Hiển thị các bài đăng có nhãn Midnight Madness. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Midnight Madness. Hiển thị tất cả bài đăng

Thứ Bảy, 24 tháng 8, 2013

GOD BLESS AMERICA - Review By Greg Klymkiw - Sometimes a Liberal must fight back with superior firepower.

God Bless America (2011) ****
dir. Bobcat Goldthwait
Starring:
Joel Murray,
Tara Lynne Barr

Review By Greg Klymkiw

Frank is a very kind person. He kills people. But they deserve it.

Big time.

Played brilliantly with pathos and deadpan humour by Joel Murray in Bobcat Goldthwait's God Bless America, Frank is a hard working American for whom life keeps dealing one losing card after another.

He's been diagnosed with a fatal disease. His wife has left him for a hunky young cop in a suburban paradise. His daughter has turned into a shrill spoiled brat who doesn't want to visit him on custody days because he has no cool stuff at home like video games. He "forces" her to do "boring" stuff like art, going to the zoo and playing in the park. In fact, his progeny is so indifferent towards him that when Mom calls Frank to see if he can stop one of the brat's petulant gimme-gimme-gimme outbursts, the little bugger’s response is, "I don't want Daddy! I want an iPhone!!!"

Frank is plagued and beleaguered by the Decline of Western Civilization In his world, the decay currently sending America straight into the crapper is one of the things forcing him to lie around his squalid home after mind-numbing work days as an insurance company executive.

Home.

Alone.

Home is a man's castle, but not this man, not this home. His next-door neighbours are genetically moronic White Trash filth - living poster children for strangulation at birth. He is forced, night after night, to crank up the volume on his television to try drowning out their subhuman conversation, the endless cacophony of verbal and physical abuse, the wham-bam sexual activities, the constant caterwauling from their no-doubt genetically stupid infant and the grotesque sounds emanating from their stereo and/or TV.

What he has to endure on television is, frankly, just as bad – the sort of stuff feeding the feeble minds of America – most notably his mind-bereft neighbours. There’s Tuff Girlz, a reality-TV program. Just as Frank channel hops to it, a white trash woman digs a blood-soaked tampon out of her vagina and flings it towards an equally foul white trash douche. Then there’s the endless parade of right wing wags dumping on the disenfranchised of America or insisting: “God hates fags” or presenting images of Barack Obama as Adolph Hitler – replete with Swastikas. News reports of homeless people being burned alive or true crime info-docs on the likes of mass murderer Charles Whitman buttress programs like Dumb Nutz where grown men engage in horrendously painful physical practical jokes on themselves. The airwaves are choked on the self-explanatory Bowling on Steroids or American Superstarz where a celebrity panel insults an untalented retarded boy with no talent whatsoever.

Perhaps the most repellent of all is reality TV star Chloe, a nasty teenage girl who treats anyone and everyone like dirt.

She most certainly must die.

Poor Frank. Even when he drives to work, every station on his car radio is an aural assault from Tea Party types. Once he gets to the office he has to endure the boneheaded water cooler talk of his simpleton colleagues as they moronically regurgitate everything he was forced to endure on television the night before. Capping off Frank’s miserable existence is a tiny bright spot that quickly turns dark. The fat, ugly sow that handles reception at the front of the office and openly flirts with him files a sexual harassment complaint behind his back and he loses his job.

When he gets home, all he has to look forward to is turning on his TV full blast, yet again, to drown out his jelly-brained neighbours. There is, however, a solution.

Frank, you see, is a Liberal – a Liberal with a handgun.

Cleaning up begins at home, so he pays his neighbours and their grotesquely squealing infant a visit. With his gun in hand, Frank upholds the values of Liberals everywhere – he does what it takes to do what all Liberals must do when civilization is on the brink of collapse.

Okay, we’re only about 15 minutes into God Bless America and at this point I laughed so hard I suspected I might have ruptured something. From here, the movie doesn’t let up for a second – especially once Frank begins a spree of violence against intolerance with a gorgeous, sexy teenage girl (winningly played by Tara Lynne Barr) who takes a liking to both him and his ways. They’re birds of a feather – a veritable Bonnie and Clyde – fighting for the rights of Liberals and anyone else who might be sick and tired of the mess America is in.

God Bless America is one of the best black comedies I’ve seen in ages. Bobcat Goldthwait makes movies with a sledge hammer, but it's a mighty trusty sledge hammer. He has developed a distinctive voice that began with the magnificently vile Shakes the Clown and with this new film he hits his stride with crazed assuredness. Some might take issue with the way he lets his central characters rant nastily and hilariously - well beyond the acceptability of dramatic necessity - but I have to admit it is what makes his work as a filmmaker so unique. He creates a world that exists within his own frame of reference which, at the same time, reflects aspects and perspectives that hang from contemporary society like exposed, jangled nerves.

With God Bless America, Goldthwait delivers a movie for the ages – one that exposes the worst of America and delivers a satisfying Final Solution to the problem of stupidity and ignorance. The pace, insanity and barrage of delightfully tasteless jokes spew from him with a vengeance, but they're not only funny, he uses them to create movies that challenge the worst elements of the Status Quo.

It's a movie that fights fire with fire.

Or rather, with a handgun.

It’s the American Way!

Even for Liberals.

"God Bless America" was unveiled at the Toronto International Film Festival (TIFF 2011) and is now available on DVD and BLU-RAY via VSC (Video Service Corp.)

Thứ Năm, 22 tháng 8, 2013

YOU'RE NEXT! - Review By Greg Klymkiw - Some effective jolts, within its been-there-done-that script.

You're Next! (2011) **1/2
dir. Adam Wingard
Starring: Sharni Vinson, AJ Bowen, Joe Swanberg, Margaret Laney, Barbara Crampton, Nicholas Tucci, Wendy Glenn, Amy Seimetz, Ti West and Larry Fessenden

Review By Greg Klymkiw

This energetic, crisply directed home invasion horror thriller delivers up the scares and gore with some panache. I especially loved the delightfully grotesque and ultra-creepy animal masks like those really cute lifelike ones you can buy for your kids at Zoo gift shops. In fact, the deadly home-invading carnage-purveyors might only have been creepier if they all wore matching Larry Harmon Bozo the Clown masks. (Or even creepier than that, if they WERE actually ALL Larry Harmon - but that, I'm afraid is another movie.)

In addition to the aforementioned, the picture is chock-full of babes. When genre thrillers - especially those set in one primary location are sans babes, it's the kiss of death. Always.

Here, though, we not only get babes, we get a mega-kick-ass Aussie chick played spiritedly by Sharni Vinson. Her character, it is revealed, was raised in a survivalist compound Down Under.

I kid you not!

An Aussie Survivalist Babe!!!

What's not to like?

Well, not that I expect much in the way of originality from this sort of movie, especially if the killings are conceived and dispatched with both humour and aplomb - as they most certainly are in the picture, but it's almost all for nought since early on we are assailed with clues which suggest the movie is going to have a twist that falls into the category of: " Oh fuck, I can see an obvious 'twist' coming from miles away and I hope to Christ it's just a red herring and the filmmakers surprise me with something as sick and twisted as what's already on display in terms of the genuine jolts and gore."

But no!

There it is in all its dullsville glory - the dreaded twist I won't reveal for the great unwashed who don't see it coming! (Anyone who doesn't see "it" coming needs a thorough brain wash.)

Come on, guys! Give me a break. Frankly, I'd have been happier if there was NO reason given for the killings save for a whack of psychos just doing what psychos do best. That really would have been better than the, uh... twist.

It's kind of too bad, because the first half of the movie proceeds like a delightful bat out of hell.

An affluent couple (the female half played by the still-delectable Re-Animator babe Barbara Crampton) are celebrating their 35th wedding anniversary in their ultra-chic country mansion and have invited all their kids and assorted significant others to join them. The characters sharing bloodlines are straight out of some lower-drawer Albee or O'Neill play and the conversation round the dinner table plays out with plenty of funny, nasty sniping

Great stuff!

Then the killing starts!

Even Greater!

And then, the aforementioned plot twist!

Uh, not great! Not good! Not even passable.



Thankfully, the carnage continues, but for this genre geek, the movie never quite recovers from a twist that was probably meant to be clever or something. I hate that! This is exactly the sort of thing that can drag potentially great genre pictures right down the crapper. It's too bad, really, because I really think screenwriter Simon Barrett has a lot more going for him than resorting to crap like that. He delivers a decent backdrop, first-rate sniping and a passel of great killings.

And, of course, let's not forget the babe raised on a survival compound in Australia.

Now that is truly inspired!!!

You're Next was unveiled during Midnight Madness at the Toronto International Film Festival (TIFF 2011) and is now playing theatrically via E-One.

Thứ Bảy, 29 tháng 12, 2012

THE DAY - Review by Greg Klymkiw - Lame, ultra-low-budget post-apocalyptic cannibal thriller a dull loser.

The Day (2011) *1/2
dir. Doug Aarniokoski
Starring: Shawn Ashmore, Ashley Bell, Cory Hardrict, Dominic Monaghan, Shannyn Sossamon

Review By Greg Klymkiw

Okay, so we all know when we’re watching a genre picture that’s low-to-no-budget - we’re out in a wilderness setting with one primary location and a relatively small cast. This normally isn’t a problem when the filmmakers go out of their way to make up for a lack of dough by:

(a.) Taking the genre into territory we’ve never quite experienced before and/or;

(b.) Maintaining a sense of dark (and hopefully not tongue-in-cheek) humour and/or;

(c.) Showcasing really good writing in terms of character, theme and dialogue.

This, I think, is especially important for post-apocalyptic thrillers, because the last thing you want to offer fan-boys is a dour, humourless, low-to-no-budget post-apocalyptic thriller.

This is often, shall we say, apocalyptic in more ways than one.


The Day hits zero out of three on the aforementioned checklist of low-to-no-budget genre thriller requirements. It’s a dour, humourless been-there-done-that post-apocalyptic thriller with by-rote writing that no doubt thinks it’s smart. The screenplay by Luke Passmore loads up all the clichés of the genre with a heap of dull blah-blah-blah in confined spaces and stock characters (the cool collected leader, the kick-ass babe with smarts (as it were), the loner kick-ass babe who is seemingly off her rocker, the supposedly funny team member who is sick and holding everyone back and, for the life of me, I can’t even remember who the fifth team member is, but I can assure you he’d probably be more memorable if I bothered to watch the movie again.

The picture focuses on one day in the life of five apocalypse survivors trying to stay a step ahead of crazed cannibals (identified by an “I’m a cannibal” tattoo) looking for fresh meat. Food is in short supply so humans are the best bet for good eating. The one-day-in-the-life conceit could have been interesting, but it’s not fully exploited in any meaningful and/or useful fashion. The device appears to be there because the filmmakers think they're being clever and/or have used it as a let’s-keep-exigencies-of-production-in-mind convention.

None of this is surprising since the movie is all about setting up expectations and then not delivering (and when it does, it's much ado about nothing). For example, early on in the film, the survivors come upon a seemingly abandoned farmhouse. We sit back in anticipation as director Doug Aarniokoski draws out the “suspense” whilst our team slowly susses out the situation. This drags on for what feels like an eternity until… nothing.

All seems well.

Phew!!!

We then have to suffer through a whole lot of dialogue where the actors get to emote and be characters we could care (less) about and it then seems to take another eternity before something vaguely exciting happens. When it does, it’s exactly what I predicted when they first discovered all was well. I have no doubt you'll figure it out too. My apologies, then, for having seen too many movies and knowing exactly where things are going, If you’re going to make a picture like this for no money you better damn well think of shit that geeks like me aren’t waiting for. Or, if you do utilize obvious genre tropes, you better damn well do something interesting and/or funny with them. Instead, the movie plods along with no surprises, no thrills and nothing new under the sun. At times, it’s hard to believe the movie is only ninety minutes. It's so dull it feels like ninety hours

About the best one can say is that The Day is at least professional and borderline competent. The performances are as fine as they can be under the circumstances and director Aarniokoski (director of the incomprehensible hack job Highlander: Endgame and the ludicrous Animals) handles the suspense and action with rudimentary competence. This, however, is hardly a compliment. If the movie had at least been utterly incompetent, it might have been blessed with something resembling entertainment value.

The Day had its unveiling at the Toronto International Film Festival (TIFF 2011). If it's theatrically released, civilization as we know it will be dead. You can find it on DVD and Blu-Ray from eOne Films home entertainment.

Thứ Năm, 27 tháng 12, 2012

STAKE LAND - Blu-Ray/DVD Review By Greg Klymkiw - Vampires in a post-apocalyptic Bible Belt!!! Now how cool is that? It's plenty cool!


Stake Land (2010) ***1/2
dir. Jim Mickle
Starring: Nick Damici, Connor Paolo, Kelly McGillis, Danielle Harris and Michael Cerveris

By Greg Klymkiw

Imagine, if you will, Cormac McCarthy's The Road madly copulating with Richard Matheson's I Am Legend. shooting the seed of post-apocalyptic despair that penetrates the foul egg of vampirism. And the result? The unholy vaginal opening eventually spits forth a cinematic love child that is Stake Land - an intelligent, super-cool, super-scary and super-knock-you-on-your-ass dystopic sci-fi horror picture.

It's the end of the world as we know it. A horrendous virus that's turned most of the world's population into vampires forces what's left of the non-blood-sucking-freaks into crazed survivalists.

Set in the heartland of America, the picture presents a portrait of humanity that's not so different from what already exists - ignorant, Bible Belt Christians bearing arms hole up in fortress (gated) communities - killing non-believers and only killing vampires in self-defence. They believe, wholeheartedly, that this pestilence has been wrought by God to rid the world of sinful degenerates.

Into this mess, we're introduced to the young boy Martin (Connor Paulo) whose parents have just been torn to shreds by vampires. He's rescued by the legendary Mister (Nick Damici), a no-nonsense vampire hunter who, like the character of Neville in Matheson's great novel I Am Legend, is known to all - especially the Bible-thumping survivalists - as the meanest, nastiest vampire killer of them all. And, not unlike The Road, man and boy engage in an odyssey across America in search of the "New Eden" (which is, apparently, Canada - and as a Canadian, I only take exception if the destination is Toronto, the smugly fuckling capital of the world.).

The central antagonist, the skin-headed, bible-spouting madman (with one of the best movie names since "McLovin') Jebediah Loven (played with all the relish one would want from a great screen villain by Michael Cerveris) is always on the prowl for Mister and especially, women for rapin' and a breedin'. Even the vampires seem benign compared to this nutcase.

In addition to Jim Mickle's tremendously directed suspense and action scenes, what separates Stake Land from all the rest is the fact that within the genre conventions of horror and the road movie, the writing is extremely first-rate and while I might have preferred it to be a bit less humourless, I'm thankful it didn't descend into the silly tongue-in-cheek laugh-fest-grabbing cesspool that Zombie Land annoyingly dove into.

The screenplay delivers a nasty, solid, straight-up 70s style dystopia - replete with the kind of natural social commentary that never feels like a sledgehammer. In fact, by setting much of the conflict against the backdrop of Christian fundamentalism, the screenplay does what great dystopian tales should do and provide a solid reflection of our contemporary world situation.

Written by star Damici and director Mickle, it's especially gratifying that the script distinguishes between fundamentalism and genuine faith - avoiding the kind of knee-jerk pot-shots levelled against Christianity. Into the mix, they've written a terrific role for Kelly (Top Gun, Witness) McGillis as a middleaged nun who is saved by Mister from a gang-rape led by Jebediah Loven.

Goddman!

I love that name.

Let's all say it together, shall we?

"JEBEDIAH LOVEN!"

Now don't that make you feel good?

But, I digress.

The nun uses her faith to impart the kind of level-headed wisdom missing on both sides of the fence and the character is drawn by the writers so that she's not a total hook-line-and-sinker swallower of dogma, but a genuine human being who is also faced with a crisis of faith. Finally, though, her character embraces the sacrificial notion of Christianity and provides a tremendously powerful and movie story beat within the film. It's also nice seeing a mature McGillis who delivers a complex and heart-felt performance. And yeah, I still think she's a babe!

Intelligence and artistry aside, though, this movie delivers what all true genre fans would want. The carnage is superb, the makeup effects on the vampires is first rate (l love how they look like zombies/demons) and we also get a MAJOR babe in the form of the delectable Danielle Harris who is the token female eye-candy all genre films must have.

Most importantly, and especially given the title, I for one, was utterly delighted that Stake Land features several magnificent sequences involving the driving of wooden stakes into the hearts, throats and bellies of vampires.

These days, a good stake is rare indeed.

Thứ Ba, 4 tháng 9, 2012

JOHN DIES AT THE END - TIFF 2012 - Review By Greg Klymkiw

John Dies at the End (2012) ****

dir. Don Coscarelli

Starring: Chase Williamson, Rob Mayes, Paul Giamatti, Glynn Turman, Clancy Brown

Review By Greg Klymkiw

Don Coscarelli is, without question, the real thing - a truly inspired Master of Horror. (He might also be certifiably insane, but what do I know? I'm no shrink.) As the director of cult classics like the Phantasm pictures (with Angus Scrimm as the diabolical wielder of blood suckin' and a spurtin' silver spheres) and the finest entry in that unbeatable genre of Elvis-duelling-with-dangerous-denizens-of-Ancient-Egypt Bubba-Ho-Tep, his latest offering is one mo-fo of an eye-popping mind-bender. John Dies at the End gives new meaning to the oft-heard phrase in only the finest grease-laden, alley-cat-for-chicken-serving Oriental restaurants in the Occident - "Can you please pass the Soya Sauce?"

If you buy me a MEAT MONSTER today,
I will gladly pay you back on Tuesday.
Oh, and what a delectable platter of Szechuan Steak Coscarelli's new movie is - like mouth watering morsels of fine flank (of cow, NOT dog), marinated in the saltiest Eastern Black Gold and wokked within an inch of its life in an indelible mixture of oil, garlic, ginger, scallions and, of course, the distinctive pepper from the dried rind of the prickly ash tree. The picture serves up gore, shocks and suspense accompanied by healthy dollops of black humour and psychedelic surrealism that ranks right up there with a Dim Sum rice roll chock full of Luis Buñuel, Alejandro Jodorowsky and James Whale.

I NEED SOYA SAUCE - NOW!
Damn! Before I get too hungry, allow me to dive directly in to what you're going to see in this contemporary genre classic. In a nutshell, two best buds, David (Chase Williamson) and John (Rob Mayes), are mega-slackers - not unlike Bill and Ted, only they're not stupid and they go on an adventure that is in no way, shape or form an EXCELLENT ADVENTURE (though we, the viewers, are afforded a most excellent adventure, indeed).

And how, pray tell do they find themselves on this harrowing journey up the river into a veritable heart of darkness? Simple. They've gone and ingested a completely mind-pummelling hallucinogen called - you guessed it (or not) - SOYA SAUCE.

Now, if you will, put on your mathematician's hat and add together every bad acid trip you've ever taken, multiplied by every single bad acid trip anyone's ever taken and our heroes are plunged with Hoover Dam ferocity into a world of scary shit where reality morphs with fantasy until the world of the trip becomes horrifyingly real to the extent where everything they think is real springs to life as a nightmare that never ends and keeps turning in on itself repeatedly and with more convolutions than the too-sickeningly-horrendous results of, say, Terence Malick on crack cocaine.

THE BIBLE BELTER
The hallucinogen itself is, you see, not some mere chemical. Soya Sauce is a living thing - a slithering, slurping glob of putrid viscous discharge that rips your sense of reality into a finely blended wad of chopped liver and KFC creamy coleslaw.

This stuff fucks you up big time. It scares the living faecal matter out of you, but worse, it - and most of all - what IT creates is alive. It's so alive, you can die at any time and frankly, you might actually be dead already - careening wildly from one horrendous scenario to another in a purgatory of horror with no end.

PAUL GIAMATTI CRAVES SOYA SAUCE
Add to this witch's brew the likes of Paul Giamatti as a sleazy reporter trying to get both the truth AND the Sauce, the brilliant Clancy Brown as an Amazing Kreskin-like Mentalist crossed with Tony Robbins and, like Hugh Hefner, always flanked (as it were) by a bevy of bodacious babes and last, but not least, one of the great living contemporary character actors Glynn Turman as a cop who meets way more than he bargained for when he's forced into dealing with a scourge that exceeds every slime-bucket he's ever had to deal with in leaps and bounds.

BABES TO THE EAST, BABES TO THE WEST, HE BE STROKIN'
Coscarelli handles these proceedings with imagination, skill and one hell of a great sense of humour - NEVER tongue in cheek, but always rooted in the absurdist elements of the drama itself. Revealing anymore, however, will do you absolutely no favours. And as for the title, there's a damn compelling reason for you to keep watching. If John dies at the end, how, OH HOW will he finally bite the bullet within the context of this complete whack-job of an utterly inspired fright-fest.

"John Dies at the End" is premiering in Midnight Madness at TIFF 2012. For Further info visit the TIFF website HERE.

Thứ Ba, 14 tháng 8, 2012

THE RAID: REDEMPTION (now on Blu-Ray and DVD from Alliance Films) - Review By Greg Klymkiw - Gareth Huw Evans is the real thing. Christopher Nolan and all the other ham-fisted directors could learn more than a few tricks from this mad, meticulous filmmaker.



The Raid: Redemption (2011) dir: Gareth Huw Evans

Starring: Iko Uwais, Joe Taslim, Donny Alamsyah, Yayan Ruhian, Pierre Gruno, Ray Sahetapy

***1/2

Review By Greg Klymkiw

I've got a great idea! Surprisingly (or not-so surprisingly), Christopher Nolan was the chief inspiration for the proverbial lightbulb blinking above my noggin. Here's my revelation:

Deep six everybody who can't direct action and/or suspense and replace them with Gareth Huw Evans. In fact, I'd go so far as suggesting that every action movie ever made from here on in needs to be directed by Gareth Huw Evans. Well, actually, we'll leave John Woo, Sam Raimi and a handful of others alone, but the rest can don netted wife-beater shirts, spandex shorts and a fashionable (but equally practical) pair of shoes to beat the pavement in a suitable neighbourhood to turn tricks for in-the-closet married johns.

After a promising feature debut with the sicko thriller Footsteps in 2006 and the kick-ass sophomore effort Merantau in 2009, Gareth Huw Evans, the plucky Welsh director has "Top of the world, Ma!" written all over him. This guy's going to keep delivering the goods until he goes out in a blaze of glory.

Clearly indebted to the influence of John Woo, Sam Peckinpah and some of the great Shaw Brothers martial arts classics, but with his own additional flavour of relentless style, Gareth Huw Evans is, no doubt, one of the most astonishing talents to break into the motion picture temple of those men who hold forth the torches of genre genius.

Every neck snap, bone cruch, gunshot, machete hack and explosion in The Raid: Redemption is imbued with narrative propulsion, mind-blowing bravura and often, suspense strung so tight one is waiting for something within one's own viscera to snap. After three viewings (at TIFF 2011's Midnight Madness, theatrically and now on Blu-Ray), my delight and excitement has not diminished.

The screenplay by Evans is deceptively simple - a Jakarta SWAT team invades a huge, blasted-out apartment building to make their way, floor by floor, to get to the very top in order to take out a powerful dirtbag crime lord. Along the way, they meet any number of lowlife scum buckets and eradicate them with zeal.

Eventually, even the SWAT team is no match for the army of trained killers that besiege them from every nook, cranny and apartment. A handful of the cops remain and must decide whether to continue ever-upwards to finish the mission or make their way down to get out. Either way, death seems inevitable for some, if not all of the boys in special-ops black.

That's pretty much it, but Evans injects a few welcome narrative touches that add an element of humanity to the otherwise savage proceedings. Firstly, the hero of the picture Rama (Iko Uwais) is given just enough flesh for us to desperately root for him. We pretty much hope this rookie will survive in order to see his loving wife give birth to their first child, to fulfill a pact he's made with his father, to save as many of his colleagues as humanly possible and, of course, take out the head honcho.

Evans also delivers a simple, but effective element of duality to the good and evil sides of the equation so we get a nice Woo/Peckinpah-like dose of sentimental male bonding.

Iko Uwais is not only a terrific actor (whom the camera loves big time) but he's one of the world's leading practitioners of the ever-so heart-stopping form of Indonesian martial arts, silat. Yup, it involves all the great hand and foot action you'd expect from a martial art, but also blends the sickening, stomach churning and dazzling use of blades - blades of all sorts: knives, swords, machetes - some of which are equipped with the most carnage-inflicting serrated edges imaginable.

Uwais also choreographs the action - all of which is performed by a seemingly endless number of expert practitioners of silat. Needless to say, there is plenty of blood.

Happily, Evans captures every single action set piece with both the approach and precision of a true Master. He hangs the camera back and lets the choreography dictate the pace. He uses closeups, dollies and cuts judiciously. Nothing is sloppy, jagged or out of place in the horrible herky-jerky fashion employed by virtually every mainstream director who indulges in action scenes. His sense of geography is impeccable and there's no annoying Christopher Nolan-styled bombast-over-DNA-hardwired-directorial-virtuosity.

The story, though simple - perhaps because of its wise simplicity - always moves forward and most importantly, the action is not only there for suspense and thrills, but to hammer us ever-closer to the inevitable ultimate showdown.

There are times when the movie is so sickeningly violent, you'll feel like averting your eyes. You won't though. You might be missing something you've never seen before.

"The Raid: Redemption" is available on a great Bluray transfer replete with a bevy of excellent extra featues from Alliance Films. It's also available on DVD, but why bother?"

Action fans will definitely want to own "The Raid: Redemption" and perhaps some of Evans's other films "Merantau" and "Footsteps". Feel free to order from the Amazon links below and you'll be assisting with the maintenance of this site.





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