The Special Child: Review of Carrie

Carrie

Director: Kimberley Pierce

By Alex Watson

Brian De Palma’s adaptation of Stephen Kings novel Carrie is an undisputed classic of the horror genre and the even today the telekinetic teen still has the ability to shock. There were sneers aplenty when it was announced that Boys Don’t Cry director Kimberley Pierce would undertake a re-imagining of this film. But can this tale stand up in the modern day and more vitally can new girl Chloe Grace Moretz emulate the same quality as Sissy Spacek?

Carrie White (Chloe Grace Moretz) is a shy high school outcast who is constantly tormented by her classmates due to her religious maniac mother Margaret (Julianne Moore). But very soon Carrie realizes that she has telekinetic powers that allow her to move things. When she is invited to prom, a cruel played by school bully Chris (Portia Doubleday) will force her to unleash her powers and give payback of the most brutal kind!

Kimberley Pierce’s new version of Carrie is by all account a decent try at putting a 21st century spin on Kings tale, but although it has its moments- it doesn’t really add anything different. Yes it in some cases its more faithful to the novel as we open on Margaret all alone giving birth and the raining stones are included for good measure, but these moments aside cannot give this movie a stand out feel.

The high school are one of more shocking aspects of the movie as we view the locker room scene being filmed on a camera phone and super bitch Chris posting the evil deed online! But the in many cases Pierce’s movie seems to want to get past these scenes as fast as possible to get to the end sequence. Because if this we never truly get to know our characters like in De Palma’s version and because of this a lot of memorable character traits get lost!

But what of our leading ladies? Well Carrie 2.0 is an interesting breed Through the immense cruelty that is piled on her it comes as no surprise that she snaps. Problem due to a slightly under cooked performance we never get the sense of fragility or lurking threat that was given to us so brilliantly before and this version of the troubled teen is harder to warm to as a result. The Margaret of this version is a more subtle and dialled down version than Piper Laurie’s crazed maniac of old, and in this version we see her puncture her skin repeatedly with sewing gear as penance for her sins. But this missing mania makes her character less memorable and the new Ms White doesn’t quite have the required threat onscreen.

But arguably the most talked about sequence in the new Carrie will be the ending prom sequence where Carrie’s anger comes full circle. Here the actions feels far too overblown and the murderous smile on Carrie’s face as she send people flying instantly makes us loose sympathy for her as she forms blood red eyes and beings floating in mid air. It is a shame that a talented director like Pierce has resorted to such measures but this sequence is one that is hard to top and in some ways, we miss De Palma’s use of split screen.

Chloe Grace Moretz tries her best as the new Carrie but despite some excellent work she simply cannot bring same heartbreaking quality that Sissy Spacek was able tho conjure up previously and on reflection, this may be been the wrong choice. Julianne Moore plays Margaret well and her new take is one of the films more memorable qualities, but it doesn’t feel quit as powerful as it should and because of this we come away with a slightly underwhelming feeling!

The new re-imagining of Carrie is one of the more superior horror remakes we have seen in recent times and it has enough not to tarnish the originals legacy, but it is also not a movie that will truly stand out on its own. By all accounts it is worth a look, but just remember, be nice to Carrie if you can because your actions will have consequences!

Someone in the Dark: Review of Mama

Mama

Director: Andy Muschetti

By Alex Watson

Tales of supernatural figures and scary children are seemingly ten-a-penny these days in the film world and to many the shock factor is apparently wearing thin. But there is one man who still has the ability to surprise everyone, that man is Mexican supremo Guillermo Del Toro and when he puts his producing cap on the results are always interesting and this week he turns his attention to Argentine director, Andy Muschetti’s film Mama (originally a 2008 short film), but can the wizard conjure up the magic he cast as  the Spanish horror, The Orphanage or will this just be another number added to the list?

When disgraced businessmen Jeffrey (Nikolaj Coster- Waldau) kills his business partners at the height of the 2008 recession, he takes his two daughters and goes on the run. While hiding in a cabin deep in the woods, he is killed by strange figure and the girls are left alone. Five years later the girls are found and returned the custody of their uncle Lucas (also Coster-Waldau) and his rocker girlfriend Annabelle (Jessica Chastain). But the figure from the woods, named Mama has arrived back with them and she is determined to hold on to them by any means necessary!

Mama has some good scares attached to it and there are moments when the creature appears which are guaranteed to make the heart skip a beat! Del Toro’s feel to the picture adds some nice pitch black quality which places this picture slightly above some of the most recent horror duds. The creation of the strange creature makes for some impressive CGI and its presence conjures up a truly lurking threat that just about keeps the movie going along, but these effects do become overused after a time and from the beginning sequence we are aware of just what is to come later on and ‘Mama’ is far scarier when left in the shadows than up close!

But although it will keep most horror fans satisfied, the main story doesn’t quite feel it has the ability to fill an entire feature and although the premise presented is interesting, the story falls into the usual clichéd ghostly mother who is homicidally protective and involves an over explanation of pain filled back stories to bridge the gaps that may have been missing. The finale is equally flimsy and although things are rounded up nicely with a hint of bleakness, you can’t help feeling this could have ended on a far harder note!

The story line involving Annabelle as the free spirited guitarist turned reluctant surrogate mother gives Mama some intrigue as she becomes increasingly terrified of listening to these little girls singing to the walls and the suspicious noises coming from the cupboard in their room! As she learns to bond with the children we gradually begin to sympathise with her as she sheds her hard shell to the point where we can see why the creature is becoming increasing jealous of her affections!

Jessica Chastain brings some much needed star quality to this film and this is a far different role than we have seen her in previously. Although Chastain doesn’t quite pull of the rock chick act, she does bring some strength to the role and manages rise above the usual looking scared act and gives an emotionally charged performance which easily elevates proceedings! The talented Nikolaj Coster-Waldau is criminally underused as Lucas and after he mesmerising turn in Headhunters he has little to do here, but even with his limited screen time Coster-Waldau still makes the most of it and hopefully soon he will get the Hollywood role that is deserved.

Mama may not be everyone’s favourite film this year but it does guarantee plenty of nerve tingling moments in store and its talented cast also makes for a decent presence on screen. Just remember the next time a deranged spirit follows you home, be sure to call the exorcist to avoid complications!

We Are Not Alone: Review of The Thing

Classic from the Vault

The Thing (1982)

Director: John Carpenter

By Alex Watson

When you watch a John Carpenter film you should really expect things to get mighty tense! Over the years the well known horror film director has proven the master of suspense with his movies Halloween and the original Assault on Precinct 13 and he is rightly regarded as one of the cult directors of years gone by. His style is one that usually involves effect use of steadycam and his films often involve minimal lighting and photography. Through this down to earth direction it ensures his films take their place in history. But his talent for scares was never better portrayed than in his 1982 masterpiece, The Thing.

Set in Antarctica a group of 12 American scientists involving MacReady (Kurt Russell), Blair (Wilford Brimley), Childs (Keith David) and Lt Garry (Donald Moffat) witness a helicopter of Norwegian scientists trying in vain to shoot a runaway dog. When the helicopter crashes into the wasteland, the group is left to wonder what is going on. Rather than leave it, the scientists take the dog into their base. But very soon strange events begin occurring and dead bodies start appearing. The group is then with faced a scenario and a mysterious being that could potentially have apocalyptic results for humanity!

Release in the same year as ET: the Extra Terrestrial, Carpenter’s The Thing sadly sank without a trace at the box office, which is a shame because it is a film filled with shocks galore. The slimy effects by Rob Bottin provide the film with its scare factor and as we watch the creature taking over the various scientists the results make our eye bulge!  Even in today’s modern film making world, they have stood the test of time.

Antarctica is the perfect setting for The Thing because its desolate feel adds to the bleak feel the movie. Surrounded by a sea of white ice and snow, the scientists have nowhere to run from the shape shifting creatures and because of this they begin to descend into paranoia and one by one they slowly turn on each other. In this place, anyone could be the creature and among them no one is safe!

This guessing game sends the suspense into overdrive and throughout the audience will hedge its bets on which character is hiding something. The scene where MacReady test each remaining scientists blood with a flamethrower and a hot needle to prove who is still human is utterly nerve shredding, and as he dips the needle in each sample we jump a little each time!

But it’s the authentic feel of the characters that make us root for them to survive, they aren’t supermen scientists or men looking for redemption, they are just ordinary hard working men who are trying to get by. MacReady is the closest the movie has to a hero because he is the only one willing to take charge when the base leader Blair descends into madness! Unlike the others, MacReady doesn’t jump to conclusions and puts the safety of the men before all else.

The Thing however, belongs to Kurt Russell’s excellent performance. As MacReady he is a strong and commanding presence on screen and is the character that the holds the audience’s attention throughout. Also he possibly sports one of cinema’s coolest beards. Wilford Brimley gives a good portrayal of a man on the edge as Blair; the scene where he tears the control room apart instantly raises our suspicions and he is ably supported by the other scientists including veteran character actor Keith David and Donald Moffatt.

John Carpenter is a director who can mix it with the best of them when it comes to provide an audience with stories that are full of trepidation but at the same time utterly absorb us. The Thing is rightfully considered a classic of the horror genre and this will stay with you for days afterward. But the important thing to remember is be careful of any stray dogs you might let in your home in the future, you never know what carnage it may bring!

Welcome to My Nightmare: Review of A Nightmare on Elm Street

Classic from the Vault: Halloween Edition

A Nightmare on Elm Street (1984)

Director: Wes Craven

By Alex Watson

“One, two, Freddy’s coming for you… Three, Four, better lock your door!” The moment we hear those eerily spoken words our fist clench and our body tenses up! Wes Craven’s A Nightmare on Elm Street has inspired one of the truly great horror characters in disfigured knife wielding manic, Freddy Kruger because he is the kind of thing nightmares are made of! Craven’s ability to scare us is beyond doubt; both Scream and The Hills have Eyes have become slasher favourites! But Elm Street still remains his finest hour and dreams after this were the never same again!

In the town of Springwood, Nancy (Heather Langenkamp) and her friends are experiencing horrific nightmares about a crazed maniac who has a glove of knives. At first they dismiss these dreams as just dreams but after her friend Tina (Amanda Wyss) is horrifically murdered, Nancy realizes that they must stay awake in order to stay alive, but also they must delve into the legend of Freddy Kruger (Robert Englund) before it is all too late!

Even though it has been parodied to death in the modern day, A Nightmare on Elm Street is still just as terrifying today and it was years ago. All the way through whenever someone falls asleep we know that something terrible is due. The scariest element is that in the dream world the teens are stuck in Freddy’s domain! And in that place there is no escape because Freddy is able to manipulate his surroundings to his advantage! In other words, if you die in dreamland, you die in the real world!

The images that we are left with are some the most iconic and frightening of horror movies, including the scene where Glenn (Johnny Deep in early role) is innocently asleep in his bed- then suddenly two arms reach out from under him and pull him down, cue mass blood splatter that even Dexter would be proud to analyse! The most terrifying of all is watching poor Tina’s demise as her boyfriend sees knife marks magically appear on her body and then an invisible force throws her about the room! The fact that no one can do anything to help makes this all the more shocking!

But it’s the man himself Freddy that provides the real scares in A Nightmare on Elm Street, clad in his torn red and green striped top with his hat and glove of razor sharp knives- Craven has given a truly frightening villain who literally cannot be killed! Although he lurks mainly in the shadows, his menace surrounds the movie and ensures that sleepless nights will lie ahead after this! Although the later Elm Street films have proved patchy affairs, Freddy’s presence has yet to fade on screen and this to Craven credit for this!

Robert Englund brings Kruger to life through an impressively creepy performance, although behind heavy prosthetics for his role, Englund still conjures up a threat that is everlasting and has ensured that he has remained a favourite with horror fans ever since. Heather Langenkamp is equally impressive as Nancy, this is because she decides to go against the ‘typical scream queen’ formula and is instead resourceful against Freddy and his reign of doom, and in the end it is her strength that will see her through.

Johnny Depp also makes an early impression as Glenn, even though his screen time is limited. In his short time he also gets to star in one of horrors best loved death scenes! Seems if he comes across Freddy in a dream, he owes him a glass of blood stained beer.

Dated it may be now, A Nightmare on Elm Street is one the most original and genuinely startling horror movies of all time which has a villain for the ages. Although Wes Craven’s most recent efforts haven’t been the same quality scare wise, he will always be loved by the horror community for bring us Freddy! Sleeps well after watching this because remember “One… Two, Freddy’s coming for you!!”

Crazy in Love: Review of Misery

Classic from the Vault

Misery (1990)

Director: Rob Reiner

By Alex Watson

Some of the really brilliant moments in movies are the ones which make us squirm with discomfort! The effect of these is that although they are un-pleasant to watch, we know that are the images that will stick in our minds after the credits roll. Take for instance Brad Davis biting out another inmates tongue in Midnight Express, or James Franco being forced to amputate his own arm in Danny Boyle’s 127 Hours. But none were more stomach churning than the leg breaking scene in Rob Reiner’s, Misery to give this full effect you need an actor with a presence to match, and in Kathy Bates it was found!

Writer Paul Sheldon (James Caan) has found great success in writing the Misery series novels, but now he has killed her off and is moving on to new things. But when he crashes his car during a freak blizzard he comes into contact with his ‘biggest fan’ Annie Wilkes (Kathy Bates). Whilst confined to his bed Sheldon begins a horrific ordeal as he is regularly tortured and forced to re-write his novel to bring back the character he has killed off. But his problems are only just beginning!

Misery is a film that will never leave your mind for so many reasons, firstly the character of Annie Wilkes is one of the most terrifying figures in cinema and she is the kind of fan that any famous person hopes not to come within 1000 miles of. She is a woman with a very short fuse and at any moment there could be a major explosion, the constant look of dread on Paul’s face sums up his terrifying experience and we fear for his safety all the way through.

Director Rob Reiner does a masterful job of keep the suspense at maximum all the way through.  When we first meet Annie she seems a little too obsessed with Sheldon’s books for her own good- but the moment she finds that her beloved Misery has been killed, she snaps completely! And as she goes nuts we know horrendous events lie ahead! This one event seems to set Annie off and she becomes convinced that it is her ‘mission in life’ to make him bring Misery back from the dead!

By the time the leg breaking scene comes, we already completely scared stiff by this crazed woman and her delusion that her time with Paul is some kind of off-beat romance. But this doesn’t lessen the brutal effects that follow, as the sledge hammer hits we cower in our chairs, the most horrific part comes after when Annie says ‘God I Love you Paul” it’s times like this that make us hope we never have to experience something like this!

Kathy Bates gives one of the scariest performances of all time in Misery and all the way through her very presence strikes fear into the heart! But it’s not just shock value because Bates gives Annie a more human element in her calmer moments and we begin to realize that there might be a good person underneath it all who is lost in haze!

She is ably supported by fellow veteran James Caan who gives a wonderful as Paul Sheldon, although he spends most the movie looking petrified, he is also very resourceful and constantly looking for a way out and as the film carries on, Caan gives him an edge which will eventually see him through.

Rob Reiner’s adaptation of Stephen King’s novel remains a tremendous piece of work and even today it has lost none of its jump factor. Casting Kathy Bates was one of the best decisions he could have made, it is a shame that Reiner’s career of late has taken a major slide because Misery showed how versatile a director he could be. For a very different kind of Halloween, I recommend this film but beware it might just drive you Cock-a-Doody with fear.

It’s My Prom Night: Review of Carrie

Classic from the Vault

Carrie (1976)

Director: Brian De Palma

By Alex Watson

There are many iconic moments in horror films, for instance we have the chilling final shot of a frozen Jack Nicholson in The Shining, The Shark coming from below to attack its victim in Jaws to finally the horrifying sex scene in Rosemary’s Baby where Mia Farrow is literally taken by Satan! But none have such an iconic final act than Brian De Palma’s adaptation of Stephen King’s novel, Carrie, a finale which is guaranteed to leave you with a blood stained prom queen haunting your dreams!

Carrie White (Sissy Spacek) is a social outcast at her high school due to her religious fanatic mother Margaret (Piper Laurie).  One day when she experiences her first period, a mean prank is played on her by bullies Sue Snell (Amy Irving) and Chris Hargensen (Nancy Allen).  Feeling remorseful for her actions, Sue asks her boyfriend Tommy (William Katt) to take Carrie to the prom, which she accepts despite the protest of her mother. But Chris isn’t so forgiving and hatches a plan to get revenge- one which will end in tragedy!

The great thing about De Palma’s version of Carrie is that it is not strictly a horror film, and in the early stages it stays more in the bounds of a high school/ coming of age drama, but the touches of horror are hinted at from the outset, in particular the infamous opening shower scene as De Palma glides in slow motion through the girls locker room to finally centre on Carrie innocently showering. As she gets her period she runs to the girls for help and instead of helping her they mercilessly throw tampons at her screaming “Plug it up!” As Carrie cowers in the corner, the feeling in the air turns frightening!

You could say that the real horror in the beginning stages is portrayal through Margaret’s stranglehold over Carrie. With her literally everything is a sin!  For instance when she learns of her daughter experiencing her period she hits her and reads aloud from the ‘good book’ how her Carrie has sinned and then drags and locks her to a closet to pray!

Mother and daughter are the centre piece of De Palma’s film because through her fears and fanatical religious beliefs Margaret has turned her sweet natured daughter into an oppressed recluse. But in a tense finale confrontation, Carrie will make her mother pay for her wrong doings and the repercussions will be of biblical proportions!

All the way through we can feel things building to an almighty climax- and in great horror tradition it is delivered with gusto. We know from mid way of Carrie’s powers of telekinesis and her fear of using it. But when Chris’ pitiless prank with a bucket of pig’s blood is carried out- Carrie uses her ability and turns a perfect prom night into a fiery massacre! As we watched the blood stained Carrie standing menacingly at the centre of a stage while others run for cover, our blood freezes in our veins!

But in many ways it is deserved pay back for her on who have been her tormentors, particular Chris Hargensen! And although she has caused carnage in so many ways- you can’t help but sympathise with Carrie White!

As Carrie, Sissy Spacek is spellbinding and is a presence we are drawn to throughout the movie. But where she makes her mark is in the final act, as Carrie gets her revenge the icy stare of Spacek, lit by the fires of Hades is truly unforgettable! Piper Laurie is an equally frightening presence as her mother Margaret; though it is border-line over the top, her representation of religious mania is just as memorable.

As the villain Nancy Allen make a notable movie bitch as Chris, the girl who is seemingly without a moral compass and as a result of her vindictiveness pulls the rope on the bucket that triggers the catastrophic prom night events!

Brian De Palma brought us one the most memorable films from years gone by, Carrie is both terrifying and immensely heartbreaking at the time and includes many memorable moments, including a finale shot which is sure-fire to make you jump from your seat!

A remake is set for 2013 starring Chloe Moretz and Julianne Moore- I wish them well! Just remember that if you take someone to the prom, be sure to look out for them because otherwise things could get out of hand!

Vampire Weekend: Review of Dark Shadows

Dark Shadows

Director: Tim Burton

By Alex Watson

 

Everyone can tell a Tim Burton movie when it is showing, his unique blend of dark humour and quirkiness has won him many fans over the years. Ever since taking the helm in Batman in the early 1990’s his work has evolved produced many fine pieces of cinema such as the strange yet heart-warming Edward Scissorhands and his fine homage to cinema’s worst director in Ed Wood . For his latest piece Burton chose to adapt the television series Dark Shadow’s, a soap opera created by Dan Curtis that ran from 1966 to 1971. This show has gained a cult following in the US since its creation, but in the United Kingdom, it remains largely unknown. Can Tim Burton bring it larger attention?

The story begins in Maine, New England in 1752 where local business giant Barnabas Collins (Johnny Depp) rejects the love of witch Angelique Bouchard (Eva Green). As a punishment she sends Barnabas’ love Josette (Bella Heathcote) to her death by making her leap off a cliff and turns Barnabas into a vampire so his suffering will be permanent. Also as a final insult Angelique has him buried alive! But Barnabas awakes in 1972, he finds the world has become a very different place and his once great family, led by Elizabeth (Michelle Pfeiffer) have been reduced to nothing! Barnabas now re-united with his love ones, vows to restore his family to glory.

Dark Shadows certain has the Burton feel surrounding it and his usual dark blend fits the feel of the picture. For the most part, Dark Shadows works well and it provides us with as many giggles as it does shocks. The 1970’s setting is a great ground to showcase Barnabas’ misunderstanding of what it means to be human. As re-awakens he finds himself spooked by such things as lava lamps and a massive McDonald’s sign. His struggle to adapt to the world provides the comedic element of the film.

But aside for the funny moments, this film also has a dark and sinister edge to it and we forget for large periods that Barnabas is indeed a vampire.  When he murder’s his victims it does give us a soft shock. In particular when he is sat quoting Love Story at length to a group of free loving hippies and the people are fascinated by him, then he coolly announces “However, it is with sincere regret that I must now kill all of you. “ In this moment we don’t know whether to laugh or let out jaws drop.

But although it feels typically Burton, it doesn’t feel like vintage by any means. The story line of Dark Shadows doesn’t feel like a hard stretch for either Burton or Depp. The other family members feel underused in the story and the feud between Barnabas and Angelique feels over cooked and you feel less would have been more.  Things aren’t helped by a very strange and clumsy third act where the story takes a turn into more gothic territory. Collins is an interesting character but he doesn’t quite hold our attention throughout.

Johnny Depp is as usual very watchable; a big fan of the show in real life, Depp brings his creation of Barnabas to life and gives a brilliant, charismatic performance. Eva Green is a good choice as Angelique and she does well as the ruthless witch, even though her American accent does need a little work. But the other members of the Collins family (Michelle Pfeiffer, Chloe Grace Moretz and Jonny Lee Miller) don’t get the screen time they deserve and because of this we never get to properly know they family and we wonder why Barnabas would come back to them?

Although Dark Shadows may not prove to Burton’s greatest work, it is still proof that him and Johnny Depp work best together. The two have given us some many memorable pieces and it is safe to assume they aren’t going to stop any time soon.

 

Ultra-Violence in Japan: Review of Audition

Classic from the Vault

Audition (1999)

Director: Takashi Miike

By Alex Watson

Japanese Director Takashi Miike’s films are to put it mildly-an acquired taste! His films range from very gory, bizarre to sometimes family friendly. In his previous efforts such as the brutally violent Ichi the Killer and the strange family film Visitor Q, we have seen perhaps the most controversial artist of years gone by. Opinion has been divided over his work, particularly his use of sexual perversion and extreme violence. Audiences were firmly spilt with his 1999 film Audition, which was adapted from the novel by Ryu Murakami. In this film we were given some of the most shocking imagery in both Asian cinema and the very history of cinema itself!

Audition features a lonely widower of seven years, Shigeharu Aoyama (Ryo Ishibashi) who is currently raising his teenage son single handed whilst running a successful TV production company. To help him find love a friend and colleague suggests he hold a mock audition to find the perfect girl. Aoyama is reluctantly to go along but is eventually persuaded. While there he finds himself enchanted by the shy Asami Yamaza (Eihi Shiina). His friend expresses concern when her resume doesn’t check out and some suspicious events are reported. Aoyama however, is infatuated and proceeded to approach her! Very soon he discovers there is a dark side Asami which will soon leave him fighting for his life!

Upon release Audition caused a major stir and in various film festivals walk outs were common. At the 2000 Rotterdam Film Festival one viewer was so incensed she screamed ‘YOU’RE EVIL’ into the face of Miike. The reaction was unsurprising as the imagery in the film is at times difficult to swallow. But in the face of all its adversities we have a fantastic psychological horror film. The tension builds slowly and it sets up Aoyama as a pleasant and loving man who is looking another woman in his life. At first we assume this is will be a love story and when we first meet Asami she seems innocent and very likable as a person. But then we switch to a scene which shows her sitting quietly in an empty apartment with only a sack and telephone. When the phone rings, the sack begins to move a make gurgling noises. From here the audience begins to feel a sense of un-ease!

The second half is where Miike’s psychological mind play comes into effect, we know that there is something dreadfully wrong with Asami and we pray for Aoyama to discover before it is too late. But we know that the road he taken will lead to disaster. Little by little our hero goes deeper into the underworld and the further he goes the more terrified we grow. The imagery in the latter half is disturbingly memorable! In particular the scene where Asami carries out her delicate and near sexual torture of Aoyama! Dressed in a black apron and slender black gloves she carries out a horrifying deed as she saws off his foot with a wire saw! While doing this she displays a scary girlish glee! Whatever charm was previously is thrown out the window and we see our worse fear come to light! This links to Miike use of violent and perversion because she seems to get a thrill of gently making Aoyama suffer! As the credits roll you sit in a stunned silence and contemplate if this whole event was all a bad dream.

Eihi Shiina gives us one of the most terrifying performances of years gone by. Asami isn’t any typical boil bunny girlfriend and instead she is very soft spoken and seemingly gentle. It is these qualities about her that make it all the more shocking when her dark side emerges and through her piercing eyes we never forget her presence! Ryo Ishibashi charms us with his portrayal of Aoyama, his eyes dazzle at the sight of his conquest but gradually his smitten looks turn to pure terror as things progress. Through Ishibashi’s great everyman performance we see a nice man who is gradually being scarred for life!

Audition is an audacious film by one of Asia’s most daring directors, never once does Miike’s style flinch while any of the mind boggling image are on screen. He always shows us the whole event, no matter how vicious it may be. It is this fact that has set him apart for other men in his field. Audition is worth a look and will leave you think for days after. But be warned it might make you think twice about dating strange woman in future.