Posted on Nov 17, 2010 under Movies |
This festive fright-fest was a nice surprise from what I was originally expecting. This is another horror remake (from the people behind ‘Final Destination’ – great film), but un-like so many others; it did manage to come up trumps; such as ‘The Texas Chainsaw Massacre.’ This is a remake of Bob Clarke’s 1974 classic slasher movie, ‘Black Christmas’; which actually came four years before John Carpenter’s ‘Halloween’. Some fans lay claim that it was the original slasher flick.
From the outside, this looks like just another of your basic ‘there’s a psycho hacking up a bunch of pretty girls, who are running up the stairs instead of out of the door,’ and to a certain extent that’s correct, it’s the way this is conveyed which is interesting and enticing to watch.
The story: crazed killer, Billy Lenz, escapes his psychiatric ward and is determined to make it to his childhood home, where he was abused, by Christmas. Problem is, it’s years later and the home is now a Sorority house. It’s Christmas Eve and a who’s who of teen/horror girl stars are there to welcome him, including Melissa (Michelle Trachtenberg , ‘Buffy the vampire slayer’ fame), Heather (Mary Elizabeth Winstead, ‘Final Destination 3’), Dana (Lacey Chabert, ‘Mean Girls’) and Kelli (Katie Cassidy, ‘When a stranger calls’ remake.)
This movie is actually pretty good, it has a constant feeling of being watched that runs right through it and adds a sparkle to the scares, and the tension is kept high. The actresses, although spouting some awful lines at times, also say some good ones. The acting is good, and because most of the leading ladies are stars, and most of them horror stars, the audience doesn’t guess which one is going to make it to the rolling credits. The story-line builds well, and there is a mounting tension, as the killer first phones the girls, and then starts to do away with them.
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Posted on Nov 14, 2010 under News |
A quintessential loser, an out-of-job puppeteer, is hired by a firm, whose offices are ensconced in a half floor (literally. The ceiling is about a metre high, reminiscent of Taniel’s hallucinatory Alice in Wonderland illustrations). By sheer accident, he discovers a tunnel (a “portal”, in Internet-age parlance), which sucks its visitors into the mind of the celebrated actor, John Malkovich. The movie is a tongue in cheek discourse of identity, gender and passion in an age of languid promiscuity. It poses all the right metaphysical riddles and presses the viewers’ intellectual stimulation buttons.
A two line bit of dialogue, though, forms the axis of this nightmarishly chimerical film. John Malkovich (played by himself), enraged and bewildered by the unabashed commercial exploitation of the serendipitous portal to his mind, insists that Craig, the aforementioned puppet master, cease and desist with his activities. “It is MY brain” – he screams and, with a typical American finale, “I will see you in court”. Craig responds: “But, it was I who discovered the portal. It is my livelihood”.
This apparently innocuous exchange disguises a few very unsettling ethical dilemmas.
The basic question is “whose brain is it, anyway”? Does John Malkovich OWN his brain? Is one’s brain – one’s PROPERTY? Property is usually acquired somehow. Is our brain “acquired”? It is clear that we do not acquire the hardware (neurones) and software (electrical and chemical pathways) we are born with. But it is equally clear that we do “acquire” both brain mass and the contents of our brains (its wiring or irreversible chemical changes) through learning and experience. Does this process of acquisition endow us with property rights?
It would seem that property rights pertaining to human bodies are fairly restricted. We have no right to sell our kidneys, for instance. Or to destroy our body through the use of drugs. Or to commit an abortion at will. Yet, the law does recognize and strives to enforce copyrights, patents and other forms of intellectual property rights.
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