Evil Dead (2013)
It has been a slow few months in Blu-ray release land, but I’ve finally got one that I think is collection worthy, especially for you horror fiends out there. If you are any kind of a horror fan, you rushed right out in April to dry heave over all the nastiness in Fede Alvarez’s rusted Evil Dead reboot. While it wasn’t particularly scary, the film was a boomstick blast of brutality that had to be seen to be believed. Evil Dead also turned out to be one of the better horror remakes that I’ve ever seen, and trust me, they very rarely get my approval (to date, the only ones that I really like are Dawn of the Dead (2004), The Hills Have Eyes (2006), Halloween (2007), and The Crazies (2010)). Visually striking and hugely entertaining, Evil Dead will most certainly look amazing on your 1080p television and makes for a wicked little alternative for when you’ve worn yourself out on Sam Raimi’s 1981 original. If you’ve got a Target nearby, make sure you head there to get your claws on the Target Exclusive Steelbook Edition, which has some killer box art. Some of the special features include a number of documentaries, a commentary with the cast, and even an interview with none other than Bruce Campbell.
So, if you wish to read Anti-Film School’s review of Evil Dead, click here. Otherwise, grab those credit cards and head over to Target so you can add this beast to your horror collection. It is one of the few remakes that deserves to be there.
-Theater Management (Steve)
by Steve Habrat
In 1987, director Sam Raimi remade his 1981 horror classic The Evil Dead, dropping the simple stone-faced terror that turned the original into such a hit and planting the tongue of the series firmly into its bloody cheek. This slapstick remake, Evil Dead II: Dead by Dawn, would go on to become even more wildly popular than the terrifying ’81 original. Personally, I’ve never cared for Evil Dead II nearly as much as the original film and I was never convinced the film struck the proper balance of Three Stooges comedy and hair-raising terror. Hey, that’s just me! In 1992, Raimi and his ever-game star Bruce Campbell brought the series to a close with the even sillier Army of Darkness, a medieval epic that, at least to this guy, was infinitely more entertaining than Evil Dead II (I can just hear some of you horror fans now). Dropping almost all of the scares and embracing more action and adventure, Army of Darkness wins the viewer over almost instantly with its ever-quotable one-liners and its never-ending string of comic book gags. Yet while Army of Darkness does keep your eyes glued to the pulpy thrills, the jokes and the plot end up getting stretched to the breaking point, causing this brief eighty minute romp to wear out its welcome near the climax. Luckily, Raimi has the good sense to wrap everything up before Army of Darkness really falls to pieces.
After briefly flashing back to the events of Evil Dead II, which concluded with Ash (Played by Bruce Campbell) getting sucked into a portal opened by the Book of the Dead and spit out in medieval England. After tumbling out of the sky, Ash is immediately confronted by Lord Arthur (Played by Marcus Gilbert) and his men, who instantly accuse Ash of working with Duke Henry (Played by Richard Grove), Arthur’s sworn enemy. Ash is taken, along with the captured Henry, to a nearby castle where he is forced into a pit, which houses a snarling Deadite waiting to rip souls to pieces. Ash dispatches the ghoul and in return, he wins the trust of the terrified villagers, the beautiful Sheila (Played by Embeth Davidtz) and the castle’s Wiseman (Played by Ian Abercrombie), who bargains that if Ash is to venture into the haunted countryside and retrieve the mysterious Necronomicon Ex-Mortis, he can return to present day. Ash reluctantly accepts the offer, but after goofing the magic words he was supposed to say upon retrieving the book, he inadvertently awakens an army of the dead. To make matters worse, this army is led by a demonic twin of Ash. After Sheila is captured by a flying Deadite, Ash decides to align himself with the medieval soldiers and destroy the advancing demonic army.
Leaving most of the toe-curling thrills and chills in that legendary cabin, Army of Darkness quickly opts for Three Stooges style humor and heaping doses of fantasy action. For those who love blood and guts, the only carnage to be found is at the beginning, when one poor sap is shoved into the pit with a Deadite and a geyser of gore sprays into the heavens. It is absolutely hilarious and almost like Raimi is purging all of the gore from his system before launching headfirst into seventy minutes of solid belly laughs and action. Most of the time, it feels like Army of Darkness is poking fun at the action genre, from the tough-as-nails hero Ash and his bottomless pit of one-liners (“Give me some sugar, baby!” “Name’s Ash. Housewares.”), to the gratuitous explosions that rain down on the final showdown. Never once does it feel as if Raimi is taking all the action and adventure too seriously and he launches it at us at breakneck speeds. While this certainly keeps Army of Darkness very interesting, it also exhausts the film by the grand finale. It appeared that Raimi was moving at such a furious rate that he almost wore himself out and lost his grip on the entire project. Luckily, Mr. Campbell and his glorious lantern jaw comes to the rescue.
The true success of Army of Darkness rests on the chain saw of Mr. Bruce Campbell, who seems to be having an absolute blast jumping and throwing himself around like a madman. Right from the get-go, Campbell’s Ash chews right through Raimi’s dialogue and he does it with plenty of fiery confidence. Just wait for the scene where he has to recite the magic words before retrieving the Necronomicon Ex-Mortis (cinema buffs will remember those magic words from The Day the Earth Stood Still). When he isn’t muttering a classic one-liner (trust me, it is LOADED with them), he is busy socking, slapping, and poking himself in the face or busy battling a handful of feisty miniature versions of himself. His enthusiasm for the role is infectious and it is an absolute blast watching him throw himself into every scene with such gusto. In a way, it is almost a shame he is so good because every other actor or actress in the film is caught in his shadow. As for everyone else, Gilbert and Grove are largely forgettable as Lord Arthur and Duke Henry. Davidtz is just a pretty face until she gets to unleash her dark side near the end of the film, but most of her sinister vibe comes from the prosthetics applied to her face. Abercrombie checks in a fine performance as the Wiseman who believes that Ash is the savior that they have been waiting for. Keep an eye out for George A. Romero alum Patricia Tallman as an evil witch, Sam Raimi’s brother Ted in a number of different roles, and Bridget Fonda as Ash’s gal Linda.
To me, the fact that Army of Darkness isn’t simultaneously trying to be funny and scary is why it works better than Evil Dead II. I understand that many will not agree with me, but I just never thought that Evil Dead II was as funny or scary as it thought it was (I was left longing for the slow build and straight faced terror of the original). Army of Darkness is well aware that it is just a roller coaster ride and it makes absolutely no apologies about it. There are small tastes of the horror that Raimi unleashed in 1981, but for the most part, this is strictly an action comedy ripped from the pages of a comic book you have never heard of. And while the medieval action does wear thin, Raimi picks it up for one last boomstick blast of demonic action in the aisles of present day S-Mart. Overall, as a gonzo send-up of the action and fantasy genre, Army of Darkness is about as giddy and playful as they come. The action may start to slip from Raimi’s grasp, but this is Campbell’s show from the first frame all the way to the last. He may very well be the grooviest action hero of all time, and his shotgun never runs out of ammo. Gotta problem with that?
Army of Darkness is available on Blu-ray and DVD.
by Steve Habrat
I think that most horror fans would agree that Sam Raimi’s 1981 ultra-low budget horror film The Evil Dead stands as one of the scariest and most influential efforts within the horror genre. The very idea of trying to remake the film for modern audiences was absolutely blasphemous. For years, Hollywood threatened to dig out the Book of the Dead and even Raimi himself hinted that he might return to that dingy cabin in the woods for more groovy mayhem, but it seemed like just a bunch of fluff. After years of rumors, horror fans finally have director Fede Alvarez’s ultra-gruesome reimagining Evil Dead, and it arrives in theaters with an overwhelming amount of hype, a giddy blessing from the makers of the original film (Raimi, original star Bruce Campbell, and original producer Robert G. Tapert all serve as producers here), and a tagline proudly declaring it as “the most terrifying film you will ever experience.” That is a pretty bold claim! Well folks, this reimagining (the filmmakers are adamant that it ISN’T a remake) is far from the scariest film you will ever experience. Hell, it doesn’t even come close to reaching the levels of terror that Raimi reached back in ‘81. However, you should be warned that Alvarez’s Evil Dead is without question the most brutal, violent, shocking, and repulsive mainstream movie you will see. Once that howling demon charged out of the woods and the blood started flowing out of that cabin, I absolutely could not believe that this film earned an R-rating. Get your barf bags ready!
Evil Dead introduces us to Mia (Played by Jane Levy), a drug addict trying to go cold-turkey with the help of her estranged brother, David (Played by Shiloh Fernandez), his girlfriend, Natalie (Played by Elizabeth Blackmore), nurse Olivia (Played by Jessica Lucas), and childhood friend Eric (Played by Lou Taylor Pucci). Desperate to make sure that Mia doesn’t fall back into her nasty habit, the group decides to take her to an isolated cabin in the woods, a place where the friends spent much of their childhood. Shortly after arriving at the dilapidated cabin, Mia begins complaining of a horrible odor coming from somewhere within the cabin. After a bit of searching and snooping, the group stumbles upon the macabre basement, where they find a slew of dead cats and a strange book wrapped in a trash bag and barbed wire. Naturally, curiosity gets the best of the group and they decide to read a couple of passages despite the countless warnings scribbled on the pages. Soon, Mia begins suffering from bizarre hallucinations that the group waves off as just another symptom of withdraw. However, after a violent attack with a shot gun and a hair-raising warning that they are all going to die, the group begins to suspect that there may be supernatural forces emerging from the woods.
Alvarez certainly scores points with attempting something new with a familiar formula. He could have easily just served up a bunch of dimwitted teenagers retreating to a cabin for a weekend of drinking and hooking up, but he opts for something more mature and that certainly toys with the audience, at least early on. During the early hallucinations, you can’t help but suspect that maybe this is all just in Mia’s head, but Alvarez hits the breaks on this when Eric mumbles passages from that dreaded book. From that point on, all the emphasis is put on the blood, guts, and gore and Evil Dead delivers it all while wielding an assortment of power tools and, yes, that legendary boomstick. Your stomach will do a somersault as one character slices off her own face, you’ll cringe as nails are shot from a nail gun into another characters arm (and face and leg), you’ll cover your eyes as one character yaks bloody vomit all over another character’s face, and then, in the ultimate gross-out moment, a character pulls a syringe needle from just underneath their eyeball. Just when you are convinced Evil Dead can’t get anymore gruesome, the grand finale finds the lone hero facing off against a yellow-eyed demon with nothing but a chainsaw, all while gooey blood rains from the blackened sky. It is the blood-dipped cherry on the top of this gore sundae.
While Evil Dead excels in the effects department, it takes a dip when it comes to the acting. Alvarez appears to be under the impression that audiences will be flocking to his Evil Dead simply for the extreme gore, but he forgets that what made the original film so memorable was the acting, especially from Bruce Campbell. None of the actors or actresses in this Evil Dead come close to giving the performance that Campbell did, but two of the five really stand out. Levy does a fine job as the drug-addict Mia, and she does make you chew on your nails when she is overtaken by the growling poltergeist. She snaps her head around and goes wild-eyed while howling, “you’re all going to die tonight!” In between Levy’s frenzied blasts, Pucci is busy with being hilariously terrified and appalled the entire time. In this humorless and heavy affair, his Eric manages to make us chuckle (his reaction to the self-mutilation in front of him is absolutely priceless). While Levy and Pucci are busy stealing the show, Fernandez and Lucas look like they are trying way too hard to be serious, but there is a nifty little fake out with Fernandez’s character near the end of the film. Blackmore’s Olivia is completely underdeveloped and almost forgotten until Alvarez needs her to start hacking, chopping, and shooting both herself and her chums.
It may be hard to believe, but Alvarez’s Evil Dead is absolutely dazzling to look at. Some scenes look washed out while others are plunged into complete darkness. The film is thick with a grimy and grungy atmosphere that is made all the more surreal through peculiar camera angles and an oddly beautiful score from Roque Banos. When things erupt, Banos cues what sounds like a toxic alarm to announce the snarling ghouls and I must say, it is an effective and icky tool. For a film with so much going for it, it is frustrating to find Alvarez falling back on the same old jump scares and loud music blasts to nab a jolt. As much as I hate to say it, this tactic just seemed cheap and lazy when layered over the rich production. Overall, even though it isn’t as scary as it promised and at times feels completely unnecessary, Evil Dead gets the job done when it comes to nauseating its audience and it does it style. It is an absolutely blast spotting references to the original film and there are more than a few moments that will go down in the horror history books. Make sure you stick around through the end credits for a surprise that will have horror fans everywhere erupting in applause.
by Steve Habrat
With remakes, sequels, and prequels being the name of the game in Hollywood today, I don’t really think it surprised anyone to hear that the iconic musical The Wizard of Oz was getting a prequel. It seemed that Hollywood had the good sense not to even attempt trying to update that one! Could you imagine someone other than Judy Garland belting out ‘Somewhere Over the Rainbow?’ Yeah, I didn’t think so. Well, enter director Sam Raimi, the man who gave us The Evil Dead and the Spider-Man trilogy, and Disney, who seems to have their hands in everything these days, and, once again, we’re off to see the wizard, the wonderful wizard of Oz! Truthfully, Oz the Great and Powerful isn’t a bad movie at all and it is all the more interesting that Disney handed the project, which is based on the works of L. Frank Baum, over to a director like Raimi, who seems more comfortable tossing body fluids all over his actors rather than exploring the land over the rainbow. You’ll be pleasantly surprised to learn that Oz the Great and Powerful is actually quite fun, charming, impeccably acted, and, dare I say, cool, but there are also a myriad of problems buried beneath all the eye candy (pacing, character development, chopped editing), which may prevent it from ever reaching the classic status of the original film.
Picking up in 1905 Kansas, Oscar Diggs (Played by James Franco) or “Oz,” as he is called, is working as a small-time magician for a traveling circus with his assistant, Frank (Played by Zach Braff). Oscar is a fast-talking womanizer, giving every pretty girl he meets a music box that he claims belonged to his grandmother when in actuality he has several of them waiting to be passed out. After Oscar is revealed to be a fraud during his magic act, visited by his true love, Annie (Played by Michelle Williams), who is planning to marry another man, and chased out of the circus by an enraged strongman, Oscar manages to crawl into a hot air balloon and float away from all of his problems. Shortly after making his escape, Oscar is sucked up into a tornado and transported to the mystical land of Oz. Upon his arrival, he stumbles upon Theodora (Played by Mila Kunis), a beautiful witch that believes Oscar is the wizard that will save them all from the clutches of the wicked witch. She explains that if Oscar can save the people of Oz, he will become their beloved wizard and king. Theodora takes Oscar to the Emerald City, where he is introduced to the skeptical Evanora (Played by Rachel Weisz), who guards the Emerald City throne and acts as the aid to the wizard. After some convincing, Oscar reluctantly agrees to help the people of Oz and sets out to track down and destroy the wicked witch. As he ventures deeper into the land of Oz, he meets Finley (Voiced by Braff), a flying monkey in a bellhop suit, China Girl (Voiced by Joey King), a porcelain girl with broken legs, and the beautiful Glinda the Good (Played by Willaims), who all agree to aid Oscar on his quest.
First, let us discuss the good parts of Oz the Great and Powerful. Raimi kicks things off with a dazzling funhouse opening credit sequence that really comes to life in 3D. He then continues to play with the 3D effects as he presents the opening fifteen minutes in scrunched black and white (fire breathers blow flames out at you while debris is thrown into the black bars on the side), transitioning to Technicolor widescreen as Oscar floats into Oz, an obvious nod to the original film. Oz itself is absolutely breathtaking; a dream world with massive flowers, neon hummingbirds, and toothy river fairies filling the widescreen to the point where you fear the screen may burst. And then there is the meticulously recreated Emerald City, which is absolutely magnificent and almost always sparkling gloriously in the background. I also can’t forget the two animated travel companions that align themselves with Oscar, China Girl and Finley, both of which look utterly fantastic in all their CGI glory. It is clear that this Oz is all about how lavish the filmmakers can make this fantasy land look and you have to hand it to the special effects department. They do construct an environment that will have the adult viewer speechless and the children reluctant to leave the theater.
While all the eye candy is pleasant enough, it still can’t conceal the fact that there are a number of problems with the film. Oz the Great and Powerful runs slightly over two hours, fairly lengthy for a children’s film. It seemed like Disney was afraid that the length would turn some viewers off, so they asked Raimi and his editing department to cut certain scenes short. This chopping and slicing severely wounds some of the character development and trips up the pacing. Without saying too much, one of the witches is not fleshed out properly, making a major transition within her character seem a bit hollow when it should have hit with some major emotional force. The early scenes between Oscar and Theodora also seem clipped and rushed, with a love story developed and then quickly discarded. And then there is the dragging middle section, which goes on and on as the characters pace around and debate how to deal with the wicked witch. Screenwriters David Lindsay-Abaire and Mitchell Kapner then decide to introduce several more characters too late in the game, yet ask us to really become attached to them even though they haven’t been in the film twenty minutes (I’m looking at you, Master Tinker and Knuck). And then we have Oscar’s arrival in Oz, which found our hero barely batting an eye or questioning this strange new environment. He was just a little too clam and nonchalant about the bizarre things he is seeing and being told.
Even though characters are not properly developed, the performances are still quite strong, which is surprising. Many have said that Franco was miscast as Oscar, but I actually liked him despite the fact that his character is a heartless jerk. Franco is certainly enjoying himself and his enjoyment is infectious. It has come out that Robert Downey, Jr. and Johnny Depp were considered for the role, but I can’t really picture Downey in the role and Depp seems like he’d be a little too quirky. Then there is Mila Kunis, who I personally felt stole the entire film. Even though her scenes as Theodora are brief, she makes the best of them and tries to work her way into out hearts before her stunning transformation. I don’t really want to spoil anything, but Kunis really nails her massive part. Weisz is seductively evil as Evanora, who is skeptical of the overly confident magician Oscar and quietly manipulative of her poor heartbroken sister. Rounding out the witches is the sweet-as-sugar Michelle Williams as Glinda the Good, a radiant sunbeam that gushes over the munchkins and China Girl. It is almost impossible not to fall in love with her. Then we have our to CGI characters, Finley and China Girl, both who could have become seriously annoying but end up being rather clever additions. They actually steal some of the films best lines, especially the feisty pint-sized China Girl.
While Oz the Great and Powerful suffers from a number of problems, one can’t deny that Raimi doesn’t craft a rousing twenty-minute finale. It has everything you could possibly want and then Raimi puts a cherry on top in the form of fireworks just because he can. I really can’t rave enough about it, mostly because epic blockbusters like this fail to muster a satisfying climax. For the fans of Raimi’s earlier work, you’ll be pleasantly surprised to find the director refusing to soften during the eerier moments of the film. His flying baboons will nab a few jumps, his trip into a haunted forest will send chills up and down your spine, and he even throws in a haggard old witch that looks like she would have been right at home in The Evil Dead or Drag Me to Hell. Rest assured that there are no evil trees ready to violate any of the female performers. Overall, Oz the Great and Powerful is going up against gigantic hype and inflated expectations, which basically sets it up for overwhelming disappointment. While it certainly has its fair share of problems, Raimi doesn’t forget to give this epic a big heart and irresistible charm, which single handedly makes up for everything else. Oh, and make sure you see it in 3D. You’ll thank me later.
by Corinne Rizzo
To break third person perspective is to break that fourth wall, to bring to light the idea that the reviewer is not just speaking on the audience’s behalf, but on the behalf of a more biased or more personal concern with a particular film. To break third person perspective goes against all the rules of formal thesis and proper reporting. Breaking third person perspective is necessary here though, as I want to talk to you about James Franco, or as Peter Parker knows him, Harry Osborne.
The choice for casting a character like Harry Osborne could have been a fatal one. The slightest personality trait off, and the whole character is thrown. Harry plays an integral part in the three films and in the legacy of Spider-Man in general, as he is not only the source of Spidey’s eternal struggle with himself (Harry also loves MJ, Harry never has to work for what he wants, Harry has perfect vision, Harry had a psychopath father whom Spidey had to kill, etc.) and without Harry, Spider-Man would have no sense of himself. A reader or viewer would never be able to relate to Peter Parker without a guy like Harry, an outcast but for reasons that are untouchable rather than socially awkward.
The third installment of the Spider-Man trilogy is one of many comparisons, which is why bringing Harry’s character under the microscope was a task worth undertaking. One could argue that there was too much happening in the final film. One could debate whether New Goblin was ever really a threat to Spider-Man. The obvious comparisons involved with knowing that this is the last in a series are limitless, but here is one that got me: We (the collective audience and the physical cast of the film) go from having Willem Dafoe, James Franco, Alfred Molina and Thomas Hayden Church, to Topher Grace as venom. In honest defense of Mr. Grace, the only time I ever think of Thomas Hayden Church is when I think of Sandman, but that is not necessarily a defense when you consider all I ever think of when I hear Topher Grace is Eric from That 70’s Show.
All of this unfair and biased and yes, I understand, but Willem Dafoe needs no defense. James Franco as Harry Osborne, this very specific and integral image in the saga, passes every test and even goes beyond expectations for someone who has a knack for Spidey. Alfred Molina? Who else was supposed to play Doc Ock? And let me tell you that Sandman wasn’t even on my radar so that was just a bonus.
The question even arises in this case, was Venom necessary? Well, I believe he was necessary to the film. He is a dark and twisty character that gave the film edge and so I would even go as far as saying that Sandman was unnecessary, but the casting for what harkens to Spider-Man’s alter ego—Topher Grace?
There is a lot happening in Spider-Man 3—three whole villains. Or two and a half when you consider Harry changed his mind half way through. The list of things to keep track of is tremendous for watching a film that is released as a summer hit and the film seems to rely on some master editing that is supposed to seamlessly take us from one idea to the next—though that master editing left something to be desired. I have never witnessed a selection of scenes quilted together so aimlessly. It was almost as though in an attempt to avoid a fourth episode, there was some agreement to fit everything into the third. That sort of editing is evident in all three films though hadn’t made me say “What the fuck?” until this one.
To his credit, Raimi’s Venom was eerie and unrelenting. Sandman seemed an afterthought in comparison, though a man made of sand doesn’t exactly cause one to shudder. In my humble opinion though, that is where Raimi should have stepped up. Two unrelenting and ridiculous characters could have made up for casting Topher Grace, but Sandman seems to fall to the wayside once Venom latches to Grace’s character, though not for the acting skills, but simply for the doom Venom inspires.
McGuire’s opposite could have been female for all it mattered. Actually, that would have been radical and even creepier. Maybe even a threat to Mary Jane.
It goes without saying that the thinner you spread a plot, the more holes you are going to have to patch and Spider-Man 3 just might have been a stretch. Harry Osborne carries the film with his ability to reinstate the hope and good that all super-hero’s strive to belay and James Franco is just the right class of man to carry a film when it’s on its back. While Peter is traipsing around doing theatrical dance numbers, the plot gets lost and Harry is there to remind the viewers of what is important. When faced with the challenge that is Sandman, it should be a no brainer for Spidey to defeat him and it should have been a no brainer for Raimi to either step it up or leave him out. And Topher Grace just bothers me—he must have a good agent.
Spider-Man 3 is now available on Blu-ray and DVD.
For more from Corinne, check out her new website the ish.
by Corinne Rizzo
If the first installment of the Spider-Man trilogy didn’t quite drive home the idea that Sam Raimi can and should always create a villain, Spider-Man 2 should be able to convince any audience that Raimi is essentially the king of all that is evil.
Here in the second installment, the viewer meets Raimi’s portrait of Doc Ock, or Doctor Octavius—a man that shares a love of science with Peter Parker as well as the capacity for good and for hope. For the most part though, Octavius reins darkness over the film as he attempts to show investors his latest energy experiment, harnessing a man made fusion, similar to the effects of the sun. When all is said and done and the experiment is near a successful exhibition, the villain can’t exist unless something goes wrong and surely it goes wrong in every possible way.
With Peter Parker foreshadowing the idea that the good doctor could blow the entire city to smithereens if the procedure isn’t handled correctly, Octavius loses control of the fusion experiment and is left with the death of innocent spectators, and a terrible mutation leaving him and the doctors who are trying to save him in a predicament they’ve never encountered.
Though it is the scene that follows the downfall of the experiment that makes the film a signature Raimi film and that scene is one of operating rooms, slain nurses and doctors, loads of horrific screaming and operational power tools buzzing about, blood splatters. Four extra limbs, mechanical, maniacal. The scene is straight out of a horror film and for a minute, the viewer is no longer watching a summer blockbuster, but a suspenseful and graphic thriller.
In fact, the sequel in this trilogy is probably the best out of the three films and one could say that it’s Raimi’s style to not only make the horror film, but make the sequel to the horror film one debatably superior.
Parker finds his own struggles in this sequel and becomes even more tortured than last the viewer received him. The charade with M.J. is on-going and is almost too belabored. For the sake of the audience, it can be assumed that Raimi made the choice to cut the romance dance short and just get the two kids in love and talking marriage already, which makes Spidey happy, which makes Spidey possible. All things the audience responds to.
Meanwhile, the darkness inside of Harry Osborne rises and becomes just another threat to Spidey, after Spidey killed his best friend’s father. No longer are the headlines making things rough for Spider-Man, it seems as if his competition is multiplying as well. Will the conclusion to the three films be a villain paradise?
Spider-Man 2 is now available on Blu-ray and DVD.
For more from Corinne, check out her new website the ish.
by Corinne Rizzo
If ever a man could give a modest superhero the edge of one who not only slays science fiction-y comic book villains but ones who truly threaten our psychologically modern society, Sam Raimi would be that man. In his first attempt at a feel good blockbusting summer flick, Raimi takes an undertortured and understated high schooler turned college student and turns that character not only into our friendly neighborhood Spider-Man, but a superhero of classic proportions. Raimi shows the story of Peter Parker, not by using the drama of his own life, but the drama involved with the villain, which any viewer or Raimi fan can tell, is the character type he seems most comfortable with creating.
Though Raimi does forge Spider-Man’s character without the drama of Uncle Ben and Aunt May, the Mary Jane saga or the idea that Peter and his best friend are as estranged as long lost cousins, Raimi does seem to pile the heaviest load of drama on to the villain in the first of the three Spider-Man films.
In the first installment, Raimi’s villain of choice is the Green Goblin, played by Willem Dafoe. Dafoe is a surprising choice for such a summer blockbuster, as he can be truly menacing in appearance while also offering a cynical yet terrifying psychological aspect to his characters. Dafoe does this with the Green Goblin as he illustrates how Norman Osborne is so bent on the results of his laboratory, that he tests his latest chemical weapon on himself, spawning the Green Goblin’s character.
But what sets apart the development of this villain is the style with which Raimi exposes the viewer to the grit and horror involved with these changes. While Peter Parker simply gets bitten by a spider and gets a bit of a fever, the villain is clearly shown to the audience while in the midst of change. Locking himself in a glass chamber and exposing himself to a gas that has been shown to increase violence and aggravation in rational men, Osborne seizes and foams at the mouth, his eyes roll back into his head when his assistant attempts to stop the experiment, Osborne murders him almost immediately. Then in a fit of exhaustion, Osborne falls asleep and awakes with no memory of the events and experiences a sort of schizophrenia, a divide within his personalities of ration and greed. Dafoe’s face becomes even more upturned and menacing, his voice just a bit more terrifying and now rounded out by a villainous laugh.
Raimi does well to ensure a wholesome superhero like Spider-Man doesn’t become a film about a boy scout trying to better his city and save his girlfriend from evil-doers, by focusing on the villain, which is where the most creativity can be found in this film and the subsequent Spider-Man films. Though here in the first film, it is as if Raimi’s imagination is too much for the practical applications available to him at the time.
The film, printed in 2002, already looks its age. At a time when a lot of great strides were being made in CGI film editing, the magic was in not indistinguishable from reality. Many scenes appeared as though one could almost see the green screen in use, as though no wool was being pulled over the viewer’s eyes. This gives the film a super-campy effect, but with no real sense of itself.
While Raimi does an excellent job of keeping the action and fear alive in the film, he attempts to cover too much ground, which is unfortunately a common situation when dealing with the presumed massive exposure of a character only truly familiar with comic hero buffs. The attempts to tell back story, while creating the current story of Ben becoming a victim of a car-jacking and Aunt May being lonely and warm hearted, don’t really come alive, as the viewer might feel a sense of being rushed into knowing them—in other words, Peter Parker’s drama doesn’t seem as interesting and it is because so much is being introduced at once and so rapidly that one loses sight of who is important and why the audience should care.
Ultimately, Raimi wins the affection of the viewer by trusting him to build a truly terrifying and psychologically thrilling villain and surrounding circumstances. By using his talents for creating fear and anxiety with his typical scary movie formula, Raimi successfully turns an underwhelming, seemingly too classic for true nail biting potential, into an edge of your seat thriller that at the very least, leaves you open to a sequel.
Spider-Man is now available on Blu-ray and DVD.
For more from Corinne, check out her new website the ish.
by Steve Habrat
If Sam Raimi failed to properly mesh campy humor with horror in Evil Dead II, he more than gets it right with 2009’s superb horror outing Drag Me To Hell. It was nice to see Raimi return to horror, a genre he happens to do quite well, after his trio of big budget Spider-Man films that seemed to be wearing out by the third installment. Scaled back and armed with a smaller scope, Raimi’s return to the genre is triumphant, as he makes a film that is bursting with sheer terror all while retaining an old school aura. It helps that he uses the Universal Studios logo from the 1980’s and uses a retro looking Ghost House logo to begin the whole experience. Then, Raimi dives head first into a bottomless pit of body fluids and demonic torture, filling his frames with tributes to his Evil Dead series and putting his star Allison Lohman through a truly arduous experience that had to have left her covered from head to toe in bruises. I can only imagine what the stunt double looked like after the shoot was complete.
Drag Me To Hell introduces us to bank loan officer Christine Brown (Played by Allison Lohman), a sweet girl who seems to have everything going for her. She is up for a promotion at work, favored by her boss Jim Jacks (Played by David Paymer), and is in a relationship with successful young professor Clay Dalton (Played by Justin Long), who also happens to come from money. It doesn’t appear that Christine has a nasty bone in her body until she has to put up with her competition at work, the kiss-ass Stu Rubin (Played by Reggie Lee), who is also trying to snag the coveted promotion that Christine so desperately wants. That nasty bone also pops up when an elderly woman named Sylvia Ganush (Played by Lorna Raver) shows up at her desk hacking phlegm into a handkerchief and begging for a third extension on her mortgage payments. To prove herself worthy for the promotion, Christine denies Sylvia another extension, meaning that Sylvia will loose her home. Sylvia unleashes a violent attack on Christine and then proceeds to put the curse of the Lamia on Christine, meaning she will be ferociously tormented for three days by a demonic force and on the third day will be drug to the fiery depths of Hell.
After the sweeping Hollywood productions that were the Spider-Man films, Raimi once again seems back at home with a smaller film. Drag Me To Hell is filled with techniques that he applied so skillfully in 1981’s The Evil Dead. Raimi resorts to his old restrained moments that are broken by tantrums of horror that are maxed out. Every demonic attack in Drag Me To Hell is presented as a grand finale, making the audience ask, “What can Raimi possible do to this poor girl by the end?” It turns out, quite a lot, and you better believe he comes armed with a final second twist that is wickedly delicious. It’s also quite coincidental that Raimi sets his sights to demonic haunting and loose possession after swinging around New York with your friendly neighborhood Spider-Man. He terrorizes Christine much like he did Ash in The Evil Dead, Christine always by herself when the Lamia lashes out against her, usually resulting in Christine being knock around a room or terrorized by guttural growls and clanking, mocking inanimate objects. I don’t want to ruin all the fun in spotting all the references to The Evil Dead in Drag Me To Hell, but during a sequence where Christine enters a shed in her backyard, keep an eye out for a very cool nod to his masterpiece.
Much like Bruce Campbell in The Evil Dead, Allison Lohman is up for the beating that Raimi dishes out, making her a worthy successor to Ash. Christine retains the glowing persona that Ash had at the beginning of both The Evil Dead and Evil Dead II, a seemingly sincere person who is always trying to do the right thing. Yet when she cuts someone down to get ahead, she faces forces beyond her comprehension. She barely stands a chance to overcome the relentless Lamia. It helps that with a B-movie premise such as this; the actors are all game to approach the material on the material’s terms. No one here is going for Oscar gold, which actually makes everything more fun than it already is. Long is having a blast as a concerned boyfriend who is skeptical of everything happening to Christine. Raver’s Sylvia is sublimely hellish, popping up like a rotten jack-in-the-box to rip out a handful of Christine’s blonde hair. Lee is hysterical as the kiss-ass Stu and I would have loved to see more of him. Paymer plays his role straight, a bit left out of the schlocky events, although he does get a good one-liner when he is showered with blood spraying from Christine’s nose. Dileep Rao shows up as an overly mysterious fortune teller and Adriana Barraza shows up as a damaged medium that does battle with the wicked beast that is the Lamia, a sequence that is the standout of a film that is packed from beginning to end with standout moments.
A smart burst of nostalgia from a man that helped shape the horror genre way back in 1981, establishing himself as a low budget master of horror, Drag Me To Hell is bursting with moments that will have you chewing your fingernails clean off. He crams his frames with deranged special effects that are both unspeakable and merrily creepy. It was also nice to see Raimi trade his gallons of blood and guts in for gallons of pus, vomit, and phlegm, all which are sprayed manically on the audience. Drag Me To Hell is truly awesome because Raimi finally understands how to mix black humor with drippy horror, making the moments that he wants to be creepy sequences that reduce us to quivering piles of flesh and bone. It’s evenly balanced unlike the slapstick heavy Evil Dead II, which was more concerned with the chuckles rather than the teeth chattering. Of all the recent horror films that are either comatose remakes or uninspired garbage, Drag Me To Hell ranks as one of the best horror films of recent years, wetting our appetite for more horror from Raimi, a living legend. Sometimes it takes a living legend to show these new kids how it is done and Drag Me To Hell schools the new school of horror.
Drag Me To Hell is now available on Blu-ray and DVD.