Don’t Let Evil Give You The Shaft! “Down” review!


One of New York City’s popular skyscrapers, the Millennial Building, is a modern marvel with 102 floors sought to be visited by national and international tourists, looking to reach the zenith and take a once-in-a-lifetime, awe inspiring gander across the Big Apple’s urban jungle landscape or seeking to be a working stiff inside the immaculate bones of the building’s historical foundation. Every day, thousands of visitors and employees ride the Millennial Building’s 73 elevators, assuming the safest ride possible to the touch the bottom of the sky, but when a deranged scientist implements a controversial biomedical computer into the building’s elevator vascular network, one tragic accident after another compiles fatal consequences within the vertical box that draws negative national attention. Elevator mechanic Mark Newman teams up with a rebellious newspaper reporter Jennifer Evans to investigate and uncover the a larger-than-life conspiracy behind a killer elevator organism.

Over three decades ago, Dutch filmmaker Dick Maas wrote, directed, and released the killer elevator film, simply titled “De Lift,” in the Netherlands. About 18 years later after his commercial success for “De Lift,” Mass spawned an American remake of the film entitled “Down,” also known as “The Shaft,” that transformed into the forgotten bastard when compared to Maas’ 1983 feature. To be frankly, “Down’s” terror-comedy knack with spunky characters and zany deaths put the 2001 remake right smack dab at the top of the repeat value charts and despite the lack of rigorous plausibility, the refreshingly no-holds barred, fun zone horror film doesn’t think twice, charging forward with gun blazing in an elevator ride to cinematic hell that shows no mercy and gives not one single care with each surpassing floor level. Be damned the backstory with meager exposition! Be damned the underdeveloped characters who are pivotal to the plot! Be damned the complexities of how the biomedical elevator system is able to live, breath, and reproduce through murder and mayhem! “Down” has a black and white, up and down glory that’s considered b-horror good that’s very reminiscent of the early films of Peter Jackson.

If you’re going to remake a killer elevator film, go big with the cast and Mass surely pulled through by signing cult genre stars of the time. Naomi Watts was just coming into the mainstream scene as she tackled well-received projects around that same time frame between David Lynch’s “Mulholland Dr.” and “The Ring” a year later, but the “Tank Girl” actress showed more than just her aesthetic assets, more than just shrieking horrific screams, and more than just displaying her big guns. In “Down,” she proved to be a gung-ho, rough-it-with-the-boys portrayer of a feisty reporter whose hot on the trail of a conspiracy helmed by surreptitious characters played Michael Ironside, who did not lose an arm in this film like he does in “Total Recall,” “Starship Troopers,” and “The Machinist,” and Ron Pearlman (“Hellboy,” “Cronos”). However, James Marshall, in the lead as the elevator mechanic, couldn’t ratchet tight a performance that called for concern and durability; instead, Marshall, known for playing James Hurley in “Twin Peaks,” schlepped clumsily on screen compared to the aggressively hungry Watts. Eric Thal (“The Puppet Masters”), Dan Hedaya (“Alien: Resurrection”), Edward Herrmann (“The Lost Boys”), and Kathryn Meisle (“Basket Case 2”) round out the remaining cast.

“Down’s” commercial success was plunging disaster. Reasons ranging from a flimsy premise to being an unconventional horror to the genre were, more than likely, not the major players in “Down’s” inability to elevate an audience. More so, the reasons stem solely between one or two factors, if not both. For one, Maas writes New Yorkers as belligerent morons, cocky, greedy, and deranged. Many of the characters are like this and if there was any that embodied any sliver of rationality or humanitarian attributes, there screen time was quick and fruitless. Secondly, though “Down” released in the spring of 2001, a film set in a New York City high rise with multiple mentions of terrorists and even verbally conveying a foiled plot to take down the twin towers probably hurt the film’s home entertainment value to the point where a DVD release didn’t surface until a good two years after the theatrical premiere.

Aside from all the delays, harsh reviews, and a shoddily cropped Artisan DVD release, Blue Underground delivers a godsend presenting “Down” on Blu-ray/DVD combo. The 1080 HD on a BD 50 dual layer disc has a widescreen 2.35:1 aspect ratio and radiates with clarity; so clear, that I had a hard time placing the year as the image certainly outshines most turn of the century products. An immense amount of detail just exemplifies the extraordinary content without appearing as a discount deal for special effects. Audio options include an English and French 5.1 DTS-HD and an English and French Dolby Digital stereo with both including optional English SDH subtitles and Spanish subtitles. The amount of range is leaps and bounds beyond the Artisan’s par quality with the 5.1 channelling maximized quality and clarity. Dialogue track is clear and free from obstructions with the only stain being the horrendously dubbed diner jerk that punches James Marshall in the face, but that’s not necessary a make or break blemish. Bonus materials include audio commentary with writer-director Dick Maas and stunt coordinator Willem de Beukelaer, the making of “Down,” behind-the-scenes footage that’s exclusive to the Blu-ray, theatrical trailer, poster and still gallery, and teaser trailers of upcoming releases. The casing itself harnesses a collectible booklet with new essays by Michael Gingold. “Down” finally shines through with a stellar release from Blue Underground, a leader in restoring and releasing cult films. If in the mood for a story without much thought while desiring to choke on out of this world terror-comedy then “Down” is a must on the upcoming marquee!

Own “Down” on Blu-ray!

Dark. Alone. Evil, Deformed Children. “Confined” review!

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Julia Streak begins a nightshift security position at a grand and abandoned apartment complex in the city. The job is her last chance to prove that she can take care of her daughter, Clara, after a bout with a psychotic illness. Paired up with Cooper, a wheelchair bound antisocial security guard whose been overseeing the estate since the beginning, Streak and Cooper begin their first shift on the job together in the dark and elaborately minacious building. When Streak discovers and opens up a mysterious locked door that leads to a subterranean maze of disheveled and vacant rooms void of security cameras. What Streak discovers will force her to battle with her own inner demons and struggle with a maddening presence that truly terrifies her.

“Confined,” the UK title of the American 2015 film, “The Abandoned,” is the debut directorial of NYU Tisch School of the Arts graduate Eytan Rockaway and penned by Ido Fluk. The cast is blend of well-known veteran actors with lesser-knowns who’ve been in the industry for a number of years. “The Lost Boys” and “Sleepers” star Jason Patric co-headlines as the crippled Cooper and he stars alongside Louisa Krause, an actress observed more frequently in independent features, as the disturbed and desperate Julia Streak. Then there is low and raspy voiced actor Mark Margolis, better known for his Emmy nominated role in “Breaking Bad” or, as I remember him from, as the merciless landlord from the first “Ace Ventura: Pet Detective” film. Margolis dons an excellent creepy homeless man looking for a place to crash during a deathly cold and rainy night. To round out the cast is the authoritative appearance of Ezra Knight, whose seen more video game and television show work than his share of feature films.
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Rockaway’s directing style works mediocrely with the story’s threatening nature, establishing a catacomb-like surrounding in Julia Streak’s discovery during “Confined’s” second act, but compared to the setup of characters in the beginning, Rockaway has an inconsistency. Rockaway flourishes better with his use of angles, his ability to frame medium and close up shots, and his eye for soft color tones, that when all combined, setup for an effective foreboding mood. The second act takes a on another role that diminishes the first act’s sheer mysticism and menacing structures of the Julia character and her motivation for this newfound position as a security guard. Even though the darker scenes add fear to any horror movie, the darker scenes in this particular semi-supernatural feature are a technical mishap that become more of a hinderance to the story than being a horrific bonus.
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The story doesn’t exactly come through in the end either. The Fluk and Rockaway rendition of one woman’s disturbing breakthrough attempts to enter the challenging and conflicted mind of a person dealing with real and hidden demons, but falls annoyingly flat, not really delivering that “ah ha” moment or twist at the end. An experiment wash came over the last fifteen minutes or so when Cooper and Streak are in the dreadful basement, fighting off the presence in the old upscale apartment complex. The U.S. title, “The Abandoned,” fits more appropriately to the story than does “Confined” as abandoned is a double, if not triple, entrendre with the apartment building being abandoned, the abandonment with the basement presences, and with Streaks own issue with abandonment. Confined is far from being a terrible title, as I do believe confined has it’s own underlining meanings in the film, but just not as provocative.

By far, Jason Patric’s character, Cooper, adds a little liveliness to the feature. I’ve never experienced Patric’s ability to be on the level of cold and sarcastic. Truly a treat up until the story’s momentum changes that focuses more on Streak. Louisa Krause didn’t transcend enough belief in Julia Streak. I thought her performance was overly stale and her character was also poorly written to the point where I thought Julia Streak should have characterized as a 13-year-old girl. Streak is suppose to be a strong, feminine character and that does come through at certain points, even if those points during the film seem pointless, unnatural, and meaningless. Yet, Streak, for a kick boxer and as a mother fighting for her daughter, is fairly weak, whimpering at times during peril. She also doesn’t follow the job’s guidelines, showing that the job she needs to be there for her daughter is not necessarily important enough to keep.
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“Confined” is a release of the UK distributed 101 Films and was produced by the rather young production company C Plus Pictures here in the States. 101 Films graciously provided me with an online screener, so I can’t comment on the bonus features or the audio or video quality. “Confined” has its own demons in the form of plot holes and some unfinished revisions, but has more life by means of the more experienced actors in Patric and Margolis. Check out the atmospheric “Confined” for yourself and maybe your interpretation would be more open minded than my confined outlook that abandoned all hope near the finale for this feature.