Horror

From the moment Triangle starts, we sense there is something "not quite right".

A seagull cry here, an ominous piano cue on the soundtrack there. A young mother, Jess (Melissa George) hugs her child to comfort him and says he's just having a bad dream. This may seem an odd place to start a film.

And so it is.

The young woman goes on a trip on a yacht called Triangle with her friends, but is caught in a storm and the group take shelter on an old fashioned liner. From here, things start to get really weird. Jess appears convinced she has been on the ship before, yet how could she have been? Has she simply gone insane? Can she trust anyone? She appeared detached and cold for some of the film, and so not totally likeable to me, but we do see the film through her eyes, and are often confused and frightened as she is, wondering what on earth is happening. Perhaps that is the reason for this (and so this can work in the film's favour). Her performance, and those of the rest of the young Australian cast are very good

The use of Groundhog Day/Memento style cues in the film - repeating things yet in a subtly different way each time, gradually revealing more of the story, is splendidly creepy and it also plays with our perception of time.
The mood in the film appears genuinely sinister and unsettling, perhaps dreamlike - even if much of it takes place outside in bright sunlight. In fact, in my opinion this actually adds to the tension - this nature of seeming disquiet is at odds with the warm, brightly lit scenes of the yacht trip, and blue sea (the film was shot in Australia, doubling for Florida). This is also hinted at by style and placing of the music, which ranges from piano music, to a big band.

I was impressed by the way the film made me think about what I'd seen to try and work out the puzzle and how it isn't just a bog standard "horror" film, but more cerebral in tone, like a psychological thriller. In a sense though, this makes the film's jumpy moments seem even scarier.

Extras on the Blu Ray include a 42 minute Making Of (which I honestly don't recommend seeing until you have finished the film, because it goes into some deeper detail about the story, and will spoil things for you).
The Blu Ray transfer is not too bad, but I felt the bright scenes in particular didn't seem very detailed, especially for such a recent film.

This is overall a very good film, a brain teasing and claustrophobic thriller that I certainly believe you should see, but it really is best to go in with a clean slate, knowing as little as possible.

For me, this is the best adaptation of any of Thomas Harris' books. I remember reading Red Dragon as a teenager and being hooked, freaked and exhilarated at the same time. When I saw Manhunter a couple of years later those feelings became intensified - this was before Silence of the Lambs and way before Hannibal Lecter became a household name, and the part was played by Brit, Brian Cox.

What made this film so successful for me was manifold: The portrayal of Dollarhyde -the serial killer: This was a man that you felt sympathy for. The fact that the film devoted almost half it's run time to him and his love affair with the blind girl, Reba McLane is a testament to the strength of the story, characterisation and acting capability of Tom Noonan. If Francis Dollarhyde was a one dimensional character then this story could not have worked.

Brian Cox as Hannibal Lecter. I've heard and read plenty of reviews saying that his portrayal as not being as good as Anthony Hopkins. All I can say is that for me, Brian Cox is a far superior Lecter than Hopkins. Don't get me wrong - I have absolute admiration for Hopkins and think that he is a fine actor, but I feel he played Lecter too literally. In Silence of the Lambs, the first time you see him you know, without a doubt, that this is an evil man. When you see Brian Cox, you think that there must be some mistake - the man he portrays is a very amiable, chatty, up-beat kind of guy. You can understand why he was such a successful psychiatrist. It's not until he starts talking to Will Graham -the FBI Investigator, called into investigate the serial killings- and asking him leading questions (like "Dream much, Will?" or "Do you know why you caught me, Will?") that you see something more menacing behind the joviality. This is a subtle performance that rewards countless viewings and acts as a complete contrast to the Dollarhyde character.

And finally, Michael Manns direction: At heart, Mann is a technical director. His shot compositions are coolly calculated but no less effective. Manhunter has a detached feel to it that actually helps intensify the atmosphere of the film. This is a film where there is no black and white - just subtle shades of grey; where Will Graham is only a few steps away from the mind-set of the very serial killers that he's trying to catch. Every shot of this film is deliberate and really pushes the narrative forward whilst framing the action and characters perfectly. Each line of dialog is deliberate and calculated in a way that David Lynch would perfect in his later films.

To me, this is a far superior film than both Red Dragon and Silence of the Lambs. It doesn't offer any easy answers, and the characters are far more subtle. I also love the music in the film -my favourite scene being the climatic use of Iron Butterfly's "In a Gadda Da Vida". Manhunter gets better with each viewing and firmly ranks as one of my favourite films!

A poignant look at the heartbreak following the loss of a child; The haunted streets of Venice provide the perfect backdrop for this moving and unforgettable film.
Donald Sutherland and Julie Christie give beautiful and moving performances as the parents of little Christine, who drowns at the start of the film in a red mac. They move to Venice to escape the pain -the film is filled with tragic ironies like this, and is one of the reasons why I love it so much; it works on so many different levels!- but tragedy seems to follow them as John Baxter (Donald Sutherland) is constantly haunted by images of a small girl running round in a red mac. He's told that all the time he is in Venice he is in danger, but he ignores the warnings until it becomes too late.
This film is an exercise in mood and is so subtle that most of what is happening is just below the surface, barely tangible. The opening scenes of the film are just an example of this - never have I seen such deliberate editing that encapsulates the entire film -and that mirrors so perfectly the sense shattering conclusion.

The question is, can Don't Look Now really be called a horror movie? Yes, it does have a serial killer and there is a death (well, two deaths...) but it's more about the relationship between the Baxters. The horror element is secondary -until the end and then it's inescapable - so it's not a horror film in modern parlance, but I', not sure what category or genre it comfortably sits in.
This film haunted me for weeks and is an emotionally powerful film, as well as being bleakly beautiful -mainly due to it's watery setting. This is a definite must and, to me, really highlights everything that is missing from modern film.

I suppose that for modern audiences there would be little of interest in the Wicker Man to hold their 30 second attention spans. For them the film is ponderously slow, with archaic folksy music, an almost wooden performance by Edward Woodward and Christopher Lee sporting a questionable haircut...

BUT....

If they actually stop and see what the film is about, think about the ramifications, put themselves in Sgt Howie's shoes and understand what is actually happening in the story then they will get swept up in one of the greatest horror films of all time.

Yes, the film is slow - but that's because it has a STORY!!! This is a story that has so much substance to it and deals in subtlety. Yes, I know that term is a dirty word these days, but indulge me.... The Wicker Man rewards those people that appreciate the subtleties and the more you know about folk myths and legends then the quicker you'll pick up on those subtleties and the more impact the final scenes will have. Another fact - this film actually gets better on the second viewing - knowing what actually happens in the end laces the film with a sense of inevitability as you actually start noticing the details; the signs and portents that I alluded to earlier.

Sgt Howie is a straight laced Christian copper (gawd bless-‘um), almost puritanical in his faith - so Edward Woodward's portrayal of him is spot on. And it took an actor of Woodward's capability to be able to play off Howie's subtleties - especially when it came to his pivotal scenes with Christopher Lee.

The folk music is an integral part of the film and adds to the mood (and I happen to really like folk music!!)

This is a film that deserves to be re-released on the cinema so a whole new generation can see what makes a real horror film. Horror is not about what can be seen (The Blair Witch Project proved that), it's all in the mind. The true horror in the Wicker Man is not in the final scene's, it's actually in the realisation that for the whole film Sgt Howie has been a mere pawn in the most deadly game of all.

This is not a film that gives away it's secrets easily; don't expect closure here. The story has roots deeply embedded in our collective psyche, and like I said, the more you know - or even, the more open your mind is - the more you will fall under it's spell.

Oh - Christopher Lee does have a dodgy haircut - but his performance is electrifying and ranks as one of his best roles!