Noirvember: Payback (1999)

An enjoyable remake of Point Blank (well, a retelling of the tale that Point Blank was based on anyway), featuring Mel Gibson in the lead role of the wronged man out for revenge, and his half of a criminally-acquired stash of money, Payback is a rough ‘n’ tough bit of entertainment that tries to stand out from the crowd by having more ruthless behaviour and bursts of violence than you might expect from a film with such a big star name attached.

Gibson is Porter, a man shot and left for dead after being betrayed during a job that also involved his wife (Deborah Kara Unger) and his best friend (Gregg Henry). Once he starts on his quest to get the money owed to him - not the full amount stolen, just his half - Porter soon finds himself in more and more danger as he has to approach increasingly powerful members of a large criminal organisation.

Directed, for the most part (the production wasn’t exactly smooth sailing), by Brian Helgeland, who also wrote the screenplay, subsequently reworked by Terry Hayes, it’s hard to see why people viewed this as something that needed rescuing. And when I say people I mean “Hollywood suits”. What is here isn’t for everyone, but the same could be said for Point Blank. The fact that the main character is such a shitty person makes it more interesting, especially when you realise that he still has a certain moral code that makes him one of the least shitty people in a world full of much bigger scumbags who inhabit the world he lives in.

Dialogue may not be sharp, and the dour colour palette isn’t exactly a big plus, but plotting is clear, characters are nicely sketched, and Helgeland does some excellent work, knowing what viewers need to see and what they don’t. The unfolding chain of events may be grim, but it’s also somehow still fun . . . right up until it isn’t. And when the fun stops, well, you know the ending is close. You just don’t know if it’s going to be a good or bad ending.

Helgeland helps himself a lot by casting such a great selection of faces. Gibson is great in the main role, doing the kind of tough and unpredictable schtick he could do in his sleep, and Henry has a knack for playing the kind of character you just know could double-cross you at any moment. Unger is sadly underused, but there are two excellent, and very different, turns from Lucy Liu and Maria Bello that more than make up for the brevity of her screentime. There are also roles for David Paymer, Bill Duke, William Devane (one of the most sorely-undercelebrated actors of his generation, in my view), James Coburn, and Kris Kristofferson, as well as one or two others you should recognise. I cannot single out any one of these actors for praise, but that’s because they all get to be equally brilliant at different times in the movie.

I really like this. It’s not as good as the original work it is based on, some better visuals and a more interesting blend of score and soundtrack could have helped (although the opening music from Chris Boardman, playing over the extended credit sequence, is superb), but I think it’s an enjoyably lean, mean, neo-noir that always seems willing to go one step further than viewers might expect. I recommend it.

8/10

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Shudder Saturday: Just Before Dawn (1981)

Some traditional “hillbilly horror” shenanigans, Just Before Dawn puts a bunch of characters in the middle of nowhere, has them being targeted by some uncivilised people who seem to live in the woods, and sets up some set-pieces that have people killed off while the survivors slowly realise that they are now being hunted.

Directed by Jeff Lieberman, who also wrote the screenplay with Mark Arywitz, fleshing out a concept by Jonas Middleton, Just Before Dawn isn't a bad example of this type of thing. It has everything in place that you'd expect, from the characters all peeling off from the crowd to be isolated and easier to kill to a small twist when the main killers are revealed. It has killers who are very basic in their killing methods, and oblivious "city folk" who don't have any idea of the kind of danger they're putting themselves in.

Unfortunately, it's not half as mean as it could be. Considering the slasher movies of the era, as well as the brutality of films that preceded it (such as Deliverance and The Hills Have Eyes), this is a disappointingly tame affair that doesn't even decide to wallow in some of the pain and bloodshed. It doesn't even make you feel properly uncomfortable as certain characters act in some way that you know is just for the benefit of luring in another victim.

The cast doesn't help, with nobody really standing out for the right reasons. Gregg Henry and Deborah Benson are Warren and Constance, who may or may not be selected to survive until the end credits roll, and Chris Lemmon and Jamie Rose play Jonathan and Megan, two characters who we sense are more ill-fated than the others once they go skinny dipping. Ralph Seymour is Daniel, who gets to do very little before things turn dangerous for him, and Mike Kellin is Ty, the character warning people that he has witnessed a gruesome murder, but is also rambling and drunk. Then you have George Kennedy, playing a forest ranger named Roy McLean. Kennedy is a welcome presence onscreen, despite making a lot of dubious film choices throughout the 1970s and '80s, but his character comes perilously close to being a deus ex machina when he becomes more involved in the unfolding events.

It's a shame that this doesn't do any more than the bare minimum throughout, from the kills to the audio work, because the bare minimum is done well enough, and presents what viewers of this particular sub-genre have come to expect. There's no more here though, and it's odd to see that this is a film with a reputation that has grown over the past few decades. It's competent, which is never the word I want to end a movie review on, but here we are. Just Before Dawn - completely competent.

5/10

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Netflix And Chill: Office Uprising (2018)

You wait for one movie that works with the premise of a downtrodden office worker finding a renewed sense of purpose in the midst of a situation turning everyone incredibly violent and then three come along at once. Yes, after the corporate violence of The Belko Experiment and Mayhem, Office Uprising is the latest genre offering to remind everyone of how much stronger the survival instinct can be in people who are spend most days trying to avoid being stabbed in the back by colleagues.

Brenton Thwaite is Desmond, a laid-back staff member at Ammotech, a leading company in the world of weapon manufacturing. Cutbacks are happening, leading to a more competitive atmosphere than ever, but "our hero" would rather spend as much time as he can developing his phone app/game on company time. That lazy schedule is interrupted, however, when most of his colleagues turn into raging maniacs. It is all the fault of an energy drink this time. A scientifically-engineered energy drink. Once ingested, it ramps up the aggression levels of the drinker. Desmond needs to get to safety, with the only two co-workers he views as anything like friends.

Directed by Lin Oeding, already a bit of a veteran in the stunt industry and now building a directorial career in shorts, TV, and this feature, the worst thing about Office Uprising is that it comes along after two superior movies riffing on very similar material.

The other worst thing about it is the tone. Writers Ian Shorr and Peter Gamble never seem committed to their own creation. The humour isn't as sharp or smart as it could be, and the moments of violence generally use shouting and insults to try and distract viewers from the fact that there's not that much actual nastiness and bloodshed on display. It's a shame, especially when Shorr has the wince-inducing Splinter in his filmography, and leaves you with the impression that the film doesn't have any guts or heart beneath the surface.

There's one more major factor working against it. Thwaites just doesn't make for a great lead in this particular role. He's just not a good fit here, almost sleepwalking through most of his screentime, which is a shame. It's a good job that the two people he hopes to keep alive are Jane Levy (already able to make a claim as something of a scream queen) and Karan Soni (arguably best known for his hilarious turn as Dopinder in the Deadpool movies). And the main villain of the piece is played with the expected level of aplomb by Zachary Levi, which also helps. Gregg Henry and Kurt Fuller aren't given enough screentime though, and there isn't quite enough to fix the damage caused by the miscasting of Thwaites.

It's not a terrible film, especially if you're after something that mixes some humour and horror without too much gore thrown around the place, but it lacks bite (no pun intended), it lacks focus and commitment, and it's never one that I would encourage you to prioritise above others that you may want to take a chance on.

5/10

Office Uprising is currently available on Netflix (UK, not sure about other territories).

Super (2010)

In 2009 and 2010 viewers were given not one, not two, but three movies concerning people trying to make themselves into superheroes. The biggest release of the three was the enjoyable Kick-Ass. The one that kind of got lost between the cracks was Defendor (which I highly recommend). And then we have this movie, Super.

Rainn Wilson plays a man who is driven into action when his wife (Liv Tyler) is taken away from him by a local criminal kingpin (Kevin Bacon). At a low point in his life, he receives a vision that blends the message of a character on TV named The Holy Avenger (Nathan Fillion) and the touch of god. He'll become a superhero, fighting crime on a path that will lead him to taking down the kingpin and rescuing the one he loves. It's not long until The Crimson Bolt starts to cause problems for criminals, including anyone who cuts in line at the cinema, and a girl (Ellen Page) who works in a small comic book store doesn't take long to figure out just who the new superhero REALLY is.

James Gunn is a talented guy, capable of writing scripts that blend very dark moments with great entertainment, and he shows that again with this movie, which he both wrote and directed. Super really gets its strength from clashing child-like naivete up against the harsh realities of the world around us. A world in which criminals will draw a gun and shoot a man, superhero or not. A world that replaces the "kapow" and "whammy" of comic book panels with broken bones and blood. It's no place for the main character to try out his deluded plan, but he does so anyway.

Wilson is very good in the main role, a lovable schmuck who overreaches, but does so with good intentions. He's unbalanced, but his moral compass always tends to point the right way, even if the punishment he metes out can sometimes outweigh the transgression. Page is also great, countering the dark and disturbed mental state of Wilson's character with her brighter, though equally disturbed, outlook. Liv Tyler doesn't have as much to do, mainly being the damsel in distress, but she's very good, while Bacon has a blast as the main villain, helped out by a right hand man played by the great Michael Rooker. Gregg Henry fills out the cast, playing a detective who ends up in the middle of quite a crazy situation.

Super is a good film. It's interesting and funny and dark and warped. There's just something that stops me from liking it as much as some others do. I think that may be to do with the fact that I just prefer the two other movies mentioned in the first paragraph. Kick-Ass embraced the idea to provide brilliant, bloody entertainment. Defendor used the notion to really explore perception and mental health. Super sits in between the two, which leaves it slightly less satisfying, cinematically, than either.

7/10

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Slither (2006)

Let's get one things clear right from the off. Despite various soundbites and hyperbole bandied about, this movie is not as funny or funnier than Shaun Of The Dead. It's not up there with the best of the horror comedies from the past (the likes of An American Werewolf In London, The Return Of The Living Dead, etc), but it does easily earn a place on the second tier just below them.

Michael Rooker plays Grant Grant, a small-town guy through and through, who has his life, and physicality, changed when he's infected by an other-worldly parasite. Hiding his changes from his wife (played by the beautiful Elizabeth Banks) and everyone else, except his victim(s), it's only when the local police (led by the immensely likable Nathan Fillion) put things together that he has to hide while the changes continue and a plan to infect the entire town develops.

Apart from those mentioned, I should also comment on Gregg Henry's brilliant and hilarious performance as beleaguered mayor, Jack MacReady. He's all cursewords and bluster and steals almost every scene he's in. While the others onscreen don't make quite the same impact they are all very good, and Tania Saulnier is a talented young actress I'd certainly like to see in more movies.

Director and writer James Gunn may not top his work on the Dawn Of TheDead remake, which benefited from his superb script, but in many ways he makes a film that's altogether more pleasing for genre fans; packed, as it is, full of references to genre works and people while also providing solid entertainment and thrills in a decent mixture of slime, gore and giggles.

Where the movie falls down slightly is in its use of juxtaposition for comedy effect. One scene in particular, a rape (some may disagree with that definition but that IS what it is) intercut with some drunken singing and revelry, fails almost completely because the contrast is just TOO jarring to take for laughs. That aside though, the sharp script and spot-on performances (along with the decent effects and more "out there" moments) help to make this a worthy entry into the modern comedy-horror subgenre.

8/10

http://www.amazon.co.uk/Slither-DVD-Nathan-Fillion/dp/B000HDR7YW/ref=sr_1_1?ie=UTF8&qid=1373234424&sr=8-1&keywords=slither