The American oil company North Corporation is building an ice road to explore the remote Northern Arctic National Wildlife Refuge seeking oil. The independent environmentalists together ...
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George is a high-strung professional photographer who is starting to unravel from the stress of his work with a Manhattan advertising agency. Needing some time away from the city, Jake, his... See full summary »
Erik Per Sullivan
It's autumn in New York. Sam has broken up with his girlfriend and his father has recently died. World-weary and sloppy drunk, he finds temporary solace in the arms of Anna, a mysterious ... See full summary »
1940: the entire population of Friar, New Hampshire walked up a winding mountain trail, leaving everything behind. 2008: the first official expedition into the wilderness attempts to solve the mystery of the lost citizens of Friar.
Haunted by recent events and on the run, a man finds himself the unwitting pawn of a possessed evangelical radio station and like his unfortunate predecessor must ask himself whether it is better to reign in hell than serve in heaven.
Two female journalists and a photographer travel to Europe to investigate a series of mysterious disappearances, only to find themselves embroiled in a struggle against a kind of evil they never expected.
The American oil company North Corporation is building an ice road to explore the remote Northern Arctic National Wildlife Refuge seeking oil. The independent environmentalists together with the base leader, Ed Pollack, reach an agreement with the government, approving procedures and reports of the operation. When a team member is found dead naked on the snow, the environmentalist James Hoffman suspects that gases may have been accidentally released from the drill site provoking hallucinations and insanity in the group. After a second fatal incident, he convinces Ed to travel with the team to a hospital for examination, however, people continue to die. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In scene where Maxwell visits KIK Test well, his gloves are on and off during the scenes. See more »
Alaska. Vast wilderness of the north. Land of great natural beauty and diversity. This is rugged county, land of black gold. Alaska's North Slope has been producing oil out of Prudhoe Bay since 1968, delivering to refineries and ports 800 miles to the south through the great Trans-Alaskan pipeline. But another northern region known as the Arctic National Wildlife Refuge has remained untapped. Only once have prospectors gained access to this barren landscape. In 1986, KIK ...
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Larry Fessenden's "The Last Winter" is a ambitious and smartly made film. It's photographed beautifully and (by and large) acted with conviction and sensitivity. Though the central conceit about nature "taking revenge" is pretty corny, the atmosphere is also pretty compellingly bleak, and the tension mounts pretty effectively as things go from bad to worse. Sadly, as many other reviewers note, the ending throws it all away in a fit of awful CG monsters.
However, try turning it off right at one hour 27 minutes and 30 seconds. This would have been a solid albeit ambiguous ending; if you must watch further do it on a second viewing and consider it a deleted ending. It's just goofy and pointless, and the final "twist" at the end is telegraphed almost from the very beginning (in fact, one character early on describes aloud exactly what the twist will end up being).
Even without the ending, the script has problems with its petty black-and-white portrayal of heroic environmentalist and selfish oil guy. An ensemble atmosphere pic like this lives and dies on the believability of its characters; Perlman's Ed Pollock is simply too villainous to really be convincing, despite a few nice touches of humanity which Perlman brings to him. Le Gros' Hoffman is also a pretty unengaging hero, a blandly heroic saint of a guy who's always right about everything. I'm a serious environmentalist and a left-leaning guy, but the film's literal take on the situation (the dire warnings of natural disaster, the clear heroes and villains) is shallow at best and preachy and patronizing at the worst. It plays to the most obnoxiously self-congratulatory nature of people concerned with the issues presented here, while at the same time offering nothing of any real substance.
Still, the film itself is a pretty fun watch, and a definite step up from Fessenden's previous effort, the ambitious but amateurish "Wendigo" (the titular spirit of which gets name-checked here too!). Great photography combined with naturalistic acting from the likes of Kevin Corrigan and Zach Gilford do much to sell the vibe of the thing, and the setting and slow escalation of the action also add to the experience. Regardless of its stumbles, the film has loads of ambition to do something substantial and enduring, so even when it can't quite deliver on its promise it still beats the slew of cheap-scare horror remakes which every year become more numerous.
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