost reminds Weston, that as a house guest, he is to be protected. This sends Weston to a dizzying panic and eventually escapes along with Frost.

“Safe House” is a exhilarating action thriller with explosive stunts and sequences. The team behind the film stages multiple exciting scenes that involve beat down rooftops in the rural areas as well as heart-stopping car chases along the streets. Frost is an intelligent man. Being a former intelligence, who’s gone rogue, he knows the rules and procedures. Most of the time, he’s fascinated by watching Weston carry out his duties. Weston is continuously conflicted, looking for ways to hide Frost. Yet, Frost never makes it easy for him, as he tries to escape as well. Weston communicates with one of his supervisors, David Barlow (Brendan Gleeson), to determine their next move. But, the gunmen are determined to kill Frost, forcing Weston to take matters into his own hands.

Denzel Washington is an actor full of intensity. He can sit there and watch Reynolds do his thing and still convey the deepest of his character’s emotions. He gives Frost both a terrifying presence and a sympathetic feel. Ryan Reynolds, on the other hand, manages to stand along Washington and give the same intensity. His wits and charisma works perfectly for his distressed rookie persona. The film succeeds best because of this tandem, allowing the actors to build a good enough relationship to carry out the entire film.

“Safe House” is a great action thriller with non-stop action. This is the first mainstream feature for Daniel Espinosa and he comes forth as promising due to his skillful camera work with the action scenes. One of the most impressive is the rooftop chase at night. The editing is pitch perfect as it allows the audience to feel the danger of the situation from each point of view. This film could have been bleak and predictable if the leads were miscast but Washington and Reynolds’ enigma make the film satisfyingly fun and fresh.


Fast Tube by Casper

The Wicker Tree Review

At some 38 years since its predecessor, The Wicker Tree must be one of the most belated of all notable sequels. Its also one that I suspect many have misgivings about and when it receives a wider release one that will get criticised heavily. For me though it was a qualified success, a fun and at times chilling companion piece that despite not being a patch on the original still boasts a good measure of charm.

It sees evangelist country and western singer Beth Boothby and her fiancée Steve setting off on a tour of Scotland to convert the locals, with results that I suspect will not surprise. The first thing that leaps out about the film is the humour. The Wicker Man was a film of dark comedy, true gallows humour but here the tone is a lot broader. Beth and Steve are as bright eyed and naive as can be and trip gaily to their fate, cranking the dramatic irony through the roof. There’s a fair amount of outright comedy as well, like a trashy music video from Beth’s past or scenes involving an unfortunate cat.

The humour ultimately is what sets the film back, as while intermittently amusing it is more often silly and ultimately deprives the piece of dread and suspense. In terms of horror aspects the film also suffers from a somewhat coy approach, as if trying not to upset the lighter tone. On the great plus side though, Robin Hardy directs with a wonderfully free and playful hand that comes across as remarkable for someone with only two features under his belt.

Although the erotic charm and ethereal menace of the original is lacking there’s a great visual wit to The Wicker Tree, especially in its constant contrasts. An early sequence in which an elegant castle facade gives way to a searching tracking shot down dark and twisting passages to a butchery is a good example, the beautiful face and bloody heart. Elsewhere the sacred and profane, Pagan and Christian, old and new and as it all builds we see that each opposition is no different from the one before and soon enough realise that in actuality there’s far more similarity than we think.

It’s an interesting development to the original in which the opposition was far stronger defined and a development rooted in the characters of Beth and Steve. Both Christians and sinners, they struggle with the path of righteousness and the ways of the flesh. Though neither are as ultimately sympathetic as Sgt. Howie from the original they are more rounded, though actors Brittania Nicol and Henry Garret are no match for Edward Woodward as they take too much time of the film to really settle into their characters.

On the villainous front things are stronger though, with Graham McTavish’s Lachlan Morrison a fine replacement for Christopher Lee (appearing for a moment in a gimmicky flashback). McTavish has a great good humoured superiority about him, a pleasant menace and fire and brimstone power when needed. Jacqueline Leonard carries herself. with mean elegance as Delia Morrison, Clive James makes for a good sinister handyman and voluptuous Honeysuckle Weeks a gorgeous temptress.

In general I would have preferred a more sinister approach and I don’t think even the dafter inclined will like all of the humour but for all this I thought The Wicker Tree rather fine fun. 7/10 from me, check it out to see for yourself is my advice.


Fast Tube by Casper

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The Thing Movies Review

What really made John Carpenter’s The Thing so magical was not its sci- fi elements, its alien movie aspects or even, I daresay, its splendid 1980s animatronic gore. It was the psychological tension! The issue of trust was a horrifying prospect: Who can you trust? Are you who you say you are? How can I tell what you say is the truth? At any moment, someone could be an alien waiting for the opportune moment to burst out and consume the vulnerable person. As a prequel to John Carpenter’s work, The Thing (2011) taps respectfully into this raw suspense from the start, but towards the end loses its direction and falls victim to the Hollywood clichés of a typical alien monster film.

The Thing prequel (for simplicity I’ll call the 1982 film “John Carpenter’s”) covers what happened in the Norwegian base. Kate Lloyd (Mary Elizabeth Winstead) is recruited cautiously by Dr. Sander Halvorson (Ulrich Thomsen) to aid in an Antarctic dig of a great scientific discovery: an alien specimen found frozen in the ice near its ship. With the help of Norwegian scientists, they recover the body to the safety of the base, but soon learn that it is still alive… and has the ability to assume the shape of that which it kills.

The first half of the story follows how John Carpenter’s film goes down almost exactly. (I won’t say anything about how it fares against 1951 The Thing from Another World… because I haven’t seen it.) After the alien has proved to infect several humans already, extreme paranoia and distrust breaks out among the surviving crew. Kate quickly assumes the Kurt Russell-type leader, herding the survivors into open areas and investigating methods of exposing the monster. Tensions run extremely high, as they did in John Carpenter’s, and at these moments I felt The Thing prequel had a good thing going for it. The suspense was thrilling and engaging, and aliens were bursting out of bodies at wholly unexpected times. The acting was consistently solid; Winstead did her part well, and the use of authentic Scandinavian actors was an added bonus. Within thirty minutes the film had paid enough homage to the original to be a worthy predecessor – more than I expected it to do in the first place — but then it decided to take its own stylistic turn, which most would consider to be fine but Carpenter fans not so much.

First, the age of animatronics is over. It’s realistic to expect the effects in every Hollywood movie these days to rely on CGI, The Thing (2011) being no exception. So while it lacked that creepy gooey tangible feel of John Carpenter’s animatronics, The Thing prequel had plenty of fast- paced alien sequences while still looking fairly good. The monster design stays pretty faithful, including wiry tentacles and frighteningly random mouths. Of course at this point though, these kind of CGI effects are nothing we haven’t seen before; many times it seemed to be a zombie-type monster rather than Carpenter’s amorphous alien, and in that sense was a bit unbelievable.

Second, the movie switched tone halfway from primarily a psychological thriller to an alien, sci-fi flick. Whilst in Carpenter’s film the alien tended only to burst out into its true form necessarily when discovered, in The Thing prequel it is glorified with an ungodly amount of screen time. The film quickly loses its intensity as it dwindles away into an ordinary monster chase around the Norwegian base.

By measures of any typical Hollywood monster horror film, The Thing is still an engaging and impressive ride. But trying to continue in the same spirit as John Carpenter’s, the film fails to sustain the classic psychological suspense it starts out with. 7.5/10

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