EIFF: The Conjuring

Before you watch The Conjuring, ask yourself one thing – are you ready to be terrified beyond comprehension? If the answer is yes, then we suggest you go ahead and watch… although you might also want to take someone to hide behind. Just a suggestion.

The premise itself isn’t all that unique. A 1970s picturesque family move to a house in the country and start experiencing strange things – we know, so far, so typical horror movie. What makes this particular movie so utterly chilling is some stand out performances, excellent direction, a killer soundtrack, and… well, the scares.

No cheap tricks a la Paranormal Activity for The Conjuring. Based on a true story, the happenings are chilling enough on their own without the usual dropped heavy object or the bird in the fireplace – yes, Woman In Black, we’re looking at you. When the fear comes, and comes in waves spaced perfectly to allow you to almost relax in between, it comes wholeheartedly.

While of course there are some tropes that the film can’t avoid – the angelic looking child with an imaginary friend, the obligatory hair pulled by an invisible force scene, and the attempt to get rid of a possessed object known to move by throwing it in the bin to name a few – there are enough new twists and turns to make it something fresh.

Spanning nearly two hours, the film is a mastery of the slow build to a crescendo which has everything coming to a head in true horror fashion. That being said, the opening scenes are particularly noteworthy in the genre for simply diving into the horror they’re depicting. For all they’ve been used over and over, we’re pretty sure that possessed dolls are pretty much the creepiest thing we’ve ever seen.

The cast, especially given the youth of some of the actresses, do a stellar job of bringing the story to life. Patrick Wilson and Vera Farmiga are particularly outstanding as the paranormal researchers Ed and Lorraine Wilson, giving the movie a much welcomed comic relief at points and true heart at others. Particular gems of Ed’s include ‘Sometimes it’s better to keep the genie in the bottle,’ and our personal favourite, ‘When you get haunted, it’s like stepping on gum.’  What can we say, the man’s not wrong.

Now, if you’ll excuse us, we’ll be building blanket forts and hiding out among large groups of people until the terror passes.

EIFF: Paris Countdown (Le Jour Attendra)

Traditionally, Parisian cinema falls easily into one of two categories. You have the quirky, off the path films that warm your heart, and those that are incomprehensible, falling over themselves trying to be cool. Luckily, Parisian Countdown (or Le Jour attendra) falls into neither of these.

The film follows old friend Milan (Olivier Marchal) and Victor (Jaques Gamblin) as they try to navigate their way through a world they supposedly left behind years ago, after betraying a vengeful psychopath. Reunited once more, they’re left to near desperate damage control as events spiral beyond their control, and the question becomes simply how long can their fractured friendship take the strain?

The plot of the movie might sound familiar, but we had a pleasant surprise in store. This isn’t your run of the mill mid-life crisis film – these are men who are now cut adrift in the world that brought them everything they have now. Add to that a soundtrack that should have mass appeal, an impressively authentic feeling club scene, and a final scene sharp enough to lift the film above the rest of its genre.

The performances from the two lead actors are outstanding, bringing to life the dry humour which characterises the film. The chemistry between Marchal and Gamblin is enough to convince the audience that they are in fact long time friends, with the characteristic backbiting and familiarity that’s born from any kind of long term relationship. Our favourite one liner (of which there were many) had to be the wonderful “Japanese culture is too subtle for you.”

The film is subtitled, performed in the original French, and it’s all the better for it. We believe that there are some subtleties of language that English can’t quite capture, and let’s face it – insults always sound far better in French.

The setting is of course the city of love itself, and we’re struggling to think of a time the streets and the Seine were put to better use. Never overshadowing the performances of the actors, the picturesque scenery was the perfect foil to the gritty feel of the story.

Brutal at points, touching at others, and never failing to entertain, Paris Countdown uses the city as an effective backdrop to what is essentially a story of the hold old ties have over us all.