Room 237 (15)

This curious documentary about arguably the greatest horror film of all time is out in cinemas today!

Room 237 (15) (This review on FilmJuice.com)

Some films stay with you forever, and ever, and ever.  So reads the cleverly referential tagline for Room 237, a whistle stop tour of nine conspiracy theories surrounding Stanley Kubrick’s horror masterpiece, The Shining.  Many films have been pored over in search of hidden meanings, but apparently none more so than Kubrick’s ode to terror, with interpretations ranging from the bizarre (it’s really about the moon landings!) to the almost believable.

Documentary filmmaker and horror fanatic Rodney Ascher has assembled a film that essentially consists of audio interviews accompanied by visuals from Kubrick’s films.  There is also the occasional filler footage, which is largely unimaginative and borderline amateurish.  This is kept to a minimum however, and Kubrick’s peerless imagery is allowed to speak for itself, making Room 237, more than anything else, a reminder of how breathtaking Kubrick’s cinematography is.

The soundtrack is an array of tributes to 1970s horror music, which works for the film but isn’t quite on topic, as The Shining featured an innovative mix of contemporary classical music and Wendy Carlos’ dread inspiring electronic compositions.  Few of the interviewees are notable, all apparently experts in very obscure fields (hermetic and alchemical traditions for example!), the exception being ABC news correspondent Bill Blakemore, one of the few contributors with anything bordering on plausible to say.

The so called ‘hidden meanings’ are mostly absurd to the point of being comical.  Ascher presents his subject matter with tongue-in-cheek, pokerfaced gravity, helping make the film palatable to a wider audience as a humourous insight into the minds of conspiracy theorists.  One theory stands out as being true however, as The Shining is to an extent a metaphorical allegory of the genocide of the Native Americans.  Throwing a little truth into the mix of madness makes the audience sensitive to the possibility that there might be shreds of truth in the other explorations, helping to keep you engaged and open minded with the thought that Room 237 might not just be a kaleidoscope of rambling nutters.

Die Hard film buffs and Kubrick devotees will get the most out of the film, as it directly appeals to the obsessive mindset of the kind of cineaste who likes nothing more than to slip film quotes into conversation, or to tell you that in Casablanca nobody ever actually says “Play it again, Sam”.  The market for this film isn’t quite that limited however, as conspiracy theories are brain food for some and outlandish entertainment for others.  Ascher’s film cleverly taps both these points of view, making it an amusing curiosity for all.  Even if you can’t swallow the ideas presented there is still fun to be had.  Now why not read this review backwards and find out what it was really about.

The Monk (15)

Out in UK cinemas tomorrow is French horror/drama The Monk (originally 'Le Moine').

The Monk (15) (This review on FilmJuice.com)

The Monk is the latest big screen adaptation of the classic gothic novel by Matthew Lewis. After being abandoned as a baby on the steps of a monastery in the 17th century, Ambrosio (Vincent Cassel) is raised as a monk and soon becomes renowned for his godly sermons and piety. As with all serious men of God, the Devil makes a beeline for him, relentlessly searching for a weakness.

Because Ambrosio was never exposed to the outside world, he has no experience of the perils and pleasures that those in his congregation must daily face and feel. This sets him up for a monstrous onslaught of temptations, thanks to the all too real influence of the Prince of Darkness himself. His troubles begin as a strange new face enters his life, in the form of Valerio, a soul who has suffered much and wants to withdraw from the world to be with God.

Cassel bottles up his usual angry energy, giving a brooding performance as the distant but intense Ambrosio. The supporting actors aren’t as strong, especially compared with this typically gripping turn by Cassel, but their efforts are plenty adequate to not be distracting.

Marking director Dominik Moll’s most ambitious project to date, The Monk offers a dark and oppressive vision of 17th century France. Fans of the book might be sorry to see that some of the more visceral thrills found in its pages have been replaced by a more subtle style of horror, one that creeps under the skin and leaves you feeling uneasy. Moll brings out the elements of the subject matter that provoke thoughts of real life horrors, things impossible to portray on screen; unseen terrors which we all must face. That isn’t to say that the film doesn’t provide thrills for the horror movie fan, it’s just that the focus is more on the impact that Ambrosio’s testing has on his character.

Alberto Iglesias scores The Monk with a bombastic and almost over the top soundtrack, full of ominous choral cues and Church-like echoes amping the eeriness. Patrick Blossier’s cinematography makes striking use of contrast, giving most of the film a dim and slightly sepia look, only turning the colour and brightness to eleven for a series of dream sequences. These could have done with a more creative effort from Moll as one would think that Ambrosio’s subconscious would be the perfect canvas on which to further highlight how far removed his impression of reality is from that of others.

The Monk is a haunting portrait of a tragically flawed character; a well-intentioned man who finds out the hard way that his faith wasn’t so strong after all. The film never pretends that evil isn’t a genuine power, a refreshing concept these days and one that disturbs with great precision. Go into this expecting to have your mind toyed with, as well as your emotions.