MOVIE REVIEW: THE VOICES Will Challenge Everything You Think About Ryan Reynolds

I have never liked Ryan Reynolds. I wasn't won over by his breakout role in Van Wilder, his forays into comic book territory have varied from misguided to insufferable, and his propensity for bargain bin rom-coms made me write him off entirely. I never even entertained the thought that Ryan Reynolds was an actual actor. After seeing The Voices, I can no longer take that stance. In fact, I have to completely reverse it and declare that Ryan Reynolds might be one of our secret, untapped great actors.

MOVIE REVIEW: THE BABADOOK Is A Powerful and Dark Family Drama That Also Happens To Be A Horror Film

One of the key elements in The Exorcist's effectiveness is that the film takes itself completely seriously. It approaches the material from a dramatic viewpoint first, and then finds the horror within those situations. The same can be said of The Babadook, a film that understands the value of its characters and their story. By doing so, it infuses the horrific aspects of the film ten-fold, instead of most movies that rely on their scares to create drama. However, it doesn't hurt that the horror elements are equally impressive.

MOVIE REVIEW: HOUSEBOUND Is Here to Save Halloween

Maybe it's just me, but 2014 seems to have been a weak year for horror so far. There have been a few hidden gems (Grand Piano and Witching & Bitching are the only ones I've seen), but as far as anything monumental, there hasn't been much of anything causing a blip on my radar. There's some entries yet to be released that I'm holding out hopes for (The Babadook, It Follows, The Town That Dreaded Sundown, Open Windows and Cooties), but otherwise it's been one heck of a dry spell. Thank New Zealand for Housebound, which has shown up just in time to give the Halloween season exactly the kind of film it needs: scary, funny and crafted by true lovers of the genre.

MOVIE REVIEW: GRABBERS Is Classic Creature Feature Goodness

I have an unabashed love of the creature feature sub-genre of horror. Gremlins and Tremors are legitimate classics, and Critters and Ghoulies are wicked bits of guilty fun. Sadly, the genre seems to have peaked almost two decades ago, and thanks to an influx of deplorable SyFy (pronounced Sif-ee in my house) movies and direct-to-video garbage, it looked like no one would ever treat the sub-genre with the respect and sincere levity it deserves. And then, along comes Grabbers (always pluralize your title) to prove me wonderfully wrong. It manages to hit all the high points you'd expect while still creating it's own unique twists, and most importantly, it's a hell of a good time.

MOVIE REVIEW: ONLY GOD FORGIVES Is (Naturally) Unforgivingly Dark, Vicious and Hauntingly Brilliant

If Nicolas Winding Refn's previous collaboration with Ryan Gosling, Drive, was a Hans Christian Andersen fairy tale about escaping an unwanted life, then their spiritual sequel, Only God Forgives, is a Grimm brothers fable about the slim differences between justice and revenge and the inescapable consequences of both. It's difficult to talk about Only God Forgives without discussing Drive and the qualities that seem purposefully mirrored. Where Drive had a pulpy heroism, Only God Forgives is rife with bleak nihilism. There are no heroes to be found in this film. Where Drive had a dreamy hypnotism, Only God Forgives has nightmarish menace pulsing beneath each frame. It's a calculated response to a film many people seemed to enjoy (for mostly surface reasons) and that's probably why a lot of people are intensely disliking this film. It's unfortunate, because Only God Forgives is just as good as Drive and in a few ways, it's better.

MOVIE REVIEW: MANIAC Is A Masterful Plunge Into Utter Madness

Not all films should be enjoyable. Some should be unnerving, disturbing, and should force the viewer to stare directly into the most abysmal corners of the human condition. Maniac (a remake of the 1980 cult favorite of the same name) is most certainly this kind of film: a character study of one man and his murderous compulsion, told from his own perspective. And I don't mean narrated by him in some cheesy voice-over, but rather filmed from his point of view. Almost 90% of the movie has us looking at the world through the eyes of Frank (Elijah Wood) as he stalks and scalps helpless young women on the city streets.

Immediately (and I mean that literally, from the very first scene during the credits), this film is going to turn a lot of people off, and in a way, that's a very good thing. The idea to shoot the film from Frank's perspective may seem gimmicky to some, but what it does is turn the audience into the killer, and I'm sure there are plenty of people out there who will be heavily put-off by this. It's extremely difficult for most people to step into the head of a deranged person, and this movie makes it a mandatory aspect of the experience. I almost envy those who have the kind of moral fortitude that makes them incapable of feeling empathy for a truly demented character, but those people would be missing out on a captivating (in the darkest way possible) and even tragic performance by Elijah Wood as Frank. This isn't a character who enjoys killing, but is driven to it by his heavily fractured psyche. We get hallucinogenic glimpses into Frank's past that show how his relationship with his mother helped turn him into the monster he is. While these bits of backstory do help us to sympathize with Frank somewhat, they aren't making excuses or forgiving his murderous acts. They are simply presenting things as they are, and leaving it to the viewer to be either repelled or pulled in.

Repulsion is a perfectly natural response to this movie, and that's why I'm so captivated by it. It's putting you into the mind and body of a deeply disturbing character and daring you to walk a mile in his shoes. The original film (a great piece of work in its own right) was also based around this conceit, but thanks to the traditional camera work, you were still an outside observer. With this new iteration of the story, director Franck Khalfoun crafts an even more morbid intimacy with the POV tactic. While this is the central concept that the movie rests on, it's certainly not the only thing the film has going for it. Elijah Wood's performance is astounding, managing to shift from sad to creepy to downright terrifying all in the span of a few minutes. We mostly see Frank in mirrors and reflections, but we do get a look at him a few times outside of his own purview, and it helps to reinforce the boyish innocence of Wood's looks. This only makes his dark nature much more perfect, and really hammers home the idea of a wolf in a sheep's skin. Wood's voice is what his performance hangs on, and it has this cool cadence that keeps you eerily mesmerized. It's my favorite Elijah Wood performance since his silent turn in Frank Miller's Sin City.

The cinematography has this wonderful polish about it, which also helps to differentiate it from the grungy aesthetic of the original film. It also makes the violence standout in a starker way, and the violence in this movie is brutal. With the exception of one brief moment near the end (and it's actually the only sliver of levity in the film, and it's still twisted and violent), nothing is played for laughs or "look at this special effect!" exploitation. The murders are visceral and harsh, making the film all that more insatiably difficult to endure. I've never enjoyed feeling this awful during a cinematic experience before.

I'm also a fan of the score (credited to the monosyllabic Rob) which has this 80's synth heavy vibe, and it probably wasn't an intended effect, but it gave the film a kind of video game feel for me. The proliferation of first person shooter games has made a large generation numb to experiencing violence from a point of view position, and this film almost feels like a mean-spirited comment on that phenomena. It certainly adds another layer to the film, and makes for an interesting debate on the relationship between the viewer (or gamer) and the acts being committed on screen.

If there is one weak link in the chain, it would have to be the performance by Nora Arnezder as Anna, the girl Frank is infatuated with. She's not entirely bad, but there's a stilted quality to some of her delivery, which is an unfortunate side effect from her accent. Still, she does have moments of genuine tenderness that actually give you a small bit of hope for Frank's future. But, this is the bleakest of tales and only has one real ending. And the ending (almost exactly like the original) is phantasmagoric and haunting as hell.

Maniac is a modern horror masterpiece, and I'm not exaggerating that. The places that it forces you to go are some of the darkest imaginable, but the ways in which it makes that journey are expertly crafted and viciously unique. Held aloft by a landmark performance by Elijah Wood and an aura filled with tension, Maniac is the rare horror film that actually induces that very emotion: horror. For many, it will be far beyond what they can handle. But, if you have the stomach for it, enjoy staring into the abyss and seeing what stares back.

MOVIE REVIEW: V/H/S 2 Outshines the Original in Almost Every Department

Considering that my only foray into film was an anthology horror movie, I have something of a soft spot for the sub-genre. I like the campfire stories vibe you get from watching a bunch of disparate stories congeal into a single cohesive bit of ghoulish fun. So, when I heard about a new anthology horror film called V/H/S, I was eager to give it a viewing. The problem was the amount of hype people put behind it, with many proclaiming it to be the great return of the sub-genre. While I did enjoy the first film, I was not as impressed as others seemed to be. I'm not particularly fond of the "found footage" gimmickry that has swallowed the horror genre whole, but the original film managed to find ways to justify itself. My biggest problems with V/H/S were the pacing and the wraparound story. Luckily, V/H/S 2 (I much prefer the more clever original title, S-VHS) completely solves the first issue and tweaks the second issue just enough so that it's marginally better.

The only way to review anthology films is to dissect each individual segment, so I'll do that below, but as far as an overall impression, V/H/S 2 is triumphantly enjoyable. The slow pacing of the original gets thrown out pretty quickly and the segments start happening almost instantly. There's a good balance as far as genre types go, and each entry is skillfully handled by its respective director. By the very nature of anthology stories, some segments will be more to your liking than others, but from an objective viewpoint, all the entries succeed in telling a story in a compelling and well thought out way.

Note: I will be listing the titles for each segment, and the only one that some may consider spoiler-y is the final entry, so I will white it out. Just highlight if you'd like to read it.

Segment 1 - "Tape 49": This is our wraparound story, and compared to the first film's wraparound, it's certainly better, but that's not saying much. It's about two private detectives who are looking for a lost college student, and stumble upon a collection of VHS tapes that the kid was collecting. It has a few moments of standard creepiness, but they are all pretty telegraphed. My main complaint about the wraparounds in both films is that they don't seem to serve much meaning other than to jump into the stories. While it obviously has to serve that function, it can also try to do something unique itself. Look at Creepshow or Tales from the Darkside to see what I'm talking about. Still, this is way more streamlined and easy to understand than the original's wraparound, and it's a lot more conclusive narratively. And to me, the final shot is actually really funny, so that's a plus. These movies need a little bit of humor, in my opinion. The first one was almost too serious, and with this one's ending, there seems to be a slightly lighter and fun spirit going on behind the camera.

Segment 2 - "Phase I Clinical Trials": For our first segment, we have a classic concept (a body part that has ties to the supernatural) done in a fairly inventive fashion. The lead character has an experimental cybernetic eye implant, so the whole thing is from his point of view (the company giving him the eye is recording everything for research purposes). Well, he starts seeing things that shouldn't be there and everything gets real spooky fast. While this story doesn't do anything too new, it's still executed in a highly focused and precise manner. It's a good lead in for the movie, and the way it ends is pretty fantastic and eerie.

Segment 3 - "A Ride in the Park": I really liked this one. It's about a biker out in the woods who runs into a bloodied woman who is being pursued by zombies. I guess this next sentence could be considered spoiler territory, but whatever, it's the premise of the piece. The biker is bitten and turns into a zombie, and since he has a camera mounted on his helmet, we get to experience some first person zombie action. There are a few small bits of humor in this bit, and that's something this series desperately needs. When they get everyone together for V/H/S 3: The Revenge of Betamax, I sincerely hope there is an entire segment that is more horror-comedy, because the one or two moments in this segment are a welcome relief. And the ending to this bit does something I don't think I've ever seen in a zombie film, and it actually moved me. While this segment isn't the best of the film, it was certainly my favorite.

Segment 4 - "Safe Haven": This will be the one that everyone will be talking about, and rightfully so. A documentary group interviews the leader of a bizarre cult and gains access onto his compound, and it just so happens to be when their strange prophecy is being fulfilled. The level of outright insanity in this piece is commendable, and the way it's handled gives it an all too realistic feel, even though this segment is easily the most outlandish. You get flashes of Jonestown, the Westboro Baptist Church and any other terrifying cult you can think of. The effects work in this piece steal the show from the entire film, and gorehounds will find much to like. I can't even get into how awesome this bit is without spoiling the madness on display. This is the highlight of the movie, no doubt.

Segment 5 - "Slumber Party Alien Abduction": For an ending segment, this one is kind of disappointing, but even so, it's still handled extremely well and has a few effective moments. I won't even get into what the premise is, so if you want to know, just highlight the title. It sums it up pretty nicely. The kid actors in this do a damn good job of seeming like real kids, probably because they are allowed to swear and act stupid. The creatures in this are pretty standard as far as design goes, but they still manage to look decently scary.

All in all, V/H/S 2 is a huge improvement from its predecessor, mostly because the pacing issues from the original have been completely eradicated. Even though some segments are stronger than others, it's undeniable that each one has a sure hand behind the camera, and good writers as well. My only hope is that the creators find an interesting and satisfying way to connect all three movies (they've already announced a third film), since there is one moment during the wraparound that proves these movies take place in the same universe. For someone who is bored to death of the "found footage" gimmick, V/H/S 2 makes me a believer that the format can be used in an innovative and compelling way, as long as you have a good story and an interesting visual talent.

MOVIE REVIEW: THE LAST STAND Isn't the Arnold Comeback We Deserve, But It Is the One We Need

If you are at all a fan of Arnold Schwarzenegger and his particular brand of action films, it's kind of hard not to like The Last Stand. While it isn't as over-the-top as many probably want it to be, and while it certainly has some pretty big flaws, it's still a solid entry in his leading man filmography. It's deftly directed by Kim Jee-Woon (making his American debut) and has just enough energy and old school charm to help gloss over the weaker parts.

Sheriff Ray Owens (Schwarzenegger) is planning on enjoying his day off in the quiet border town of Sommerton, when escaped cartel boss Cortez (Eduardo Noriega) and his band of goons (lead by veritable character actor Peter Stormare) come storming through town on a mad dash to get into Mexico. It's up to the sheriff and his rag-tag group (Luis Guzman, Johnny Knoxville, Rodrigo Santoro and the insanely gorgeous Jaimie Alexander) to gear up and make good on the movie's title.

The simplicity of the story may actually be to its detriment, since most lovers of Arnold flicks want things to be as outlandish as the Austrian's acting style, but I kind of like that Arnold's comeback movie is actually very downplayed until the third act. There aren't tons of one-liners being thrown around (there's a good number near the end though, so don't worry) and the action featured in the first two-thirds of the movie is fairly straightforward and unspectacular. That may sound like a dig at the movie, but it only helps to make the big climactic showdown seem even bigger by comparison. And that showdown is, for lack of a better term, awesome. You get lots of practical squib work with the blood, nice big explosions, vehicular shenanigans and a great variety of gunplay. When Luis Guzman emerges from a cloud of smoke wielding a Tommy gun, it's applause worthy.

As far as performances go, everything here is standard fare, which may be another reason Arnold fans might not have been as overjoyed with the film. Ray Owens won't join the ranks of the T-800, Dutch or Conan in Arnold's acting trophy room, but that's okay for this movie. It all works into the down-to-earth feeling the town and its inhabitants are supposed to have. The only two "out there" performers in the picture are Peter Stormare and Johnny Knoxville, but that's inherent to their personalities and acting styles. Stormare's second-in-command baddie is actually far superior to the main villain, Cortez, in terms of presence and cool factor. There's a scene early on in the film with Stormare and a farmer (played by the always welcome Harry Dean Stanton) that gives Stormare's character a lot more menace than Eduardo Noriega's antagonist role. If the film has one big flaw, it's this. Action movies (and most other stories) rely on a strong villain to help give the surrounding events proper heft. Noriega's character spends almost the entire running time in a car, away from the town, which is where our brains know the real threat is going to be. I wish they could have found a way to consolidate the two villains into one and let Stormare play around more.

And Knoxville is pretty much directly riffing on a character from another Kim Jee-Woon film, The Good, The Bad and The Weird, going so far as to wear the exact same hat as the character from that film. This has to be a direct reference by the director himself, and I'm fine with that. Knoxville plays himself well, but my main issue with most of the characters in this film is that they serve no other purpose than to service the plot. Knoxville owns a gun museum, so he's where they get all of their weapons from. Rodrigo Santoro's character is an ex-Marine who spends the first two acts locked in a cell, but once his deputy friend is killed, he is deputized so they have another good shot on the team. And poor Forest Whitaker's FBI agent. ...Oh, did I not mention that Forest Whitaker is in this movie? Well, he doesn't merit much mentioning since his character exists solely to spout exposition about the bad guy and give us reasons why Owens and his town won't be getting any help. His character is necessary, but they don't do anything with him to make him interesting as a person.

But, in the end, you're coming to this hootenanny for some action, and on that end, this film more than delivers. Action doesn't just need to be exciting, but also staged well and that takes the hand of a confident director. Kim Jee-Woon is certainly the man for the job, since his action scenes are easy to follow and properly choreographed. I also applaud the minimal use of CG blood, since you can't get the same impact as you can with a big goopy squib explosion. The violence in this is spaghetti western at its finest, and I'm all about that. There's an especially humorous part with a flare gun that certainly wins the kill of the movie. John Woo's American debut, Hard Target, and this movie would actually make a spectacular double feature.

I'm glad I mentioned spaghetti westerns because that's essentially what this movie is, just filtered through an Arnold action movie lens. It's also nice because there isn't really a western film in Arnold's filmography (I refuse to acknowledge The Villain) so it helps it to stand out amongst his other films. You can tell Arnie likes playing up the Gary Cooper-esque qualities of the character, especially at the end when he finally confronts Cortez. Since Cortez isn't the best villain, the last fight doesn't have the narrative weight it should, but it totally works as a knock down brawl between two guys. Seeing Arnold give a guy a suplex is cool in any movie.

I think if this movie had come out in the mid-nineties (somewhere between Junior and Batman and Robin), people would be calling it one of Arnold's best. But, as a comeback movie, it disappointed by not being the zany cartoon people expect from Arnold and his action adventures. That's a shame, because it's certainly worth a viewing. And it's a much welcome distraction from the majority of action films nowadays, which are either so slick that they feel sterile (pick any Jason Statham movie), or are primarily children's properties gone big time (I'm giving you the evil eye, Transformers). It's nice to see a very simple, straightforward piece of popcorn action that has a good sense of focus behind it. It'd be nice if the characters were more strongly written and the villain was more intimidating, but I could lob that same complaint at Eraser and I enjoy that movie as well. If you're an Arnold fan, you definitely need to see this one. If you're an action movie fan, this is certainly worth a rental at the very least. It probably won't knock your socks off, but it'll leave you with a nice little smile on your face at the end.