As Above, So Below
It's that rare found-footage film with a strong premise, a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
With the exception of "The Woman" (which is still in limited theatrical release), all of the films from "Bloody Disgusting Selects" are currently available on multiple platforms including Netflix (DVD only), Amazon.com and most VOD providers including Comcast, DirecTV, Amazon, iTunes, CinemaNow, VuDu and Verizon FiOS. Check your VoD provider listings, or go to www.bloodydisgustingselects.com for more information about the films and where to find them.
On DVD, all of the foreign-language films reviewed here include an optional English-dub dialogue track for viewers with an aversion to subtitles.
by Jeff Shannon
Historically and statistically, the most abundant, profitable, and creatively expressive movie genre has always been horror. It has consistently been the most viable proving ground for new talent and a focal point for the most obsessive movie fans on the planet. It's the most purely cinematic of genres, playing to the strengths of an artistic medium that has shock, surprise, dread, fear, and bloodletting built into every molecule of its DNA. It's a realm of expression that challenges masters and amateurs alike.
Of course, there's always a downside: The record-setting $50 million opening weekend of "Paranormal Activity 3" (which earned a one-star review from Roger Ebert) -- and Paramount's immediate strategy to keep that franchise booming -- provided a stark reminder that, more often than not, horror is where commerce almost always trumps art. It's the favorite plaything for copy-cats and money-grubbers. The genre's blood is frequently tainted by fast-buck pretenders and greedy opportunists who care more about profit than the genre's history, which is the worthy subject of some of the finest film scholarship that's ever been written.
Above: What this picture needs is some RED.
I forgot to mention that, while Roger is up at his lake place working on his memoirs, I've done a few reviews for the main site (RogerEbert.com) and the Chicago Sun-Times. This week, I think you'll find that I'm one of the very few critics to cite Yasujiro Ozu in a review of Neil Marshall's handsomely gory "Centurion," and among the minority of reviewers who find a reason to compare the tank in the Israeli war film "Lebanon" to the Nostromo in "Alien," though I could be wrong.
As it turns out, without intending to do so I reviewed both of the movies I was covering this week almost entirely in terms of style, almost as if they were abstract non-narrative films. Actually, I guess I probably do that more often than not, but... judge for yourself:
The Japanese master Yasujiro Ozu once made a film called "The Flavor of Green Tea Over Rice." "Centurion" might be thought of as "The Color of Red Guts Over Mountains," because that, as much as anything, describes what it is about.
Whenever you watch a movie, you're also probably watching just about every other movie you've ever seen. The images that flash by trigger associations in your brain -- some of them deliberately planted by the filmmakers, others not. Still, you've got all these images and memories banging around in your head and they're going to connect with something no matter what.
As I wrote in my review of "The Descent" and subsequent postings, director Neil Marshall quite deliberately conjures up memories of other movies (especially, but not exclusively, horror movies) to evoke emotions and effects that have lingered in viewers' imaginations.
Take the "rebirth" of one character, who emerges from the ground coated in blood, like a baby from the womb. This image resonates with memories from a number of terrific movies. Before I get to a more detailed discussion, the usual **SPOILER ALERT** is in order -- not only for "The Descent," but several of its antecedents, including "Deliverance," "Carrie," "Evil Dead 2" and "The Third Man." OK, let's give these movies a hand!
Neil Marshall's acclaimed British horror-thriller "The Descent" draws on plenty of other genre classics for visual inspiration, from otherworldly mysteries ("Picnic at Hanging Rock") to oudoor adventure ("Deliverance," "Jaws") to science-fiction ("Alien") and straight-out horror ("The Blair Witch Project"). All these movies are essential to any horror fan's movie education. Here's a sample of Roger Ebert's appraisals of these originals, from 1972 to 1999: