What Do The Critics Say?

"An unexpected twist elevates this well constructed supernatural thriller whose chilling concepts and vivid imagery make it a scary experience. Tension builds from the onset with a gruesome and disturbing scene that unsettles us even before the credits start." Louise Keller URBAN CINEFILE "Writer/director Alexandre Aja is clearly addressing the stereotypical bloodthirsty horror fan with his latest slash n' gore piece, "Mirrors". If you are looking for another "The Sixth Sense", "The Devil's Backbone", or "The Others", then Mirrors will definitely disappoint; however, if you just want to see some wild, wicked witchery and trippy trickery, you will get your money's worth." Staci Layne Wilson HORRORCOM "It's not much of a compliment to call Mirrors "considerably better than Shutter, Pulse, or One Missed Call," but the flick is just good enough to make one wish it had shown up before those turkeys. The good news is that Alex Aja's Mirrors is a perfectly watchable horror-thriller that's well-shot, well-scored, and backed by an excellent lead performance by Kiefer Sutherland." Scott Weinberg FEARNET "Aja's way with gristle and grue makes for a number of arresting images, and the second half, in which the secret of the mirrors is gradually revealed, is actually stronger than the first." Ken Fox TV GUIDES MOVIE REVIEWS

"Some credit for this stylish screamer goes to Sutherland, forming his doughy-handsome features into an emotional punchbag. Credit goes to Nemec, sowing a harvest of dark invention in the vast spaces." Nigel Andrews FINANCIAL TIMES "Mirrors isn't a total wash of a horror film, but it is not unreasonable to expect more from a filmmaker who has delivered stronger, more confident works in the past." Dustin Putman THE MOVIE BOY "Not a world-beater by any means, but the combination of Sutherland’s beyond-the-call gravitas, director Alexandre (High Tension) Aja’s demento visual sense, and a spookily lyrical ending earns it at least a short-term stay in the Halls of Yick." Andrew Wright THE STRANGER "Alexandre Aja proves once again that he is the best horror movie maker working today. The film has the spirit of an '80s horror movie, with enough gore, visual style, fake shocks, hammy acting and unintentional humor to remind us why we love the genre. "Mirrors" definitely showcases Aja's horror movie directing chops." Lucius Gore E SPLATTER

The Inside Story From folklore to fairy tales, superstition to religious tradition; the mythology surrounding mirrors has always tended toward the dark. The Romans imbued mirrors with the power to reflect one’s soul and affect his or her well-being. This, coupled with their belief that life renews itself every seven years, led to the centuries-old legend that seven years of bad luck will follow anyone who breaks a mirror. It was said that the only way to break the curse of seven years bad luck was to find all the pices and bury them at night in moonlight. It is very unlucky to use real mirrors on stage. An actor, should not look into a mirror over the shoulder of another, so that the two reflections are seen together. Doing this will bring certain mis-fortune to the one overlooked. In film and literature, mirrors serve as symbols of vanity and dangerous portals of truth or transport to another time and place. The Jewish faith calls for all mirrors to be shrouded in one’s home while mourning the passing of a loved one, lest the living be distracted by the trappings of beauty and the physical world. But these cautionary tales of narcissism and bad luck pale in comparison to the most common phenomenon associated with mirrors: death. Steeped in cultures from Rome to the Far East is a common lore casting mirrors as malevolent entities that trap the souls of the living, thereby causing death, or imprison the souls of the departed before they can reach the afterlife, cursing their spirits to eternal captivity. (It is also said that a vampire cannot cast a reflection, because it is a creature of the undead and has already lost its soul.) That the association between mirrors and death has endured through generations and permeated societies around the globe speaks not only to man’s complex relationship with the Great Unknown, but also with his reflection. There is no excuse for a person to be superstitious, because it leads to them creating stupid excuses that defy scientific reason. Reality is explained by facts, which means a radically bizarre explanation is unreasonable, says an article in The Collegian. "Superstitions are for people with the desire to enrich their lives with meaningless beliefs to add excitement to their pitiful existences," says Jamie Forlanda. Never the less, to this day superstition still abounds in our modern society. "Mirrors inherently challenge us to look inside ourselves," Kiefer Sutherland observes. “It’s difficult to look at yourself. It doesn’t matter how good-looking you may be. On a physical level and a spiritual one as well, it’s hard to face yourself in a mirror. Depending on what you see, they can be very frightening." The darkest elements of this collective mythology are re-imagined for the 21st century in "Mirrors," the terrifying story of a troubled ex-cop who must defend his family from a savage evil that uses reflective surfaces as gateways to terrorize them. In developing the film, a remake of Sung-ho Kim's 2003 South Korean horror movie "Geoul sokeuro" (Into the Mirror) for New Regency, producer Alexandra Milchan ("Street Kings" 2008) saw the potential for a multi-layered psychological thriller in the tradition of "The Shining". "Beyond the horror aspect of the original film, there is something very universal and interesting about the cultural mystique of mirrors that provided the basis for a great dramatic piece," says Milchan ("Goodbye Lover" & "Righteous Kill"). She approached writer-director Alexandre Aja ("The Hills Have Eyes" & "High Tension") about bringing his bold style and visceral storytelling to the project. "I was looking for a project that would allow me to explore fear in a new way," says Aja, who established himself as a potent new voice in the horror genre with the hit 2003 French slasher film "Haute tension" (High Tension). At the core of "Into the Mirror", the story of a detective who investigates a series of gruesome murders revolving around mirrors, Aja found what he was looking for. "Everyone has relationship with their reflection," he muses. "It’s something we don’t really think about, but it’s there. Some people love to look at themselves in the mirror; others hate it. Mirrors can show us the traumas and truths that exist in our subconscious, and are just waiting to be revealed." Having previously explored the sadistic extremes of human nature, Aja ("Break of Dawn") relished the opportunity to delve into the supernatural. "The concept was really original, and I wanted to create a story around it that would make audiences confront themselves and their fears in a way they’ve never imagined." Together with Gregory Levasseur, his co-writer on "Haute tension" and "The Hills Have Eyes", Aja crafted a chilling new narrative for "Mirrors", rooting the story in a man’s struggle for redemption that begins as a quest to reunite his estranged family, and quickly escalates into a ferocious battle for their lives. "Everything is collapsing around him," Aja says of Ben Carson, an NYPD detective who has been suspended for the fatal accidental shooting of another undercover officer. "He’s lost his job. He’s lost his family. He’s lost his soul." It was the film’s hybrid of well-crafted horror and genuine family drama that spoke to Sutherland. "Alex told me a beautiful story," the 2006 Emmy ("24") and 2002 Golden Globe ("24") winning actor recalls. "Horror is a genre that has always intrigued me, but what attracted me to this story is that it deals with a family that is desperately trying to figure out how to come back together. It’s about second chances. In this incredibly drastic situation, a man finds his true self and reconnects with his family. When things are at their worst, he becomes his best. And that really appealed to me." "I knew Alex and Kiefer would get along unbelievably well, because they’re both very direct and intense," Milchan notes. "If you look at the body of Kiefer’s work, he always gives 150 percent. He’s very focused and authentic, and audiences love that about him." Ultimately, Aja strived to make "Mirrors" as provocative as it is entertaining. "I hope this film has a huge psychological effect on the audience," he said. "I want them to wonder, 'Am I going to ever look in the mirror again, or will I be too scared?' The next time they see their reflection, they may have a strange feeling that they’re not alone." "We’ve created something truly frightening that will stay with you, that will touch a fear inside you that is real, and we’ve blended it with this family drama that is so important to me," says Sutherland, "the story of a man who is looking for a second chance. By bringing these two genres together, I think we’ve given this film a depth that not many horror films have." Central to the film is the fire ravaged, decaying, Mayflower department store. Aja already had the perfect location in mind. "Mirrors" was filmed almost entirely in Bucharest, Romania (key exteriors, which were shot in New York). Bucharest was selected by the filmmakers because of its formidable Academy of Sciences building, a massive structure commissioned by oppressive Communist leader Nikolae Ceausescu (europes last great dictator), which was left unfinished following his death in 1989. Writer-director Alexandre Aja envisioned the Academy as the setting for the ominous, fire-ravaged Mayflower department store. "This building is so phenomenal, it could not be recreated on a stage," says Aja, who had visited the location several years ago while scouting for another film. "The atmosphere here is so filled with fear and tension, we knew we could capture something really unique." "Ceausescu frightened and traumatized more people than we’ll probably scare with this movie," notes Milchan. "You can feel the tension in this building. It still has his imprints on it." Production designer Joseph Nemec III ("Another 48 Hrs" & "Patriot Games") and his art department faced major challenges in transforming twenty thousand square feet of raw institutional architecture into the ruined opulence of a world-class department store. From the grand staircase to the display cases, every aspect of the sprawling floor plan had to be designed, sculpted, fabricated and dressed in a mere twelve weeks: on the 6th floor of the abandoned Academy, which has no elevators. This process included fire-torching every inch of the store that the fictitious blaze would have devoured. Two teams of torchers burned everything from walls, floors, furniture and draperies to a full compliment of the store’s 'stock': including clothing, watches, jewelry, housewares and cosmetics. "There is a company in New York that supplies scents, everything from dirty socks to fresh roses," says Nemec, who typically infuses his sets with aromas appropriate to each locale. "But in this case, I didn’t need to use them because we created a 'burnt building smell' ourselves!" The dank, heavy odor and highly detailed authenticity of Nemec’s rotted-out set brought a unique texture and intensity to the production, according to Aja. "Shooting for weeks in the broken glass and dust, with the smell of smoke and fire hanging in the air, created an atmosphere for the actors and crew that made everyone feel how scary it would be to find yourself alone in this place, with only a flashlight to guide you through the darkness." "As an actor, when you come onto a set that is as real and pliable as this one is, there is an incredible amount of freedom," says Sutherland. The scope of the set and the murky darkness that cloaks it presented a career challenge for cinematographer Maxime Alexandre ("Haute tension" & "The Hills Have Eyes"). "It’s definitely the biggest location I’ve ever lit, and it’s brimming with black walls," he said. The ornate, thirty foot mirrors that adorn the Mayflower walls were positioned to amplify the magnitude of the space and reflect the horror, loss and desolation that pervade it. But from a practical standpoint, shooting a movie that revolves around mirrors is a filmmaker’s nightmare. "When you’re a DP and you receive a script titled "Mirrors", it’s like a huge taboo," Alexandre says. "Each frame is a gamble when you put the camera in front of a mirror. You’re always at the edge of your reflection." Difficulties arose when it came to the Carson's New Jersey family home. "Finding furniture and household objects in Bucharest, Romania that we could adapt to look like typical American décor was quite a challenge," Nemec III recalls. Safety was of utmost concern to those working on the shoot, as Sutherland insisted on doing many of his own stunts, fire, raging water, multiple explosions and debris crashing all around him. "Timing was of the essence," says special effects supervisor Jason Troughton ("Sexy Beast"). "Kiefer wanted to be right in there with the flames almost licking his ears. His timing was precise from rehearsals through each take, and my team’s timing was impeccable as well." Synopsis

It’s been nearly a year since Ben Carson was suspended from the NYPD for fatally shooting an undercover officer, an accident that not only cost him his job, but saw him alienated from his wife and kids, and left him crashing on his sister’s couch in Queens. Carson takes a job as a night watchman at the burned-out ruins of the Mayflower department store. What once was a symbol of prosperity and grandeur now sits decaying in the darkness like a rotting ghost ship, destroyed by a massive fire that devoured numerous innocent lives. As Carson patrols the eerie, charred remains of the store, he begins to notice something sinister about the ornate mirrors that adorn the walls. Reflected in the gigantic shimmering glass are horrific images that stun Carson. Not only projecting gruesome images of the past, the mirrors appear to be manipulating reality as well. When Ben sees his own reflection being tortured, he suffers the physical effects of his fractured visions. Now he must battle more than his personal demons.

The Verdict "Yes, it's another American remake of an Asian horror film, in this case Sung-ho Kim's 2003 South Korean horror movie "Geoul sokeuro". Like many cinemagoers, I have not seen the original. And, as I am not into useless comparisons, I can only judge Alexandre Aja's film on its own merits. Technically its a pretty good offering. Visually "Mirrors" presents itself as a convincing horror/drama. There are plenty of 'spooky' moments and one in particular that ensures the 'hair stands up' on the back of ones neck. The bathroom scene involving the demise of Carsons sister Angela is visually and emotively, highly effective. The biggest star is the Mayflower Department Store and what is left within it's decaying structure. The building comes across as dark and foreboding. It's hardly the place I'd like to be left in, on my own, at night. If the film has one drawback, it is Kiefer Sutherland. "Mirrors" really needed a stronger actor in the role of Ben Carson. Sutherland is too weak when it comes to this character. His performance is just good enough to get him through, but it just doesn't grab you by the throat (If you know what I mean). Paula Patton who played in Claire Kuchever in "Deja Vu" is the films saving grace. Her performance as Carsons wife Amy is solid. Young Cameron Boyce, who played Sam Holloman in "Eagle Eye", also gives a good account of himself. Despite its weaknesses, "Mirrors" is worth a look at. There's enough here to keep fans of the genre on their toes. I'm sure that die-hard Sutherland fans will want to see this one on the bigscreen. 3 STARS." Crew Bytes "MIRRORS" was .......
directed by Alexandre Aja ["Over the Rainbow" and "Switchblade Romance"]; set decoration by Liz Griffiths ["Heartlands", "The Jacket" and "Hot Fuzz"] and Ian Whittaker ["The Remains Of The Day", "The Importance of Being Earnest" and "Being Julia"]; costume design by Michael Dennison ["Mona Lisa Smile", "World Trade Centre" and "The Eye"] and Ellen Mirojnick ["Unfaithfull", "The Sentinel" and "Cloverfield"]; production design by Joseph C Nemec III ["Terminator 2: Judgement Day", "Twister" and "The Medallion"]; edited by Baxter ["Break Of Dawn", "Switchblade Romance" and "The Hills Have Eyes"]; cinematography by Maxime Alexandre ["Switchblade Romance", "The Defender" and "Paris, je t'aime"]; original music by 2007 Silver Arial Award winner Javier Navarrete ["The Sea", "Thirteen Chimes" and "El Laberinto del fauno"]. Who's Who

Kiefer Sutherland Paula Patton Cameron Boyce Erica Gluck Amy Smart Mary Beth Peil John Shrapnel Jason Flemyng Jim Ahern Julian Glover Josh Cole Ezra Buzzington Doina Aida Stan Ioana Abur Darren Kent Roz McCutcheon Adina Rapiteanu William Meredith Bart Sidles

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Ben Carson Amy Carson Michael Carson Daisy Carson Angela Carson Anna Esseker Lorenzo Sapelli Larry Byrne Dr Morris Robert Esseker Gary Lewis Terrence Berry Rosa Front Desk Sister Jimmy Esseker Jimmy's Mother Young Anna Young Doctor Police Inspector

Run Time 111 minutes Rated MA15+ [AUST] Copyright ©2008 - Twentieth Century Fox Films - All Rights Reserved ©2008 All Rights Reserved The Movie Pages - Protected by Australian, International, Copyright & Trademark Laws.