Der Samurai (2014) Review

DS1 (1)Der Samurai (2014)

Dir: Till Kleinert

Written by: Till Kleinert

Starring: Michel Diercks, Pit Bukowski, Uwe Preuss, Kaja Blanchnik, Christopher Kane

Running Time – 80 mins.

UK Première: Frightfest 2014

Small town policeman, Jakob (Diercks), is dealing with a wolf terrorising the town when he receives a mysterious package. When he goes to deliver it, he discovers a man wearing a white dress and lipstick, hiding in an abandoned house. The package contains a samurai sword and Jakob soon finds himself in a disturbing battle of wits against The Samurai (Bukowski).

With the striking image of a man dressed in a wedding dress and brandishing a samurai sword on its poster, Der Samurai instantly has your attention as to just what on earth such a film could be like or even about. To go into any great detail regarding the plot would be equivalent to revealing the method of a magic trick, director, Till Kleinert, has created something truly unique and very special here. If ever there was a film that needs to be experienced rather than just seen, it’s Der Samurai.

The action all takes place of the course of one night in real time and it is astounding just how much ground is covered of varying subjects and ideas throughout. Embracing a Brothers Grimm style, this twisted fairytale can be said to embody a perfect representation of discipline fighting against chaos as well as the Cherokee legend of the two warring wolves that lie inside every man. To be blunt, the film is evocative of David Lynch if he had directed The Dark Knight.

DS2Kleinert has stated that he took experience from passing sleepy European towns on the train and wondering what mysteries they concealed. The sense of a compact small town creates a wonderfully claustrophobic atmosphere, everyone seems to know everyone and their business and anything that breaks away from the normality of their existence is regarded with deep suspicion and disdain. This is where the homoerotic subtext to the film really comes to the fore in terms of getting a better understanding of the lead character in Jakob and how he is regarded by the townspeople.

Diercks plays Jakob fantastically as a mild-mannered and fundamentally good guy, caring for his dementia-suffering grandmother, who finds himself repressed, isolated and frustrated at the small town rigid mindset shared by seemingly all except him. From his interactions with the other townspeople, it is evident that he is marginalised for being different and not fitting in with their behaviour. This is slowly revealed to be as a result of his unsure sexuality which is only truly brought out of him come the arrival of the Samurai, his polar opposite of character. It is fascinating and so well captured in his performance that the audience sees Jakob desperately attempting to upholding the law and order but is constantly dropping his guard to the Samurai’s magnetism. He is so enticed by the excitement of the danger of the unknown and the break from convention that the Samurai represents to him. He is given so many chances to stop the Samurai and yet he doesn’t. The film is almost capturing his proper awakening into deciding on what sort of person he really is which is both haunting and unshakably engaging.

DS3Kleinert is so expert at showing and not telling with his characters. A great deal of character development and history is done solely through allusion and subtext. Certain tweaks in the character’s behaviour or even simple surrounding objects are given huge significance to delving a little deeper into a film that has so much rich intrigue beneath the surface.

To perfectly counter-balance Diercks more restrained performance, Bukowski’s nameless Samurai is a limitless battery of danger and unpredictability. He is never once given any back story and no logic is ever really given to his actions, he is pure and simply a bold agent of chaos set to shake the foundations of the sleepy town to its core. When the camera zooms in on his menacing features, it is often difficult to not look away in simple intimidation at how powerful and threatening a force of nature his character is. Not once do the audience ever feel safe in his presence and yet, much like Jakob, it is impossible to not be drawn into his frightening erotic dynamism. Perhaps the greatest facet of Bukowski’s performance, is the fact that is able to make the initially risible image of a man in a wedding dress and makeup holding a samurai sword so terrifying with his wolf-like predatory instinct.

The visual presentation of the film is nothing short of breathtaking. The camera has a beautiful haze-like quality and liberally uses harsh red lighting that further presses the idea home that this is all somehow magical and possibly, isn’t real. Amongst the film’s many stand-out sequences include a brutal bloodshed viewed from a fascinatingly bizarre upside-down angle, a hugely Twin Peaks-eqsue club scene and a gorgeous shot of the police car headlights. The lights are barely visible through an impenetrable mist and surrounded by the dense forest that hides so many secrets and mysteries.

DS4There are images that are forever burnt onto the retinas of those who see the film and the impact endures. The iconic image of the Samurai himself is matched with a beautiful near final shot of blood splattering combined with fireworks, the twisted grin of the Samurai as a post-credits extra and the hypnotic and surreal dance the leads perform by a bonfire surrounded by corpses. The violence is often highly extreme and yet pulled off with astounding grace and flair without ever showing off.

An intoxicating, darkly erotic nightmare with two incredible lead performances that balance out as a perfect ying/yang partnership. Pure European Marmite cinema that’s certain to leave many completely cold whilst others are utterly enraptured and haunted by it.

Rating: 10/10

Late Phases (2014) Review

FF bannerLate_Phases_poster.1Late Phases (2014)

Dir: Adrián García Bogliano
Written By: Eric Stolze
Starring: Nick Damici, Ethan Embry, Lance Guest, Tina Louise

95 mins.

UK release: Frightfest 2014

Grumpy war vet Ambrose (Damici) moves into a sleepy retirement community, only to discover the place is besieged by werewolves.

It’s sadly rare that a blind person takes centre-stage in any film, let alone in horror, which requires so much to be glimpsed around dark corners. But such is the case with Late Phases, a blackly comic, heart wrenching, incredibly poignant portrayal of a stubborn man, his fractured relationship with his son, and a pack of werewolves who are running riot in the retirement village in which he’s just reluctantly taken up a spot.

In less capable hands, protagonist Ambrose could’ve been a horrible, bitter asshole but the talented Nick Damici (who’s becoming something of a genre staple, following scene-stealing turns in We Are What We Are and Cold In July) makes him an incredibly nuanced, likeable character in spite of his obvious stubbornness. A man who is all-too-aware of his own mortality, Ambrose flatly tells nosy neighbours “I’d see you out, but I’m blind” and has impassioned discussions with a local priest (played by the wonderful Tom Noonan) about the meaning of life and the supposed existence of God.

It’s a difficult role – not least because Damici has to remain bug-eyed for the entirety of the flick – made near impossible by the looming presence of bloodthirsty lycans. Played straight, as a simple father-son conflict drama, Late Phases could’ve been great, but with the inclusion of the mythical creatures, and the scare factor that comes with them, it’s outstanding. Where similarly-themed genre offerings might shy away from showing everything, utilising clever cuts to make the transformation sequences seem more viable, here director Bogliano gives us the money shot in a gloriously extended sequence that shows every contortion, every hair, every split piece of skin.

Late_1.1Late Phases actually boasts some of the most effective werewolf transformation sequences in horror, even if technically its protagonist doesn’t get to see them. And it’s scary as hell, too, with the first, particularly brutal, kill dropped on Ambrose’s very first night in the village. Stuck having to listen through the walls, his neighbour’s blood-curdling screams are terrifying, and when his beloved guide dog – his only real friend – falls victim, too, the threat becomes horribly real. There’s an element of sameness to werewolf movies and, particularly in recent years with the rubbishy CGI creations of the Twilight franchise, they seem to have lost their bite. Late Phases is inventive with the subgenre, even with something as simple as one of the beasts darting past a window or when a group of them crowd around a body.

Director Bogliano, who has several no-budget genre credits to his name including the B short in ABCs Of Death, has truly created something wonderful here. The script, by Eric Stolze, who penned Under The Bed, straddles a careful line between melodrama and genuine pathos, with a streak of perfectly-judged, pitch-black humour running underneath. However, major kudos must go to Wojciech Golczewski, for a superb score that is omnipresent, yet not invasive.

From the opening moments to the final, bloody, brutal battle, it trundles along, championing Ambrose and signalling something sinister is afoot but never overstaying its welcome. Much of mainstream, modern horror relies on signalling a scare is coming with a shriek of violin or a shock of piano keys, but Golczewski is cleverer than that. He weaves his notes in until they become one with the film, until they are part of Ambrose’s journey.

Speaking of whom, Damici gives a revelatory performance as Ambrose. Empathetic, resourceful and relentlessly cranky, his deadpan delivery is a joy to behold and a voicemail he leaves his son is disarmingly poignant. When he explains that, by the time he went blind, he “couldn’t stand to look at the world anyway” it’s difficult not to agree with him, and the amount of fight he puts up in the final act is truly remarkable, not just in spite of his disability.

Late_3.1Late Phases is that rare surprise in horror – smart, poetic, funny and very scary, it serves as a much-needed reminder that sticking to a formula isn’t always the best idea, and that sometimes, even the most seemingly overdone creatures can be given life to feature again.

Gorgeously shot, beautifully scored, with a pitch perfect lead performance from Damici and arguably the best werewolf transformation sequence since John Landis’ seminal creature feature, Late Phases is a genre masterpiece with more depth, more scope and more vision than much of the current landscape combined.

Rating: 9/10

Here Comes The Fuzz – New WOLFCOP Trailer out !!

wolfcopHere Comes The Fuzz – New WOLFCOP Trailer out !!

2014 is certainly looking up as the year progresses for horror releases, but surely one of the cinematic events of the year will be WOLFCOP! And if the new trailer is anything to go by then I for one can’t wait.

SYNOPSIS

It’s not unusual for alcoholic cop Lou Garou to black out and wake up in unfamiliar surroundings, but lately things have taken a strange turn.

Crime scenes seem oddly familiar. Lou’s senses are heightened, and when the full moon is out, he’s a rage-fueled werewolf. WOLFCOP is one cop’s quest to become a better man…

One transformation at a time.

 

[youtube=http://youtu.be/Spd_v-d5-xs]

Twitter – @wolfcopmovie

Facebook – www.facebook.com/WolfcopTheMovie

And visit their SOundcloud page for some Wolfcop tooooons !! –  https://soundcloud.com/wolfcop