Film Review: The House of the Devil

I love this poster, which is why I am leaving it so big on the post, anyway…

This film harps back to the 1970’s/80’s grindhouse/exploitation films brilliantly, and definitely more authentically that Death Proof or Planet Terror, however, this arguably makes the film a ‘bad’ film, but I totally disagree.

The film’s main character is a woman, which is very very significant. Of course, horror films nowadays don’t use what would be considered to be sexist stereotypes of women as often as in horrors prime, but I do think that horror films arguably still are sexist towards women, by either making them innocent or stupid, whereas in the ‘70’s and ‘80’s they were almost always, simply victims who make bad choices. As Scream says, ‘why does the big titted blonde always run up the stairs when she should go out of the door.’ All of these issues are in House of the Devil, and instead of avoiding them, they rub them in the face of those who dislike them.

The main character, who is in need of some cash, goes to a babysitting job in a creepy house, with a scary and mysterious old mother instead of a baby to look after. Now, it is kind of obvious where the film is going, which I didn’t mind at all. The film genuinely sticks to the conventions of an exploitation films, making for chessy dialogue (at times), obvious villains and incredible violence.

The film is beautifully shot, which was a surprise to me, as I expected it to be a deliberately schlocky and not well made film, but that was not so. As I said, it is gorgeous to watch, but other things within it were brilliant too. The use of score is astounding, yet doesn’t feel ‘too good’ for the film and there is a dry sense of humour running through the film, especially in the scenes with Mr Ullman, the man who hires Samantha (the main character), his delivery throughout is genuinly hilarious.

Then there is the conclusion, which, if you have seen this film, you know straight away is a talking point. It is very clever, as it’s  a throwback to the copout endings of so many horror films yet it’s also clearly a cheap scare to fullfil what so many people will want from the film, which is brilliant because the want for violence applies today just as much, if not more, than it did in the day of Grindhouse cinema.

The film is not for the faint of heart, it ends up feeling really really wrong,  but is incredibly well made and cleverly juxtaposes yet lives up to the stereotypes of crap horror films by playing on what would usually be flaws while all the time living up to them. I wouldn’t suggest it to everyone, but if this review gets your interest, seek this film out. I give it 8/10.

Music Review: Heligoland by Massive Attack

Before I begin, may I say that I am amazed that I have had the time to listen to and then knock up a good review of the album on it’s day of release, and you better appreciate it!

Only kidding.

And so it is, that the great Massive Attack have returned with their fifth studio album. It has a lot to live up to, especially with Massive Attack’s intimidating and awesome back catalogue. So, how is it?

For a start, anyone who fell for the bands lively side will be disappointed, initially. The album has been hailed as boring by some, but I honestly think it is nothing less than patient. It is a slow-burner, that is true, and it is certainly not as dancy as say, the song Karmacoma is, but it is more along the lines of Future Proof, but a lot less passive. The album is consistent in it’s style, with no immediate stand out tracks that made Blue Lines so incredible.

A host of guest vocalists hog the limelight of the album, but for the better. Each stamps their own mark on the complex and dark Massive Attack composition style while at the same time, the album is undoubtedly Massive Attack.

Unlike 100^th Window, which was far too overproduced, Heligoland takes an almost minimalist approach to the bands style and incorporates traditional instrumentation with the obvious electronic mix. Because of this, the album has an organic feel that I think Massive Attack hasn’t explored until now, and for that, I think this album is as special as Blue Lines or Mezzanine.

The sound dynamics throughout the album differ a little. For instance, Splitting the Atom is my personal least favorite of the album. It’s plodding nature is only made worse by Daddy G, 3D and Horace Andy. At the moment, my favorite song on the album, which the more I listen to, the more I feel compelled to compare with Unfinished Symphony or Teardrop, is Paradise Circus. The tracks power comes from the pure and endlessly astounding vocals (from Hope Sandoval of Mazzy Star, a band I must cover at some point). The production creates a tense feeling that pays off so so well in the last minute.

The album is a more mature and patient  look at an almost unexplored side of Massive Attack, sticking to the feeling of certain songs from their past yet definitely staying consistent with the mood and style of the album that can stand alone yet proudly sit with their discography. It is strange, in the best way possible. I can see it gaining more and more respect over the years, and to be honest, it blew me, if only me, away. This is possibly my album of 2010 and we’re only in February.  I just hope their next album comes sooner rather than later, and that they tour again soon. 9/10 for sure.

Photography: The Little Things

The Little Things

Originally uploaded by Sam Boullier

I am going to try and incorporate FlickR with my blog, to try and get more views on both and merge each of my crowds. Here’s my most recent one, of the lampost outside my house in the snow.