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The Thing (2011)
A prequel to a remake of a 50's sci-fi horror that ends up playing like a remake of a remake.
This prequel to John Carpenter's film of the same name plays as a functional and meticulously loyal companion piece to it's 80′s masterpiece. Going in, my expectations weren't that high. In recent years Hollywood has furnished us with countless prequels, remakes and re-imaginings that with a few exceptions, have mostly been voiceless exercises in tedium. The film focuses on the events that transpired at the Norwegian base and for anyone overly familiar with the Carpenter film, there's a pleasing sense of déjà vu in the way the sets have been carefully recreated. The casting of Norwegian actors is another unexpected, but very welcome element proving that the financial backers had the sense to place authenticity as a priority. So far so good then. What follows is not a bad film, just a pretty unremarkable one that more or less plays the same beats as the film it's supposed to be re- enforcing in a way that smacks of trying to sell an old product to a new generation. Knowing the fate of the Norwegian characters from the other film, there's an air of inevitability about how things unravel and it's slightly tiresome watching great things you've seen in an older film merely replicated with more whizzy effects. On the subject of effects, it's pleasantly surprising to see the makers have gone to lengths to blend physical and digital visuals in a way that remains respectful to the wildly adventurous creations of Rob Bottin in Carpenters film. So, aesthetically The Thing ticks almost every box, which then makes it all the more a shame that this prequel is so in love with the 1980′s story, that it creates so few of it's own ideas leaving a shell that's little more than a join-the-dots rehash. 3/5
Ellie Parker (2005)
Slightly aimless but held aloft by the raw talent of Naomi Watts.
Written and directed by Scott Coffey and starring Naomi Watts in the title role, Ellie Parker is an intimate insight into the world of a struggling Hollywood actress who's own fragmented sense of identity and failing ability to achieve balance in her real life relationships causes all manner of turmoil. Shot entirely on digital video -much of it hand-held, Coffey's film wobbles, loses focus and has the look of something anyone with a basic understanding of shot sequencing could cut together. What makes the film special is Naomi Watts. After having won acclaim for her startling portrayal of 'Betty' in David Lynch's Mullholland Drive, Watts once again shows her calibre as an actress with a gutsy and committed display of raw talent. In many ways, Ellie Parker works as a perfect companion piece to Mulholland Drive as we follow Watts through awkward auditions and witness her neurotic behaviour giving way to mini emotional implosions. Watts demonstrates great courage and faith in those around her by flinging herself head first into the surreal drama while never over emphasising or losing her way with the character. The entire film is about her performance and despite things getting occasionally bogged down, Watt's 'on the edge' display is never far from compelling throughout. While it might wander around aimlessly, Ellie Parker is held aloft by Naomi Watts' distinguished performance and for that reason alone deserves to be seen.