Billy Hayes a écrit:
les projos vont pas tarder je suppose...
en effet
:
"... a total misfire on all accounts.
During our press screening in Madrid (monday) it was pretty clear this was nowhere near the original.
No problem with that.
The problem is, it's a mediocre film.
It's not even tongue-in-cheek, cynical, biting or just plain bad (as in the style of John Waters, for example). This is not even up to Zombie's standards of shock-horror/bad taste. His former films were horrid, yes, hardly original too, but they were very much his own: they had a quirkiness and black humor that is all but missing. Instead it seems we get a flick that tries hard to please too many targets, and failing to reach any (or all).
It tries to appeal to gore hounds, hence, hoopla! Gratuitous bludgeonings, blood and extreme close ups of stabbings.
It tries to appeal to certain American strata, hence the Poor White Trash and the bland white bread collide. The result is meandering and, worse, meaningless.
It tries to appeal to the Rocker crowd, hence a rather cool song score -- I'll give you that- which highlights tunes that range from "The Monster Mash" ( a 1960s novelty song by Bobby Pickett) to the stablished classic "Don't Fear the Reaper" (Also featured in Halloween '78) to Nazareth's "Love Hurts". The only problem is that the songs, although a choice selection, are badly used. Possibly the one exception is Nan Vernon's cover version of "Mister Sandman", but then, since it appears in the closing credits, has no effect whatsoever upon the scenes depicted and that's too bad. The songs belie Zombie's apparently stunted and stilted storytelling techniques.
The acting is sub par, but I don't know if that's the actors' faults or the Writer/director's. Daeg Faerch is an intriguing presence on screen, but he cannot compel emotion. He's presented as dull-as-dishwater. Quite possibly his best scene is not the much-touted murder/mayhem sequence or the whuppin' of the bully -- his best work is done behind a mask in the hospital sequences. "I.Need.To.Go.Home" he utters and utters and utters as McDowell (shame, shame, shame, Malcolm!) waxes and wanes about "the garden" of the Institution. The kid repeats the sentence in the same robotic-angry manner three or four times until the (hopelessly affected) Psychiatrist mutters "Oh, Michael, you can't go home again." Then the boy says, quite casually "Okay. Then I've got nothin' else to say." This was an important point of character development. After this, Myers would lapse into silence for 15 years, and yet, like pretty much of the rest of the film, it's treated like a throwaway.
Surprisingly (I've pointed this out before) Sheri Moon-Zombie turns out the most authentic interpretation. She plays a frustrated, ignorant but well-meaning mom who has been around the block quite a few times -- more than she'd actually care for, one feels- and who all of a sudden (oh, but then, in this non-paced film everything feels not only sudden, but *gratuitous*) finds herself saddled with a child she evidently loves but cannot comprehend -- yet not fear. The Michael child is not fearsome, not even pathetic... and the only culprit of this is not the child actor, but rather the writer who is none other than... well, quel surprise! Zombie himself!
Scout Taylor-Compton does what she can with the material handed, but looks confused as to how approach her character: is she a virgin? Is she a saint? A bitch? A regular senior? None of the above? This Laurie Strode is as meaningless as an episode of The Simple Life (which I assume is what Zombie watched to "crack" the lingo of a young girl, where he fails miserably: no girls I've ver known talk like *that*), just as much as Danielle Harris and Kristina Klebe are like life-size Bratz Dolls, and as lifelike as those. When one gets bumped off and the other is chased and brutally (it has to be BRUTAL, man! Brutality sells like smut! And ya know smut sells like nobody's business) stabbed (wether she dies or not depends on the box office revenue, chillingly enough -- enough $$$ will mean she may return to finally be disemboweled (one assumes) in a protracted, quite possibly Zombie-less sequel, you know, that's showbiz, you don't feel a thing. Not even disgust. At least that's what happened to me, my peers and, I'm finding out now, quite a lot of people.
So, the point was what?
Excel over the original film? No can do.
Scare audiences senseless? Not quite. Seriously.
Show a catalogue of humiliating and unnecessary murders?
What?
This film had a 20 million + budget, and yet, it doesn't show. It's well-photographed, interestingly cast (I'll give that too) and has good production values that, like much of its asset, are forsaken in favor of tits, ass, profanity (I actually don't care about foul language, but come on! Do you *really* speak that way in real life?) and could have been a workable idea, the final "Event" movie of this season.
Instead, it's not even bad. There's three ways that a movie can go: Good, Bad or Mediocre. And this one barely manages to be that.
Zero atmosphere, zero wit, zero charisma, zero characters to root for.
Don't mind me if you don't want to; my word is not law. Just voicing my opinion. However, I think you (yeah, you, the reader) oughta go and see it for yourself. If only to prove a point."
et encore une...:
SPOILERS
"Wow, what a lame film...
Quick question: in America, in the small towns, everybody has long greasy hair? Because this movie convinced me to always cut my hair short, not to look like the fuckups in this film...
The first hour tries to take every mystcism out of the Myers legend, presenting Michael as an abused white trash kid, who became a killer because 1, his mom was a stripper 2, his step dad was an asshole (altough Bill Forsythe is more amusing than threatning, he was the best thing about the film) 3, his sister was a slut. And it doesn't work, because these factors are just not horrific enough for Michael to become the monster he will become.
Than he kills a bully than his whole family except his mom and his baby sister (not the slut, that one he kills.) Tahn he goes to the nuthouse where he has absolutely trite and simplistic dialogues with his doctor (McDowell is awful as Loomis, one *has* to appreciate Pleasance's performance in comparison.)
Than he escapes thanks to a hugely unnecessary rape scene (two orderlies are raping a mental patient chick and Michael uses the opportunity to bail.)
The second hour is almost exactly like the Carpenter film (Lauri's introduction even uses the same camerafahrts (how do you say this in english?) just much faster, without any suspence and character development - I couldn't even tell the girls apart, except Laurie.
At the end, Zombie tries to make a martyr out of Myers ca. the same way he tried to do it at the end of DEVIL'S RECEJTS. Didn't work there, did not work here. Give me a fucking break, these murderers are not heroes rising against the system, they are scum. Except I used to like Michael, way back, because he used to be a cool murderer".
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