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blu The Unsound movie
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Up until the late-in-the-third-act plot twist, I was ready to label Alexandre Aja's 'High Tension' the best slasher movie since 'Scream,' and among the best slasher movies of all time, eager to place it alongside 'Psycho' and 'Halloween,' But that last twist is such a colossal bungle, not only from a narrative standpoint but just in terms of common sense, that it almost ruined everything that came before it. Later I heard that the twist was at the insistence of powerful producer (and genre mastermind in his own right) Luc Besson, which made me feel better about Aja as a director and a decision-maker because, really, what young French filmmaker is going to turn down an idea by the director of 'La Femme Nikita?' It also made me realize, even with this colossally unsound note, the movie still towers above almost every other contemporary horror movie out there.
From this point forward, the movie is a bare-knuckle thrill ride, with THE GIRL getting involved in all sorts of bite-your-fingernails-to-the-quick scenarios. At the time the movie opened, I likened it to the Dean Koontz novels of a specific period, I'm thinking of 'Mr. Murder' or 'Dark Rivers of the Heart.' And I think that can still be applied: our killer is an unstoppable maniac with little-to-no regard for human life, and our heroine is a plucky, headstrong woman who knows how to take care of business, partially because she still has that connection to humanity.
Aja is an extremely gifted director, and he and his frequent collaborators, producer Gregory Levasseur, cinematographer Maxime Alexandre and editor Baxter, create moments of such sustained tension that you don't know if you can actually stomach to watch any more of it. (The movie was so intense that it had to be released in North American theaters in a modified version; the original cut garnered an NC-17 from the notoriously priggish MPAA.) What's more, the way everything is staged is truly horrifying but ultimately quite beautiful: this is a slick, good-looking movie that was created for almost nothing (around 2 million Euro).
There's a reason that, shortly after 'High Tension' made an international splash, he was scooped up by Hollywood, where he made his next three movies (a remake of 'The Hills Have Eyes' that improved upon the original, the spooky-gooey ghost story 'Mirrors,' and this summer's gleefully demented 'Piranha 3D') - this dude has a good eye. Also: he's non-union. (That's kind of a joke but also true; he's probably union by now.)
Part of me wants to go into some kind of discussion of the movie's problematic issues with gender and sexuality, which only come to light after that lame-ass third act twist, but as the years have gone on I've realized that this probably wasn't any malicious intent by the filmmakers, but rather a stab at giving the movie some kind of sociopolitical dimension that it was otherwise lacking. It can certainly be read as offensive, because, well, it is, but like many French filmmakers, I think Aja and Levasseur were just trying to get a rise out of us. In a movie this intense, they were looking for any way to goose us.
The 1080p AVC MPEG-4 transfer (aspect ratio: 2.33:1) looks appropriately grungy and stylized. Elsewhere on the disc, director Aja claims that he was worried that the movie was looking too much like other horror movies, with thick clumps of fog and a deliberately 1970s aesthetic. I think after watching this transfer, you couldn't agree less with him.
The movie has a fair amount of grain, which some will probably cry foul over. But this seems to have been a stylistic move rather than a technical error: Aja was clearly emulating the down-and-dirty horror cinema of the 1970s, and so this feels more than appropriate. The grain is never distracting and it adds a nice, film-like quality to the high definition transfer.
Now that we've got that bit of business squared away, I must say that I was sort of blown away by the lossless French DTS-HD Master Audio 7.1 track. This thing is full on for the entire movie, an aggressive and relentless piece of surround sound business that will have you leaping out of your seat. Every element of the mix is designed for maximum effect. And boy does it succeed.
Sound effects are sharp and clear without ever being overwhelming. When the killer slices into a victim's throat, spraying a fine mist of arterial blood, you will feel every second. (This is true throughout the whole movie.) The surround sound channels are always alive with activity, but it's never show-off-y or in-your-face. Things are just always going on, and there are thick layers of atmosphere when there isn't throat-slitting on screen.
There are no glitchy technical issues here, either. And what this track does, so well, is totally place you in the movie. You are totally a part of these hair-raising scenarios, and it adds so much to the home video experience; an expertly done mix.
The Unsound does, however, commit a personal genre crime (to be fair one the majority of horror comics are guilty of): it hits the pedal far too early. Most reputable horror movies or novels take their time, bar the obligatory prologue or tease, to instill a sense of reality and stability into the viewer/reader before pulling the rug from under them. Comics, conversely, all too often reach that stage within several pages. Page 13, in the case of The Unsound. As a result, I never found myself fully invested in Ashli or the other staff and residents at Saint Cascia; as soon as we are introduced to them they are reduced to targets for Bunn and Cole to take aim at and fire.
Although inspired by Joseph Conrad's Heart of Darkness, the film deviates extensively from its source material. The novella, based on Conrad's experience as a steamboat captain in Africa, is set in the Congo Free State during the 19th century.[15] Kurtz and Marlow (whose corresponding character in the movie is Capt. Willard) work for a Belgian trading company that brutally exploits its native African workers.[citation needed]
It is often speculated that Coppola's interpretation of the Kurtz character was modeled after Tony Poe, a highly decorated Vietnam-era paramilitary officer from the CIA's Special Activities Division.[17] Poe's actions in Vietnam and in the "Secret War" in neighboring Laos, in particular his highly unorthodox and often savage methods of waging war, show many similarities to those of the fictional Kurtz; for example, Poe was known to drop severed heads from helicopters into enemy-controlled villages as a form of psychological warfare and use human ears to record the number of enemies his indigenous troops had killed. He would send these ears back to his superiors as proof of the efficacy of his operations deep inside Laos.[18][19] Coppola denies that Poe was a primary influence and says the character was loosely based on Special Forces Colonel Robert B. Rheault, who was the actual head of 5th Special Forces Group (May to July 1969), and whose 1969 arrest over the murder of suspected double agent Thai Khac Chuyen in Nha Trang generated substantial contemporary news coverage, in the Green Beret Affair,[20] including making public the phrase "terminate with extreme prejudice",[21] which was used prominently in the movie.[citation needed]
While working as an assistant for Francis Ford Coppola on The Rain People in 1967, filmmaker John Milius was encouraged by his friends George Lucas and Steven Spielberg to write a Vietnam War film.[27][1] Milius had wanted to volunteer for the war, and was disappointed when he was rejected for having asthma.[28] He came up with the idea for adapting the plot of Joseph Conrad's Heart of Darkness to the Vietnam War setting. He had read the novel as a teenager and was reminded about it when his college English professor, Irwin Blacker of USC, mentioned the several unsuccessful attempts to adapt it into a movie. Blacker challenged his class by saying, "No screenwriter has ever perfected a film adaption of Joseph Conrad's Heart of Darkness."[29][30][b]
At one point, Coppola told Milius, "Write every scene you ever wanted to go into that movie",[29] and he wrote ten drafts, amounting to over a thousand pages.[39] He was influenced by an article by Michael Herr, "The Battle for Khe Sanh", which referred to drugs, rock 'n' roll, and people calling airstrikes down on themselves.[29] He was also inspired by such films as Dr. Strangelove.
Murch had problems trying to make a stereo soundtrack for Apocalypse Now because sound libraries had no stereo recordings of weapons. The sound material brought back from the Philippines was inadequate because the small location crew lacked the time and resources to record jungle sounds and ambient noises. Murch and his crew fabricated the mood of the jungle on the soundtrack. Apocalypse Now used novel sound techniques for a movie, as Murch insisted on recording the most up-to-date gunfire and employed the Dolby Stereo 70 mm Six Track system for the 70 mm release, which used two channels of sound behind the audience as well as three channels from behind the movie screen.[72] The 35 mm release used the new Dolby Stereo optical stereo system, but due to limitations of the technology at the time, the 35 mm release that played in most theaters did not include surround sound.[73] In May 1978, Coppola postponed the opening until spring of 1979.[74] The cost overruns had reached $18 million, for which Coppola was personally liable, but he had retained rights to the picture in perpetuity.[75] 2ff7e9595c
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