The Golem (2018)


The Golem gets a star turn.

(2018) Horror (Epic) Hani Furstenberg, Ishai Golan, Brynie Furstenberg, Lenny Ravitz, Alexey Tritenko, Adi Kvetner, Konstantin Anikienko, Olga Safronova. Directed by Doron Paz and Yoav Paz

 

The Golem is a mythological figure of Eastern European Jewish folklore that goes back at least as far as the middle ages. It may even have directly or indirectly influenced Mary Shelley in the creation of Frankenstein’s monster. It is a creature that is created to protect but often its definition of protection can stretch a little bit.

Hannah (H. Furstenberg) is a woman living in a Lithuanian Jewish settlement in the 17th century. She is married to Benjamin (Golan), an upstanding man in the community. The two are childless; well, not always – they did have a son named Josef but he had died seven years previously and Hannah wasn’t eager to have another one, surreptitiously taking contraceptives from the village healer (B. Furstenberg).

Hannah isn’t like most village women who essentially do the lion’s share of the work and submit to their husband’s wishes in all things. For one thing, Hannah wants to learn and she attends the rabbi’s lessons – hiding under the floor of the temple while the men were discussing the Torah (and occasionally the Kabballah) and reading her husband’s sacred texts by night.

The village regards her with suspicion and scorn but they have bigger fish to fry. The gentile village nearest them has been stricken with the plague; because the Jews have learned to essentially be self-sufficient and have little contact with anyone else, they have been spared. Naturally, the Christians believe the Jews responsible for the plague. One of them, an anti-Semitic named Vladimir (Tritenko) has been driven to near-madness as his darling daughter has been afflicted and is on the verge of death. He brings the girl to their village along with some of his like-minded cohorts and threatens the villagers and the healer – cure the girl or die.

Some of the Christians don’t wait for an outcome, embarking on a spree of rape and murder. The unarmed Jews determine to wait out the ordeal, hoping that God will save them. Hannah doesn’t believe as they do – she wants direct intervention and so using the forbidden knowledge she obtained from the Kabballah she brings to life a Golem – a being made out of clay, blood and a scrap of paper with the secret name of God.

Rather than a hulking giant, the Golem (Anikienko) turns out to be a young boy about the age Josef would have been had he lived. However, the Golem is as deadly despite his innocent appearance, ripping victims limb from limb, tearing out their still-beating hearts and literally making their heads explode psychically. The Golem and Hannah develop a mother-son relationship and when the villagers discover what Hannah has done, they urge her to destroy it but how can a mother destroy her own son? When the Golem begins to destroy other villagers, Hannah is faced with a horrible choice.

This Israeli horror film was shot mostly in the Ukraine as well as in Israel with a multinational cast most of whom are not well-known in the States. The cast actually does a solid job with few exceptions. Furstenberg brings the headstrong and individualistic Hannah to life making her a sympathetic but flawed lead. Golan is a ruggedly handsome but somewhat dithering husband and as the monster, Anikienko with coal black irises in dead eyes is creepy as all get out.

The atmosphere is somewhat Gothic without the obvious Gothic trappings of most horror films, which merits kudos. Yes, there is a good deal of gore, enough to sate even the most bloodthirsty of horror fans but the pace might not be to their liking – the film develops at a very leisurely pace and allows the horror to build to a rip-roaring third act.

This is a very solid, very atmospheric horror film which has essentially flown under the radar. Now widely available on VOD, this is one you should check out if you’re one of those horror fans who doesn’t mind going out of the box once in a while. As an extra added bonus, the movie was shot in English so there are no pesky subtitles you have to read. Fans of Jewish mysticism might also get a kick out of this as well.

REASONS TO GO: The cast is rock solid for the most part. The filmmakers achieve a Gothic tone without resorting to Gothic clichés.
REASONS TO STAY: The pace may be too slow for modern American horror fans.
FAMILY VALUES: There is some sexual content as well as a goodly amount of violence and bloody images.
TRIVIAL PURSUIT: Brynie Furstenberg, who plays Hannah’s mentor, is her mom in real life.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu
CRITICAL MASS: As of 2/6/19: Rotten Tomatoes: 93% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: The Dybbuk
FINAL RATING: 7/10
NEXT:
Song of Parkland

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Centurion


 

Centurion

Michael Fassbender runs for the nearest X-Men movie.

(2010) Swords and Sandals (Magnet) Michael Fassbender, Dominic West, Olga Kurylenko, David Morrissey, Noel Clarke, Riz Ahmed, JJ Field, Liam Cunningham, Imogen Poots, Andreas Wisniewski, Paul Freeman, Ulrich Thomsen, Rachael Stirling, Eoin Macken. Directed by Neil Marshall

War can be boiled down to a basic truth – one group, who want the other to leave, against the second group, who only want to go home. I suppose a lot of wars would end with much less bloodshed if the second group just did what the first wanted – and what they wanted to do anyway.

Quintus Dias (Fassbender) is a centurion of the Roman army (which means he commands 100 men) who survives a massacre in Caledonia (ancient Scotland) where the Picts hold sway. He joins up with the Ninth Legion, commanded by General Titus Virilus (West). Virilus is the commanding officer that Quintus always wanted to have. Brave, bold and every inch a Roman.

But as things will sometimes do even in the best-led of armies, things go wrong. The Ninth is ambushed by the clever Picts who kill the bulk of the army and capture Virilus. Quintus knows his duty is to rescue his commanding officer and his friend but with only a handful of soldiers whose devotion to duty varies wildly from man to man to battle an entire army of vicious Picts, the prospects are grim.

Still, Quintus has to try but in the end the existence of their merry little band is discovered and the Picts send out Etain (Kurylenko), a beautiful, mute and remorseless hunter who hates everything Roman and for good reason. When the remaining Romans take refuge in the home of Arianne (Poots), a healer, things fall in place for a showdown. Will the Romans make it back to Roman lines, or will they fall alone and forgotten in a cold, harsh place far from home?

This could well be seen as an allegory for all war. Put U.S. Soldiers in Iraq, or Russian soldiers in Afghanistan, or French soldiers in Russia and it’s all interchangeable. Neil Marshall, who was responsible for one of the better horror movies of recent years with The Descent has a penchant for realistic looking gore, and his fight scenes show people getting hacked to death and it’s not pretty.

Although there are way too many shots of CGI blood jetting into the snow like a gruesome fountain – the practical blood seems far more realistic – there is a beauty to the bright red of the blood on the white and grey dismal landscape of the Inverness Mountains. There is a stark beauty to the movie that captures how those Romans must have felt – they may as well have been on the moon, so alien was the landscape to them.

Fassbender made this just as he was starting to get some key roles (to this point he was best known for Hunger and for his brief but memorable turn in Inglourious Basterds) and this was certainly a warning shot across the bow that here was a talent to be reckoned with. This is his movie to carry (although initially it doesn’t seem to be) and he does so quite nicely. He shows some charisma and acting skills; you can see why men would follow Quintus into battle.

Kurylenko was best known for her stint as a Bond girl in Quantum of Solace but she’s totally badass here. She kicks a lot of ass and because her character is mute, her ferocity is mainly in her body language and her eyes. Another reviewer compared her character with Ellen Ripley and Sarah Connor as far as ass-kicking women go and he was right on the money. Etain is nobody to be trifled with.

I like that Marshall tried to make this as historically accurate as possible. What I don’t like is that the CGI was disappointing, and that there were scenes that simply didn’t work very well. The thing I liked the least was that after Quintus and Virilus the Romans were really indistinguishable from one another and all kind of blended together, making them all spear fodder and really giving the viewer no reason to identify with them or feel any connection with. That hurts the film overall in my opinion.

I’m a sucker for a good swords and sandals movie and this one is pretty solid, even if it isn’t as spectacular as something like, say, 300. Fassbender gives a good performance and even if it is essentially one gigantic chase sequence, it still gives you a little insight into the soldiers and what they’re fighting for. That’s an insight that serves military sorts from any era.

WHY RENT THIS: Fairly realistic from a historical point of view. One of the first instances where Fassbender shows his leading man potential. Kurylenko makes a formidable opponent.

WHY RENT SOMETHING ELSE: Is uneven in quality. CGI battle sequences are unconvincing. Most of the rest of the cast are made up of characters we’re unable to even tell apart.

FAMILY VALUES: There is some fairly gruesome violence and plenty of foul language.

TRIVIAL PURSUIT: Although it is thought that the Picts wore no clothing, the harsh condition on the location shoot made the filmmakers give in to necessity and design warm clothing for the actors to wear on the shoot.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $6.8M on a $12M production budget; unfortunately this was a financial failure.

COMPARISON SHOPPING: The Eagle

FINAL RATING: 6/10

NEXT: Life