Review: Contracted (2013)

Contracted (2013)

Director: Eric England

Writer: Eric England

Stars: Najarra Townsend, Caroline Williams, Alice Macdonald

Whether you like it or not, horror movies are known for characters that make bad decisions. Contracted is no different. Nearly every person who crosses the screen makes stupid choices, and people love to call the movie out for it. Despite all of the dumb moves, Contracted is still worth arguing for, and for a number of reasons.

Written and directed by Eric England, Contracted shares the garish, three-day transformation of Sam (Najarra Townsend) caused by what she believes to be an STD contracted during a one-night stand turned rape. While England is fairly ambiguous about Sam’s past, it’s easy to see that things aren’t the best for her. She recently had a falling out with her girlfriend, Nikki (Katie Stegeman), and had to move back in with her mother (Caroline Williams) who isn’t the most accepting of Sam’s lifestyle choices. All in all, it seems as if she is going through a pretty turbulent time in her life, and things only get worse.

Sam is an easy enough character to sympathize with at first. Her uncertainty towards her place in life make her the poster child for the confused young person (she does wear Converse after all), but her responses to her growing symptoms put a damper on this sympathy and threaten to bring down the whole movie. I don’t think England intended for his characters to be stupid, but some of the things Sam does make you wonder. She blames what seems to be a gallon of blood that gushes from her and crippling cramps as her period, and piercing headaches and pains as a prolonged hangover. While it hurts to watch her try to brush her symptoms off, her actions are still excusable. It makes sense to be in denial about an illness, especially if it was caused by regretted actions, but the point of no return is reached when Sam decides to go to work instead of the doctor. Keep in mind, both her hair and teeth are falling out at this point; she works in the food industry too, by the way. Now, I zoned out during the whole sex-ed section of health class, and apparently the doctor she visits did too, but I think that’s something more serious than an STD and should probably take priority over going to work.  While her choices are painfully bad, they’re not worth hating the movie over; especially when it has so many merits.

The movie-long transformation of Sam is hands down the best part of Contracted, and it alone is worth watching the movie for. Contracted itself may not be that great, but Sam’s metamorphosis is. The film’s slow pacing lends itself to this transformation, and so does the phenomenal makeup effects. By the end of the movie, you can barely remember the beautiful young woman Sam once was, and when a visual comparison is made, the shock is real. The acting is nothing to complain about, I personally adore Townsend, and the movie is filmed with both a soft glow and crispness that generate an almost dreamy feel. Regardless of the fact that you’ll be seeing some unpleasant things Contracted really is a pretty movie.

Sure, the actions of the characters may wear your patience thin, but there shouldn’t be any regret involved in watching Contracted.  Whether you watch it for the special effects, Townsend or to scare yourself away from sex, just do whatever you must to excuse the character’s actions and let yourself enjoy the movie.

- Marysa Storm

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Review: Eight Legged Freaks (2002)

EIGHT LEGGED FREAKS (2002)

Director: Ellory Elkayem / Warner Bros. Pictures

(Originally published on JedBundy.com 3/3/2013)

                  From David Arquette’s Things-To-Do list…

1)     Gain some fame from Wes Craven films.

2)     Land Courtney Cox, lose her later.

3)     Make people remember I starred in Airheads; Make them forget I was in See Spot Run.

4)     Become WCW champion, ruin Eric Bischoff’s career.

5)     Make a monster movie that needs a hyphen in the title.

6)     Do some more Wes Craven Films.

7)     Check into rehab.

There’s something about David Arquette that David Arquette doesn’t quite understand: people like him. He’s the sort of guy you’d want to go for a beer with (if he still drank) and who you could just watch horror movies and wrestling with whilst sharing a pizza. He’s a lovable goof of a guy who oozes that “everyman” charm that Hollywood hates so much. Thankfully, he’s exactly what this B-movie homage needed to make it work.

The story is pure hokum: The down-on-it’s-luck mining town of Prosperity is shipping toxic waste about and a barrel falls into the local river. A farmer of exotic spiders captures some irradiated bugs and feeds them to his arachnid chums, and they promptly grow to colossal size, kill him and escape, wiping out all manner of animals (including ostriches) before setting their sights on the local townsfolk.

Thankfully, Arquette has arrived back in town convinced that his dead father’s tales of the mines housing a fortune in untapped gold are true. Before you know it, he’s the unlikely hero who’s romancing the town sheriff and climbing radio towers to try to get a signal to the outside world for help. The rest of the citizens (the ones who survive, anyway) take refuge in the local shopping mall and arm themselves as best as possible.

Of course, you can see the end coming a mile away. They explain early on that the mining tunnels are full of methane gas that could blow at any time, and we know that the spiders have made those tunnels their home. Three guesses for figuring out the ending of the movie, and the first two don’t count. Of course, the important thing is that everyone’s having fun here and you can just go along for the ride, right? Wrong.

This is a film that has as many cons as it does pros. It’s hard to tell if it’s a homage to monster B-movies or just an insult. What makes those old junkers so lovably funny is that the filmmakers were trying so hard to be serious. Instead, we’ve got a monster movie that set out to be funny, by putting silly squeaky people-noises on the spiders and by having set-pieces like a cat take on a spider inside a wall that shows the imprints of the fight like a cartoon.

For all that, it’s a fun romp. The townsfolk are bumbling morons and seeing them defend the local mall is brilliant. The effects are good, and things like the spider attack on some “Xtreme” bikers are well handled. Arquette is ably assisted by Doug E. Doug, Kari Wuhrer and a young Scarlett Johansson, and the film rolls along at a good pace.

Unfortunately, it doesn’t quite work as a horror film no matter how fun it is, it’s just too silly. If you’ve got a hankering for a scary spider movie, you’d be better off watching the far superior Arachnophobia, and if you want a good tribute to monster movies then watch Cloverfield or The Host. This movie is like Arquette himself: it just doesn’t quite understand itself.

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The Horror Delight of 1991: A Closer Look at POPCORN

Unveiling the Horror Delight of 1991: A Closer Look at Popcorn

In the vast realm of horror films, the year 1991 introduced a hidden gem that remains a cherished cult classic among genre enthusiasts – Popcorn. Directed by Mark Herrier and released by Studio Three Film Corporation, this horror flick delivers a unique blend of scares, thrills, and a meta-narrative that sets it apart from its contemporaries.

Popcorn unfolds its eerie tale within the framework of a horror movie marathon hosted by a film school. The plot revolves around film student Maggie Butler, portrayed by Jill Schoelen, who discovers a dark secret about her family's past while organizing a horror film festival to raise funds for her school. As the festival progresses, the line between fiction and reality becomes increasingly blurred, leading to a series of spine-chilling events.

One of the film's standout features is its self-awareness. Popcorn doesn't shy away from acknowledging and celebrating the horror genre. The movie within a movie concept allows it to pay homage to classic horror tropes, offering a meta experience for viewers. This self-referential approach adds a layer of depth, making Popcorn not just a horror film but a love letter to the genre itself.

The setting of the film, an old, decrepit movie theater, adds a haunting atmosphere that heightens the overall sense of dread. The use of the theater as a backdrop provides ample opportunities for suspenseful sequences, as the characters navigate darkened corridors, hidden passages, and creepy prop rooms. The eerie ambiance of the setting contributes significantly to the film's effectiveness in creating a genuinely frightening experience for the audience.

The strength of Popcorn lies in its ability to blend horror with humor seamlessly. While the film explores genuinely terrifying elements, it also injects moments of levity, keeping the tone engaging and entertaining. The juxtaposition of horror and humor is a delicate balance, but Popcorn manages to pull it off, providing viewers with an enjoyable and unpredictable ride.

The practical effects and creature designs in Popcorn deserve special mention. In an era dominated by CGI, the film's reliance on practical effects showcases the creativity and craftsmanship of the special effects team. From grotesque monsters to eerie illusions, the practical effects contribute to the film's nostalgic charm, harking back to a time when horror relied on tangible, in-camera effects to terrify audiences.

The cast, led by Jill Schoelen, delivers commendable performances that enhance the film's overall quality. Schoelen's portrayal of Maggie Butler anchors the narrative, and her journey from an unsuspecting film student to the protagonist facing supernatural horrors adds depth to the character. The supporting cast, including Tom Villard, Dee Wallace, and Tony Roberts, contribute to the film's ensemble dynamic, each bringing a unique element to the table.

Despite its undeniable charm, Popcorn did not achieve commercial success upon its initial release. However, over the years, the film has garnered a dedicated cult following. Its unique approach to the horror genre, combined with the nostalgic appeal of practical effects and a compelling meta-narrative, has elevated Popcorn to a revered status among horror aficionados.

In conclusion, Popcorn stands as a testament to the creativity and innovation present in the horror genre during the early '90s. Its ability to blend scares, humor, and a self-aware narrative set it apart from its peers, making it a must-watch for fans of classic horror. As the film continues to find new audiences through the years, its legacy as a cult classic remains intact, proving that true horror gems are often discovered in the shadows of cinematic history.

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Review: Patrick (2013)

Patrick (2013)

Director: Mark Hartley

Writer: Justin King

Stars: Charles Dance, Rachel Griffiths, Sharni Vinson

Summary: Behind the walls of Roget Clinic, which specializes in the care of coma cases, a supposedly brain-dead patient is subjected to brutal experiments.

At the time of viewing this movie, I was unaware that Patrick was a remake of a movie by the same name that was made in 1978. J.W. Brewer, if you were planning on doing a “Remake Vs. Original” of this franchise, I do apologize. But I am going to go out on a limb and just assume the original was better after having only watched the remake.

The movie starts with a nurse at the clinic snooping around in the basement and being killed by a needle to the eye from an unknown person. We then cut to the heroine of the story, Kathy Jacquard (played by Sharni Vinson), applying for a job at the clinic. She is a highly educated expert in the care of comatose patients and is hired by Dr. Roget (Charles Dance) immediately. He does warn her though, that what he is doing at the clinic is very avant-garde and that he is taking drastic steps to improve, perhaps even awaken at will, a person in a comatose state.

While Kathy is getting used to the hospital and its coma patients (who are all topless and in one single room), we learn that Kathy is on the run from something in her life which led her to Roget’s clinic. Her friends wonder on her (imitation) Facebook page where she is and why she is avoiding phone calls.

The only coma patient with his own room is Patrick, who strangely has his eyes wide open and has a muscle spasm where he randomly spits. This is Dr. Roget’s special project. And the method of testing he uses is…a little off. He basically puts two electrical probes to Patrick’s temples and electroshocks the shit out of his head. According to Roget, he is trying to awaken long dead neurons in the hopes that the patient will make a full recovery.

For the first and second act of this movie, it relied heavily on a build-up of jump scares and eerie settings to keep the viewer interested. And then…something happens. While Kathy is alone with Patrick after one of his treatments, she learns that Patrick can actually feel and can communicate through his spitting (spit once for yes, twice for no). She tests him by touching his face, his chest, his feet, and then…

Wait. What? Hold on. Is she trying to give him a hand job? Fortunately, Kathy is interrupted by the head nurse, but what the hell was that about? What was her end game there? It was such an odd thing to happen in the movie and was so out of character. From what we saw of Kathy previously, she is intelligent, self-assured and independent. So why the hell is she sticking her hand down Patrick’s pants? Was it medical? Was she looking for a reaction? Why not just tickle his feet? It was one of those things you couldn’t really disregard. If you think I am dwelling too much on the attempted hand-jibber, I wish I was, but this little moment turns into the crux of the third act.

Patrick will only communicate with Kathy and no one else, which causes Kathy to second-guess her sanity, especially when Patrick begins to communicate through the computer monitor in his room. At this point, I was wondering if the director was going to go for one of those clichéd, no-longer-a-twist endings where maybe Kathy is the one in the coma and all the events that she is experiencing were symptoms of her illness or random firing of neurons, some crap like that. The scene structure of the movie sets up for such an ending, as each scene just kind of appears with no set-up, much like a series of dream sequences. Whoever she interacts with seems to hurt themselves, and although it was not as frenetic and feverish as say, Jacob’s Ladder, there were some odd things going on. 

So, I was intrigued. I at least wanted to know if I was right about how it would end. There was some decent suspense and intrigue built up and leading into the last half hour of the movie. What will happen with the coma patient who is being experimented on by a desperate, half-mad doctor as well as a nurse who is struggling with bouts of delusions? And then I watched the movie shit all over the proverbial bed.

Telekinesis. They went with Telekinesis. Apparently, for each of Patrick’s treatments, he was getting stronger and was able to better control objects with his mind, even from miles away. Patrick is controlling cars, he’s taking over people’s computers, he’s making phone calls. Not only is he making phone calls, but he’s also controlling the people he calls through the goddamn telephone if they pick up the receiver. Why, he can make a man melt his hands in a sandwich press if he wants. At one point, he doesn’t even need to make the phone calls. He just wills himself into another’s body, whether they are alive or dead.

Toward the end, Dr. Roget gets so desperate for results from the testing that he literally amps up the treatment, giving Patrick all sorts of telekinetic powers. Because that’s how electricity works. Let that be a lesson to you, kids: If you’ve ever wanted to do a Jedi-mind trick, like Luke Skywalker reaching for his lightsaber, then all you need to do is grab your favorite fork and jam it into the nearest electrical socket.

This third act was so terrible, it felt like I was watching someone smear themselves with their own shit. Sweet little Patrick was actually admitted to the clinic right after he killed his mother and her boyfriend and tried to off himself. And now he was obsessed with Kathy. Why? Because she showed him some care and consideration. Oh, and the hand job. Patrick was really keen on getting that hand job. In order to convince her to finish the (hand) job, Patrick controls all of the coma patients by making them sit up straight and say, “Patrick wants his hand job.” No, I am not kidding.

Now, if Patrick could control multiple people at will, couldn’t he have just taken over Kathy’s body and finished his hand job then? It would have given a whole new spin on “the stranger” masturbation technique. And it would have saved me a lot of frustration watching this dreck.

The movie turned into such a farce; I hardly even noticed the ending. I was half-expecting Leslie Nielson to come into Patrick’s room and go, “I just wanted to tell you both good luck, we’re all counting on you.”

Kathy kills Patrick somehow, in a way that I didn’t really care about, but right after she does so, Patrick gives himself one last surge of electricity and flies his body out the goddamn window to kill himself. Again. And I couldn’t stop laughing.

- Michael Jenkins

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Open Water (2003): A Tense Dive into Isolation and Survival

Open Water (2003): A Tense Dive into Isolation and Survival

"Open Water," released in 2003, directed and written by Chris Kentis, is a gripping and unconventional thriller that explores the harrowing ordeal of a couple stranded in the vastness of the open ocean. Inspired by true events, the film takes viewers on a tense and claustrophobic journey as it delves into the psychological and physical challenges faced by its protagonists. In this article, we will examine the key elements that make "Open Water" a unique and compelling cinematic experience.

The movie revolves around Susan (Blanchard Ryan) and Daniel (Daniel Travis), a couple on a tropical vacation who find themselves left behind by their scuba diving group in the middle of the ocean. The tension mounts as they realize their predicament and struggle to survive while surrounded by miles of open water. The film is based on the real-life disappearance of a couple during a scuba diving expedition in the Caribbean.

One of the most notable aspects of "Open Water" is its minimalist approach to filmmaking. The movie was shot on a shoestring budget, using handheld cameras and a cast of only two actors. This stripped-down style enhances the sense of realism, making the audience feel as if they are right there with the characters, experiencing the isolation and vulnerability firsthand. The absence of elaborate special effects and extravagant sets adds to the film's authenticity, creating a raw and immersive atmosphere.

"Open Water" succeeds in capturing the fear and helplessness of being stranded at sea. The actors, Blanchard Ryan and Daniel Travis, deliver convincing performances that reflect the emotional and physical toll of their characters' predicament. The film's realism is heightened by the decision to shoot in actual open water rather than in a controlled environment, showcasing the unpredictable nature of the ocean and adding an extra layer of authenticity to the narrative.

As Susan and Daniel grapple with the harsh realities of their situation, the film explores the psychological strain that isolation and impending danger can inflict on individuals. The vastness of the ocean becomes both a stunning backdrop and a formidable antagonist, intensifying the characters' feelings of abandonment and hopelessness. The sound design, incorporating the constant lapping of water and distant sounds of marine life, enhances the suspense, making every moment fraught with tension.

"Open Water" draws inspiration from real-life events and taps into a primal fear of the unknown and the vastness of the open sea. The film's success lies in its ability to engage viewers emotionally, as they share in the characters' struggle for survival. While it may not be a traditional blockbuster, "Open Water" carved its niche as an unconventional and effective thriller that leaves a lasting impression on its audience.

"Open Water" stands as a testament to the power of minimalist filmmaking in crafting a suspenseful and emotionally resonant experience. By immersing viewers in the stark reality of isolation and survival, the film explores the fragility of human existence in the face of nature's unforgiving forces. Nearly two decades after its release, "Open Water" remains a chilling reminder of the vulnerability inherent in the human condition, making it a noteworthy addition to the thriller genre.

The Midnight Meat Train (2008): A Gruesome Journey into the Depths of Horror

The Midnight Meat Train: A Gruesome Journey into the Depths of Horror

Released in 2008, "The Midnight Meat Train" is a horror film directed by Ryuhei Kitamura, based on Clive Barker's short story of the same name. This cinematic adaptation takes audiences on a harrowing and visceral journey into the dark underbelly of the city, blending elements of psychological horror and gore to create a unique and unforgettable viewing experience.

The film follows Leon Kaufman, played by Bradley Cooper, an ambitious and struggling photographer in New York City. Leon becomes obsessed with capturing the city's gritty and raw essence, leading him to traverse the subway system during the late hours of the night. His nocturnal adventures bring him face to face with a mysterious and menacing butcher named Mahogany, portrayed by Vinnie Jones. As Leon delves deeper into the macabre, he discovers a horrifying secret lurking beneath the city's surface.

Ryuhei Kitamura skillfully crafts an atmospheric and tension-filled environment, utilizing the subway as a sinister backdrop for the unfolding horror. The film's dark, gritty cinematography amplifies the sense of foreboding, making every scene feel like a descent into madness. Kitamura effectively employs shadows and low-light settings to create an oppressive and claustrophobic atmosphere, intensifying the suspense throughout the film.

Bradley Cooper delivers a compelling performance as Leon Kaufman, a character whose descent into the grim underworld challenges his perceptions of reality and morality. Vinnie Jones, known for his roles in action films, delivers a chilling and menacing portrayal of Mahogany, the enigmatic butcher who becomes a central figure in Leon's horrifying discoveries. The film's supporting cast, including Brooke Shields and Leslie Bibb, adds depth to the narrative, creating a diverse ensemble of characters that contribute to the overall sense of unease.

"The Midnight Meat Train" explores themes of obsession, morality, and the fine line between art and madness. Clive Barker's source material, known for its dark and thought-provoking narratives, lends itself well to the film's exploration of the human psyche and the consequences of unchecked ambition. The subway system serves as a symbolic descent into the abyss, mirroring Leon's journey into the darker recesses of his own mind.

True to its horror genre, "The Midnight Meat Train" does not shy away from graphic and visceral imagery. The film features intense and gory sequences that push the boundaries of conventional horror. The shock value is heightened by the film's unexpected twists and turns, keeping the audience on the edge of their seats as the story unfolds.

While "The Midnight Meat Train" did not achieve widespread commercial success upon its initial release, it has gained a cult following over the years. Fans appreciate its unique blend of psychological horror, gruesome visuals, and a narrative that challenges traditional horror tropes. The film stands as a testament to the power of independent horror cinema to deliver unconventional and memorable experiences.

In conclusion, "The Midnight Meat Train" remains a noteworthy entry in the horror genre, offering a gripping and unsettling journey into the depths of human darkness. Its atmospheric visuals, strong performances, and willingness to push the boundaries of horror make it a cult classic that continues to captivate and disturb audiences more than a decade after its release.

Review: Exam (2009)

Exam (2009)

Director: Stuart Hazeldine

Exam is a slick little thriller that takes a common story and tells it in a unique way. It contains a great opening sequence that visually introduces each of the characters without any real dialogue. Eight job candidates are placed in a room for 80 minutes. Each has a desk with a piece of paper and pencil. An invigilator enters the room and explains that this is their final test in what has been on ongoing process. There is one question and there is one answer. An armed security guard stands at the door. They are told if they try to leave, spoil their paper, communicate with the guard or the invigilator, they will be disqualified. When they turn their papers over, they are blank.

Immediately, one of the candidates is removed for writing on her paper. The remaining seven form a tentative alliance. One man takes charge when he tells the others they must work together. He gives them all aliases. He calls himself White, the others Brown, Dark, Blonde, Black, Brunette, and Deaf. These are the only names that are used throughout the film.

They begin to brainstorm ways to uncover the question. What begins as a team effort turns into a battle of wits and survival when White tricks another candidate into being removed. The stakes are then raised as they go from working together to turning on one another. Reminiscent of stories like Lord of the Flies, a power struggle ensues when White tries to take control of the situation.

Exam clips along at a fast pace and keeps the viewer unsure of both the question the candidates seek but also who will prevail. Loyalties shift between the characters, as well as the viewer's feeling about them. Brunette is a much stronger, tougher character initially, who shifts drastically when she is turned on by the others.

It's a clever story that quietly teases out the characters' backstories. It also makes one think of themselves, and how they would react in a similar situation. The ticking clock throughout the film keeps the tension up. It's more of a psychological thriller than a traditional horror film, but it does contain many classic horror elements. These include a claustrophobic environment, characters eliminated one by one, and an interesting twist at the end.

With all the action taking place inside one room, it feels like a play. It makes great use of limited space and a good cast to play off one another. Up until the end the suspense continues. Without a good script or cast this story could have fallen flat. But it doesn't. It keeps the tension up and has several great surprises before the final shot. Recommended.

- Peter Browne

A Journey into "The Lair of the White Worm" (1988)

A Journey into "The Lair of the White Worm" (1988)

In the realm of cult horror films, "The Lair of the White Worm" (1988) stands out as a unique and eccentric entry. Directed by Ken Russell, this British horror-comedy takes inspiration from Bram Stoker's lesser-known novel of the same name. With a mix of campy humor, surreal visuals, and a dash of eroticism, the film has become a cult classic that continues to captivate audiences with its strange allure.

Set in the English countryside, the film revolves around the mysterious and ancient D'Ampton Worm cult. When archaeologist Angus Flint (Peter Capaldi) unearths a strange skull at the site of the D'Ampton Worm legend, he unwittingly sets off a chain of events that lead to a confrontation with Lady Sylvia Marsh (Amanda Donohoe), a seductive and vampiric priestess who worships the mythical white worm.

As the plot unfolds, the characters find themselves entangled in a surreal and increasingly bizarre series of events. From hallucinatory dreams to strange rituals, "The Lair of the White Worm" blurs the lines between reality and fantasy, creating an atmosphere of eerie unpredictability.

Ken Russell infuses the film with a variety of themes and symbols, ranging from religious allegory to sexual innuendo. The white worm, a symbol of ancient evil, serves as a metaphor for repressed desires and the darker aspects of human nature. Lady Sylvia Marsh, portrayed with sensuous intensity by Amanda Donohoe, embodies the seductive power of the snake, reminiscent of the biblical temptress.

The film's exploration of religious and pagan imagery adds depth to its thematic undertones. The D'Ampton Worm cult, with its rituals and ceremonies, evokes a sense of ancient mysticism and occultism. Russell weaves these elements together in a tapestry of horror that is as much psychological as it is supernatural.

While "The Lair of the White Worm" explores dark and mystical themes, it does so with a tongue-in-cheek approach. The film revels in campiness and absurdity, embracing its own eccentricity. Russell infuses humor into the narrative, creating a unique blend of horror and comedy that sets it apart from conventional genre offerings.

The cast, led by Peter Capaldi and Amanda Donohoe, delivers memorable performances that contribute to the film's offbeat charm. Donohoe, in particular, shines as the enigmatic Lady Sylvia, bringing a magnetic and seductive presence to the screen.

Ken Russell's visual style is on full display in "The Lair of the White Worm." The film features striking and hallucinatory visuals that enhance its dreamlike atmosphere. From surreal landscapes to vivid dream sequences, the cinematography adds to the overall otherworldly experience.

Despite its initial mixed critical reception, "The Lair of the White Worm" has gained a dedicated cult following over the years. Its unique blend of horror, comedy, and surrealism, coupled with memorable performances and visuals, has solidified its status as a cult classic. The film's ability to embrace its own eccentricity and defy genre conventions continues to resonate with audiences who appreciate its offbeat charm.

"The Lair of the White Worm" remains a fascinating and unconventional entry in the horror genre. Ken Russell's audacious approach, coupled with a strong cast and surreal visuals, ensures that the film endures as a cult classic that defies easy categorization. Whether viewed as a dark fantasy, a horror-comedy, or an exploration of repressed desires, the film continues to captivate audiences with its enigmatic and alluring tale of ancient evil lurking in the English countryside.