Sheitan (aka Satan)

What drew me to Sheitan was knowing that it had Vincent Cassel in it. Cassel is a fine actor, and to be honest, I'll watch almost anything with him in (except Ocean's Twelve, natch).

I didn't know what I was letting myself in for...

The basic premise is slasher enough. A few kids go off to a deserted farmhouse in rural France. The house belongs to one of their number. Almost at their destination, the kids (and we the viewers) meet housekeeper/shepherd Joseph, whose wife, we find later, is pregnant.

Before you know it people start getting offed and weird locals are brought into the equation. Throw a bit of incest and voodoo-like dollmaking into the mix, and you're all set for a fun night in. And you even catch a glimpse of Monica Bellucci playing a vampire on a TV screen in one scene.

This is probably one of the maddest films I've seen in a looooong time. Not quite as mad as Takashi Miike's The Happiness of the Katakuris, but pretty fucking wacky nonetheless.

As time has passed, the details have become lost to me, but what remains is just as important: it has left me with a feeling, a fondness, an inquisitiveness towards it, a desire to see it again and try to figure out what the hell is going on. And, for me, that's better than a comprehensive understanding. I give Sheitan 70 points out of 100.

Lost Highway

As a longtime David Lynch fan, I have decided to rewatch both Lost Highway and Mulholland Dr. in advance of seeing Inland Empire next month. I've previously seen the former twice (once at the cinema and once on DVD); this was my third viewing.

I find Lynch movies to be terrifying. Most of the most Lynchian ones among them -- i.e., not The Straight Story, The Elephant Man, and Dune -- are, to me, more horrific than most horror movies. Indeed, I think of Lynch as the creator and one true exponent of what I term the "urban horror movie", a genre that takes the most grotesque elements of our everyday lives and tosses them all into the pot, making us hope we never have to venture out into the world again.

Third time around, I found LH to be less scary than the previous times, but this is almost certainly because I was already aware of the gist of the movie, and also because I was watching with a view to seeing things I hadn't noticed before.

On the surface, LH is a murder mystery. There are touches of noir and Hitchcock in there, too: the doppelganger; the platinum blonde; the wrong man. But beyond that, don't ask me to say what's going on. And there's a lot of humour, as always in Lynchland: who among us can forget the "I hate tailgaters" scene with Mr Eddie (expertly played by the great Robert Loggia)? Less funny, of course, is the glass-table scene.

The acting -- going back to a comment-box conversation I recently had with Red and Candy -- was something I paid particular attention to this time. And I found it more convincing than I have before. It's so awful and so stilted, and the dialogue so ... banal ..., that it is absolutely the way people are in real life.

I loved Lost Highway. But then I never understood why the critics hated it anyway. And now I'm itching to see Mulholland Dr. again too.

Scores
Acting: 15
Story: 16
Direction: 18
Enjoyment: 17
Involvement: 18
Total: 84

Dog Soldiers

The British film industry has been closely tied to horror for some 40 years, and Dog Soldiers was widely held up as a return to form on its initial release. I saw this on the Sci-Fi channel, and unfortunately it was pan-and-scanned and had commercial breaks, but at least it wasn't cut for language or violence. It was a reasonably enjoyable romp, played well by all concerned, and it was far better than the director's next film, The Descent. A middling 60 points for this.