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Near Dismal is one of those grand movies that it seems no one has seen. I hope this deluxe DVD will change that.
Reach Sunless suffered in it’s initial theatrical release due to it’s resemblance to The Lost Boys. They fragment a storyline (Hapless young man falls for a girl who turns him into a Vampire, and he’s forced to deal with her crazy running buddies.), and even a release date; Lost Boys blew Arrive Dismal accurate out of theaters, but Arrive Murky found an appreciative audience on video, and deservedly so. The cast is uniformly tall, especially Lance Henrikson and Bill Paxton as the lead Vamps. The script, by Director Kathryn and Eric Red, is perfect- we learn shrimp tidbits about the history of the Vampires, but we’re always kept at arms length from them. We ogle them as alien and threatening, and they gape us a food. Bigelow does a gargantuan job, especially considering it was her solo directorial debut. The only gripe I had is the Vampirism “Cure” which seems like a Deus Ex Machina, but that’s a slight quibble. The Tangerine Dream secure also made some scenes seem really cheesy…FAR from their best work. I believe an orchestral find would have been considerable better, but budget constraints….
The 2-DVD space is beautifully packaged, with a die-cut inner package inside the box, and a gigantic looking (and informative!) booklet. The film looks great; As usual, Anchor Bay does tall work on their DVD transfers. It also has a commentary track from Director Bigelow, which is kinda dry and technical. Disc 2 has tons of storyboards, a musty deleted scene, a current 47-minute documentary, cast & crew bios (Very extensive!), calm & ad galleries, and tons more.
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Approach Dim is one of those films that has flown under the radar for FAR too long, and I can’t recommend it highly enough!
I accept that usually, vampire tales – whether filmed or written – have to have a mountainous dose of grandeur and mystique to the vampires to form them work (the “Underworld” movies; “Blood: The Last Vampire”, various successful incarnations of Dracula, etc.) Even “From Dusk Til Dawn”, which was anything but a faded select on the vampire, had the creatures so monstrously impressive and in some cases so exotically alluring (ex. Salma Hayek), that Dusk sort of fit the bill too, in some outlandish plan.
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The ploar opposite of the ‘grand’ depiction of the vampire is one that was very prevelant in the 90s and detached turns up quite often today. The ‘lowlife’ vampire, with many of the supernatural aspects played down, the charisma and the mystery often missing, very human in appearance at all times, riding around in beat-up ragged cars and vans, and spending the daylight hours in cheap motels or the basements of bars instead of in eerier, more impressive haunts. Most of the movies in this vein I haven’t really cared for (although “The Forsaken” – heavily influenced by the movie I’m now writing about, was a fine apt sight) But one movie in this vein – and I maintain it was the first of its kind – really stands out, and that’s “Advance Shadowy”.
Basically, a farm kid (played by Adrian Pasdar) of about – what, maybe 18 or so? – falls in savor with a girl (Jenny Wright) of his hold physical age, before learning she’s a vampire. Wanting to be free of the vampiric curse, the pair is aided by the boyfriend’s father in an attempt to become human again, which leads them into conflict with her ‘coven’ – a clan of not particularly awe-inspiring, but scary, believable and highly perilous vampires led by Lance Henrikson in one of his best roles. Well-made, gory, and emotionally-driven (romantic, even) “Come Sad” flies accurate to the top of its class and carries a feeling of authenticity with it – the diner scene nails the ‘injecting the horrific into the everyday’ theme to perfection. “Come Sunless” is a total success.
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