IT’S that time of the year again when a whack of horror movies appear in cinemas nationwide, delivering graphic images of blood-thirsty creatures, possessed individuals, and dark magic.
Dracula Untold is a ‘spook-tacular’ film that sets the ‘stakes’ high in the lead up to Halloween with its ability to both haunt and entertain the anxious viewer.
The dark fantasy re-introduces the history and origins of Dracula and Vlad the Impaler. Its modern take alongside the use of state-of-the-art costumes and props, crafts this movie into the success that it is.
However, at some points, the supposedly spine-chilling vampires end up looking like disturbed zombies.
Dracula Untold tells the tale of a strong prince named Vlad the Impaler who rules over a small Transylvania kingdom with his wife and son and who allows no harm to come to his district and its inhabitants.
However, the peace is short-lived when a warlord called Mehmed, the Sultan of Turkey, demands 1000 Transylvanian boys including the prince’s son. Mehmed sees it as an obligation and has strict plans for the boys.
Vlad quickly realises that the only way to protect his people is by defeating Mehmed and his army of men. The clock is ticking and Vlad does not have the powers and resources he needs. That is, until he comes face to face with the monster every man fears.
The casting of Dracula Untold seems to have been done with precision as Luke Evans, Sarah Gadon, and Dominic Cooper are superb for their roles and play their characters to perfection.
Lasting a total of 92 minutes, Dracula Untold is not the lengthiest film to be released this year but, in this case, any longer and the movie would have been dragged out.
Rated 15a and directed by Irishman and Dubliner Gary Shore, this is the perfect movie for those seeking a bit of horror without the usual jumpy and frightfully sinister insertions.
First impressions? Wow, there’s a lot of close ups! Give me Adele’s face smeared in Bolognese oil one more time and… well, just don’t. Ok?
This arty French flick is the latest hit to come out of the Cannes Film Festival, and boy it doesn’t disappoint.
We’re introduced to our young protagonist, Adèle, as she runs to school, making it just in time for her French literature lessons. She loves to read, and this is how we meet her boyfriend – a peer pressured school crush she discusses her books with.
Soon after she finds the sex a snore, she latches eyes on ‘the mysterious girl with the blue hair’, who she fantasises about. Often. And we get to see it all.
Anyway, long (long!) story short, they end up getting together and bam, cue sumptuous close-up sex scenes. With lots of smacking and a bit of tribadism. One comment from the crowd behind me, “It’s art!” Another, “No, it’s sex!”
This sexy time show happens a few times, peppered with more shots of Adèle’s biscuit filled open gob or pasta guzzling. She’s a messy eater…
A lot of the fellow viewers complained about this predicament, but I thought it a clever technique. Show us this girl in her most vulgar state, and equally Emma’s (blue haired girl) sultry smile, and remind us how love can see through all the ugly.
Another complaint was in all of the ‘unnecessary’ scenes. We see a lot of Adèle in her play school workplace, which admittedly doesn’t do much to advance the story, but does give a realism to the movie. The film could’ve been half the length without these scenes, but then without them we wouldn’t see the complete picture of Adèle’s life.
As her career advances, giving her a role in a primary school, her love life with Emma sinks. The ‘warm’ haired girl is growing bored of Adèle’s lack of creative energy and is growing ever fonder of her fellow artist friend. The shots widen and the blue hair fades with each passing scene.
Adèle’s not stupid, and sees this love budding with her numerous late nights at the studio. In pursuit of her own pleasure, she hooks up with one of her male colleagues, and when Emma finds out, she’s not a happy bunny.
A short domestic ensues, and the once sweetheart is thrown out onto the streets. It’s a cold move from Blue, and hypocritical to say the least.
These scenes, still in close-view, are very difficult to watch. The director makes great use of sound in his shots, and the film often goes from loud scenes to silence in an instant.
The sex scenes, for instance, are very noisy, and when they abruptly end we’re left self-conscious, and open mouthed.
When the pair fight, though, this after-silence is even more uncomfortable, and incredibly intense.
Unsurprisingly, Emma ends up U-Hauling with the artist ‘friend’ and her child, and all is cosy. If only she had that passionate sex with her though. Sigh.
The two meet up for the inevitable awkward first-ex-coffee-date, and end up almost jumping each other on the bar table. Still, no saviour for Adèle as cold, cold Blue walks out and leaves her alone with her wine.
Funnily enough, there’s a lot of wine in this movie. It seems to be a metaphor for family, being pulled out at every familial occasion – ‘meet the parents’, ‘meet the parents two’, and ‘meet all my artsy friends’… it’s pretty fitting then, I guess, that Adèle should be left fermenting at the bar with a glass.
It’s not until Blue’s big fancy pants art exhibition that we see the vino again. This super awkward visit marks the formal double french kiss with the new girlfriend (i.e. the devil), and much neck snogging, at which Adèle departs, sullen, depressed, and in a blue dress, no less.
The camera allows us a long shot of her walking away in the ‘warmest colour’, as we contemplate just how ‘chaud’ Emma ever really was.
Credits roll and the lights flicker on… the crowd arise for libation.
Blue is the Warmest Color is on show all this week in the IFI. Bookings can be made on 01 679 3477.
Modern society is bombarded by sexually themed marketing but when it comes to getting personal, it often comes with an air of disillusionment. People with a desire for sex may walk the walk but not talk the talk. Such an attitude seems unbelievable. In his new film Thanks for Sharing, director Stuart Blumberg attempts to remove this stigma.
Starring Mark Ruffalo and Gwyneth Paltrow, Thanks for Sharing follows the lives of Adam, Mike, and Neil as they battle to overcome an addiction that has taken over their lives.
Adam (Ruffalo) is a successful environmental consultant living in New York, who after being sober for five years seems to be well on the road to recovery. This is until he falls for attractive cancer survivor Phoebe (Paltrow), who begins to question her feelings upon hearing Adam’s revelation.
Mike (Tim Robbins) is Adam’s sponsor, and also head co-ordinator of the group sessions. For the past 15 years, Adam has dedicated his life to providing support for recovering addicts. But, in the midst of helping others, Mike has neglected his relationship with his own son Danny (Patrick Fujit), who has returned to the family home after struggling with an addiction of his own.
Neil (Josh Gad) is an emergency room doctor and Adam’s mentor, who in the beginning is unwilling to take his addiction seriously. However, when inappropriate behavior results in him losing his job, Neil is determined to turn his life around. It is during this time that he encounters fellow addict Dede, played by popstar Pink. Together, they keep each other in check, acting as a motivator each time one of them shows signs of faltering.
With instances of subtle humour throughout, Thanks for Sharing is an insightful, yet surprisingly enjoyable drama that explores the dark and lonely side of addiction, while illustrating the importance of family and friends in striving for a positive outcome.
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