MIЯRORS

This film has a lot going for it: A clever logo, some interesting faces and accents, an enthusiastic CGI department - by the look of it probably working for mere sandwiches and affection - and a composer who is man enough to steal the entire score. Unfortunately though, what little expectations I had before watching were rendered flaccid by the first line on the dvd box:

"Blablabla, director of The Hills Have Eyes, blablabla".

Always one to judge at hardly a glance, I instantly connected all the referenced film's earlier associations to this film. The Hills Have Eyes was another clever title which managed to undo any and all positive expectations within the first ten minutes - Only to go on for another hour-and--a-half or so. I really don't know, I used it for weeks to fall asleep to. Infallibly knocked me unconscious within minutes.

Mirrors is a piece of work, I'll give Mr. Aja that much. It wasn't until I spotted a flat screen monitor halfway through that I was certain this movie wasn't from the early nineties. It takes courage to coherently do things in a tragically outdated manner when you're supposed to be a fresh young filmmaker.

Movie scorers should be prohibited from dramatically using the diminished fifth interval in horror or suspense. The same goes for building up a diminished seventh chord in order to create a climactic scene ending: the effect has been no more than comical ever since the late eighties.

The score was annoyingly present during the entire thing. Annoyingly present and completely stolen. Surprisingly, though, stolen from other sources than I had imagined. What I thought I recognised as the two main themes were one blatant adaptation of Sting's Russians and a inane repetition of one or two bars from Bach's Toccata& Fuga. Admittedly, they were some of the coolest bars in there. Turns out, though, that the score was adapted from an existing classical piece. (thank you, Wikipedia) Maybe I'll check that out and piss on this movie in a whole new light, later on.

No sense getting into plot review. 'Very testing' would be an accurate general description. If you've always wondered what it would be like if Stephen King and Michael Bay had a backward, moronic love child, but would refuse to support its special needs with astronomical budgets: Skip through this flick some time. Otherwise, save yourself the trouble.

Jason Flemyng ("It's a deal, it's a steal, it's the sale of the fuckin' century") has a beautiful Gary Oldman-like role. That is meant as a compliment. Kudos to you, sir.

I love being a grouch.