Review: Indie Game – The Movie / Director: James Swirsky, Lisanne Pajot / Release Date: Out Now (via iTunes, Steam, and direct from the filmmakers DRM free at www.indiegamethemovie.com, with a special edition DVD and Blu-ray release later this year.)

Once confined to the realm of darkened teenage bedrooms, the videogame industry has become a juggernaut of modern entertainment. Valued at an estimated 100 billion dollars, the bedroom warriors of old have given way to a mainstream audience that accepts sitting down on the couch with a controller in hand as an equally viable family entertainment choice as a trip to the multiplex. Behind the household names and marquee releases such as Gears of War or Assassins Creed where hundreds of developers with near limitless budgets create their latest number one seller, there is a smaller, lesser known element constantly at work to create a different kind of digital experience.

Indie Game: The Movie, a Kickstarter funded documentary by Canadian filmmakers James Swirky and Lisanne Pajot follows the lives of independent game creators throughout the process of programming, releasing and distributing a game outside of the large studio system that dominates the industry. Edmund Mcmillen and Tommy Refenes are working round the clock to finish their game Super Meat Boy on deadline, as Phil Fish creator of Fez battles to complete a title four years overdue amidst an industry where audience hype and mindshare is a precious but short lived commodity. What unites both teams, is a desire and commitment to creating something that can not only satisfy the needs of investors and players, but their own creative vision.

Unlike mainstream games that sell millions of copies week in and week out by expensively courting mass market attention, many indie creations carry significant investment from the programmers and designers on a personal level. While the tiresome debate over games as art will never be resolved, to these small but hugely talented developers, the expression of individual themes and their own artistic worldview are at the forefront of their process, while devoting their lives to the arduous and painstaking task of making sure the game actually works as it should once it reaches consumers.

Skillfully, the film tracks what is inherently a very mechanical exercise as a more human and relatable subject, highlighting the fears and anxieties that plague its subjects on a daily basis, and successfully conveys the levels of personal sacrifice they go to in order to make their visions become a reality. Indie Game: The Movie also makes a very fair and even handed representation of those involved, and doesn’t hide the very real element of pretentiousness that is always near in the world of independent development, where games – a product that most take as nothing more than a time-killing hobby – suddenly become more of a conceptual art project, with flashy action replaced by thoughtful and often abstract experiences.

Jonathan Blow, creator of indie darling Braid, speaks very honestly about his design philosophy, and how garnering universal acclaim (and considerable financial success) can sit at odds with the original meaning behind his work. The audience might have enjoyed it, but they might not really “get it” as the artist may have wanted. The developers aren’t always seen as likeable, with moments of hubris, bravado and bitterness toward larger scale operations on clear display. Once the film starts to explore the deeper motivations and issues faced by the participants and move beyond the Twitter feed business politics however, it’s hard not to believe in their goals and cheer on their efforts.

Despite the documentary’s distinctly indie feel (forty percent of its operation budget was crowdsourced, and is being released initially via DRM free digital download), it maintains an impressive visual style that combines wonderfully captured observational imagery with a well directed sense of logic that makes the lines of code and design documentation easy to follow for the viewer, increasing the understanding of the sizeable and infinitely complicated task taken on by the individuals.

It’s undoubtedly a tall order to make images of a pasty programmer entrenched behind a bank of monitors something worth looking at, but Swirky’s photography proves irresistible, cleverly creating a sense of timescale through impressive editing choices that use perfectly captured cuts of both real world locales and videogame realms. Set to a thoroughly listenable score by Jim Guthrie, this well paced and affecting documentary makes for a stirring and inspiring tale filled with insight to the very personal side of an industry almost entirely devoid of personality.

Movie Review: Red Lights / Cert: 12 / Director: Rogrigo Cortez / Screenplay: Rodrigo Cortez / Starring: Sigourney Weaver, Rober De Niro, Cillian Murphy, Toby Jones, Elizabeth Olsen / Release Date: June 15th

The Zener card moment in Ghostbusters introduces Bill Murray’s character in an exceptionally funny way. The Zener card scene in Red Lights with Sigourney Weaver giving an impassioned speech about the flaws in psychic testing is also amusing and perfectly sums up the mood of this paranormal thriller with a sense of humour and a political edge. Director and writer, Rodrigo Cortés, who previously impressed with Buried, loses some of the focused intensity and delivers a dramatic over the top concoction.

Dr Margaret Matheson (Sigourney Weaver) and Tom Buckley (Cillian Murphy) are the paranormal investigative duo fighting against the politics of university budget constraints and the charlatans inhabiting the psychic world. When the legendary psychic showman Simon Silver (Robert De Niro) announces his return to the forum after a thirty year absence the pair quarrel over the need to investigate the authenticity of his “gift”. Matheson wants to leave well alone after a past incident, whilst Buckley is insistently fist banging on about the importance of shedding light on this mentalist. Student, Sally Owen (Elizabeth Olsen) also joins the team as an aspiring investigator and regrettably a love interest for Buckley. Their storyline is weak, but she provides the character through which Cortes can ask questions that may be going through the viewer’s head. Olsen is as always great with what she is given, and the dynamic between her and Murphy works on the mentoring level but falls flat on the romantic side.

From the start it is Weaver who engages and intrigues with her strong, straight talking Matheson and her performance appears effortless as she slips into the role with ease. The motivation behind Matheson’s interminable job is a little shaky but it does allow a vulnerability to be explored in her otherwise tough exterior. Murphy is weirdly endearing as Buckley with his milk drinking idiosyncratic ways, and he gets some exquisitely over the top scenes that need to be embraced for all their theatrical madness. His scenes with De Niro reach from the bizarre to the downright dark. A relentless, brilliantly inserted fight scene that allows for nothing more than a particularly striking image of a blood-soaked Cillian Murphy and a much needed adrenalin rush to pump the audience up for the finale is a highpoint.

At the centre of Red Lights is the idea of questioning preconceived ideas and it attempts to channel the audience along this path. Cortés is going for Hollywood misdirection, however on assembling a film intended to make the viewer question what is going on, the final act is flawed by not letting the audience chew on what has been presented. Engaging at times and full of powerful performances but meandering moments meant to disorientate ruin the rubicund mood. You’ll leave the cinema languishing in or laughing at the absurdity of it all.

Expected Rating: 7 out of 10

Actual:

Movie Review: The Girl from the Naked Eye / Cert: 15 / Director: David Ren / Screenplay: Larry Madill, David Ren, Jason Yee / Starring: Jason Yee, Samantha Streets, Gary Stretch / Release Date: June 15th (US), TBC (UK)

The Girl from the Naked Eye is an impressive, enigmatic neo-noir film that grabs the viewer’s eyes and won’t let go!

The movie starts out at a pulp detective magazine as a happy Japanese song is heard over the scene where the camera glides along to discover Jake (Jason Yee) in an apartment as the rain pours down over a dirty city at night. He’s upset over the loss of someone close to him, Sandy (Samantha Streets), as he cradles her lifeless body in his arms narrating the story of how his troubles began.

After Jake looses his boss’s brand new Mercedes Benz in a card game and given a beating to show him the error of his gambling ways, he’s forced to take a job as a driver to pay off his hundred grand debt at a local strip club named The Naked Eye, owned by a seedy character, Simon (Ron Yuan) who runs an escort business on the side. It’s here he meets the new working girl, Sandy whom he befriends, but Sandy has hidden secrets of her own.

Larry Madill, Jason Yee and director, David Ren crafted an intelligent story about the dark side of life filled with noir-ish elements and a Sin City look shot at night. There’s lots of great dialogue including a few funny moments, but the story never strays from its thriller roots in its fast paced 85 minutes running time. Yee is a good actor and lights up the screen with his presence portraying the brooding anti-hero, Jake. Like the great Bruce and Brandon Lee before him, he has this electrifying on camera charisma and plays his martial arts for keeps on the screen. I’m sure he’ll go far.

Filled with dynamite performances and non-stereotypical villains that include Gary Stretch as a baddie working for the local police department that has a stake in Simon’s midnight enterprise, henchmen Johnny (Jerry Ying), fan favorite Art Hsu (Crank 2, The FP) in a brief role as Sammy along with martial arts professional Lateef Crowder as Max who proves to be a worthy opponent against Jake that includes an impressive fight scene to the tune of Ravel’s Bolero all add to the film’s solid core of a great movie.

Henry Mu and Jason Yee produced the film on an amazingly low budget of $1.1 million dollars that looks like a $10 million dollar Hollywood film. Cinematographer Max Da-Wang has to be praised for his impressive visual imagery along with editors Richard Halsey and Greg Babor and their tight editing. Production designer Suzanne Rattigan nailed the film noir world and composer Danny Manor adds to the moodiness with his score including a David Lynchian guitar riff. Ron Yuan was also the fight choreographer, action director, stunt coordinator and producer on the film, keeping the extreme, precision action going and never lets up.

If you like film, noir, mystery, action and a good story, The Girl from the Naked Eye is for you.

Expected: 8 out of 10

Actual:

Movie Review: Tales of the Night / Cert: TBC / Director: Michel Ocelot / Screenplay: Michel Ocelot / Starring: Julien Beramis, Marine Griset, Michel Elias / Release Date: Out Now

I defy anyone out there not to be totally bewitched by the new cartoon feature written and directed by animator Michel Ocelt. Starring, amongst others, the voice talents of Julien Béramis as the boy and Marine Griset as the girl, Tales of the Night will quite simply take your breath away as it interprets several fairy tales in a mesmerising silhouette extravaganza, shown against a constantly changing colour background of vibrant acids and muted pastels.

In a disused cinema an old man, a boy and a girl, meet together to tell fairy-stories which the boy and girl then re-enact after having transformed themselves into the main characters. The Werewolf, The Tom-Tom Boy, The Boy Who Never Lied and The Girl Doe and the Architect’s Son amongst others, bring together an array of fantastical beasts, evil magicians and happy ever after endings in a selection of stories which, like all the best fairy tales, leaven their fun with a thought provoking denouement.

If, like me, you have to shamefully admit that you have never heard of Michel Ocelot, you are undoubtedly in for a treat. The stories which jump from the screen in a seamlessly life-like series of animated silhouettes can be seen from two angles.

Firstly looked at on a narrative level the clever and witty tales, though likely new to most, have basic thematic threads which should be recognisable from many better known ones. The central characters, like Ti-Jean in Ti-Jean and Beauty Not Known, come alive as feisty individuals whose common-sense and goodness win out over whatever dangerous situations or evil adversaries they come up against, such as the fearsome dragon whose death destroys the mythical metropolis at the centre of The Chosen One of the Golden City.

An equally satisfying approach is simply to sit back and let the intoxicating images which fill the screen wash over you. Being in French with English subtitles, younger viewers may find it hard to keep abreast of the proceeding’s finer nuances. However it is unlikely that they will get bored during Tales of the Night‘s relatively brief eighty minute running time as Ocelt’s masterful work, reminiscent of the drawings of Jan Pieńkowski, is a visual feast where humans and beasts materialise against a backdrop of lost cities, subterranean kingdoms and the film theatre where the stories play out.

I have been glad to discover that there are many more examples of Ocelt’s fantastical flights of fancy out there and, after watching Tales of the Night, I for one can’t wait to track them down.

 Expected Rating: 7 out of 10

Actual:

Review: Prometheus / Cert: 15 / Director: Ridley Scott / Screenplay: Jon Spaihts, Damon Lindelof / Starring: Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba, Guy Pearce, Logan Marshall-Green, Sean Harris, Rafe Spall / Release Date: June 1st

“Big things have small beginnings,” notes Michael Fassbender’s sneaky android in Ridley Scott’s excellent, if slightly all over the shop sci-fi horror film, Prometheus.

It began, sort of, with a distress signal awakening the crew of the Nostromo and poor Kane (John Hurt) peering into a recently opened alien egg sack. The rest is screen history. And history stays well and truly in the past. Scott does not repeat himself for the benefit of box office or to please fans of his 1979 movie. Without spoiling things too much Prometheus is defiantly its own thing and intent on delivering an entirely new mythology. No doubt there will be some grumbling at this proposal.

Scott was really not teasing us when he said links are provided with strands of DNA. The director was telling the truth. But this should not disappoint too much because instead of an Alien re-tread we get a spectacular and awe-inspiring adventure that seeks to ask major, if fantastical, questions of how life on Earth began. Though no more fantastical than our current belief systems.

Taking inspiration from Erich von Däniken’s 1968 tome, Chariots of the Gods, Scott and his screenwriters propel the viewer into the setup quickly. Before you know it the crew has landed on LV-223 and a palpable sense of dread builds.

Of course there are channels to Alien. For years, Scott thought about the creature known as the ‘Space Jockey’, whose carcass we glimpse when Dallas, Kane and Lambert search the spacecraft they’ve come across, and here explained as an ‘Engineer’ who helped birth life on Earth. This film was, at one point, a direct prequel before a new avenue opened itself up for exploration.

Everything more or less exists in proto-form. There are vague but recognisable traces of those iconic monstrosities – the facehugger and xenomorph – but Scott doesn’t dwell upon them too much. DNA is vastly important to the picture not just as a plot device but as a thematic wonderment. It is the building block of life yet when meddled with can deliver some seriously freaky results.

The story begins in the distant past where a terraforming humanoid being sups from a vial of mysterious fluid and collapses into a giant waterfall. It is hugely inferred this creature, whose DNA is soaked into the water, made our living world possible. This is what Dr. Elizabeth Shaw (Noomi Rapace) firmly believes too, yet she also believes in the existence of God. “Who made them?” she ponders, at one point. Logic is not Prometheus’ strong point at any juncture but the sensations it produces are magnificent.

To demonstrate Prometheus is entirely its own entity the terse, direct style of Alien is replaced with more fleshed out characters and motivations. One would even hesitate to declare Prometheus a prequel in the current understanding. It is more a film whose origins are distant cousin to Alien. Relatives not on good terms, one might say. Though a final scene seems to provide an indisputable conduit, the film’s numerous plot holes only add confusion rather than clarify matters. No doubt some will seize upon this as a major weakness. Of course it is very hard to not constantly compare one to the other in order to navigate, on first impression, the vast differences.

Conceptually, Prometheus is very strong. It is sci-fi cinema par excellence. Where it fails is the often clunky dialogue, simplistic reasoning and lack of narrative clarity. But Scott isn’t exactly known for being a master storyteller. Where his powers of mastery lie is in concept and design. Cinema is more than just ‘telling a story’ and there are other considerations to be had. The premise here, anyway, is enough to give the movie some nuclear-powered energy and it never once flags or feels boring. Not even remotely so.

Of the cast, Michael Fassbender shines as David, the heir to Ash. Here we have a brilliantly written character and equally brilliant performance that is the heart and soul of the picture despite David being entirely synthetic. He seems almost mercenary at times and his child-like interest in things belies something perhaps more sinister. David is treated shabbily and commanded several times not to touch the urns or wall murals whilst in the temple, but does so anyway – like a naughty boy. Is he luring the crew into a trap or simply curious? Helpfulness can turn to hindrance. Scott and Fassbender are clearly on the same wavelength with this character and David is a lot of fun.

Prometheus is a movie of the grandest themes imaginable. It is the search for our origins and cautions that if we play with fire we’ll get burnt – quite badly, in fact.

Expected Rating: 10 out of 10

Actual Rating:

Movie Review: The Pact / Cert: 15 / Director: Nicholas McCarthy / Screenplay: Nicholas McCarthy / Starring: Caity Lotz, Casper Van Dien, Agnes Buckner / Release Date: June 8th

I can honestly say that it is quite some time since I have seen such a genuinely chilling film as The Pact. The new horror outing from writer/director Nicholas McCarthy, and starring Caity Lotz, Agnes Bruckner and Casper Van Dien (Starship Troopers), manages the difficult feat of blending unsettling insidiousness with visceral shocks to create a good old-fashioned, scare-you-witless experience.

After her mother dies Nicole (Bruckner) sets about clearing out the family house. Arriving early one morning to help, her sister Annie (Lotz) can find no sign of Nicole. As time progresses a number of strange and unaccountable incidents take place which convince Annie that there is something sinister going on, culminating in a full-blown supernatural onslaught which puts Annie’s life at risk and almost kills her. The understandably distraught girl approaches the police with her story, where a sympathetic officer called Creek (Van Dien) offers to help her. Though initially sceptical of Annie’s tale, he soon changes his mind after accompanying her to the house and experiencing first-hand a series of freakish occurrences which have far reaching and devastating consequences for everyone involved.

The Pact is a film which shouldn’t really work, building, as it does, its central theme around constituents which we have seen ad nauseam. However, where other films may have fallen flat with a regurgitation of old clichés, The Pact manages to appear surprisingly fresh by keeping much of its horror unseen until well into the proceedings. When it does eventually reveal the perpetrator of the events which are terrorising Annie, it still keeps the details to the bare minimum, helping create and maintain a genuinely unsettling demeanour throughout the film’s duration.

Without giving too much away it’s a testament to the film’s power to shock, that several scenes manage to make you jump from your seat despite you knowing that something extremely unpleasant is about to happen. As for the climax – well let’s just say this is the kind of thing that was designed to be watched through your fingers.

Relative newcomer Lotz puts in an accomplished performance as Annie, in what is for much of the time a one woman show. Most of her fellow actors are there for support, and her portrayal of a victim bewildered by the bizarre events which push her increasingly close to the edge before the film’s final frenzied denouement, leaves a memorable and lasting impression on the viewer.

Beautifully shot in the muted colours of a sun-bleached California, and with enough twists to hold the interest of even the most jaded horror hack, The Pact is a film which makes you remember why you love being scared.

Expected: 5 out of 10

Actual:

Movie Review: Snow White and the Huntsman / Cert: 12A / Director: Rupert Sanders / Screenplay: Evan Daugherty, John Lee Hancock, Hossein Amini / Starring: Kristen Stewart, Chris Hemsworth, Charlize Theron, Sam Claflin, Sam Spruell, Ian McShane, Bob Hoskins, Ray Winstone, Nick Frost, Eddie Marsan, Toby Jones, Johnny Harris / Release Date: May 30th

Snow White and the Huntsman is the second film this year to tackle the classic tale, though it takes a darker path than that of its predecessor, Mirror Mirror . The tone is vastly different; an epic tale filled with dark armies, charged battle scenes and some imaginatively grotesque visuals.  Playing out like a cross between a tragedy and Lord of the Rings (there is a lot of walking) it is an extremely ambitious film that looks amazing, thanks to the keen eye for computer generated effects from Director Rupert Sanders and the exquisite set and costume design.

Snow (Kristen Stewart) inhabits a dark dungeon beneath a grand castle until she manages to escape from the malevolent Queen Ravenna (Charlize Theron). The kingdom is unaware that she is still alive so when she makes a run for it her quest to rise up and defeat the queen is supported by those who have suffered at the hand of Ravenna’s reign.  The Huntsman (Chris Hemsworth) is introduced as a drunken, reluctant hero with a sad past that Ravenna uses to persuade him into darkness.  Hemsworth’s Scottish accent is decent and he is a brutal challenger in the fight scenes, at one point impaling an opponent on the sharp distorted branches of a tree, but he’s no highlander…

Kristen Stewart gets a lot of screen time, but not a lot to say other than a championing monologue. Hemsworth also has an intense monologue that he delivers with vigour. It is Theron’s imposing Ravenna and the visual effects that dominate the screen in this picture. The strong cast of Dwarves that you eventually meet (it takes a while but it’s worth it)  played by Nick Frost, Bob Hoskins, Ian McShane, Eddie Marsan, Toby Jones, Brian Gleeson and Ray Winstone are brilliant, providing not only comic relief but poignant moments too. Sadly though they are underused, and it would have been great to see more of their story.  Most of the dwarfs’ names come from the Ogham alphabet, which is in fitting with the medieval feel of the film.

Though the film gets off to a slow start, detailing the background to this fairy-tale, and introducing its own spin on the story, it is a necessary introduction to the motivation behind Ravenna’s wicked ways.  Her contempt for the male species, instilled in her by her mother and backed up by an ex-partner who lost interest as she grew older is exceptionally portrayed in Theron’s over the top performance. Theron really goes for it in the role, screaming at the top of lungs and ordering her shadow army – intricate glass soldiers complete with spiky shards that are totally terrifying – with booming assurance.  Her costumes including raven feathered cloaks, skeletal like jewellery and a spiked metal finger cuff which she uses to eat the hearts of birds. All the costumes are outstanding (designed by Colleen Atwood) and make the most of her intimidating presence.

Director Rupert Sanders has a background in VFX and advertising and these influences work in his favour for the most part. Though the editing and narrative may lose its way at times the striking visuals help to keep your interest. It takes itself very seriously so you need to be up for being swept away by melodrama, intense gazing and extreme long shots that fully explain the long running time of over two hours.

Expected Rating: 7 out of 10

Actual Rating:

Movie Review: Comic Con Episode IV: A Fan’s Hope / Cert: TBC / Director: Morgan Spurlock / Screenplay: Joss Whedon, Morgan Spurlock / Starring: Kevin Smith, Stan Lee, Eli Roth, Seth Green, Seth Rogen  / Release Date: TBC

Doco director, Morgan Spurlock has crafted a fascinating look into the universe of the legendary San Diego Comic Con in his new film, Comic Con Episode IV: A Fan’s Hope.

I started attending the San Diego Comic Con in 1975 and have seen it grow from its humble beginnings at the US Grant Hotel in 1970 where its late founder Shel Dorf; who loved comic books and started as a freelance artist of commercial design and later, a letterer for Milton Caniff’s comic strip series, Steve Canyon.

Mr. Dorf decided that there were a lot of people who enjoyed comic books as much as he did and decided to start a one-day trial run, comic book convention where 500 fans showed up at the U.S. Grant Hotel.

His guest was Forrest J. Ackerman.

Expanding to a three-day venue, the convention quickly outgrew itself at the Grant, where it travelled around to the Escher-like, El Cortez Hotel (at the 1977 con, an unknown science fiction movie was being promoted called, Star Wars), the University of San Diego, the Golden Hall Convention Center and finally, to the new San Diego Convention Center in 1991.

Morgan Spurlock understands this gathering of communal love we fans have for this genre, taking us on a journey of six interesting people.

We start off with talented, aspiring artists; Skip Harvey, a bartender at a super hero themed restaurant and Eric Henson, a family man who currently serves in the US Air Force. We follow them on their trials and tribulations of pitch meetings and comments as they pursue their dreams of wanting to work in the comic book industry.

The cute couple; James Darling and Se Young Kang, where James decides to pop the question of marriage to Se with the help of fan favourite, Kevin Smith.

Chuck Rozanski of Mile High Comics, who always displays a great selection at San Diego, needs to sell off a rare issue Marvel put out in the fifties in order to pay off some debts. He’s seen the decline of comic books with the media and movie outlets taking over the convention pushing out the old guard. Fewer and fewer comic book buyers are out there. Will he do it?

The talented, Holly Conrad who enters her work in the legendary costume contest. Incredibly passionate about her craft, she’s designed costumes based on her favorite video game with her dedicated friends spending all year, working long hours to create the best hoping to win the grand prize at the San Diego Comic Con.

Peppered with interviews of convention fans and celebrities (Kevin Smith being the funniest), Mr. Spurlock presents a well-directed film and delivers a great insight to a world we all know and love.

Comic Con Episode IV: A Fan’s Hope is a must-see for everyone.

Expected: 8 out of 10

Actual:

Movie Review: Sound of My Voice / Cert: 15 / Director: Zal Batmanglij / Screenplay: Brit Marling, Zal Batmanglij / Starring: Christopher Denham, Nicole Vicius, Brit Marling / Release Date: TBC

Time travel, cults, mass vomit sessions and worm eating all come together in this low budget sci-fi film from first time feature director Zal Batmanglij. Co-written with Brit Marling who also co-wrote Another Earth and similar in its distinct, haunting tone and powerful performances. Maggie (Brit Marling) claims to be from the future, the year 2054 to be exact, and she has returned to take her loved ones and a specially chosen group to a safe place before civil war breaks out. The chosen ones are checked out before entering, but a couple of investigative journalists have infiltrated this cult, set on exposing its leader.

Peter Aitken (Christpher Denham) and Lorna Michaelson (Nicole Vicius) are the two journalists who get embroiled in a web of intrigue and emotional manipulation. The film looks to their pasts with some documentary style camera action (complete with voiceover) to explain their motivations and reveal their secrets. From the start the focus is on these two characters and their intense relationship with Maggie. Peter’s wry logical response to the cult is aimed well at the non-believers in the audience and Denham delivers his dialogue with sharpness. Marling is menacing as the softly spoken Christ-like cult leader Maggie and moves around the group like they are prey. The cult members’ response to her presence is reverence and those that question her don’t last long. She shifts between godly and ghastly with such skill you are never sure whether her intentions are good.

The film is laid out in ten distinct chapters that drive the narrative along by slowly revealing snippets of each of the mains characters’ lives and the unfolding truth. Batmanglij has assembled this film extremely well by focusing on the journey the characters go on and merging it with a fascinating idea about a woman who is either from the future or a dangerous megalomaniac. All the pieces of the puzzle come together in a poignant and illuminating ending that will leave you wanting more.

Sound of My Voice stands out amongst other low budget sci-fi due to the strong directorial hand and originality. The tone is immaculate, focusing on the ideas and backed by a strong script that has room for humour that will make you laugh out loud but doesn’t veer away from the intensity. Claustrophobic camera angles, witty believable dialogue and a pitch perfect performance from Marling make for cleverly constructed sci-fi.

Expected: 8 out of 10

Actual:

Movie Review: The Innkeepers / Cert: 18 / Director: Ti West / Screenplay: Ti West / Starring: Sara Paxton, Pat Healy, Kelly McGillis, / Release Date: June 8th

Director Ti West is claimed by many to be one of the new wave of horror filmmakers who have brought a sense of fun and invention back to the genre. The House of the Devil was a great throwback and felt exactly like a film made in the late seventies. It had pacing issues and eventually turned out to be merely a good film rather than the classic it threatened to be. The Innkeepers is West’s latest film and the good news is that it’s better than House of the Devil, however it suffers from an even bigger flaw than pacing and is a sign that perhaps West should work with another writer rather than himself.

The story takes place in The Yankee Pedlar Inn (an actual real place), a supposedly haunted hotel that is going out of business. During its last weekend we find slacker types Claire (Sara Paxton) and Luke (Pat Healy) forced to man reception and care for the few guests left at the hotel. Claire and Luke have a side-line in amateur paranormal investigations and believe that the spirit of a woman who committed suicide haunts the corridors of the hotel. They capture on tape strange bumps in the night and electronic voice phenomenon. When an ex actress claiming to be a psychic (Kelly McGillis) checks in along with a creepy old man, things get worse.

Some have complained that The Innkeepers suffers from the same pacing issues that affect House of the Devil and I would have to disagree. The pace is definitely on the slow burn side but the characters portrayed by the oh-so-cute Paxton and the likeable Pat Healy and their interplay and dialogue offset any sluggish pace that may be present. It’s a genuine joy to be around these two and I could have watched a movie with just the two of them starting Luke’s low rent ghostbuster web site. Alas the plot must actually intrude and from the start West builds the atmosphere with a brilliant musical score from Jeff Grace. There are some really long, tense and painful to watch shots that go down hotel corridors reminiscent of the best parts of Kubrick’s The Shining. During one scene in particular set in a basement, West uses shadows and lighting so effectively that as an audience you are constantly looking into the dark corners, certain that there was something there. The film has a refreshing lack of computer generated pyrotechnics and still manages to actually get to you. This is an example many filmmaker’s could learn from, less really is more here. This film may be derivative of the aforementioned The Shining and something like Clerks or any number of 90s independent cinema but it’s also a testament to West’s directing skills which is why it’s such a shame that The Innkeepers is ultimately less than the sum of its parts.

The film is split into three chapters and a prologue, so you would expect that the film would follow the traditional three act structure present in most things. The Innkeepers fatally lacks a final act that really delivers. It has a very definite ending, but it’s abrupt and sudden and comes at a point where you would traditionally expect the film to kick up another gear for a great pay off. It’s not that it’s a bad film; it’s just that what comes before is so strong that the weak ending is a real tragedy. All through the film I was convinced it was going to turn out to be my favourite of 2012 and then all that hope went out the window when the credits rolled.

The Innkeepers is 75% a great film and for that alone it’s worth watching. It’s still far superior to most of the other things that get a cinema release with the label ‘horror’ attached.

Expected Rating: 9 out of 10

Actual: