Queen of the Damned

Now I’m gonna take the leap here and suggest (as it probably has been, being a film out for 10 years now) that Anne Rice didn’t understand where this film was coming from or going. A little later, I’ll explain why. But it is sad for me to see that Rotten Tomatoes (or any other reviewer) thought that this film was so poor. I have reasons for liking it, but there’s truly really only one. But plot first.

In a modern day world with the rise of Nu Metal in the early 2000’s, Lestat the Vampire (Stuart Townsend) rises to a new sound he had never heard before. A sound that rises him from the grave. Upon encountering the goth band making all the racket, Lestat

Townsend as Lestat. Anyone see Dorian Gray?

reveals himself to be a centuries old vampire comes to make all their wishes come true. Now he just broke the unspoken agreement all vampires tailor themselves to. Don’t talk about being a vampire, or that vampires exist. But he is doing this for a reason.

To break the monotony. His silken and brooding voice (sung by none other than Jonathan Davis of Korn) charms all the goths in the entire world, a la Deathklok from Adult Swim. Pronouncing proudly that he is a vampire, Lestat hopes that other vampires will come out of hiding, even if it is only to get him. He has the world on a string, and he’s shaking it to find out where they’re hiding.

The beautifully frightening Aaliyah.

Meanwhile, at the London paranormal research building, Talamasca…

Jesse Reeves (Marguerite Moreau) is a young researcher, looking into whether or not Lestat is actually a vampire. Analyzing his lyrics, she feels she’s stumbled onto something real. With a colleague of hers confirming that it’s true, David Talbot (Paul McGann, you Dr. Who fans out there may know him as the 8th Doctor… personally, I don’t care.) hands her a diary of Lestat’s pasts and beginnings. When the two intertwine, a evil, ancient presence arises, leading to a new world order. Unless it can be stopped. I’m talking about Aaliyah as Akasha, the vampire Queen of Egypt. Word.

So you have your wondefully sexy and fierce R&B singer that I said I loved from Romeo Must Die. She takes on this role with as much grace before her tragic end (this film is dedicated to her). You have Stuart Townsend, the man who was almost destined to play Aragorn before Peter Jackson up and said he didn’t want him. You may ask, where have I seen Townsend before in a similar film? Look no further than the suave Dorian Gray in The League of Extraordinary

Some pimpin’ old vampires.

Gentlemen. Badass. He was a great addition to the film and really had the whole “Metal Sex God in Leather Pants” look going on. And Jonathan Davis backing him up on vocals. He’s Irish too, so you can’t hate. Marguerite Moreau was beautiful as ever in the film, giving Lestat a reason to fight for humans. And can I say again that Jonathan Davis makes a cameo in the film? Look out for him.

The Moreau factor.

And this is where I come to why I liked the film. Nu Metal. The early 2000’s framed my pathway into teenagery. That means I was frustrated and awkward. And what better music to listen to than Deftones, Static-X (my favorite bands), Disturbed, and the almighty Korn? Nothing in the world soothes my soul more than death metal. And you get all new hauntingly original songs from Korn? This movie is a package deal. It could’ve almost worked out as a rock opera. I’d be down.

And this is also the point where Anne Rice doesn’t get it. Goths/metal have forever been linked with vampires. It’s a fact now at this point. And a woman who was 58 at the time of this movie should’ve keeled over dead at the use of music in this film. New age music that’s not from my early years? Noooooooo! Understandable response. The movie is nothing she’s seen because it’s meant for the goth scene. The punk and metal scene. Because that strain of music has adopted the vampire image and feel. And, in that way, this movie works for me as a metal fan.

Jonathan Davis on his throne of Korns.

There are those out there who think that Korn is a hack band. They’re original, true, that can’t be denied. But, for some people, they’re washed up, or not hard enough for a lot of hardcore metal fans. They’re like Limp Biskit (I don’t even care to look up his name…) But that’s all wrong. And they hate old Limpy boy. Korn has been around since 1993. It is now 2012. They are infusing techno methods now, into their music. They were ahead of the curve when it came to electronic music back in the day, before all this started. They’re metal, they’re rap metal, they’re nu metal. They. Are. Korn. They can do whatever the shit they want. They are the original when it comes to everything. They are groovy and they are hard. And they hate the world. What could be better?

Now that you know my secret obsession with Korn, you know why this movie works for me. But it’s just my opinion. The acting was fine (I thought Stuart Townsend really stood out), and I pooped myself the second I heard him sing and I knew it was Jonathan Davis. It just

Can’t get enough of the sexy darkness.

clicked with me. It doesn’t have to with you. That’s why I specially recommend this to fans of Nu Metal and all things dark. For those of the 90’s and 2000’s who want to relive a bit of angst. And maybe suck some blood. 7.1 out of 10.

Repo! The Genetic Opera

In a crossover genre that reminded me a bit of the only other big exposure I’ve had to operetta style plays/shows (i.e. Cats), Repo! The Genetic Opera was a twist and melding of something I’m not used to seeing at all. And, big plus, in the form of a movie. And what more could seal this musical deal? Darren Lynn Bousman, director of Saws 2-4, was the director. That’s a pretty sweet marmalade right there. And I was surprisingly not bored during this horror/rock opera/film extravaganza.

In a strange dystopian intro scene that may remind those of us who have seen Mystery Men of a similar grimy town flyby, there is a new way of living in the city. And that is prologued by the GraveRobber (Terrance Zdunich). In this new dark and sinister world, people are living longer. How, you may ask? Through the use of artificial organs. You

GraveRobber, the teller of our tale. (Is that a cat from Cats right next to him?)

can pay for these organs with a monthly fee, but it must be paid on time to GeneCo. If not, “Rotti” Largo (Paul Sorvino) will send his RepoMen after you and remove it from you.

The story focuses around a doctor Nathan Wallace (Anthony Head) and his sick daughter, Shilo (Alexa Vega). In a story of sick and twisted nip/tuck pleasure, betrayal and love, and discovered identities, Repo! The Genetic Opera combines the operatic style of singing with the gruesomeness of shock rock. What I found surprising, coming from a director who has done such a violent and intestine filled series, gave a bit of humor and poise to the blood and guts. I was never grossed out (as if this film or any other could do that) by the events unfolding before me, it was more with the type of music and subject matter. It was a winning combo, to be sure.

Paris Hilton, can you tell?

I liked the subject matter (dystopian world of the morbid) and found it to be a simple enough plot to get across with how many underlying motives were at play. What I was semi-impressed with was the singing. Anthony Head, star of Buffy and featured on my favorite British comedy, Little Britain, was a phenomenal singer. Alexa Vega, a bit weak, which surprised me. Terrence Zdunich was a phenomenally good stage presence in front of the camera. I enjoyed his pop out of a trash can every once in a while. He had the Cats vibe down. His morbid look was appealing and flashy, almost like a Rum Tum Tugger (although this guy didn’t do any theater before this, so far as I can tell…).

Some surprising cast though in this film. Paul Sorvino, star of musicals and dramas and a couple of Italian Mafioso films, was a good presence, but weak as a counter character/villain to Nathan (Anthony Head) the age difference was a bit of a problem for the plot device they had to deal with, and so it just came off as odd. His singing was a bit weak too, but I think that’s something that happens when you have to speak/sing lines in a rock opera. Sarah Brightman, English singing extraordinaire was delightfully pleasant for as small of a role as she was given. Her

A little bit of blood never hurt Buffy…

singing sent a few chills down the old spine.

And there’s even more! Throw in Bill Moseley, actor from a shit-ton of horror films, including a few Rob Zombie vehicles. And Nivek Ogre of Skinny Puppy (industrial metal band for those of you who don’t know)? Who knew? I could barely put the names and the faces together with this nip/tuck of a performance. Oh, and Paris Hilton for sex appeal. No big surprise there.

Enjoy that open wound, guy.

In an hour and a half of rockin’ and a rollin’, you’re exposed to the world of blood and guts, drums and guitar. I’ve never seen a movie like this before, and this sets the bar sort of high on expectations (and no, I won’t be watching Rent anytime soon). So move aside The Wiz, because there’s a new favorite musical film in town. And it’s got more of an edge to it. So strap in and hide your organs for Repo! A 6.4 out of 10.