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LeftSideCut (3778 KP) rated Never Hike in the Snow (2020) in Movies
Oct 23, 2020
What Never Hike in the Snow lacks in runtime, it makes up for in content.
My only gripe with this solid Friday the 13th short is that it's not longer. It's predecessor, Never Hike Alone, is double the length, and has a drawn out and tense build up before delivering the goods. This one however cuts straight to the gory exploits of Jason Voorhees, and does it style. The violence against the snowy back drop is visually striking, and seeing Jason (played intimidatingly once again by Director Vincente DiSanti) stomp around in a wintery setting is pretty spectacular.
Thom Mathews is back again as Tommy Jarvis, and this time round, Vincent Guastaferro returns as Rick Cologne, a character from Friday the 13th Part VI: Jason Lives. The very fact that these actors are happy to do these shorts speaks volumes about the crew behind it.
DiSanti and Womp Stomp Films prove for a second time just how passionate they are about this franchise. They fully deserve the keys to a full film when all the copyright legal disputes have been resolved, and I for one would love to see what they could do with a big budget.
Overall, another solid effort, if brisk. If one were to watch this, immediately followed by Never Hike Alone, then that would be a feature length Friday the 13th fan film that rivals the best entries of the main film series.
My only gripe with this solid Friday the 13th short is that it's not longer. It's predecessor, Never Hike Alone, is double the length, and has a drawn out and tense build up before delivering the goods. This one however cuts straight to the gory exploits of Jason Voorhees, and does it style. The violence against the snowy back drop is visually striking, and seeing Jason (played intimidatingly once again by Director Vincente DiSanti) stomp around in a wintery setting is pretty spectacular.
Thom Mathews is back again as Tommy Jarvis, and this time round, Vincent Guastaferro returns as Rick Cologne, a character from Friday the 13th Part VI: Jason Lives. The very fact that these actors are happy to do these shorts speaks volumes about the crew behind it.
DiSanti and Womp Stomp Films prove for a second time just how passionate they are about this franchise. They fully deserve the keys to a full film when all the copyright legal disputes have been resolved, and I for one would love to see what they could do with a big budget.
Overall, another solid effort, if brisk. If one were to watch this, immediately followed by Never Hike Alone, then that would be a feature length Friday the 13th fan film that rivals the best entries of the main film series.
LeftSideCut (3778 KP) rated Never Hike Alone (2017) in Movies
Oct 20, 2020
Never Hike Alone is a hell of an accomplishment - a fan made film based on Friday the 13th that is as good, maybe even better, than the best entries in the main franchise.
It's premise is simple - a survival/hiking enthusiast is collecting footage for his YouTube channel when he accidentally stumbles across the remains of Camp Crystal Lake, resulting in a one on one fight for his life when he discovers that Jason Voorhees still resides there - and it's short runtime (clocking in at just under an hour) make for a no-filler, sharp-shock slice of slasher goodness.
It carries a lot of tension, the first half being relatively calm as protagonist Kyle (Drew Leighty) explores the remnant of the camp. Fans of the original film will surely get a kick out of recognisable landmarks, including the bed that Kevin Bacon was skewered through. It's a nice way of showing that this short is a true love letter to the franchise. Kyle is a likable and believable lead who's survival skill set makes him a good match for the big bad.
When Jason eventually shows up, he's damn scary! This version of Jason is just relentless. He's quick, heavy footed, and smashes through doors like they're not even there. Director Vincent DiSanti fills the shoes of Jason, and his tall and broad figure make for a genuinely intimidating version of this beloved horror icon.
He looks fantastic as well, it's clear that a lot of effort was put into his make up and costume.
Top all of this off with a cameo from Thom Mathews himself, and what you get is a recipe for a successful short film, made for fans, by fans.
Never Hike Alone is a real treat for anyone who even has a passing interest in Friday the 13th. Hats off to Womp Stomp Films for their great work.
It's premise is simple - a survival/hiking enthusiast is collecting footage for his YouTube channel when he accidentally stumbles across the remains of Camp Crystal Lake, resulting in a one on one fight for his life when he discovers that Jason Voorhees still resides there - and it's short runtime (clocking in at just under an hour) make for a no-filler, sharp-shock slice of slasher goodness.
It carries a lot of tension, the first half being relatively calm as protagonist Kyle (Drew Leighty) explores the remnant of the camp. Fans of the original film will surely get a kick out of recognisable landmarks, including the bed that Kevin Bacon was skewered through. It's a nice way of showing that this short is a true love letter to the franchise. Kyle is a likable and believable lead who's survival skill set makes him a good match for the big bad.
When Jason eventually shows up, he's damn scary! This version of Jason is just relentless. He's quick, heavy footed, and smashes through doors like they're not even there. Director Vincent DiSanti fills the shoes of Jason, and his tall and broad figure make for a genuinely intimidating version of this beloved horror icon.
He looks fantastic as well, it's clear that a lot of effort was put into his make up and costume.
Top all of this off with a cameo from Thom Mathews himself, and what you get is a recipe for a successful short film, made for fans, by fans.
Never Hike Alone is a real treat for anyone who even has a passing interest in Friday the 13th. Hats off to Womp Stomp Films for their great work.
Bob Mann (459 KP) rated Coco (2017) in Movies
Sep 29, 2021
An animated masterpiece? I should Coco!
I had no great expectations of this film. In fact, I honestly went to see it solely because – with the lazy multiplex habit of milking films like Jedi, Jumanji and (God help us) Pitch Perfect 3 – this was the only film at my local cinemas that I hadn’t seen. But wow… just wow!
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).