Containment (2015)

Dir: Neil Mcenery-West

Struggling artist Mark (Lee Ross CENTURION) wakes up in his flat to discover the power is out, the water turned off, his front door glued shut and a female voice transmitting over the intercom system telling him to remain calm. He's anything but calm. His violence prone and impulsive neighbour Sergei (Andrew Leung) takes matters into his own hands and smashes through to Mark's flat using a hammer. Sergei has collected a few of the other neighbours who are all in the same situation as Mark; Nicu (Gabriel Senior) the mute cherub with kleptomaniac tendencies, and the getting more distant by the moment couple Aiden (William Postlethwaite) and Sally (Louise Brealey VICTOR FRANKENSTEIN). Remembering his pension neighbour on the other side Enid (Sheila Reid HUSH), Mark bashes a hole in the adjoining wall and they all congregate in his flat.

Looking out the window of the Weston Shore Tower Block, the group spies people in hazmat suits going about in a determined fashion erecting a mobile hospital, corralling people from neighbouring towers into the hospital and putting a bullet into the heads of those who try and escape. Full on panic mode grips the group and when Nicu is nicked by a couple of people in the suits from his hiding place in an air vent, they are no longer complacent and make a break for it.

Including the expected reveal as to what is going on, it's not a zombie outbreak but a deadly viral outbreak being hushed up by the government, that's it for the plot. A group of people hang out in a room, squabble with one another, argue with those that are trying to contain the outbreak and then have a row with a different group of people. Considering the film is only 77 minutes long and both opening credits and end credits (six minutes long!) pad the run time it's not good when the film feels like it is dragging in spots. The trap a group of people in a confined space scenario so beloved by horror film makers due to its cheapness and location manageability can and has worked. George Romero's NIGHT OF THE LIVING DEAD is a classic and a classic example of this scenario. Then there's RAMMBOCK, PONTYPOOL  and a slew of others.

The acting and direction are fine but it needs a little extra. I don't know if that's a bit more action, some more tension or slightly less screen time of people sitting around. I like what is on display for the most part but wish the film makers were able to push CONTAINMENT beyond above average.

** 1/2 out of ****

High-Rise (2015)

Dir: Ben Wheatley

Dr. Robert Laing (Tom Hiddleston CRIMSON PEAK) moves on up to a deluxe apartment in the sky. Not quite, he now resides on the twenty-fifth floor of a forty story high rise designed by Anthony Royal (Jeremy Irons DEAD RINGERS) to offer everything the tenants could possibly need or desire. There's a grocery shop, swimming pool, squash court and even a school for the littlest ones. Anthony lives on the top floor with his wife Ann (Keeley Hawes) who likes to ride her horse (!) around the lush grounds on the converted rooftop. Living directly beneath him are the toffee nosed with the poorest of the tenants living on the bottom floors. See where this is going?

Robert soon gets close to a number of his neighbours; Charlotte (Sienna Miller CAMILLE) the single mother who enjoys drinking, flirting and casual sex, Richard (Luke Evans DRACULA UNTOLD) who also enjoys drinking, flirting with Charlotte despite her lack of interest in him and ignoring his pregnant wife Helen (Elisabeth Moss TEMPTATION) and the building's architect himself, Anthony, much to the chagrin of those on equal social standing with Anthony.

To the mix of booze, drugs, sex and undercurrent of class warfare on the brink of breaking out is added a building that is deteriorating. Concerns about power outages, elevators not working, and clogged trash chutes are brushed aside by Anthony as 'growing pains' of a brand spanking new building. After all, it is the poors who suffer the brunt of the building's issues.

Robert is the viewer's guide on the building's path to self destruction. Being middle-class and 'knowing his place', he is able to move between the different social strata. Which is certainly favourable in telling the story. His help is required in the execution of Anthony's and his cronies' horrific plan to maintain order. He's there to listen to Richard's declaration to document the inhumanity perpetuated by the rich against the poor. He's there to comfort a distraught Helen. And we are there when he has his break from the world due to the pressure of the rat race.

Based on the 1975 novel of the same name written by J.G. Ballard, director Ben Wheatley brings to life the script by Amy Jump and immerses the viewer in the 1970's setting. The clothes, the furniture, the hair, the building and even the look of the film all scream 70's. I noticed a few references to films from that time,  A CLOCKWORK ORANGE and DON'T LOOK NOW being two of them.

The direction, acting, and costume design are all fine, even outstanding, but the film didn't click with me like other Wheatley films have. In between Robert's flashbacks / flash forwards / hallucinations, the alcohol fueled parties that pop up during blackouts, and the carnal excesses of the wealthy, Wheatly and Jump club us over the head repeatedly with undisguised social commentary. I'll admit to not understanding the humour of Wheatley's first feature film DOWN TERRACE and HIGH-RISE may be another example of the dry, acerbic wit going over my head.

HIGH-RISE is  remarkable in its style, but like the tenants of the new order, it lacks in the substance department. And that may be the point.

** 1/2 out of ****

Howl (2015)

Dir: Paul Hyett

Joe (Ed Speleers LOVE BITE) is tired. Tired of his job as conductor on the British Alpha Trax railway. Tired that his jerk of a co-worker has been promoted ahead of him. Tired that he can't work up the courage to ask out his attractive co-worker Ellen (Holly Weston SPLINTERED). And tired after finishing his shift only to learn that he has to pull a double and work on the overnight run.

After the red-eye train leaves the station, along a heavily wooded section of the line, as Joe drearily punches the tickets of the passengers, the train comes to a screeching halt. In a heavily padded out cameo by Sean Pertwee as the train engineer, he leaves his station to check what happened and finds the mangled remains of a deer on the tracks. But there's something else out there in the woods. Something who's fancy has turned from deer to man.

Joe and Ellen see to the usual for this type of film motley group of passengers as they are shaken up by the sudden stop. There's the angry at those beneath her salary woman (Shauna Macdonald THE DESCENT), the angry at the world teen (Rosie Day THE SEASONING HOUSE) who's entire way of life has also come crashing to a stop as there is no mobile service, the fat guy for comedic relief, a couple of pensioners (Ania Marson and Duncan Preston) and the bully (Elliot Cowan HAMMER OF THE GODS), who to no one's surprise is really a coward looking out only for himself. The passengers direct their anger towards Joe and his inability to restart the train or communicate with authorities as to their predicament.

With a title of HOWL and shots of a full moon it should be obvious to the viewer what is out there in the woods surrounding the train on two sides. A werewolf. It lays siege to the train and the tasty, tasty human flesh locked up in the tin cans.

I wasn't expecting HOWL to work as well as it does considering the derivative plot of a group of strangers in a confined space who spend more time bickering with one another than acting rationally in the face of a dangerous outside force. Yes, the fat bloke does go off on his own and we all know what will happen to him. But among the cliches of the genre is nicely done character development. As we learn more about the major characters and they are forced to defend themselves we see their personalities evolve. The group shifts from distrust and apathy towards their fellow passengers to working together. Joe's transformation from sad sack to hero is believable; maybe not so much his final sacrifice.

HOWL is a simple. straight forward monster film that entertains.

*** out of ****

Warlords of Atlantis (1978)

aka: Warlords of the Deep
Dir: Kevin Connor

The fourth collaboration between director Kevin Connor (MOTEL HELL) and star Doug McClure (THE LAND THAT TIME FORGOT, AT THE EARTH'S CORE, and THE PEOPLE THAT TIME FORGOT being the first three) continues the low budget action adventure format of the previous films. Matte paintings, rear projection, rubber monsters, miniatures, swash buckling fights, I love it all. They don't make 'em like this anymore.

Professor Aitken (Donald Bisset EYE OF THE DEVIL) and his son Charles (Peter Gilmore CARRY ON series) have hired the ship Texas Rose (out of Boston ?!?!), her captain (Shane Rimmer DR. STRANGELOVE) and crew (Hal Galili, Derry Power and John Ratzenberger who later appeared in the director's MOTEL HELL) to study fish. That's what they've told the crew anyway. Their real mission is to look for the lost civilization of Atlantis by using the new fangled diving bell created by family friend Greg (Doug McClure who you may recall from such films as HUMANOIDS FROM THE DEEP or SATAN'S TRIANGLE) who is along to pilot the device.

Shortly after launching the bell with Charles and Greg inside, they discover a golden statue and send it top side while they continue their exploration of the world under the waves. The professor recognizes it as a sign that Atlantis does exist while the crew are in the grips of gold fever. Not wanting to share, the crew cut the bell loose and move on the captain. Suddenly, a giant octopus attacks the ship. It grabs the captain and crew and while submerged, its tentacles seize the diving bell.

Charles, Greg and the ship's crew find themselves on dry land. They are met by Atmir (Michael Gothard THE LAST VALLEY) who informs them that they have found the fabled Atlantis. Atmir takes a liking to Charles with him being a brainiac and all. Charles is taken to the inner sanctum where Atraxon (Daniel Massey THE VAULT OF HORROR) and Atsil (Cyd Charisse, her legs looking fabulous), the rulers of Atlantis, reveal all and persuade him to join the regime. The rest of the average and not quite average intelligence humans are thrown into a jail cell destined to be slaves. Greg, as dreamy as he is, quickly befriends Delphine, who, along with her father, gets them up to speed on what is to become of them. Fearful of the society the Atlanteans have created, the outsiders plan their escape.

WARLORDS OF ATLANTIS is not a great film by any measure and its FX were crude at the time of release never mind nearly forty years on. But it is an enjoyable B-movie romp. Doug McClure is Doug McClure, a likeable enough action star who no one expects to be Olivier but can effectively portray the everyman even when caught up in improbable and fantastic scenarios such as this one (and much of his filmography).

Worth a watch for nostalgia alone.

**1/2 out of ****

Guns At Batasi (1964)

Dir: John Guillermin

After watching ZULU for the umpteenth time I was in the mood for another tale of British soldiers under siege in a foreign land and stumbled across a recommendation for GUNS AT BATASI, a B&W film I had not previously heard of.

Pinewood studios fills in for an unnamed African nation recently granted independence by Britain. A British military presence remains at the base for the 2nd Battalion African Rifles at Batasi, commanded by Colonel Deal (Jack Hawkins ZULU). The Brits are to provide training and assistance to the new government. During an up swell of protests breaking out, military command of the base is transferred to the Africans, led by Captain Abraham (Earl Cameron REVELATION). However, many of the African soldiers, led by Lieut. Boniface (Errol John SHEENA), are sympathetic to the protesters and stage a coup at the military base in the name of the populist rebels. Abraham is taken captive.

Unaware of the events taking place outside the Sergeants' mess, Regimental Sergeant Major Lauderdale (Richard Attenborough) prepares the mess and readies the NCOs for a visit by the British MP Miss Barker-Wise (Flora Robson BLACK NARCISSUS). Lauderdale is a throw back to another era, one when the British empire was ascending rather than declining. He is a man of rules and regulations, with a neatly twirled mustache and spotless uniform who will regale anyone about the glory days of serving in India. His by the book routine and attitude are tested when a private Wilkes (John Leyton SCHIZO) and the pretty U.N. worker Karen Eriksson (Mia Farrow ROSEMARY'S BABY) arrive at the mess unable to leave the country due to the airport being closed down. Matters are greatly complicated when the coup leader Boniface orders his men to surround the mess. Lauderdale takes the action as a personal affront and mounts a defense to maintain what little is left of the Empire.

Based on the novel THE SIEGE OF BATTERSEA by Robert Holles, this John Guillermin (KING KONG) film is not an action adventure like ZULU as I was expecting. There is little in the way of fighting, it's a political drama and character study. The cast does an exceptional job with the NCOs played by a solid group of English and Australian actors including Bernard Horsfall (BRAVEHEART), David Lodge (EDGE OF SANITY), Percy Herbert (ISLAND OF THE BURNING DAMNED) and John Meillon (WALKABOUT). But it is Attenborough's performance as the too tight, not all what he seems at first Sergeant that makes this film. Not once did I see the actor, it was always the character. A brilliant performance by a man who will probably be best remembered from JURASSIC PARK instead of this film or his equally riveting performance in SEANCE ON A WET AFTERNOON and many other films.

*** 1/2 out of ****

The Last Grenade (1970)

Dir: Gordon Flemyng

Major Harry Grigsby (Stanley ZULU Baker) and his mercenary company are bottled up at an industrial facility in the Congo. The only way out for Grigsby and his men is via the helicopter commanded by comrade in war Kip Thompson (Alex AIRWOLF Cord). But Thompson has other plans. He's switched over to the other side as they pay better. When Grigsby's men head towards the helicopter, Thompson opens up with the door machine gun mowing down the shocked mercenaries. Turning the weapon on the compound, within moments it is smashed to bits and the bits are on fire. Cursing Thompson's treachery, Grigsby swears vengeance.

Thompson about to give 'em hell

Grigsby and a few of his followers have made it back to Britain, it's not explained how. Grigsby is once again suffering from tuberculous but his illness hasn't stopped him from plotting the death of Thompson. Learning that his former comrade has been causing trouble along the Chinese border with Hong Kong, Grigsby manages to get monetary backing from Whitehall. They want Thompson dead as well but can't afford a possible political incident by attacking Thompson and his new mercenary band across the border. Grigsby gathers four of his most devoted men and heads to Hong Kong.

Groovy shirt, man

I must admit that I was expecting more of a film like DARK OF THE SUN (1968), more mercenary action than drama. When in Hong Kong Grigsby meets with the milquetoast General Charles Whiteley (Richard Attenborough) and his wife Katherine (Honor COCKNEYS VS ZOMBIES Blackman). Katherine takes a liking to the hard drinking man of action Grigsby and peruses him. In between rumpy-pumpy with the General's wife, Grigsby is repeatedly handed his arse by the far more cunning Thompson. The romance is out of place and may have only been included to explain a change of heart and tactics by Grigsby that leads up to the climatic show down between him and Thompson. The final fight is certainly expected but how it plays out is not.

Baker plays the focused, driven (consumed?) Grigsby well but was unable to sell me on the direction the romantic sub plot was headed. Cord is a hoot as the maniacally laughing, demented, Dartmouth t-shirt wearing mercenary who seemingly uses a love of money to hide his true love for inflicting pain on all creatures great and small (a scene with him feeding birds explains his character's motives remarkably well).

** 1/2 out of ****

How I Live Now (2013)

Dir: Kevin Macdonald

Bratty, teen aged American Elizabeth (Saoirse Ronan from BYZANTIUM) has become so estranged from her father that she goes by the name Daisy and runs off to her Aunt's rural home in England. Arriving in the country to an airport crawling with soldiers and breaking news about bomb blasts in Paris, she is more concerned that her Aunt is not there but instead is greeted by her cousin Isaac (Tom Holland). Underage Isaac manages to drive them safely to his home in the countryside which he shares with his older brother Edmond (George MacKay) and little sister Piper (Harley Bird). The house is in disarray with dishes piling up on the sink as high ranking government employee Aunt Penn (Anna Chancellor) works to all hours behind the closed door of her home office. It's not until the next night that Aunt Penn has a few moments to spare for Daisy and breaks the news that she has to leave for a peace conference in Geneva.

Left alone until a friend of Aunt Penn's can stop by, the children spend their time walking through the woods and swimming in a nearby pond. Daisy is at first reluctant to join her English cousins but quickly warms to them and develops a crush on Edmond, whom she calls Eddie. The idyllic day turns to a night of anxiety and fright when a nuclear bomb is denoted in London and unidentified terrorists attack (it's never stated if the terrorists are home grown or foreign invaders). The electric and mobile grids fail and there is no way for the children to get a hold of Aunt Penn or her friend who was supposed to pop in.

An American from the consulate (Corey Johnson) stops by the house with a pass for Daisy so she can be evacuated with all other Americans. Ignoring what it means that all Americans are to be evacuated she chooses to stay with her cousins. The next day British soldiers stop by the farm to round everyone up; girls being sent to one camp and boys to another.The camps are supposedly a safe place for the people to be housed, fed and assigned jobs such as farming, for the communal good during the war. Not content with the life style nor being away from Eddie, Daisy plots her and Piper's escape from the secure zone to get back to the homestead and hopefully into the waiting arms of Eddie. Little does she know the trials that will be faced traveling across a country scarred by war and through woods housing terrorists.

Director Kevin (THE LAST KING OF SCOTLAND) Macdonald's film is based on the critically acclaimed book by Meg Rosoff. I wasn't sure what to expect but the first half of the film is about Daisy battling with past illness (mental and physical) and learning how to interact with others. The character of Daisy isn't very likeable at first but actress Saoirse does a good job of portraying Daisy coming out of her shell and maturing. Right around the time I was starting to become a bit tired of the children swimming and playing in the woods the war story kicks in. I'm glad to have had time to get to know the characters first but I enjoyed the war story more due to the speculative nature of how an invaded England would look and the thriller aspect of the two girls trying to find their loved ones and make it back home.

There are dark edges to the film but it pulls its punches possibly due to the book's appeal to juveniles. The low budget also prevents much of the war from being portrayed. And that's fine for those who want the drama and aren't expecting a post apocalyptic tale about a girl and her cousin.

*** out of ****