Tag: wilderness

Movin’ Too Fast

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★★★
“It’s like Thelma and Louise. Meets The Hitcher. In Wolf Creek.”

Yes, while there may not be a lot new here, the combination is at least somewhat interesting, and it’s put together solidly enough. Two students, Nina (Alexander) and Melissa (Terry) are on a cross-country drive, when they get stopped for speeding. Melissa makes a pass at the cop, but it’s an encounter that goes badly wrong, and she ends up beating him up with his own night-stick. When the duo get back on the road however, they find themselves being pursued by a police-car, which clearly has very bad intentions: with gas running low and – inevitably – no cellphone service to be found, can they survive?

Despite the lack of names in the cast, there was clearly some significant cash involved in this project; some fairly brutal destruction of automobiles, and helicopter footage too, help give this a sense of quality. We were rather less contrived by the dialogue, which sometimes seemed so artificial and contrived as to be utterly forced. There were a few moments when the plot had us rolling our eyes too, such as when the girls, wandering around in the middle of nowhere, stumble onto a house that happens to be…well, let’s just say, “What are the odds against that?” The villain, for reasons necessary to the plot, remains entirely anonymous and that makes him a far less scary adversary that, say, Rutger Hauer in The Hitcher, who gave absolute evil a very human face.

Still, when things get rolling, especially in the final third, there’s a good sense of momentum and “anything can happen”, which overcomes many of the shortcomings. The final showdown would seem a bit of a cheap ripoff from Death Proof…except that Movin’ dates back to 2005, so actually pre-dates Tarantino’s grindhouse homage. Which is interesting, given QT’s fondness for wholesale thievery in the plot department. Indeed, that also means it pre-dates Wolf Creek, though you don’t deserve a free pass just because your movie failed to find distribution for two years. Overall, though, not too bad, and despite some eye-rolling, we were entertained enough.

Dir: Eric Chambers
Stars: Marquita Terry, Layla Alexander, Matthew Glave
a.k.a. Lost in Plainview

It Waits

  By

★½
“It Sucks.”

This appears to be aiming for a leg-up on The Descent bandwagon and its theme of “chicks vs. cave-dwelling monsters in a remote wilderness”; though there’s only one of each here, rather than it being a team sport. “Troubled young ranger” Danielle St. Clair (Vincent) is atop a remote tower, watching out for fires, but a careless use of dynamite unleashes an ancient Indian evil that’s been trapped in a cave for centuries. Fortunately, despite said centuries, the monster still knows how to disable satellite dishes and trash Jeeps, as well as ripping the heads off everyone in the area it meets – except for St. Clair, of course, whom it merely terrorizes. The inevitable native American (Schweig) gets wheeled on for one scene of indigestible exposition, trotting out the usual cliches about how we’ve lost touch with our inner child, or some such New Age guff. Not that the beast cares much, I was pleased to see.

Wholly deficient on just about every level, it sent both myself and Chris to sleep, independently, just after the half-way mark. Though things did pick up thereafter, that might have been because we’d been refreshed by 8 hours’ sleep and a bowl of Wheaties. The pacing is particularly bad, with far too much weight given to Danielle’s past trauma, which is of no interest or relevance, and is not exactly helped by the depressing, sub-Tori Amos songs on the soundtrack (the director’s wife, I believe). The title is particularly appropriate, as the viewer is also kept hanging around, waiting for something entertaining to happen. There’s pretty thin pickings on that front, I’m afraid.

When Danielle finally decides to leave the forest, it’s a bit more energetic, though has nothing to offer beyond reheated leftovers you’ve seen before. I mean, when she runs over the thing in her truck, is anyone surprised when the body isn’t there? Not to say the idea isn’t without potential, as was shown in The Descent – and, possibly even more so, in Dog Soldiers. However, when your script is as flawed and uninteresting as here, a film really needs to pull up its socks in the areas of acting and direction. It Waits is mediocre on these fronts, at best, and as a result, the whole thing fizzles out like a damp squib.

Dir: Steven R. Monroe
Stars: Cerina Vincent, Dominic Zamprogna, Greg Kean, Eric Schweig

The Descent

  By

★★★★
“Six chicks with picks.”

Simplicity is under-rated, especially when it comes to genre films. The simplest horror movies often work the best, because they prey on widely-held fears: monsters (Jaws), getting lost (The Blair Witch Project) or claustrophobia (Below). And now, we get The Descent, which combines all three into one ball of nerves, pitting six female cave-explorers against things below ground. This will do for speleology, what Touching the Void did for mountaineering or Open Water for scuba-diving – and I don’t care if the cave, as one character here disparagingly says, “has handrails and a gift-shop”.

This is an interesting reversal by Marshall from his first film, Dog Soldiers, though both did have a group of people in a small location, facing an outside menace. Dog centered on a group of soldiers in an isolated farmhouse, facing a pack of werewolves – as you can imagine, testosterone levels were set to eleven on that one. Here, save one brief, opening character, all the roles are filled by women, which adds a different dynamic to things. Central are friends Sarah (Macdonald), Juno (Mendoza), and Beth (Reid), whom we first encounter white-water rafting, though it seems Juno and Sarah’s husband have their own leisure activity…

However, a year later, a car accident has changed Sarah’s life, and the trio re-assemble, with three other women, for a little light caving. Unfortunately, rather than the scheduled, well-known cave, Juno opts to take them into a newly-discovered one. This is unfortunate when a rock fall shuts off the entrance, and it becomes clear no-one outside knows where they are, so the women have to press on, into the depths. Sarah is convinced she sees someone nearby: initially, no-one believes her, but eventually it’s clear that there are inhabitants of the system, who are none too pleased to see them – except in a “nourishment” kind of way.

There’s no doubt, this is not exactly new – you’ll spot references to (if you’re feeling kind – “bits stolen from”, if you’re not) other films throughout, from The Thing through Aliens to Pitch Black. The first half is also, to be honest, a little sluggish. Marshall throws in some cheap “Boo!” moments to keep the audience awake, of varying effectiveness, but it’s only when the movie goes underground that this the edge of your seat becomes familiar territory. And once it does, the film barely pauses for breath until the final frame [The American version had a different, slightly-less bleak ending, from the UK version – having had it described to me, I’m curious to see it, though can’t say that I felt the US cut was significantly deficient].

The focus of the film is Juno and Sarah, with the rest of the cast largely reduced to cannon-fodder – though not badly-drawn cannon-fodder, I must admit. Juno is a near-Amazon, while Sarah has to become one, simply in order to survive, and that’s about the extent of the character development here. Demureness, beauty, the ability to bear babies, and all other typical “feminine” traits, are of absolutely no use whatsoever. The ability to drive your pick-axe, repeatedly, into the head of pissed-off Gollum wannabes, on the other hand… Yeah, that will help. But in another interesting contrast to Dog Soldiers, sisterly teamwork is notable by its absence. In the end, the women do almost as much damage on themselves, as the monsters.

The technical aspects are great, with set design and cinematography particularly worthy of praise. An uncomfortable feeling of being trapped in a dark, enclosed space has rarely been better captured; the only light present is what the explorers bring, and it gradually becomes less and less effective for their needs. It is occasionally chaotic, and a combination of limited illumination and the incidents that befall the characters often make it easy to lose track of who’s who. That aside, however, this is a seriously kick-ass film, and the prospect of The Descent 2 would be extremely welcome here (though particularly in the British cut, somewhat unlikely…). I’m thinking, in that one, our heroine could perhaps get talked into leading a team of marines back into the monsters’ lair… Stop me if you’ve heard that one before. :-)

Dir: Neil Marshall
Star: Shauna Macdonald, Natalie Mendoza, Alex Reid, Saskia Mulder

Blood Games

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★★★
“A Deliverance of Their Own“

I guess Blood Sport was already taken? It’s softball beauties vs. rednecks after: a) the visiting ladies thump the home side 17-2, b) the team owner has to extract his fee at gunpoint, and c) the gals resist – forceably – the crude advances of the locals. Before you can say, “duelling banjos”, they’re being pursued through the woods, and picked off one by one.

This 1990 movie starts slow; any viewer will know exactly where this is going, yet they still take half an hour to get there. It’s not as if the time is spent on characterisation either; most of the softball team were clearly chosen for their appearance, while the yokels are straight from Cliched Casting, Inc. Yet if they’re stereotypes, they are undeniably creepy ones, well-portrayed by Cummings and Shay. Rosenberg uses them with enough skill to make you wonder why she never directed again, and ones things get going, she keeps the film going, without much slack.

Playing Babe, daughter of team owner Ross Hagen, Laura Albert is about the only one of the girls to make any impression as a character; she’d go on to become a stuntwoman, working on the like of Starship Troopers. The rest of her colleagues take showers, get assaulted (a sequence verging on the nastily gratuitous), die, turn psycho and take revenge, all without exhibiting any significant personality traits. Quite an achievement in itself. Another one of those movies which will put you off going to rural, Southern parts of America.

Dir: Tanya Rosenberg
Star: Laura Albert, Gregory Cummings, Luke Shay, Shelly Abblett

Wounded

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★★★
“A forest frolic which is bear-ly satisfactory.”

This starts off brightly, and ends not badly – if a little predictably – it’s the middle where it falls apart, spending the best part of an hour fiddling around to no particular purpose. Amick plays a forest ranger whose fiance is murdered by a bear poacher (Pasdar, looking disturbingly like Al Jourgenson of Ministry) – she nearly dies too and, rather than helping the authorities, vows to take revenge herself.

The wilderness portions of the film work well, with cool ideas like the poacher finding the bears through the radio collars put on them by the rangers, and there’s also a grisly grizzly graveyard scene which is quite spooky. After she’s shot, however, the movie wanders back into civilization. This could still have worked, with the poacher hunting down the only witness amid an “urban jungle” theme, but he just comes to town, taunts her a bit, kills a supporting character and heads back to the wilderness for the obvious finale.

Amick isn’t bad, conveying smouldering hatred effectively enough to make her unwillingness to help the police more than an obvious plot device. There’s also a nice twist where the buyer of the bear parts helps out, after deciding his supplier has become a loose cannon. However, the second act is so lacking in energy, with the heroine doing little more than sitting round, gazing into space and answering the telephone, that my attention wandered severely. A good idea, doomed largely by a serious lack of development.

Dir: Richard Martin
Star: Madchen Amick, Adrian Pasdar, Graham Greene

‘Gator Bait

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★★★½
“Swamp saga is buoyantly sleazy, but sinks at the end.”

Between being Playmate of the Year in 1970, and her death in a car accident at the end of the decade, Jennings appeared in a slew of action/exploitation flicks which earned her the title “Queen of the B’s”. Despite unlikely casting as Desiree, an alligator poacher – with perfect hair and make-up, even in the Louisiana swamps – this film comes within an ace of getting our seal of approval, falling short only at the finale.

Desiree finds herself in trouble when she’s involved in the death of a local cop. His family, a bunch of half-breeds of hugely dubious morals (witness the immortal line, “What’re ya tryin’ to do, ya horny little bastard? That’s yer sister!!”), get on her trail, dragging the more or less unwilling police chief with them. But the bayous and backwoods are home turf (the title comes from her father’s habit of dragging her behind his boat as a lure!) and after her sister is murdered in truly repellent fashion, mercy is in short supply.

Rather too much speedboat footage slows the second half down, but it’s an interesting twist on the Deliverance nightmare, with rednecks being hunted rather than the hunters. Jennings doesn’t have many lines (kid bro’ is mute, so there are few chances for conversation), which is perhaps wise. However, she carries herself well, whizzing through the swamps, blazing away with her shotgun – it’s unfortunate she has to rely on assistance to finish things off, a weakness in character which is hugely disappointing.

Dir: Ferd and Beverly Sebastian
Star: Claudia Jennings, Sam Gilman, Doug Dirkson, Clyde Ventura