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The Voices movie review

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Average

“The Voices” is a disturbingly comedic piece that offers a risky mix of macabre madness, melancholy, and morbidity. Crossbreeding humor with horror in its own quirky manner, this genre mash-up exploring mental disorder and serial murder jumps between the fun and the unsettling.

This stylishly grisly feature presents a surreal portrait of an American psycho. The story revolves around the dark inner life of Jerry, a seemingly normal, hardworking factory worker who tries to impress his colleagues in his newfound work. Although seemingly living a typical bachelor’s life, his mental issues slowly manifest through his verbal discussions with his dog Bosco and his cat Mr. Whiskers. Recent company events lead him to pursue his attractive English co-worker Fiona, which triggers a killing spree done in insanely bizarre and idiosyncratic ways. As the body count increases, so do Jerry’s grotesque conversations with unlikely voices.

This thoroughly twisted motion picture provides a gripping look at mental illness without resorting to the typical elements found in many slasher materials. The production’s attention to details contributes much to the film’s zany stylization. Its demented sense of humor blends well with the bleak and disarming dread in Jerry’s life, which kind of helps align the audience with this weird murderer character’s sense of menace. Its wildly uneven tone maintains a creepy air while delivering severe shifts in moments of joy, sorrow, and gore in various scenes.

While reveling in its collision of moods and ideas, the film playfully dances around bright kitsch and pop sensibilities. The storytelling presents a dark comedy with a delightfully strange amalgam of flights of fancy and sheer madness. Its pink-hued small-town setting promotes fun scenerios where talking animals and fridge-bound heads offer wacky jaunts into lunacy, clearly providing a comparative look at Jerry’s visually dull reality. The visceral gore found in the tale works great with ghoulish humor, often mixing homicide moments with utter hilarity.

With Marjane Satrapi at helm, the presentation’s wildly uneven ability to go back and forth between comedic simplicity and ghastly absurdity clearly aims to disrupt the viewers’ sane minds. The dramatic sequences interestingly wander around how a mentally ill individual’s mind can possibly work in figurative ways.

This tonally wild indie picture has its odd share of laughs and shocks. No matter how subjective the impressions for the film gets — depending on people’s personal tastes and preferences — some may find this warped comedy nearly too horrifying to be funny. But even though the concept feels a bit strained at some point, the dynamics of the storytelling allows for a shift in gear as the tale progresses, or at least just before reaching absolute terror or annoyance in the affected scenes. These make the picture a workable psychological thriller and dark comedy that fittingly turns out comically offbeat come resolution time.

The director’s treatment yields a delicate balance to make the viewers care about a sick man trying to avoid the sinister’s path, and at the same time, make the same people worry about a serial killer’s descent into madness.

Ryan Reynolds in the lead role works as a deranged killer on the loose. His remarkable range in portraying a small-town worker suffering from schizophrenia promotes an uneasy balance between his character’s sense of bloody mayhem and his nice-guy demeanor. His comic chops combined with his cry-baby-to-butcher appeal creates an oddball performance that generally serves as an off-kilter treat, especially for black comedy fans. His voice performances both as his main character’s dog and cat are quite notable as well.

The supporting roles including those of Gemma Arterton, Anna Kendrick, and Jacki Weaver effectively tie with Reynold’s sick sense of humor. They are able to hold together the needed vulnerability and awkwardness to maintain the story’s disturbing charm.

For the most part, the film remains unpredictable. However, some crucial scenes, especially those at the latter part of the story, turn out otherwise.

The film’s compassionate portrayal of a serial killer lingers around the thin line separating the silly and the stylistic. Without being absolutely profound in intersecting horror and comedy in the material’s loopy turn of events, some of its murderous impulses suffer from intermittent insensitivity. But one thing’s for sure — its tongue-in-cheek narrative makes it a point that its premise will stick to the viewers’ heads even after the credits roll.


‘The Voices’ Film Review: Quirky morbidity
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Average

The swoony supernatural romance and the neo-horror motif of “Twilight” can both amuse and bemuse — depending on the type of viewer.

From the initial fans of the book to the newly-recruited fans of the Edward-Bella love team, the teen bite of the tale clearly gets into their veins. The formula for this movie’s charm is very much apparent. It offers that dose of ordinary girl-meets-extraordinary boy who turns out as the prince charming to the damsel in distress. It has key elements for romantic spree backed up by both physical and occult-ish appeals, providing enough escapism for its target audience. All these float to the surface of what is supposedly “just another overused teen love story,” which often times would not offer a record-breaking pursuit for blockbuster appeal.

This adaptation of Stephenie Meyer’s best-selling teen novel focuses on a rehashed plot that merely shows what happens to the characters in every second of screen time, leaving no much room to grow their interactions beyond the emo-romance fare. But this doesn’t necessarily mean that this type of movie doesn’t work. In fact, it is pure fantasy for girls who want to be princesses — while having their bad boys by their side. Regardless of how questionnable its values are, this is really what makes this particular movie a successful new franchise. It is able to establish the needed teen moodscape where the chemistry between the main characters offers enough smoldering desire that the teen crowd would typically love.

This kind of romance flick is clearly geared towards those who enjoy straight-up unforbidden love, angst-filled behavior, and underage rebellion on screen. With a distinctly young sense of tragedy and sparkle, the pop material turns out effective in making its willing viewers crazy over a tale centering on two star-crossed lovers trying to bridge the gap between humans and vampires.

This movie promotes a defiant human-vampire dating fantasy with some girly swirl of obsession for the main audience’s delight. Interestingly so, it doesn’t try hard to be hip for its intended crowd. It is one vampire love affair where sharp teeth, cold hands, and supernatural powers require the viewer to sit back and enjoy the camp. Otherwise, it just wouldn’t work.

The weak CGI isn’t much of an obstruction for this picture to hit big at the box office. Not even the dodgy dialogue nor the lack of a more developed storyline can hinder its success. It may be quite a chore to endure for the unwilling victims; but for its hard-core fans, it sure carries everything well.

The cool references put accessible fangs to its lucrative teen hook-ups. Watch some vampires play baseball, drive the coolest cars, live in a classy glass mansion, climb trees taller than the penthouse of a city skyscraper, and glitter under sunlight. Indeed, it is the kind of vampire flick that can get its pop culture-stricken patrons excited and addicted. It turns out as a blatant attempt to cash in to the devotion of its die-hard followers with a door naturally left open for the next installment..

Director Catherine Hardwicke, along with screenwriter Melissa Rosenberg, recreates a world where the heroine becomes obsessed with surrender and submission to a man who is constantly tempted to kill her. Now, that is one sucked-up subtext about culture and society that may be worth a psychological study.

This movie is like a vegetarian diet in the vampire movie canon. For those uninitiated and for those outsiders from the movie’s intended demographic, this kind of pop treat is plainly overused, dopey, and melodramatic. The jumble of cuts and pastes from the book, along with the music video bits, the often second-rate visual effects make the movie a hackneyed teenybopper show of synthetic affection.

As a vampire tale, the type of angst it plays around with remains too dull throughout its running tale that its own fangs turn out questionable, especially in the action side of things. There is a lot of build-ups but not much of resolution. The hokey dialogue may just be too much to bear. Unless one can get past the sloppiness and shallowness, there is no way to get really sucked in.

As a fantasy romance involving a self-loathing vampire and his sweet-blooded human beloved, its theme works well with the rising and falling teenage hormonal requirements. Focusing on the palpable chemistry of the main pair Kristen Stewart as Bella Swan and Robert Pattinson as Edward Cullen to mesmerize the fans, they work well with playing around sidelong glances, twitchy rule-breaking escapades, and head-spinning rushes of the moment — which highlights their intangible yearning and romantic affection for each other. Amidst the overacting parts at times, their on-screen romantic charm really does it all for the movie.

The story best utilizes its principal tandem with such brooding romanticism. Stewart as the introvert Bella is somebody most teens could relate to as an average type with some fairly likeable attributes, a glum expression, and a risky attitude. Pattinson as the 100-ish pale guy with overly red lips and living on a deer blood diet is totally a hit for giggling fans who are completely fascinated with his furrowed eyebrows, crooked smiles, and cool hairstyles.

The members of the supporting cast, though at times looking too superficial for their pale vampire demeanor, generally deliver for the movie’s intentions: Bella’s father and mother Billy Burke as Charlie Swan and Sarah Clarke as Reneee Dwyer; the Cullen clan including Peter Facinelli as Dr. Carlisle Cullen, Ashley Greene as Alice Cullen, Elizabeth Reaser as Esme Cullen, Kellan Lutz as Emmet Cullen, Jackson Rathbone as Jasper Hale, and Nikki Reed as Rosalie Hale; the vampire antagonists including Cam Gigandet as James, Rachelle Lefevre as Victoria, and Edi Gathegi as Laurent; and Bella’s new school pals and family friends: Christian Serratos as Angela, Anna Kendrick as Jessica Stanley, Michael Welch as Mike Newton, Justin Chon as Eric Yorkie, Taylor Lautner as Jacob Black, and Gil Birmingham as Billy Black.

This movie knows what it is meant for. Either one likes it or hates it. It has a sweetly idealistic charm on its own. It pleases its devoted fans, but does little for the uninitiated.

‘Twilight’ Film Review: That willing teen bite
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