The Grudge (2004) Review:

In horror films, spirits and ghosts are popular creatures used in hauntings and spook fests. Sometimes though, the incarnations featured in the US don’t come across unique or creepy. With that, every now and then international influence helps rejuvenate an industry. Movies are no different when it comes to the US as well. Which is why this film was made, when Sam Raimi saw the original movie released in Japan under the title Ju-On (2002). Usually when a story is adapted into a foreign market, there is a loss in translation due to cultural differences. That doesn’t seem to be the case here though, as this Americanized version of the film seems to be handled with just as much care.

Directed by Takashi Shimizu who also directed the original Japanese film, the story is about transfer student Doug (Jason Behr) and his girlfriend Karen (Sarah Michelle Gellar) who moved to Japan to receive caretaker credit. When an assigned caretaker doesn’t report into work for a specific residence, Karen fills in only to discover something isn’t right about the location of the house. Adapted by Stephen Susco in his first theatrical writing credit, the story is clearly disturbing in way that’ll keep its viewer watching with intrigue. The person who lives at the house is Emma (Grace Zabriskie), the mother of Matthew (William Mapother), Susan (KaDee Strickland) and mother in law to Matthew’s wife Jennifer (Clea DuVall). When Karen reveals to local police detective Nakagawa (Ryo Ishibashi) that she saw a creepy child named Toshio (Yuya Ozeki) is when the plot thickens.

Most of the characters depicted in this story are an interesting bunch. Sarah Michelle Gellar best known for her roles in Cruel Intentions (1999), Scooby-Doo (2002) and Buffy the Vampire Slayer TV Show, plays a likable lead even though she’s not totally the main focus. The reason for this is the slightly disjointed execution from director Shimizu. In order to explain why this residence has a lingering spirit, the movie takes its audience through a series of different flashbacks at different times. They are not hard to follow, but the moments at which they begin and end feels like they’re in the wrong place. Or at the very least could been shown at a different time in the story. Runner up to Gellar’s performance was Ishibashi’s role as detective Nakagawa. Rounding out the cast, the movie also has appearances from Bill Pullman, Rosa Blasi, Ted Raimi, Yôko Maki, and Takako Fuji.

What also makes the story to this horror film entertaining is the inclusion of Japanese mythology. Based loosely on the belief on how it occurs, the title of the film appropriately lends to the nature of the disgruntled antagonist. Perhaps the only other component to the film that won’t please in particular the gore hounds is the level of violence. It’s not much, but considering it’s a PG-13 rated film, that’s rare. Plus, the original Japanese version didn’t have any. Besides, ghostly apparition films are more psychological than they are gory. The effects are also very well put together despite its budget and year that it was made. Very little of it is CGI and the parts that actually show the spirit, look like stop-motion but are indeed the talent of the actor, which is very impressive to say the least.

Camerawork was also skillfully shot for this picture. Hideo Yamamoto served as the cinematographer. Yamamoto also worked on the original One Missed Call (2003), another popular Japanese horror film and a year later would do the same for Tetsujin 28 (2005). As for music, the score was composed by famed gothic composer Christopher Young. Although part of the sound heavily relies on dark brooding soundscapes, Young did compose two main themes which in their own right are memorable for the franchise. Considering Young also composed other great works like Hellraiser (1987) and Species (1995), it’s nice that director Shimizu chose him to provide the music for this film. Thankfully an album exists and has just the right amount of creep factor to it to entertain.

The way the story is told can feel out of place and gore may seem light to those who want it, but that’s not much compared to the entire experience. The plot which includes some Japanese culture is captivating, the visuals are good and the music is entertaining for the genre.

Points Earned --> 7:10

The Muppet Movie (1979) Review:

He’s been known for many things related to television. He made the word “Muppet” a common term. He created Sesame Street, a children’s show everyone has enjoyed for all ages. Most importantly though, he reinvigorated an industry that was seen as old fashioned and viewed as almost laughable. Ventriloquism and puppetry seem like a trivial way of entertainment, but before special effects and CGI were a thing, it has long been a means for that reason. Just because it’s old doesn’t mean it no longer has value nor contributed to the evolution of the industry it’s related to. Rightfully so, with the success of The Muppet Show, Jim Henson took the next step in his film career by making a movie about them. What results is a strong first entry in Henson’s theatrical movies.

The story although not credited at all to Henson, is an allegory to Henson being able to make his Muppet movie. Even with the success of The Muppet Show, Henson had trouble finding someone to support his first theatrical film. Kermit the frog (Jim Henson) is enjoying his life in the swamp when he’s visited by a Hollywood agent telling him he could be a star. Feeling he could make an impact, Kermit sets out on the road and meets all his other friends people come to love and know so well. In a sense, it’s an origin story. The script was written by Jerry Juhl and Jack Burns, both who had worked on The Muppet Show as well. Directing the feature was James Frawley who had more experience heading TV shows like The Monkees and Magnum, P.I.

For those who enjoy the Muppets, the film gives the viewer a good idea as to how Kermit hit it big with Hollywood and was able to gather his group of diverse and colorful friends. Characters like Fozzie Bear, Miss Piggy, Gonzo, Rowlf, Dr. Teeth, Animal, Scooter, Beaker, Bunsen and more get their introductions one way or another. The script also loves to break the fourth wall with the audience, letting them know the Muppets know it’s a movie. The puppeteers and voice actors all do a great job making these characters feel like they are their own individual. Not to mention as expected, the movie also contains several cameos from big name actors at the time like Charles Durning, Austin Pendleton, Edgar Bergen, Mel Brooks, James Coburn, Dom DeLuise, Bob Hope, Carol Kane, Richard Pryor, Orson Welles and Caroll Spinney playing who else but Big Bird.

Perhaps the only thing that suffers in the movie is pacing. It’s not a bad thing, but it’s most likely the weakest link in the production. At times, audiences may feel the story is kind of taking a wacky detour. This comes down to the incidents Kermit and his friends get involved with, some of which don’t make a lot of sense. Perhaps that was a part of the comedy? It’s a bit hard to tell, but that doesn’t mean the movie isn’t funny. There are plenty of moments where the characters get involved in over the top antics. The effects used in this movie are also commendable. There are a number of illusions used in the movie that are mind blowing for the time that show a puppet can fully exist on screen without being attached to a puppeteer. It’s very creative.

These camera tricks were caught by Albert Einstein lookalike cinematographer Isidore Mankofsky. From what is shown, Mankofsky filmed several nice countryside backdrops along with varying streets of California. Lastly, the music composed by Kenny Ascher and Paul Williams is notably an important piece. Having worked very famously on the second A Star is Born (1976) remake, it’s no shocker they created memorable music here too. Songs like the “Rainbow Connection”, “Movin’ Right Along”, and “I’m Going to Go Back There Someday” are all songs that bring out the proper emotions for the scene. Making it all the more enjoyable are the small snippets of score that they composed throughout the film. Thankfully the album exists and has been reissued. Definitely something worth adding to a collection.

Pacing is probably the only thing that falters from time to time. That should not be too bad though because the acting, guest appearances, story, songs and cinematography all make this an enjoyable family picture.

Points Earned --> 8:10

Underworld (2003) Review:

Universal Studios’ classic monster movies from the early days of cinema continues to be one of those milestones that filmmakers look to inspiration for. Whether it’s creating new horror figures or working with already existing ones, werewolves and vampires have remained as one of those top types of monster classes. And while these creatures had their fair share of separate features, they did not often cross paths. But of course, once The Matrix (1999) came out along with “bullet time”, everyone wanted to try a film with this. Leave it to newcomer director Len Wiseman to make this happen by combining these two horror classes in one picture. With that, came the franchise fans couldn’t seem to get enough of, despite critics panning it. In order to like it though, one kind of has to be into the style and story.

The story penned originally by Kevin Grevioux and scripted by Danny McBride in his first theatrical credit is about a lengthy ongoing war between Lycans (Werewolves) and Vampires. While hunting Lycans led by Lucian (Michael Sheen), one of the vampires named Selene (Kate Beckinsale) sees them following a human named Michael (Scott Speedman). Curious as to why, she makes it her mission to find out what their plans are. Concurrently, Selene’s superior Kraven (Shane Brolly) tries to keep her from overstepping her place for soon the lead vampire Viktor (Bill Nighy) will awaken to finally crush the Lycans. For a premise, it seems entertaining enough but that’s pretty much where it stops, because there are equally bad parts for the good. It’s another surprise seeing that the film was successful, yet fails to impress all completely.

The acting in this film is acceptable. All actors give performances probably one would expect. The characters themselves though are the ones that come off odd. Beckinsale’s Selene has an interesting history, but why does it seem like she’s the only one hunting Lycans? All the other vampires under Kraven dwell in a fancy mansion sitting in fancy chairs. Is that all they do? They don’t seem to be in any centuries long war. The character who stands out as the most intriguing is Lucian. He seems the most enthusiastic about fighting the war between the factions and for good reason. That’s it though. Not even Scott Speedman playing the macguffin of the plot lends for any strong attention. He also plays a predictably written subplot to that of Beckinsale’s character.

Adding to these story clichés is the padded run time. The film just breaks two hours and somehow feels longer than that. If the film trimmed off at least twenty minutes, it would have been reasonably paced. Instead, scenes feel longer than necessary. Not to mention the decently shot action sequences matching very close to the slow motion shots filmed in other action movies. All those slow moving frames add up. The picture also ravishes in showing its viewers the set design, which is built very authentically. However, there’s a lack of variety. Much of the set pieces are of same locations over and over again. Let’s also not forget that there are no daylight scenes. The setting is always dark and rainy. Is this Earth this story takes place in or some other planet?

Camerawork was handled like it needed to be however. Tony Pierce-Roberts served as the director of photography and had also worked The Remains of the Day (1993) and Kiss Kiss Bang Bang (2001). Roberts also makes sure to show the audience a good amount of gore in case anyone was worried the R rating wasn’t fortified. Lastly, the score was composed by Paul Haslinger, who had scored films before, but would breakout here with this effort. While much of the work is more atmospheric, there are moments of thematic music that pops in every now and then. Perhaps the more standout components to Haslinger’s score is during the action scenes where the music kicks into gear with heavy percussion and synthetic clicks. It’s not a great score and works in some places, but overall not impressive.

Acting and camerawork are the best parts to this franchise starter. The premise itself is an idea, but the execution is slow in a number of places. Very few characters will get a viewer’s attention, the settings are majority singular and the music is more of a product of its time.

Points Earned --> 5:10

The Pink Panther (1963) Review:

Typically, single movies or franchises find success because of the initial impression they leave on their audience. Majority of the time it’s because the viewing experience was undoubtedly positive and was unlike any other movie seen before. This movie itself is no stranger to that kind of response when it comes to its history. Yet looking at it now can make a viewer wonder, “How did this launch a franchise of several more sequels”? It really is rather baffling after seeing this film because apparently it was a big hit and launched Peter Sellers, one of the co-stars into Hollywood stardom. Somehow though this film is hardly the laughing riot it’s declared to be, as it is remarkably tedious in its execution from veteran filmmaker Blake Edwards.

The story is about a rare pink diamond called the pink panther, which is in the possession of a princess (Claudia Cardinale), who plans on having a party. Due to recent robberies though from an elusive thief who goes by the name of “the phantom”, Inspector Clouseau (Peter Sellers) is hoping to nab them once and for all. The screenplay was written by Maurice Richlin and co-written by Blake Edwards and somehow doesn’t make much of a difference. Sadly, for whatever positive there is to mention about the film, there’s an equal negative about it. Blake Edwards’ direction on the story is very slow a for crime comedy. There are numerous scenes that drag on for what seems like more than needed. This extended time with certain characters leaves others feeling neglected and mostly disconnected from the main plot. Unfortunately, this leads to probably the biggest surprise.

The comedic elements are just not that funny. Maybe at the time they were, but as time has passed only some parts may induce a laugh here or there. That’s jaw dropping when this is supposedly the entry that started it all. Considering Peter Sellers wasn’t universally found to be nearly as funny until after this movie; it’s amazing anyone did! Peter Sellers as clueless Clouseau can do physical comedy, but he’s barely in the movie. Understandably so, since he was not ultimately the main star until after the release, but still. How did anyone find Seller’s performance hilarious if he was barely in it? That’s not to say the acting isn’t good. Far from it. All thespians involved act appropriately for their characters. There’s numerous veteran actors that have roles in the story.

There are appearances from David Niven as Sir Charles Lytton, Robert Wagner plays his son George Lytton, Capucine plays Clouseau’s wife Simone and Colin Gordon plays Clouseau’s assistant Tucker. The unbalanced focus though is what throws these performances off. Characters tend to have contradicting motives that get revealed as the run time continues. While some may see the comedy in this, to others it may not make sense. The only actor who in its purest sense is attempting real comedy is Peter Sellers with his physical slapstick. As mentioned before, while he may not be as prevalent as one would expect, Sellers does make his character do things that can produce a laugh. Whether it’s tripping over things or misusing objects, it’s humorous. It’s just disappointing he’s not there all the time.

Visually speaking the movie is competent looking. Handling the camera was Philip H. Lathrop who knew Blake Edwards as well. What perhaps came to be the most recognizable aspect of this film though was the music composed by Henry Mancini. The sound of the score is probably one of the most fitting lounge about melody types one could hear. Not only does it juxtapose the complete opposite that is Inspector Clouseau, but its themes are probably the most memorable. Mancini’s orchestrations are highlighted with piano, saxophone and what appears to be accordion which is rare for film music. Too bad the rest of the film couldn’t be as unique.

Either it’s just that time hasn’t been nice to the jokes in this film or clearly no one had ever seen a comedy before, when the film first came out. It’s astonishing that this was the movie that created the franchise fans enjoy so much. While the slapstick from Sellers is enjoyable, he’s not a huge spotlight to the experience. The pacing drags for far too long in varying spots, many of the jokes don’t produce laughter and character motives are confusing. Music is really the only thing a viewer can count on 100%.

Points Earned --> 5:10