After “High Tension,” “Martyrs,” and “Frontier(s)” you’d think that French cinema had cornered the market on controversial and realistic violent cinema in the past few years but directors Yannick Dahan and Benjamin Rocher have taken the zombie genre and turned it on head in the film “La Horde.”
When one of their own is killed four corrupt cops break into an abandoned tenement building searching for the gangsters responsible. Nothing goes as planned as the cops find themselves ambushed by the gangsters and just when they think they are about to lose their lives the world is thrust into chaos by a zombie outbreak which traps them in the building. Now forced into an uncomfortable partnership the cops and gangsters must learn to trust each other in order to get out of the zombie infested building alive.
This would sound like standard zombie film fodder but the screenplay is smarter than it appears as people on both sides have ulterior motives and allegiances change as their situation grows more chaotic by the minute. Also, the dead are hording the bodies of the fallen and have their own agenda.
It is not fair to simply look at this film as a simple zombie film when there is so much more going on. It’s about family and trust and being able to trust your enemies when a greater threat arises. It’s also about violence, action, and carnage as there is a lot of that in this film as well. This is a hardcore zombie film from the “28 Days Later” and “Dawn of the Dead” remake mold. Zombies run fast. Kill lots. Spread blood everywhere and caught in between are corrupt cops and gangsters who seem to have an endless supply of bullets. The only deterrent of the film is the fact that both the cops and gangsters can’t seem to get it through their thick skills that the only way to kill the zombies is through a gunshot to the head despite the fact that the very first zombie they encounter they kill by blowing off his head. There are numerous scenes in which the characters unload hundreds of bullets on a single zombie just for the sake of doing so. These scenes get old really fast. This is a small problem with the film as it makes up for it in the last thirty minutes of the film where there are more surprises than a zombie film should have. Dahan and Rocher create some truly horrifying imagery that will go down in zombie history as some of the best scenes around and the closing moments of the film are not what you are expecting (as befitting a French horror film). This is not one to be missed.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Showing posts with label horror. Show all posts
Showing posts with label horror. Show all posts
Wednesday, February 9, 2011
Film Review: TETSUO: THE BULLET MAN
It’ s been 17 years since director Shinya Tsukamoto delved into the world of “Tetsuo” and he opens up a whole new world in the latest chapter in the series “Tetsuo: The Bullet Man.” This entry strives to be a little more mainstream by having the main character Anthony (Eric Bossick), the son of an American father and Japanese mother, live with his Japanese wife Yuriko (Akiko Mono) and son Tom in Japan. He’s your typical businessman who likes to walk his son to school every day but on one day while he is on the phone with Yuriko his son is run down through hit and run by a Guy (Shinya Tsukamoto). Having heard the whole incident over the phone Yuriko starts to spiral into madness seeking only revenge for the death of her son. This causes Anthony to release a lot of violent and hidden emotions that manifests themselves eternally through the gradual transformation of his body into iron. When the Guy that killed his son reappears, Anthony mutates into a human weapon fueled by his need for revenge.
Tsukamoto’s techno-body-horror remains intact in this film from the previous two films but with a bigger budget he’s able to expand on the cinematography, makeup, visual effects, and story like never before. Whereas with the original “Tetsuo,” which used a lot of close-ups and fast cuts to give the film a very cramped and claustrophobic feel this film has a lot more wide angles (and not so many scenes appear chaotic and frenetic). This new film feels very controlled and precise and shows off Tsukamoto’s technical skills learned in the 17 years in between films.
Fans of the original will not be disappointed. Even though this is a remake/re-imagination of the original film (ala “The Evil Dead 2”) Tsukamoto uses his signature style of the original film and transplants it to this film so even though this film has a larger budget and a broader audience appeal than the previous films it may still turn off those who only know him from his work in “Vital” and the “Nightmare Detective” films (which are more mainstream).
Tsukamoto’s techno-body-horror remains intact in this film from the previous two films but with a bigger budget he’s able to expand on the cinematography, makeup, visual effects, and story like never before. Whereas with the original “Tetsuo,” which used a lot of close-ups and fast cuts to give the film a very cramped and claustrophobic feel this film has a lot more wide angles (and not so many scenes appear chaotic and frenetic). This new film feels very controlled and precise and shows off Tsukamoto’s technical skills learned in the 17 years in between films.
Fans of the original will not be disappointed. Even though this is a remake/re-imagination of the original film (ala “The Evil Dead 2”) Tsukamoto uses his signature style of the original film and transplants it to this film so even though this film has a larger budget and a broader audience appeal than the previous films it may still turn off those who only know him from his work in “Vital” and the “Nightmare Detective” films (which are more mainstream).
Wednesday, September 8, 2010
Film Review: CARNY (2009)
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.
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.
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.
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" 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: 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.
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