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Hotel Muse, Bangkok

Hotel Muse, Bangkok

Day 31: DEAD WITHIN (2011)


If Dead Within were sitting here beside me, I'd be awfully tempted to give it a pat on the head, say "Good for you!", and hand it a ribbon that says YOU TRIED. Hmm, that came out a lot more condescendingly than I meant it to. The thing is, you see, that Dead Within admirably attempts to do something different with the ol' zombie genre, but there's a lot holding it back from making said attempt successful. That "a lot" includes the script (which likely includes a great deal of improvisation), a through line and ending telegraphed so early on that the dramatic stakes are dramatically lowered, and very dodgy acting. Toss in a low budget that limits the quality of the effects, a few too many static-y jump cuts, and it's surprising that Dead Within wasn't completely dead on arrival. But like I said, at least it tries an offbeat approach to the material–in that regard, my "good for you!" is indeed a wholehearted one.

Six months into an infectious plague, married couple Kim and Mike have barricaded themselves in a secluded cabin. Despite the danger, Mike ventures out in search of supplies almost daily while Kim stays behind, cleans the house, and indulges in fingerpainting the walls and teaching herself to play the guitar. They dress for dinner every night and occasionally have quiet sex. It's sort of a Bizarro World picture of domesticity, but is this semblance of normality sustainable? Will Mike be attacked by one of the homicidal infected and die or bring it home to his wife? Will Kim succumb to cabin fever and prove more dangerous than the monsters lurking outside?

You won't be questioning things for long, because the answer becomes obvious fairly early on. Rather than proving to be an unreliable narrator, Kim is reliably delusional. It's a small but important distinction that robs Dead Within of nearly all of its tension. Through flashbacks that show how Mike and Kim arrived at this point–and what it cost them–it's obvious that guilt, tension, and monotony have caused Kim to have a nervous breakdown. From here, the film stalls and at its conclusion an hour later, you'll likely shrug and say "Yeah, well, of course." But hey–at least Dead Within tried. What did you do today, huh?

Day 31: DEAD WITHIN (2011)


If Dead Within were sitting here beside me, I'd be awfully tempted to give it a pat on the head, say "Good for you!", and hand it a ribbon that says YOU TRIED. Hmm, that came out a lot more condescendingly than I meant it to. The thing is, you see, that Dead Within admirably attempts to do something different with the ol' zombie genre, but there's a lot holding it back from making said attempt successful. That "a lot" includes the script (which likely includes a great deal of improvisation), a through line and ending telegraphed so early on that the dramatic stakes are dramatically lowered, and very dodgy acting. Toss in a low budget that limits the quality of the effects, a few too many static-y jump cuts, and it's surprising that Dead Within wasn't completely dead on arrival. But like I said, at least it tries an offbeat approach to the material–in that regard, my "good for you!" is indeed a wholehearted one.

Six months into an infectious plague, married couple Kim and Mike have barricaded themselves in a secluded cabin. Despite the danger, Mike ventures out in search of supplies almost daily while Kim stays behind, cleans the house, and indulges in fingerpainting the walls and teaching herself to play the guitar. They dress for dinner every night and occasionally have quiet sex. It's sort of a Bizarro World picture of domesticity, but is this semblance of normality sustainable? Will Mike be attacked by one of the homicidal infected and die or bring it home to his wife? Will Kim succumb to cabin fever and prove more dangerous than the monsters lurking outside?

You won't be questioning things for long, because the answer becomes obvious fairly early on. Rather than proving to be an unreliable narrator, Kim is reliably delusional. It's a small but important distinction that robs Dead Within of nearly all of its tension. Through flashbacks that show how Mike and Kim arrived at this point–and what it cost them–it's obvious that guilt, tension, and monotony have caused Kim to have a nervous breakdown. From here, the film stalls and at its conclusion an hour later, you'll likely shrug and say "Yeah, well, of course." But hey–at least Dead Within tried. What did you do today, huh?

Day 31: DEAD WITHIN (2011)


If Dead Within were sitting here beside me, I'd be awfully tempted to give it a pat on the head, say "Good for you!", and hand it a ribbon that says YOU TRIED. Hmm, that came out a lot more condescendingly than I meant it to. The thing is, you see, that Dead Within admirably attempts to do something different with the ol' zombie genre, but there's a lot holding it back from making said attempt successful. That "a lot" includes the script (which likely includes a great deal of improvisation), a through line and ending telegraphed so early on that the dramatic stakes are dramatically lowered, and very dodgy acting. Toss in a low budget that limits the quality of the effects, a few too many static-y jump cuts, and it's surprising that Dead Within wasn't completely dead on arrival. But like I said, at least it tries an offbeat approach to the material–in that regard, my "good for you!" is indeed a wholehearted one.

Six months into an infectious plague, married couple Kim and Mike have barricaded themselves in a secluded cabin. Despite the danger, Mike ventures out in search of supplies almost daily while Kim stays behind, cleans the house, and indulges in fingerpainting the walls and teaching herself to play the guitar. They dress for dinner every night and occasionally have quiet sex. It's sort of a Bizarro World picture of domesticity, but is this semblance of normality sustainable? Will Mike be attacked by one of the homicidal infected and die or bring it home to his wife? Will Kim succumb to cabin fever and prove more dangerous than the monsters lurking outside?

You won't be questioning things for long, because the answer becomes obvious fairly early on. Rather than proving to be an unreliable narrator, Kim is reliably delusional. It's a small but important distinction that robs Dead Within of nearly all of its tension. Through flashbacks that show how Mike and Kim arrived at this point–and what it cost them–it's obvious that guilt, tension, and monotony have caused Kim to have a nervous breakdown. From here, the film stalls and at its conclusion an hour later, you'll likely shrug and say "Yeah, well, of course." But hey–at least Dead Within tried. What did you do today, huh?

Day 31: DEAD WITHIN (2011)


If Dead Within were sitting her beside me, I'd be awfully tempted to give it a pat on the head, say "Good for you!", and hand it a ribbon that says YOU TRIED. Hmm, that came out a lot more condescendingly than I meant it to. The thing is, you see, that Dead Within admirably attempts to do something different with the ol' zombie genre, but there's a lot holding it back from making said attempt successful. That "a lot" includes the script (which likely includes a great deal of improvisation), a through line and ending telegraphed so early on that the dramatic stakes are dramatically lowered, and very dodgy acting. Toss in a low budget that limits the quality of the effects, a few too many static-y jump cuts, and it's surprising that Dead Within wasn't completely dead on arrival. But like I said, at least it tries an offbeat approach to the material–in that regard, my "good for you!" is indeed a wholehearted one.

Six months into an infectious plague, married couple Kim and Mike have barricaded themselves in a secluded cabin. Despite the danger, Mike ventures out in search of supplies almost daily while Kim stays behind, cleans the house, and indulges in fingerpainting the walls and teaching herself to play the guitar. They dress for dinner every night and occasionally have quiet sex. It's sort of a Bizarro World picture of domesticity, but is this semblance of normality sustainable? Will Mike be attacked by one of the homicidal infected and die or bring it home to his wife? Will Kim succumb to cabin fever and prove more dangerous than the monsters lurking outside?

You won't be questioning things for long, because the answer becomes obvious fairly early on. Rather than proving to be an unreliable narrator, Kim is reliably delusional. It's a small but important distinction that robs Dead Within of nearly all of its tension. Through flashbacks that show how Mike and Kim arrived at this point–and what it cost them–it's obvious that guilt, tension, and monotony have caused Kim to have a nervous breakdown. From here, the film stalls and at its conclusion an hour later, you'll likely shrug and say "Yeah, well, of course." But hey–at least Dead Within tried. What did you do today, huh?

Day 31: DEAD WITHIN (2011)


If Dead Within were sitting her beside me, I'd be awfully tempted to give it a pat on the head, say "Good for you!", and hand it a ribbon that says YOU TRIED. Hmm, that came out a lot more condescendingly than I meant it to. The thing is, you see, that Dead Within admirably attempts to do something different with the ol' zombie genre, but there's a lot holding it back from making said attempt successful. That "a lot" includes the script (which likely includes a great deal of improvisation), a through line and ending telegraphed so early on that the dramatic stakes are dramatically lowered, and very dodgy acting. Toss in a low budget that limits the quality of the effects, a few too many static-y jump cuts, and it's surprising that Dead Within wasn't completely dead on arrival. But like I said, at least it tries an offbeat approach to the material–in that regard, my "good for you!" is indeed a wholehearted one.

Six months into an infectious plague, married couple Kim and Mike have barricaded themselves in a secluded cabin. Despite the danger, Mike ventures out in search of supplies almost daily while Kim stays behind, cleans the house, and indulges in fingerpainting the walls and teaching herself to play the guitar. They dress for dinner every night and occasionally have quiet sex. It's sort of a Bizarro World picture of domesticity, but is this semblance of normality sustainable? Will Mike be attacked by one of the homicidal infected and die or bring it home to his wife? Will Kim succumb to cabin fever and prove more dangerous than the monsters lurking outside?

You won't be questioning things for long, because the answer becomes obvious fairly early on. Rather than proving to be an unreliable narrator, Kim is reliably delusional. It's a small but important distinction that robs Dead Within of nearly all of its tension. Through flashbacks that show how Mike and Kim arrived at this point–and what it cost them–it's obvious that guilt, tension, and monotony have caused Kim to have a nervous breakdown. From here, the film stalls and at its conclusion an hour later, you'll likely shrug and say "Yeah, well, of course." But hey–at least Dead Within tried. What did you do today, huh?

Day 30: HELL (2011)


In the very near future, the sun flips out for some unexplainable reason and temperatures rise by 50 degrees (or by 10 degrees for everyone, like, not in America). It doesn't take long for society to collapse when it no longer rains and an hour of exposure can cook you right up.

Marie (Hannah Herzsprung), her little sister Leonie (Lisa Vicari), and Marie's boyfriend Phillip (Lars Eidinger) drive through the barren wasteland in search of the waters that are rumored to flow to the north. The journey is difficult; gasoline is in short supply, the environment is deadly...and Leonie really dislikes Phillip's alpha male ways and the fact that Marie capitulates to him so readily simply because he has a car. Eventually they take on another passenger, Tom (Stipe Erceg), who can lend survival skills to the group but may not be trustworthy. Leonie in particular takes a shine to him, however, and Phillip's role as the de facto leader is suddenly not so assured.

These interpersonal dynamics are soon abandoned when the group gets suckered into a trap and Leonie is taken. Hell then begins to check off items from the post-apocalyptic thriller checklist: "Hell" is other people, the hungry will go to extreme lengths to survive, attractive young women must become baby machines, we must live for our loved ones, and so on. It is familiar ground for sure, but it's capably trod by director/co-writer Tim Fehlbaum.

Ultimately, Hell is Marie's journey towards something like autonomy. Throughout the film, Leonie questions why Marie isn't more proactive: why does she put up with Phillip's shit? Why isn't she strong instead of weak? When her sister is at risk, will Marie finally grow a pair (of ovaries) and take control? Her growth is "Final Girl"-esque, really, especially when you consider how many comments there are throughout the film about how important it is to have a man around (he can fix stuff and protect the womenfolk!). That's nice and all, but it's also nice if the women can protect themselves, too...especially when the world and pretty much everyone in it are trying to kill you.

This is not a Mad Max-style apocalyptic scenario, though. There are no leather-clad weirdos with crazy names, and there is not a mohawk to be found. These are ordinary people largely ill-equipped to deal with the scavenger/survivalist lifestyle. Marie doesn't turn into some dual machete-wielding badass drenched in blood as she chops her way to her sister, and the "villains" are equally subdued. This initially feels sort of anticlimactic, but in the end I appreciated this low-key approach. There's a place in post-apocalyptic cinema for character-driven stories, after all, and if I want nutso action, I can go watch Fury Road.

That said, as a character-driven story, Hell is a little weak. The acting is terrific and the characters are compelling even if we know nothing about them beyond the here and now. The script is fairly insubstantial, though, and a promising beginning becomes a series of genre tropes in the film's second half. I wouldn't say it's disappointing, necessarily–it had my attention all the way through, and I was invested in Marie's and Leonie's welfare. But overall it feels a bit like two approaches to the material battling for supremacy and neither really nabs a decisive victory.

Day 30: HELL (2011)


In the very near future, the sun flips out for some unexplainable reason and temperatures rise by 50 degrees (or by 10 degrees for everyone, like, not in America). It doesn't take long for society to collapse when it no longer rains and an hour of exposure can cook you right up.

Marie (Hannah Herzsprung), her little sister Leonie (Lisa Vicari), and Marie's boyfriend Phillip (Lars Eidinger) drive through the barren wasteland in search of the waters that are rumored to flow to the north. The journey is difficult; gasoline is in short supply, the environment is deadly...and Leonie really dislikes Phillip's alpha male ways and the fact that Marie capitulates to him so readily simply because he has a car. Eventually they take on another passenger, Tom (Stipe Erceg), who can lend survival skills to the group but may not be trustworthy. Leonie in particular takes a shine to him, however, and Phillip's role as the de facto leader is suddenly not so assured.

These interpersonal dynamics are soon abandoned when the group gets suckered into a trap and Leonie is taken. Hell then begins to check off items from the post-apocalyptic thriller checklist: "Hell" is other people, the hungry will go to extreme lengths to survive, attractive young women must become baby machines, we must live for our loved ones, and so on. It is familiar ground for sure, but it's capably trod by director/co-writer Tim Fehlbaum.

Ultimately, Hell is Marie's journey towards something like autonomy. Throughout the film, Leonie questions why Marie isn't more proactive: why does she put up with Phillip's shit? Why isn't she strong instead of weak? When her sister is at risk, will Marie finally grow a pair (of ovaries) and take control? Her growth is "Final Girl"-esque, really, especially when you consider how many comments there are throughout the film about how important it is to have a man around (he can fix stuff and protect the womenfolk!). That's nice and all, but it's also nice if the women can protect themselves, too...especially when the world and pretty much everyone in it are trying to kill you.

This is not a Mad Max-style apocalyptic scenario, though. There are no leather-clad weirdos with crazy names, and there is not a mohawk to be found. These are ordinary people largely ill-equipped to deal with the scavenger/survivalist lifestyle. Marie doesn't turn into some dual machete-wielding badass drenched in blood as she chops her way to her sister, and the "villains" are equally subdued. This initially feels sort of anticlimactic, but in the end I appreciated this low-key approach. There's a place in post-apocalyptic cinema for character-driven stories, after all, and if I want nutso action, I can go watch Fury Road.

That said, as a character-driven story, Hell is a little weak. The acting is terrific and the characters are compelling even if we know nothing about them beyond the here and now. The script is fairly insubstantial, though, and a promising beginning becomes a series of genre tropes in the film's second half. I wouldn't say it's disappointing, necessarily–it had my attention all the way through, and I was invested in Marie's and Leonie's welfare. But overall it feels a bit like two approaches to the material battling for supremacy and neither really nabs a decisive victory.

Day 30: HELL (2011)


In the very near future, the sun flips out for some unexplainable reason and temperatures rise by 50 degrees (or by 10 degrees for everyone, like, not in America). It doesn't take long for society to collapse when it no longer rains and an hour of exposure can cook you right up.

Marie (Hannah Herzsprung), her little sister Leonie (Lisa Vicari), and Marie's boyfriend Phillip (Lars Eidinger) drive through the barren wasteland in search of the waters that are rumored to flow to the north. The journey is difficult; gasoline is in short supply, the environment is deadly...and Leonie really dislikes Phillip's alpha male ways and the fact that Marie capitulates to him so readily simply because he has a car. Eventually they take on another passenger, Tom (Stipe Erceg), who can lend survival skills to the group but may not be trustworthy. Leonie in particular takes a shine to him, however, and Phillip's role as the de facto leader is suddenly not so assured.

These interpersonal dynamics are soon abandoned when the group gets suckered into a trap and Leonie is taken. Hell then begins to check off items from the post-apocalyptic thriller checklist: "Hell" is other people, the hungry will go to extreme lengths to survive, attractive young women must become baby machines, we must live for our loved ones, and so on. It is familiar ground for sure, but it's capably trod by director/co-writer Tim Fehlbaum.

Ultimately, Hell is Marie's journey towards something like autonomy. Throughout the film, Leonie questions why Marie isn't more proactive: why does she put up with Phillip's shit? Why isn't she strong instead of weak? When her sister is at risk, will Marie finally grow a pair (of ovaries) and take control? Her growth is "Final Girl"-esque, really, especially when you consider how many comments there are throughout the film about how important it is to have a man around (he can fix stuff and protect the womenfolk!). That's nice and all, but it's also nice if the women can protect themselves, too...especially when the world and pretty much everyone in it are trying to kill you.

This is not a Mad Max-style apocalyptic scenario, though. There are no leather-clad weirdos with crazy names, and there is not a mohawk to be found. These are ordinary people largely ill-equipped to deal with the scavenger/survivalist lifestyle. Marie doesn't turn into some dual machete-wielding badass drenched in blood as she chops her way to her sister, and the "villains" are equally subdued. This initially feels sort of anticlimactic, but in the end I appreciated this low-key approach. There's a place in post-apocalyptic cinema for character-driven stories, after all, and if I want nutso action, I can go watch Fury Road.

That said, as a character-driven story, Hell is a little weak. The acting is terrific and the characters are compelling even if we know nothing about them beyond the here and now. The script is fairly insubstantial, though, and a promising beginning becomes a series of genre tropes in the film's second half. I wouldn't say it's disappointing, necessarily–it had my attention all the way through, and I was invested in Marie's and Leonie's welfare. But overall it feels a bit like two approaches to the material battling for supremacy and neither really nabs a decisive victory.

The 31 Days of Halloween – Day 30

ATTENTION: RADIO FREE FROMAGE IS ALIVE. WE ARE LOOKING FOR FELLOW SURVIVORS. WE ARE ALL ALONE. I SAY WE BECAUSE…I’M LONELY. WELCOME TO THE RADIO FREE FROMAGE HALLOWEEN DANCE PARTY. PLEASE COME CELEBRATE. BRING RATIONS. BRING YOURSELF. ALL ZOMBIE APOCALYPSE SURVIVORS MUST HAVE A COSTUME. RULE: NO ZOMBIE COSTUMES ALLOWED. 1. Michael Jackson – Thriller [...]

Drinking Water In Bottles On White

Drinking Water in bottles on white

Nightmare High Wire

Nightmare High Wire 12-24-53 http://oldtimeradiodvd.com

Nightmare High Wire

Nightmare High Wire 12-24-53 http://oldtimeradiodvd.com

Nightmare High Wire

Nightmare High Wire 12-24-53 http://oldtimeradiodvd.com

Nightmare High Wire

Nightmare High Wire 12-24-53 http://oldtimeradiodvd.com