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Kiss the Abyss (2012)
Wildly Entertaining Indie Horror Film
Reanimation takes on a life of its own in Kiss the Abyss, a unique indie horror that's full of surprises. By melding the things we learn from stories of Frankenstein, vampires, and zombies into one horror tale, the film provides an interesting bit of macabre that provides several neat turns.
Our story starts in the middle of things, as Mark (Scott Wilson) heads into the desert on a secret mission with what we soon learn are his father-in-law and brother-in-law. As the film moves forward, it also works backward to reveal the events that put Mark on this journey, culminating in the death of his young wife Lesley (Nicole Moore).
As you can guess - especially if you can read the poster - death is only the beginning. The group's desert destination is the home of something of a magic man, a cowboy named Gus (Douglas Bennett) who uses a couple of simple injections to bring Lesley back to life. In the process, he makes sure to point out that he has no return policy. The three men attempting to restore Lesley to her previous state should take this as a bad sign, but those blinded by love rarely see things clearly in this kind of situation. (Just ask that Victor Frankenstein fellow.) Lesley awakes shortly after the treatment, but she quickly realizes that her life is no longer what it was. She first begins to suspect something when she hears her husband and father arguing about whether or not they should tell her what happened, but things truly get interesting when she begins to notice changes in her behaviors and desires. I won't go into details here, as much of the film's intrigue comes from watching her plight evolve, but it's safe for me to say that the Lesley that came back is not the same as the one Mark married.
While the monstrous hijinx are Kiss the Abyss' calling card, I found myself very impressed by the film's attention to the relationships between the characters. Mark and Lesley are at the foreground of all the film's events, but their interactions with others - particularly the difficulty Mark has with his father-in-law - provide added depth to the proceedings. Like other horror tales that grow from good intentions, we're shown two people who are interested in the preservation of Lesley, but the disconnect between them adds to the drama. There are also some interesting twists involving Lesley's siblings that add to the film, and the actors work well within the script to represent the human drama of the story well.
The evolution of Lesley's character after the accident is handled very well, and the film uses practical special effects to highlight the changes in the character that drive us toward the film's bloody conclusion. As the film returns to that desolate ranch - you had to assume that no return policy comment meant something, didn't you? - the film speeds up and offers a barrage of carnage that provides plenty of thrills. The introduction of two more undead characters in the final act is a nice touch, as the shifting odds certainly add another dimension to the film's climax.
In the end, Kiss the Abyss resonates with me as a thoughtful piece of horror that is confidently made. Director Ken Winkler and his crew have put together a well-made film that is a fantastic slice of modern day mad science, and the cast presents the story quite well. The film still feels a bit hollow - most of the characterizations fit into roles we've seen in other films - but Kiss the Abyss still manages to be wildly entertaining and deceptively thought-provoking. It's more fun than I've had with a new horror film in some time.
Rain (2001)
Hometown Horror
Katherine Lindberg's Rain was filmed primarily in my hometown of State Center, Iowa. I can assure you, the town doesn't look this bad most of the time. It's not heaven, no matter what Field of Dreams tells you, but it's not this hellish either.
That said, I had a lot of trouble caring about Rain. It's one thing for a filmmaker to make a bland, clichéd film (with cardboard dialogue & delivery) about sexual infidelities and their effects, but it's another thing to set that movie in my hometown.
Do I like seeing my old neighbor or the old grocery store in a movie? Yep, it's a lot of fun. Too bad the rest of the movie wasn't.
Oh, and most everyone that still lives in town is over 60, or my family. If the town's really like this, and they're all playing musical beds, then I'm quite glad to be out of there.
Terminator 3: Rise of the Machines (2003)
He's Back!
In Terminator 3: Rise of the Machines, a film series is established that I never thought should have been established. I've ranted in depth on my thoughts on The Terminator and its sequel on my webpage, and my hatred for the existence of said sequel should have been a deterrent in my preparation to see T3. But my appetite for big-budget Schwarzenegger vehicles is one that must be fed, and Terminator 3 is the best tasting film Arnold's made in a while.
James Cameron moved on after directing the first two films, and the reigns are now taken by Jonathan Mostow. Mostow wowed me previously with Breakdown, a B Movie so simple in plot and so tight in action that it held me in its grasp from opening to close. Terminator 3 is definitely from the same mold. The pacing is perfect, the action scenes are relentless, and the philosophical banter (thankfully there's little of it.I was petrified this would turn in to another Matrix Reloaded) is simple and fitting. Mostow knows that a film like this, like a sorority babe, will not be looked at for its brains.
This isn't a bad thing. The script allows Arnold to appear much more like a machine than the first sequel, limiting him to short lines that are usually so corny they work beautifully. The aging Schwarzenegger shows that he has not lost his ability to carry an action film, although the lack of action from his character leaves us wondering how much is left in Arnold's tank. Hopefully we find out the answer in a different role. More on that later.
Among the other key players, Nick Stahl (from In the Bedroom, which is an excellent movie) shines while taking over the role of John Conner, the future hero who needs protection. The transition from the wide-eyed youth of Edward Furlong to the unaccepting adult is hard at first, but in the end Stahl's Conner is right on the money. Claire Danes joins the fray as the love interest who also must be saved for mankind's sake, and is sufficient in her role.
The most publicized addition to the franchise has been Kristanna Loken as the female nemesis of the Terminator, the TX. The TX model is much more impressive looking under fire than the similar model in T2. I know many people will regard this as blasphemous, but that liquid metal on Robert Patrick looked LAME! The TX has all the powers of her predecessor, but looks a lot better doing it. I'm referring mostly to the special effects, but yeah, the female aspect is cool to see too.
The success however, lies in the direction. Like Breakdown, Mostow masterfully crafts a film that manages to be both laid-back and wound-up at the same time, feeling simple in plot and hypercharged in activity. It's not a masterpiece in any shape or form, but it did what I thought it could not - It made me care about John Conner again while keeping me gazing at the pretty explosions and collisions for almost two hours.
I can't recommend Terminator 3 flat out. It's too simple to be called anything more than a popcorn flick, and too basic in its action scenes to be called revolutionary in that aspect. It does add some basic determinism for flavor, and there is a deeper message. But, in truth, T3 seems simply like a remix of the ideas that were used to make T2. But it's a remix that doesn't succumb to too much `intelligence' like T2 did. This is no substitute for the original. But if I have to choose between the sequels, I'll take the powderkeg that is Terminator 3 in a heartbeat over the flashbomb that is Terminator 2. Check it out.
P.S. - Love the Ending. It had to take a lot of balls to put that on the screen. Should be a fitting end to the series.I hope.
The Devil's Advocate (1997)
Pacino serves up one "hell" of a guilty pleasure!
When This film was first advertised I was in a state of awe, knowing that Al Pacino as Satan was something that could be perfect. It was. Keanu Reeves and Charlize Theron add a good helpless couple to the story, and the plot twist ending leaves you with a dropped jaw and a sense that this movie is too good to be true. It's a guilty pleasure, just like the characters profess on screen, but it's well worth it.
The 'Burbs (1989)
One of the funniest movies ever!
The 'burbs is a movie worth watching on a regular basis. It's humor is not as pointed and obvious as many recent comedies, but each time you watch it it grows on you. Whether, it's Tom Hanks' straight forward approach, Bruce Dern's over the top antics, or the fun in watching the strange Klopeck's, It's a film that you can pop in the VCR with a group of friends and laugh the night away. I strongly believe that this is one of the funniest movies ever and deserves a better look from anyone who puts down it's comedic style.