Some SyFy channel movies are worth seeing while others are like this film Carny (2009), which is nothing but the same-old-same-old. When a side show carnival shows up in the outskirts of a small town, their prized new freak is that of a winged devil-creature that was acquired through nefarious ways. When the devil-creature gets lose it is up to the town sheriff Atlas (Lou Diamond Phillips) to rid them of the creature at any costs.
Now this film has the distinction of being just like any other SyFy film with the small town sheriff out to protect his town from the evil monster. The problem with this film lies in the bland characters and mediocre monster, which is made even more inane by the subpar CGI effects. It also hurts the film that there are no other “freaks” that are even remotely interesting. It’s a side show carnival that lacks any real “carnies” which makes the scenes when the monster isn’t on screen very mundane.
I enjoy Phillips in low budget films (i.e. Bats, Route 666, Red Water) but this film even he can’t save. This film lacks anything more than just the superficial horror genre trappings which is fine if it has an interesting monster or great actors (the hallmark of any good SyFy movie) but this films lacks both. Phillips is but one man in a film that should be filled with freaks. At least they would have made the film more interesting.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Wednesday, September 8, 2010
Film Review: CRITTERS 3
By the time Critters 3 (1991) is released all the steam is out of the franchise but production company New Line Cinema decides to film 2 sequels at once (as parts 3 & 4 are released just a year apart). It is not explained how there can possibly be any more critters left after the last film only that Earth bound bounty hunter Charlie (Don Opper) is still at work making the world safe from the creatures the best way that he can.
This time a critters catches a ride with a impoverished family who have stopped over near Grover’s Bend. A father and his two children come into contact with a run-down Charlie who looks more like a homeless man than a bounty hunter. When the family returns home to their apartment complex they are unaware of their hitchhiker and soon the complex is overrun with critters.
If you thought the original film was light on violence then you haven’t seen anything as this film is far too kid-friendly for its own good. Even though the main characters are still kids this film makes you think as though the film makers were trying to make a film for the PG crowd and the overall films suffers for it as it is far to domesticated for my tastes. After an all too brief appearance at the beginning Charlie doesn’t reappear until half way through the film and he is played completely for laughs this go-around. Although the previous two films had their humor and the character of Charlie has always been the comic foil, there is no one in this film that can balance the comedy like Scott Grimes did in the previous films. The film makers try to do this with the three main children leads in the film but they can’t hold the film and the overall film suffers. This film is actually boring through many of the repetitive parts.
This being sad I enjoyed the ending of the film more than the film itself as the End Credit sequence sets up the events for Part 4 and it is a welcomed return to see Terrence Mann return as Ug (despite the fact that at the end of Part 2 he has the same face as Charlie).
This time a critters catches a ride with a impoverished family who have stopped over near Grover’s Bend. A father and his two children come into contact with a run-down Charlie who looks more like a homeless man than a bounty hunter. When the family returns home to their apartment complex they are unaware of their hitchhiker and soon the complex is overrun with critters.
If you thought the original film was light on violence then you haven’t seen anything as this film is far too kid-friendly for its own good. Even though the main characters are still kids this film makes you think as though the film makers were trying to make a film for the PG crowd and the overall films suffers for it as it is far to domesticated for my tastes. After an all too brief appearance at the beginning Charlie doesn’t reappear until half way through the film and he is played completely for laughs this go-around. Although the previous two films had their humor and the character of Charlie has always been the comic foil, there is no one in this film that can balance the comedy like Scott Grimes did in the previous films. The film makers try to do this with the three main children leads in the film but they can’t hold the film and the overall film suffers. This film is actually boring through many of the repetitive parts.
This being sad I enjoyed the ending of the film more than the film itself as the End Credit sequence sets up the events for Part 4 and it is a welcomed return to see Terrence Mann return as Ug (despite the fact that at the end of Part 2 he has the same face as Charlie).
Film Review: CRITTERS 2: THE MAIN COURSE
Bigger. Badder. And out for more food. The critters are back for more in Critters 2: The Main Course (1988) and back with them are returning bounty hunters Ug and Lee and Brad Brown (Scott Grimes) to save his little town from an all new infestation.
After the events of the first film the Brown family is unaware that Critter eggs were left in their barn where the cold has kept them in suspended animation for several years. An uncouple less junk sales man gets his hands on them and sells them to an unsuspecting woman who is contributing them to the yearly Eater Egg Hunt. This all coincides with Brad’s return home after leaving due to the events surrounding the first critter attack. He gets more than he bargained for when this new batch is more fierce and hungrier and are multiplying at an exponential rate. Now Brad must get the whole town to help him rid them of the infestation before they are completely over run.
This film is much bigger than the previous film and with a bigger budget it shows. The film is no longer limited to just one location like the original film and there are more explosions and more critters all over the place. This is a film that when it says, “Bigger is better,” they actually mean it. This film also ups the stakes as main characters are killed off and more people meet their deaths than in the previous film (which was tame compared to this film). There is plenty of humor to be had and just as much action (which makes up for the lack of suspense since the critters are not as menacing as they were in the previous film).
This is a rare instance where a sequel improves upon the original which is due to the strong screenplay by David Twohy (Warlock, The Arrival, Pitch Black) and Mick Garris (The Stand, Desperation), who also directed. The film also has a great supporting cast with many people returning from the original but also adding in a few new faces such as Liane Curtis, Sam Anderson, and Barry Corbin, to name a few.
After the events of the first film the Brown family is unaware that Critter eggs were left in their barn where the cold has kept them in suspended animation for several years. An uncouple less junk sales man gets his hands on them and sells them to an unsuspecting woman who is contributing them to the yearly Eater Egg Hunt. This all coincides with Brad’s return home after leaving due to the events surrounding the first critter attack. He gets more than he bargained for when this new batch is more fierce and hungrier and are multiplying at an exponential rate. Now Brad must get the whole town to help him rid them of the infestation before they are completely over run.
This film is much bigger than the previous film and with a bigger budget it shows. The film is no longer limited to just one location like the original film and there are more explosions and more critters all over the place. This is a film that when it says, “Bigger is better,” they actually mean it. This film also ups the stakes as main characters are killed off and more people meet their deaths than in the previous film (which was tame compared to this film). There is plenty of humor to be had and just as much action (which makes up for the lack of suspense since the critters are not as menacing as they were in the previous film).
This is a rare instance where a sequel improves upon the original which is due to the strong screenplay by David Twohy (Warlock, The Arrival, Pitch Black) and Mick Garris (The Stand, Desperation), who also directed. The film also has a great supporting cast with many people returning from the original but also adding in a few new faces such as Liane Curtis, Sam Anderson, and Barry Corbin, to name a few.
Film Review: CRITTERS (1986)
In 1986 a creature feature was crafted to cash in on the success of the Joe Dante film Gremlins (1984). The result was this uniquely crafty horror film Critters. Similar in tone to that of its predecessor, Critters was the “Roger Corman” version of Gremlins in a similar way that Dante’s other film Piranha (1978) was a rip-off of Jaws (1975).
Critters concern a race of aliens that crash land on Earth in search of nothing more than food and to procreate. On their trail are two shape-shifting bounty hunters who will hunt the critters down at any cost. What stands in the critters way is the farm house of Brad Brown (Scott Grimes) and his family. Brad is the quintessential trouble maker who wars with his older sister and constantly makes a nuisance of himself for his mother and father. His only friend is the local drunk Charlie (Don Opper) who is the only person that believes him when he says that there are aliens that have landed. Now Brad must enlist the help of the bounty hunters in order to save his family from the hungry balls of critter fur.
The film works in a different way than Gremlins in that these creatures are intelligent and speak their own language (which makes for some very funny moments in the film) and they actually are the source of a lot of nice suspense in the film. The film is also dark in atmosphere while maintaining a nice balance with the comic tone and humor of the film. Despite the similarities that the film has with its predecessor it stands on its own due to the sci-fi aspects of the film (which Gremlins does not have).
Critters become such as success as to warrant three sequels and making it one of the more interesting franchises of the ‘80s.
Critters concern a race of aliens that crash land on Earth in search of nothing more than food and to procreate. On their trail are two shape-shifting bounty hunters who will hunt the critters down at any cost. What stands in the critters way is the farm house of Brad Brown (Scott Grimes) and his family. Brad is the quintessential trouble maker who wars with his older sister and constantly makes a nuisance of himself for his mother and father. His only friend is the local drunk Charlie (Don Opper) who is the only person that believes him when he says that there are aliens that have landed. Now Brad must enlist the help of the bounty hunters in order to save his family from the hungry balls of critter fur.
The film works in a different way than Gremlins in that these creatures are intelligent and speak their own language (which makes for some very funny moments in the film) and they actually are the source of a lot of nice suspense in the film. The film is also dark in atmosphere while maintaining a nice balance with the comic tone and humor of the film. Despite the similarities that the film has with its predecessor it stands on its own due to the sci-fi aspects of the film (which Gremlins does not have).
Critters become such as success as to warrant three sequels and making it one of the more interesting franchises of the ‘80s.
Film Review: MANEATER (2007)
I wish I could say that this Gary Busey starring throwback to ‘80s made-for-television horror is horrible (like so many other films that premiered on the Syfy channel) but oddly enough it’s not terrible. The film Maneater (2007), which shouldn’t be confused with the countless other films with the same title, concerns Grady Barnes (Busey) whose small town is suddenly under attack from a wild Bengal Tiger that has misplaced from its known world. He then must enlist the aid of the National Guard and a wild game tiger hunter from India in order to kill the wild tiger before any more people are killed despite the fact that the Mayor refuses to close down the local Corn & Apple Festival which brings in lots of tourists and keeps their small town alive.
Sounds like a riff-off of Jaws (1975) and for the most part it is, just replace the giant great white with a Bengal Tiger and there you have it. The thing that makes this film slightly different from other films is the religious allegory and motif that is established between the tiger and the small boy in which the tiger has become attached (and is the only person exempt from the tiger’s jaws). This doesn’t make the film better as it suffers from mediocre acting from most of the cast (although Busey does give a much more subtle performance than I’m used to).
An asset to the film is the real tiger used in the film and the lack of CGI effects. This film feels like a monster film from the ‘80s from beginning to end. Unlike other Syfy films that rely too heavily on the CGI monster it was nice to see a film that strived for realism. This is not to say that the film was a masterpiece but it’s nice to see that there are still a few films being made in which they feel like the films I watched on television when I was young.
Sounds like a riff-off of Jaws (1975) and for the most part it is, just replace the giant great white with a Bengal Tiger and there you have it. The thing that makes this film slightly different from other films is the religious allegory and motif that is established between the tiger and the small boy in which the tiger has become attached (and is the only person exempt from the tiger’s jaws). This doesn’t make the film better as it suffers from mediocre acting from most of the cast (although Busey does give a much more subtle performance than I’m used to).
An asset to the film is the real tiger used in the film and the lack of CGI effects. This film feels like a monster film from the ‘80s from beginning to end. Unlike other Syfy films that rely too heavily on the CGI monster it was nice to see a film that strived for realism. This is not to say that the film was a masterpiece but it’s nice to see that there are still a few films being made in which they feel like the films I watched on television when I was young.
Graphic Novel Review: THE 'NAM Vol. 1
The late ‘80s were dominated by superhero comics. All other genres were pushed aside to make way for the latest Spider-Man or Batman title or the latest debut of an all new Marvel or DC character but war comics were seen as something that was dead and buried. Then in ’86 Marvel debuted what was thought to be an oddity and a gamble with the very real and very gritty title The ‘Nam, which depicted events during the Vietnam war in a very realistic manner from the grunts point of view. Although not an instant success, The ‘Nam became one of the most ground breaking titles of the ‘80s. This first volume collects the first 10 issues of the series.
When the title was originally released, I didn’t catch on to it until the issue 8 or 9 and I was hooked immediately. It was unlike any other title I had ever read. Trying to pick up back issues was extremely hard as they became immediate collector’s items but Marvel (the company that released the title) was smart enough to reprint back issues in the form of The ‘Nam Magazine (covers of which are included at the end of the graphic novel). This graphic novel is a reprint of an earlier version just rebound and recolored (the original graphic novel covers are also included). This is a very handsomely presented collection of one of the greatest war comics.
Reading the series in sequential order is a revelation as the stories were designed to be in real time and there be a month of time that goes in between each story (the release date of each issue) so reading the series in which it was meant gives you a whole different perspective on the events and characters of the series especially when very well liked main characters are killed off at a moment’s notice (similar to that of the real war). People coming to the title for the very first time will benefit from this and those (like me) who haven’t read the series since it was originally released will be given a new perspective on one of the greatest of all war comics.
When the title was originally released, I didn’t catch on to it until the issue 8 or 9 and I was hooked immediately. It was unlike any other title I had ever read. Trying to pick up back issues was extremely hard as they became immediate collector’s items but Marvel (the company that released the title) was smart enough to reprint back issues in the form of The ‘Nam Magazine (covers of which are included at the end of the graphic novel). This graphic novel is a reprint of an earlier version just rebound and recolored (the original graphic novel covers are also included). This is a very handsomely presented collection of one of the greatest war comics.
Reading the series in sequential order is a revelation as the stories were designed to be in real time and there be a month of time that goes in between each story (the release date of each issue) so reading the series in which it was meant gives you a whole different perspective on the events and characters of the series especially when very well liked main characters are killed off at a moment’s notice (similar to that of the real war). People coming to the title for the very first time will benefit from this and those (like me) who haven’t read the series since it was originally released will be given a new perspective on one of the greatest of all war comics.
Graphic Novel Review: ZOMBIEWORLD: CHAMPION OF THE WORMS
The zombie genre has become its own cottage industry when it comes to the comic industry so it was with great apprehension that I picked up ZOMBIEWORLD Vol. 1: CHAMPION OF THE WORMS but I did because of the talent behind the book. I’ve always been a Mike Mignola fan so I was curious on how he would approach the material and even though I am not familiar with the art of Pat McEown it was very similar to Mignola’s own.
The story does not waste time getting straight into the story as Major Damson and his group of paranormal specialists has been consulted by a museum with a new Hyperborean relic which has been causing the museum several superstitious problems. Damson believes that the museum has unwilling set into motion the resurrection of Azzul Gotha, one of the most dreaded necromancers of the Hyperborean people, who was entombed alive in a sarcophagus. Azzul Gotha wants to bring about the end of the world and appease his Worm Gods. Now Damson and his team must find the resurrected Azzul Gotha and stop him before he can raise the dead and bring about the end of the world.
Like many of Mignola’s stories this is very fast paced but unlike the successful Hellboy books this story lacks the depth and characters of those books. This story falls flat partly because the characters never become fully developed and the story lacks any real creativity or originality. There is nothing new here that hasn’t been seen or done before. Damson’s team all seem unique and interesting but very little time is spent on any of them and they come off as being very flat and at times dull.
Being a huge fan of the zombie genre I wish I could say some good things about the title but I’ll reserve that for the next Hellboy story.
The story does not waste time getting straight into the story as Major Damson and his group of paranormal specialists has been consulted by a museum with a new Hyperborean relic which has been causing the museum several superstitious problems. Damson believes that the museum has unwilling set into motion the resurrection of Azzul Gotha, one of the most dreaded necromancers of the Hyperborean people, who was entombed alive in a sarcophagus. Azzul Gotha wants to bring about the end of the world and appease his Worm Gods. Now Damson and his team must find the resurrected Azzul Gotha and stop him before he can raise the dead and bring about the end of the world.
Like many of Mignola’s stories this is very fast paced but unlike the successful Hellboy books this story lacks the depth and characters of those books. This story falls flat partly because the characters never become fully developed and the story lacks any real creativity or originality. There is nothing new here that hasn’t been seen or done before. Damson’s team all seem unique and interesting but very little time is spent on any of them and they come off as being very flat and at times dull.
Being a huge fan of the zombie genre I wish I could say some good things about the title but I’ll reserve that for the next Hellboy story.
Graphic Novel Review: CHALLENGER DEEP
The comic book industry and graphic novels have changed dramatically over the past decade. No longer dominated by the superhero genre the industry has allowed other genres to flourish especially the sci-fi and horror genres. A few years ago a graphic novel such as Challenger Deep would’ve been an oddity but in today’s market this sci-fi drama is the norm and publisher Boom! Studios has made it a norm to challenge their audiences with though provoking stories of all genres (including the occasional superhero book).
Challenger Deep is the story of an elite rescue team who must journey into Challenger Deep, one of deepest trenches of the ocean, when a nuclear submarine is damaged and sunken to a depth that no ordinary man could ever dive down to. The clock is ticking down as the nuclear sub is destined to detonate if it is broke back on line and back in the control of the military. If this happens the nuclear bomb will detonate “methane ice” in the trench which will set into action a global chain reaction that may turn the entire Earth into a fireball. In order to get down to the nuclear sub the government enlists the aid of Dr. Eric Chase and his team. Not only does Dr. Chase need to get down to the sub in only seventy-two hours but there are also survivors in the downed sub that are experiencing their own possible mutiny.
With script by Andy Schmidt (story by Schmidt & Andrew Cosby) and art by Chee this is a very fast paced thriller in the vein of the films The Abyss and Crimson Tide. Chee’s artwork as always is a marvel to behold and it brings the deep sea world of Challenger Deep to life. Schmidt’s script is very smart and intelligent and even though Dr. Chase is not a likable character at first the story gets deep into the motivations of why he is someone whom people hate but is dedicated to his profession when it really counts. Having the secondary story focus on the survivors trapped within the downed sub and how a mutiny within endangers the entire world is a great addition and allows the story to really feel the immediacy of the clock ticking down to Armageddon.
I really enjoyed this graphic novel and fans of this genre will find lots to enjoy as well.
Challenger Deep is the story of an elite rescue team who must journey into Challenger Deep, one of deepest trenches of the ocean, when a nuclear submarine is damaged and sunken to a depth that no ordinary man could ever dive down to. The clock is ticking down as the nuclear sub is destined to detonate if it is broke back on line and back in the control of the military. If this happens the nuclear bomb will detonate “methane ice” in the trench which will set into action a global chain reaction that may turn the entire Earth into a fireball. In order to get down to the nuclear sub the government enlists the aid of Dr. Eric Chase and his team. Not only does Dr. Chase need to get down to the sub in only seventy-two hours but there are also survivors in the downed sub that are experiencing their own possible mutiny.
With script by Andy Schmidt (story by Schmidt & Andrew Cosby) and art by Chee this is a very fast paced thriller in the vein of the films The Abyss and Crimson Tide. Chee’s artwork as always is a marvel to behold and it brings the deep sea world of Challenger Deep to life. Schmidt’s script is very smart and intelligent and even though Dr. Chase is not a likable character at first the story gets deep into the motivations of why he is someone whom people hate but is dedicated to his profession when it really counts. Having the secondary story focus on the survivors trapped within the downed sub and how a mutiny within endangers the entire world is a great addition and allows the story to really feel the immediacy of the clock ticking down to Armageddon.
I really enjoyed this graphic novel and fans of this genre will find lots to enjoy as well.
Graphic Novel Review: THE UNWRITTEN Vol. 1
I picked up this collection of the first 5 issues of Vertigo’s The Unwritten series for two reasons – 1) because it’s a Vertigo title and 2) because I heard very good things about the series. This first volume called “Tommy Taylor & the Bogus Identity” was not my idea of a very good series. Although I usually enjoy Vertigo’s titles, The Unwritten, despite the great praise, is not my type of book.
The story follows Tommy Taylor whose adoptive father made him the fictional character of a hugely successful series of fantasy novels. When validity of his true background comes into question Tommy sets out trying to discover his true roots but soon realizes that his life parallels that of the fictional character in the novels. As Tommy gets closer to learning the truth his life is thrust into an eerie world of dark fantasy that will forever change his life.
The series plays like a darker version of the popular Harry Potter novels if they based in reality. Bad news for me as I’m not a big fan of fantasy nor Harry Potter so this series didn’t hold my interests too well. The series is written by and art by Mike Carey & Peter Gross, who were behind Vertigo’s other popular series Lucifer. Although I’m not a fan of this series there is no denying that it’s extremely well written and researched and that Carey and Gross have a very huge story that they are telling. For fans of dark fantasy mixed with reality this is definitely the series for them. The story has a very rich history and plenty of supporting characters to support a very long run. Even though I wasn’t a fan of the series there is no denying that readers who enjoy this type of fantasy will enjoy what Carey and Gross have in store for them. Vertigo is always stretching boundaries and this series is no different.
The story follows Tommy Taylor whose adoptive father made him the fictional character of a hugely successful series of fantasy novels. When validity of his true background comes into question Tommy sets out trying to discover his true roots but soon realizes that his life parallels that of the fictional character in the novels. As Tommy gets closer to learning the truth his life is thrust into an eerie world of dark fantasy that will forever change his life.
The series plays like a darker version of the popular Harry Potter novels if they based in reality. Bad news for me as I’m not a big fan of fantasy nor Harry Potter so this series didn’t hold my interests too well. The series is written by and art by Mike Carey & Peter Gross, who were behind Vertigo’s other popular series Lucifer. Although I’m not a fan of this series there is no denying that it’s extremely well written and researched and that Carey and Gross have a very huge story that they are telling. For fans of dark fantasy mixed with reality this is definitely the series for them. The story has a very rich history and plenty of supporting characters to support a very long run. Even though I wasn’t a fan of the series there is no denying that readers who enjoy this type of fantasy will enjoy what Carey and Gross have in store for them. Vertigo is always stretching boundaries and this series is no different.
Film Review: BASKET CASE 3: THE PROGENY
Writer/director Frank Henenlotter decided to bring the separated Bradley twins back for one last adventure in Basket Case 3: The Progeny. You’d think that after the events of the last film that there was nowhere else for the franchise to go but Henenlotter has decided to give the deformed Belial Bradley brother a brood of his own.
The final film in the trilogy begins right after the events of the previous film in which Duane Bradley (Kevin Van Hentenryck) has accidentally killed the love of his life Susan and going a little crazy has decided that it is better if he and his brother Belial no longer be separated so he surgically connects them together again. In the new film Duane is just a little crazy having been re-separated from his brother by Granny Ruth (Annie Ross) who decides to pack up all the “freaks” of the house and travel to Uncle Hal’s (Dan Biggers) home because he is the only one who may be able to deliver Belial’s brood without harming the mother. Things begin to get out of hand when Duane decides that it’s best that he and his brother escape Granny Ruth but his attempts at escape bring the unwanted attention of the police. When the police break into Uncle Hal’s home they discover the existence of Granny Ruth’s freaks and decides to take Belial’s brood hostage. This doesn’t sit too well with Belial or Duane or Granny Ruth and the rest of the freaks as they set out to avenge the death of Belial’s mate and the kidnapping of his brood. It’s an all out battle between the freaks and the normals and nothing will ever be the same as Granny Ruth and the rest of her brood refuse to remain hidden from the world.
Not one to repeat himself Henenlotter decides to evolve the story of freaks everywhere as this is a film in which Duane must come to terms with his place in the world whereas Belial has already found his place and he will stop at nothing to protect his own and his family. Whereas in the earlier films it was Belial protecting Duane it is now Belial protecting his children and Duane protecting Belial and all of his fellow freaks. The story comes full circle in the third film.
Fans of Henenlotter should not be worried as the film is filled with over the top gore and humor from beginning to end and a fitting end to one of the horror genre’s most imaginative trilogies.
The final film in the trilogy begins right after the events of the previous film in which Duane Bradley (Kevin Van Hentenryck) has accidentally killed the love of his life Susan and going a little crazy has decided that it is better if he and his brother Belial no longer be separated so he surgically connects them together again. In the new film Duane is just a little crazy having been re-separated from his brother by Granny Ruth (Annie Ross) who decides to pack up all the “freaks” of the house and travel to Uncle Hal’s (Dan Biggers) home because he is the only one who may be able to deliver Belial’s brood without harming the mother. Things begin to get out of hand when Duane decides that it’s best that he and his brother escape Granny Ruth but his attempts at escape bring the unwanted attention of the police. When the police break into Uncle Hal’s home they discover the existence of Granny Ruth’s freaks and decides to take Belial’s brood hostage. This doesn’t sit too well with Belial or Duane or Granny Ruth and the rest of the freaks as they set out to avenge the death of Belial’s mate and the kidnapping of his brood. It’s an all out battle between the freaks and the normals and nothing will ever be the same as Granny Ruth and the rest of her brood refuse to remain hidden from the world.
Not one to repeat himself Henenlotter decides to evolve the story of freaks everywhere as this is a film in which Duane must come to terms with his place in the world whereas Belial has already found his place and he will stop at nothing to protect his own and his family. Whereas in the earlier films it was Belial protecting Duane it is now Belial protecting his children and Duane protecting Belial and all of his fellow freaks. The story comes full circle in the third film.
Fans of Henenlotter should not be worried as the film is filled with over the top gore and humor from beginning to end and a fitting end to one of the horror genre’s most imaginative trilogies.
Film Review: BASKET CASE 2
For horror fans the name Frank Henenlotter is not only synonymous with horror but also the strange and unusual and comedy as well…just all within the same film. Henenlotter first success was the original Basket Case but it would be with its sequel Basket Case 2 that he would set the horror world on fire with his offbeat sense of humor, characters, and gore.
After the apparent death of separated Siamese brothers Duane (Kevin Van Hentenryck) and Belial Bradley, the two are whisk away to a hospital where they are on their death bed and held captive for murder. They are rescued by Granny Ruth and her granddaughter Susan (Annie Ross and Heather Rattray, respectfully) who run a half way house for mutants and freaks like them. As Duane and Belial recover from their injuries Duane begins to feel that in a house of freaks he is the one who’s the real freak and starts to ponder a life outside in the normal world where he will no longer be looked upon as a freak. Trouble starts to arise when a nosy reporter starts snooping around and threatens everyone at Granny Ruth’s forcing Duane to choose between his brother and his old life and that of the life he wants to have.
The thing that makes Henenlotter’s films such great horror entertainment is that his films are not just about the outcasts of society (i.e. Frankenhooker and Brain Damage) but they also are the heroes of his films whereas the “normal” people are usually the villains despite the horrific nature of his films. Although Belial is a killer he never kills unless provoked or is protecting someone.
I’m a huge fan of films in which the “freaks” are the main characters of the film as some of my favorite films are Freaks (1932) and Clive Barker’s Nightbreed and my favorite stories are The Hunchback of Notre Dame and The Phantom of the Opera. I must add though that Henenlotter’s films are an acquired taste as the gore and humor are very tongue in cheek. It’s takes a special type of horror fan to appreciate Henenlotter’s contribution to the horror genre.
After the apparent death of separated Siamese brothers Duane (Kevin Van Hentenryck) and Belial Bradley, the two are whisk away to a hospital where they are on their death bed and held captive for murder. They are rescued by Granny Ruth and her granddaughter Susan (Annie Ross and Heather Rattray, respectfully) who run a half way house for mutants and freaks like them. As Duane and Belial recover from their injuries Duane begins to feel that in a house of freaks he is the one who’s the real freak and starts to ponder a life outside in the normal world where he will no longer be looked upon as a freak. Trouble starts to arise when a nosy reporter starts snooping around and threatens everyone at Granny Ruth’s forcing Duane to choose between his brother and his old life and that of the life he wants to have.
The thing that makes Henenlotter’s films such great horror entertainment is that his films are not just about the outcasts of society (i.e. Frankenhooker and Brain Damage) but they also are the heroes of his films whereas the “normal” people are usually the villains despite the horrific nature of his films. Although Belial is a killer he never kills unless provoked or is protecting someone.
I’m a huge fan of films in which the “freaks” are the main characters of the film as some of my favorite films are Freaks (1932) and Clive Barker’s Nightbreed and my favorite stories are The Hunchback of Notre Dame and The Phantom of the Opera. I must add though that Henenlotter’s films are an acquired taste as the gore and humor are very tongue in cheek. It’s takes a special type of horror fan to appreciate Henenlotter’s contribution to the horror genre.
Film Review: George A. Romero's SURVIVAL OF THE DEAD
Few directors have had as profound effect on the horror genre as writer/director George A. Romero and his contributions to the zombie genre are legendary so it is with great excitement that I can talk about his latest zombie epic is his ever expanding …Dead series Survival of the Dead. Not so much a direct sequel to the previous film Diary of the Dead but a spinoff as it features one minor character from that film and expands upon his story.
This new film follows Nicotine Crocket (Alan Van Sprang) and his fellow soldiers who have gone AWOL do to the world going to the zombies. He and his platoon are now just trying to survive in a world overrun by zombies which means stealing and looting from those who are unfortunate enough to come across their path. Their luck may have changed when they come across the possible safe refuge of Plum Island only when they get there they realize that the residents of the island have their own civil war going on. Ever since the dead began to rise from the grave the two Irish clans that populate the island the O’Flynns and the Muldoons have been killing each other. The O’Flynns wants to kill the dead no matter who it is to protect the living whereas the Muldoons wish to preserve the dead in the hopes that a cure be found and if not a cure than a means in which to get the dead to eat something other than other humans. When Crocket and his team get to the island he realizes that he is caught in the middle of a war that will have consequences on all sides.
Fans of the zombie genre may be a tad disappointed by the film as there is very little zombie massacre to be had. Instead this film is a character study between three sides of one of the most important questions in regards to what should be done if a zombie apocalypse was to ever happen. How much “humanity” do we lose when the world becomes a living hell? And can the dead be domesticated?
Romero’s film is filled with the same humor displayed is his Dawn of the Dead especially in terms of the way in which the zombies are killed. This is a highlight of the film as Romero has been a tad too serious with the last two …Dead films. This film has a lot more humor despite the social commentary that is abound in a Romero film. Fans and critics who dismissed his last film for it being too apparent with the social commentary (the film was criticized for being two transparent and repetitive) don’t have to worry about this film as Romero has a lot more fun with the material and it makes for one great entertaining ride. This film will also keep gore hounds happy as it is a Romero film and gore can be found everywhere, it just has more of a sense of humor.
Produced for an estimated $4 million (more than his previous film) it’s surprising that the film wasn’t given a wider release although it did preview a month earlier on VOD, Amazon, etc. for download which is fast becoming the norm for indie films in order to recoup costs. Considering that the popularity of zombie films have been on the rise it’s hard to imagine why this film (especially since it’s a Romero film) didn’t get a wider release. Regardless, it’s a thought provoking and entertaining zombie film that will definitely find an audience once it hits DVD.
This new film follows Nicotine Crocket (Alan Van Sprang) and his fellow soldiers who have gone AWOL do to the world going to the zombies. He and his platoon are now just trying to survive in a world overrun by zombies which means stealing and looting from those who are unfortunate enough to come across their path. Their luck may have changed when they come across the possible safe refuge of Plum Island only when they get there they realize that the residents of the island have their own civil war going on. Ever since the dead began to rise from the grave the two Irish clans that populate the island the O’Flynns and the Muldoons have been killing each other. The O’Flynns wants to kill the dead no matter who it is to protect the living whereas the Muldoons wish to preserve the dead in the hopes that a cure be found and if not a cure than a means in which to get the dead to eat something other than other humans. When Crocket and his team get to the island he realizes that he is caught in the middle of a war that will have consequences on all sides.
Fans of the zombie genre may be a tad disappointed by the film as there is very little zombie massacre to be had. Instead this film is a character study between three sides of one of the most important questions in regards to what should be done if a zombie apocalypse was to ever happen. How much “humanity” do we lose when the world becomes a living hell? And can the dead be domesticated?
Romero’s film is filled with the same humor displayed is his Dawn of the Dead especially in terms of the way in which the zombies are killed. This is a highlight of the film as Romero has been a tad too serious with the last two …Dead films. This film has a lot more humor despite the social commentary that is abound in a Romero film. Fans and critics who dismissed his last film for it being too apparent with the social commentary (the film was criticized for being two transparent and repetitive) don’t have to worry about this film as Romero has a lot more fun with the material and it makes for one great entertaining ride. This film will also keep gore hounds happy as it is a Romero film and gore can be found everywhere, it just has more of a sense of humor.
Produced for an estimated $4 million (more than his previous film) it’s surprising that the film wasn’t given a wider release although it did preview a month earlier on VOD, Amazon, etc. for download which is fast becoming the norm for indie films in order to recoup costs. Considering that the popularity of zombie films have been on the rise it’s hard to imagine why this film (especially since it’s a Romero film) didn’t get a wider release. Regardless, it’s a thought provoking and entertaining zombie film that will definitely find an audience once it hits DVD.
Film Review: RED (2008)
The novels of writer Jack Ketchum have thus far been given justice The Lost, The Girl Next Door, Offspring, and now Red, which is by far the best of the lot. Although the film has had a troubled past (with original director Lucky McKee being replaced by Trygve A. Diessen), the end result has not been affected. Red is a captivating and engaging film from beginning to end due in no small part by the commanding performance of star Brian Cox.
Cox is Avery Ludlow, a general store owner who likes to spend his days fishing with his trusted companion Red, which is the last remnant of his dear departed wife. On one seemingly uneventful day Ludlow is enjoying a good day of fishing with Red when three teens come upon them. The teens intend to rob Ludlow but he has no money on him and they in turn shoot and kill Red out of spite. Ludlow goes to the authorities but there is little justice to be had when an animal is killed no matter how beloved the animal is. Ludlow then sets upon getting justice from the parents of the teens but the parents are oblivious of their children’s activities and Ludlow soon realizes that because one of the teens is the son of a wealthy business that money can buy anything. Ludlow then goes to desperate measures in order to get justice for the death of Red which will lead to actions that he won’t soon be able to take back.
Unlike the previous films adapted from Ketchum’s work this film is not violent as all the violence is off screen or in the shadows. Instead, this film plays upon the emotional violence inflicted on Ludlow and how that violence can make a peaceful man into a violent one.
Red is an excellent example of how an actor can drive a film despite everything else that may happen with the film. After McKee was let go so too was Angela Bettis and Diessen does bring with it the cache of McKee but despite this the film is headlined by Cox but has genre favorites Tom Sizemore, Asley Laurence, Robert England, and Amanda Plummer among its amazing cast. This is one of those films that if you’re a pet owner that once you see the film you won’t soon forget it.
Cox is Avery Ludlow, a general store owner who likes to spend his days fishing with his trusted companion Red, which is the last remnant of his dear departed wife. On one seemingly uneventful day Ludlow is enjoying a good day of fishing with Red when three teens come upon them. The teens intend to rob Ludlow but he has no money on him and they in turn shoot and kill Red out of spite. Ludlow goes to the authorities but there is little justice to be had when an animal is killed no matter how beloved the animal is. Ludlow then sets upon getting justice from the parents of the teens but the parents are oblivious of their children’s activities and Ludlow soon realizes that because one of the teens is the son of a wealthy business that money can buy anything. Ludlow then goes to desperate measures in order to get justice for the death of Red which will lead to actions that he won’t soon be able to take back.
Unlike the previous films adapted from Ketchum’s work this film is not violent as all the violence is off screen or in the shadows. Instead, this film plays upon the emotional violence inflicted on Ludlow and how that violence can make a peaceful man into a violent one.
Red is an excellent example of how an actor can drive a film despite everything else that may happen with the film. After McKee was let go so too was Angela Bettis and Diessen does bring with it the cache of McKee but despite this the film is headlined by Cox but has genre favorites Tom Sizemore, Asley Laurence, Robert England, and Amanda Plummer among its amazing cast. This is one of those films that if you’re a pet owner that once you see the film you won’t soon forget it.
Film Review" SPLICE
There are few sci-fi – horror films that try to blend both of the genres and do it in a satisfactory manner. The ALIEN franchise and EVENT HORIZON are the ones that come to mind as well as writer & director Vincenzo Natali’s CUBE, so it is with great pleasure that I recommend Natali’s latest film SPLICE as one of these rare hybrids that actually work.
The film is about two geneticist Clive and Elsa (Adrien Brody and Sarah Polley, respectfully) who embark on splicing human DNA with that of an animal hybrid in order to further the advancements of mankind in the hopes of finding cures for various human ailments. Their experiment goes further than they expected when they give birth to a humanoid creature they later name “Dren.” At first everything starts off as a simply experiment as the two scientist try to learn as much from Dren as possible all the while keeping her existence a secret as they’ve just broken many legal and moral laws. The older Dren gets the more human she becomes and Clive and Elsa’s creation no longer can be described as an experiment as she becomes more and more fed up with being locked away from the world. Clive and Elsa soon realize that their experiment may have the better of them as Dren possesses more abilities than they could have ever hoped for.
The film delves deep into parental responsibly which is evident from the Frankenstein homage and motifs throughout the film but it goes deeper by updating the story for modern times in which genetic manipulation is reality. The emotional weight of the film comes from the moral implications and conflict between Clive and Elsa and their child “Dren.” The horror comes when that child grows up and the parents have not adequately prepared her for the outside world.
The film succeeds because the concepts and themes are the fears of every parent of their child and for a horror film they are multiplied exponentially. With a Natali film you’re guaranteed complex characters and a human story wrapped within the complexities of a sci-fi film that has a horrific outcome. He succeeds where so many others fail and SPLICE is truly a success story 100%.
The film is about two geneticist Clive and Elsa (Adrien Brody and Sarah Polley, respectfully) who embark on splicing human DNA with that of an animal hybrid in order to further the advancements of mankind in the hopes of finding cures for various human ailments. Their experiment goes further than they expected when they give birth to a humanoid creature they later name “Dren.” At first everything starts off as a simply experiment as the two scientist try to learn as much from Dren as possible all the while keeping her existence a secret as they’ve just broken many legal and moral laws. The older Dren gets the more human she becomes and Clive and Elsa’s creation no longer can be described as an experiment as she becomes more and more fed up with being locked away from the world. Clive and Elsa soon realize that their experiment may have the better of them as Dren possesses more abilities than they could have ever hoped for.
The film delves deep into parental responsibly which is evident from the Frankenstein homage and motifs throughout the film but it goes deeper by updating the story for modern times in which genetic manipulation is reality. The emotional weight of the film comes from the moral implications and conflict between Clive and Elsa and their child “Dren.” The horror comes when that child grows up and the parents have not adequately prepared her for the outside world.
The film succeeds because the concepts and themes are the fears of every parent of their child and for a horror film they are multiplied exponentially. With a Natali film you’re guaranteed complex characters and a human story wrapped within the complexities of a sci-fi film that has a horrific outcome. He succeeds where so many others fail and SPLICE is truly a success story 100%.
Wednesday, June 9, 2010
Film Review: SILENT NIGHT, DEADLY NIGHT 5: THE TOY MAKER (1991)
The Silent Night, Deadly Night franchise returns to its Christmas roots with the last entry in the franchise Part 5: The Toy Maker which was co-written and co-produced by the previous entry’s director Brian Yuzna. This latest film is directed by Martin Kitrosser (who also co-wrote) and explores toys that seem to have a mind of their own that go on a killing spree.
Derek is a disturbed young boy after watching his father get killed by a toy that comes to life and strangles him. Since then he hasn’t been the same and his mother Sarah (Jane Higginson) is trying to do everything she can to bring her son back to normal. When Sarah takes her son to the local toy shop owned by Joe Petto (Mickey Rooney), her son is taken back by the possibility that the toy that killed his father probably came this very toy shop. This is also the theory Noah (Tracy Fraim) who is staking out the store and has an even deeper connection to Sarah & her son than he even knows.
There is an interesting (and obvious) parallel between this story and that of Pinocchio that makes this an interesting sequel in the franchise. Although the film has its flaws, mostly the lackluster characters, its an interesting little film. Unlike the previous film, this film pays homage to the franchise in several ways. Noah works as a Santa Claus for a mall (like in the original film) and at one point several characters are seen watching one of the films in the franchise. This is fitting as this is the last film in the franchise.
I’m not particularly a fan of this film but the acting is stronger in this film than in some of the previous films (the biggest flaw of the previous film) but it lacks the style and ambiance of the last first but improves upon Part 3. Rooney is also an interesting choice for the cast and gets the chance to play a broken drunk father to a problem child soon. His treatment of his son could even border on child abuse.
The visual fx in terms of the toys brought to life is lacking and are the only real drawback of the film as the deaths probably come off as more comical than they should (which is not helped by the abysmal score). The film is good for a once over during the holidays but that’s about it.
Derek is a disturbed young boy after watching his father get killed by a toy that comes to life and strangles him. Since then he hasn’t been the same and his mother Sarah (Jane Higginson) is trying to do everything she can to bring her son back to normal. When Sarah takes her son to the local toy shop owned by Joe Petto (Mickey Rooney), her son is taken back by the possibility that the toy that killed his father probably came this very toy shop. This is also the theory Noah (Tracy Fraim) who is staking out the store and has an even deeper connection to Sarah & her son than he even knows.
There is an interesting (and obvious) parallel between this story and that of Pinocchio that makes this an interesting sequel in the franchise. Although the film has its flaws, mostly the lackluster characters, its an interesting little film. Unlike the previous film, this film pays homage to the franchise in several ways. Noah works as a Santa Claus for a mall (like in the original film) and at one point several characters are seen watching one of the films in the franchise. This is fitting as this is the last film in the franchise.
I’m not particularly a fan of this film but the acting is stronger in this film than in some of the previous films (the biggest flaw of the previous film) but it lacks the style and ambiance of the last first but improves upon Part 3. Rooney is also an interesting choice for the cast and gets the chance to play a broken drunk father to a problem child soon. His treatment of his son could even border on child abuse.
The visual fx in terms of the toys brought to life is lacking and are the only real drawback of the film as the deaths probably come off as more comical than they should (which is not helped by the abysmal score). The film is good for a once over during the holidays but that’s about it.
Film Review: SILENT NIGHT, DEADLY NIGHT 4: INITIATION (1990)
One year after the previous sequel debuted straight to DVD horror director Brian Yuzna (Bride of Re-Animator, Return of the Living Dead 3) was brought on board to develop a different story in which to brand the Silent Night, Deadly Night franchise. Yuzna developed the story (with screenplay written by Woody Keith) and directed this in name only sequel Part 4: Initiation, which is more a witchcraft story than a serial killer Santa Clause film.
The film concerns a young reporter Kim (Neith Hunter) who is frustrated with not being taken seriously at her paper and thus wants to investigate the death of an unknown woman who jumped off a building while also experiencing a strange case of spontaneous human combustion. This leads her investigation to a book seller in the same building that the woman jumped from Fima (Maud Adams) and her group of very liberated women. Fima and her group take Kim into their fold and while Kim thinks she is investigating the death the group is putting Kim through a secret initiation process that forces her to confront her inner fears and demons by making them a physical manifestation. All this is done in order to liberate Kim and make her one of the groups newest members after the tragic accident of their previous member.
The story is very interesting in terms of the story taking a very feminist view on a woman’s place in a world filled with men. Yuzna as always crafts some very interesting visuals as Kim’s inner fears are given physical manifestation in the form of world-like creatures and giant cockroaches. What the film suffers from (like many of Yuzna’s films) is bad performances especially from Hunter who comes off as the angriest woman ever. She is so over the top that even the presence of Adams can’t save the overall film.
The theme of Christmas is very loosely displayed in this film and that’s probably because the film was not meant to be a direct sequel to the franchise. The film could have easily been a standalone film but potential profits with the “Silent Night, Deadly Night” brand name probably dictated the change. Regardless, despite the films many flaws this is the best sequel in the franchise simply because it isn’t a standard slasher film but an exercise in mental and psychological fear.
The film concerns a young reporter Kim (Neith Hunter) who is frustrated with not being taken seriously at her paper and thus wants to investigate the death of an unknown woman who jumped off a building while also experiencing a strange case of spontaneous human combustion. This leads her investigation to a book seller in the same building that the woman jumped from Fima (Maud Adams) and her group of very liberated women. Fima and her group take Kim into their fold and while Kim thinks she is investigating the death the group is putting Kim through a secret initiation process that forces her to confront her inner fears and demons by making them a physical manifestation. All this is done in order to liberate Kim and make her one of the groups newest members after the tragic accident of their previous member.
The story is very interesting in terms of the story taking a very feminist view on a woman’s place in a world filled with men. Yuzna as always crafts some very interesting visuals as Kim’s inner fears are given physical manifestation in the form of world-like creatures and giant cockroaches. What the film suffers from (like many of Yuzna’s films) is bad performances especially from Hunter who comes off as the angriest woman ever. She is so over the top that even the presence of Adams can’t save the overall film.
The theme of Christmas is very loosely displayed in this film and that’s probably because the film was not meant to be a direct sequel to the franchise. The film could have easily been a standalone film but potential profits with the “Silent Night, Deadly Night” brand name probably dictated the change. Regardless, despite the films many flaws this is the best sequel in the franchise simply because it isn’t a standard slasher film but an exercise in mental and psychological fear.
Film Review: SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT (1989)
The ‘80s were filled with straight to video sequels of horror films of which the Silent Night, Deadly Night franchise produced its fair share. This second sequel Part 3 Better Watch Out! Was the final story featuring the original “Santa Claus Killer” Ricky Caldwell (this time played by Bill Moseley) who has been kept alive through scientific experimentation. This Dr. Newbury (Richard Beymer) is using Caldwell and experimenting with ESP but doesn’t realize that Caldwell has created a psychic link with a blind woman Laura Anderson (Samantha Scully) who is celebrating the holidays with her brother and girlfriend. Caldwell escapes from Dr. Newbury and people get killed and that’s pretty much it for this film.
The ‘80s were notorious for slasher films that simply presented a killer that killed people for very little reason and that sums up the plot for this film. Written by Carlos Laszlo and directed by Monte Hellman, who directed the drive-in cult classic Two-Lane Backdrop, this film is a by the numbers slasher film on a very limited budget as neither the look of the film nor the kills are as elaborate or intricate as the previous two films. This film is only really for fans of the franchise. I can’t even recommend it to fans of Moseley as he has very little to do other than walk around like a mindless zombie the whole film. It is interesting to note that the film has an early appearance from actress Laura Harring (from Mulholland Dr. and the remake of Willard, to name a few films on her horror resume).
I remember seeing this film when it was originally released and I actually remember liking it (this film along with its brethren made for great holiday viewing every year) but the film has aged horribly (and was probably not all that good when originally released).
The ‘80s were notorious for slasher films that simply presented a killer that killed people for very little reason and that sums up the plot for this film. Written by Carlos Laszlo and directed by Monte Hellman, who directed the drive-in cult classic Two-Lane Backdrop, this film is a by the numbers slasher film on a very limited budget as neither the look of the film nor the kills are as elaborate or intricate as the previous two films. This film is only really for fans of the franchise. I can’t even recommend it to fans of Moseley as he has very little to do other than walk around like a mindless zombie the whole film. It is interesting to note that the film has an early appearance from actress Laura Harring (from Mulholland Dr. and the remake of Willard, to name a few films on her horror resume).
I remember seeing this film when it was originally released and I actually remember liking it (this film along with its brethren made for great holiday viewing every year) but the film has aged horribly (and was probably not all that good when originally released).
Film Review: THE STEPFATHER (2009)
I probably shouldn’t like this timid remake of a minor horror classic but I actually find little wrong with The Stepfather (2009) probably because I’ve never seen the original film (only its 2 sequels). I am a fan of actor Dylan Walsh having been a huge fan of his television show Nip/Tuck and the film Congo (of which he starred). It is nice to see Walsh expand from those two previously mentioned roles.
The film follows the exploits of a serial killer (Walsh) who marries into a family looking to build the “perfect” family, or the one he pictures in his mind. When it doesn’t work out he kills everyone and then moves on to the next. The film begins with the serial killer now going by the name of David Harris whose new fiancée Susan (Sela Ward) is celebrating the return of her son Michael (Penn Badgley) from military school where he was sent for disciplinary problems. Michael has father issues and immediately takes a disliking to his mother’s new beau. As Michael digs into David’s past he comes closer and closer to proving that this family is anything but perfect and David soon realizes that he might need to cut his losses and move on.
The film as written by J.S. Cardone is very well structured and executed for the first two-thirds as a suspense thriller but falls apart by the end of the film. Cardone does an excellent job keeping the film going by having David dispatch everyone that comes in his way from creating the perfect family but by the time the film winds down to the final act the film never creates any real threat as there is no direct violence of consequences to any of the characters. Even the way in which David is knocked unconscious is timid. The ending is completely predictable and a shame considering everything that preceded it.
Although the film is for the PG-13 audience (who don’t go to horror films that often) as a date film (whom I’m sure the film works for), the film is not for the diehard horror fan as the material is watered down for a specific audience and should not deter others from enjoying the film.
The film follows the exploits of a serial killer (Walsh) who marries into a family looking to build the “perfect” family, or the one he pictures in his mind. When it doesn’t work out he kills everyone and then moves on to the next. The film begins with the serial killer now going by the name of David Harris whose new fiancée Susan (Sela Ward) is celebrating the return of her son Michael (Penn Badgley) from military school where he was sent for disciplinary problems. Michael has father issues and immediately takes a disliking to his mother’s new beau. As Michael digs into David’s past he comes closer and closer to proving that this family is anything but perfect and David soon realizes that he might need to cut his losses and move on.
The film as written by J.S. Cardone is very well structured and executed for the first two-thirds as a suspense thriller but falls apart by the end of the film. Cardone does an excellent job keeping the film going by having David dispatch everyone that comes in his way from creating the perfect family but by the time the film winds down to the final act the film never creates any real threat as there is no direct violence of consequences to any of the characters. Even the way in which David is knocked unconscious is timid. The ending is completely predictable and a shame considering everything that preceded it.
Although the film is for the PG-13 audience (who don’t go to horror films that often) as a date film (whom I’m sure the film works for), the film is not for the diehard horror fan as the material is watered down for a specific audience and should not deter others from enjoying the film.
Film Review: HOUSE OF THE DEVIL
Ti West is a name known to many indie horror films as he brought the film The Roost and Trigger Man to screen as well as the belated Cabin Fever 2: Spring Fever. Championed by producer and director Larry Fessenden West is fast becoming a name in the horror community of which The House of the Devil is his best film.
Although I was no fan of The Roost there is no denying that the film was not your typical horror film and the same can be said of West’s latest. HOTD details a college student Samantha Hughes (Jocelin Donahue) in the ‘80s who reluctantly takes a babysitting job because she desperately needs the money to get her own house instead of living in campus housing. Despite the fact that tonight is the night of a full lunar eclipse, Samantha takes the job because she’s desperate for the money. She soon realizes her folly as her employers have a nefarious plan to sacrifice her for some Satanic ritual.
The film unfolds at a leisure pace with very little horrific happening until the climax but that’s the thing that sets this film apart from other horror films of late. West (who also wrote the screenplay) spends his time crafting believable characters who find themselves in a desperate situation. You can tell that Fessenden has had an effect on him as Fessenden is well known for his slow burning horror films. By following in Fessenden’s example, West crafts his best film while still telling a story about Satanic ritualization in a realistic manor instead of relying on the conventions of the B-movies that came before it. If West continues on this road he’ll become one of the premiere horror directors of his generation.
Although I was no fan of The Roost there is no denying that the film was not your typical horror film and the same can be said of West’s latest. HOTD details a college student Samantha Hughes (Jocelin Donahue) in the ‘80s who reluctantly takes a babysitting job because she desperately needs the money to get her own house instead of living in campus housing. Despite the fact that tonight is the night of a full lunar eclipse, Samantha takes the job because she’s desperate for the money. She soon realizes her folly as her employers have a nefarious plan to sacrifice her for some Satanic ritual.
The film unfolds at a leisure pace with very little horrific happening until the climax but that’s the thing that sets this film apart from other horror films of late. West (who also wrote the screenplay) spends his time crafting believable characters who find themselves in a desperate situation. You can tell that Fessenden has had an effect on him as Fessenden is well known for his slow burning horror films. By following in Fessenden’s example, West crafts his best film while still telling a story about Satanic ritualization in a realistic manor instead of relying on the conventions of the B-movies that came before it. If West continues on this road he’ll become one of the premiere horror directors of his generation.
Film Review: HOUSE ON SORORITY ROW (1983)
I’m a big fan of the remake of this film Sorority Row (2009) from last year as it was more akin to Scream or I Know What You Did Last Summer and not the remakes of Prom Night or When A Stranger Calls. That was a down and dirty remake like last year’s hit My Bloody Valentine in 3-D, so when I finally got to view the original film The House on Sorority Row (1983) I was pleasantly surprised at how much I enjoyed the film.
Although the film is obviously a product of its time as it deals with a group of Sorority sisters who prank on their den mother goes horrible wrong and they end up killing her. Unable to dispose of the body quickly the sisters hide the body in the pool hoping to be able to dispose of the body later. When later comes the body is gone and they soon believe that maybe their den mother wasn’t truly dead so now they are on a desperate search to find her before she can tell the truth. The only problem that the Sorority sisters now have to contend with is that maybe their den mother is trying to kill them for what they did to her.
The film is a cat & mouse game that works very well even by today’s standards despite the timid gore, in fact, there is very little gore to be had in this film (especially compared to the remake). This being said, the reason why I enjoyed this film so much were the blatant homage to the French film Les Diaboliques, which is one of my favorite thrillers. The sisters disposing of the body in a pool and then realizing that the body is no longer in there, among other things, demonstrates how much the filmmakers were influenced by that film. HOSR may not be cinematic gold but all it takes is that little something extra to set itself apart from the rest of the ‘80s horror pack and this is one of those things.
Although the film is obviously a product of its time as it deals with a group of Sorority sisters who prank on their den mother goes horrible wrong and they end up killing her. Unable to dispose of the body quickly the sisters hide the body in the pool hoping to be able to dispose of the body later. When later comes the body is gone and they soon believe that maybe their den mother wasn’t truly dead so now they are on a desperate search to find her before she can tell the truth. The only problem that the Sorority sisters now have to contend with is that maybe their den mother is trying to kill them for what they did to her.
The film is a cat & mouse game that works very well even by today’s standards despite the timid gore, in fact, there is very little gore to be had in this film (especially compared to the remake). This being said, the reason why I enjoyed this film so much were the blatant homage to the French film Les Diaboliques, which is one of my favorite thrillers. The sisters disposing of the body in a pool and then realizing that the body is no longer in there, among other things, demonstrates how much the filmmakers were influenced by that film. HOSR may not be cinematic gold but all it takes is that little something extra to set itself apart from the rest of the ‘80s horror pack and this is one of those things.
Saturday, May 29, 2010
Horror 2010 - The Body Count So Far!
HORROR 2010 – THE BODY COUNT SO FAR
With the remake of A NIGHTMARE ON ELM STREET (2010) soon leaving the box office to make way for the summer blockbusters and the impending release of the most anticipated horror film of the summer SPLICE just around the corner it’s time to take a look at the horror films thus far released in 2010. The box office info was obtained from the website of Box Office Mojo (www.boxofficemojo.com).
1. SHUTTER ISLAND ($127.6 million) – This Martin Scorsese back to terrifying form after a long hiatus since his remake of CAPE FEAR. Although this film had trouble finally making it to the big screen after several changes in release dates, the long delays did not hamper the success of the film and it is, in fact, one of the highlights of 2010 whether horror film or not.
2. THE WOLFMAN ($62 million) – This film was plagued with all types of problems from the moment it was announced to be in production to its final release and although it had a healthy opening weekend subsequent weeks proved that there was little audience for this overblown remake. It was all action and no heart. Now that the film is being released in a longer version on DVD there is hope that audiences will finally be able to see the film in a more complete form.
3. A NIGHTMARE OF ELM STREET (approx. $60.6 million) – Although this remake has been one of the most profitable in recent years it also boasts one of the worst reactions by fans. It’s steep attendance drop from week 1 to week 2 of release was a disaster giving the film one of the worst second week percentage drops of any other film this year. It seems that fans were not inspired by this timid remake.
4. LEGION ($40.2 million) – This action-religious-horror film left many scratching their heads as it was neither a true horror film and neither a true action film. It had its successful moments but these were few and far in between leaving many genre fans just waiting for it to hit DVD rather than waste the time at the box office.
5. THE CRAZIES ($39.1 million) – A remake that fans actually liked. Although the film only did mediocre business fans enjoyed the update of George A. Romero’s original infectious disease tail. This update was suspenseful and effective on many levels and was different enough from the original to not be openly compared.
6. DAYBREAKERS ($30.1 million) – One of my favorites of the year that did not translate into huge box office success. This was more an intelligent action film when fans were looking for a horror film (especially after being assaulted by the likes of THE TWILIGHT SAGA: NEW MOON last year). This film also had release troubles and it didn’t help that it was over shadowed but the juggernaut that was AVATAR. This is still one of the best horror films of the year as well as one of the best vampire films in the last few years (this coming from someone who doesn’t particularly like vampire films).
7. REPO MEN ($13.8 million) – Some may ask why I include this sci-fi hybrid on this list but let’s not discredit this highly violent film that documents the horrors of a future in which a repo man can rip the heart out of a still living human being. This is a horror film if there ever is one plus it’s interesting to compare this film with the similarly themed REPO: THE GENETIC OPERA from last year.
8. HUMAN CENTIPEDE (FIRST SEQUENCE) ($115,186) – Although it’s only had a limited release, this film has had a polarizing effect of audiences everywhere (including those who were lucky enough to see it while it was in film festivals). Critics either love or loathe this film which is mark of some of the best indie horror films. Any film that can divide an audience as much as this one is good in my book.
9. AFTER.LIFE ($108, 595) – This ghost story boasts an incredible cast from an all new voice in horror as this was the director’s debut film. Despite the limited release the film got very good reviews and there is hope that when the film finally reaches DVD that it will find its audience.
10. BEST WORST MOVIE ($31,208) – Who said that documentary films had to suck? This documentary of the legacy of the infamous TROLL 2 has gotten great reviews from audiences at film festivals everywhere and it’s a miracle that the film was even given a limited theatrical release. Despite this I’m assured that the film will find an audience just like the original film it is based on.
There have been several other horror films released theatrically in 2010 but Box Office Mojo does not always track all the limited release films. Despite this info 2010 has been a very limited year thus far for the horror genre and there is hope that things will change once we get into the end of summer (when horror films are more plentiful).
With the remake of A NIGHTMARE ON ELM STREET (2010) soon leaving the box office to make way for the summer blockbusters and the impending release of the most anticipated horror film of the summer SPLICE just around the corner it’s time to take a look at the horror films thus far released in 2010. The box office info was obtained from the website of Box Office Mojo (www.boxofficemojo.com).
1. SHUTTER ISLAND ($127.6 million) – This Martin Scorsese back to terrifying form after a long hiatus since his remake of CAPE FEAR. Although this film had trouble finally making it to the big screen after several changes in release dates, the long delays did not hamper the success of the film and it is, in fact, one of the highlights of 2010 whether horror film or not.
2. THE WOLFMAN ($62 million) – This film was plagued with all types of problems from the moment it was announced to be in production to its final release and although it had a healthy opening weekend subsequent weeks proved that there was little audience for this overblown remake. It was all action and no heart. Now that the film is being released in a longer version on DVD there is hope that audiences will finally be able to see the film in a more complete form.
3. A NIGHTMARE OF ELM STREET (approx. $60.6 million) – Although this remake has been one of the most profitable in recent years it also boasts one of the worst reactions by fans. It’s steep attendance drop from week 1 to week 2 of release was a disaster giving the film one of the worst second week percentage drops of any other film this year. It seems that fans were not inspired by this timid remake.
4. LEGION ($40.2 million) – This action-religious-horror film left many scratching their heads as it was neither a true horror film and neither a true action film. It had its successful moments but these were few and far in between leaving many genre fans just waiting for it to hit DVD rather than waste the time at the box office.
5. THE CRAZIES ($39.1 million) – A remake that fans actually liked. Although the film only did mediocre business fans enjoyed the update of George A. Romero’s original infectious disease tail. This update was suspenseful and effective on many levels and was different enough from the original to not be openly compared.
6. DAYBREAKERS ($30.1 million) – One of my favorites of the year that did not translate into huge box office success. This was more an intelligent action film when fans were looking for a horror film (especially after being assaulted by the likes of THE TWILIGHT SAGA: NEW MOON last year). This film also had release troubles and it didn’t help that it was over shadowed but the juggernaut that was AVATAR. This is still one of the best horror films of the year as well as one of the best vampire films in the last few years (this coming from someone who doesn’t particularly like vampire films).
7. REPO MEN ($13.8 million) – Some may ask why I include this sci-fi hybrid on this list but let’s not discredit this highly violent film that documents the horrors of a future in which a repo man can rip the heart out of a still living human being. This is a horror film if there ever is one plus it’s interesting to compare this film with the similarly themed REPO: THE GENETIC OPERA from last year.
8. HUMAN CENTIPEDE (FIRST SEQUENCE) ($115,186) – Although it’s only had a limited release, this film has had a polarizing effect of audiences everywhere (including those who were lucky enough to see it while it was in film festivals). Critics either love or loathe this film which is mark of some of the best indie horror films. Any film that can divide an audience as much as this one is good in my book.
9. AFTER.LIFE ($108, 595) – This ghost story boasts an incredible cast from an all new voice in horror as this was the director’s debut film. Despite the limited release the film got very good reviews and there is hope that when the film finally reaches DVD that it will find its audience.
10. BEST WORST MOVIE ($31,208) – Who said that documentary films had to suck? This documentary of the legacy of the infamous TROLL 2 has gotten great reviews from audiences at film festivals everywhere and it’s a miracle that the film was even given a limited theatrical release. Despite this I’m assured that the film will find an audience just like the original film it is based on.
There have been several other horror films released theatrically in 2010 but Box Office Mojo does not always track all the limited release films. Despite this info 2010 has been a very limited year thus far for the horror genre and there is hope that things will change once we get into the end of summer (when horror films are more plentiful).
10 Most Influential Zombie Films
When Cryptshow.Net creator Ron McLellen asked me to do an article of the ten most influential zombie films I was beside myself. I’m a huge admirer and follower of the genre from countries all across the world so choosing only ten films out of the hundreds available was going to be a daunting task. Which films to choose whether they are just plain excellent verses whether or not they’ve had an impact of the genre, this was going to be the hardest choice for me but I hope that the ten films I’ve chosen will suffice it for the most diehard of zombie fans, and if not, I invite criticism of all kinds.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
A NIGHTMARE ON ELM STREET: The Franchise!
With the latest addition in American remakes of classic horror cinema – A Nightmare on Elm Street (2010), just hitting theaters, I thought now would be a good time to take a look back at the entire franchise and see how well it stands up today.
A NIGHTMARE ON ELM STREET (1984)
Still a quintessential horror film by one of today’s most successful horror directors Wes Craven. This is the film that “built” New Line Cinema as it was the company’s first major substantial success story. This film holds up very well even by today’s standards due to its innovative story and cinematography. It also holds up well due to its lack of humor (which would over shadow much of the rest of the series) and its many elements of suspense. One of the things that make this film so successful is Craven’s use of suspense to terrify the audience rather than pure gore (although the film does boast some very bloody scenes).
A NIGHTMARE ON ELM STREET 2: FREDDY’S REVENGE (1985)
Not the most liked of the series but it is one of the few that holds up well because it’s main purpose is still to frighten and scare the audience so the imagery is still very powerful despite the departures in story that may hamper the film. The film also lacks the humor of subsequent films allowing this film to remain in the category of horror. Although some of the acting is borderline adequate (most of the young stars never go on to do anything else substantial), the film is filled with atmosphere and a great production design and style that can be traced in many of the subsequent sequels.
A NIGHTMARE ON ELM STREET 3: THE DREAM WARRIORS (1987)
One of the strongest of the sequels not just in terms of story and theme, but production design, cinematography, special fx, and casting. This is by far one of the best of the sequels. Despite the fact that all elements of horror and suspense to the character of Freddy is gone, the film makes up for it in strides in so many other ways. This is good and bad as the humor displayed in this film from the Freddy character would demystify the character in future installments. This film would also force subsequent films to rely on the “dream death” as a means to tell the story rather than come up with an actual story to hinge each of the films on.
A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER (1988)
Trying to take the franchise into a new era, this film first kills off the remaining “Elm Street children” before expanding Freddy’s playground. With the exception of the character who transforms into a cockroach this film is pretty forgettable. It has its moments of entertainment but the film tries too hard to add more insight on the dream world and how it is controlled and how it functions. This is a major flaw of not only this film but later films as well.
A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD (1989)
The series was running out of ideas by the time this film came around. With only a few Freddy kills (none of which are interesting) this is the most timid of the franchise. The one thing that this film does get right is the production design, tone, and atmosphere. Despite the lame death scenes this film is dark not only in atmosphere but story as well which is the film’s only saving grace. The franchise is at a low point but it gets even lower with –
FREDDY’S DEAD: THE FINAL NIGHTMARE (`1991)
By far the worst film in the series. By the time this film was released there was only one place left for the series to go and that was 100% “camp.” Besides the Wizard of Oz and Nintendo riffs this is the most unwatchable of the series (unless of course you like camp). This film isn’t even worth watching for the 3-D ending. I love Yaphet Kotto and Lisa Zane but neither of these two actors could save this mess. This is one film that should have gone straight to video.
Wes Craven’s NEW NIGHTMARE (1994)
By far the best sequel in the franchise. Original creator Wes Craven returns to bring an all new nightmare to the screen by mixing film fiction with reality and myth & folklore. It’s one of the most creative films not only of the franchise but of Craven’s career. Despite the many suspenseful aspects of the film, the film’s only flaw lies in the fact that it tries to erase the memory of all the other sequels that came before it (but can’t).
FREDDY VS. JASON (2003)
Who knew that a match up between two of the greatest icons of horror cinema would be this much fun! Despite the borderline camp elements of the film, there is enough violence and good humor to make this one of the best films in the series based on the entertainment value alone. I was actually hoping for a sequel but this would never be (unless of course you read the graphic novel Freddy Vs. Jason Vs. Ash, which adds the Evil Dead franchise to the mix).
A NIGHTMARE ON ELM STREET (2010)
This timid remake has a pacing problem and no style of its own as it takes a page from the book of remakes The Texas Chainsaw Massacre (2003) and Friday the 13th (2009). The film never finds its own heartbeat and seems like too much of a retread of the original. The origin of Freddy (although very interesting) bogs down the film with unnecessary info and none of the characters are all that interesting making for a very dull film.
Despite my misgivings for the A Nightmare on Elm Street (2010), there are many whom this film was their first exposure to the franchise and thus is something of a highlight to the genre. This film is no Freddy’s Dead, so there are several good qualities to recommend (none seem to come to mind just yet) and first timers to the franchise will relish J. Earl’s performance as the iconic Fred Kruger (one of the film’s only high points).
Despite your opinion of the new film or any of the previous films the Nightmare franchise has had an immense effect on the horror genre past, present, and now into the future.
A NIGHTMARE ON ELM STREET (1984)
Still a quintessential horror film by one of today’s most successful horror directors Wes Craven. This is the film that “built” New Line Cinema as it was the company’s first major substantial success story. This film holds up very well even by today’s standards due to its innovative story and cinematography. It also holds up well due to its lack of humor (which would over shadow much of the rest of the series) and its many elements of suspense. One of the things that make this film so successful is Craven’s use of suspense to terrify the audience rather than pure gore (although the film does boast some very bloody scenes).
A NIGHTMARE ON ELM STREET 2: FREDDY’S REVENGE (1985)
Not the most liked of the series but it is one of the few that holds up well because it’s main purpose is still to frighten and scare the audience so the imagery is still very powerful despite the departures in story that may hamper the film. The film also lacks the humor of subsequent films allowing this film to remain in the category of horror. Although some of the acting is borderline adequate (most of the young stars never go on to do anything else substantial), the film is filled with atmosphere and a great production design and style that can be traced in many of the subsequent sequels.
A NIGHTMARE ON ELM STREET 3: THE DREAM WARRIORS (1987)
One of the strongest of the sequels not just in terms of story and theme, but production design, cinematography, special fx, and casting. This is by far one of the best of the sequels. Despite the fact that all elements of horror and suspense to the character of Freddy is gone, the film makes up for it in strides in so many other ways. This is good and bad as the humor displayed in this film from the Freddy character would demystify the character in future installments. This film would also force subsequent films to rely on the “dream death” as a means to tell the story rather than come up with an actual story to hinge each of the films on.
A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER (1988)
Trying to take the franchise into a new era, this film first kills off the remaining “Elm Street children” before expanding Freddy’s playground. With the exception of the character who transforms into a cockroach this film is pretty forgettable. It has its moments of entertainment but the film tries too hard to add more insight on the dream world and how it is controlled and how it functions. This is a major flaw of not only this film but later films as well.
A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD (1989)
The series was running out of ideas by the time this film came around. With only a few Freddy kills (none of which are interesting) this is the most timid of the franchise. The one thing that this film does get right is the production design, tone, and atmosphere. Despite the lame death scenes this film is dark not only in atmosphere but story as well which is the film’s only saving grace. The franchise is at a low point but it gets even lower with –
FREDDY’S DEAD: THE FINAL NIGHTMARE (`1991)
By far the worst film in the series. By the time this film was released there was only one place left for the series to go and that was 100% “camp.” Besides the Wizard of Oz and Nintendo riffs this is the most unwatchable of the series (unless of course you like camp). This film isn’t even worth watching for the 3-D ending. I love Yaphet Kotto and Lisa Zane but neither of these two actors could save this mess. This is one film that should have gone straight to video.
Wes Craven’s NEW NIGHTMARE (1994)
By far the best sequel in the franchise. Original creator Wes Craven returns to bring an all new nightmare to the screen by mixing film fiction with reality and myth & folklore. It’s one of the most creative films not only of the franchise but of Craven’s career. Despite the many suspenseful aspects of the film, the film’s only flaw lies in the fact that it tries to erase the memory of all the other sequels that came before it (but can’t).
FREDDY VS. JASON (2003)
Who knew that a match up between two of the greatest icons of horror cinema would be this much fun! Despite the borderline camp elements of the film, there is enough violence and good humor to make this one of the best films in the series based on the entertainment value alone. I was actually hoping for a sequel but this would never be (unless of course you read the graphic novel Freddy Vs. Jason Vs. Ash, which adds the Evil Dead franchise to the mix).
A NIGHTMARE ON ELM STREET (2010)
This timid remake has a pacing problem and no style of its own as it takes a page from the book of remakes The Texas Chainsaw Massacre (2003) and Friday the 13th (2009). The film never finds its own heartbeat and seems like too much of a retread of the original. The origin of Freddy (although very interesting) bogs down the film with unnecessary info and none of the characters are all that interesting making for a very dull film.
Despite my misgivings for the A Nightmare on Elm Street (2010), there are many whom this film was their first exposure to the franchise and thus is something of a highlight to the genre. This film is no Freddy’s Dead, so there are several good qualities to recommend (none seem to come to mind just yet) and first timers to the franchise will relish J. Earl’s performance as the iconic Fred Kruger (one of the film’s only high points).
Despite your opinion of the new film or any of the previous films the Nightmare franchise has had an immense effect on the horror genre past, present, and now into the future.
Saturday, May 22, 2010
Graphic Novel Review: HAUNT Vol. 1
I almost didn’t pick up the first volume of the graphic novel HAUNT because it so reminded up of the character of Spawn, which I hate to say I really never cared for. The series even has two of the people behind Spawn attached – Todd McFarlane, inker and co-creator, and Greg Capullo, layout artist. What finally convinced me to pick up the first volume of HAUNT (which collects the first five issues of the series) was that Robert Kirkman was writer and co-creator. I’m a huge fan of his THE WALKING DEAD and CAPES series, among others, and so I decided to take a chance (the book is less than $10.00 so that’s also a plus). I’m glad I did.
This first volume of the series presents a conflicted priest (Daniel) whose brother (Kurt, a Special Ops with the military) is killed by a clandestine group who want some Top secret info that they think he has. Kurt finds himself trapped between the world of the living and that of the dead and only Daniel can see him. Daniel and his dead brother’s ghost Kurt also have an uncommon relationship as Kurt has the ability to inhabit his brother’s body and transform them into a supernatural entity who is virtually indestructible. Things get more complicated when the clandestine group who killed Kurt go after his widow forcing Daniel (with Kurt’s help) to protect her at all costs.
Like most of Kirkman’s work the story stays character oriented and is always fast paced leaving little space for fluff. Kirkman & McFarlane did a great job crafting the background and universe of the characters which a lot of it finds its way into these first five issues (graphic novel). The artwork is also top notch.
Although there are the obvious Spawn influences, the book stands on its own and is a great addition to both Kirkman and McFarlane’s repertoire. I just hope that any follow up series/volumes are as good.
This first volume of the series presents a conflicted priest (Daniel) whose brother (Kurt, a Special Ops with the military) is killed by a clandestine group who want some Top secret info that they think he has. Kurt finds himself trapped between the world of the living and that of the dead and only Daniel can see him. Daniel and his dead brother’s ghost Kurt also have an uncommon relationship as Kurt has the ability to inhabit his brother’s body and transform them into a supernatural entity who is virtually indestructible. Things get more complicated when the clandestine group who killed Kurt go after his widow forcing Daniel (with Kurt’s help) to protect her at all costs.
Like most of Kirkman’s work the story stays character oriented and is always fast paced leaving little space for fluff. Kirkman & McFarlane did a great job crafting the background and universe of the characters which a lot of it finds its way into these first five issues (graphic novel). The artwork is also top notch.
Although there are the obvious Spawn influences, the book stands on its own and is a great addition to both Kirkman and McFarlane’s repertoire. I just hope that any follow up series/volumes are as good.
Graphic Novel Review: BEYOND WONDERLAND
Continuing the events started in Return To Wonderland the second book in the trilogy, Beyond Wonderland – finds Callie hiding from the world under a new alias Lacy with her boyfriend Brandon and awaiting the birth of her unborn child. Callie would like nothing more than to forget her misadventures in Wonderland and that she manipulated her murderous brother into taking her place in that world. Now she is suffering from nightmares and possible delusions that her brother, now as a version of the Mad Hatter, may have found a way into the real world and may want not only revenge on her but her unborn child as well.
The story of Beyond Wonderland, written by Raven Gregory with artwork by Daniel Leister, is an excellent follow up of the story started in the first series as this story focuses on events in the real world rather than those in Wonderland. Don not fret as familiar faces are everywhere as we become aware that the evil that inhabits Wonderland not only has its sights on the real world and therefore this makes for a great middle story before the final showdown. Fans of the first series have nothing to worry about as there is plenty of nightmarish visions to be had as well as the required violence of the typical Grimm Fairy Tales series.
One of the reasons why I enjoy this series so much is the attention to details in regards not only to story and characters but in the history of the world that has been created (which is expanded even further in the Tales From Wonderland graphic novels and stories). Another asset to this series is that because events take place so long after Return To Wonderland, new readers will have no problem jumping right into this story.
With the shock ending of the second part of the trilogy I’m looking forward to seeing how they wrap things up in the final story Escape From Wonderland.
The story of Beyond Wonderland, written by Raven Gregory with artwork by Daniel Leister, is an excellent follow up of the story started in the first series as this story focuses on events in the real world rather than those in Wonderland. Don not fret as familiar faces are everywhere as we become aware that the evil that inhabits Wonderland not only has its sights on the real world and therefore this makes for a great middle story before the final showdown. Fans of the first series have nothing to worry about as there is plenty of nightmarish visions to be had as well as the required violence of the typical Grimm Fairy Tales series.
One of the reasons why I enjoy this series so much is the attention to details in regards not only to story and characters but in the history of the world that has been created (which is expanded even further in the Tales From Wonderland graphic novels and stories). Another asset to this series is that because events take place so long after Return To Wonderland, new readers will have no problem jumping right into this story.
With the shock ending of the second part of the trilogy I’m looking forward to seeing how they wrap things up in the final story Escape From Wonderland.
Book Review: ZOMBIE HOLOCAUST: HOW THE LIVING DEAD DEVOURED POP CULTURE by David Flint
Let me just say that “I love zombie films.” Always have an always will ever since I was we little one pf the age of about thirteen and I saw Night of the Living Dead (1968) for the very first time. That film warped my fragile little mind (more because black and white films seemed scarier to me as a child than color films). So when I talk about David Flint’s book Zombie Holocaust: How the Living Dead Devoured Pop Culture it’s from the perspective of a zombie fan…first.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
Graphic Novel Review: DIE HARD: YEAR ONE Vol. 1
The Die Hard film franchise is nothing short of amazing as it still manages to pack the theaters especially after the most previous one Live Free or Die Hard was a huge hit. Now the infamous John McClane faces a whole new villain – his first year on the job. Boom! Studios latest hit Die Hard: Year One takes us to the very beginning as we see McClane as a rookie cop on the job in New York City during the 1976 Bicentennial celebration. He gets more than he bargained for when he gets mixed up with an innocent woman who accidentally witnesses two cops murder a man in cold blood. These two cooked cops are part of an even bigger conspiracy that threatens the Bicentennial celebration as well as many innocent lives. Now McClane must prove that he’s more than just a rookie cop in order to uncover the conspiracy and save the girl.
Written by Howard Chaykin, with art by Stephen Thompson, and colorist Matthew Wilson Die Hard: Year One is a great addition to the franchise. Both Chaykin and Thompson capture the spirit and humor of the films in this Year One story leaving little hints of things to come in the future. The story is fast paced and yet still tells a very good story. If there’s one complaint it’s that it was too short. At only originally 4 issues long, the series goes by way to fast (and I wanted to read more) but I guess it’s a good thing that this is only the beginning for the character for Boom! Studios.
Another great thing about the graphic novel edition is that they collect all the various covers from the series so you get a glimpse into all the contributing artists which is always an asset in my book. It is also presented as a hard back version rather than the standard soft cover so you know you’re getting more bang for your buck (also included is what has now become a standard for hard back editions is a book mark or page placement). Hopefully, this is a sign of great things to come.
Written by Howard Chaykin, with art by Stephen Thompson, and colorist Matthew Wilson Die Hard: Year One is a great addition to the franchise. Both Chaykin and Thompson capture the spirit and humor of the films in this Year One story leaving little hints of things to come in the future. The story is fast paced and yet still tells a very good story. If there’s one complaint it’s that it was too short. At only originally 4 issues long, the series goes by way to fast (and I wanted to read more) but I guess it’s a good thing that this is only the beginning for the character for Boom! Studios.
Another great thing about the graphic novel edition is that they collect all the various covers from the series so you get a glimpse into all the contributing artists which is always an asset in my book. It is also presented as a hard back version rather than the standard soft cover so you know you’re getting more bang for your buck (also included is what has now become a standard for hard back editions is a book mark or page placement). Hopefully, this is a sign of great things to come.
Graphic Novel Review: TALES FROM WONDERLAND Vol. 1
The first volume of stories contained within Tales From Wonderland Vol. 1 collects a variety of the one-shots based on the hugely popular Zenescope Wonderland series (which includes Return, Beyond, and Escape From Wonderland). In this volume we learn about many of the various characters that inhabit the world of Wonderland. The stories are written by Joe Brusha, Ralph Tedesco, and Raven Gregory with various artists who contribute to the series.
In this volume we get to see origin of the Queen of Hearts (“Queen of Hearts”), the first Mad hatter (“The Story of the Mad Hatter”), Alice’s original journey into Wonderland (“Alice”), and the origin of Wonderland itself (“The Experiment”). As a bonus this volume also contains the preview issue #0 and first issues of the Beyond Wonderland series (which is the second series in the trilogy following Return to Wonderland and ending with Escape from Wonderland). This volume also contains a collection of the various covers for the one-shots so that fans can see all the different contributions from various artists.
For those readers who have not read the actual series of Wonderland books this is a great stepping on point as it introduces readers to some of the main characters of the universe and even the origin of the Wonderland universe itself. For those who have already read the previous series this is a great way to learn about some of your favorite characters. Be warned that for those of you who have never read this series before these stories are very graphic in nature staying closer to the “Grimm” Fairy tale rather than the Disney version of the characters. This is a very violent series.
In this volume we get to see origin of the Queen of Hearts (“Queen of Hearts”), the first Mad hatter (“The Story of the Mad Hatter”), Alice’s original journey into Wonderland (“Alice”), and the origin of Wonderland itself (“The Experiment”). As a bonus this volume also contains the preview issue #0 and first issues of the Beyond Wonderland series (which is the second series in the trilogy following Return to Wonderland and ending with Escape from Wonderland). This volume also contains a collection of the various covers for the one-shots so that fans can see all the different contributions from various artists.
For those readers who have not read the actual series of Wonderland books this is a great stepping on point as it introduces readers to some of the main characters of the universe and even the origin of the Wonderland universe itself. For those who have already read the previous series this is a great way to learn about some of your favorite characters. Be warned that for those of you who have never read this series before these stories are very graphic in nature staying closer to the “Grimm” Fairy tale rather than the Disney version of the characters. This is a very violent series.
Saturday, April 17, 2010
Film Review: POPCORN
I would like to think that the film Popcorn is as good as I remember it when I saw it in ’91 when it was first released, but sadly this is a film, that for me, has aged very badly. Popcorn is about a group of students who put together a revival for old school gimmick films (B-movies in the vein of William Castle) and a serial killer who can mimic any one he wants in order to kill everyone at the revival event.
Jill Schoelen leads a cast on up and coming young actors (at the time at least) in a horror comedy with real bite. When I original saw the film I was young and the novelty of the film was not lost on me. I likened the film to the old Castle and Universal monster films. It was never a scary film, just a film that you could laugh at and have a good time.
Now the novelty is gone and the film can’t hold water under real scrutiny. I wish it did. I’m a huge fan of Schoelen from her days in such films as The Stepfather, Cutting Class, The Phantom of The Opera, and When a Stranger Calls Back, to name a few. The film is entertaining for a few laughs but that’s about it.
Jill Schoelen leads a cast on up and coming young actors (at the time at least) in a horror comedy with real bite. When I original saw the film I was young and the novelty of the film was not lost on me. I likened the film to the old Castle and Universal monster films. It was never a scary film, just a film that you could laugh at and have a good time.
Now the novelty is gone and the film can’t hold water under real scrutiny. I wish it did. I’m a huge fan of Schoelen from her days in such films as The Stepfather, Cutting Class, The Phantom of The Opera, and When a Stranger Calls Back, to name a few. The film is entertaining for a few laughs but that’s about it.
Film Review: C.H.U.D. (1984)
‘80s horror films don’t get much better than the decay of humanity on display in this toxic waste film C.H.U.D. otherwise known as “cannibalistic humanoid underground dwellers.” When Captain Bosch’s (Christopher Curry) wife goes missing he decides to take the ravings of The Reverend Shepherd (Daniel Stern) seriously. He’s been trying to get someone to investigate the disappearance of several street people over the last few weeks. As Bosch and Shepherd dig deeper their paths cross with photographer George Cooper (John Heard) who has been documenting the lives of the city’s homeless and destitute.
What the three soon discover is that some of the city’s homeless people have been exposed to toxic waste being illegally dumped under the city. This toxic waste has turned these people into mutated cannibals who survive by eating other people. Now they must expose the truth before they become the next victims of the C.H.U.D.
Although slightly dated C.H.U.D. is nevertheless an entertaining and fun film. The special effects still hold up and despite the plot with several holes it’s a decent film about the harmful effects of illegal toxic waste dumping.
When I was a kid I maybe saw this film a hundred times because instead of being scared I always thought the monsters were really cool looking. I’m a monster geek at heart and this holds a spot in my “guilty pleasure” collection as it should in any self respecting horror fan who grew up with this film.
What the three soon discover is that some of the city’s homeless people have been exposed to toxic waste being illegally dumped under the city. This toxic waste has turned these people into mutated cannibals who survive by eating other people. Now they must expose the truth before they become the next victims of the C.H.U.D.
Although slightly dated C.H.U.D. is nevertheless an entertaining and fun film. The special effects still hold up and despite the plot with several holes it’s a decent film about the harmful effects of illegal toxic waste dumping.
When I was a kid I maybe saw this film a hundred times because instead of being scared I always thought the monsters were really cool looking. I’m a monster geek at heart and this holds a spot in my “guilty pleasure” collection as it should in any self respecting horror fan who grew up with this film.
Film Review: ALLIGATOR (1980)
The ‘80s were a great time for horror films as animals became man’s worst enemy from Cujo and Cat’s Eye to The Fly and Of Unknown Origin and Alligator belongs right up there with them. Lucky for us Alligator is a competently written film about the harmful effects of genetic manipulation (a popular theme of the ‘80s).
In this film Robert Forster plays a detective on the case of several missing limbs that pop up in the city’s water system. When he is attacked in the city sewer system by a large alligator he must convince the mayor that there is an mutated and abnormally large alligator roaming under the city streets killing whomever gets in its way.
One of the great things about this film is actor Forster who always takes the situation seriously and never plays it for laughs (which is how many of the films of this genre do today). There is humor to be had in this film but it is not at the expense of the film itself which is a testament to the great writing from John Sayles (who would go on to write such unforgettable films as Passion Fish, Men With Guns, Limbo, Matewan, and Eight Men Out not to mention the original Piranha and The Howling).
Because there is no CGI in the film the special effects for the alligator also hold up extremely well (and the fact that they used a real alligator in many scenes). Today a CGI alligator would be used and the film would not have nearly the same impact. Alligator may be a film of the ‘80s but it’s certainly better than many films of the ‘00s.
In this film Robert Forster plays a detective on the case of several missing limbs that pop up in the city’s water system. When he is attacked in the city sewer system by a large alligator he must convince the mayor that there is an mutated and abnormally large alligator roaming under the city streets killing whomever gets in its way.
One of the great things about this film is actor Forster who always takes the situation seriously and never plays it for laughs (which is how many of the films of this genre do today). There is humor to be had in this film but it is not at the expense of the film itself which is a testament to the great writing from John Sayles (who would go on to write such unforgettable films as Passion Fish, Men With Guns, Limbo, Matewan, and Eight Men Out not to mention the original Piranha and The Howling).
Because there is no CGI in the film the special effects for the alligator also hold up extremely well (and the fact that they used a real alligator in many scenes). Today a CGI alligator would be used and the film would not have nearly the same impact. Alligator may be a film of the ‘80s but it’s certainly better than many films of the ‘00s.
Graphic Novel Review: WORLD WITHOUT A SUPERMAN
I wasn’t a fan of the whole Death of Superman storyline/graphic novel but I’m pushing myself to get through the whole trilogy just to say that I’ve finally read the monumentally successful series. World Without A superman is the second part in the trilogy and focuses on the aftermath of the death of Superman at the hands of the alien Doomsday. Whereas the Death of Superman was very simple and pedestrian the writers behind the aftermath of Superman’s death decided to take great care in presenting the emotional turmoil of all the main characters of the Superman Universe at its worse. From Lois Lane’s breakdown from loosing Superman/Clark Kent her fiancé to the Kent’s (the parents of Clark Kent) having to deal with the death of their son and the fact that they can’t tell the world that Superman was, in fact, their son.
The story also delves into a secret government agenda to clone Superman and the breakdown of Lex Luther who is conflicted because he wasn’t the one that killed Superman. Unlike the Death of Superman, this storyline (which was original called “Funeral For A Friend”) is the story of letting go and saying goodbye and it does a great job in presenting an expect tell of the aftermath of the death of one of the world’s greatest superheroes.
Although I am not a Superman fan there is no denying the impact that the character has not only in the DC Universe but on the comic book industry as a whole. The story crosses over all four of the Superman titles and even though it is one story they are trying to tell each individual issue has its own story to tell as well (unlike the Death of Superman which seemed to be one story that couldn’t be enjoyed on an individual issue basis).
This series ends on a great note as the inevitable is finally revealed – That Superman may not, in fact, be dead! Although we all knew this was coming this storyline does a great job in presenting the possibly that Superman may, in fact, be dead.
The story also delves into a secret government agenda to clone Superman and the breakdown of Lex Luther who is conflicted because he wasn’t the one that killed Superman. Unlike the Death of Superman, this storyline (which was original called “Funeral For A Friend”) is the story of letting go and saying goodbye and it does a great job in presenting an expect tell of the aftermath of the death of one of the world’s greatest superheroes.
Although I am not a Superman fan there is no denying the impact that the character has not only in the DC Universe but on the comic book industry as a whole. The story crosses over all four of the Superman titles and even though it is one story they are trying to tell each individual issue has its own story to tell as well (unlike the Death of Superman which seemed to be one story that couldn’t be enjoyed on an individual issue basis).
This series ends on a great note as the inevitable is finally revealed – That Superman may not, in fact, be dead! Although we all knew this was coming this storyline does a great job in presenting the possibly that Superman may, in fact, be dead.
Graphic Novel Review: SHUTTER ISLAND by Christian de Metter
Having anticipation for the upcoming film release of Dennis Lehane’s novel SHUTTER ISLAND, I was excited that there was a graphic novel adaptation. I was even more excited that this adaptation was not based on the film (like a tie-in would be) but was based on Lehane’s novel and that graphic novel by Christian de Metter was listed as 2009 Official Selection at the annual Angouleme BD Festival (the Cannes of the comic world), which meant that this graphic novel wasn’t going to suck.
I am happy to say that de Metter has effortlessly adapted Lehane’s incredible novel. I could tell you the whole story but being a Lehane story discovering the mystery is half the one. Shutter Island is a mental facility that tries to cure and/or maintain some of the most violent and dangerous people suffering from mental illness. When one of these patients go missing two federal marshals are sent to investigate. These two marshals get more than they bargained for when they are stranded on the island during a storm and they begin to realize that there is more going on at the facility than meets the eye. The story then becomes a mystery of trying to discover how one of the patients escaped and to find the identity of another patient who doesn’t seem to exist.
Lehane’s story is great and it’s very interesting seeing how de Metter adapts it to the comic book medium. Although not truly a black and white comic the book maintains its noir elements by having all the colors muted and dulled down to simple grey tones. The few splashes of color are relegated to flashbacks which are a nice touch. This is one of the true highlights of the year and one that should be read before seeing the film (but after reading the original novel).
I am happy to say that de Metter has effortlessly adapted Lehane’s incredible novel. I could tell you the whole story but being a Lehane story discovering the mystery is half the one. Shutter Island is a mental facility that tries to cure and/or maintain some of the most violent and dangerous people suffering from mental illness. When one of these patients go missing two federal marshals are sent to investigate. These two marshals get more than they bargained for when they are stranded on the island during a storm and they begin to realize that there is more going on at the facility than meets the eye. The story then becomes a mystery of trying to discover how one of the patients escaped and to find the identity of another patient who doesn’t seem to exist.
Lehane’s story is great and it’s very interesting seeing how de Metter adapts it to the comic book medium. Although not truly a black and white comic the book maintains its noir elements by having all the colors muted and dulled down to simple grey tones. The few splashes of color are relegated to flashbacks which are a nice touch. This is one of the true highlights of the year and one that should be read before seeing the film (but after reading the original novel).
Film Review: THE TWILIGHT SAGA: NEW MOON
I’m probably going to get a lot of hate mail for this review but I’m doing it anyways. I love werewolf films and despite the fact that I hated the werewolves in this film, I don’t think that THE TWILIGHT SAGA: NEW MOON was as bad as everyone wants it to be (and there are a lot of people that want it to be). When I did my review of the first film TWILIGHT I didn’t think that the film was all that bad and its sequel which is vastly more entertaining isn’t that bad either.
After reading and hearing many opinions on the new film I’m still left with the same opinion I had on the first film – This is not a film for horror fans. I can’t say this enough. The TWILIGHT novels which were geared heavily towards the female audience has been adapted to films heavily geared towards the female audience; therefore all you horror fans looking for blood and guts and action need to check yourselves at the door. It’s not like the advertisements for the film didn’t warn you (nor the fact that the novels are love stories for the young and female crowd). The movies, which have become more like date movies, are the equivalent of two people going out and watching SLEEPLESS IN SEATLE or THE WEDDING DATE, just with vampires and werewolves. This is no secret.
Whereas the first film was about two people falling in love, NEW MOON is about the break up and how it affects one of the two in the couple who refuses to allow herself to let go and heal. Despite everything about the “sparkly” vampires and the so-called “juvenile” dialogue the film works because it never forgets who its target audience is which are people who experience a breakup and most learn how to deal with it however which way they can. Bella (Kristen Stewart) deals with the breakup of her true love Edward (Robert Pattinson) in a very destructive manner and it is Jacob (Taylor Lautner) who is there to pick up the pieces and try to help Bella cope. This then leads into the love triangle between the three and the conflict between humans and werewolves and vampires (which is all just great food coloring to what otherwise is just a typical love story).
I can find all types of faults with the film (the giant werewolves for one) but these faults do not diminish the impact of what the story, essentially, is trying to say which is breaking up with the one you love is hell and we (as humans, werewolves or vampires) do a lot of stupid things in order to cope. I could go out there and watch WHEN IN ROME, IT’S COMPLICATED, LEAP YEAR, DEAR JOHN, or COUPLES RETREAT, among many others, but why should I when I can get the same thing here only with vampires and werewolves?
After reading and hearing many opinions on the new film I’m still left with the same opinion I had on the first film – This is not a film for horror fans. I can’t say this enough. The TWILIGHT novels which were geared heavily towards the female audience has been adapted to films heavily geared towards the female audience; therefore all you horror fans looking for blood and guts and action need to check yourselves at the door. It’s not like the advertisements for the film didn’t warn you (nor the fact that the novels are love stories for the young and female crowd). The movies, which have become more like date movies, are the equivalent of two people going out and watching SLEEPLESS IN SEATLE or THE WEDDING DATE, just with vampires and werewolves. This is no secret.
Whereas the first film was about two people falling in love, NEW MOON is about the break up and how it affects one of the two in the couple who refuses to allow herself to let go and heal. Despite everything about the “sparkly” vampires and the so-called “juvenile” dialogue the film works because it never forgets who its target audience is which are people who experience a breakup and most learn how to deal with it however which way they can. Bella (Kristen Stewart) deals with the breakup of her true love Edward (Robert Pattinson) in a very destructive manner and it is Jacob (Taylor Lautner) who is there to pick up the pieces and try to help Bella cope. This then leads into the love triangle between the three and the conflict between humans and werewolves and vampires (which is all just great food coloring to what otherwise is just a typical love story).
I can find all types of faults with the film (the giant werewolves for one) but these faults do not diminish the impact of what the story, essentially, is trying to say which is breaking up with the one you love is hell and we (as humans, werewolves or vampires) do a lot of stupid things in order to cope. I could go out there and watch WHEN IN ROME, IT’S COMPLICATED, LEAP YEAR, DEAR JOHN, or COUPLES RETREAT, among many others, but why should I when I can get the same thing here only with vampires and werewolves?
Film Review: DAYBREAKERS
Being a huge fan of the Spierig Brothers’ previous film UNDEAD, I couldn’t wait to see what they had in store for the vampire genre. In their previous film they rewrote everything we know about the zombie genre and turned it on its head and I had faith that they were going to do the same thing for the vampire genre (a genre I personally loathe). I was not disappointed!
In their new film DAYBREAKERS a plague has turned most of the populace into vampires and those who have not been turned hide in fear of becoming a victim of blood farming by a nefarious corporation run by Charles Bromley (Sam Neil). Edward Dalton (Ethan Hawke) who loathes his existence as a vampire works for Bromley trying to find a synthetic blood substitute because the human population is almost extinct and the corporation’s current blood supply will not last them more than a month. Just when Edward believes that there is no more hope for their kind in steps Elvis (Willem Dafoe) who was once a vampire but through happenstance has discovered a cure for vampirism and a hope for humanity. With Edward’s help Elvis and what’s left of the human resistance hope to cultivate this cure before time runs out and all of humanity is extinct.
Like UNDEAD, DAYBREAKERS is not only a horror film but an action film as well. The Spierig Bros. have outdone themselves this time as this film is a huge step up from their zombie film in terms not only of production values but the caliber of actors and action. DAYBREAKERS is a grandiose film in terms of low budget futuristic films and they don’t skimp out on the horror either (what their fans really want to see) as there is plenty of the red stuff to go around. Everyone is on their “A” game in this film
Now, I’ll be the first to admit that I was a little skeptical about the film. The last futuristic vampire film was the abysmal ULTRAVIOLET so you can probably guess why I was apprehensive about this film despite the high caliber talent on display, but the Speirig Bros. present such a fully realized world with DAYBREAKERS that you can’t help but take notice. It’s a shame that this film sat on the studio shelf for a couple years before finally being released (perhaps because of the popularity of vampires after the two TWILIGHT films) but it was well worth the wait as this film is truly a definition of good things to come not only for the Speirig Bros. but for the vampire genre as well.
In their new film DAYBREAKERS a plague has turned most of the populace into vampires and those who have not been turned hide in fear of becoming a victim of blood farming by a nefarious corporation run by Charles Bromley (Sam Neil). Edward Dalton (Ethan Hawke) who loathes his existence as a vampire works for Bromley trying to find a synthetic blood substitute because the human population is almost extinct and the corporation’s current blood supply will not last them more than a month. Just when Edward believes that there is no more hope for their kind in steps Elvis (Willem Dafoe) who was once a vampire but through happenstance has discovered a cure for vampirism and a hope for humanity. With Edward’s help Elvis and what’s left of the human resistance hope to cultivate this cure before time runs out and all of humanity is extinct.
Like UNDEAD, DAYBREAKERS is not only a horror film but an action film as well. The Spierig Bros. have outdone themselves this time as this film is a huge step up from their zombie film in terms not only of production values but the caliber of actors and action. DAYBREAKERS is a grandiose film in terms of low budget futuristic films and they don’t skimp out on the horror either (what their fans really want to see) as there is plenty of the red stuff to go around. Everyone is on their “A” game in this film
Now, I’ll be the first to admit that I was a little skeptical about the film. The last futuristic vampire film was the abysmal ULTRAVIOLET so you can probably guess why I was apprehensive about this film despite the high caliber talent on display, but the Speirig Bros. present such a fully realized world with DAYBREAKERS that you can’t help but take notice. It’s a shame that this film sat on the studio shelf for a couple years before finally being released (perhaps because of the popularity of vampires after the two TWILIGHT films) but it was well worth the wait as this film is truly a definition of good things to come not only for the Speirig Bros. but for the vampire genre as well.
Film Review: LEGION
It’s been a while since I’ve written a film review but I decided to start back up with a review on the film LEGION because there have been so many differing opinions on the film. Being a film with heavy undertones of religious iconography there are those that love the film and those who hate it. I happen to like the film but the other two people who were with me when I screened the film hated it. One of them even wanted to walk out on the film.
The film concerns a group of diner patrons and employees who get stranded at a diner in the middle of nowhere in what appears to be a sign of a religious apocalypse. All of these people are from different backgrounds but what they all have in common is that they all have a past that leaves them with regret. Well, they’ll need to overcome this regret if they will be able to survive the night as the diner is assaulted by possessed humans (who are weak in spirit and faith) who have only one goal – to kill the woman and unborn child of a waitress at the diner whose child holds the key to saving all of humanity. To aid this waitress in her survival is the fallen angel Michael who has forsaken the rule of God in order to not only save the woman and her unborn child but all of humanity in the process. Unlike the similarly themed THE PROPHESY, LEGION is a balls to the wall action film which also takes liberties with many quieter moments in the film that go a long way in delivering a theme about people who all live with some regret in their lives. This regret is the crux of the film as each character is put through the ultimate tests of overcoming that regret in order to save not only their own souls but humanity as well.
It would have been real easy for the film to simply have been an action-horror film that killed each of the characters for no other reason other than to have a huge body count but screenwriters Peter Schink and Scott Stewart go a long way in presenting realistic characters that want to atone for their pasts. The character Kyle (Tyrese Gibson) is a man just trying to be a good father but has spent his entire life living the lie of a gangster. His only goal is to be a good father but the mistakes of his past continue to haunt him. He sacrifices his life to save a child in danger of a rouge gang that have just killed the child’s father. Percy (Charles S. Dutton) sacrifices himself to save the life of one of the other diner patrons (a stranger before that very day) and Audrey (Willa Holland) who was the “bad girl” of her previous school finds it within herself to protect and save the life of a child who may hold the key to the future of humanity. Sacrifice and regret can be no stronger than in waitress Charlie (Adrianne Palicki) who wanted an abortion but now wants to give her child up for adoption. She wants nothing to do with the child but through the course of the story she must face up to her fears and believe that there is a purpose for her and it lies within the future of her child. I could go into further details about each of the characters in the film and how their fates lie together (or apart as it seems with some of the characters) but just know that the writers were not trying to only craft a commercial thrill ride but something with more substance.
Although slightly heavy handed with the religious undertones, the film still manages to pack a punch for those willing to go for the ride. For those who are simply looking for an action-horror film this may not be 100% for them as the film does not hide its religious intent and those looking for simply a religious film than this might have too much action and horror elements. Either way, like THE PROPHESY (which many thought was too dark or too funny for a faith-based film), this film has split audiences.
The film concerns a group of diner patrons and employees who get stranded at a diner in the middle of nowhere in what appears to be a sign of a religious apocalypse. All of these people are from different backgrounds but what they all have in common is that they all have a past that leaves them with regret. Well, they’ll need to overcome this regret if they will be able to survive the night as the diner is assaulted by possessed humans (who are weak in spirit and faith) who have only one goal – to kill the woman and unborn child of a waitress at the diner whose child holds the key to saving all of humanity. To aid this waitress in her survival is the fallen angel Michael who has forsaken the rule of God in order to not only save the woman and her unborn child but all of humanity in the process. Unlike the similarly themed THE PROPHESY, LEGION is a balls to the wall action film which also takes liberties with many quieter moments in the film that go a long way in delivering a theme about people who all live with some regret in their lives. This regret is the crux of the film as each character is put through the ultimate tests of overcoming that regret in order to save not only their own souls but humanity as well.
It would have been real easy for the film to simply have been an action-horror film that killed each of the characters for no other reason other than to have a huge body count but screenwriters Peter Schink and Scott Stewart go a long way in presenting realistic characters that want to atone for their pasts. The character Kyle (Tyrese Gibson) is a man just trying to be a good father but has spent his entire life living the lie of a gangster. His only goal is to be a good father but the mistakes of his past continue to haunt him. He sacrifices his life to save a child in danger of a rouge gang that have just killed the child’s father. Percy (Charles S. Dutton) sacrifices himself to save the life of one of the other diner patrons (a stranger before that very day) and Audrey (Willa Holland) who was the “bad girl” of her previous school finds it within herself to protect and save the life of a child who may hold the key to the future of humanity. Sacrifice and regret can be no stronger than in waitress Charlie (Adrianne Palicki) who wanted an abortion but now wants to give her child up for adoption. She wants nothing to do with the child but through the course of the story she must face up to her fears and believe that there is a purpose for her and it lies within the future of her child. I could go into further details about each of the characters in the film and how their fates lie together (or apart as it seems with some of the characters) but just know that the writers were not trying to only craft a commercial thrill ride but something with more substance.
Although slightly heavy handed with the religious undertones, the film still manages to pack a punch for those willing to go for the ride. For those who are simply looking for an action-horror film this may not be 100% for them as the film does not hide its religious intent and those looking for simply a religious film than this might have too much action and horror elements. Either way, like THE PROPHESY (which many thought was too dark or too funny for a faith-based film), this film has split audiences.
Comic Book Review: ALIENS (2009) #1-4 (Dark Horse Comics)
I don’t do too many reviews of individual comic book reviews opting instead to wait until they are collected into graphic novel form so that I can review the story as well as all the supplemental items that publishers put with the graphic novel version to entice fans to fork out more money. Well, with this all new ALIENS series I just couldn’t wait.
Having been a Dark Horse Comics fan from the very beginning (from the meager begins of the first Dark Horse Presents series to the very first black & white ALIENS limited series) I’ve come to expect new and bold things from this publisher who for the most part do not cater to the popular crowd. They were the ones behind the first ALIENS and Predator series as well as The Mask, Concrete, Barb Wire, and many, many more . The ALIENS series has been gone for many years due to over saturation in the market and dwindling value in the stories being told. After a while I began to think that the stories were all a little too similar to one another.
I was very happy to hear that they were revamping the series (thanks in part to the popularity of the two Alien Vs. Predator movies) and writer John Arcudi would be behind it (he’s also doing the new Predator series as well). Arcudi has been in the business a long time and he knows what he’s doing.
This new story concerns a group of scientists who make their way to Chione, an inhabited mining planet that has just recently unveiled the existence of alien structures of which the scientists are sent there to study and analyze. Everything seems to be going perfectly well until the mining inhabitants open fire on the scientists killing them all. It appears that the inhabitants of the planet live in fear that outsiders will come an steal their precious alien artifacts away. This uncontrollable fear is being caused by the alien artifacts themselves which puts all that come near into a euphoric state like an addictive drug driving them all into semi-madness. This madness leaves the Chione inhabitants susceptible to the alien infestation which was kept hidden until the alien structure was unearthed.
Unknown to the mining inhabitants of Chione there was a survivor of the group of scientists and the only reason he survived is because he’s a synthetic organism. This survivor David Sereda now finds himself tasks with trying to answer a distress signal on the planet before he is able to leave it. Sereda now finds himself pitted against homicidal inhabitants, an alien infestation, and the fact that some of his programming was damaged when he was originally gunned down by the natives.
Arcudi bases a lot of what follows in this series from the first two films in the series. The miners come across an alien structure that houses the embryos of the alien xenomorphs, which create an uncontrollable infestation. What Arcudi does well is present us with a sympathetic synthetic that may or may not have programming issues. Artwork is principally by Zach Howard whose work I’m not familiar with but does an excellent job with this new series. Another great asset to the series is Wes Dzioba’s colors which just make the whole series come alive like few of the other ALIEN series before. If this is a sign of new things to come for future series than I’m all for it.
Having been a Dark Horse Comics fan from the very beginning (from the meager begins of the first Dark Horse Presents series to the very first black & white ALIENS limited series) I’ve come to expect new and bold things from this publisher who for the most part do not cater to the popular crowd. They were the ones behind the first ALIENS and Predator series as well as The Mask, Concrete, Barb Wire, and many, many more . The ALIENS series has been gone for many years due to over saturation in the market and dwindling value in the stories being told. After a while I began to think that the stories were all a little too similar to one another.
I was very happy to hear that they were revamping the series (thanks in part to the popularity of the two Alien Vs. Predator movies) and writer John Arcudi would be behind it (he’s also doing the new Predator series as well). Arcudi has been in the business a long time and he knows what he’s doing.
This new story concerns a group of scientists who make their way to Chione, an inhabited mining planet that has just recently unveiled the existence of alien structures of which the scientists are sent there to study and analyze. Everything seems to be going perfectly well until the mining inhabitants open fire on the scientists killing them all. It appears that the inhabitants of the planet live in fear that outsiders will come an steal their precious alien artifacts away. This uncontrollable fear is being caused by the alien artifacts themselves which puts all that come near into a euphoric state like an addictive drug driving them all into semi-madness. This madness leaves the Chione inhabitants susceptible to the alien infestation which was kept hidden until the alien structure was unearthed.
Unknown to the mining inhabitants of Chione there was a survivor of the group of scientists and the only reason he survived is because he’s a synthetic organism. This survivor David Sereda now finds himself tasks with trying to answer a distress signal on the planet before he is able to leave it. Sereda now finds himself pitted against homicidal inhabitants, an alien infestation, and the fact that some of his programming was damaged when he was originally gunned down by the natives.
Arcudi bases a lot of what follows in this series from the first two films in the series. The miners come across an alien structure that houses the embryos of the alien xenomorphs, which create an uncontrollable infestation. What Arcudi does well is present us with a sympathetic synthetic that may or may not have programming issues. Artwork is principally by Zach Howard whose work I’m not familiar with but does an excellent job with this new series. Another great asset to the series is Wes Dzioba’s colors which just make the whole series come alive like few of the other ALIEN series before. If this is a sign of new things to come for future series than I’m all for it.
GRAPHIC NOVEL REVIEW: THE ZOMBIE SURVIVAL GUIDE: RECORDED ATTACKS by Max Brooks
Max Brooks took the horror world by storm with his breakout novel The Zombie Survival Guide: Complete Protection from the Living Dead. This novel was a “how to” on surviving a zombie apocalypse (should there ever be one). It was hugely popular not only with horror enthusiasts but with mainstream audiences as well prompting the release of his next novel World War Z: An Oral History of the Zombie War, which documented all the historical encounters that mankind has had with the living dead. What made this second novel so popular was the fact that Brooks adopted the style of having all the stories being recounted by survivors and witnesses of a zombie outbreak.
Now we come to the newest addition to the ever growing zombie world that Brooks has created with the graphic novel The Zombie Survival Guide: Recorded Attacks. This graphic novel goes through history documenting stories that may have been “in reality” zombie attacks. Stories range from 60,000 B.C. to the present day and stretch from Central Africa to Siberia to Japan and to the United States. Like in World War Z, Brooks takes the time to cover a lot of ground even in the short span of this graphic novel.
Illustrated by Ibraim Roberson the stories recounted in the graphic novel are lush and so realistic that they pop right off the page. The black & white artwork is reminiscent of an old newsreel and evokes the dread of film director George A. Romero’s original 1968 Night of the Living Dead. Little to no dialogue is spoken between the characters depicted in the stories as Brooks maintains the feeling of his previous novel by evoking the “oral” tradition of storytelling. It is as if we are being told these stories from a first hand account and Robinson’s artwork brings those oral stories to glorious life.
This is a fine achievement in both storytelling and illustration and a great compliment to Brooks’ other two works. If you’re a fan of his other novels (or just a zombie fan at heart) then you’ll love what he’s done here in the comic book medium.
Now we come to the newest addition to the ever growing zombie world that Brooks has created with the graphic novel The Zombie Survival Guide: Recorded Attacks. This graphic novel goes through history documenting stories that may have been “in reality” zombie attacks. Stories range from 60,000 B.C. to the present day and stretch from Central Africa to Siberia to Japan and to the United States. Like in World War Z, Brooks takes the time to cover a lot of ground even in the short span of this graphic novel.
Illustrated by Ibraim Roberson the stories recounted in the graphic novel are lush and so realistic that they pop right off the page. The black & white artwork is reminiscent of an old newsreel and evokes the dread of film director George A. Romero’s original 1968 Night of the Living Dead. Little to no dialogue is spoken between the characters depicted in the stories as Brooks maintains the feeling of his previous novel by evoking the “oral” tradition of storytelling. It is as if we are being told these stories from a first hand account and Robinson’s artwork brings those oral stories to glorious life.
This is a fine achievement in both storytelling and illustration and a great compliment to Brooks’ other two works. If you’re a fan of his other novels (or just a zombie fan at heart) then you’ll love what he’s done here in the comic book medium.
GRAPHIC NOVEL REVIEW: TERMINATOR: THE BURNING EARTH
TERMINATOR: THE BURNING EARTH marked two milestones in comic book history. First, it was the first comic book series that extended the story first created by director James Cameron and his films THE TERMINATOR and TERMINATOR 2: JUDGMENT DAY and second, it marked the debut of famed comic book artist Alex Rose, who would go on to do phenomenal MARVELS and KINGDOM COME series (among others).
Written by Ron Fortier with painted art by Ross THE BURNING EARTH was a post apocalyptic story about the last days of the residence with John Conner doing battle with his remaining band of soldiers against the sentient Skynet who plans on killing every living thing on Earth with nuclear bombs.
One of the great things about Ross’ artwork is that even though the main color pallet is blues and grey, he manages to create a style that doesn’t muddle the look of the scenes but give them a deeper and darker meaning as if the reader was thrust into a horror film of impending danger and destruction. No one is safe in this world of man verses machines, not even the conflicted leader of Conner who is just trying to hold on to what humanity he has left in this never ending war.
Although not the best of the Terminator series (Dark Horse Comics would later get the license to continue the franchise), it is still definitely one of the darkest of the series and since it was the first it has a lot of advantages over the others. This is also a great series for people who want to see some of Ross’ earliest work and where his current style came from (Ross was 19 when he did this series and only one year out of art school).
Written by Ron Fortier with painted art by Ross THE BURNING EARTH was a post apocalyptic story about the last days of the residence with John Conner doing battle with his remaining band of soldiers against the sentient Skynet who plans on killing every living thing on Earth with nuclear bombs.
One of the great things about Ross’ artwork is that even though the main color pallet is blues and grey, he manages to create a style that doesn’t muddle the look of the scenes but give them a deeper and darker meaning as if the reader was thrust into a horror film of impending danger and destruction. No one is safe in this world of man verses machines, not even the conflicted leader of Conner who is just trying to hold on to what humanity he has left in this never ending war.
Although not the best of the Terminator series (Dark Horse Comics would later get the license to continue the franchise), it is still definitely one of the darkest of the series and since it was the first it has a lot of advantages over the others. This is also a great series for people who want to see some of Ross’ earliest work and where his current style came from (Ross was 19 when he did this series and only one year out of art school).
Friday, February 5, 2010
Graphic Novel Review: 30 DAYS OF NIGHT: 30 DAYS ‘TIL DEATH
There have been approximately over ten stories to the undying 30 Days of Night franchise and with each subsequent series brings new artists brings their tale on the iconic vampires of the original series.
In this new series 30 Days of Night: 30 Days ‘Til Death with story & art by David Lapham, the Elders are tired of the ripple effects of the incident that happened in Barrow, Alaska (the original series) and believe that the American vampires need to be thinned so that all vampires will know what real fear is. The Elders send a death squad to America to kill all the “cowboy” vampires (so-called because they are descendents from the first vampire turned in America which was a cowboy).
This story takes a departure from the other stories as it puts a vampire at the forefront of the story. Rufus is a vampire who knows that the only way to avoid being detected by the death squad is to blend in with the humans, so, he gets a lame dog for a pet, takes a junkie woman as his fiancée, and decides to forego killing any humans (at least within city limits) all for the sake of blending in. His plan begins to work perfectly to the point where he begins to like the humans who share his apartment complex. His tranquility is threatened when other vampires from his past decide to crash in on him.
Now Rufus must prevent these new vampires from his past from destroying everything he created before the death squad comes pounding on his door.
I didn’t really care for Lapham’s story as it was so far removed from the original 30 Days of Night series. Although there is a lot of blood flowing throughout (which will keep the fans happy), one of the things I liked most about many of the previous series is the sense of “location” which this series does not have. Most of the story takes place within Rufus’ apartment complex.
Another thing I didn’t like about the series were the cliché characters. I just never became vested in the characters and therefore never really got into the story. It feels as if the series is finally running out of steam and that it should be laid to rest for a time before another series is crafted to cash in on the current popularity of vampires.
In this new series 30 Days of Night: 30 Days ‘Til Death with story & art by David Lapham, the Elders are tired of the ripple effects of the incident that happened in Barrow, Alaska (the original series) and believe that the American vampires need to be thinned so that all vampires will know what real fear is. The Elders send a death squad to America to kill all the “cowboy” vampires (so-called because they are descendents from the first vampire turned in America which was a cowboy).
This story takes a departure from the other stories as it puts a vampire at the forefront of the story. Rufus is a vampire who knows that the only way to avoid being detected by the death squad is to blend in with the humans, so, he gets a lame dog for a pet, takes a junkie woman as his fiancée, and decides to forego killing any humans (at least within city limits) all for the sake of blending in. His plan begins to work perfectly to the point where he begins to like the humans who share his apartment complex. His tranquility is threatened when other vampires from his past decide to crash in on him.
Now Rufus must prevent these new vampires from his past from destroying everything he created before the death squad comes pounding on his door.
I didn’t really care for Lapham’s story as it was so far removed from the original 30 Days of Night series. Although there is a lot of blood flowing throughout (which will keep the fans happy), one of the things I liked most about many of the previous series is the sense of “location” which this series does not have. Most of the story takes place within Rufus’ apartment complex.
Another thing I didn’t like about the series were the cliché characters. I just never became vested in the characters and therefore never really got into the story. It feels as if the series is finally running out of steam and that it should be laid to rest for a time before another series is crafted to cash in on the current popularity of vampires.
Graphic Novel Review: THE DEATH OF SUPERMAN
In 1992 DC comics decided to do a bold thing and shake up the comic book world in a big way. They decided to alter the course of one of their most beloved and flagship characters. They decided to kill the Man of Steel. Superman.
Over the course of seven comic book issues and five separate titles Superman (with the help of the Justice League of America) would do battle against an unstoppable force of evil which would soon be called Doomsday. This storyline made all types of headlines and broke all kinds of sales records and the graphic novel The Death of Superman reprinted it all in one volume for fans of the iconic character. The graphic novel would become one of the biggest selling graphic novels of all-time with over 14 reprints currently in release.
It took me almost twenty years before I bothered to pick up the story despite how famous the story is. I’m not a big fan of Superman and, in fact, I was actually glad when DC announced they were going to kill him off (but I always knew it would be short lived). He was never a character that interested me like Batman or Green Arrow or the Green Lantern Corps (a far superior group to the abysmal Justice League). The only reason I picked up the graphic novel now is because I was finally curious about what the fuss was about).
Although written and drawn by a multitude of artists, the storyline does read fairly well as one cohesive story. Although the creature known as Doomsday is a formidable foe, he lacks background and purpose that would truly make him a Superman villain in the way that The Joker is to Batman. The creature is a force of pure unstoppable evil and destruction which works throughout the seven issues of the story because he is revealed slowly in pieces as the story progresses (he starts out completely covered in costume in the first two issues of the story). If he had been fully revealed in the first issue the story wouldn’t have had the impact that it did,
The story’s worst aspect is that the whole story is seven issues of one of the longest fights in comic book history which in my opinion makes it feel as though they stretched out the story only so they could make more money by selling more issues. I believe the story could have been stronger if the entire story could have been limited to maybe four issues within the same comic title (although I am very aware that the “crossover” is used to boost sales among several titles at the same time).
Since we all know that Superman is no longer dead, the events depicted in this story didn’t have as profound affect on the title in the long run (although its events did make for many subsequent changes over all the Superman titles of the time). The story strived to be as profound as Batman’s Year One or A Death In The Family or even The Long Halloween but it suffers from the simple fact that there is no subtext to this story. It is simply a bare-bones, knock-down fist fight that goes on for seven issues that was marketed extremely well.
Over the course of seven comic book issues and five separate titles Superman (with the help of the Justice League of America) would do battle against an unstoppable force of evil which would soon be called Doomsday. This storyline made all types of headlines and broke all kinds of sales records and the graphic novel The Death of Superman reprinted it all in one volume for fans of the iconic character. The graphic novel would become one of the biggest selling graphic novels of all-time with over 14 reprints currently in release.
It took me almost twenty years before I bothered to pick up the story despite how famous the story is. I’m not a big fan of Superman and, in fact, I was actually glad when DC announced they were going to kill him off (but I always knew it would be short lived). He was never a character that interested me like Batman or Green Arrow or the Green Lantern Corps (a far superior group to the abysmal Justice League). The only reason I picked up the graphic novel now is because I was finally curious about what the fuss was about).
Although written and drawn by a multitude of artists, the storyline does read fairly well as one cohesive story. Although the creature known as Doomsday is a formidable foe, he lacks background and purpose that would truly make him a Superman villain in the way that The Joker is to Batman. The creature is a force of pure unstoppable evil and destruction which works throughout the seven issues of the story because he is revealed slowly in pieces as the story progresses (he starts out completely covered in costume in the first two issues of the story). If he had been fully revealed in the first issue the story wouldn’t have had the impact that it did,
The story’s worst aspect is that the whole story is seven issues of one of the longest fights in comic book history which in my opinion makes it feel as though they stretched out the story only so they could make more money by selling more issues. I believe the story could have been stronger if the entire story could have been limited to maybe four issues within the same comic title (although I am very aware that the “crossover” is used to boost sales among several titles at the same time).
Since we all know that Superman is no longer dead, the events depicted in this story didn’t have as profound affect on the title in the long run (although its events did make for many subsequent changes over all the Superman titles of the time). The story strived to be as profound as Batman’s Year One or A Death In The Family or even The Long Halloween but it suffers from the simple fact that there is no subtext to this story. It is simply a bare-bones, knock-down fist fight that goes on for seven issues that was marketed extremely well.
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