Creature Feature: In Brief

Jaume Balagueró & Paco Plaza - REC 2 (2009)

The first REC, while by no means a masterpiece, was a solid and original piece of horror film-making, doing something a bit different with the zombie genre and making unwontedly welcome use of the hand-held camera – and indeed, managing to extend on the technology and hence the mise en scène. The second, to my lights, is even better – though straying outside the confines of the sealed-off apartment block in a way which breaks the claustrophobia which worked so well in the first instalment, the inclusion of further back story and character diversity makes for a more complex film without losing the simple momentum of the first (and now, with a twist…)

George A. Romero - Diary of the Dead (2008)

A disappointing Romero vehicle in which, unlike the aforementioned, the use of digital hand-held disappoints and irritates, encompassing all the typical flaws of these genres (i.e., severe frustration with the camera holder who however remains untouchable due to their status as such; unrealistic failure to put it down in life-threatening situations). Meanwhile, the internet themes fail to cohere into meaningful social commentary a la Dawn of the Dead. Watch Zombieland instead.

John McTiernan - Predator (1987)

Another in the ‘I can’t believe I’ve never seen this’ canon, this was a surprisingly atmospheric film, with the shadowy South American jungle as the main character – striated shadows dappling the blazing sun and the sweat and blood of the action film. The USA redeems its sanguinaceous Cold War interference in its ‘backyard’ through the trope of the pursuit of Latin terrorists (managing to allay the inhumanity of this killing and also feminize the victims even as we fear their violence by leaving alive the lone female terrorist as a prisoner who ultimately becomes an ally), while nodding to 80s political correctness, such as it was, in the black characters and, naturally the native American who has an intimate connection with the ways of the jungle (all of these sacrificeable, naturally). The ‘reveal’ comes surprisingly late in the piece, and the strangely honourable predator, before he (?) is revealed as an overgrown dreadlocked insect, segues in with the natural world as a ripple in the trees (with effects which haven’t dated too badly, unlike the technology he uses). Apocalypse Now, filtered through the lens of an unironic Schwarzeneggerian (gubernatorial?) all-Americanism.

Jon Harris - The Descent 2 (2009)

Another film in which the environment is the protagonist – in this case, the same cave system in which the protagonists of the first Descent (Neil Marshall, director of the original, returns only as executive producer) found themselves trapped – again, we spend somewhat more time outside the closed environment, here becoming a flaw, and there is also the somewhat unrealistic, but effective, choice to send the sole survivor of the first film back into the tunnels. Essentially we are re-exploring old ground in a less effective rehash of the first film, which was an entertaining diversion with some early moments of fear and claustrophobia before ‘descending’ into a fairly typical monster gore hunt (colour-coded, a nice touch) – here, without the benefit of that unfamiliarity, while the caves remain an original and atmospheric setting, despite a final twist there is nothing here which adds meaningfully to the film’s predecessor.

Wes Craven et al – A Nightmare On Elm Street 1-4 (1984-88)

I wasn’t actually sure if I’d seen the first, but I’d certainly never seen the sequels. And what pleasant – or should that be unpleasant? – surprises were in store! Unlike other the other classic protagonists of the genre – Jason Voorhees & Michael Myers – these films did not have the stigma of having given birth to the rather unnecessary slasher genre, but instead of playing an important role in the development of the blockbuster horror comedy (not to mention the ongoing horror-queering of the all-american dream suburbs) – and we love ‘em for it (and I’m not just saying that because we’re inhabiting here my favourite decade of the twentieth century – the 80s)! Camp as all get-out, with absurdist, ‘body horror’ pre-CGI special effects (reminiscent of other films of the era such as the unjustly neglected Society, or even Videodrome) which invoke a great deal of nostalgia – and a twisted, Burtonesque atmosphere to boot – not only the initial NOES, but also, unusually, the sequels, are extremely worthwhile. Part 2 is noteworthy really only for the extremely overt (and apparently intentional) homoerotic elements (with just a touch of B&D in the shower room), but 3 kicks into high and rather dark gear – featuring Freddy’s intended teenage victims in a mental institution as a result of their belief in the reality of their dreams, and the unexpected appearance of Patricia Arquette (not to mention Laurence Fishburne) - a punk edge, and rather nasty addiction and sexual violence themes (these latter in the development of Freddy’s backstory), also creep in. Part 4 can’t quite live up to the claustrophobic institutionalization and traumatic edge of the third film, but nonetheless it remains a romp, featuring particularly memorable scenes in which Freddy inhabits a roach motel and a pizza (!), as well as an extension of the theme, used to brilliant effect throughout the series, of the indistinguishability of the line dividing reality and fantasy, in a time-loop sequence. Oh, and I was forgetting, we also have a soundtrack showcasing Sinead O’Connor with MC Lyte performing the ultra-catchy I Want Your Hands (On Me) – not to mention the Are You Ready For Freddy rap by the Fat Boys featuring Robert Englund. Dark comedy of the absurd, accompanied by nostalgia for the tainted eighties.

Buzzcocks – The Forum, 20.11.09

There’s just something about Buzzcocks. While there aren’t too many ‘classic’ punk bands that I have a lot of time for (X-Ray Spex is probably the only other real contender), their songs of angsty, failed youthful romance are deeply sublime in capturing perfectly a particular moment, a particular desire, and in themselves lyrically (in both senses) foreshadowing the nostalgia with which one will look back at these times. Orgasm Addict remains one of the most archetypal manifestations of ecstatic (not to mention sexually ambiguous) polymorphous perversity in music (along, I’d add, with Richard Hell’s Love Comes In Spurts) - for a completely different version which captures the same spirit of (tender) perversion, try Momus' cover.

While in the 70s they may have been twenty-one wishing to be sixteen, from the vantage point of their early 50s, how does their music now come across to the listener? Well, for a start, only two original members remain – Pete Shelley (resplendent in a Mondrian-esque shirt), and Steve Diggle. But this tour, playing their first two LPs in their entirety (Another Music In A Different Kitchen and Love Bites) along with selections from the Singles Going Steady compilation, was not to be missed. At first, I found the performance to be a little straightforward, so to speak –the mood that many reunion tours have, a feeling that the band are fulfilling their roles by appearing on stage playing their songs, but no more. But as the night progressed, the atmosphere seemed to come together, and despite the contrast between the teenage sentiment of the songs and the appearance of those performing them (and despite awful sound quality), the performance as a performance came together with coherent enthusiasm. Highlights were the aforementioned Orgasm Addict, masterpiece and perennial crowdpleaser Ever Fall In Love, and my other personal favourite, Promises.

Ultimately, the sheer craft of the songs, how well they’ve stood the test of time, the beauty of the harmonies compared with the aggressive guitars, at times choppy and insistent, at others epic, along with the sheer pleasure of having access to this music which remains so vital, made this a night marked by the contradictory pleasure taken in energetic release, and in nostalgia.