Where Diary of the Dead placed its faith in the idea that young people would continue to seek fame when there wasn’t much of an audience left, and where Cloverfield‘s camerawork often proved ridiculously stable near cantilevered edifices, considered how people would act to apocalyptic events and how the camera would be instrumental in conveying this behavior. As the environment becomes more unruly, the cuts between the camera being on and off tell additional stories. But these efforts soon dwindle as the need to survive becomes more pressing. The camera crew makes desperate efforts to maintain some journalistic facade when sealed in the building by mysterious government forces, continuing to conduct interviews with the survivors. Near the end of the film, the camera must rely on night vision. When the camera is hit, the audio gets bumped right along with it. Romero’s Diary of the Dead (more satirical), The Blair Witch Project (a narrative designed out of a savvy marketing strategy), and Cloverfield (the handheld gimmick used to present a pedestrian Hollywood narrative in a “different” way), works so well because the camera is instrumental in portraying the panic. While this may seem to echo the setup of George A. But the viewer is part of a different narrative, thanks to the unedited tape that comes with the epidemic. Life, in other words, needs to be shaped into a juicy narrative by the camera crew. There is a basketball game that is interrupted by an alarm, which takes yawning firemen and bored camera crew to an apartment building, where a zombie infection is underway.
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She suggests to another fireman she’s interviewing that the alarm should go off for full dramatic effect. Angela awkwardly asks the fire chief, “You’re the boss, right?” She puts on a firehat and a uniform, jumping about for camera-friendly frivolity.
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But the results aren’t obnoxious like Mike Figgis’s disastrous (and dated) Timecode - surely the last decade’s answer to Woodstock or More American Graffiti.Ī cameraman and a television presenter named Angela Vidal - both filming a disposable reality TV series called While You’re Asleep - visit a firehouse to find out just what firemen do. Like The China Syndrome, there isn’t any music.
Made in 2007, the first is a pretty terrific little horror film that presents a zombie plague entirely from a single camera perspective. The Saw series’s endless “twists” - in which the Jigsaw Killer’s plan becomes increasingly more baroque and laughably improbable with each installment - have readily revealed the creative bankruptcy in milking a cash cow.)īut with 2, you may be just as lost as the survivors if you haven’t experienced the previous film.
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(Or perhaps they know how to improvise better. Unlike many mindless horror franchises, the movies feel as if the filmmakers have given serious thought to the environment. I am pleased to report that the camera perspectives do indeed live up to this squared sensibility.įor those of you who have no idea what the hell I’m talking about, you should probably check out the original. (This wouldn’t be entirely out of line for the films, seeing as how the camera is just as much of a character in as the reg folks gone aggro.) In the end, writer-directors Jaume Balagueró and Paco Plaza have opted for numerical superscript for their sequel - much like the Aliens films. with a Vengeance insinuates that the button has become sentient, transforming into some mechanical Charles Bronson-style vigilante. I must presume that the film’s title, much like the film itself, is what you make of it.īut just how do you name a sequel in a franchise based around a camera button? Again has little zip, suggesting to the audience that they’ve made some mistake, perhaps missing the taping of some vital House installment. Another film critic pronounced it with a long e. I talked with a friendly horror aficionado before the screening who insisted on spelling it out ar-ee-see, as if the title were an acronym.
(A throat-clearing sound?) I had been saying it wrek - in large part because I spent some of my childhood living in a sketchy apartment complex with a dubious “rec room,” and enjoy a little symmetry in my horror nomenclature. And I haven’t even brought up the potentially controversial notion of pronouncing the brackets. Nobody seems to agree on the precise pronunciation of.
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