Silent Hill: Revelation 3D (18)

Silent Hill: Revelation 3D

This follow-on from the surprisingly successful Silent Hill [DVD] (2006), which was based upon the computer game, opens with a brief recap and then we are introduced to the lead character Heather played by Adelaide Clemens, the daughter of the previous heroin, played by the excellent Radha Mitchell (Mitchell was nominated for the 2006 AFI International Awards as Best Actress for this appearance). This newly discovered daughter, who looks similar but struggles to fill her mother’s shoes, is on the run with her father because the creatures of Silent Hill want her back to fulfil a prophecy, no surprises there. It is believed if the daughter is returned then the people of the town will be set free from their curse and their tormentor Alessa, also played by Clemens.

Having moved to a new town father and daughter soon find that their world begins to distort and Clemens begins to see all kind of grizzly signs. Faces distort, the evil power reaches out for her and she witness strange behaviour in the people around. The director and writer, Michael J. Bassett, seems to focus in on flesh eating and in particular cannibalism, the horrific set pieces presented more for the 3D effect then to enrich the storyline. It is sad evidence of a plot which has one direction, and very little Scope.

There are a few unexpected appearances, which you might think could add some pedigree. Malcolm McDowell (A Clockwork Orange) and Carrie-Anne Moss (The Matrix) appear as Leonard and Claudia Wolf, but both are poorly directed and merely distorted caricatures. The up and coming Game of Thrones actor Kit Harington also appears but does himself no favours, his chemistry with Clemens almost nonexistent.

The problem with Silent Hill is it relies too heavily on special effects. Some are grim and make you squirm but in this day and age it is something that we have all seen before, if you follow horror films. So whereas ten years ago these positives would have worked in favour of the film now they work against it. Yet the biggest shock is Sean Bean’s return as the father. He sports a terrible American accent and this air of fakery runs through the whole film which the inexperienced director never seems to get to grips with.

43/100

Chernobyl Diaries (15)

As a concept the Chernobyl disaster is an interesting, although devastating, urban event which could originate a range of urban myths and be a suitable setting for a horror film. Especially the town itself and the deserted poignant shells of the buildings left to rot in their radioactive residue. The director Bradley Parker, who has much experience working on blockbusters such as Fight Club and Red Planet but in the Visual Effects unit, obviously saw this as a major strength and the character of the location is well shot and incorporated into the narrative. The haunting scenes capture a tragic sorrow which is edged with the fear of the potential horror which is about to commence.

We have a party of six young adults, joyfully oblivious to the obvious dangers, led by the Russian Extreme Tourism guide, Uri who is played by the gruff Dimitri Diatchenko. Diatchenko pulls off the expected stereotype with enough subtle humour to make him the stand out character. The rest of the cast is young and brittle and their character’s are glossed over. Within this mix of frantic bodies is the recognisable Jonathan Sadowski  (Die Hard 4.0) but his aggressive persona fails to find the right counter balance and at times it feels he is simply shouting at the camera, and suffering from poor direction.

The main problem that the Chernobyl Diaries has is that it doesn’t deliver enough horror. It is a fifteen rating and so the punches were always going to be pulled but it really could have done with being an eighteen. There are moments when one of the trapped group Amanda played effectively by Devin Kelley, whose van has been sabotaged by some unseen assailant in the middle of Chernobyl, finds herself trapped and we never really glimpse the warped creature who’s trapping her. It is frustratingly anticlimactic considering this is a contemporary horror and a genre we have become used to revealing all. In fact the mutated populace of Chernobyl remain much of an enigma, which is a surprise when you consider the Director’s past in special effects. The sets are grand, the pace picks up towards the end but the delivery is disappointing.

48/100

The Cabin in the Woods (15)

There has been a lot of press coverage regarded this supposedly typical horror, with suitable name and twisted poster showing a grim cabin, where horror might commence. But this unexpected film is co-written by Joss Whedon,  sci-fi and fantasy master scribe, and so there was always going to be an added science fiction element. But where could this come from when dealing with your standard slasher in the woods horror?

From the beginning it is apparent that perhaps there is something quirky about Cabin in the Woods. Rather than the stereo typical 'teenagers preparing for a road trip' opening sequence we are confronted with some kind of science laboratory or technical institute. Then a hard hitting title sequence which smacks of a Carry on film rather than a gruesomely atmospheric frontispiece to a spooky horror. Not all as it would seem.

The group of young adults are in trouble. The little know Kristen Connolly steps up as the lead female, Dana Polk , and yet somehow steps back into the shadows her presence weak. Chris Hemsworth (Thor) as Curt does well, doesn't need a surname and can't help but dominate a group of lack lustre victims, yet is soon dispatched. Anna Hutchison and Jesse Williams appear and disappear, where as the geeky Fran Kranz is more memorable as the one who has enough brains recognise the trap the group have found themselves in.

There is plenty of gore and psychological terror in this action packed horror come thriller come sci-fi. Experienced TV Director Drew Goddard churns ups a cauldron of dark filmic references but surprisingly the strength of this story, other than its unpredictable nature, comes from the two control room operators Richard Jenkins and Bradley Whitford. They're dead pan, unmoving behaviour followed up by high fives and slap stick moralistic judgements is hard to fathom until you realise they may well have the fate of the world in their hands.

68/100