I’m always more interested in thriller films or horror movies that take advantage of global fears and the things that can in fact take place to us, as opposed to the supernatural. For example, films like John Carpenter’s The Thing (1982) or Brian De Palma’s Carrie (1976), while outstanding movies in their own right, are much more escapist problems compared to points right outside your door. It’s movies like Hidden, nevertheless, that recharge my confidence in modern-day horror/thriller movie theater. Director Rodrigo Cortes takes one of our most usual concerns as well as places it to very reliable usage.
I review a very early review that specified exactly how pleased with the movie Alfred Hitchcock would be. I assume that’s a little bit like Julie assuming that Julia would certainly like her blog site in Nora Ephron’s Julie & Julia (2009). Cortes invokes a similar interest as Hitchcock might have had for his movies, but the outcome is almost matchless. Most of Hitchcock’s movies, specifically post-silent age, were made with a regal air; they really feel traditional, from frame one, as they should. Hidden, on the other hand, understands it’s below ground (essentially!) and a sort of neo-noir/neo-grindhouse photo. This isn’t really a knock on it whatsoever, I thoroughly enjoyed it, just like I make certain Julie was an excellent chef, but even if you’ve read Understanding the Art of French Food preparation, or just because you researched Lifeboat (1944), that does not mean you’re toe to toe with the master.
Paul (Ryan Reynolds) is an American truck driver, collaborating with the armed forces in Iraq. It is very important to keep in mind that he is not a participant of the army, as he tells us as well as his captors multiple times. We do not see the strike; our back story is offered to us in scared talks. He wakes up in the middle of the night, or it could be day, in the middle of the desert, or it could be a basement, in a coffin.
Again, I really took pleasure in Hidden. I think it’s a breath of fresh air considering what we’re offered as horror/thriller/what-have-you films nowadays: remake after remake, follow up after sequel, or the most recent line of torture porn. Here’s a movie that understands exactly what it desires – there isn’t really a possibility for a follow up, it’s a story that has been done prior to as well as will certainly be done again, so it cannot really be purely reprise (unless Gus Van Sant wants to try), as well as it is torment porn, however it’s the “softcore,” credible kind.