Stars Adelaide Clemens, Kit Harrington with Deborah Kara Unger, Carrie-Anne Moss, Sean Bean, Malcolm McDowell and Radha Mitchell Directed by Michael J Bassett I'm not a very big fan of horror films, so I don't usually bother to watch them in the cinemas, but there are a few that do grab my attention. Despite its flaws, I really like the first Silent Hill movie. I was aware that it was an adaptation of a video game, but that the extent of my awareness of what Silent Hill was all about. I just found it rare that it had strong female characters that were central to the core of the story while the majority of the male characters were regulated to really weaker (usually typically female) roles. Radha Mitchell and Alice Krige really made the 2006 movie really enjoyable as did Laurie Holden. Silent Hill: Revelation is a rather belated and direct sequel with Sean Bean and Deborah Kara Unger reprising their original roles, while Adelaide Clemens takes the lead as Sharon (originally played by Jodelle Ferland). The mystery of how Sharon was reunited with her father (Bean) is quickly explained (with a cameo by Radha MItchell) and a major plot point is dropped in at the same time. Sharon and her father have been on the move since the last movie, staying ahead of certain people from a cult who want Sharon back in Silent Hill in order to deal with Alessa's still restless spirit. Even their names have been changed to Heather and Harry (supposedly to match the game), but an early scene pretty much dismisses the issue of names. Despite several warnings, Sharon heads back to Silent Hill when her father is taken by the leader of the cult, Claudia Wolf (Carrie-Anne Moss), reluctantly aided by Vincent (Kit Harrington - Jon Snow in Game of Thrones). Much of the atmosphere that made the original work is rather lacking here, although it does provide a nice workout for the 3D with the bits of ash flying all over, but it doesn't last as long as one would hope. Instead we get lots of dark and murky sets, and lots of eye-poking bits, the typical stuff you'd expect from a 3D horror film. There are some nice set-pieces tho, especially with the nurses who were really effective in the last movie. A scene with the 'spider-mannequin' showcases a unique creature but is, at the same time, fairly pointless. The giant with the pyramid head is also back, but is even more pointless than in the previous movie, less freaky too. Director Michael Bassett, who did the decent Solomon Kane, obviously has some love for the previous movie, and perhaps more for the game. The problem with that is this movie comes across a lot like watching a game being played, with the main character going through certain set-pieces that are usually meant to prolong a gaming experience, padding the story, rather than advancing it. Adding to the problem is that Claudia isn't as menacing as Christabella despite filling the same role, which ultimately lends nothing to the final confrontation. Clemens does well enough in the lead although the dialogue leaves something to be desired, especially her exchanges with Harrington. Harrington apparently made this movie before he was even cast in Game of Thrones. Clemens does carry a majority of the movie by herself, but is easily overshadowed by the more senior stars she shares scenes with, especially Unger and Malcolm McDowell as Leonard Wolf. In all, I would still prefer the 2006 movie over this. The faults do outweigh the good bits, but if you're in a forgiving mood, it's a decent little distraction, but that's about it. Fans of the game might find more to enjoy with the few little easter eggs peppered throughout the movie's design (apparently).
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Stars Liam Neeson, Maggie Grace, Famke Janssen, Rade Serbedzija with Leland Orser, DB Sweeney and Luke Grimes Directed by Olivier Megaton When you're a movie director who's changed his name to "Megaton," You really should back it up with some truly exceptional action set-pieces. But like with his previous efforts, including such 'action' films like Transporter 3 and Colombiana, director Olivier Megaton delivers some mediocre action set-pieces filled with herky-jerky camera moves marred with suspect editing choices. This feels like someone trying to emulate the Michael Bay style (and many have tried with varying degrees of success). Sure, keep a frenetic sense of motion by keeping the camera moving, but even Bay has learnt to slow that down (had to for Transformers: Dark Of The Moon). Flashy editing can give a sense of excitement, so long as it's done properly and not induce a headache. Megaton has some ways to go in these departments. It's not all bad, but one starts to stifle a yawn in the middle of a car chase or a fight scene (not just me, this was a rare occasion I was with a friend who was less analytical than I - and he nearly fell asleep), there are problems abound. Some might blame the plot or the story instead. I thought the hook was interesting even in the logic is flawed. Then again, you don't watch a movie from Luc Besson and Robert Mark Kamen for it's logic. These movies they churn out (be it under Europa Crop. or Digital Factory, especially if they contribute to the story) are meant to entertain, nothing more. This sequel deals more with the fallout of the first movie. There, Bryan Mills (Liam Neeson) tore through most of Paris in search of his daughter who got taken by some flesh pedlars. Along the way, he killed a bunch of nameless goons and we cheered him for it. Here, those nameless goons are quite the cyphers they're usually made out to be. They are sons, and brothers, and nephews. One father in particular (Rade Serbedzija) vows revenge. Never mind that his son was dealing in one of the worse businesses in the world. Never mind that his son and his goons got taken out by one (very skilful) man. Family is what matters and such an affront must be dealt with. So he takes a few of his men and goes after Mills and family. Of course, finding one particular man in the big world takes time, and that time is spent setting up the current status of the Mills clan. Daughter Kim (Maggie Grace) is trying to fit back into a normal life after everything that happened before, ex-wife Lenore (Famke Janssen - utterly sidelined and wasted) is having problems with the current husband (conveniently left out of the picture). They gather in Istanbul where Bryan has just finished a job and that's when both sides clash. Except that it's Bryan and Lenore who get taken while Kim gets to… well, spoilers. Mind you that it takes a good 45 minutes or so to get to that point. Granted, the reinvention of Liam Neeson as a kick-ass hero is something of a revelation and he does deliver the performance well enough. However, a lot of the action gets hampered by the editing, almost as if there's no confidence that Neeson could pull off the fight scenes. The customary car chase is equally a mess with the film-makers probably relying on the fact that the viewers wouldn't know the streets of Istanbul, but even that is edited in such a way that one can see the chase barely extends a few blocks. Even film logic needs some consistency. Still, it's not all bad. Not as good as the first (probably as expected) with lots of missed opportunities. Neeson and Serbedzija make good counterpoints as men fighting for their families. Maggie Grace steps up a little (until the car chase) bringing a little more to her character. The customary bad guys are still a bunch of cannon fodder. And just check your brains at the door, or rather, wait for it to hit cable. |
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