“That Hole Is A Gateway. And It Leads, Straight Down, To Hell. Now, Who Wants To Buy Some Drugs..?”
Juggling the role of front-man for the psychedelic rock band, Kula Shaker, alongside recently venturing into the world of cinematic endeavours, the multi-talented Crispian Mills reunites with Simon Pegg (Mission: Impossible – Fallout) after the 2012 independent horror comedy, A Fantastic Fear of Everything, with Slaughterhouse Rulez, a similarly genre bending creature feature which combines The Inbetweeners style laddish humour with a St. Trinian’s inspired backdrop which sees Finn Cole’s (Peaky Blinders) northerly Don Wallace reluctantly attend the titular upper class school, the militaristic, private education palace full with inner social class turmoil and overseen by the rather exuberant Headmaster as played by Michael Sheen (Apostle). Whilst Pegg himself can relate to starring in arguably the greatest British horror comedy of all time in the form of Shaun of the Dead, Mills’ second feature unsurprisingly fails to come anywhere close to Edgar Wright’s masterpiece, instead offering a strange concoction of Doctor Who inspired science fiction, political commentary and B-movie splatter, resulting in a ninety minute headrush of a movie which in parts is thoroughly enjoyable and laugh-out loud funny, but at other times, completely loses its’ way and slowly wanders into territory bordering on irksome, but with some of Britain’s best acting chops on show, Slaughterhouse Rulez is still amusing enough to pass the time.
With the bulk of the narrative focusing on the wretched school life entwined within the confines of the titular cathedral of knowledge, Mill’s screenplay begins in interesting fashion, introducing both Cole’s streetwise and savvy newcomer and Asa Butterfield’s (Hugo) kooky, alcohol and cigarette dependant, Willoughby Blake, as the central duo of the piece who quickly fall upon the insidious doings of a renowned fracking company who have been tasked with digging out the corpulent supply of shell gas kept under the school’s ground. Cue the nod to the Doctor Who serial “Inferno” from 1970 in which a mining disaster breeds unknown evil hostiles from beneath the surface of the earth and that’s pretty much the entire second half of Mill’s movie, just without venturing into alternative universes and apocalyptic doom. Whilst I am all for witnessing the sight of a drug-laden, hippie Nick Frost (Hot Fuzz) and violent, flesh hungry cave dwellers ripping endless hordes of cannon fodder to shreds within reason, Mills fails on a fundamental level to hold the shakey lines of genre crossing at a steady beat, resulting in a movie which not only feels way too long come the hour mark as the screenplay begins to run out of ideas good enough to hold the attention of its’ audience, but one which is neither scary or threatening, resulting in Slaughterhouse Rulez essentially being a feature length back-end episode of Torchwood with occasional slices of comedy gold and a Michael Sheen in his most camp and scenery chewing film role thus far.
Overall Score: 5/10
“You Don’t Have To Make Us Feel Safe, Because You’ve Made Us Feel Brave…”
Tim Burton is back with his latest project, Miss Peregrine’s Home For Peculiar Children, based on the novel of the same name by author Ransom Riggs, and whilst Mr. Burton hasn’t exactly hit the high notes of what he can accomplish in recent years, a mediocre Burton film is at least better than most things released in the calendar year of film. With Miss Peregrine’s, the typical tropes and traits of what makes Burton’s films his own are unashamedly there to see from the offset and whilst we are treated to a two hour plus marathon of sub-gothic horror, all with a teenage friendly 12A rating, which includes invisible monsters, Alice In Wonderland type parallel time zones and the removal of a hell lot of eyes, Burton’s latest is an undeniable snooze-fest, one that has the baseline of a good idea but one that is orchestrated in a tedious and rather unconvincing fashion, concluding with a final act which can only be regarded as the physical definition of anticlimax.
As we follow Jacob (Asa Butterfield) into the titular home, ruled over by the strict, yet caring, Miss Peregrine, portrayed in an overtly scene-chewingly fashion by Eva Green, the film begins in a compelling air of mystery, particularly when we are introduced to the notion of the Hollows, their origins and the plans of the evil Dr. Barron (Samuel L. Jackson). Unfortunately for the film, as soon as we are swayed away from the charming introductions to the residents of the titular home and into the bigger picture involving the Jack Skellington-esque Hollows, the film totally collapses under the weight of attempting to get as much plot in its’ two-hour runtime, resulting in a messy narrative which doesn’t allow the concluding act to have the impact and sense of closure it of course is meant to have. Although the film boasts some good performance from the likes of its’ younger cast, with Ella Purnell arguably being the standout, Miss Peregrine’s is a poor attempt for Burton to get back on form and therefore can only be regarded as a undeniable let down.