It’s day three, and FrightFest has put THN through the meat-grinder of emotions. We came to the festival for some good fantastical fun, and today, that’s exactly what we got – both TROLLHUNTER and FRIGHT NIGHT hit the spot, provoking big, positive reactions from the crowd. We also got ninety minutes of utter befuddlement in the form of Robin Hardy’s THE WICKER TREE; everyone was expecting it to be… erm, somewhat odd, but nothing could prepare for the reality of it. As Harold Steptoe would say, ‘You dirty old man.’ The day ended with less of bang, but more of a gunshot to the ear with Lucky McKee’s THE WOMAN, a film that is set to cause (well-deserved) controversy due to its troubling depictions of abuse.
Let’s take a look at the day’s proceedings…
TROLLHUNTER
Director: Andre Ovredal
Starring: Otto Jespersen, Glen Erland, Tosterud, Johanna Morck
Synopsis: When a group of student filmmakers document a series of mysterious bear shootings, they discover the there may be more to ‘poacher’ Hans (Jespersen) that they thought. He is in fact a Trollhunter, charged with the task of controlling the Troll population. The crew follows him as he investigates a recent outbreak of the legendary creatures…
Horror Highlights? Above all else, TROLLHUNTER is lots of fun. Its basic premise makes for some big laughs – the idea of the TSS (Troll Security Service) and the bureaucratic nonsense that comes with culling Trolls is consistently amusing, as are the performances from Jesperson (as the titular Hunter) and Hans Morten Hansen (as his boss, Finn). The Trolls themselves are also effective, created with relatively seamless CG. But the real trick is the tension that director-writer Ovredal allows to build before each Troll appearance, particularly the first time around: like a found-footage version of JURASSIC PARK, it’s all tree-tops and thunderous footsteps until the monster appears. And the actions sequences are not only tense but packed with visual gags.
Gory Gash? There is little in the way of plot until the final act of the film, and what narrative it does have is merely a thinly-veiled excuse for moving from one scene of Troll action to another. Also, some of TROLLHUNTER simply doesn’t add up. It goes to some lengths to rationalize some aspects of Troll mythology (such as why they turn to stone or explode when exposed to UV lights), but completely ignores others (we’re still clueless as to how a Troll can smell the blood of a Christian). But does it matter when the film’s this damn entertaining? Probably not.
Overall: Giant-sized fun for anyone who’s able to overlook its inconsistencies. Sure, it has holes, but then it also has big-off Trolls, too.
THE WICKER TREE
Director: Robin Hardy
Starring: Brittania Nicol, Graham McTavish, Honeysuckle Weeks, Henry Garrett
Synopsis: Two young evangelists travel from Texas to Scotland to spread the word of Jesus, and on arrival are invited to an isolated village for the annual May Day festivities. But is soon becomes apparent that the Pagan village is not what it seems…
Horror Highlights? The title sounds a bit like THE WICKER MAN.
Gory Gash: Anyone who knows THE WICKER MAN will know exactly where this is heading, and as a result, the film has a bizarre atmosphere. It is not a remake (sit down, Cage), nor a sequel, but it does have an almost identical premise and setting, just told a slightly differently. There is genuinely no need for this to have ever been made.
With the inevitable conclusion in mind, viewers will be gagging for the lead characters, Beth (Nicol) and Steve (Garrett) to be raped, skewerd, burned or whatever as quickly as possible. They are mind-bogglingly annoying and doe-eyed, and their unbelievable stupidity would be enough for anyone (Pagan or not) to commit hideous acts upon them. At one point Beth even has trouble using a remote control. It is difficult to empathise with these characters at all, and as a result, the only emotional response to their demise is pure joy. Everything, about this is wrong: the music (despite failed efforts to replicate the unique sounds of the original), the direction (specifically the raven’s-eye view shots), characters (utterly, utterly ludicrous), and dialogue (laughable at best). Even the ample shagging can’t save this one. All the good stuff – such as Hardy’s contempt for religious arrogance and themes of chastity and sexuality – is all lifted from the original. And Christopher Lee’s brief cameo feels so tacked on it only serves to boot you out of the story and back to horrific reality of the tenner you’ve just spent on a cinema ticket.
Overall? As one character from TV’s Nathan Barley screams: ‘Is something brilliant happening?!’ The character is so confused by what he sees (after Barley tips a pint of beer over his head) he can only assume he is the butt of a massive and genius joke. And that is exactly what THE WICKER TREE feels like. Maybe there is something brilliant happening. Maybe Hardy isn’t trying to recreate the magic of the original, but merely lampoon in. Because that’s seriously what it feels like. It is almost a CARRY ON version of THE WICKER MAN, as demonstrated when a would-be assassin has to lift his kilt so the maid can ice his testicles. All it’s missing is for Kenneth Williams to turn up and make a face. In years to come, film critics may be calling this a ‘postmodern work of unparalleled brilliance’ or some such some nonsense. And they may pretend they ‘got it’ all along. But for now, it’s tripe.
THE WOMAN
Director: Lucky McKee
Starring: Pollyanna McIntosh, Sean Bridgers, Angela Betts, Lauren Ashley Carter
Synopsis: On discovering a feral woman (McIntosh) living in nearby woods, successful lawyer and alpha douche-bag Chris (Bridgers) captures her and holds her captive at his family home. Enlisting the help of his loved ones, Chris plans to train and civilise ‘the woman’. But is Chris himself civilsed enough for the task? And what consequences will his abusive actions have?
Horror Highlights? Lucky McKee’s dissection of gender roles, power relations, and abuse is nothing short of savage. But quite brilliant too. Along with fellow writer Jack Ketchum (the pair co-wrote the book from which this is adapted), McKee has constructed a smart but disturbing story, one that has provoked a great deal of controversy and shall continue to do so. It is uncomfortable viewing, particularly in its depiction of abuse; Patriarch Chris maintains subtle degrees of dominance over the women in his life, from demanding his wife Belle (Bettis) fetch him a burger from the barbecue, to domestic abuse and full-blown rape. And it’s these female characters on which the film is built, giving the story genuine depth. Each of them represents a different aspect of womanhood: the wild, untamable woman in the cellar; the submissive mother and wife, tied to the kitchen; the teenage daughter, ripe, of age, and apparently pregnant; and the little girl, made from sugar and spice and all things nice.
McKee’s direction is also noteworthy as he makes bold and creative choices in framing and camera movement. This is supported by a blistering soundtrack that cleverly plays with the visual content of scenes, whether it be quiet, emotional moments or unsettling violence.
Gory Gash? The climax of THE WOMAN will divide viewers; whereas some will find it a satisfying conclusion, others may find the events a step too far and even more implausible that what has already occurred. McKee and Ketchum let loose, and no matter what has come before, very little can prepare you for the shocking finale. For some, this will undoubtedly prove too much.
Overall? For those that have the appetite for it, THE WOMAN is uncomfortable but powerful filmmaking. Its structure and themes may be very unconventional, but it’s an absolute must-see, if only to experience what is a very ambitious and brutal production.
Also on offer… Our friends at Black and Blue Films put on a very strong show-reel, screening a montage of footage from Ryan Andrews’ cannibal thriller ELFIE HOPKINS, a tense scene from Martin Kemp’s directorial debut STALKER (in which poor old Billy Murray came to a nasty end), and a rough-cut trailer for STRIPPERS VS WEREWOLVES, a production that has been well-documented right here on THN. The trailer looked very promising – very funny with plenty of… er, stripper vs werewolf action. The enthusiastic audience were extremely responsive to the footage…
And last but not least… the screening of FRIGHT NIGHT in 3D, which went down an absolute storm (and rightly so as it’s bloody good fun – full review coming soon)… and the latest of the John Carpenter remakes, this time James Moran’s spin on HALLOWEEN: its 33 years later, and Michael Myers has become increasingly irritated by the young folk around him, brutally murdering them for late night parties, talking on their phone too loudly, or wearing their jeans too low. It was easily the best of the Carpenter re-imaginings so far (death by laptop was a particular highlight)… more from FrightFest tomorrow…!
