Frozen (2013)

In 1937, Walt Disney Studios changed animated cinema forever with the release of "Snow White and the Seven Dwarfs", their first feature length animated film. This would be the beginning of a long tradition of animated cinema that Disney would develop through the following years, taking inspiration from classic fairy tales to create films like "Pinocchio" (1940), "Sleeping Beauty" (1959) and "Beauty and the Beast" (1991). However, a famous story by Danish author Hans Christian Andersen had eluded Walt Disney almost from the very beginning: "The Snow Queen". Celebrated as one of Andersen's most beautiful tales, "The Snow Queen" would be part of a biopic on Andersen that Walt Disney wanted to produce in 1943, but unfortunately, the project fell down and was eventually forgotten. Years later, the "Snow Queen" project resurrected in the 90s, but once again it was considered too difficult to make. Finally, in 2008 director Chris Buck tried again to make it a reality, and after a long and tortuous process, Hans Christian Andersen's "The Snow Queen" finally saw the light in 2013, as a free adaptation titled simply "Frozen".

"Frozen" is the story of two sisters, Anna and Elsa (Kristen Bell and Idina Menzel respectively), the young princesses of Arendelle, a kingdom located in Norway. Elsa has the incredible magic skill of creating ice out of thin air, but this doesn't stop the young kids from being very close. However, one night Elsa hurts Anna with her powers, prompting her parents to take the drastic measure of hiding Elsa, fearing her powers get too strong for be controlled. Anna's memories of Elsa's powers are also erased, in an attempt to create the idea that Elsa is a normal girl. The sisters are separated, with Elsa hiding herself in the castle fearing that she'll hurt her family with her magic. When their parents die in a shipwreck, Elsa must take the crown as Queen of Arendelle, an event that Anna sees as a chance to discover the world outside the castle. During the coronation, Anna falls in love with prince Hans (Santino Fontana), and wishes to marry him immediately, something that Elsa forbids at once. Anna argues with Elsa about this, and the stress makes her to show her powers to the public. Afraid of herself, Elsa runs away from Arendelle, becoming the Snow Queen.

Far from being a straight adaptation of Andersen's fairy tale, "Frozen"'s screenplay (written by Jennifer Lee, based on a story by Chris Buck, Shane Morris and Lee herself) takes only the core elements from the classic story as the basis for its universe, and then builds up a radically different story from it. Having a family bond between Anna and the Snow Queen, "Frozen" is essentially the tale of two sisters who need to solve their differences in order to recover the happiness they lived in the past. However, "Frozen" is also a story of acceptance, as the screenplay makes of Elsa, the Snow Queen, a complex character who needs to define her identity, tired of hiding who she really is and longing to be allowed to be herself in front of a world that condemns her. This is perhaps the most interesting element in the film, as Lee has created a "Disney princess" (or Queen) like no other, making her a symbol of acceptance of one's own identity (overtones are more than obvious). Anna, on the other hand, is a direct attack to the "Disney princess" stereotype, as she literally discovers that life isn't like fairy tales.

Given the deep involvement of Jennifer Lee during the project's development, she was given the chance of co-directing the film along Chris Buck, and her influence can be felt in every element of the movie. By transforming the Snow Queen fairy tale, Buck and Lee gave a twist to what perfectly could had been just another Disney princess film. Lee's main input was to make "Frozen" a modern film that doesn't hide its own femininity. That is, while Disney had previously released films outside the tradition ("Lilo & Stitch" and Pixar's "Brave" for example), those films protected their mass appeal in the universal theme of family matters. On the other hand, while "Frozen" has at its core a theme of family bonds, the individual development of both Anna and Elsa as grown women reflects an attempt of portraying a modern vision of femininity, attacking the outdated model propagated by Disney's own old classics (The Disney princess ideal). The extraordinary visual design of "Frozen", inspired in those very same classics (chiefly "Sleeping Beauty") makes the reference all the more obvious.

"Frozen", like the afore mentioned Disney classics, is first and foremost musical, so it isn't strange to hear Idina Menzel, a Broadway veteran, in the role of the Snow Queen, Elsa. While certainly Anna is the one leading the plot of "Frozen", Elsa becomes easily the most interesting character in the film. Menzel gives life to Elsa capturing perfectly her mix of fear and (apparently unlimited) power that make the burden of the Snow Queen. This is perfectly exemplified in her performance of "Let It Go", song that defines her character's struggle and reveals her as the story's true protagonist. Kristen Bell plays Anna, whose journey to rescue her kingdom will reveal her that the real world is actually different to the rose-tinted worldview she had as a princess (as a Disney princess). While Bell makes a terrific job as the youthful and cheerful Anna, Menzel's powerful voice outshines her in every way. The rest of the cast is in general pretty good, tough the film clearly belongs to Menzel and Bell. An exception is Josh Gad, whom as Olaf the snowman, manages to steal every scene he's in.

As mentioned before, maybe "Frozen" isn't the first Disney film with a non-traditional focus, however, the artistic quality of Chris Buck and Jennifer Lee's film are what elevates "Frozen" to the level of Walt Disney Animation Studios' true classics. Michael Giaimo's work in the art department is simply overwhelming, creating the perfect atmosphere for the devastating winter of Arendelle, which mirrors Elsa's conflicting emotions regarding her former hometown (Giaimo had previously worked in Disney's "Pocahontas"). Music is perhaps the film's weak spot, as while the film has a couple of truly remarkable song (the aforementioned "Let It Go" for example), the rest of the songs are far from having a similar dramatic impact in the story. Nevertheless, and even when this should be a major problem give the fact that it's a musical, the movie never loses strength thanks to the great care directors Buck and Lee unfold there story. Perhaps the most significative of this is the way in which Buck and Lee get into the character's personal drama, which makes "Frozen" something beyond the traditional adventure film, it makes it feel almost intimate to a certain extent.

Mixture of a return to the traditional and a reinvention of an old formula, "Frozen" takes the best of Disney's animated classics and gives it a more than welcomed modern twist. Still, the most interesting about "frozen" is that it proves once again that behind a great movie, there must be a great story. Jennifer Lee's intelligent screenplay is "Frozen"'s backbone and an instrumental piece in making the movie a reassessment of fairy tales as well as a reaffirmation of female roles in Disney movies. While not entirely without flaws, given its thematics and its enormous visual beauty, it would be fair to consider "Frozen" as one of Disney's most important films of recent times.

8/10

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The Vampire Lovers (1970)

It could be stated that the 70s were a tough time for the legendary Hammer Film Productions, as after ruling the 60s with their trademark brand of lavish Gothic horrors, their classic formula was beginning to show its age, and on top of that, times were changing, and the company began to face strong competition from the new breed of grittier, edgier films that appeared in that decade. "The Vampire Lovers" is an attempt to spice things up a bit by adding an even stronger dose of eroticism to the Gothic horrors the studio was famous for. Ever since the release of "Dracula" (1958), Hammer Films had subtly played with eroticism in their productions, but "The Vampire Lovers" would be a step ahead. The experienced Roy Ward Baker (of "A Night to Remember" fame) was put in charge of the movie, but it would be the introduction of one of the studios' most iconic actresses, the gorgeous Ingrid Pitt, what would turn the film into a cult classic. This free adaptation of Sheridan Le Fanu's classic Gothic novel "Carmilla", is rightfully, one of the best Hammer films, not only of their late period, but of all time.

In 19th century Styria, a remote region in Austria, a series of deaths amongst the villagers brings back the ancient rumors of vampires, specially when Laura (Pippa Steel), the niece of General Von Spielsdorf (Peter Cushing), falls sick to the same strange disease that it's killing the villagers. Marcilla (Ingrid Pitt), the daughter of a Countess, is living with the General's family as a house guest, after General Von Spielsdorf agreed to have her under his care while her mother is away. Laura quickly befriends Marcilla, who does everything she can to comfort young Laura. Sadly, all is in vain and the beautiful young girl dies. The mysterious Marcilla, vanishes from the General's home without leaving a trace. Several weeks later, the disease returns to the region, this time affecting Emma Morton (Madeline Smith), the daughter of a British nobleman (George Cole) who doesn't believe in vampires. However, Emma has a friend that looks after her, a young woman named Carmilla, that bears more than a passing resemblance to the disappeared Marcilla. Death has arrived to the Morton's house.

While scriptwriters Harry Fine, Tudor Gates and Michael Style do take some liberties with "Carmilla"'s plot, "The Vampire Lovers" is actually one of the most faithful adaptations to Le Fanu's novel, in the sense that it remains true to the novel's spirit and its balance of sheer Gothic horror and classy eroticism. The plot is quite well developed and there's an interesting attempt at building up a new mythology separated from Hammer's Dracula films. Also, the story plays nicely with suspense remarkable, as even when the story is told from the point of view of the "antagonist", the tension (both sexual and non-sexual) is always at the upfront. Keeping a balance between horror and eroticism is hard, but "The Vampire Lovers" manages to make a vivid portrait of those important aspects in the nature of the vampire myth. Carmilla is a temptress and a predator, a wild force of nature that, true to the vampire iconography, represents chaos and wilderness. What's interesting is how despite the outcome of the fight between the vampire and the civilized men, the vampire is always treated as the most charismathic figure.

The experienced Roy Ward Baker (who had already done a film for Hammer, "Quatermass and the Pit" in 1967) brought to Hammer Film Productions his extraordinary ability to do wonders with limited resources, a trait that suited like a glove the lavish look of the low budget horror films that made Hammer famous. What director Roy Ward Baker gives to the film is certainly class, a certain subtlety and elegance in his use of the camera that work wonders for the eroticism inherent in the story. While this subtle approach may seem restrained, it actually enhances the eroticism of several scenes, as what's implied is often more tempting than what is shown (and it's shown a lot). Despite the low-budget, the movie looks very good, as Roy Ward Baker makes an excellent use of his resources allowing him to create nightmarish scenes despite the budget constrains. An instrumental figure in this is cinematographer Moray Grant, who employs his talents to give the film a haunting atmosphere of dark fantasy that fits nicely with the Gothic tone of the story. "The Vampire Lovers" is one of the best looking horrors from the Hammer house.

It's more than clear that "The Vampire Lovers" is basically a star vehicle for the beautiful Ingrid Pitt, and she truly makes the most of the chance. As the lead character, Carmilla, Pitt is simply breathtaking, and not only because of her imposing beauty. Pitt manages to create a character that's both seductive and terrifying, alluring and destructive, the very essence of the horror tale. With her powerful screen presence, Ingrid Pitt carries the film with ease and creates an iconic figure in the process. And her strong personality makes a pretty good contrast with the innocence portrayed by actress Madeline Smith as Emma Morton, her counterpart in several scenes. Smith makes a fine job in her role, but her character is sadly a tad underdeveloped and ends up as just another damsel in distress (the real star is Carmilla of course). Kate O'Mara delivers another of the great performances of the movie as Mme. Perrodot, a governess infatuated by Carmilla's power. George Cole, Douglas Wilmer and the legendary Peter Cushing complete the cast, bringing excellent support due to their experience and great talent.

It would be very easy to dismiss "The Vampire Lovers" as just an erotic film about lesbian vampires, particularly now that the theme of lesbianism in vampire films has been overdone, but this movie truly offers a lot more than that. For starters, it's a horror movie centered around its characters, with Carmilla at the center, playing with the rest of the characters as pieces of a game of chess. The atmosphere plays an even more important role in "The Vampire Lovers" than in usual Hammer films, as Roy Ward Baker aims for an aura of romanticism for the movie. Certainly, the low budget is at times noticeable and it may lack the dynamism and energy of the Hammer films directed by Terence Fisher, but this approach to the vampire film was not only daring and refreshing in its time, it was the next step in the road that Hammer had been taking the vampire film since "Dracula" (1958): the vampire was not only a monster, it was an attractive monster. Roy Ward Baker's version of "Carmilla" began its own "subgenre", becoming the main influence to the many subsequent erotic films about vampires that were done across the world.

The 70s would prove to be a difficult time for Hammer Film Productions, as in order to keep up with the times the company would begin to produce all sorts of variations to its horror films. Some would be set in modern times, while other would be bizarre combinations of genres ("The Legend of the 7 Golden Vampires", mix of Gothic horror and martial arts is a perfect example of this). Nevertheless, "The Vampire Lovers" is one of the forgotten gems of that period in Hammer history where experimentation was needed to survive. In the case of this film, the experiment worked, and two more films were done in this model, making what is now known as the "Karnstein Trilogy" (with the films "Lust for a Vampire" and "Twins of Evil"). Despite its problems, "The Vampire Lovers" can be considered amongst the best Hammer films, not only of the late period of the company, but of all its history.

8/10

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Asylum (1972)

When talking about 70s British horror, the obvious reference is of course the classic gothic horror films produced by Hammer Film Productions during that decade. Nevertheless, Hammer Films and their monsters weren't the only horrors coming from the United Kingdom at the time. Inspired by the success of Hammer Films in the horror genre, Amicus Productions began to produce their own genre films in a similar visual style (in color, and often with the same cast), though with several obvious differences: while Hammer was making period gothic horror films, Amicus set its films in contemporary times, and instead of gothic horror the Amicus films were mostly anthologies, portmanteau horror films consisting of four or sometimes five short horror stories linked by a common theme or frame story (inspired by the British classic, "Dead of Night"). "Asylum", released in 1972 and directed by Roy Ward Baker (whom already had spent a time at Hammer, directing "The Vampire Lovers" in 1970 among others), is a perfect example of the kind of horror films that Amicus would be producing during the 1970s.

"Asylum" (also known in the U.S. as "House of Crazies"), takes its title from the fact that its framing tale is about a physician, Dr. Martin (Robert Powell), whom arrives to the asylum of the title for a job interview. Dr. Lionel Rutherford (Patrick Magee), the man who is conducting the interview, decides to put Martin to test: one of the inmates at the asylum is Dr. Starr, the former head of the Asylum who lost his mind after a complete mental breakdown. Dr. Martin will have to interview the inmates at the asylum and identify which one of them is actually Dr. Starr. If he manages to recognize him, Martin will get the job. So, Dr. Martin gets into the asylum, meeting each patient in their solitary confinement cells and listening to their tales. Patient Bonnie (Barbara Perkins) will tell a tale of ambition and voodoo, while tailor Bruno (Barry Morse) will reveal his bizarre experience with a quite special fabric. Barbara (Charlotte Rampling) will detail her cherished friendship with the mischievous Lucy (Britt Ekland), while Dr. Byron (Herbert Lom) will talk about a terrifying experiment with soul transference.

Writer Robert Bloch (author of the novel "Psycho", adapted to the screen in 1960) takes on the scriptwriter duty in "Asylum" taking as basis four of this short stories, to which he adds the asylum theme as framing story for the film. While the use of a framing story as bookend for the rest of the tales is a pretty common device in Amicus Productions' anthologies, the fact that Bloch uses the asylum motif gives the movie a quite particular identity of its own, as it allows the tales to move between the more realistic horror to the realm of pure fantasy with great ease, as after all, these are the stories of a group of mad people. Two major themes appear in each one of Robert Bloch's stories: the animation of inanimate objects, and the concept of identity and its deviations. This one ultimately echoes through the whole film, as the framing story involves Martin trying to discover whom amongst the inmates is actually Dr. Starr in disguise. however, this theme ends up a bit forced in the framing tale as it0s obvious that at least two of the interviewed inmates are too young to be seriously considered as candidates to be Dr. Starr.

By 1972, director Roy Ward Baker was already considered as one of the most experienced filmmakers in the United Kingdom, having directed classics as "Morning Departure" (1950) and "A Night to Remember" (1958). While working at Amicus Productions meant lower budgets, Baker already had the talent and experience to do more with less, and "Asylum" shows this at its best. If there's something inherent in anthology films is that, by their own nature, they have the tendency to be uneven in terms of the quality of the stories that conform them, and sadly, "Asylum" is no exception. However, director Roy Ward Baker manages to lessen this a tad by keeping an equal degree of quality and stylistic coherence through every story. While the tales may shift in tone, the visual style that Roy Ward Baker keeps through the whole film gives the movie an ominous atmosphere of uneasiness, of dark abnormality that benefits the film a lot. So, even if Robert Bloch's screenplay is no the strongest element in "Asylum", its impeccable manufacture certainly is.

Like most of the movies released by Amicus Productions, the cast is made up of a mixture of legendary stars of the horror genre (Peter Cushing and Herbert Lom), and young rising artists looking for the chance to shine (Britt Ekland and Charlotte Rampling). The result, as in every portmanteau film, varies from tale to tale, though in general the acting in "Asylum" is of great quality. On one hand there are haunting performances, as the ones by Mores and Cushing in "The Weird Tailor", in which both actors manage to capture perfectly the slightly hammy tone that a tale of dark supernatural fantasy like this one demanded. On the other side, Britt Ekland and Charlotte Rampling aren't as fortunate in their tale, which moves in the terrains of psychological horror. While the story where they work, "Lucy Comes to Stay", is perhaps the dullest of the four, a better work by the two actresses may had meant a significative improvement. Patrick Magee, who plays the sinister wheelchair-bounded Dr. Lionel Rutherford in the framing story, makes a terrific work as the authoritarian and devilish doctor.

Despite some rather mediocre performances, "Asylum" doesn't have its weak spot in the acting department, as the cast as a whole makes an effective job. The film's weakness is perhaps hidden deeper in the Robert Bloch's screenplay. As mentioned before, it's common in anthologies that some of the stories are less functional than the rest, and that's unfortunately the case in "Asylum", as while "The Weird Tailor", "Frozen Fear" and the framing story are brilliant and quite interesting, "Mannikins of Horror" and particularly "Lucy Comes to Stay" fail to reach that level. The case of "Lucy Comes to Stay" is specially interesting as its plot is some sort of variation of the one in "Psycho" (so it's not a strange territory for author Robert Bloch), though set in a more youthful atmosphere that doesn't match the solemn way the story is developed, making it feel a bit slow and dull in comparison to other stories from "Asylum". A similar case is the problem of "Mannikins of Horror", as it has a quite interesting premise that would had benefited from a less campy, and more serious and somber tone.

While of a budget considerable lower than the gothic horrors of Hammer Film Productions (and that's saying something), Amicus Productions' anthology films could be as interesting or more than some of its rivals' horror movies, and "Asylum" is perhaps the best proof of that. While it may not be the best work of writer Robert Bloch, the movie benefits enormously from the masterful way director Roy Ward Baker crafts the movie, as well as the classy work by cinematographer Deny N. Coop, who manage to return that mysterious and somber atmosphere of classic gothic horror to the very modern contemporary England. It's a perfectly done mix of the old and the new. Despite being lesser known than the movies from Hammer Film Productions, it's worth to discover the oeuvre of Amicus Productions, and "Asylum" is a great way to start.

7/10

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Leptirica (1973)

According to an old Serbian legend, in the village of Zarožje there was a man named Sava Savanović, who worked in the mill that was close to the river Rogačica. Despite already being an old man, Sava Savanović married a beautiful young lady he loved. However, the young lady was in love with Sava's brother, and the couple began an affair. In an act of fury, Sava Savanović murdered the two lovers inside the mill. When the villagers of Zarožje discovered the crime, they captured and lynched Sava Savanović, and then buried his corpse deep in the woods. Soon after this rumours were heard about Sava Savanović, who supposedly now was a vampire roaming the old mill. With this legend, Sava Savanović would become one of the first vampires in Serbian folklore, and his popularity was such that celebrated writer Milovan Glišic wrote a novel based on the old story ("Posle devedeset godina" or "After Ninety Years" in 1880). The plot of this novel would be taken as basis for a TV movie released in 1977 by director Djordje Kadijevic with the name of "Leptirica" ("Лептирица").

"Leptirica" (literally "The Moth" or "The She-Butterfly", which is the English title of the film), begins with the mysterious death of the town's new miller, Vule (Toma Kuruzovic). As he prepares to spend the night at the mill, Vule is murdered by a strange creature with dark skin and long fangs. The following day the villagers are worried since Vule is the fourth miller in the year to be killed under strange circumstances while spending a night at the old mill. In the meantime, the humble Strahinja (Petar Božovic) is madly in love with the beautiful Radojka (Mirjana Nikolic), the daughter of rich landlord Živan (Slobodan Perovic). Strahinja asks Živan to allow him to marry his daughter, but he refuses to accept his daughter marrying someone as poor as young Strahinja. Disappointed, Strahinja decides to leave the town, but instead ends up convinced to take the dangerous job of miller. Strahinja spends the night at the mill and manages to survive the monster's attack. After this, Strahinja and the villagers decide to discover the nature of the creature, so they find out about the legend of Sava Savanović.

Adapted by director Djordje Kadijevic himself, "Leptirica" is developed precisely as the thing that originated it in the first place: a folk tale. That is, at taking "Leptirica" to the screen, Kadijevic opts to give it a simple approach, avoiding to make the plot too complicated and focusing in enhancing the legendary (or better said, mythical) aspects of the story. Thus, the characters are basically a group of classic fairytale archetypes, in a story that transcends its origin in Serbian folklore and becomes a universal tale: "Leptirica" becomes essentially the story of a young humble man who must prove his worth to society and himself. The vampire myth in "Leptirica" is more a force of nature, with Sava Savanović acting as demon of the woods, an opposition to the civilized villagers. There's also in "Leptirica" a subtle subtext of vampirism taken as an equivalent to sexual awakening inherited from Glišic's novel. With a certain touch of comedy, Kadijevic keeps his plot between horror and fantasy, using a light-hearted tone that evokes the rural fairytale origin of the story of Sava Savanović.

Director Djordje Kadijevic makes a simple yet effective work in his making of "Leptirica", capturing the atmosphere of myth that the story has with great skill. In fact, this atmosphere is perhaps the most important element in "Leptirica", as Kadijevic manages to give his film the sensation of being set in an undefined period of history, in a timeless fantastic Serbia where myth is mixed with reality. This is particularly obvious in the horror scenes of the film, which have a certain surreal beauty in their craftsmanship thanks to the great use given to the work of cinematographer Branko Ivatovic. However, Djordje Kadijevic isn't that lucky in the making of the comedic scenes of his movie, which feel a tad forced and stagy, in sharp contrast to the aforementioned horror scenes. Certainly, Kadijevic is a devoted horror fan, (in fact, his 1969 film "Darovi moje rodjake Marije" was the first 100% Yugoslavian film with horror touches), and this becomes obvious in the great care given to the making of the horror scenes. Nevertheless, it would had been better if the same care had been put in the rest of the film.

The performances in "Leptirica" are a bit regular, as while there are a couple of great quality works, others aren't really that good. Of the former it's worth to point out the work of Petar Bozovic, whom plays young Strahinja, the archetypal rural hero of the story. Poor and humble, but noble in heart, Strahinja would rather leave before watching his beloved married to another man. While looking a bit too old for the part, actor Petar Bozovic makes a pretty good job and manages to capture the naiveté and nobleness of his character. However, it's actually Slobodan Perovic whom shines the most in "Leptirica" as the harsh landlord Živan. Perovic makes an excellent job, to the point that it would had been good to see more of his character. Young actress Mirjana Nikolic also makes an effective performance as Radojka, the beautiful daughter of Živan. The change her character endures as the film unfolds makes her an iconic figure of Serbian horror. The rest of the as isn't really up to the level of the aforementioned, and this is probably one of the film's weakest elements.

Done as part of a series of horror movies for the Yugoslavian television (the other films are "Devicanska svirka", "Sticenik" and "Zakletva", all directed by Djordje Kadijevic), "Leptirica" suffers from the technical and budgetary limitations of being a product made for television. However, the real problems of "Leptirica" aren't really related to its poor production values (director Kadijevic manages to do wonders with limited resources), but with his screenplay, which seems to be divided between a desire for being both a true horror film and an accessible rural comedy at the same time. Kadijevic fails to keep a balance between both genres, resulting in haunting horror scenes of great quality and moments of comedy that feel cheap and rushed. The contrast between them is abysmal, and truly show that the real interest of director Kadijevic was in the horror moments of his film. Despite this problem, "Leptirica" is still a quite interesting vampire story that, spiced up by Serbian folklore, gives a nice spin to the classic myth.

Considered as a classic of Serbian horror, the work of Djordje Kadijevic offers an interesting vision of the genre deeply rooted in his country's folklore. From amongst his works, "Leptirica" is perhaps the better known film, a movie that perfectly captures the essence and symbolism of Serbian folktales and transports them to the screen. Owner of a surreal atmosphere and an interesting visual design, "Leptirica" presents an interesting twist to the vampire myth, portrayed in the film as a force of nature that evokes the ancient fear to the unknown, to the savage: the woods, the darkness, the night. More symbolic than descriptive, the film is a faithful representation of a mythic struggle in film. While far from being a masterpiece, "Leptirica" has a certain charm that could only be described as "magic".

7/10
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Dead End (2003)

At the end of the decade of the 90s, the great commercial success of several horror films brought a renewed interest in the genre, which became some kind of a renaissance during the following decade. The horror genre was again a profitable product, to the point that even big studios began to produce horror movies to satisfy the demand, resulting in the making of many big budget remakes of several classic films of the genre (the perfect example: "The Texas Chainsaw Massacre" in 2003). However, and just like it had happened in previous decades, despite the huge amount of produced films, the quality wasn't always the best, and many of those films, whether they were remakes or not, ended up being pretty much forgettable. Nevertheless, a good thing that came with this popularity of horror films was the return of indie horror, which just like in previous occasions, would be where finally the most interesting films would be produced. "Dead End", a somewhat independent French-American co-production released in 2003, would be a great example of this.

"Dead End" is the story of a family trip, where the Harringtons are driving through the highway heading towards grandmother's house in order to spend the holidays there. In the car are traveling Frank (Ray Wise) and Laura Harrington (Lin Shaye), their daughter Marion (Alexandra Holden) and their son Richard (Mick Cain), as well as Marion's boyfriend Brad (Billy Asher). The dream and the nerves make Frank to almost collide with another car, so to alleviate tension, he decides to take an alternate road. Laura is upset by this, so they begin to argue again until Frank sees a woman in white (Amber Smith) carrying a baby through the woods. Frank returns to investigate if the woman is alright, as she seems hurt. The Harringtons decide to take her to a nearby cabin located a few miles back, in order to get her some help. The cabin looks empty, so Frank and Laura decide to investigate. Richard and Marion leave the car, leaving Brad alone with the strange woman, who shows him that the baby is dead. Whn they return, the family discovers that Brad is gone, and this is just the beginning of their trip through a dark road.

Written and directed by French filmmakers Jean-Baptise Andrea and Fabrice Canepa, "Dead End" presents an intelligent plot where the family problems the Harrington have come to the light as they keep on driving in this insane trip through the night. And this is precisely the greatest achievement of the films, as even when the story may not be the most original in horror, the way that Andrea and Canepa develop their characters is what ends up making the story interesting. Their hates, grudges and secrets are uncovered as the family tries to keep their sanity as they face he strange situations that take place on the road, and the deaths that begin to happen during their long voyage to madness. Mixing with great creativity the suspense with comedy, Andrea and Canepa create a story that moves with grace between the blackest humour and the classiest horror, without ever losing the right tone. The ending is perhaps a bit too predictable, but the truth is that what makes "Dead End" really special is the journey, not the destination.

In "Dead End", directors Andrea and Canepa leave aside the graphic violence of modern horror and instead they choose a style more based on atmosphere and suspense than in straight visual shock. With great skill, the filmmakers manage to create an effective feeling of paranoia as the Harrington discover that something is not exactly right with the road. Certainly, the descend to madness that this family experiences is a real nightmare, and the filmmakers truly create a very appropriate surreal atmosphere thanks to a well devised mise en scène that, as mentioned before, it's based more on suggestion than in showing. This last thing may had been the result of budgetary limitations, however, it's a wise choice as it allows the filmmakers to explore a kind of horror that's more psychological than visceral. While this may not really be the best work of cinematographer Alexander Buono, there's something in the style he employs in the film that reminds a lot to the supernatural horror cinema of the 80s (think "Phantasm"), and that the filmmakers use to their favor.

However, a lot of the success of "Dead End" depends on their actors, as it's a film based chiefly in its characters and the relationships between them. And fortunately, "Dead End" has excellent performances from the veteran actors Ray Wise and Lin Shaye. As the father figure in the Harrington family, Ray Wise makes a superb job at making a tough and aggressive character that hides an enormous fear to the horrors he is facing. Wise creates in Frank a very complex character, more complex than it shows, and while at times there's a bit of overacting on his part, in general his work in "Dead End" ranks amongst the best in his career. Actress Lin Shaye also delivers a work of great quality as his wife Laura. Playing a housewife full of secrets, Shaye makes a brilliant job, particularly shown in her timing for comedy, as it's her character the one that gives the film the touch of black humor to the plot. Young actress Alexandra Holden is perhaps less surprising, though she still makes an effective performances as the story puts her on the spotlight.

Nevertheless, not everything is perfect in "Dead End" and unfortunately, the acting done by Amber Smith and specially Mick Cain downgrade the quality of the film due to their bad quality. Cain in particular is pretty poor in his performance as Richard, and it doesn't really help the fact that his character is the less developed of the group. Despite those two details, the acting in "Dead End" is in general pretty satisfying, and one of its strongest assets. If the film has any problem, that is the fact that the film can become a bit slow and repetitive as the movie consists mainly in the family driving through a dark road. It's true that Andrea and Canepa's screenplay keeps things rolling with a good rhythm and well scripted dialogs, but "Dead End" would had been improved if more situations took place in its plot diminish the moments where nothing happens. It's worth to point out that even when "Dead End" was done with a relatively low budget, directors Andrea and Canepa manage to avoid this to be too obvious and keep the attention on the story.

Intelligent, disturbing, and with a very twisted sense of humor, "Dead End" is a film that offers somewhat of a return of a more traditional kind of horror. Thanks to the remarkable performances of Wise and Shaye, as well as the great use of atmosphere that directors Jean-Baptiste Andrea and Fabrice Canepa achieve, "Dead End" is an experience of paranoia and suspense akin to some of the best moments of "The Twilight Zone". Despits is flaws, this film once again demonstrates that with a good screenplay, it's possible to make a film of high quality even when resources are limited. And as mentioned before, while it's probable that its ending is a bit predictable, what's truly enjoyable in "Dead End" is the Harrington's descent to the dark side of the road.

7/10
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Der Student Von Prag (1935)

During the 1920s, German cinema experienced an artistic development that had its roots in the Expressionist movement that had been explored in architecture and painting. Films such as "Das Cabinet Des Dr. Caligari" (1920) and "Nosferatu, eine Symphonie des Grauens" (1922) showcased the trademarks of the movement: a stylish and geometrical art direction, use of low-key lighting and the embrace of psychological themes. Expressionism was about the expression of the inner side, as opposed to a mere representation of the reality. Though short-lived, the movement left an enormous influence in cinema, particularly in the horror genre, which found in Expressionism the perfect style for its nightmarish worlds. The American horror films of the 30s are perhaps the best example of this, mainly because of the fact that key members of the movement who had moved to America were behind the camera. However, they weren't the only ones. In Germany, veteran director Arthur Robison attempted to update a classic story of the silent German Expressionism: "Der Student von Prag".

Set in the 1860s, Balduin (Anton Walbrook) is a young and gallant student, a dreamer whose greatest pleasure is to have a good time with his friends at the inn's tavern and compete with his friend Dahl (Fritz Genschow) for the affections of Lydia (Edna Gryeff), the innkeeper's niece. However, everything changes one day, when the group is celebrating Lydia's birthday, as that day the famous opera singer Julia Stella (Dorothea Wieck) stops by the inn, and casually offers the group a brief display of her talents. Amazed by the singer, the young Balduin immediately falls in love with her, but to his misfortune, she is always surrounded by the cream of the crop of society, people like the rich Baron Waldis (Erich Fiedler), so the poor student Balduin thinks he has no chance. It's in this moment when the mysterious Dr. Carpis (Theodor Loos) enters the scene, and promises Balduin the status he desires. However, by accepting this deal Balduin will become a pawn in Dr. Carpis' revenge against Julia.

The original version of "Der Student Von Prag" was written by author Hanns Heinz Ewers as a horror version of Edgar Allan Poe's "William Wilson" and the Faust legend. Director Henrik Galeen's remake was more refined, but nonetheless faithful to Ewers' story. This version, written by Hans Kyser and director Arthur Robison himself, makes several important changes to the original tale. The most obvious are the fact that Balduin's love interest is no longer a member of the royalty but a famous singer, and the link between Dr. Carpis and Julia, inexistent in previous versions. The figure of Dr. Carpis receives considerable development, no longer being only a Mephistophelian figure, Dr. Carpis acquires a defined motivation and becomes a true villain in Robison's "Der Student Von Prag". However, the truly most important change is subtler: the fact that Balduin loses more than his reflection in the bargain, he loses his identity, his personality, his dreams. Robison's "Der Student Von Prag" is certainly closer to Wilde's "Dorian Gray" than to Poe's "William Wilson".

A veteran from the years of German Expressionism ("Schatten - Eine nächtliche Halluzination" being his most famous film), director Arthur Robison gives his version of "Der Student Von Prag" an ominous atmosphere of dread thanks to the great work of cinematographer Bruno Mondi (another Expressionist veteran), who captures the story of Balduin in a style that quite appropriately, becomes progressively darker as the story unfolds. Reflecting the changes to the plot, Robison's film is less an Expressionist nightmare and more a Gothic tragedy, with the emphasis now on the psychological horror instead of the visceral one. For this effect, Robison carefully develops the story of Balduin's damnation, giving enough space for the characters to grow (even the secondary ones), all with a slick and elegant visual narrative. His "Der Student von Prag" lacks the remarkable visual flair of Galeen's version, but instead Robison gives his movie a quite appropriate somber tone of ambiguity, with the nature of Dr. Carpis' power over Balduin left in the dark.

The acting is one of "Der Student von Prag"'s strongest elements, as it has several great performances from its cast. As the tortured Balduin, Anton Walbrook (still known as Adolf Wohlbrück) makes a remarkable job at portraying the change in Balduin's soul. Beginning the film as a carefree young lad, his character's obsession with Julia grows and takes him to make the pact with Dr. Carpis, which seals his fate. Without the help of any make up or special effects, Walbrook manages to create two very different personalities for his character, and often without saying a word: his facial expression telling all that's needed to known about the inner struggle for Balduin's soul. The beautiful Dorothea Wieck plays Balduin's love interest, Julia, and her work in the role is also of great quality. Wieck achieves to create an equally complex character, as her Julia is as guilty as Carpis of Balduin's ruin. Half Mephistopheles and half Svengali, Theodor Loos' Dr. Carpis may not be a physical imposing figure, but the strength he gives to his voice creates a convincing Gothic villain in the film.

An interesting update on "Der Student von Prag", Robison's film has in its favor an intelligent screenplay, a stylish technique and a collection of great performances. The twist that writers Kyser and Robison have given to the story is particularly meaningful, as it does give a new readings to the story. While in the past the result of Balduin's deal was that his mirror image gained life of its own (becoming a doppelgänger), in Robison's film the loss of his mirror image represents the loss of the best in him. The sentimental dreamer (as he is called in the film) becomes a cynic man twisted by greed and obsession. While he's still the young handsome student on the outside, his personality has been transformed by the powers granted by Dr. Carpis, eager to fuel Balduin's ambition to achieve his evil purposes. As a film made during the Nazi regime, it does make for an interesting parallel to the changes that were taking place in German society in the years before World War II.

One of the last films produced before all film production in Germany became subordinated to the Reichsfilmkammer, Arthur Robison's version of "Der Student von Prag" is more than a mere sound remake of a famous tale, it's a great horror film by its own right. Full of symbolism and of great technical quality, the 1935 version of "Der Student von Prag" has been unfairly forgotten, often overshadowed by its silent predecessors; however, it's probably the best version of the tale. "Der Student von Prag" would be Robison's last film before his death (he would not live to see it released), and also one of the last films Anton Walbrook would do before leaving Germany. In a way, "Der Student von Prag" marks the end of an era of German cinema.

8/10
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Trolljegeren (2010)

Originally a name to describe negatively a jötunn (giants) in Norse mythology, the word Troll evolved in Scandinavian folklore to define not the giants, but a different and very particular class of supernatural being. Varying in size and appearance, trolls became primitive pagan monsters, ugly and simple minded, though often big and remarkably strong. An important element of Scandinavian folklore, trolls have entered popular culture via the fantasy stories inspired by these legends. Being savage and ugly made them good material for villains in fiction, and as such can be seen in fantasy novels ("Harry Potter and the Philosopher's Stone" for example"), role-playing games and of course, movies. While the better known instance of trolls in films may still be the infamous horror films "Troll" and "Troll 2", Norwegian director André Øvredal will hopefully change that with his "Trolljegeren", a remarkable horror film in the now familiar style of "found footage" mockumentary that continues that generation of great Norwegian horror films that have been released since the last decade.

"Trolljegeren" or "The Troll Hunter" begins as a documentary by film students Thomas (Glenn Erland Tosterud), Johanna (Johanna Mørck), and Kalle (Tomas Alf Larsen). The group is trying to make a movie about a bear poacher, Hans (Otto Jespersen), who has been illegally killing bears. Through the eyes of cameraman Kalle, and with Johanna as sound recorder, Thomas attempts to interview Hans, and uncover him as the bear poacher, but he avoids contact with them. During one night, Hans goes hunting and the three students follow him into the woods, hoping to film him in action. However, they are attacked by a giant monster that Hans insists is a troll. The monster bites Thomas and destroys the crew's car, so Hans helps them return. However, the group wants to know more, and Hans confesses that he is not a bear hunter, but a troll hunter, hired by the government to secretly control the troll's population. Tired of his job, Hans allows the students to film him, hoping that the truth about trolls gets to be known.

As it can be noticed, "Trolljegeren" opens with a premise similar to the 1999 horror "The Blair Witch Project", which also dealt with the found footage of three students that were making a documentary; however, André Øvredal's screenplay (done with contributions of Håvard S. Johansen) is significantly different in tone, as his story is more a cynic comedy about the thankless job of the troll hunter. However, the comedy employed by Øvredal is of a subtler humor, one which finds the laughs not in the vulgar parody of a genre, but precisely in the serious tone in which such outlandish events are treated. Cleverly written and filled with countless references to the trolls folklore, "Trolljegeren" is a mockumentary that actually works its fantasy elements into reality, that builds up its verisimilitude by fleshing out a coherent mythology of its own, and all while at the same time takes a dig at Norwegian government institutions. The clumsiness, carelessness and stubbornness they show is just part of "Trolljegeren"'s very Norwegian self deprecating humor.

However, the most remarkable accomplishment of André Øvredal's "Trolljegeren" is the way he employs the mockumentary genre to capture the sense of wonder that folktales are supposed to have. As written above, Øvredal's intelligent screenplay already plays a big role in this, but it's the execution of it what would ultimately make of break the film. Fortunately, Øvredal succeeds and the result is a mockumentary that truly feels like the real thing. As in most found footage films, the point of view is that of the camera, and what Øvredal achieves is to transmit the very same amazement that the three filmmakers feel when Hans shows them the truth. Their curiosity overcomes their fear, and Øvredal's narrative just keeps on feeding that curiosity. A common flaw of found footage films is that in their search for capture realism, the tedium of real life tends to crept into the film. Not the case of "Trolljegeren", as Øvredal keeps things moving without wasting time and always adding to its story instead of rambling into another direction.

Given that his character is the subject of the documentary, Otto Jespersen receives countless moments to shine as Hans the Trollhunter. Certainly, the movie's weight is on him, and in a subtle, restrained style, Jespersen remarkably builds up a very natural and realistic portrait of the tired hunter. Several scenes consists of interviews to Hans, and it's in those scenes in which Jespersen is shown at his best. Often with only his body language he transmits the melancholy of the hunter, dissatisfied with his job and hoping for a quieter life. Glenn Erland Tosterud, who plays the interviewer and director of the documentary, is probably the weakest amongst the film's cast, though he makes up for his lack of skill with a natural charm and strong presence. Way better is Johanna Mørck, who plays sound recorder Johanna, whose character grows as the events of the film unfolds. Tomas Alf Larsen has the difficult job of being the point of view as he plays cameraman Kalle, though fortunately he rises up to the challenge and delivers an effective job.

Another highlight of the film is Hans Morten Hansen's brief but substantial performance as Finn Haugen (Hans Morten Hansen), head of the Norwegian Wildlife Board, and the one that's chasing the crew in an attempt to prevent the secret to go public. In fact, there are many things to praise in this humble low budget wonder from Norway, which after "Villmark", "Naboer" and "Død snø" has proved to be a fountain of a new and refreshing generation of horror films. From the clever cynicism of its screenplay to its great performances, and even the remarkable (for the budget) special effects that display trolls in all their somber glory. As written above, the serious tone in which such an absurd premise is taken only adds up to the subtle black comedy of Øvredal's film, and the mix of comedy and horror works pretty nicely for the most part. Perhaps the film's biggest problem is simply the fact that it can't help but feeling derivative due to the overuse of the found footage device, however, amongst these kind of films, "Trolljegeren" is a winner.

Perhaps the best way to describe "Trolljegeren" is captivating. What initially begins as a boring student documentary about illegal hunting soon evolves into a dark trip full of wonders. Of pretty dangerous wonders by the way, as director André Øvredal doesn't back from the original myth: trolls aren't cute, trolls are monsters, very dangerous monsters. "Trolljegeren", for all its satirical humor and sheer absurdity, it's still at its core a true return to the original horrors of fairy tales, to that mixture of terror and fascination that surrounds all the good horror stories of the world. More than a decade after "The Blair Witch Project" kick-started the boom of found footage films, "Trolljegeren" puts an ironic twist to the premise of three film students in the woods and delivers a vibrant and exciting documentary on supernatural wildlife.

8/10
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Efpeum (1965)

The decade of the 1960s was a decade of many social changes across the globe, as a new generation was rising to find its place in history. Inevitably, such changes would be reflected in the arts, and in the case of cinema, in many places it meant the closure of an era, such as the decline of the American studio system or the end of the so-called Mexican "Golden Age". But it also meant the beginning of a new one. A renewal of ideas of sorts, reflected in the New Hollywood and the French Nouvelle Vague. In the South American country of Venezuela it meant the arrival of a new generation of filmmakers eager to break with the realist tradition of Venezuelan cinema. Amongst this new generation of filmmakers was Mauricio Odremán, a writer who had been working at several production companies and whose first produced screenplay was the 1964 film "Isla de Sal". Deeply interested in surrealism and metaphysics, Odremán reflected his ideas in a short film written and directed by him: Venezuela's first science fiction movie, "Efpeum".

"Efpeum", which actually stands for "Estructura Funcional para Encontrarse uno Mismo" (literally, "Functional Structure to Find Oneself"), begins at the University, where an Architect (Samuel Roldán) is giving a lecture about his new idea: a building, or better said, a structure that more than serving as a housing project could actually help its inhabitants to transcend this dimension. The audience explodes in laughter and the Architect is humiliated and leaves the University. He wanders around, until he is told that there's a man who can help him, an Alchemist (Carlos Guerrero). The Architect meets the Alchemist and explains his project, and proposes him to combine their knowledge in order to create EFPEUM. The Alchemist agrees somewhat reluctantly, and the two begin their work. The two of them have differences, but soon the Architect begins to learn the way of the Alchemist, who begins to consider the Architect as his equal. The arrival of the Alchemist's partner Andreina (Bertha Mantilla) will make them become one.

As can be imagined by the plot, Mauricio Odremán (who wrote the screenplay) uses the conceptions of science fiction in "Efpeum" as the way to express his metaphysical and philosophical beliefs. Basically, "Efpeum" is to the science fiction genre what Jodorowsky's "El Topo" is to the Western. In fact, while in terms of style there is no apparent influence from the Chilean filmmaker, thematically Odremán's "Efpeum" covers topics that are pretty similar to the ones explored by the director of "The Holy Mountain". In "Efpeum", Odremán implies the search for a higher state of mind, and represents two viewpoints in the film's two main characters. The Architect, symbol of reason, pursues knowledge and has the willpower to achieve the project, though his view is narrow due to what society has taught to him. The Alchemist, represents a knowledge closer to nature, a freedom the Architect lacks. However, both are needed to transcend, and the catalyst for this is the female figure, Andreina, and in sexual union the three of them become one.

Visually, Mauricio Odremán's film is a very symbolic work, in which the imagery captured by cinematographer Tony Rodríguez is of a quite allegoric nature. The world of Odremán is a desolated land, in which the human figures seem to be alone looking for meaning, while the University has an oppressive architecture, reminiscent of the German Expressionist style. In his vision of future, Odremán contrasts nature and science, echoing the themes of his screenplay, and this duality is played through the film in its many different set pieces. The narrative is disjointed, though not incoherent, and it follows several stages in the relationship between the Architect and the Alchemist as EFPEUM is being constructed and Andreina appears in their lives. Through the film, Odremán uses sound in pretty interesting and strange ways, aiming to disconcert and disturb in some way. However, the most bizarre of this is his use of romantic ballads to narrate passages of the story (for example, a love song to EFPEUM opens the film), which is quite odd to say the least.

The performances by the cast are a bit stagy, though given the allegorical nature of "EFPEUM", it's probably meant to be this way. Still, it's perhaps the film's weakest element, as the work is unfortunately of a mediocre quality. The only saving grace is Samuel Roldán, who plays the Architect, carrying the story with a natural charm and a certain dignity that makes the outlandish film a tad more believable. Sadly, it can't be said the same about fellow cast-members Carlos Guerrero and Bertha Mantilla. Guerrero, who plays the Alchemist, is too hammy in his role, and even given the nature of the film his work looks out of place. As the mystic Alchemist, Guerrero unfortunately makes more a parody of his role and diminishes the power of the film. However, even worse is Bertha Mantillo, who plays the Alchemist's partner Andreina. While Andreina is meant to represent the sensuous being, an unleashed magic in pure form, her performance is too wooden to be taken seriously, and sadly feels more like a robot than like the wild force of nature she should be.

As can be seen by now, Mauricio Odremán's "Efpeum" is not exactly the typical science fiction tale, it's more a full expression of its maker's metaphysical ideas. An allegoric exploration of themes in which the message between lines is far more important than the actual story. As written above, given its surreal take on philosophical themes, the cinema of Alejandro Jodorowsky could be a considered a close relative to Odremán's film, and as such, this 30 minutes short film is equally as cryptic. However, "Efpeum" suffers of several problems that somewhat difficult its enjoyment. Not only the afore mentioned low quality of the performances is off putting, what's perhaps the greatest problem in Odremán's film is how badly it has aged. And this is not about any technical issue, but about Odremán's abuse of distorted pop culture elements, particularly his use of very 60s romantic ballads, which with time has stopped from being daring or avant-garde and has become pure kitsch.

Certainly a product of its time, "Efpeum" belongs to the most reactionary style of filmmaking of the 1960s. Completely beyond of any classification (certainly, the science fiction genre is only the one that seems to describe it best), Mauricio Odremán's film is one that despite not having aged that well, still can be a fascinating glimpse to the mind of its maker and the topics that interested him. Of great historical importance, this first Venezuelan science fiction film can be difficult to appreciate given its allegorical nature and crude style, though it's still a fascinating example of Latin American surrealism.

6/10
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Ángel caído (2010)

Through the history of Mexican cinema, with its penchant for stylish melodrama and musical comedies, full fledged ventures into the fantasy genre have been scarce, almost a rarity. Granted, the Mexican film industry has produced some of the best horror films in the world, and the Mexican culture has a long standing literary tradition of magical realism that has found its way into Mexican cinema in one way or another; however, to find more traditional subgenres of fantasy is particularly rare. Aside from the surreal work of Jodorowsky and Rafael Corkidi, there have been very few examples of purely fantasy films ("Zurdo" and "Historias del Desencanto" come to mind). It is because of this scarcity that the effort of newcomer director Arturo Anaya is particularly admirable, as he debuts with an ambitious fantasy film titled "Ángel caído", which is based on the first of a series of fantasy novels he wrote. Now, the effort and Anaya's determinations are without a doubt admirable, unfortunately, the end result well, not so much.

The story of "Ángel caído" (literally "Fallen Angel") begins in Italy, when a baby is taken to an orphanage by the police. Years later, the baby is now a young kid named Liutprando (Emiliano Zurita) or Liut for short. One night, a demon arrives to the orphanage searching for Liut, but the kid is miraculously saved by his Guardian Angel and taken to an isolated monastery in Greece. At the monastery, Liut is welcomed by brother Angus (José Alonso), a wise monk who explains Liut his true origin: he is a Sephyro, a half-human half-angel with supernatural powers. Liut is shocked at the revelation, but there's more, he also has inherited a mission from his father: to find the Sword of Fire, the legendary Sword that Liut's father used as Guard of the Garden of Eden. With this in mind, Angus begins to train Liut, who becomes a young man in the process (Sebastián Zurita). A clue is hidden at the University of San Rafaello, so Liut enrolls to find it. However, Luzbel the fallen angel (Carlos Cacho) is waiting for him.

As written above, "Ángel caído" is a film written by director Arturo Anaya, adapted from his own novel “Ángel Caído Sephyro, el canto segundo”, though given the long time of production the film had, it's difficult to say what happened first, either the film or the novel. The story can be divided in two parts, the first one chronicling Liut's childhood and his training at the monastery, and the second and main section of the film is dedicated to his time at the University and his battle against Luzbel's minions. While the setting is the real world, "Ángel caído"'s secret world of demons and angels grounds the story in the field of the fantasy epic film. At its core, Arturo Anaya follows closely the classic monomyth pattern to unfold his story, which is largely centred around Liut's heroic journey. An element of fish out of the water is added in the secodn half, as Liut's upbringing at the Greek monastery is put in contrast to the modern world at the University of San Rafaello, embodied in his dorm room neighbor Paul.

Despite working with an extremely low budget, director Arturo Anaya opts for a heavy use of special effects in his film, and surprisingly, many of them actually look fine. However, at times it feels excessive, not only in the sense that its low production values become notorious, but also as the amount of digital enhancement tends to darken too much the work of cinematographer Juan Castillero. "Ángel caído" is a case of digital cinematography being damaged in postproduction. While undoubtedly a bold effort, "Ángel caído" showcases the limitations of the unexperienced Anaya, not only in purely budgetary terms, but as a director. The story's pacing is quite uneven (the work of editing is pretty poor), often reaching extremely slow points only to follow it with sequences that seem rushed. Anaya's tacky visual narrative, which seems greatly influenced by television, doesn't really capture the epic feeling that his story pretends to have, and feels more apt for a TV series.

The cast is one of the film's weakest elements, though two cast members truly shine in their roles. Unfortunately, they aren't the protagonists, as Sebastián Zurita and Laisha Wilkins, Liut and Persefone respectively, aren't really that effective. Wilkins, though owner of a natural beauty, fails to be convincing as she doesn't seem to be fully into the project. On the contrary, Zurita shows passion and commitmet to his heroic role, but his skills aren't up to the challenge and ends up wooden and emotionless most of the time. Now, the two actors who truly give their best are José Alonso and the young Luis Caballero. As the monk Angus, Alonso is pitch perfect as the wise old man of this journey, and he steals a couple of scenes with his sharp comedic timing. Playing Paul, Caballero excels in his performance as Liut's spoiled rich friend, and truly gives life to the second part of the film with a vibrant performance full of energy. The rest of the cast is pretty average, and while Humberto Zurita shows his skills, he is reduced to a boring and clichéd role.

In fact, boring and clichéd are adjectives that unfortunately, extend to many other aspects of the film, as "Ángel caído", as laudable as it is as a low budget epic fantasy, it's marred by problems bigger than its low budget. In fact, while low budget could serve as an excuse for its technical problems, the real failure in "Ángel caído" is in a more basic, yet neccessary element: its story. Anaya's story is not only derivative and unoriginal (to be fair, most fantasy epics sadly have this same problem in one degree or another), it's also pretty thin in its development and lacks engaging main characters. While Anaya has done a good job in creating his mythology (borrowing from Christian Catholic elements), the human conflict is missed in his drama, and the virtuous Liut ends up being an uninteresting one-dimensional character. A shame, as the world and premise of "Ángel caído" certainly sound with the potential to make a remarkable work in the fantasy genre.

In the end, while the film does have certain flaws in its visual look, the special effects are pretty good looking for a film of its budget. In this aspect Arturo Anaya's team truly excelled, but unfortunately, the excuse of low budget can't save the film from it's fatal flaw, a problem that hamrs both big Hollywood films and indie features: it's poor excuse for a story. Unoriginal, unengagin, derivative and lifeless, "Ángel caído" is guilty of the worst sin a movie (regardless of budget) can commit: to be boring. As a bold venture into a genre largely forgotten by the Mexican industry, Anaya's "Ángel caído" is enormously admirable. As an epic fantasy film, it's a tragic failure. Hopefully Anaya will do better next time, because the very few good things in "Ángel caído" are truly good.

3/10
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Sky High (2003)

After spending some years making independent projects with limited budget, Japanese director Ryûhei Kitamura became a household name after the international success of his epic mix of action and horror titled "Versus" back in the year 2000. The recognition earned by "Versus" allowed Kitamura to keep displaying his talent in action films like "Alive" and "Aragami", movies where he continued demonstrating his fresh and very dynamic style clearly influenced by the Japanese comic books (Mangas). Kitamura's style would reach a peak in his epic "Azumi", a martial arts film based in the manga of the same name, which could be considered as a masterpiece of his style. "Azumi" that many of his followers consider a masterpiece. After "Azumi", Kitamura directed several chapters of the popular TV series "Sukai hai", a tale of fantasy and horror also based on a manga. In the meantime, Kitamura directed a movie to serve as a prequel to "Sukai hai": an action film titled simple "Sky High" (the English name of the TV series).

"Sky High" is the story of detective Kohei Kanzaki (Shosuke Tanihara) and his bride Mina Saeki (Yumiko Shaku), and how their lives get shattered when on the day of their wedding, Mina is brutally killed by the mysterious serial killer that Kanzaki was trying to arrest, a criminal who removes the hearts of his victims. Now, Mina goes to the Gate of Rage, the place where the souls of all the murdered people go to make an important choice: whether to go to Heaven and expect the next rebirth, return to the Earth as a ghost, or to curse the killer and go to hell with him. Mina has 12 days to decide, but in the meantime, she decides to attempt to help Kanzaki to regain sanity, as Kanzaki is now decided to kill the assassin even if that means going to Hell for his sin. While this happens, Kanzaki has not only discovered the identity of the killer, but also the purpose: the killers need to obtain six hearts from the Guardians of the Gateway of the Afterlife to open the Gate of Rage.

As written above, "Sky High" was conceived as a prequel to the TV series "Sukai hai", so Kitamura's "Sky High" is basically the introduction to the extensive plot of "Sky High", the manga by Tsutomu Takahashi. The screenplay, by Kitamura's regular collaborator Isao Kiriyama, starts off with Kanzaki's attempt for revenge over Mina's death, but also spends its time focusing on Mina's own story at the Gates of Rage, as she contemplates what to choose for her afterlife. In this way the two main "genres" are defined, with Mina's side being more a fantasy horror story while Kanzaki's works like a crime thriller, complete with twists and turns as the main villain's identity and motivations are revealed. To this effect, Kiriyama's script is very well detailed and spends a good time into developing its characters and establishing the concepts that become familiar in the TV series. Nevertheless, behind the violence and horror, "Sky High" is a tale of romance, and it's this emotional aspect is what sets it apart.

As expected, once again Kitamura displays his mastery of the visual flare as the film is filled with his trademark energetic camera-work and remarkably done action set-pieces. Kitamura gives flesh to Kiriyama's screenplay in the same way as if he was drawing a comic book, giving chance to his imagination to fly by keeping true to the essence of the "Sky High" story. While "Sky High" is considerably less violent graphically than Kitamura's previous films "Versus" and "Azumi", this choice fits the stylish concept of the film, as despite all the visual eye-candy, it remains focused on the relationship between its two main characters, and an excess in gore would feel out of place. In fact, this focus on the characters is the film's greatest strength, as it allows to give more consistence to the fantastic situations the characters live, and give meaning to their actions. In "Sky High", Kitamura succeeds in balancing out the action and the romance in a natural and believable way, without sacrificing one element to benefit the other.

The cast ranges from average to very good, and this divergence in quality is certainly one thing that lessens the power of "SKy High". Nevertheless, for the most part it could be said that "Sky High" has a mostly effective cast. Leading the cast, Yumiko Shaku delivers a pretty good performance as Mina, and proves to be a good dramatic actress, not only a pretty face. However, her action scenes seemed a bit weaker when compared to other actors in the film. Shosuke Tanihara, who plays the tortured detective Kanzaki delivers the best acting of the movie, as he carries the film with a great attitude and a believable delivery of the part. It wouldn't be wrong to call Tanihara's performance the true heart of the film. Finally, Kitamura's regular collaborator Takao Osawa is excellent as the mysterious Tatsuya Kudo. As written above, the rest of the cast is mostly good, but nothing really spectacular, although the action scenes are excellently choreographed and performed.

While certainly "Sky High" has many of Kitamura's trademarks to its full potential, it's unfortunately not one of his masterpieces, as it contains a great deal of the usual flaws in Kitamura's cinema. As beautiful as it is in visual terms, "Sky High" is a bit overlong, mainly due to the excessive detail that writer Kiriyama gives to the story. Unlike "Azumi" (also scripted by Kiriyama), where the epic approach of the story suited a long and detailed script, "Sky High" relatively more intimate story feels unnecessarily long, and at times it seriously drags a lot. Perhaps a better work of editing or more concise scriptwriting could had improved the film a bit, as it would seem that the film gets a bit lost in the creation of its own mythology. Perhaps it's that "Sky High" seems to take itself too seriously at times, or perhaps Kiriyama tried too hard to synthesize the world of "Sukai hai" in the film. Anyways, despite its problems, "Sky High" is by no means a bad film, just perhaps one certainly that could had been a lot more.

In the end, Ryûhei Kitamura's "Sky High" is a very recommended movie, not only for die hard Kitamura fans, but for those with a taste for intelligent action films. The touches of horror and fantasy give the story a lot more depth and make it stand out among the many martial arts movies out there. It certainly offers an interesting and thought-provoking view on the after life, and contains several set pieces that display the remarkable talent for visuals that director Ryûhei Kitamura has. While a bit too long, "Sky High" is actually a very good, albeit flawed, film that can deliver great entertainment when watched on the right mood. It's certainly a fine introduction to "Sukai hai", which is probably what its producers intended in the first place.

7/10
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La plus longue nuit du diable (1971)

According to folklore, there were female demons that appeared in dreams, taking the form of a woman in order to seduce men and have sexual intercourse. They were called succubi, or in singular succubus (the male counterpart is called incubus), and supposedly their visits not only represented a big risk of damnation for the soul, but also a rapid deterioration of physical health that could lead to death. With this mix of dangerous evil and sexuality, it was only natural that the myth of the succubus would enter fiction, and can be found in the works of authors ranging from Honoré de Balzac to Orson Scott Card. In film, succubi were naturally suited for the horror genre, and one of the films that explore this concept is an Italian-Belgian co-production from 1971, known in Italian as "La terrificante notte del demonio" and in French as "La plus longue nuit du diable", which could be roughly translated as "The Devil's Longest Night". The film also had several names in English, though the most common is "The Devil's Nightmare".

Also known as "Vampire Playgirls", "La plus longue nuit du diable" is the story of six tourists who travel through the Belgian mountains in a bus driven by Mr. Ducha (Christian Maillet). They find the road blocked and night is coming, but to their fortune, a farmer (Daniel Emilfork) tells them to go to castle Von Rhoneberg, where the Baron will surely allow them to spend the night. The group arrives to the Baron's castle, and to their surprise, they are informed that they were expected, so they enter the castle. Baron Von Rhoneberg (Jean Servais) gets to meet the group of travelers, which is made of young seminarist Alvin Sorel (Jacques Monseau), the old Mr. Mason (Lucien Raimbourg), Howard and Nancy Foster (Lorenzo Terzon and Colette Emmanuelle), and two friends, Corinne (Ivana Novak) and Regine (Shirley Corrigan). An eight guest arrives to the castle, Lisa Müller (Erika Blanc), a young and beautiful woman looking for refuge. However, her presence will trigger strange events related to the Von Rhoneberg curse.

Producer, Pierre-Claude Garnier, along writer Patrice Rohmm, wrote the screenplay for "La plus longue nuit du diable" with the central idea of having each of the guests represent one of the seven deadly sins. The succubus begins to murder the tourists using their vices to entice them and having them to die in mortal sin, so the Devil can collect their souls. A fairly original premise that makes for several interesting situations, as while most of the characters are merely archetypes of their respective sin, Garnier and Rohmm manages to built out of them a group of well defined characters. Particularly interesting is the relationship that's built between the seminarist and Lisa, as the young man begins a battle between his beliefs and his desires. Unfortunately, there's nothing more besides the seven deadly sins concept, as the theme of Von Rhoneberg's curse is only thinly explored, and there is also the odd inclusion of a subplot about a murdered reporter that doesn't go anywhere.

However, if the plot is thin, director Jean Brismée surely makes the most of it, as he makes of "La plus longue nuit du diable" an enormously atmospheric Gothic film of a surreal beauty. Two elements stand out in the film: the remarkable work of cinematography done by André Goeffers and the haunting, ethereal score composed by Alessandro Alessandroni. Giving great use to Goeffers' eye, director Brismée constructs a movie with the logic of a nightmare. Taking full advantage of the beautiful location he had for the film, Brismée conveys a nightmarish atmosphere of dread that give the film an ethereal mood. The dose of eroticism he adds to the film is appropriate, fitting the story's tone without detracting the attention to the horror in the film. In fact, "La plus longue nuit du diable" perfectly conveys that mix of malicious evil and sensuality that the succubi myths evoke. Alessandroni's score is perhaps the film's highlight, as he creates a haunting work of somber beauty, enhanced by the vocal work of his sister Giulia.

The acting is a mixed bag, as while there are some very good performances, others end up being too bland. As Alvin Sorel, Jacques Monseau is appropriate in his portrayal of a doubting young man, torn between the dignity he aims to represent, and his carnal desires. The gorgeous Erika Blanc (of "Operazione paura" fame) plays Lisa, the mysterious young woman who turns out to be the herald of the devil, the succubus. As Lisa, Erika displays her enormous talent to look both seductive and classy, often transmitting more with a simple facial gesture than with her lines. However, this facial expressiveness of her is shown best when her Succubus persona appears, as Erika Blanc manages to fully transform her image from one of great beauty to an horrific representation of Death. Certainly, the decision of having a subtle make-up helps, but it's Blanc who truly elevates the result. The rest of the cast is perhaps less interesting, with the exception of Daniel Emilfork, who's particularly chilling as the Devil himself.

"La plus longue nuit du diable" is a film of extremes, having elements of great quality yet at the same time being particularly weak in several aspects. Perhaps what harms the film the most is the bane of so many films: a poorly developed screenplay. Certainly, the seven deadly sins angle is notable in the way it's explored, and the film really takes off once the tourists begin to meet their demise. However, this happens later in the film, with the first part being not only the tourists' arrival and introduction, but the strange segment about the reporter. This is perhaps the strangest element in the film, as it serves no purpose other than to introduce the VOn Rohneberg curse. Anyways, it's a testament of Jean Brismée's talent how he managed to create such an atmospheric film out of such a thing screenplay. Also, the lack of budget is particularly notorious, as despite its great locations, the film does have pretty cheap special effects that deter from the viewing experience.

Despite its problems, "La plus longue nuit du diable" is a heavily underrated jewel of European horror that deserves to be better remembered. It was Jean Brismée's last film before retiring (he became a teacher at Belgium's Institut national supérieur des arts du spectacle et des techniques de diffusion) and showcases one of the best performances by the beautiful Erika Blanc. Certainly it's not a film that has aged well, but amongst the many horror erotica films done in the 70s, Brismée's take on the succubus myth is a remarkable work of great beauty. It's certainly tame for today's standards, but the important thing about "La plus longue nuit du diable" is its surreal atmosphere. It certainly lives up to its English title of "Devil's Nightmare", as that's the kind of logic the film has.

7/10
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Eragon (2006)

Once upon a time, there was a young boy named Christopher Paolini, whose favorite hobby was to read fantasy books. Inspired by his favorite books and movies, Paolini decided to write his own fantasy stories, tales about worlds where dragons and magic existed, about the adventures of brave warriors and powerful sorcerers. Thus was the origin of "Eragon", Paolini's first completed book, which he self-published in 2002 with the support of his parents and their small publishing company. The young author got lucky, as the son of author Carl Hiaasen found a copy of this edition of "Eragon" in a bookstore. Hiaasen contacted his publisher and told him about Paolini, and soon the young writer had the chance of taking the story of Eragon to a greater audience. "Eragon", the debut novel became a best seller, and Christopher Paolini became one of the youngest writers in achieve success in fantasy fiction. Naturally, a movie version of the successful novel was the next step. Unfortunately, not everything came out as expected.

Eragon (Edward Speleers) is a young 17 years old teenager, who lives with his uncle Garrow (Alun Armstrong) and his cousin Roran (Christopher Egan) as farmers in the small town of Carvahall, part of the country of of Alagaësia, a fantastic land oppressed by the hand of its ruler, a man named Galbatorix (John Malkovich). After having eliminated his opposition, Galbatorix crowned himself king and rules Algaësia with an iron fist. One day, young Eragon finds a mysterious stone while going hunting, and to his surprise, what he thought was a stone is actually the rarest thing in the world: a dragon's egg. Soon the dragon is born, and Eragon finds himself being chosen by the dragon as her legitimate rider, and destined to be the hope of those who still want a country free of Galbatorix oppressive reign. With the aid of his dragon, Saphira (Rachel Weisz), and the guidance of an old warrior named Brom (Jeremy Irons), Eragon will finally be able to fulfill his dream of being a hero, a legendary Dragon Rider.

Ever since its first publishing as a novel, "Eragon" faced strong criticism due to the somewhat derivative nature of its storyline that more often than not tended to feel more like an imitation of classic works of the fantasy genre (such as "Lord of the Rings" or "Star Wars") than as an original work. Unfortunately, the adaptation to the big screen (by writer Peter Buchman) doesn't do much to deny the validity of those claims, and in fact looks precisely as a typical, clichéd carbon copy of previous (and better) fantasy stories. With major changes to the storyline, Buchman's work simplifies things and leaves "Eragon" void of the juvenile charm that prompted Paolini's novel to the best sellers lists. "Eragon" the novel wasn't a groundbreaking work, though it made for an new take on the classic "hero's journey" pattern; as adapted by Buchman, "Eragon" is a simplistic clone of "Star Wars" (itself perhaps one of the best versions of the "hero's journey" monomyth), lacking any identity of its own.

After having build up a career as visual effects supervisor in Industrial Light & Magic, Stefen Fangmeier debuts as a director in "Eragon", in an effort marred by the poor quality of its screenplay. As expected given his background, Fangmeier creates a visually arresting film, with a good array of great special effects that find their culmination in the realization of dragon Saphira, which in itself it's a remarkable technical achievement. Nevertheless, remarkable special effects aren't everything in a film, and "Eragon" proves again that cinema is all about the storyline, and no matter how good the special effects are, a lousy script tends to result in a lousy movie. Granted, good directing can make the exception, but Fangmeier's effort isn't enough to save the ill fated film, as his tacky narrative results in scenes that look beautiful but add little to the story, and in the end "Eragon" just feels like an incomplete, unfocused work that never reaches its potential.

The cast is another problem in the film, as the young inexperienced actors chosen to play the lead characters deliver a pretty average work that only makes the messy lines of dialog sound even worse than what they already are. Edward Speleers as Eragon is awfully wooden, and while he delivers the right amount of angst his teenage character requires, overall it seems that Speleers got the part based on his looks instead of his talents. Same case is the one of Sienna Guillory, whose bland performance as Arya never really becomes a believable role, looking dull and articial. Among the young cast the only saving grace is Garrett Hedlund as Murtagh, but his screen time is so limited that even when his performance is worthy, his character never goes beyond being a two-dimensional stereotype. Now, the adult cast has slightly better luck, starting with Jeremy Irons, who manages to deliver a dignified performance as Brom, but the highlight is Rachel Weisz as the voice of Saphira. Sadly John Malkovich goes over the top without adding depth to the villain he plays.

Director Stefen Fangmeier's lack of experience directing actors becomes notorious as there's no real balance between the cast's performances. Like other former Visual effects artists, Fangmeier shows great talent directing scenes based on physical actions and purely visual narrative (it's worth to point out that cinematographer Hugh Johnson makes a decent job); however his handling of dialog based scenes is pretty much disastrous. This results in an uneven quality in his storytelling, which feels dull and bland. However, the failure of "Eragon" should not be entirely blamed on the young cast or on its equally unexperienced director, but on the badly written screenplay that takes its storyline through every cliché in the post-Tolkien fantasy fiction. While being a film dealing with wizards and dragons, the film lacks any real sense of wonder, it just falls flat as simply another dull and average fantasy tale that unfolds its story without focus and without direction.

After the renewed interest in fantasy films sparked by the successful adaptations of J. K. Rowling's "Harry Potter" series and Tolkien's "The Lord of the Rings", many other adaptations of fantasy books began to be realized, in the hope of discovering a new successful franchise. Unfortunately for "Eragon"'s fans, Fangmeier's film version of Paolini's book is a quite uninspired film that failed to explore the story's potential. Full of clichés and common places, the screenplay only adds strength to the argument of derivative that Paolini's novel receives. While not entirely awful, "Eragon" is a subpar fantasy film; and the best sign of this is that the best acting in the film is done by an animated dragon.

4/10
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