While Hernandez actually helps in the heroics department giving us a viable victim to root for , Ms. Carpenter is so over the top and fake that we wonder how anyone would ever take her seriously. As with most horror heroines, her character substitutes fear for common sense, leading to actions that would probably get her killed within the first five minutes.
Unlike Angela Vidal, her Hispanic counterpart, she falls apart almost immediately, forgetting the story and her position as a member of the press. Similarly, the residents of the American apartment complex are all vying for screen time, preening and preparing when they should just be reacting. The best part of [REC] is how authentic the obviously fake situation feels. This is because the Spanish cast was kept in the dark, limited in how much they were told about what was going to happen.
The Direction. For John Erick Dowdle, who along with his brother Drew came up with the so-so found footage film The Poughkeepsie Tapes a few years back, Quarantine represented a substantial step up. They were helming a Hollywood film for the first time, and recreating a favored foreign fright film at that. One would expect a few novice jitters, but for the most part, Dowdle does a great job. Instead, they want to treat this material as up front and formal as possible.
As a result, [REC] feels like a newscast gone horribly wrong. While equally effective, Quarantine does have just the slightest twinge of cinematic self-indulgence. The Gimmick. The set-ups work better, the over the shoulder reveals and diminished peripheral vision functioning better than say, random shocks and sudden looks in the lens. My concern now, however, is that all too often the Platonic argument is rising not only from outside the so-called horror community, but from within it.
This is my main reason for writing this article. In it, the Blind Man, the extreme villain from the first film, appeared to be presented as the hero of the sequel.
The discourse was savage on both sides. It was instructive, however, in bringing to light an important question: is there a line to be crossed? A huge objection to The Last House on the Left is a scene in which Krug and company are humanized as they stare at themselves in disgust, picking grass from their bloody hands after a particularly brutal and inhuman act.
This is also the sequence that raises the film above others of its kind. When it comes to this tactic, it all depends on how the material is handled. Is it satire? Is it cultural examination? Or is it merely exploitation? The audience will usually be able to tell the difference. It is also important to remember that just because a film or any artform depicts something does not mean it advocates it. Where that line is drawn is to some extent subjective. Those who are not fans of the genre feel we crossed it a very long time ago.
Most fall somewhere between. That is my choice based on my own tolerances, experiences, and capacities. It is important for each of us to know our own limitations and to decide where we personally draw the line. I do believe that snuff films or movies that involve abuse or criminal mistreatment in their making are over the line, and I believe few would disagree with me on those points.
But I do feel that filmmakers should be given the freedom to push us and confront us without facing puritanical outcries that border on censorship. What we decried and scoffed in the era of the Satanic Panic we must not participate in now. Creators must be allowed to create. She felt that Dani had merely traded one form of abuse for another, possibly worse one.
As a lifelong horror fan, I sometimes lose sight of how transgressive the genre is meant to be. I have seen a lot and am bothered by less. When my wife and I watched this movie together, I enjoyed the experience. I felt safe. But I had forgotten that I had taken a companion unexpectedly into a danger zone. You must be logged in to post a comment. Connect with us. Doug Jones in Quarantine. Javier Botet in [REC].
Matt Donato. The reporter in the films, Angela Vidal, is very likable in each film and has a strong relationship with her cameraman Pablo in [REC] and Scott in Quarantine. There are only a few differences between how the character is portrayed in each film.
In [REC] , Angela has a bit more experience in her profession and at times can have a no-nonsense type of attitude, whereas in Quarantine she is not as experienced as a reporter and makes more of an effort to be nice to people. Both female leads go through a small breakdown as the situation becomes dire, but in Quarantine Angela is less experienced with stressful situations and breaks out into more hysterics than the seasoned veteran Angela in [REC] did.
Still, both actresses were believable and intriguing. A small difference between the films is the pacing. Minor differences in the films also included the residents. Except for a couple of people like the mother and her sick child, the residents are different in each film. Even though Quarantine was pretty much shot-for-shot more scenes with dialogue between certain characters were created in order to build a connection with some of the minor characters.
Differences in the two films also include the explanations for the infection of the residents. I thought both films were great.
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