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Kamis, 20 Desember 2012
Sabtu, 15 Desember 2012
28 days later
28 DAYS LATER
28 Days Later is a 2002 British horror film directed by Danny Boyle. The screenplay was written by Alex Garland, and the film stars Cillian Murphy, Naomie Harris, Brendan Gleeson, Megan Burns, and Christopher Eccleston. The plot depicts the breakdown of society following the accidental release of a highly contagious "rage" virus and focuses upon the struggle of four survivors to cope with the destruction of the life they once knew. A critical and commercial success, the film is credited with reinvigorating the zombie sub-genre. The film spawned a 2007 sequel, 28 Weeks Later, a graphic novel titled 28 Days Later: The Aftermath, which expands on the timeline of the outbreak, and a 2009 comic book series 28 Days Later. British animal liberation activists break into a laboratory in Cambridge and are caught by a scientist while trying to free some chimpanzees being used for medical research. Despite the warnings of the chief scientist that the chimps are infected with a virus dubbed "Rage," which he claims is highly contagious and only takes one bite to spread, the activists open the cages anyway and release the chimpanzees.
Although its title might lead you to believe that they actually made a sequel to the awful Sandra Bullock movie about alcoholism, 28 Days Later is anything but a journey through rehab. In fact, the disturbing, grotesque nature of the film makes rehab look like a peaceful picnic at the zoo… well, just as long as there aren't monkeys at that zoo.
The recipe for 28 Days Later is quite simple: half Outbreak, half Night of the Living Dead, and maybe a dash or two of Planet of the Apes. While the ingredients are familiar, thankfully, director Danny Boyle, who also helmed the bizarre Trainspotting, contributes his own unique seasonings, turning this acidic dish into a journey through hell-on-earth; it's one of the most frightening movies of the year.
Now, back to those primates. They're being used for morbid experiments at a Cambridge research facility. As the movie opens, several animal rights activists break into the facility to rescue their furry friends, but a scientist catches them and tells them to stay away from the apes because they are infected with 'rage.' The activists disregard his warning, however, and release an ape from captivity anyway. It doesn't jump into their arms and thank them, though. Instead, it creates a violent and bloody uproar, killing one of the activists and attacking the others.
CUT TO: 28 days later…
A man named Jim (Cillian Murphy) awakens naked from a quiet hospital room. Bewildered, he detaches the cords and wires from his body, stumbles out of bed, and dresses himself. He then leaves his room to look for a nurse, but he doesn't find a single person in the building. Jim leaves the hospital and searches the London streets for any sign of life, but he doesn't find any there either. The streets are deserted. Cars are flipped. Trash is scattered everywhere. The town looks as if it was struck by a humongous tornado. No such luck.
Jim inadvertently discovers a priest in a nearby church. But the priest does not offer prayer. Instead, he hisses and snarls as his eyes glow red. He attacks Jim, but Mark (Noah Huntley) and Selena (Naomi Harris), come to his rescue. After slaughtering the priest, they explain to Jim that an infection has wiped out the entire country except for a few survivors. The infection is transferred through blood, and if someone does become infected, he must be killed within 20 seconds, or else he will become an enraged zombie like the priest. At this point, Jim would have preferred the tornado.
Jim and the remaining survivors eventually stumble upon two others, Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns). When a radio broadcast informs them about an active military base a considerable distance away, they team up to make the dangerous journey across town. Little do they know, however, the infection is not the only thing that will pose a threat to their lives.
28 Days Later will leave you gasping for breath for days to come. It's disturbing not because we don't know what's going to happen… but because we do know what's going to happen: gruesome bloodshed to several key characters who we really care about. Although similarly fast and focused, this is not like the stylized violence of Blade or The Matrix Reloaded; it's gruesome, unpleasant violence. We want no part of it, and we certainly don't want it to happen to these characters, for whom it's all they can do to keep hope alive. However, the movie never makes us immune to the blood and gore by using it excessively - it's used in moderation, making it all the more effective.
28 Days Later is also much more than a conventional zombie movie. Boyle takes full advantage of the genre, but still calls his own shots; it's not just about zombies, but also about survival of the fittest and the endurance of hope. This movie is also rich with symbolism. The nudity in the opening is symbolic of Jim's rebirth into the new world and his vulnerability at the beginning as opposed to his state at the end. Boyle also includes some emotionally charged human moments, such as the discovery of Jim's dead parents and when Frank finally surrenders hope.
Yet I left the movie a little disappointed. The most intriguing things about this movie are left undeveloped. The 28 days in which the infection overwhelms the country are only briefly developed in a few lines of dialogue, and that is nowhere near enough. If an infection wipes out an entire population, we'd like to know how it accomplished that in more detail. Clearly, Boyle's intent was not to investigate the outbreak, but to ponder on human survival. Still, he bears a responsibility to further develop the most fascinating aspect of the movie… the 28 days themselves.
Danny Boyle and writer Alex Garland offer an interesting commentary track on the new DVD, but most buyers and renters are going to want to check out the three heralded alternate endings on display. The first, which was tacked on to the theatrical print, is on the tired side, and the second alternate ending is just an extension of that one. Finally, there's a 'radical' alternative ending, which lives up to its name. Alas, that ending is actually more like a radical second half of the film, and it exists only in storyboards. Quite intriguing, though.
Aka 28 Days Later...
Dawn of the dead
Dawn of the Dead Review
The original Dawn of the Dead uses setting as symbol. In a helicopter flight from the fury of the dead the four main members land on top of a mall in order to try and gain a brief respite from the flesh eating hordes. It is no accident that the mall is a setting. Romero uses this symbolic setting to establish the one of the main themes of the movie – we are all looking to devour something. Once inside the mall the relative ease of gaining things – clothes, a television, vintage wines, and even money from a bank – takes the group from trying to simply provide to trying to live in luxury.
An important framing device comes in a quick flash of black and white as two characters walk through a labyrinth bank line to have their photos captured by a security cam as they exit with bundles of cash. Romero is showing us the pointlessness of material wealth and out desire, in the face of any disaster, to try and turn a buck. The only female character, who is pregnant, spends time in front of a mirror doing her makeup so as to appear as a femme fatale. Our desire to impose a fiction on the world becomes evident.
The zombies themselves are listless, and, much like us, spend a lot of time going after something they desire but cannot have. The main characters are nothing more than sustenance to the zombies – people are the ultimate in disposable imagery. They desire us to destroy us. The zombies are actually more human than the survivors. Character becomes symbol in this film. When Flyboy (the pilot) asks his pregnant girlfriend to marry him she simply replies that it would not be real. Relationships outside of item consumption have become meaningless.
It is telling that the characters represent the failing structures of modern society; two swat team members and two reporters. The police, within the context of a democracy, represent law and the desire for order through sanctioned violence. The news media represent an informed populace through mass media technology that is supposed to bind us together. The policemen are cold, brutal, and efficient in using their swat techniques on the undead. But their violence is meaningless – it changes nothing. When the mall is overrun by those symbols of anarchy – a motorcycle gang, violence becomes an absurd response – pies are thrown in the faces of the undead. Violence has lost all justification but as a species we still try to use force.
The media of course fail as they try to construct an alternate worldview that is inconsistent with the facts. Truth becomes pointless as they flee their television statement – the global village is no more and they are just voices in a zombie populated wilderness. The head of news tells his reporters to keep giving out old information – places for survivors to flee to – in order to keep ratings up. The news is identified as a faulty signifier – there is literally no truth in advertising.
When one of the characters is bitten he tells the others that he will try not to come back as one of the undead – a task doomed to failure. When the character dies, he is of course, reborn as one of the undead and is then re-killed – a victim of the violence that he one perpetrated on others.
The zombies are the proletariat masses attempting to justify their existence through devouring the material world. They congregate at the mall; the church of the consumer. They surround it and beg for substance just like the poor at a food shelter. They are the poor, the hungry, and those yearning to be free. We become the monsters – we are those who keep the wealth away from those who crave it. The only thing left that has any worth is our body – and that is wee are – sacks of meat. There is no God or spirit in us just as there is no God or spirit in a hamburger.
This film is multi-layered and uses symbol as a means for us to examine our selves and our worth. It is a brilliant satire on what it means to be human in modern society.
link download http://www.imdb.com/title/tt0363547/
Night of the living dead (1968)
NIGHT OF THE LIVING DEAD - 1968 Continental / Elite
Ratings: Australia: M / Finland: K-18 / France: -16 / Switzerland: 16 / UK: 18 / USA: UNRATED
In 1968, America found itself mired in the grip of social, political and racial upheaval. The Vietnam War was exploding and the body count was broadcast every night into the dubious comfort of our households. Generations were clashing, seeing each other as the enemy. Battle lines were being drawn over the color of a person’s skin and the length of their hair. During this time, "B" movies reigned supreme, churned out of Hollywood faster than Japan can churn out Pokemon' cards. One of those "B" movies, a small black and white venture from John Russo (RETURN OF THE LIVING DEAD) and George A. Romero (DAWN OF THE DEAD, DAY OF THE DEAD) would go on to become one of the most influential and important horror films of all time. It would become legendary as a film that not only started an entire sub-genre, but also accurately and without apology, mirrored all the strife that those times had to offer.
That film was NIGHT OF THE LIVING DEAD.
The movie's plot is simple enough. A young woman named Barbara (Judith O'Dea) and her brother, visit their father's grave at a cemetery in the rural backwoods of Pennsylvania. The first hint of the socio-political commentary this film has to offer takes place in the first few minutes, as Barbara's brother mocks her dutiful prayer, derisively scoffing at the very notion of church or God. For 1968, this was risqué' stuff.
Within minutes, they are attacked by a zombie, which kills her brother. Soon, Barbara is pursued by several zombies, eager to consume her warm flesh. She takes shelter in an old farmhouse.
Soon, our heroine has company. The film's hero, Ben (Duane Jones) arrives on the scene, also seeking refuge in the farmhouse. Ben was unlike anything ever seen in Hollywood at that point. He was black. Standard convention advised against having a black man as your main hero. To compound things, he wasn't a "suburban black man". Nope. This brother was from the streets, and he let viewers know it.
In the first twenty minutes of their scene together, Barbara is more scared of Ben than she is of the ghoulish army encamped outside the house. Again, Romero perfectly reflected the racial turmoil of the time.
Soon, they are joined by five other refugees from the nightmare, including Harry Cooper (Karl Hardman) who typifies the average white, middle aged xenophobic businessman of the era, his daughter Karen (Kyra Schon) and his wife Helen (Marilyn Eastman), who is beginning for the first time in her life, to question her husband's judgement and motives. Again, the movie speaks of deeper issues, touching on women's liberation and "good old boy" and "old money" values.
After barricading themselves in the house, cabin fever soon begins to pick at the group, inflicting more damage than even the zombies can do, culminating in a desperate struggle against not only the cannibalistic hordes outside, but against each other as well.
Perhaps the most memorable moment in NIGHT OF THE LIVING DEAD, is the ending. Romero provides a conclusion so shocking and so unexpected, that critics of the era were unsure what to make of it. Audience reaction at the time was one of strong disbelief. Another interesting aspect of Romero's "Zombie Mythos", is that no firm explanation for the dead arising and eating the living is ever given. In this film, it is speculated that a recent space probe returned from Venus may have caused the change, due to background radiation (at the time, America was in the grip of nuclear war fever and the dangers of radiation were on everyone's mind). In the sequel, DAWN OF THE DEAD, the cause is hinted at being viral in nature (at a time when America was starting to wake up to the perils of infectious disease). By the third movie, DAY OF THE DEAD, we don't know what the hell is causing it, and the inept remnant of the government are too busy squabbling amongst themselves to figure it out (Iran-Contra, Watergate, etc.).
NIGHT OF THE LIVING DEAD truly deserves the praise and acclaim that has been showered upon it over the past few decades. If ever a horror movie were a masterpiece, this one is it. An important milestone in cinematic history and proof of what independent filmmakers can do, NIGHT OF THE LIVING DEAD is the seminal zombie movie.
That film was NIGHT OF THE LIVING DEAD.
The movie's plot is simple enough. A young woman named Barbara (Judith O'Dea) and her brother, visit their father's grave at a cemetery in the rural backwoods of Pennsylvania. The first hint of the socio-political commentary this film has to offer takes place in the first few minutes, as Barbara's brother mocks her dutiful prayer, derisively scoffing at the very notion of church or God. For 1968, this was risqué' stuff.
Within minutes, they are attacked by a zombie, which kills her brother. Soon, Barbara is pursued by several zombies, eager to consume her warm flesh. She takes shelter in an old farmhouse.
Soon, our heroine has company. The film's hero, Ben (Duane Jones) arrives on the scene, also seeking refuge in the farmhouse. Ben was unlike anything ever seen in Hollywood at that point. He was black. Standard convention advised against having a black man as your main hero. To compound things, he wasn't a "suburban black man". Nope. This brother was from the streets, and he let viewers know it.
In the first twenty minutes of their scene together, Barbara is more scared of Ben than she is of the ghoulish army encamped outside the house. Again, Romero perfectly reflected the racial turmoil of the time.
Soon, they are joined by five other refugees from the nightmare, including Harry Cooper (Karl Hardman) who typifies the average white, middle aged xenophobic businessman of the era, his daughter Karen (Kyra Schon) and his wife Helen (Marilyn Eastman), who is beginning for the first time in her life, to question her husband's judgement and motives. Again, the movie speaks of deeper issues, touching on women's liberation and "good old boy" and "old money" values.
After barricading themselves in the house, cabin fever soon begins to pick at the group, inflicting more damage than even the zombies can do, culminating in a desperate struggle against not only the cannibalistic hordes outside, but against each other as well.
Perhaps the most memorable moment in NIGHT OF THE LIVING DEAD, is the ending. Romero provides a conclusion so shocking and so unexpected, that critics of the era were unsure what to make of it. Audience reaction at the time was one of strong disbelief. Another interesting aspect of Romero's "Zombie Mythos", is that no firm explanation for the dead arising and eating the living is ever given. In this film, it is speculated that a recent space probe returned from Venus may have caused the change, due to background radiation (at the time, America was in the grip of nuclear war fever and the dangers of radiation were on everyone's mind). In the sequel, DAWN OF THE DEAD, the cause is hinted at being viral in nature (at a time when America was starting to wake up to the perils of infectious disease). By the third movie, DAY OF THE DEAD, we don't know what the hell is causing it, and the inept remnant of the government are too busy squabbling amongst themselves to figure it out (Iran-Contra, Watergate, etc.).
NIGHT OF THE LIVING DEAD truly deserves the praise and acclaim that has been showered upon it over the past few decades. If ever a horror movie were a masterpiece, this one is it. An important milestone in cinematic history and proof of what independent filmmakers can do, NIGHT OF THE LIVING DEAD is the seminal zombie movie.
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