Cold Prey

At face value, there's really nothing all that original about the Norweigan Cold Prey: it is essentially the story of a group of friends who are stalked by a hulking, masked psychopath. All the genre cliches are firmly in place: from the isolated setting, to the spunky Final Girl facing off against the killer in a climatic death match. Luckily, what makes this film ultimately so enjoyable is that the director is able to take often used genre tropes and approach them in a far from workman-like manner, creating something that readily embraces the slasher sub-genre and differs enough to make it ultimately worthwhile.

As the flashy, and admittedly cool Seven inspired opening credits montage tells us, something bad lives in the mountains of Norway. Something that has racked up a body count of over 100 people over the past couple decades; something that leaves no trace of its victims, leaving befuddled search-and-rescue teams to assume the missing were hit by avalanches, or other mountain associated hazards. Finally, it has ties to a young boy being chased, and killed in the snow, though the exact connection is unanswered until the very end of the film.

Enter 5 young friends seeking skiing-and-snowboard-related merriment: couples Jannicke and Eirik, Ingunn and Mikal, and fifth-wheel Morten Tobias, a.k.a, "The Funny Guy". Any fan worth his salt will easily be able to see the large "INSERT AXE OR OTHER SHARP/BLUNT OBJECT HERE" floating over his head. The fun ceases, (or increases, depending on your moral stand point), when Morten breaks his leg in a snowboarding accident. Too far from their car, or any other signs of civilization, the group seeks refuge inside an abandoned ski-lodge, that, judging by appearances, is likely related to the Overlook. After using super-glueing Morten's wound closed, with an appropiatly horrified reaction from the 'patient', the remaining 4 explore the lodge, unaware that the aforementioned force from the opening credits calls the hotel 'home', and he does not take kindly to strangers...

Surprisingly, the film does not take its main strength from its kills; in fact, the kills, though they definitely pack an 'oomph', they are relatively bloodless. The movie's power source is in fact the writing of its protagonists. Inside of being mere cardboard cutouts, manufactured by the fine folks at "Slasher Central Casting", that exist merely to be killed in the most horrific ways possible, these are, *GASP*, actual people. Actual, surprisingly lifelike characters with believable worries and fears, which makes the audience connection that much stronger then most slasher fare. An example: the character who is all over her new boyfriend whenever someone isn't looking (i.e. blinking), in this case, Ingunn, would be branded by any other film as The Slut. And, as the 'rules' decree, she would be killed either in the process of sex, or immediately after sex. However, not only is she a VIRGIN, she's actually hesitant over actually having sex, whereas her boyfriend, Mikal, is the one pushing for them to 'take their relationship to the next level', and reacts in a surprisingly callous way when she suggests they wait. Also, the Final Girl, Jannicke, is not the virginal heroine most have come to expect. She fears moving in with Eirik, his own suggestion, will in some way erode the magic of their relationship, and that they will likely find themselves falling out of love soon enough. Naturally, there is a slight, unspoken tension between the two because of this, but luckily not nearly to the point where the romantic melodrama becomes its own, unnecessary subplot. Here's looking at you, Spider-Man 3. Finally, the comic-relief has been in love with Jannicke for years, a love that he knows will never come to fruition, making him all the more vulnerable, and surprisingly, non-annoying for it. Granted, these aren't hugely deep or insightful character trait, but they don't have to be; they're just realistic and sympathetic enough to make the audience actually care what happens to them, making the lead up to the kills all the more suspenseful.

Those going in expecting a MBV3D-style gore fest will likely come out disappointed. Instead of relying on flying viscera to amuse the audience, the film instead is a slow burning exercise in suspense. The tension is gained from the characters exploring the various hotel rooms, some of which bear the marks of past actions of violence. From a room ravaged by flame, walls spattered with may be blood, a broken window with hair and blood on the edges, to a missing axe, it is apparent that not all is well in this lodge. Or maybe, as Mikal glibly remarks, "Someone just wanted an axe". Following the murder of one of the characters, a short, brutally effective stalk set piece, the realization that something is very wrong climaxes when Jannicke and Mikal discover the killer's trophy room (a chilling scene marred only by Jannicke and Mikal responing by nervously laughing and thinking nothing of it until later). That being said, what the kills lack in splashy-flashiness, they make up for by retaining an undeiniably brutal feeling to them. Especially the first kill. Yikes.

The film is shot beautifully, with the sweeping camera and many aerial shots capturing the full splendor of the mountain side; at first evoking a sense of beauty, only to later evoke a sense of dread and isolation. Like the original My Bloody Valentine the setting plays a key role in determining the look of the killer. Whereas that film had a miner, the boogeyman here is a man covered with appropiate gear for outdoor weather, a relatively simple look that manages to be extremely intimidating. There isn't quite enough time spent with him to establish much in the way of personality, but through sheer size, and animalistic grunts, and overall appearance, he's definitely able to hold his own with other slasher greats.

So, again, definitely not going to change the world, or usher in a whole new wave of cinema as we know it. But, there's nothing wrong with a film taking tired cliches and reviving them in a fresh, invigorating way. Besides, I'm just amazed by the fact that we have a successful foreign horror film that DOESN'T have an American remake in the works. Hope I didn't jinx it...

Gamera 3: Revenge of Iris

A guardian who has seemingly severed all ties to a race he once protected. The global reappearance of a winged predator thought extinct. A young girl with a deep-rooted hatred of the beloved flying turtle. A creature that understands her pain, and promises her revenge. An unholy communion that can spell doom for all of humanity. Truly dark days indeed...

Here's a little back story for the uninitiated: Thousands of years ago, the lost continent of Mu engineered Gamera in order to extinguish a species known as Gyaos, creatures with a savagery matched only by their appetite. In 1995, Gamera was found cased inside rock, along with a comet shaped jewel capable of forging a psychic link between Gamera and the owner of the jewel, who in this case, a teenage girl named Asagi. Years later, when Earth was buckling under the might of an extraterrestial intelligence known as Legion, Gamera was able to summon the Earth's spiritual energy (more on this later) in order to vanquish the threat. Unfortunately, the strain produced by such a summoning shattered Asagi's jewel. As well, as we would learn later, no good deed goes unpunished...

What is Gamera, you ask? Well...er...he's a giant turtle that has rocket jets in his legs and arms, withdraw all his limbs in order to fly like a UFO (how he manages to navigate is beyond me), and can expel molten fire. Worry not, gentle reader, you have not happened to lose your mind, and no one in the vicinity is on too many drugs. Or not enough, depending on how you look at it.

The year is 1999, and as previously stated, things aren't looking too good for humanity. For reasons unknown, the winged Gyaos have begun to appear all around the world, striking with a savagery and speed that leaves the respective militaries unable to co-ordinate a counter-attack. Even worse, worries Dr. Mayumi Nagamine (Shinobu Nakayama, repsrising her role from the first film), the creatures may be evolving. Meanwhile, the Big Green Guy's public relations with the people of Japan is seriously damaged when a seemingly insane Gamera engages in an aerial dogfight with two Gyaos. Doesn't sound too bad, until one takes into account the fact half the city was destroyed, and Grama wracks up a death toll of between 15,000 and 20,000. Despite having their asses saved by the turtle not once, but TWICE, the ungrateful bastards elect him to Enemy Number 1 in the course of a day. Bad news for all the vendors making a living selling the "I Heart Gamera!!!" t-shirts...

Elsewhere, there is Ayana. Years ago, she witnessed her parents crushed to death by Gamera, although the exact circumstance of their death is withheld until the end of the film. Sent with her little brother to live with family friends in a mountain side village, she has, needless to say, unresolved issues. Wrapped up in her hate, she's oblivious to the painful advances of Moribe, who's been pining for her for as long as he's known her. As it goes for all troubled teens, her angst is thrown to the breeze when she discovers a creature living in a cave near their house. Despite Moribe's warnings that the beast is dangerous, as it is possibly a mythical entity known as the Ryuseicho that could bring about the end of the world, she instantly likes the little guy, just because its SOOOOOOO CUTE!!!!. She christens it Iris, after her cat who was also killed by Gamera (man, the more I hear about him, the more I start to hate). The two form a bond, with Ayana believing both of them have suffered at the hands of Gamera. Iris then attempts to merge with her following an uncomfortable encounter in the woods (Legend of the Overfiend, anyone?), only to be saved by Moribe. Now in a near catatonic state, she's taken to Kyoto. Unfortunately, a now mature Iris is on the warpath, and is determined to have her. At any cost. With the Gyaos attacks on the rise, and two super-powered monsters determined to rend the other limb-from-limb, and Godzilla refusing to return the desperate nation's calls, things look hopelessly bleak. The end of the world is near, and nobody's feeling fine.

First off, I just want to give props to director Shusuke Kaneko for taking a concept as completely insane as a rocket-propelled turtle and spinning it into a trilogy as wonderful as any other 'mainstream' series. And with this final installment, Kaneko weaves a dark fantasy, kaiju opus that comes as close to being perfect as such a movie could ever hope to be. From the quality of the monsters, the effects, and (GASP!) the human element, Revenge of Iris is one of the greatest kaiju films ever made, and achieves a level of quality that hasn't been matched since.

As any fan will happily confirm, the human storyline is often the weakest element in any giant monster movie. The characters are often as shallow as one can get, and the experience can easily be likened to watching grass grow, or paint drying, or any other analogy you can think of. Surprisingly, the story here doesn't have one screaming at the heavens to make it end, or offering blood sacrifices. The basic plot draws upon the concept of Mana, a spititual force residing in all living things. In order to defeat the Legion, Gamera was reforced to draw upon vast reserves of Mana, and the resulting unbalance was what allowed the Gyaos to return to life. The script is surprisingly dense, chock to the brim with musings on memory, the need for personal satisfaction, no matter what the cost, and a surprising sexual element. The film is bleak from beginning to finish,, and there's a pervading sense that the world we know is coming to an end, and despite our best efforts, nothing can be done to prevent it. There is also an uncomfortable sexuality throughout the film, and to make it more uncomfortable, its between Ayana and Iris. The encounter in the woods is the most provacative, with the creature nuzzling her breasts, leading to Ayana uttering "Iris...I'm so hot". Yikes. And tentacle porn pushes further into our beloved genre.

The acting is top-notch throughout, with Ayana shining very brightly. She effortlessly switches between compassion and a rage that is somewhat frightening to behold, as well as displaying affection to what is essentially a prop throughout much of the film. Naomi Watts, eat your heart out. Recuring character Osako, or as I refer to him, that guy who screams at everything, returns and luckily, he does indeed scream several times.

But of course, you're wondering how the monsters fare. Fear not, as they are absolutely fantastic. Gyaos remains largely the same, essentially a pteranadon-like creature, and is brought off extremely well with convingcing CGI and prop effects. In fact, I'd go as far to say the CGI rivals many Hollywood productions. Gamera has, in keeping with his new distance from humanity, has takes on a much leaner, more feral look. As far as Iris goes...wow. The design is something I won't go into great detail over, as it is definitely best seeing with little prior knowledge. The baby form is efficiently cute, without going into the land of the grotesque *stares at Little Godzilla*. The adult is as Lovecraftian as anything I've ever seen, and easily makes for one of the most fearsome, and original kaiju ever concieved.

Surprisingly, the film is light on battles, but when they come, they pack a real punch. The Gyaos battle in Shibuya finally answers the question: What would it be like to firsthand witness a monster battle? Turns out it sucks. Not since Gojira has the toll of monster activity been so explicitlyrendered, as bodies are casually socrched and stomped. The dogfight with Gamera and Iris is a masterpiece of kaiju ballet; utilising near flawless CGI, it envokes a terrible beauty rarely seen in film. The final battle in Kyoto is again realistic in its depiction of two enormous beings going head-to-head, with the combat being extremely brutal and animalistic.

The film is not perfect, with some of the storylines being too muddled for their own good (government secretary and videogame cultists WTF?!), and some of the effects, such as a fully grown Iris striding the hillside looking too obviously like a composite shot, and the ending has definitely turned some people off; but the whole here far outweighs the sum of its parts.

It still won't probably convinve the naysayers, who still snicker at the sometimes primitive effects, laugh at the 'toy' buildings, but for those who like their kaiju action with a hearty helping of brains on the side, you'd be hard pressed to do better