cashiersducinemart

It's refreshing to see a film that knows the true meaning of the word "homage" -- something done or given in acknowledgment or consideration of the worth of another -- rather than "rip off," which is something we see far too often in films, especially horror movies.

Douglas Schulze's Mimesis is a clever homage to George Romero's Night of the Living Dead on one hand and a modern "thrill killer" movie on the other. After an opening scare starring Courtney Gaines, the audience is taken to a horror convention where Alphonze Betz (Sid Haig) rails against the media blaming horror movies for real life horrors. In the audience are Russell (Taylor Piedmonte) and his unlikely pal Duane (Allen Maldonado).

Russell is a horror fan while Duane is more keen on meeting some of the hotties at the con including Judith (Lauren Mae Shafer), a goth girl who invites the boys to a party later that night. Thinking he'll get some, Duane convinces Russell to drive out to the spooky farmhouse where they encounter some out-of-place regular people and a number of silent, spooky dudes all made up in makeup. Before the party gets too "dick in the mashed potatoes" crazy, Russell and Duane are down for the count, waking up dressed in different clothes and hanging out in some eerily familiar settings.

There's no "They're coming to get you, Barbara!" line in Mimesis but much of the rest of Night of the Living Dead is there as our protagonists find themselves cast in a living remake of the film, complete with flesh-tearing zombies.

Thus, Mimesis becomes a film with disparate characters trapped in a farmhouse with a menacing presence outside but the presence isn't supernatural, it's psychotic. Additionally, the script by Schulze and Joshua Wagner is incredibly self-aware, playing with and against the plot of NOTLD along with more current films where strangers toy with innocents (Them, Inside, High Tension, etc.).

Based on the novel Un Reglement de Comptes by Jose Giovanni on which legendary auteur Jean-Pierre Melville based his classic 1966 film, one has to admire the balls on Alain Corneau for tackling the same source material. A more colorful adaptation of the Giovanni novel, SECOND BREATH rejects all things black and white. Headlamps are amber and there's even a jaundiced light over black and white crime scene photos. In fact, Corneau's SECOND BREATH isn't just colorful; it's garish. Hues are saturated to stratospheric levels.

Apart from the color and some intensified violence, Corneau's version of SECOND BREATH is an exercise in redundancy for fans of the original Melville film. It's not to say that Corneau's film is bad by any stretch of the imagination. It's simply just not necessary.