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Greatest Scenes From Quentin Tarantino Movies

“Say what again… I dare you… I double dare you, motherf$ker!”

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Quentin Tarantino Spotlight

Tarantino’s Best Scenes Part 1

Love him or hate him, the American film director, screenwriter, producer, and actor has created some of the most iconic and memorable movie moments since he burst into the scene in 1992 with the Sundance hit Reservoir Dogs. With his recent release, Once Upon A Time in Hollywood, we have decided to put together a list of his greatest moments as both a screenwriter and director.

True Romance: Drexel Spivey Meets Clarence Worley

True Romance is cluttered with a who’s who of Hollywood celebrities. Supporting actor Brad Pitt plays a comically disconnected stoner – a barely glimpsed Val Kilmer appears as an imaginary Elvis mentor, a conscience, schizophrenic hallucination to Christian Slater’s Clarence – and Samuel L. Jackson turns up for a remarkable cameo as a drug dealer whose foul mouth gets in the way of his judgment. But of all the supporting players it is Gary Oldman who steals early scenes as Drexel Spivey, a slimy, vicious white pimp who thinks he’s black.

True Romance: Dennis Hopper and Christopher Walken Standoff

The movie’s best scene, bar none; the un-PC scene in which Clarence’s dad (Dennis Hopper) faces off against Vincent Coccotti (Christopher Walken), the right-hand man of Blue Lou Boyle. Walken has never been more menacing and never have racial slurs been used so well. This critic would argue that this is Tarantino’s second-best monologue (the first heard in the opening of Inglourious Basterds), and Scott’s most skilled direction.

True Romance – Motel Brawl

As a romance, True Romance is sick and twisted; as an action flick it’s stylish and exciting and as a road movie it’s constantly in motion. And yet through the colourful dialogue, dry and cynical humour, and Mexican stand-offs, True Romance features some genuinely touching moments – most notably James Gandolfini’s bloody, protracted motel-room assault on Patricia Arquette’s Alabama (a scene originally trimmed for theatrical release, and later restored for video).

Reservoir Dogs: Opening Credit Sequence

Perhaps the most famous image in Tarantino’s Reservoir Dogs is the slow-motion Wild Bunch credit sequence. The song, the walk, the skinny ties, and black and white suits and the ensemble of great actors make this a true classic.

Reservoir Dogs – Breakfast Scene

The opening scenes of Tarantino’s Reservoir Dogs introduced us to the filmmaker’s signature style of dialogue as we watch the cast of thieves gather for a pre-heist breakfast and bicker over an assortment of mundane topics and the color/nickname they are assigned for the job. Not only is it a beautifully shot sequence— making the most of one single tracking shot that pans around the table— but the scene also perfectly demonstrates Tarantino’s flair for dialogue and how he masterfully sets up the entire premise while telling us what we need to know about these seven strangers.

Reservoir Dogs: The Torture Scene

Tarantino once called this scene, particularly the fading music as Blonde leaves and then re-enters the warehouse, as one of his proudest moments as a filmmaker. It might be one of the most recognizable scenes in film history today, but it still manages to be an undeniably effective scene. As a viewer, you have to take a step back and look at the genius that Tarantino had to not show us the most horrifying moment of the entire scene. In the years since, most movies have taken the opinion that the more gore the better, but Tarantino (and Michael Madsen, for that matter) prove that less is always more.

Pulp Fiction: Honey Bunny and Pumpkin Opening Sequence

In opening Pulp Fiction, Tarantino offers the audience not one definition of “pulp,” but two. The first—”a soft, moist, shapeless mass of matter” is symbolic of the episodic structure of the film, which does not abide by the traditional three-act structure or follow a chronological order like most Hollywood productions— and in fact, is bookended by the same scene. The second definition refers more to the explicit content of the film, describing the lurid subject matter that follows. While Pumpkin and Honey Bunny do not appear again until the final reel, their conversation about robbing banks or restaurants, models the dialogue that reappears numerous times over the course of the plot. The first scene is not only enjoyable thanks to the back and forth banter between the couple, but it is also important in setting the tone of the entire picture.

Pulp Fiction: Breakfast Scene

By the time Vincent Vega and Julies Winnfield walk into the run-down apartment at the beginning of Pulp Fiction you are pretty sure these aren’t the nicest guys in the world. Jules might be a “righteous man” but by the time Samuel L. Jackson delivers his fiery, now legendary speech your initial impression of these two men is proven correct. Your pretty sure Vic and Julies are cold blood killers, and this scene shows you exactly why.

Pulp Fiction: Jack Rabbit Slim’s Dance

The opening conversation between Amanda Plummer’s slightly dazed Honey Bunny and Tim Roth’s casually racist Pumpkin remains one of the greatest opening scenes to any American film. But later on, Tarantino takes us to Jack Rabbit Slim’s, a faux-1950s- themed diner that serves $5 milkshakes, Douglas Sirk steaks, and has the waitress dress as Marilyn Monroe and the waiter, Buddy Holly. Veteran Los Angeles hit man Vincent Vega (John Travolta) takes Mia (Uma Thurman), the wife of his criminal boss out for dinner. This date spotlights the picture’s biggest set piece, and one of the film’s most unforgettable scenes. Before long, Mia announces that she wants to compete in the Jack Rabbit Slim’s dance contest. As the two begin cutting loose to Chuck Berry’s ”You Never Can Tell,” the dance becomes an extension of their dialogue.

Pulp Fiction: Stab her in the Heart

Vincent and Mia’s date ends in disaster when Mia O.D.’s on drugs and Vince fearing for her life rushes her to the home of his hippie drug dealer Lance (Eric Stoltz ). The pair surround the now unconscious Mr.s Wallace, give her an adrenaline injection and with the help of a black magic marker, bring her back to life.

Pulp Fiction: The Gold Watch

In Christopher Walken’s sole scene in Pulp Fiction, he plays a military officer who delivers a lengthy monologue explaining how he happened to come by a prized gold watch. The speech builds carefully to the movies most outrageous punch line.

Captain Koons: “The way your dad looked at it, this watch was your birthright. He’d be damned if any slopes gonna put their greasy yellow hands on his boy’s birthright, so he hid it, in the one place he knew he could hide something: his ass. Five long years, he wore this watch up his ass. Then when he died of dysentery, he gave me the watch. I hid this uncomfortable piece of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you”.

Pulp Fiction – Ending

The final scene of Pulp Fiction is arguably Tarantino’s best work. Not only does it connect the story thread of the mysterious Yolanda and Ringo at the diner— but it answers so many other questions first-time viewers will have while watching the film. What unfolds, sets off a chain of events that ultimately decides the fate of each and every character. Tarantino’s non-linear approach to storytelling allows this scene to not only tie in with the opening but every scene it follows. It’s a life-changing moment for Yolanda and Ringo but more importantly for Jules, who as he explains it, as a new way of thinking about life.

Four Rooms: $1000 in a Second

In 1994, four of the most celebrated American filmmakers in the independent film community pooled their talents for a four-segment anthology film titled Four Rooms. Tarantino’s segment “The Man from Hollywood” is based on an old Alfred Hitchcock TV episode, where a man bets his finger that he can light his Zippo ten straight times. Of all four segments, “The Man From Hollywood” is by far the best, if only for the whip-fast clever punchline at the end.

Jackie Brown: Chris Tucker is a Sucker

Jackie Brown is low on action and high on double-crosses. Unsurprisingly, the most memorable performance in Jackie Brown is delivered by Samuel L. Jackson a crime figure plotting to take out former associates. Jackson, sporting a long ponytail and stringed soul patch, is superb as the malevolent arms dealer who uses people as pawns in his deadly game. Chris Tucker making a brief cameo appearance as Beaumont Livingston is the first to fall victim to Ordell’s gunrunning operation. Ordell somehow convinces Beaumont to get into the trunk of his car. As he drives off, Tarantino follows with a beautiful long tracking shot to the other side of the parking lot where he shoots him dead. Meanwhile, the soulful sounds of Motown play on the car radio.

Jackie Brown: Ray’s Interrogation

Jackie Brown was dubbed Tarantino’s “grown-up” movie and a love letter to blaxploitation films of the ‘70s as well as a love letter to Pam Grier. There are a lot of great moments in the movie but Ray’s heated and frantic interrogation of Jackie might be best. When Ray tells her, “I sure hope you didn’t do anything stupid, Jackie”, you can’t really tell if he’s angry, genuinely worried about Jackie, or just doing his job. Whatever the case, it manages to be a strong performance resulting in a great scene. We could use more of Michael Keaton in any movie!

Jackie Brown: Is that a Gun?

In one early scene, Jackie gets a visit late at night from Ordell (Samuel L. Jackson). It is clear he is there to kill Jackie only the tables are turned when the lights go off and somehow Jackie grabs hold of a gun catching Ordell off guard. It is just one of many great scenes in which Grier struts her stuff, outsmarts the men and delivers the sort of iconic performance she was once so famous for.

Jackie Brown: The Exchange

Jackie Brown is often accused of being slow which is a fair criticism. The film never speeds up and in fact, during the climax, it slows down even more. Borrowing a trick from Stanley Kubrick’s The Killing, Tarantino presents the same incident involving an exchange of money three times, from three vantage points. Each one reveals key aspects of the carefully planned maneuver and each scene is staged methodically so we only understand Jackie’s masterplan at the very end of it all.

PART ONE   | PART TWO   | PART THREE (COMING SOON)

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Fantasia Film Festival

‘Ready or Not‘ Derives a Fair Amount of Mileage out of its Simple Premise

A rich family hunt the bride in a very bloody game of Hide And Seek

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Making its World Premiere at the Montreal genre festival, Ready or Not is a blood-spattered, tongue-in-cheek horror comedy that features plenty of gore and a sense of humour as dark as the terror on display.

Anyone who has seen the trailer is already familiar with the simple premise. What is best described as a cross between The Most Dangerous Game and Clue, Ready or Not stars Samara Weaving as Grace, a young bride who marries into the wealthy but strange Le Domas family that made their fortune in the board game industry. When it comes time to consummate the union, the bride is told that the marriage won’t be complete until she participates in an unusual family ritual: before the strike of midnight, the newlywed bride must draw a card from a mysterious box which will dictate which game they play into the night. Grace pulls the one-and-only cursed card that reads “Hide and Seek.” But this isn’t the traditional children’s game we are familiar with; in this deadly version, she is hunted by her soon-to-be-revealed psychotic in-laws wielding heavy weaponry like crossbows and shotguns.

A surreal cat-and-mouse chase ensues, with Alex ostensibly trying to help his bride survive while the rest of the La Domas clan remains dead-set on sacrificing her through the mysterious ritual. Their motive is simple: the La Domas believe that they must kill her before dawn as part of a satanic pact agreed upon years ago, otherwise they will have to repay their debt with their own lives. As to whether or not there actually is a satanic pact is unknown; as far as Grace is concerned, these rich folks are batshit crazy and out of their goddamned minds.

Directed by Matt Bettinelli-Olpin and Tyler Gillett, who are collectively credited as Radio Silence (V/H/S, Southbound), Ready or Not has a lot to offer in wit, style, and entertainment. It feels tailor-made for a midnight audience, as the bloodthirsty relatives arm themselves to the teeth in a wedding night filled with crossbows, shotguns, decapitations, a car chase, and a level of gore I didn’t expect given the marketing. The climax is especially memorable — an all-out gore extravaganza that left the audience laughing hysterically.

There’s a lot to like here, from the score by composer Brian Tyler to the cinematography by Brett Jutkiewicz, but the reason this film works so well is because of the talented cast they’ve assembled, most notably Alex’s alcoholic brother, Daniel (Adam Brody), who serves as the family’s moral core. And of course there’s also Samara Weaving, (Mayhem, The Babysitter) who pretty much sacrifices her body in blood-soaked scenes of action and terror. The actress is fully dedicated in her role, turning into her own version of Ripley while tearing apart the upper-class society, their ridiculous traditions, and their silly superstitions.

I don’t want to oversell Ready or Not; it’s a great B-movie (albeit a big studio B-Movie, but a B-movie nonetheless). The quick pace, simple concept, and terrific performances are what carry it through the 95-minute run time. Ready or Not is simply put, a lot of fun — a horror-comedy that offers a ton of laughs, delivers the action, and cements the star power of Samara Weaving. The best compliment I can give is that I’m ready to see it again. It’s the perfect movie to watch with a group of friends on a stormy night, and a late-summer surprise for genre fans everywhere.

  • Ricky D

Editor’s Note: This article was originally published on July 25, 2019, as part of our coverage of the  Fantasia Film Festival.

 

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‘Where’d You Go, Bernadette’ Celebrates the Ambitious

‘Where’d You Go, Bernadette’ explores what happens when the creative can’t create, and delivers an incredible performance from Cate Blanchett.

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Where'd You Go, Bernadette

From The Before Trilogy to Boyhood to Dazed and Confused, Richard Linklater is about as prolific of a filmmaker as they come. In one year he could release an experimental indie film, and the next he’s doing School of Rock. Then there are those films in between that feel like personal stories that Linklater just needs to put his mark on. Where’d You Go, Bernadette is just that type of movie, and falls somewhere between his more Hollywood comedies and something like 2017’s Last Flag Flying. Much in that same vein, Linklater tells a story of creative people driven from their passions for one reason or another, and in the process of doing so brings to life another fantastic performance from Cate Blanchett as a character both lost and unaware that she is lost.

Bernadette Fox (Blanchett) spends her days hiding away from people in her big, always-under-construction house, with her only form of contact being between her, her family, the occasional wealthy parent, and her digital assistant that orders things for her from Amazon at a rapid rate. One might look at her life and see things in shambles, as she always seems anxious, stressed, or simply at the end of her wits. Her husband, Elgie (Billy Crudup), works at Microsoft, and spends more time at work than he does with his family. Meanwhile, their daughter, Bee (Emma Nelson), is preparing to go off to boarding school of her own volition, but wants to go on a trip to Antarctica with her family while they have some time together. No one objects, including Bernadette — a shock to her husband and daughter alike.

What ultimately follows is a deeper exploration of Bernadette’s character, as she tries to wrestle with her anxieties and worries about going on a trip of this magnitude, while also making sure that she doesn’t let her daughter down. Where’d You Go, Bernadette has one large hurdle that audiences will likely have to get over, and that is its affluent main characters. Elgie is a tech wiz, Bernadette is a retired architect, and Bee is going to private school, and somehow the entire family can justify going on a trip to Antarctica with only five weeks notice; they’re the kind of rich that’s absurd, and if this movie was about anything other than creativity and creative types, it would buckle under the knowledge that most problems could be solved by money. In fact, even when a disaster occurs that damages someone’s property, Bernadette throws money at it as a solution. Where’d You Go, Bernadette is a movie about rich people that are surrounded by rich people who have normalized being rich people.

Where'd You Go Bernadette

Yet once again, even with its characters being who they are, Linklater still mines Maria Semple’s book-of-the-same-name for themes and ideas that can hit hard to the right type of person. As the title (and marketing) suggest, there is a mystery component to Where’d You Go, Bernadette that has other characters exploring Bernadette’s life and why she just up-and-disappears. Surprisingly, however, the movie’s title does not just emphasize a physical disappearance, but also a mental one. Where is the Bernadette that would move the world to create something she so passionately wanted? That question is where Linklater finds something personal to latch on to, and why other creative people will want to explore the quirks of the titular character to find out why she has stopped creating.

Though saccharine to a high degree, the cast and Linklater’s knack for writing engaging conversations and beautiful moments tends to help audiences take in all the sweetness without gagging. It’s a very cute, whimsical film that really leans into it by the time it ends. That tone is mostly what gives the movie its momentum, however, along with some of the neat directorial decisions that help paint a fuller portrait of Bernadette’s family without slowing things to a crawl and sacrificing that momentum. Blanchett provides the right blend of motherly love and manic obsessiveness to carry the entire film on her shoulders, but fortunately Crudup and Nelson give plenty of support, as do some of the briefer appearances from the likes of Judy Greer, Kristen Wiig, and Laurence Fishburne. Moments that are kind of silly sometimes clash with attempts of being more serious in the scene, but it feels like that’s kind of the point to a certain extent. If Crudup feels like he’s playing the scene more seriously, it’s because his character is attempting to be the serious one in an outlandish scenario.

Those scenes that take the absurdity to new heights or suddenly fall into melodramatic territory are also the most memorable moments, because they often have their tone dictated by the perspective. If the perspective is Bernadette’s, it might lean more on the anxious, tense side of things, where it’s unknown how the scene will end or what a character will do. With Bee it’s often a sweet, loving moment. Almost anything involving Elgie tends to involve a sense of urgency, and takes things far more seriously than the others. Where’d You Go, Bernadette holds a lot of power in the way it presents a side of a story, and walks a very fine line on who is right and who is wrong in any given scenario. 

As with any Linklater movie that isn’t experimental in its narrative, there will be those who can’t get behind the sweet, caring portrait of a character often at odds with the rest of the world. He’s proven he can do those characters with films like School of Rock and Bernie, but he’s perhaps best known for capturing a feeling or a time and place. Where’d You Go, Bernadette is fairly straightforward, and won’t surprise many going in (it’s unapologetically heartwarming) but provides an illustration of someone who has a lot to offer the world, and the ways we may inadvertently — and unknown to them — stifle their ambitions.

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Fantasia Film Festival

Beautiful ‘Shadow’ Stands Out

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As a sort of somber Shakespearean political melodrama, Zhang Yimou’s Shadow sometimes feels a bit too overplotted, with enough self restraint and looks of longing to make it feel claustrophobic, and so many schemes and betrayals that the script almost gets dazed among them. However, as a fantastical period piece — decked out in luscious trappings and painterly compositions, and bolstered by passionate performances and balletic battles with umbrellas made of blades — the experience fares better, resulting in a look at ancient intrigue that always manages to entertain one way or another.

A brief bit of opening text sets the stage for a precarious peace between two lands — the kingdom of Pei, and the kingdom of Yang, the latter of which currently occupies the city of Jing, much to Pei’s dismay. When the renowned Commander of Pei strikes a deal with Yang’s unbeatable warrior king to compete in a one-on-one duel for the fate of the city, he is rebuked by his own ruler, and stripped of his title, demoted to a mere commoner. However, it is secretly revealed that the man acting as the Commander is actually a lookalike named Jingzhou, captured in his youth and bound to serve as ‘shadow’ to the true Commander — who is still recovering from near-mortal wounds from a previous encounter — in case of threats to his life.

This sickly Commander confines himself to an underground cavern beneath the city, and relentlessly trains Jingzhou in order to uphold the subterfuge, even going so far as to give him similar scars. All the while, he plots to retake Jing and assume Pei’s throne, promising to free Jingzhou from his duty upon victory. Of course, this being a royal court, there are any number of Machiavellian conspirators, each setting wheels in motions that surely will collide. This includes a weaselly king, a fiery princess, a sniveling courtier, and the Commander’s wife, Xiao Ai, who plays along with her husband’s maneuvers, but may be falling for his more honorable ‘shadow.’

Those who casually wander into this inter-kingdom squabble will no doubt soon become as lost as these ancient civilizations themselves, but despite the gravity with which the various players detail their plans, the importance of what they’re saying is mostly smoke and mirrors; sure, the duplicity stacked upon duplicity is mildly diverting, but it’s also shallow and devoid of meaningful motivation; so do the myriad of machinations in Shadow really matter? Not when there are plenty of other things to hold one’s interest.

Chiefly among those elements is the sumptuous look of every frame. Working with a relatively small canvas, director Zhang Yimou has carefully composed grandiose images filled with nuanced staging, deliberate movement, and indelibly rich texture. His choices give otherwise modest engagements an epic feel, and not just in moments where swords are flashed. Conversations become mini-wars in themselves, as he zeroes his camera in on the meticulous exchanges between the main players of his power game, their precisely worded responses and subtle facial expressions acting out aggressive thrusts and parries in word form, often cutting just as deep as any knife. 

One need not understand the spoken particulars to get the general idea, and Shadow actually communicates better through the clarity of its visuals. Each guarded step or confident tilt of the head feels deliberately choreographed, as if part of deadly dance. And instead of overloading the screen with period detail, sets are clean, populated only with objects of significance. This laser focus allows for minute aspects that otherwise may have been overlooked in clutter to factor prominently, especially when Zhang Yimou holds his shots so patiently.

And it must have easy for him to do so with a cast as magnetic as this. Deng Chao does double duty as the Commander and Jingzhou, but creates characters so disparate that you’d be forgiven for thinking they bear no resemblance whatsoever. He manages bitter and reptilian just as easy as dutiful and courageous, showing how life has affected these two men, tied together by a facade, in vastly different ways. Sun Li as Xiao Ai nobly hides her torn affections behind expressive eyes that should reveal more than they do; everyone is playing the game. Zheng Kai and Guan Xiaotong round things out nicely as the deceitful king and his more straightforward, honest sister, who challenges any threats to honor.

Shadow 2019 Film Review

They are eminently watchable, completely up to the task of holding down the fort even when besieged by layers of backstabbing that would require a more talented contortionist than the script is capable of. That’s Shadow itself; from one-on-one political maneuvers to an entertainingly inventive battle involving hundreds, there is almost always something splendid to soak in, even if it makes your head spin.

Editor’s Note: This review was originally published on July 25th as part of our Fantasia Film Festival coverage. Shadow is now available in Canada on Digital, DVD, and Blu-ray.

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‘Incident In A Ghostland ‘— Pascal Laugier Revisits the Genre that Made Him Famous

‘Martyrs’ director Pascal Laugier takes another stab at the horror genre.

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Writer-director Pascal Laugier is well-known for his heady 2008 breakout French thriller Martyrs which is regarded by many as one of the most disturbing horror films ever made and took the torture porn genre to untold levels of nastiness. While not his best film (that honor goes to Brotherhood of the Wolf), Martyrs stands as an extreme example of just how twisted French new wave horror films can be.

In 2012 he directed his first English-language feature, The Tall Man, a slow atmospheric thriller about a dying mining town where children begin vanishing without a trace. Despite the star power of Jessica Biel, The Tall Man was both a critical and commercial bomb, and not necessarily what fans of Laugier’s first film were expecting. His latest (and second English-language offering) revisits the grisly torture-porn genre that made him famous but the question going in was, is it any good?

Following in the footsteps of French auteurs Alexandre Aja (High Tension) and Alexandre Bustillo (Inside), Incident In A Ghostland begins as your typical home-invasion thriller and follows single mother Pauline Keller (French Canadian pop star Mylene Farmer) and her two teenage daughters Beth (Emilia Jones) and Vera (Taylor Hickson) who relocate to their new home. En route, the trio is briefly terrorized by a speeding ice cream truck before noticing a local headline about a series of brutal crimes sweeping the area. The Kellers haven’t even had a chance to settle in yet and already things aren’t looking too good. Anyone who’s seen at least one horror movie knows what happens next. What follows is a no-holds-barred assault that will leave the audience emotionally and psychologically scarred.

What makes Incident In A Ghostland different than the countless other home invasion thrillers that came before, is that the raid on their house takes up only the first twenty minutes of the film. After managing to survive the attack, we fast forward some years and discover a grown-up Beth (Crystal Reed) has written a memoir of her family’s traumatic experience that has made her a famous horror novelist. Her sister Vera (Anastasia Phillips) on the other hand, isn’t doing so well; suffering from PTSD and reliving that horrible night over and over. It’s here that my plot summary must end in order to avoid spoiling the film’s many twists and turns— but to sum it up, the remainder of the running time jumps between past and present, dream and reality, nightmares and hallucinations and dreams within dreams all while keeping the audience guessing as to what is real and what is in Beth’s imagination.

Like the director’s gory debut, Incident In A Ghostland is light on plot (and even lighter on character development) but extremely heavy on the torture inflicted on the young women who are subjected to unspeakable acts of physical, sexual and mental abuse, both real and imaginary. Like Martyrs, Ghostland dwells on the terror our protagonists experience with the camera constantly closing in on tight shots of their wounds, bruises, and screams as they are kicked, punched, choked, chained and dragged around the house. Needless to say, it’s rather painful to sit through, with each scene stretched out for maximum discomfort. Incident In A Ghostland is the sort of movie in which roughly half the running time consists of women screaming in pain while the other half will have you scratching your head trying to make sense of it all. It’s especially unsettling as Laugier subjects Beth and Vera to acts of pedophilic sadism, and later learning that the then-19-year-old actress Taylor Hickson reportedly sued the production company for injuries suffered on the set. Meanwhile, fans of Farmer may be appalled to watch the French-Canadian idol beaten to a bloody pulp while stabbed repeatedly— and if you have a fear of dolls, I recommend you stay as far away from Ghostland as it features an abundance of creepy doll imagery.

While Pascal Laugier’s most recent offering isn’t as depraved as Martyrs, it’s still an intentionally unpleasant nightmare to watch unfold and while I admire the craft that went into making it, I can’t say I enjoyed my time spent watching it. But it is a well-made film featuring stunning cinematography from Danny Nowak (who provides the movie with a sheen polish) and great set design by Gordon Wilding and his collaborators who do a marvelous job in bringing the house to life (so to speak) and making it, as creepy as the villains played by Kevin Power and Rob Archer.

I’ve noticed a few critics online comparing Incident In A Ghostland to the original Texas Chain Saw Massacre which in my opinion, is heresy. The Texas Chainsaw Massacre remains to this day a motion picture of raw, uncompromising intensity, a punishing assault on the senses via some of the most extended scenes of absolute sustained frenzy ever captured on celluloid. Incident In A Ghostland brings nothing new to the genre and is just another example of a movie that relies on plot twists and extreme violence to get a rise out of the audience. Whereas Marilyn Burns’ doomed screams will forever be etched in your memory, the hundreds and hundreds of screams heard in Ghostland will soon be forgotten. Tobe Hooper’s The Texas Chainsaw Massacre undoubtedly ranks as the best horror film of all time and also boasts one of the most unforgettable abrupt endings ever. I’ve already forgotten how Ghostland ends.

Incident In A Ghostland is a Shudder exclusive. For more info, visit their website.

  • Ricky D
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‘Nekrotronic’ Sells its Soul to Monica Bellucci

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Some movies are just so hard to grasp that trying to do so would be futile. In some instances, that can be used to a film’s advantage, such as Kiah Roache-Turner’s 2014 debut, Wyrmwood: Road of the Dead, in which explanations didn’t really matter. Understanding what was happening in that film wasn’t the point; it was just about accepting the ride. That’s the same strategy employed in the director’s 2018 follow-up, Nekrotronic, a supernatural social media haunt that opts for the same deprivation of logic for the sake of a fun B-movie romp.

Co-written with his brother, Tristan, the script takes a kitchen-sink approach to the insane story of demons possessing humans through social media. As the eternal fight between Nekromancers and demons rages on, they’ve become locked in a new type of cyber warfare. An app being designed by a soulless corporation of human husks is overseen by the Queen of the Underworld herself (played by the always incredible Monica Bellucci), and acts a lot like Pokemon Go — but as users find ghosts instead of Pokemon, they unknowingly give their souls to the underworld. And so,  the fate of all mankind now rests on the shoulders of a sanitation worker (Ben O’Toole) and his best friend (Epine Bob Savea).

Nekrotronic is about kicking ass and filling the screen with as much gore and high-tech weaponry as possible.

This Ozploitation film tries really hard to give explanations to virtually everything it introduces, and that’s an admirable effort in a story that very clearly doesn’t care that much. It’s Ghostbusters with a little bit of They Live, and an aesthetic that feels like the video game Doom more than any movie in recent memory. There are 3D-printing demon souls and giant lasers, wraiths, and ghosts that travel through the internet like it’s a series of tubes, and a refusal to stop introducing new conceits. That Nekrotronic has logic presented at all is like if the Alien movies tried to give motivation for the xenomorph attacking its prey — endearing to attempt, but so very unnecessary.

Nekrotronic

That is the major issue that plagues Nekrotronic. The Roache-Turner brothers want to do everything, but by doing everything it’s easy to lose focus on the central conceit — which is hard to pinpoint, because there are so many small emotional beats that are all treated like huge deals at various times. There’s not even really much in the form of a social commentary on our reliance with social media and technology; Nekromancers once put demon souls into the internet as a form of containment, and then didn’t realize that the Queen of Hell would discover a way to use the internet to release the demons. That’s a neat genre explanation that could be mined for more of a critique on apps that data mine and do more harm than we really realize, but unfortunately, the movie only passively mentions this point, then walks away from it immediately.

Instead, Nekrotronic is about kicking ass and filling the screen with as much gore and high-tech weaponry as possible. The cyber-horror aesthetic lends itself really well to the narrative; while it very much looks like a B-movie, it looks like a B-movie with a budget. The visuals are also very vibrant and filled with more colour than Wyrmwood, which is justification for a more riotous feeling — and the really bad jokes support that spirit.

nekrotronic

But the ultimate reason to sit through this very boring, exhaustive assault on the senses is for Monica Bellucci. She chews scenery, whether it’s for the benefit of comedy or horror; no one else comes close. If Nekrotronic did anything really right, it was casting Bellucci as a demon from Hell that says phrases like “No more Mrs. Nice Guy” as she tries to come off motherly, seductive, and terrifying at the same time. If there’s one thing to take away from this film, it’s that the Roache-Turner brothers are hellbent on telling entertaining stories — they just missed the bar with this demonic affair.

Editor’s note: This review was originally published on September 8, 2018 as part of our coverage of the Toronto International Film Festival. 

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Freelance Film Writers

Goomba Stomp is the joint effort of a team of like-minded writers from across the globe. We provide smart readers with sharp, entertaining writing on a wide range of topics in pop culture, offering an escape from the usual hype and gossip. We are currently looking for Film, TV, Anime and Comic writers.

Contact us: Editor@GoombaStomp.com

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