Showing posts with label mark frost. Show all posts
Showing posts with label mark frost. Show all posts

Wednesday, 27 October 2021

Prime Time: Prey (2016)

Having delivered a wide variety of movies over the past four or five decades, writer-director Dick Maas is someone who certainly likes to create stories around high concepts. He's done a killer lift movie, which he also remade into one of my favourite "bad" movies (Down), Amsterdamned is a late eighties slasher set amongst the canals of Amsterdam, Sint shows a bad side of St. Nicholas, and here we have Prey, a film all about a large lion that has decided to pad around Amsterdam and eat some of the citizens.

The plot to this one is covered in that last sentence. Seriously. That's it. Sophie van Winden plays Lizzy, an expert called in to help the investigation. Mark Frost is a wheelchair-bound hunter who may be able to help. And there are some other people who are on hand to try trapping the dangerous big cat. This isn't a film about anything else though. In the way that Mark Kermode argues that Jaws is not about the shark, Prey is about nothing more than the man-eating lion. And, also unlike that classic shark movie, Maas isn't ever really coy about showing the central creature, not after a decent bit of teasing for most of the first act. That doesn't mean that the special effects stand up to such exposure.

First of all, it is worth noting that the only version of this I could find to watch was dubbed. Unless it is an animated movie or a martial arts movie from the ‘60s, ‘70s or ‘80s, dubbing is never the way I like to watch any non-English movies. It definitely works against Prey, with no characters able to deliver any emotion or nuance in their vocal deliveries, but that wouldn’t be so harmful to the film if the rest of it was consistently silly and entertaining.

It’s certainly silly, but it’s never as entertaining as it could be. The opening third of the movie, where the main characters are a few more steps behind the lion, which we see taking down prey with a mix of audio cues and sudden sprays of blood, ends up being the best part. A chase that shows a food delivery driver being hunted marks the end of that particularly fun portion of the film, to me, and shows the lion in all its glory, but also shows up the imperfect fakery of it.

Van Winden isn’t a bad lead, and she does an admirable job of trying to sell the terrible dialogue and character interactions. Frost gets to barge into the film and be a much bigger personality than anyone else onscreen, which makes him a welcome presence. Julian Looman is the third main character, and he’s one of those people who ends up with a much better fate than he deserves.

Maas certainly tries to have fun with the core idea, and that’s clear in a couple of main set-pieces, but he doesn’t have enough fuel in the tank to get much further than the halfway point. The third act, which should be tense and fun and more entertaining, is just surprisingly dull. Although there’s a final few minutes before the end credits roll that are better than anything else in the entire second half.

Not unwatchable, and I can imagine it being much better in a subtitled version, but Prey is a lot less simple fun than I expected it to be. And I can be very easily pleased.

4/10

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Tuesday, 11 June 2019

Scared Stiff (1987)

Having previously enjoyed the silliness of Doom Asylum, I was all set to let director Richard Friedman entertain me again with this 1987 horror movie that had passed me by the first time around (as have so many, you think you're a horror aficionado until you start to dig below the surface, and then you just keep diving deeper and deeper).

What you get here is a supernatural tale involving a house with a bloody history, a protective rock, and a singer (Kate, played by Mary Page Keller) who is trying to convince her boyfriend (David, played by Andrew Stevens) that something is seriously amiss while she also keeps herself and her son (Jason, played by Josh Segal) safe from the forces that seem to be aimed at ending their lives.

The feature debut from Friedman, who also wrote the screenplay with Mark Frost (who would go on to help co-create Twin Peaks) and Daniel F. Bacaner (who would go on to help co-create nothing else in the world of TV and film), this is a very uneven, almost leaden, affair at times. What should have been a silly and fun horror film is weighed down by Friedman seeming too afraid to just cut loose and increase the levels of insanity.

There's a decent enough opener, one that hints at something very bad about to happen without revealing everything immediately, but then things seem to move far too slowly for most of the next hour. Considering this is a film that clocks in with a runtime of under 85 minutes, it's shocking that so much of it drags. The brief runtime is a saving grace, as well as a finale that at least delivers some gore and thrills.

Another saving grace comes in the form of the two adult leads. Stevens and Keller aren't the best in their chosen profession, but they're not too bad either. They often act as if they're in the middle of one of those episodes of a drama series that has been given some horror genre trappings for a seasonal special. That's fine, because it's perfectly in line with how the movie feels, for the most part. Young Segal does well enough in his role, David Ramsey is the main character from the past who may very well cause problems in the present, and you get amusing little turns from Bill Hindman and Jackie Davis as, respectively, a doctor and a detective parading a number of clichés in their scenes.

It's a shame that so many of the other elements work against what could have been a rough gem. Most of the supporting characters come and go too quickly to care about, or even keep track of sometimes. Very few of the death scenes benefit from decent build up and FX work (most of this movie is a disappointingly bloodless affair). And the backstory isn't actually fleshed out quite as well as it could have been. Characters investigate, but they only seem to do so in a cursory way, just finding out enough to prepare viewers for upcoming tension/battles.

There was a chance to make this stand out, a chance to even do something quite interesting and unique (for the time it was released), but that doesn't happen. What we get instead is something best described as . . . bearable.

4/10

You can buy the movie here.
Americans can buy it here.