There’s a technique used when script writing, called “hanging a lantern on it”. Usually it is a lazy way of writing your way out of an illogical situation, or to distract from an obvious plot device. The Norwegian comedy / horror (Norromedy?), DEAD SNOW employs the technique very early on, when a group of young friends begin a trek to a mountain cabin and discover that they have no phone reception. The characters begin listing classic horror movies, which begin with a group of people making their way (or arriving at) an isolated destination. In this case the technique isn’t being used out of laziness, but instead to let the audience know what the film makers have every intention of employing every horror movie convention that they can get their hands on.

The plot? Well, all you really need know is that a group of Norwegian medical students make their way to a cabin in the mountains, near Øksfjord, for an Easter holiday get-away. Oh, and they are attacked by a horde of Nazi zombies. No, the plot clearly isn’t what makes this movie work. It’s the great character writing and banter between the cast, and the ample nods given by the film makers to classic schlock horror (One character even wears a ‘Brain dead’ t-shirt). Indeed they make fun of their own humour, with another cast member commenting that there are no “good jokes that don’t involve poop or pee or something”.

I have to admit that some of the humour falls flat, and not all the dialogue works. However I suspect that most of that has to do with the fact that it’s being translated and you’re having to read the subtitles – which doesn’t really allow for the kind of timing that most comedy requires.

Director, Tommy Wirkola, handles the blend of comedy, horror and action without too much trouble, something that many other film makers have tried before, but few have succeeded at. Looking past the gross visual effects that fill the latter half of the movie, Dead Snow is a really good looking film. While much of it takes place at night, or in the small cabin that our heroes find themselves under siege in, the rest takes in the stunning Norwegian landscape — Yes, some of it is pretty obvious green-screen work, but the stuff that was shot on location looks fantastic. More of which is featured in one of the extras on the DVD, which shows some of the difficulties faced by the crew when trying to film in an environment with such extreme weather conditions.

Dead Snow isn’t an epic horror masterpiece, or a constant laugh riot. But it is a damn fun film that every horror fan should feel a sense of ownership over. It feels very much like it was made FOR fans of horror, like it’s one massive in-joke. [source]

Catch the trailer in the madman screening room: [trailer]

THIRST is one of those movies that has lurked about in the periphery of my movie radar for a little while now. One of those films that, while I wasn’t overly informed about, I knew it was something that I’d check out — and probably enjoy — sooner or later. As luck would have it this Korean horror (Korror?) arrived in my in-box, amongst a massive collection of other new releases, just as the new year kicked off. I’m glad to say too, that this is a very interesting stroll through some territory which is currently being strip-mined in most forms of popular media: The angst-ridden Vampire love story.

Sang-hyeon [Kang-ho Song] (The Host) defies every modern vampire convention by being neither a high-school student, or running his own detective agency. He’s a priest. However, from the very beginning his vocation is on shaky ground, even more so after he volunteers to be part of a medical experiment designed to find a cure for a horrible disease. Via means that are not explored or explained the priest is given a transfusion of vampire blood and manages to survive an otherwise deadly bout of EV, the disease which he had volunteered to help cure.

Thirst: “… really, really, really enjoyable…” Margaret Pomeranz.

Upon leaving the medical facility Sang-hyeon is greeted by those who believe his recovery to have been the result of some form of divine intervention. But when EV symptoms begin to return, the priest discovers that the only way to stave off the virus is to give in to his newfound lust for blood.

There are quite a few parts of this film that are frustratingly vague. The initial exposition is virtually non-existent. While the lack of character introduction points to either poor writing or over-zealous editing, the lack of explanation regarding some elements — such as where the hell the vampire blood comes from — can be dismissed, given that the protagonist never finds (or seeks) out this information.

As best he can Sang-hyeon attempts to live with his new infliction. He survives on the blood of a coma patient and, for a time, manages to fight the urge to give in to the overwhelming carnal desires that have been awoken in him, both by his vampire nature and his reacquaintance with Tae-ju [Ok-bin Kim], a girl from his childhood, who is now married to an old friend.

While thematically, Thirst shares many elements that have been explored to death in the recent explosion of vampire related movies, television shows, and comic books, it does manage to cover some new ground. It even manages a new take on what living with the guilt of the vampire’s new found lack of morality may bring. There is dark humour here, but I certainly wouldn’t label this movie as a comedy. Nor can it be shelved firmly in the horror category. This is a very interesting and enjoyable movie, even if it is a little confusing at times. It’s certainly one that is worth checking out before the US remake arrives! [source]