The method that has been employed in REC is, I believe, a method that is now firmly embedded in the medley of cinematic processes that a film-maker may chose to exert. Cloverfield and the forth coming Diary of The Dead). Despite REC being a better film than The Blair Witch Project some critics have attacked it for employing such a tired technique that has been used too much in recent films (i.e. It is the film that I wanted to see when I queued up in the rain, 10 years ago full of hype, anticipation and adolescent excitement. Although The Blair Witch Project was a ground breaking film, given its illustrious marketing campaign and widespread fooling of audiences, if the two are to be judged purely on their viewing merits then REC is by far the superior if anything REC is the film that the Blair Witch should have been. Comparatively REC is also a horror, low budget, sticks to a female lead and has an ending that is very similar. Undoubtedly and unsurprisingly REC will be measured by the film The Blair Witch Project, especially given its plot and the manner in which the film plays out. ![]() As the film progresses the crew are lucky enough to accompany the fireman on a call out to a local apartment building. In brief, REC is a horror film that begins with the crew of a TV show, called While You Sleep, making a documentary about firemen. It is a technique in which the person behind the camera is a character that is integral to the plot, narrative and story of the film. REC is a film that utilises the POV (Point of View) camera technique for the entirety of its duration. This movie will keep you at the edge of the seats. But seeing past Hollywood's greed, "Rec" is a really good movie that anyone with a taste for horror (and zombie movies, despite these here not being typical zombies) should watch. Usually Hollywood remakes of non-American movies is crap and an insult to the original versions. The bad thing about "Rec" is that Hollywood decided to tap into the success of the Spanish movie and Americanize it. This is one of the better horror/thriller movies in a while, and it have a fresh sense of dread to it, which helps spices up the genre. Everyone portrayed their roles well and made the characters stand out as believable and real people. It all came together for a good sense of claustrophobia and hopelessness. It was so dark and brooding, that it totally made the screen come alive with sense of dread and enclosing doom. The scenery and sets brought life to the movie. The infected were great, good make-up and effects, and brought a lot of excitement to the movie. It is like you are there yourself, being a part of that horrible experience of being boxed inside a relatively small area and being stalked by crazed infected people. The way the movie is shot with the camera is amazing. And don't forget the change of knickers.Wow! This movie is the sort of movie that picks you up by the neck and drops you right in the middle of the excitement - literally. You get over it quickly.īe sure to see it in the cinema of you can, or at least with an understanding companion that doesn't bruise easily. Spanish, like French, is easily assimilated. The subtitles are not an impediment until all the lights go out and people continue to talk in the darkness. My companion, who is a normally jaded scary movie fan, had her head buried in my shoulder, screamed herself hoarse and left finger marks on my leg. ![]() Upon their arrival at the scene, the calm midnight air is pierced by the sound of horrific screams, and the television report takes an unexpectedly dark turn.Ī widely heard après cinéma comment was that does for dark apartments what JAWS did for the ocean or ALIEN did for spaceships. While covering the night shift at a big city fire department, an ambitious young television reporter and her cameraman follow the crew on a call to rescue an elderly woman trapped in her apartment. The scenario is a textbook set up for a great thriller: a limited number of diverse characters, a single location, overwhelming outside forces. There also seem to be some continuous film sequences that defy belief, as in being experienced in real time. (it stands for 'record'), is shot entirely through one news camera, providing only one POV (point of view) and puts us at the mercy of the condenser mic, wonky camera light, running, dropping and ultimately night vision. And MIFF went out with a five-alarm screamer. is a three-knickers thriller.Īt the end of the MIFF closing night screening of this Spanish entry, the cinema management no doubt acknowledged the benefit of vinyl seats. Director: Jaume Balaguer and Paco Plaza.
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