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.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Wednesday, June 9, 2010
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.
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