The cruel acts of animal poaching and violence, executions, and tribal slaughtering, all taking place on the African continent.
- Stars:Sergio Rossi,
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Garrett J (au) wrote: There is no words to describe how boring, convoluted, and bland the plot of this movie is, and most of the time you won't even know what is going on until you don't care, i.e. at the end of the movie. You go through the entire movie watching two guys kill stock people for [insert lame excuse here], then find some lame symbolic reason to justify it. It's not fun, it's not tame, and it's not watchable.
Andrea D (nl) wrote: Fabulous suspense thriller. I was on the edge of my seat the entire time.
Kenny C (us) wrote: Pretty interesting look at the 2004 presidential campaign. Worth viewing, especially in the coming months.
EQ R (jp) wrote: With a title like "Snakes On A Plane", the movie better not make the mistake of taking itself too serious, not having some good one liners, not being a bit cheesy and not showing a good amount of snake kills. Well this movie definitely doesn't make any mistakes like that, in fact the film takes a nice long bath in its "B movie" glory. This film screams "B movie" and embraces the hell out of it, right down to the 50/50 CGI to practical snake ratio. The action scenes are done well, it's ridiculously fun and when doesn't Samuel L. Jackson give a great performance. Sure, there are a lot of problems but these kinds of movies know what they are and run with it. This won't win any awards but it's entertaining as hell. This B movie earns a B+.
Logan M (au) wrote: Submerged in recycled slapstick and mean-spirited characters, "Christmas with the Kranks" is a humbug of a holiday season comedy.
Mel V (nl) wrote: After (apparently) a two-year quarantine [i]Undead[/i], a zombie splatterfest/comedy/horror flick made in Australia, finally arrives on U.S. shores. [i]Undead[/i] was written, directed, produced, and edited by Michael and Peter Spierig on a shoestring budget (in a now familiar road to making your first film outside the studio system, the Spierig Brothers borrowed their budget from friends, family, and credit card companies). The Spierig Brothers, with more ambition than financial resources, spent six months pre-visualizing and storyboarding [i]Undead[/i] before going into production. After nearly two months of principal photography, the Spierig Brothers retired to their garage, where, and thanks to off-the-shelf software and several PCs, they began the painstaking process of creating all but a handful of special effects for their film. [i]Undead[/i] contains more than 300 special effects shots. All told, [i]Undead[/i] took two-and-one-half years to complete, from planning through post-production. Berkeley, Australia. A quiet, seaside town. Rene (Felicity Mason), the ostensible central character, has lost her childhood home to foreclosure by the local bank. Unable to pay the mortgage, even after winning a local beauty contest. Driving out of town for what she assumes will be the last time, she, along with the rest of the town, witnesses a spectacular meteor shower. This is no ordinary meteor shower, however. The meteorites carry a plague. Contact leads to instant infection. Instant infection leads to an instantaneous transformation into the hungry undead. Rene, smarter than the average townsperson, flees, eventually finding herself at a farmhouse owned by the local outcast, Marion (Mungo McKay), a bearded, hirsute, overall-wearing gun fetishist (he also favors spurs on his boots and a floppy, oversized hat to match his oversized appearance). His ample supply of firearms, of course, comes in handy as the slow-moving hordes of the undead make their way to and into the farmhouse. Before long, Rene and Marion are joined by another, desperate group of survivors, led by Constable Harrison (Dirk Hunter). Refuge in Marion?s underground bunker proves to be a literal dead end. Luckily (or not, depending on your perspective), a very pregnant woman in the throes of childbirth spurs the survivors into action. Breaking out (after they?ve fought their way in), the survivors leave the safety of the underground bunker. From there, [i]Undead[/i] takes an extended detour into a completely different genre (and sub-genre), science fiction/alien invasion territory. The survivors also discover that their town has been surrounded by a giant wall of indeterminate origin. And then there?s the acid rain that keeps falling, burning their skin. While the Spierig Brothers have an engaging, even uplifting (and therefore, marketable) backstory, ultimately audiences will have to judge [i]Undead[/i] on its own. How does it measure up to other films from the genre, other films that were the obvious inspirations for the Spierig Brothers? Films such as Peter Jackson?s [i]Dead Alive[/i], Sam Raimi?s [i]Evil Dead[/i] trilogy, George A. Romero?s [i]Dead[/i] trilogy, or Dan O?Bannon?s [i]Return of the Living Dead[/i]? The splatter humor owes less to Romero?s more serious-minded films than to Raimi and Jackson, but [i]Undead[/i] ultimately proves to be an unsatisfactory viewing experience. It certainly wasn't the makeup or the special effects. In both cases, the gore and effects were remarkably accomplished, especially given the budget limitations (with only the occasional dodgy effect). Two effects sequences in particular were top-notch: a set of torsoless legs ambling down a country road, looking for their other half, and an extended sequence that takes the survivors above the clouds of their sleepy, little town. These effects were as good as anything you?re likely to see from a mainstream Hollywood film. Add a couple of splatstick moments, including one involving a shovel and a none-too-bright zombie, and most genre fans will be pleased (and entertained). What about the performances, you might ask? Given the Spierig Brothers relative inexperience, not to mention limited budget, audiences show go into [i]Undead[/i] fully expecting less-than-stellar performances, which range from the stiff, to the overbroad to the passable. What about the dialogue in the Spierig Brothers? first effort? Functional, if clichd, with the occasionally inspired line, most of them uttered by Marion. What about the characters then? I expected them to be stock, unoriginal, with each character's broad traits played out story wise with no surprise character twists to spin the plot in an unforeseen direction. Where then did [i]Undead[/i] slip from forgivable, low-budget, first-time effort to almost unwatchable? [i]Undead[/i] was marketed as a zombie/splatterfest comedy, with built-in expectations of zombies, gore, and more zombie gore, with whatever explanation the filmmakers give for the plague of zombies offer being just credible enough for the audience to suspend their disbelief. The real problem happens midway through [i]Undead[/i], when instead of the typical isolated group of survivors making a heroic last stand, or attempting to locate a secure area, [i]Undead[/i] downshifts into science-fiction/alien invasion territory (and its sense of humor never fully recovers). Add an unnecessary epilogue that stretches the movie an additional ten minutes, and you essentially have a scattershot horror/comedy/science fiction genre bender that tries hard, but never quite succeeds, in pleasing different genre to audiences. Still, the Spierig Brothers deserve credit for both their ambition, and more importantly, their remarkable ability to complete a project with limited financial resources. Let's hope their writing skills improve with the size of their budget for the next film. Overall, [i]Undead[/i] deserves a positive, if highly qualified recommendation, mostly for viewers interested in seeing (and supporting) a truly independent film production.
Thomas B (gb) wrote: Fantastic performances and a tightly wound script as well as some pitch black humour. Full review later.
Ryan W (mx) wrote: And Nightmare on elm street officially evolved into a black comedy! I'd say as for the comedy aspect it delivers well, however the nothing special in aspects of horror.