[.REC] 2 (2009)

It's been over a year since my review of [REC], and I have to admit that I was completely stoked when I heard that the sequel premiered at last year’s Venice International Film Festival.

Let's face it. Hollywood has had quite the draught when it comes to good horror movies, and I have steadily come to rely on Europe and Asia for my daily requirement of monsters and evil.

I hoped that Balagueró and Plaza would come through with another winner and for the most part, they did. However I'd be lying if I told you that things were as fun this time around as they were in 2007

The action in [REC]2 picks up immediately after the first film. Balagueró and Plaza chose to keep the "camera is the window for the audience" gimmick from the first movie, but have implemented it a bit more cleverly this time around.

Instead of one camera vantage point, the audience sees everything from the tactical cameras mounted onto the helmets of a Grupo Especial de Operaciones task force sent in to accompany a Ministry of Health official investigating the macabre events concerning a mysterious outbreak of an unknown virus in the apartment complex in Barcelona.

In true Shaw Brothers fashion, Balagueró and Plaza spill the plotline fairly early so that the bleeding and dying portion of your feature film can begin in earnest. The task force quickly discovers that the "official" is actually a high ranking official working for the Vatican and that the "infected" are not infected.

They are the playthings of a demonic force.

As if this weren't bad enough, the father of the iconic little girl zombie from the first movie shows up and manages to sneak into the building with the help of three of the most annoying teenagers in all of moviedom.

Couple that with the most unlikely cameo you could ever think of (which sadly telegraphs the ending of the movie) and you have a pretty entertaining way to burn off about ninety minutes.

While I enjoyed the plot progression of this movie and honestly believe that it is one of the stronger horror sequels ever made, I have to admit that I was a little disappointed.

The confirmation that the force at work is indeed a demon sorta kills the novelty of the first film. I love the "bait and switch" concept of Night of the Living Dead vs. The Exorcist that [REC] introduced. It really does buck the trend of the umpteen zombie virus movies that horror vets have watched since the seventies, and it was a concept that really flew over the heads of the people that made Quarantine, the film that we Americans got instead of [REC].

Quarantine lost the chance to differentiate itself from Zack Snyder's Dead retreads or the 28 Days Later films when it abandoned the supernatural angle and it became just another zombie virus movie trying to do things that other zombie virus movies did much better.

The rubber stamping of the diabolical is somewhat offputting, but you have to believe that Balagueró and Plaza had to pull the trigger on this sooner or later. If they didn't, they'd run the risk of their vision blending into the background of a zombie horror film niche whose entries are as numerous as the legions of undead we see on the screen.

The fairly short runtime worked to the advantage of [REC] but it doesn't really do as much justice for the sequel. The ideas for the last few segments of the film in which we find out that a shadowy gateway to the netherworld is forming in the attic of the building are dumped right in your lap without a lot of explanation and the previous cameo I mentioned pretty much tells you in advance what is going to happen.

I think that perhaps another fifteen minutes of runtime would've made all the difference in the world and while I still appreciate Balagueró and Plaza's determination to do more with less, the closing moments of [REC]2 probably would've been even more memorable if there had been more money in the budget for a decent visual effects guy.

Overall, I like this movie quite a bit but if things continue to progress on their current course and the final[REC] film follows through with its threat spill out of its current set piece in a tidal wave of blood and nightmares, then it is going to need a slightly larger runtime and a much larger budget in order to conclude the series in a satisfying manner.

[.REC] (2007)

When it comes to horror films, I've always been a big fan of the "found footage" subgenre. Whether it be Cannibal Holocaust or Cloverfield, there is something inherently sinister about a piece of work that is fundamentally fictional, yet by viewing events in the actual first person instead of the omnipotent first person found in conventional cinema, our wilful suspension of disbelief is immediately challenged.

If we're eyewitnesses, then the terrible events unfolding right before our eyes must be true, correct?

The "found footage" film gives us a snapshot in time. It casts aside conventional cinematic mechanics such as character development because we're dropped in the middle of real people living real life. Do we honestly need life stories, detailed expositions, or flowery soliloquies to help us find spritual linkages with our fellow man? Isn't the merest measure of human compassion enough?

The individuals around us are not cardboard cutouts nor are they metaphors.

They are wives, husbands, mothers, fathers, daughters, sons, friends, family.. everyone..

And then all at once, something indescribably brutal happens to them..

And maybe, just maybe..

We are next..

In [.REC], we're transported to a fire station located somewhere in Barcelona, Spain. In no time flat, we meet perky and pixie cute telejournalist, Ángela Vidal (Manuela Velasco), and her trusty cameraman, Pablo (co-director, Paco Plaza). We never get to see Pablo's face but his role is arguably the most important one in the film as Pablo serves as the eyes and ears of the audience.

Ángela is the anchorperson for a serio-documentary series entitled "While You Slept": a television program focusing on the various social services that keep things running while we're all in bed.

Immediately we can tell that poor Ángela is frustrated not only with this particular assignment, but perhaps with her job in general. Being the hostess for a humdrum public affairs program that no one is awake to watch doesn't exactly put you on the fast track to fame and fortune. Professional to a fault, Ángela does her best to spice her report up but nothing seems to work. There are limits to the amount of excitement you can add to a story if absolutely nothing is going on.

As fate would have it, the fire station receives a call and the team Ángela is assigned to follow heads off to respond to a medical emergency at a small apartment building.

Apparently the tenants there are concerned about an elderly woman that suddenly erupted into a fit of screaming and then fell ominously silent. As the investigation progresses, the tension mounts towards a fever pitch and once the dying starts, the safety catch and all bets are officially off.

There is something both courageous and wicked in the way that Jaume Balagueró and Paco Plaza generate scares.

Unlike the continuous dropping of the f-bomb and hysterical shrieking that passed for plot progression during the lengthy downtime segments of The Blair Witch Project, [.REC] gives up just enough information to answer some of the questions in your head and generate other questions.

However, before you have time to process this information you're once again on the edge of your seat at the mercy of the durability of Pablo's camera.

If Pablo can't see, then neither can you.

Terrible still is the overwhelming, "George Romero zombie virus"-inspired notion that no one is safe. Everyone (and I do mean everyone) is either potential victim or a potential monster.

At a shade over ninety minutes, the narrative and the action in [.REC] are kept so tight that they threaten to lash out; not totally unlike the creatures lurking in the shadows.

However, the pacing of [.REC] is also somewhat problematic. Balagueró and Plaza blatantly shotgun a couple of plot holes and a highly puzzling, genre-busting story development right by you and they know that because of the nature of the "found footage" subgenre, you're forced to accept whatever you're offered as undeniable fact.

After all, the camera doesn't lie, does it?

[.REC] is without a doubt the most frightening film I've seen since The Descent and like The Descent, I can easily overlook a minor flaw or two in celebration of what this movie represents. Someone somewhere still loves the horror genre enough to continue to crank out quality fright fests, and I will eternally be a happy camper as long as the scares keep on coming.

It shouldn't surprise anyone that Hollywood has already gotten their hooks into this. On October the tenth, Screen Gems will release the Jennifer Carpenter vehicle, Quarantine, which I've gathered is a near shot-for-shot remake of [.REC].

One suspects that the overproduced Tinseltown translation probably won't generate the gut-level reactions that [.REC] does, but secretly I hope that Quarantine is successful if only to kill the perpetuation of the sin that is the complete lack of a DVD or theatrical release of [.REC] here in North America.

[.REC] deserves a bigger audience and wider acclaim. If Quarantine is a necessary step to achieve that goal, then so be it.