Journey to the Centre of the Earth (1959).Coming Attractions - Dracula: Prince of Darkness (.Coming Attractions - The Green Slime (1968) / Blue.Hammer Frankenstein Films Poster Gallery.Coming Attractions - The Exorcist II: The Heretic.Instead of absorbing the lessons of Hollywood responded with Quarantine (2008), a dire and depressing remake, further proof of the struggles that horror is facing in America.
Rec zombie tv#
Despite these and other flaws genuinely succeeds in creating a sensation of lurking terror, which reaches an unbearable crescendo when our duo of reality TV imbeciles are forced to utilise the night vision facility of the camera. There is scant occasion for rich characterisation, with speaking parts acting merely as ciphers for a political or cultural position, and the dialogue itself sounds as though its been written by a baboon with learning difficulties - though that might just be the subtitling on my copy. I personally do not enjoy the puke inducing camera movements of these ‘pseudo documentaries’ - I’m more likely to throw up from this, than any horrific content the film might have. In other areas however the film is not a success. This is not new for the horror genre, but the implacable and emotionless response of the authorities is unusual. This is a government and military that clearly knows more than its letting on, and raises the question of covert military experiments. Whilst the sight of marauding zombies passing a blood infection on to people is nightmarish enough, the truly terrifying aspect of the film is the response of the authorities to the crisis. The louder something is, doesn’t necessarily mean its scarier. It is in this approach to sound design where the film reveals some innovation that American horror producers could take heed of. This works so well because the filmmakers choose to remove music from the film. Much of the tension and scares are created through the simplest and cheapest of means framing, composition, camera angles. This is in marked contrast to other modern zombie films in which the characters cant move for the undead. Sightings of the infected zombies are reduced to a minimum, so when they do suddenly appear from off screen the impact is increased. The network of apartments are given a labyrinthine quality and are used sparingly, and its clear the filmmakers are highly conversant with the expectations of the horror genre. We see that in a moment of crisis people are more likely to drift apart than cooperate, and this lack of collaboration allows fascistic attitudes to develop. We therefore bear witness to a culturally diverse community in which racial tensions simmer just below the surface. Unsurprisingly the apartment block and its inhabitants functions as a microcosm of society. This is all brought to life within a confined and claustrophobic space that is among the most evocative settings in modern horror. This naturally leads the film into the minefield of truth and reality, of the validity of the documentary form as an index of truth. This theme is developed with persuasion and economy and paints a very unflattering picture of the depths that television crews will plumb to capture something exciting for a jaundiced audience. Once Angela and her cameraman Pablo (Pablo Rosso) are trapped in a downtown apartment block any fear they might have is soon assuaged by the prospect of filming something unique and exclusive. Her burning desire for action and risk beyond the walls of a fire station, and her eagerness to capture life and death decisions makes her a thoroughly irritating and dislikeable protagonist. Therefore Manuela Valasco as the reporter Angela has a thankless task. If this means the media must act as a manipulator in order to secure extreme images then so be it.
An early and notable statement made by the filmmakers illustrates the desperate need on the part of the media to record or document something out of the ordinary.
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