Posts Tagged ‘Pan’s

09
Mar
09

Ink Review

ink2A question that’s rung in my head since first hearing about the movie Ink, was what relevance the title of the film held. From the first moments of the trailer, and subsequently the film, I knew I was in for a movie that had calculated its’ steps carefully, creating something in between an eloquent waltz and an algebra equation. I knew that the title was another vital part of the whole experience, and that deciphering it’s meaning was another key to unlocking the many mysteries that lay inside the delicate layers of Ink’s story.

That story, written by Jamin Winans, is a tale of multi-dimensional dream weavers, consisting of one bad stable and one good one. The good ones, dubbed Storytellers, give us good dreams by visiting us in our rooms once we’ve fallen asleep and gently waving there hands slowly by our heads. The bad ones, called the The Incubi, give us the nightmares. Beyond the ability to grant dreams, these people also battle over the souls of those who are sleeping.

Ink's spectacular makeup and look.

Ink's spectacular makeup and look help solidify him as our complicated, yet menacing antagonist.

This is more or less where our story begins. A drifter, one who is stuck in between life and death, named Ink is propositioned by the Incubi to steal the soul of a seemingly insignificant little girl named Emma, in exchange for the ability to become an Incubi himself. Emma’s estranged father, John, is also battling staggeringly high odds, both physically and emotionally, due to a demanding and stressful job, and the weight of his own guilt and shame. The rest is quite simply too exciting and emotionally propelling to spoil for the sake of this review.

The first thing that one notices about Jamin Winans film Ink, is that it is in an entire league of it’s own in terms of visual style. While some influences are noticeable, Jamin takes the idea of kinetic and potential energy in a movie to new heights. The pace is fluid, only jumping a beat to drive home a scene or a moment, then quickly snaps back into place, driving the narrative along briskly enough to demand a viewers full attention without overloading and confusing them. The editing is so precise, so flawless, that it begins to feel almost euphoric. Jamin manipulates the order of certain events, in order to keep viewers on there toes about where the story is heading. There is no point in the movie where I could clearly say what was going to happen next, and that feeling of wonderment and vulnerability is something that has stuck with me even through writing this piece. It’s a hypnotizing film, and it never sacrifices the gravity of what’s happening on screen in favor of giving you a flashy, “Hollywood” shot that only looks great on movie posters. This film exudes an aura of tremendous planning brought to life by even more impressive execution.

The cinematogaphy is remarkable, looking even better while in full motion.

The cinematography is remarkable, looking even better when in full motion.

Hand in hand with the visual buffet, is the equally sublime audio package. From the old-timey camera snap-and-flicker sound effect used for when storytellers teleport in, to the visceral crunch of a perfectly placed uppercut, to the appropriate tinkering and manipulation of certain voices to help give them an other worldly feel, the effects are all nothing short of innovative. Everything sounds crisp and distinctive, and every action is accounted for. Holding all the aforementioned technical elements together is a subtle, oceanic, and deeply emotional score, written by Jamin Winans. The score is reminiscent of some of John Muprhy’s work, as well as some of Danny Elfmans’ dreamier, calmer material. But Jamin really shows he has the patience, style, and talent to not only create a great stand alone score, but also one that personifies and amplifies perfectly everything his film has to say. Not enough can be said about how much the score adds to the entire feel of the film, something not seen enough in the days of soundtracks where popular artists write a soulless song that supposedly represents the movie.

An Incubi, who brings nightmares.

An Incubi, who brings nightmares.

Along with the groundbreaking special effects (see the reconstructing furniture fight scene for evidence of this) there is the cinematography of Jeff Pointer. All the different planes of existence in Ink’s world are accompanied by a strikingly different palette of colors and lighting techniques. It not only creates the appearance that they are entirely different dimensions, it becomes other dimensions altogether. Due to the digital filming techniques I am almost sure Jamin Winans used extensively while shooting Ink, he gains an incredible amount of control over lighting, filters, color correction and saturation, which he uses to great dramatic effect. They also function perfectly as cues that we have begun to look in on a different scene, and helps indicate silently where we are, who were are with, and with whom there alliances lay.

But if Ink is anything, it’s a damn good story. The story is so luminary, so rife with honest humanity and emotion that it’s near impossible not to invoke some kind of serious, introspective moment within you while watching. It’s not the kind of emotion that make boyfriends not want to go see the romance flick with their girlfriends, it’s the kind of emotion that’s intrinsic within the human conscious. It’s about loss, innocence, desire, motivation, and possibly above all, hope. The film makes some very philosophical observations on the sordid perils of everyday life, but it makes them in a passive, courteous way. It acknowledges that we are, to a degree, the sum of our parts and past experiences, but it also points out that there is always the opportunity for radical change. Jamin manages to ease his way into some very heady, intellectual space without losing sight of the plot and the characters I found myself heavily invested in. This alone is quite an achievement.

The sunny, surine dimension of the Storytellers.

The sunny, serene dimension of the Storytellers.

All those points wouldn’t have been so well conveyed without actors who really seemed to understand the vision of Jamin. Consider that a non-issue though, as all the actors and actresses playing there roles without incident, with no one seeming out of place or terribly miscast. Extra credit must go to Chris Kelly for playing John and Jessica Duffy for playing Liev, whose performances were simply to sensational not to mention. There isn’t really much else I can say about the cast other then Jamin Winans must’ve have had at least some, if not all, of the actors and actress’s in mind when he wrote the script, because the roles seem tailor made for the individuals playing them. They are always shown in their best light, the emotion that Jamin squeezed from them seems as genuine as anything I’ve even seen. If there’s one thing that’s evident in independent film making, it’s the passion of those involved. It’s the whole reason independent film making still exists, because I assure you, it isn’t for the money. In Ink’s case, the movie is overflowing with determination and fire, which helps envelope the viewer in the vibrant, awe-inspiring world that this magical yarn is spun in.

The only obstacle I can see any audience having a major problem with, would be the sheer emotional investment and outside the box thinking a movie this cavernous can require for full enjoyment and understanding. It’s all about invading the comfortable areas of your life, it’s about turning the mirror on yourself, and it’s about the stuff all of us have deep inside, regardless of whether or not we pretend it’s not there. It’s story is not only timely, but timeless. There is no restriction on when a tale like this could be told.

Our Storytellers along with their quirky, philospoical guide, The Pathfinder.

Our Storytellers along with their quirky, philosophical guide, The Pathfinder.

In the end, I think I’ve found the answer to my original question, and that the answer may be that we are all Ink. We are all different colors, different viscosity, and different blends. We are the instruments of change, both good and bad, but we are not immune to them ourselves. The randomness of life can be extremely disruptive, and seem devoid of pattern, reason and predictability, but just because the last few moments, days, or years have blindsided you, it doesn’t mean you are lost forever. At least, that’s how I saw it.

Jamin Winans has concocted a potent narrative, one that is as focused as can be, while still leaving enough room for individual interpretation. It is assembled in such a way that not only promotes, but encourages multiple viewings. Technically speaking, there is nothing that could be done better within the budget, and the acting is all fitting, bringing believability and heft to each role, while naturally allowing the main figures to steal the show. Ink deserves a special place inside the hollowed halls of great intellectual cinema, here’s to hoping it takes its rightful places in that gallery one day.

Love

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21
Oct
08

Top 5 (+3) Posters for Halloween

It was near impossible for me pick just five, and somehow I managed to stop myself from cruising the Internet and sifting through my own collection at the magical number of…8


The criteria I used for my picks was simple.  Firstly, I had to actually know about or enjoy the movie’s themselves, as I will try to couple something akin to a mini-review with each poster.  Also, I tried to choose the most creative and eye-popping of the bunch, and if possible, the ones that have really cool innuendo, double-images, or are just plain sick and twisted.

In no particular order.

You see?  It's a skull, but it's also the women from the flick. That's fucking cool.

You see? It's a skull but it's also the women from the film. That's fucking cool.

If you haven’t yet seen Neil Marshall’s The Descent, then you need to go rent, buy, download, borrow from a buddy, or…something and see this flick.  The Descent is one of the most legitimately terrifying, psychologically draining, and claustrophobic films our generation is likely to ever see, and unfortunately the poster you see above wasn’t used very much in advertising for the film.  The reason?  Well, it probably had something to do with some stuck up liberal cunt thinking that the fact that women are screaming and posing on a poster is somehow sexist and degrading to women.  The irony of course, is that the movie is one of the strongest and best portrayals of women I’ve ever seen, in or out of the horror genre.  Anyway, this one-sheet gets on my list for being very innovative, slightly sexual, and having sweet double-imagery.  Oh, and the movie itself is near perfection.  That never hurts.

So much going on.  And the movie actually has ALL that crpa in it!

So much going on. And the movie actually has ALL that crap in it!

The Beyond is one of my all time favs.  Reviewed already on here by my best buddy Ronnie, who wasn’t as fanatical as I was about it, he still gave it some credit for being a cool little gore/zombie flick.  This poster, to me, represents perfectly the sheer chaos the film exudes.  Zombified girls getting their fucking heads blown off by grown men with a .357 magnum.  People running from scary shit.  Lots of screaming.  Dead people.  More dead people.  Mega bonus points for the almost “hand drawn” feel to it, and just the sheer amount of scenes from the movie they were able to fit into one sheet a paper without actually ruining some of the best parts, which of course are the gnarly kills.

Someones about to get a good Ol' fashioned raping.  Wait, IN A HITCHCOCK FILM?!?!?!?!?

Someones about to get a good ol' fashioned raping/murder combo. Wait, IN A HITCHCOCK FILM?!?!?!?

This one threw me for a total loop.  Hitchcock, a man known for his thrillers and endless amount of class in dealing with sex and violence eloquently, yet this poster seems to suggest something totally different.  While Rear Window still is my favorite Hitchcock film, Dial M for Murder is a damn close second.  This poster seems very risky, even if we saw something like it today.  I mean, the girl is obviously in peril, and not only is it clear that the shady man’s intentions are to silence that bitch permanently, he may also be looking to get some non-consensual love while he’s at it.  Again folks, this is pretty dark, twisted, and edgy for Hitchcock, probably why I had never seen it before I started digging for posters for this project.

Spooky.

Spooky.

Fulci again graces my list, and this time for a film that is considered by many to be his nastiest.  House by the Cemetery has a reputation for being possibly the most sadistic and grotesque of Fulci’s work, a man who has nack for combing the surreal elements of Giallo films, with the raw horsepower of lingering, graphic, and sickening violence.  If you wanna see the most fucked up slit throat scene in the history of slit throat scenes, grab yourself a copy of this gore classic.  The poster though, speaks to me on a very Halloween “spooky” level, and is…dare i say…very classy and simple.  A little shadow play with a disfigured face up in the clouds, a full moon, a dark, twisty, kind of bent house and a graveyard with some fog.  This is the kind of stuff you see if a movie theater, and immediately turn to your friend and say “Fuck yeah were seeing that when it comes out!”

I so want this one my wall one day.  Cre-epy!

I so want this one my wall one day. Cre-epy!

Del Toro nailed two birds with one stone with his adult Gothic fairy tale Pan’s Labyrinth.  He not only re-asserted himself as one of the premiere genre directors to watch out for, but also may have creating the defining piece of his entire career.  I just don’t know how he will eclipse of movie that not only showed so much creativity and imagination , but had not one, but two amazing story lines to boot.  (One storyline taking place inside the “Fairy-Tale” world, and the other happening in reality)  This teaser poster always made me sweat in anticipation when I was waiting for this one to come out, and it’s because it’s both incredibly simple, and very creepy.  That sure looks like a “Baphomet” type character to me, not someone who I would let lead a small girl into another dimension.  Another movie that’s highly recommended and another poster I plan to one day have framed on a wall somewhere.  Alice in Wonderland for grown ups, but really really fucking twisted.

What the fuck is that thing on that poor girls HEAD?!?!?!?

What the fuck is that thing on that poor girls HEAD?!?!?!?

How much blood will you shed to stay alive?  Do I really need to say anything else?  The movie (notice I didn’t say series, as everyone seems to have different opinions about how the series has been handled, especially going into the 5th entry in ’08) that changed how audiences viewed horror movies forever, and catapulted the “Torture Porn” sub-category into the cross-hairs of oversensitive fagots worldwide, also happened to have one of the best marketing campaigns ever.  Starting with teaser posters that began floating around the Internet as early as 2001, and extending to some of the most clever “We’re showing you a lot but you have no fucking idea whats actually going on” trailers, SAW burst onto the scene and claimed it it’s own within weeks of its release theatrically.  A perfect tag-line.  A girl in peril without having to rely on sexuality.  One of the best movies series ever. It may not save horror, but it made me believe in slashers again.

It may not save horror, but it made me believe in slashers again.

The tag-line reads “It’s not a remake.  It’s not a sequel.  And it’s not based on a Japanese one.”  Hatchet was a movie I had my eyes on for almost four years, before finally getting to experience it myself in 2007.  Sometimes waiting for shit is a really good thing.  Hatchet delivered on every promise it’s first time director made.  The gore was ALL practical, NO cgi fuckery.  There were ample breasts, some extremely funny humor, some great boo scares, an incredibly likable monster/slasher, and the list goes on and on.  This poster sums the whole thing up too.  It’s an original piece of old school American horror, and sometimes all you need is an axe with some blood on it.  Run, don’t walk, to get your hands on this gem.

The Trick was to Stay Alive.  That is so classic

The Trick was to Stay Alive. That is so classic. And that chick is so fucked.

The poster no one ever saw.  Apparently there are some stories about how much trouble this little poster got into, but I haven’ been able to put all the pieces together, and I don’t want to sit here and just make shit up, so I will instead give you my take on it.  The picture itself is mostly distorted, obviously we can make out a girl in terror, and a hand outside that’s getting dangerously close to her.  Anyone who has seen the film knows what scene this is from.  The Tag-line here really butters my biscuit though.  “The Trick was to Stay Alive.”  That’s some badass shit folks.  Like, if Michael Myers ever needed a one-liner, it would have to be that.  The easy choice was the classic “pumpkin with a knife” poster, but this one, when I found it, spoke to me, especially with the woman in terror and then the incredible tag-line.  And again, it doesn’t give away too much, just enough to put asses in seats.

BONUS!!!!!!!!!!!

For those who have never been treated to seeing the made for tv halloween special, here is, in three parts via youtube, The Halloween That Almost Wasn’t!!!!!

P.S.  Told you I’d find it mom.  Love ya!