Daybreakers (2009)

A decade after the majority of the world's population is turned to vampirism their food stock (i.e. fresh human blood) is in short supply. If an alternative isn't found the society that until now has continued to function just fine will begin to die out, but not before the thirsty citizens turn on themselves.
Ethan Hawke stars as a haematologist searching for a viable solution. He's in the belly of the beast, but is there for the right reasons.
It's certainly an interesting spin on the vampire myth, with an always pertinent social message as undercurrent, but the film rarely manages to break out of its own muted atmosphere. Perhaps it was never meant to and I'm wrong to assume otherwise? Either way, in my mind its sombre mood successfully elucidates its message but also prevents it from being more memorable.

3 light modifications out of 5

HUNT FOR THE WILDERPEOPLE [2016]

Kiwi director Taika Waititi's delightfully hilarious wilderness comedy Hunt for the Wilderpeople is the type of film where once you start grinning you just don't stop until it's long over.
It's a simple story about an orphaned troublemaker and his foster uncle go into hiding in the New Zealand bush as they find themselves at the center of a national manhunt.
It's a pretty low-key little film but it manages to be consistently funny, surprisingly touching and all around good for the soul with it's tale of two lost souls teaching each other a thing or two about themselves.  There might be plenty of kiwi in-jokes but it stands with enough honest sincerity, belly  chuckling warmth and universally funny moments it can be enjoyed from all over the world.

4 haikus out of 5

Event Horizon (1997)

A lone recovery ship travels to the deep, murky edges of known space to investigate the reappearance of a vessel that was previously lost. When they get there they don’t find powdered milk and space cookies.
It’s a solid science fiction/horror premise that has a decent build-up, thanks in part to some of the cast, but ultimately fails to deliver anything worthwhile. The final third in particular is lacklustre and overly-formulaic, leaving even the bigger questions unanswered.
There seemed to be no practical reason why the ship interiors would look like they do, but they’re certainly the most visually interesting and memorable part of the whole thing. The fake bulkheads are the star of the show.

2 bespoke terrors out of 5

A LONG WAY DOWN [2014]

If I had to pick one thing that makes director Pascal Chaumeil's adaptation of Nick Hornby's so-so novel A Long Way Down worth seeing,  I would not hesitate with the answer: Imogen Poots.
Poots is the shining star in this offbeat drama about a group of suicidal folks who form a pact to help each other through the hard times.  The film has a helluva time finding what sort of tone it's going for, which results in a somewhat frustrating experience.  At times it's quite funny, charming, likeable and driven by interesting character moments but the tone is so off-shooting one can't help but be completely distracted by it.
It's a miss but still manage to be an enjoyable miss I have no desire to see again.

3 bad trips out of 5

THE HUNTER [2011]

The Hunter is a deeply saddening mystery thriller from Australian director Daniel Nettheim, adapted from the novel of the same name by Julia Leigh.
It stars Willem Dafoe, in a wonderfully subdued performance, as a mercenary sent to Tasmania to hunt down the sole surviving Tasmanian Tiger for a biotech company interested in it's DNA.  It slowly burns it's way into your heart with feelings both distant and warm, beautiful photography of the same description and enough moral questions to keep you thinking.

4 music in the trees out of 5

Memoirs of an Invisible Man (1992)

An invisible man story that doesn't play around with how much fun it would be to creep into the ladies showers. Instead, it puts emphasis on how lonely it would feel not being seen by the people you care about. It doesn't go as far down that route as it could've because it seems intent on keeping a light-hearted tone too. It’s less goofy than the kind of film Chevy Chase is better known for, and devoid of the kind of horror themes that Carpenter is known for. The entire film feels like a compromise by everyone involved.

2 suspended laws of physics out of 5

Possession (1981)

An intense journey into the often hidden world of a crumbling relationship. It’s packed with allegory that unfolds at an unrelenting pace making it difficult to keep track of what you’re seeing. Is it internal fears externalised? Or external pressures warping perception? Maybe it's both or something in-between? It resembles a Cronenberg-esque horror movie at times but isn't that easily categorised. Just when I thought I had the answer it threw me against a wall and I was forced to delve even deeper, which was an unsettling experience.

NOTE: The edited US version cuts forty minutes, so avoid it at all costs.

4 halves of the face of God out of 5

Omen III: The Final Conflict (1981)

The Antichrist has grown up and turned into Sam Neill. He prepares to initiate the end of days, but must first stop a prophecy being fulfilled.
I like Sam Neill. He can be cruelly methodical and remain charismatic. He kept me watching despite a huge series continuity error making me want to dismiss the entire film as lazy and disrespectful. It falls down a pit of religious bullshit at the end, but the journey to get there is interesting and not reliant on the cheap shots that plagued the previous film.

3 sixes out of 5

JURASSIC PARK III [2001]

Joe Johnston snags the director's seat for the 3rd instalment of the Jurassic Park series, the first not to be based on a Michael Crichton novel.  

What should have been a welcome return to the series, has Sam Neill reprising his role from the first film, only to feel pointless and empty.  The uninspired action is non-stop, saving absolutely no time for any sort of character development whatsoever or interesting story arcs.  Watching this crapfest makes you realize how much graceful thought and time Spielberg put into his filmmaking and action pieces.  

It's essentially like a bad made for TV movie with a Hollywood blockbuster budget.

1 egg in the satchel out of 5

JURASSIC PARK [1993]

Steven Spielberg's action/adventure Jurassic Park is a rare example where the movie is better than the book.  

It's popcorn cinema at some of it's best, with eye-popping effects, iconic imagery, unforgettable scenes and a memorable score from John Williams.  What begins as a awe-inspiring children's film quickly spirals into an incredibly effective and terrifying thriller.  Bad character development and some hokey heart-felt scenes can be forgiven because that's not really what we want to see.  It's the dinosaurs and all their wall-shaking, floor-rumbling glory.  

4 dino-frog penises out of 5

The Hunt For Red October (1990)

Tom Clancy's classic work of military industrial complex porn has been humanized with actual characters, who have depth, arcs, relatable behavior, and most importantly, subtlety. The proceedings get off to a quick start and the pace doesn't slow down until the end credits. This is a conventional Hollywood studio film that earns its stripes the old fashioned way, with clean, solid, professional work on all levels.

4 pings Vasili. 4 pings only out of 5

In the Mouth of Madness (1994)

Pulp horror writer Sutter Cane has disappeared, and his readers are slowly going ape-shit; John Trent (Sam Neill) is drafted in to find an answer. His search leads him to a place called Hobb's End, a place that shouldn't exist.
Carpenter's most fantastical film is a blast of pure entertainment from start to finish. It’s the bastard child of a Lovecraft demon and a Stephen King protagonist running naked through film conventions in a loving homage wed to an astute parody of the horror genre as a whole. Sam Neill is fantastic, as always. My only criticism is that it should've been longer.

4 lucky shots to the balls out of 5