Over the course of October, I shall be watching one horror movie a day and reviewing it right here for your reading pleasure. I haven't seen any of the films I'll be watching before and you can find the full list here.
Pete (Michael Vartan) is an American travel writer, newly arrived in Australia and embarking on a crocodile-spotting river tour, helmed by Kate (Radha Mitchell). The tour follows the river through Kakadu National Park in the Northern Territory and, after an encounter with some bullish locals (one of whom is played by Sam Worthington), they start to head home. It all goes awry when one of the tourists spots a flare through his camera and Kate, deciding to do the right thing, diverts the tour to see if they can help. However, she unwittingly leads them into the territory of a large crocodile, who is not particularly obliging to his guests.
Any crocodile-based creature feature has, in my mind, to directly compete with the wonder that is Lake Placid. It's one of my favourites of the genre where edible deputies and a giant crocodile pretty much come second to a witty, hilarious screenplay. Rogue doesn't really go for any comedy, treating its subject as a much more serious man vs. nature tale (it does, however, have a wicked joke for the end credits' music very much in the American Werewolf in London vein), but it works very well.
It's written, directed and produced by Greg McLean, who was also responsible for Wolf Creek (a film which I am not a fan of) and it treads some familiar ground, placing out of towners amongst the dangers of the Outback. This time, they're also placed alongside a couple of characters who know what they're doing, not that it offers much comfort in the scheme of things. The river setting is the film's big star and McLean and cinematographer Will Gibson showcase it beautifully; it's at once both jawdroppingly stunning and deeply dangerous. There's also an unknowable quality to it, fitting for when the sun goes down and the tidal river starts creeping up to the shore.
That same unknowable quality is used for the crocodile itself. Like any good creature movie, we only see glimpses for the majority of the film, allowing our imaginations to take over. The first death isn't even scene, just its aftermath as we hear the splash and see the ripples spreading out across the water. McLean only shows us snippets of the croc, a tail vanishing into the water, the ridges gliding towards the people. There's a particularly effective shot as a character hears a growl, only to turn and see wide open jaws coming towards him. The effects are also still pretty impressive when the full crocodile is revealed, but even then, it's used sparingly in order to give a sense of scale.
Rogue is also economical in its storytelling, allowing the crocodile-based scares to shine in the midst of the simple narrative. We're given the sparsest of information about the characters which would usually be a bad thing, but here it works. Their plight is compelling enough so they don't have to be. Any details are dropped through conversations between the characters, little moments that grant them enough depth to be more than crocodile food. Vartan's Pete gets the most development, forming a tentative friendship with Kate and engaging in some macho posturing with Sam Worthington and that's really all it needs.
The second creature feature of the month, Rogue doesn't go in for the comedy adventure stylings like Deep Rising, instead opting for a more serious approach that prioritises tension over any one-liners. It's beautifully shot and methodically constructed, ramping up the croc-based anxiety by sticking to the creature feature formula and executing it very well indeed.
- Becky
You can find my other Shocktober '15 reviews here.
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Written by Wentworth Miller, previously the star of Prison Break, Stoker depicts the events that occur after the death of Richard Stoker (Dermot Mulroney). At his funeral, his brother Charlie (Matthew Goode) returns to the family home, meeting Richard's wife Evie (Nicole Kidman) and his daughter India (Mia Wasikowska). Enigmatic and intriguing, Uncle Charlie immediately has the attentions of the two women and it's not long before a power struggle ensues between the three Stokers.
Having already proved himself to be a visionary director with the Vengeance Trilogy, Park Chan-Wook was faced with the challenge of bringing his unique brand of twisted cinema to an English-speaking audience. With a starting point like Miller's screenplay, a resident of the 2010 Black List, the foundations were already there. Though predictable at times, the narrative is a twisted grim fairytale (pun intended), full of literary and cinematic references that give added meaning to its events. You only have to look at the detailed artwork for the film (see the poster above) to see how well put-together all of the references, both internal and external, are. Alfred Hitchcock's Shadow of a Doubt is the obvious one with their shared Uncle Charlies but everything from Shakespeare (for an excellent article on this, head over to Waxen Hearts for a look at Stoker and Hamlet) to the Brothers Grimm makes it in there. It may just be the literature geek in me, but it is a screenplay I would really like to read as it strikes me as a text in and of itself, ideally suited to analysis and criticism.
The fairytale element is one that struck a particular chord with me, as Stoker strikes me as a twisted retelling of Snow White, especially as a coming of age story. Despite it not being an overt aspect of the film, does far more with that story than either Snow White and the Huntsman or Mirror Mirror managed to as direct adaptations. India, with her pale skin, black hair and lips that become more red throughout the film, vies for the attention of her Uncle Charlie, a weird cypher for the prince. That leaves Evie as the evil stepmother, and though she is actually India's biological parent, they share little in common and it is clear that she sees her daughter as her rival, rather than her family. It's yet another aspect to what, on paper, could have simply been another family melodrama, but these allusions make the film a rich experience.
Like the multi-layered screenplay, technically speaking, Stoker is a true marriage of every element needed in a film. In particular, the combination of Chung-hoon Chung's cinematography with Nicolas de Toth's editing is wonderful throughout, bringing together key images from different moments in the film, changing and adapting their meanings as the story evolves. We see consequences of actions, before the actions themselves have chance to tell their own part of the story or bringing new meaning to scenes we saw in different parts of the film. It's a testament to the director and editor that these images don't alienate the audience, but enable the film to become even more engrossing whilst adding to the unsettling atmosphere.
Another example of this marriage of elements is the use of sound throughout the film. The sound editing is a masterful addition to the fragmented narrative, punctuating the more still scenes with jarring noises of ordinary actions, heightened by the stillness of the Stoker household. The scene in which Charlie offers India her first sip of wine would have been noteworthy anyway as a first temptation scene, but is granted more significance through the volume shift. India's drink of wine is not only visible, but highly audible, almost uncomfortably so. Clint Mansell's score works well with this discomfort and is excellent throughout, though slightly overshadowed by one piece by Philip Glass. Entitled Duet, it was written by Glass especially for the film and is a light motif throughout before getting an entire scene devoted to it. This scene was the standout from the entire film for me; a masterclass in building tension, exploring a wide variety of themes without any dialogue and it is, quite simply, breathtaking.
Kidman gives a pitch-perfect performance as the fragile trophy-wife, on the verge of tipping into hysteria. Her speech about why people have children was one of the most chilling moments in the film, a great example of motherhood gone awry. She is given the majority of the best lines as Evie determines to assert her superiority over her daughter. Goode is also excellent as the enigma that is Uncle Charlie, remaining seductive and charismatic even as his past is slowly revealed. However, it is to Wasikowska that this film belongs; it's a subtle performance, but one that captures brilliantly the awkward sullenness of adolescence as well as a growing sense of self, brought hurtling to its dramatic conclusion by the presence of her uncle. In the hands of a lesser actor, India could easily have become a void in the centre of the film, but Wasikowska brings an intensity to the performance that ensures that it is the quiet India, rather than the histrionic Evie or the manipulative Charlie, who lingers in the memory.
Stoker is a film that demands repeat viewings; it is too layered and too intricate for one viewing to simply do it justice. It won't be to everybody's tastes and it is certainly one of the most unsettling films I've seen for a long time, but this is to its credit. I just can't get it out of my head.
*****
- Becky
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