RANTS & RAVINGS ABOUT HORROR - “HALLOWEEN and a New Legacy of Horror”

“HALLOWEEN and a New Legacy of Horror”

Master of Horror John Carpenter returns to the franchise that made him an International celebrity with the release of HALLOWEEN (2018) but instead of writing and & directing this latest sequel he is an Executive Producer and provides the score (with his new collaborators Cody Carpenter and Daniel A. Davies).  There is this idea that there is a need or “want” by audiences that the franchise needs to go “old school” and back to basics so returning with Carpenter is star Jamie Lee Curtis and Nick Castle (as Laurie Strode and The Shape, respectfully).  Helping to get back to this old school vibe are Danny McBride, Jeff Fradley, and David Gordon Green as the screenwriters and Green who directs.  Green made a name for himself with his debut feature George Washington (2000) but is better known for his comedies Pineapple Express (2008), Your Highness (2011), and The Sitter (2011); he soon moved on to the more interesting films Joe (2013), Our Brand is Crisis (2015), and Stronger (2017).  McBride is more known for Eastbound & Down but has shown his horror film creed with Alien: Covenant (2017).

I only mention McBride and Green as they are the key people responsible for putting this film together along with uber producer Jason Blum who came aboard to shepherd the film in a direction for a new era and audience (along with producers Malek Akkad and Bill Block).  As much as I want to say I love the idea of film-makers, in hindsight, claiming that some films/sequels/remakes/re-imaginings/etc. stray too far from the source material, there is no denying that a lot of time has passed from the Carpenter ’78 Original to the more recent Rob Zombie directed Halloween II (2009) and audiences from the ‘70s are completely different from those of the ‘00s.  Blum and company claim that there was a need to return to that ‘70s mentality of horror film that they believe audiences want instead of the more current crop of darker horror film that has a lot of gore and relies less on suspense and subtly.  Franchise films like Insidious, The Purge, Final Destination, Hostel, Saw, and Sinister have replaced the slasher films of the ‘80s and ‘90s which have continuously upped the ante on horror and gore and become huge Box Office draws.  Smaller and sometimes more critically adored films like It Follows, The Babadook, and Oculus have been critical darlings that relied more on atmosphere and mood (and less on gore) have rarely been huge Box Office draws leaving the impression that the more low-key style horror films no longer have a place with mainstream audiences.

So, how do you craft a remake/re-imagining of a beloved classic film that retains the atmosphere of the original while also appealing to modern day audiences who flocked to see the remake of Stephen King’s It (2017) and not the remake of Poltergeist (2015)?  That was the goal of the film-makers behind the ’18 Halloween.   Bringing Carpenter, Curtis, and Castle back was a great marketing gimmick to start but would the resultant film be what audiences really wanted?

Rob Zombie’s very divisive two Halloween films ’07 and ’09 was a means to ground the franchise in a “Zombie-colored” real world in which The Shape was less a Boogieman and more a human being by the name of Michael Myers, a misunderstood and abused child from a broken family that becomes a relentless serial killer.  Gone is the mystique of Carpenter’s faceless killer that was given no meaning or method to his madness; Zombie wanted to present a killer you could understand and empathize with just as much as the heroine Laurie Strode (played in his films by Scout Taylor-Compton).  The ‘00s was a time in which the faceless serial killer was passé replaced by the Dexter Morgan and Hannibal Lectors.  Zombie’s films were loathed by some but cherished by others due to his style and his need to create a Michael Myers who wasn’t simply “evil” by nature but was raised that way.  These films went against everything from the previous seven sequels but then again this wasn’t the first time the franchise was rebooted.

After a less than satisfying part V: The Revenge of Michael Myers (1989) and part 6: The Curse of Michael Myers (1995) the franchise was again rebooted to dismiss all sequels except for Part II.  For Halloween: H20 (1998), Curtis returns to reboot the franchise in one of the most satisfying of all the sequels in which Laurie Strode has changed her name to hide away from her past.  This film was extremely well liked by both fans and critics as it presented a more three-dimensional heroine than had ever been presented in a Halloween film while also appealing to modern audiences with slick visuals and a young and attractive cast with seasoned professionals and comic wit.  These achievements were short lived as Part VII: Resurrection (2002) became one of the most hated sequels in the franchise. 

After the dismal reception of the non-Michael Myers starring Halloween III: Season of the Witch (1983), gears were shifted to bring Myers and Dr. Loomis (Donald Pleasance) back from their fiery deaths in Part II (1981) for Halloween IV: The Return of Michael Myers (1988).

This all being said, the Halloween franchise as a whole was rebooted three times before McBride & Green, Carpenter & Curtis & Castle, and Blum decided it was time to once again break the mold and revisit the iconic franchise by making a sequel that directly takes place after the original film and ignoring all of the past 40 years’ worth of continuity and story.  This new story had to appeal to fans of the franchise who had seen all the previous films (or at least some of them) in addition to those who had never seen a Halloween film.   Laurie Strode is a woman suffering from PTSD after the events in the ’78 Original film and been preparing for The Shape’s escape from a mental institution for forty years.  She has a daughter whom she has alienated and a grand-daughter who barely knows her, and her world comes crashing down upon her when a bus carrying The Shape and other mental patients crashes releasing The Shape to menace Haddonfield once again.

I will try not to reveal to many details of the film for those who have not seen the film but despite being a well-done slasher film there is nothing remarkably new or intriguing in this latest sequel that takes the best bits of all the sequels and mashes then together in this “best of” film.  Curtis does her very best to keep the film together but Dr. Sartain (Haluk Bilginer) is no Dr. Loomis and Will Patton is slumming as Officer Hawkins, who is trying to capture The Shape once he realizes that he has a serial killer in his town.    The bumbling cops from the abysmal Part V seem to still be working in Haddonfield now in this new film where there is an extended scene of cop banter that is completely out of place.   There is a child that believes in the Boogieman and a babysitter, but their scenes are so short and haphazard that you wonder the logic of why they are even in the film other than to have an homage to the ’78 Original and Part IV.  Curtis’ character pulls a lot from H20 and there are several nods to that film but there are a few details about the ’18 film that just had me feeling empty about the entire film.

H20 already presented Laurie Strode as a woman with PTSD but one that for the most part has moved on with her life unlike the ’18 film which presents her as a survivalist with a fortified home and a menagerie of guns.  Unfortunately, for the forty years of preparing for the eventual arrival of Michael Myers she’s a horrible shot and she never logically responds to the presence of Myers like you think someone who is obsessed with killing him would be.  She acts and reacts more for plot than logic.  Strode’s daughter Karen and granddaughter Alysson (Judy Greer and Andi Matichak, respectfully) are the best story point of the entire film that is squandered in clichés and bad memories of The Curse of Michael Myers.  I love the fact that this film wanted to present three generations of women effected by the trauma of Myers but there are too many bad decisions and character points that just seem to be there for plot rather than character.  Some of these same relationship issues were developed in Part VI and the Strode family in that film.  The ’18 film had a great opportunity to present three great women characters from different generations, but they ended up coming across as cyphers for Laurie’s familial problems rather than genuine character moments.

My next fault with the film, and this is a big one, is the presentation of Myers.  From the trailer and the vocal aspirations of the film-makers you’d be in the belief that the idea of this film is to go back to the basics of Carpenter’s film regarding how Myers was presented as a Boogieman/The Shape.  Instead, this film rehashes the brutality of the Zombie films without the since of fun or style.  Myers kills everything in his path with complete disregard and it is only by happenstance that he ultimately finds his way to Laurie’s fortified home in the final act.  It never seems like he has any purpose other than to kill-kill-kill which is unlike the ’78 Original or even Zombie’s film.  For gore fans there are plenty of deaths to add to Myers body-count but to fans of the suspense filled original it’s a bit of the same from previous films except less creative as there are many nods to deaths from previous sequels. 

There are various other faults I have with the film but the final element that I’ll discuss is simply that the film lacks any real suspense and when the characters are as hollow and uninteresting as presented her even the high body-count can’t masque what a mediocre film the final product actually is.  Now, I’m sure a lot of people will disagree with me especially considering that the film has grossed over $250 million worldwide on a $10 million production budget but I believe this is more serendipity than anything else due to the involvement of so many people from the ’78 Original.  

Now, to put this all in perspective, I must also add that I saw the far superior Suspiria (2018) the night before and the Korean language Rampant (2018) on the same day as I saw Halloween and both films were shining examples of character based horror films that had style and presented either creepy and unnerving atmosphere (Suspiria) and or action-suspense-zombie-demon horror (Rampant).  Both took clichés and standard horror conventions and presented them in new and surprising ways whereas Halloween ’18 presented the exact same thing that I’d seen before countless times.

I’ll concede that I may be a little biased since I didn’t think there needed to be another Halloween reboot especially with Curtis rebooting her own franchise, again, but the trailer did give me hope that the film would have at least been interesting having Carpenter, Curtis, and Castle involved but the only real thing of brilliance in the film is the musical score from Carpenter (and his collaborators).  The score wasn’t a retread of what came before but an evolution and attribute this to Carpenter and his team as he has found new life in his musical career having produced over the years the amazing Lost Themes I and II not to mention the Anthology album.  The music is the true highlight of the film!

Carpenter’s film career may have stalled after the release of The Ward (2010), which didn’t even get a large Theatrical release, but his music career has been nothing short of brilliant and I’m ecstatic that he’s producing better music now than he has in years.

Halloween ’18 is a monumental success story that has resurrected a fairly forgotten franchise (except for hard-core horror fans) for general audiences and there will definitely be another film which the customary result of many of producer Blum’s films has been (The Purge, Paranormal Activity, Sinister, Unfriended, etc.).  Even though I’m no fan of the film, I am more than happy to admit that the greatest result of the success of the film is that there is a renewed interest in everything “John Carpenter” and I hope that He becomes a new contributor to the expanding horror world of Blumehouse Productions as they continue to allow visionary film-makers to present their visions without studio interference which is the one thing we can all be thankful for.

Film Review: SLENDER MAN (2018)

I wish there was a way in which I can say that there is some way to craft a “good” film based on the urban legend of Slender Man but the film SLENDER MAN (2018) probably isn’t quite it.  Joey King stars a Wren who with her girlfriends set out to call the Slender Man but when one of her girlfriends goes missing, Wren realizes that maybe the urban legend is real.

The plot borrows from everything from Candyman to Urban Legends but has none of the spark of any of those.  It is no secret that the film under went forced re shoots due to some people claiming the film insensitive to the original case that inspired the film and that the film just didn’t test well in front of test audiences, but the final product is “dead on arrival.”  There is simply too much CGI (especially in the third act) and the logic for the film goes out the window somewhere at the half way point.

I actually like the more stylistic cinematography and editing (by Luca Del Puppo and Jake York, respectfully) and which is was more consistent throughout because the more artistic choices made the film more interesting.  The problem is that the final film relies on too many standard jump scares and follows too many horror tropes that are cliché.    I did love the score by Brandon Campbell and Ramin Djawadi which is the true highlight of the film.

Film Review: INCARNATE (2016)

I’ve never been much of a fan of director Brad Peyton’s films which includes Cats & Dogs: The Revenge of Kitty Galore (2010), Journey 2: The Mysterious Island (2012), and San Andreas (2015), so I’m not surprised that I didn’t really care for his film INCARNATE (2016) which has an interesting premise.  Dr. Ember (Aaron Eckhart) has a unique ability which is he can go into dreams and mind possessed people to help exorcise demons.  This is a great idea on how to modernize the exorcist film through science instead of religion and faith.

Ember is brought in by a colleague Camilla (Catalina Sandino Moreno) who believes a young boy Cameron (David Mazouz) is possessed by a demon.  Ember is a haunted man who with each demon he exorcises he gets weaker and weaker, but he takes on Cameron’s case when it’s clear that the demon possessing him is a demon he’s confronted before.  Ember will sacrifice whatever he has to in order to confront the demon one final time no matter the cost.

Peyton does a great job setting up the film’s key set pieces, but they all feel rushed like an action film (something all his other films have key to) and lack the nuance or suspense of a horror film.  One wonders why he decided to tackle a horror film in the first place.  Eckart does an amazing job (as usual) and does the best he can with the material but there is no denying that the tone and pacing of the film is that of an action film which weakens the most horrific elements making this a merely adequate film and nothing all that special.

Film Review: THE DEVIL’S DOLLS (2016)

THE DEVIL’S DOLLS (2016) is a thriller that concerns itself with the story of worry dolls.  Written by Danny Kolker and Christopher Wiehl and directed by Padraig Reynolds the film concerns a police detective Matt (Wiehl) who has just captured a serial killer who died while being apprehended.  While taking some of the evidence home his car, his daughter Chloe (Kennedy Brice) takes with her a wooden box filled with little dolls that she thinks are trinkets.

Chloe ends up using the dolls as jewelry to sell to people that come into her mother’s store.  When the people who have purchased the dolls start going homicidal and killing loved ones it appears like there is more to Matt’s serial killer than he original thought.  When Chloe becomes ill after coming under the influence of the doll’s power, Matt must put aside his beliefs to discover the true nature of the worry dolls and how to save his daughter before she becomes another victim.

 Although the cast does an excellent job the film itself isn’t all that interesting in terms of story.  It’s a very subtle horror-thriller in which when the horror happens there is nothing that you haven’t already seen before.  This being said, the film looks great with Adam Sampson behind the cinematography.  The story itself isn’t that bad either and is written very well, it’s just that the overall film is just a little lacking probably due to the subject matter.

Reynold’s is a very capable director having done the film Rites of Spring (2011) and I’m looking forward to his latest film Open 24 Hours (2018) which I’m sure will be a step up for him.

Film Review: CARNAGE PARK (2016)

Mickey Keating has made a career of crafting some tense thriller films about a limited cast trapped in harrowing circumstances such as Ritual (2013), Darling (2015), and Pod (2015), to name a few so it is with no surprise that he continues this trend in CARNAGE PARK (2016).  Vivian Fontaine (Ashley Bell) is having a bad day.  While she is trying to get a bank loan, two thieves rob the bank and take her hostage after the robbery gets botched and one of them is mortally injured. 

During the getaway the bank robbers find their way to an abandoned road where they try to plan their next mood.  One of them dies from their fatal wounds while the other decides to keep Vivian as insurance.  Vivian’s situation seems bright at first when a shot rings out of the air and kills the final robber but the man responsible is a deranged ex-military sniper who doesn’t take too kindly to people who trespass on his land no matter what reasons.  Vivian then finds herself as prey to the sniper as she is now trapped on an open range where there are few places to hide and there are more horrors in store the deeper she explores.

Bell does an amazing job carrying the film while Pat Healy is the psychotic killer Wyatt Moss.  Bell continues to make interesting choices as an actress and constantly surprises.  I particularly love her performance as Nell Sweetzer in The Last Exorcism (2010) and The Last Exorcism Part II (2013) as well as The Day (2011).  The film itself is just okay as Keating knows how to stage some suspenseful scenes but it just doesn’t intrigue as much as some of his previous films. 

Film Review: DEEP BLUE SEA 2 (2018)

It seems that you can teach a bull shark new tricks in the horror film DEEP BLUE SEA 2 (2018).  Billionaire Carl Durant (Michael Beach) has assembled a group of talented scientists lead by lead bull shark specialist Misty Calhoun (Danielle Savre) to reveal his latest accomplishment which is that he has been experimenting with bull sharks making them smarter, more aggressive, and extremely dangerous to the point that these cause Durant’s research facility to be flooded allowing the sharks access for the killing spree.  Now Misty and the rest of the scientist must find a way to the surface while trying to escape bull sharks that see all of them as easy prey and easy game.

Like the original 1999 film, an underwater facility that’s gets flooded is the ticking time bomb for the cast to find a way to safety.  But unlike the original film, this film is filled with sub-par acting (probably due to the bad script) with even worse CGI effects.  Very little originality is had in this film which borrows heavily from the original film.

The film is written by Erik Patterson, Jessica Scot, and Hans Rodionoff (who also provides the story) and directed by Darin Scott, whose previous films include Dark House (2009) and the less interesting American Horror House (2012) and A Housekeeper’s Revenge (2016).  This film lacks any real suspense and there are only a few genuine moments or gore that are interesting.  Otherwise, this is a pretty forgettable sequel.

Film Review: STITCHES (2012)

Richard “Stitches” Grindle (Ross Noble) is probably the worse birthday clown that money can buy.  During what should have been a standard birthday party for a young Tommy (Ryan Burke) and all of his friends, an accident happens leaving Tommy witnessing the death of Stitches in his own home.  This is how Irish horror film STITCHES (2012) begins.  Years later, Tom (Tommy Knight) is now grown and in high school but still suffering from having witnessed the death of Stitches in his house especially since his birthday is near.  Tome has become a recluse who has lost most of his old friends or they have distanced themselves from him but his best friend Vinney (Shane Murray-Corcoran) convinces him that its time to throw a party to get over his past and to help him rekindle the friendship of Kate (Genna-Leah Devereux), his crush from when he was a little kid.

When Stitches returns from the death to avenge his death on all the people responsible, Tom must over come his childhood fears in order to find a way to defeat Stitches before he kills all of his friends and Kate.   

Although the actors are all young, they come off as very genuine teenagers just getting into teenage things.  Written by David O’Brien and Conor McMahon (who also directs) the film is actually a pretty effective and funny horror film for fans who like good gore-gags.  There is little to no suspense to be had in the film but that doesn’t seem to actually be the point as it’s most interested in crafting interesting and realistic characters (and not caricatures) while also being an entertaining thrill ride with equal parts comedy.

The film definitely has an Irish flavor to it but that’s what sets it apart from the average US production and gives the film atmosphere and character.

Film Review: RAMPAGE: PRESIDENT DOWN (2016)

Brendon Fletcher returns as terrorist Bill Williamson in the final film in the Uwe Boll directed trilogy RAMPAGE: PRESIDENT DOWN (2016).  After the events of the previous film, Bill has been in hiding after faking his death to the world.  His ideology about a decaying world crumbling around us that we must take back by any means necessary has not allowed him to find peace but has led him to his ultimate task which is the assignation of the President of the United States.  It’s easy for a man thought dead to come and go as he pleases without being noticed.  After he assassinates the President (and the next ones in line), two FBI agents assigned to the case (Steve Baron and Ryan McDonell) soon discover that the most notorious mass murderer in America is alive and responsible for the greatest act of terrorism on US soil.

Now Bill is at the center of a massive FBI manhunt and he will stop at nothing to protect his ideas and get his word out to the world by any means necessary no matter who must die or get in his way.

Make no mistake Bill is a well-armed mass-murderer who kills those he believes is responsible for the decay of the American people.  He continues to fill the layperson with hope that things can change as long as you wake up and make that change.  One of the most interesting things about the Bill Williamson character is that he is the “extreme” of his belief system and is only doing what most other people wish they could.  It is through Bill’s extreme motivation and actions that a compelling story unfolds among the chaos of an action film.  Infamous director Boll (who has directed all three films) co-wrote this film with Fletcher (as they did with the previous film) and has crafted a trilogy of terrorist-style film that resonates because of its extremity.  Fletcher has crafted one of his most compelling characters and Boll’s film gives him a lot of space to craft a more well-rounded character especially since we see Bill as a father of a newborn with a girlfriend (Crystal Lowe).

Boll’s style of film is an acquired taste but there is no denying that his films push buttons and give you something to think about long after the credits roll and in his three decades of producing films you never know what you’re going to get but the ride is definitely a polarizing and interesting one.

Film Review: CREEP 2 (2017)

Writer/Director Patrick Brice and writer/star Mark Duplass return to craft the next chapter in their found footage/serial killer saga CREEP 2 (2017) in which we find our serial killer now calling himself Aaron (Duplass) now turning forty and in the middle of a mid-life crisis as he doesn’t know what to now do with his life.  At the end of the previous film he killed the real Aaron, an inspiration to him but he now films his killing spree to be more like a regular job instead of the fun hobby it’s supposed to be.

Sara (Desiree Akhavan) is an internet personality who has lost all inspiration for her show Encounters which is on its last leg.  Both Sara and Aaron are at a cross roads when Aaron hits on the idea of doing a documentary film in which he can reveal his true nature in front of the camera and show the world his true nature.  Sara answers his ad to film his story seeing it as the wake-up call she needs to jump start her career again.  Now, two people who have lost their inspirations will find it together in this twisted and imaginative sequel.

 This is a more interesting film since it is revealed right away to Sara that Aaron is a serial killer; she just doesn’t believe him and even though she comes to learn that he is eccentric and at times a “diva” she still finds him a captivating subject that she just can’t get away from.  In turn, Aaron finds Sara interesting because she is the first person where he’s truly been able to be himself and not hide behind all the fake personae that he’s created to justify his horrific actions.

This film has a lot going for it and is a much better film than the previous film in terms of story and execution and its truly chilling to see Duplass revel in the role of the misunderstood serial killer.  I hope they continue this fascinating franchise about the inner workings of a serial killer.

Film Review: CREEP (2014)

Jason Blum and Mark Duplass produce the found footage film CREEP (2014).  Duplass does triple duty as writer and star (along with Patrick Brice) in this film in which Joseph (Duplass) is a man dying and wants someone to film his story for his surviving child.  Aaron finds Joseph’s online inquiry and immediately takes the opportunity which will help him out financially.

Immediately upon meeting Joseph, Aaron thinks that there just isn’t something right with Joseph as he’s a bit eccentric and that not everything he’s telling Joseph adds up.  When Aaron’s car keys go missing he is forced to stay the night at Joseph’s house and things get even more strange prompting Aaron to get out of there as soon as possible.  But escaping Joseph’s house is just the start of Aaron’s problem as he soon learns that Joseph knows everything about him and been stalking him thinking that they are best friends.  Now Aaron must figure out how to handle Joseph’s unwanted friendship before things get really out of hand amid mounting danger.

The whole film is shot as if it was from Aaron’s camera as part of Joseph’s video but once Aaron leave’s Joseph it becomes Aaron’s way of coping with the strange situation he finds himself in and a document of what is really going on.  Duplass does an excellent job crafting a unique and creepy character while Brice’s Aaron is the every man. 

The film may not keep you on the edge of your seat in a suspenseful way but it more than makes up for it in terms of the “creep” factor so if that is the type of film you’re looking for then this one is it.

Film Review: CONDEMNED (2015)

CONDEMNED (2015) is the story of Maya (Dylan Penn) who can no longer stand to be living under the safety of her parent’s roof, so she’s moves out to live with her boyfriend Dante (Ronen Rubinstein) in an abandoned and condemned apartment complex inhabited by seedy individuals and couples who cannot afford to stay in a real place.  When a deadly virus is let loose in the building turning everyone infected in to murderous and crazy lunatics who also hallucinate, Maya and Dante must fight there way through to get to an exit no matter what.

Written and directed by Eli Morgan Gesner this is a fast paced and gory film from beginning to end that takes its cues from David Cronenberg’s Shivers (1975).  Although the plot is pretty bare bones horror fans will love the extreme gore and gross-out body horror on display and there is even some really well-done action sequences and cinematography.  Although some performances are all over the place, this is acceptable in this film where most people get infected and everything pretty much goes bat-shit crazy.  Another film that this film references is [REC] (2007) and its remake Quarantine (2008) and fans of those films will enjoy this one.

Film Review: BLOOD FEST (2018)

Owen Egerton writes and directs BLOOD FEST (2018), a love song for horror fans and horror culture.  Dax (Robbie Kay) and his two best friends Krill and Sam (Jacob Batalon and Seychelle Gabriel, respectfully) have the hottest tickets in town which are to Blood Fest, a convention for horror fans who get to meet famous people and explore the horror landscapes of some of their favorite films.  This is the event of the decade for all except for Dr. Conway (Tate Donovan) who after his wife is killed by a serial killer becomes the voice of morality and deems Blood Fest as evil incarnate.  Conway also happens to be Dax’s father which has made their relationship very on edge, to say the least.

Dax and his friends are ready to have the time of their lives at Blood Fest until the gates are locked shut and the patrons start getting killed by the people hired for the event.  Now Dax and his friends must travel deep into the heart of Blood Fest, which is populated by killers, murders, clowns, slashers, zombies, vampires, and all other manner of creatures who want everyone dead.

There are some great set pieces in the film that every horror fan will recognize and the idea that the film tries very hard to show the world of the horror fan verses the ideas of people who criticize and denounce the genre make the film that more interesting.  This is not a film that just glorifies violence for violence sake but takes a couple cues and inspiration from Cabin in the Woods (2012), a film that also celebrates the horror genre.

I saw the film during a special theatrical screening with a huge audience that really was into the film.  It’s exciting and exhilarating to watch a film with an audience that is really into the film.  It also helps that the overall film is equal parts a horror film and comedy and it never falls for the cliché horror film clichés.  For horror fans this is one of the most fun films to be released that is made with the horror fan in mind.

Film Review: GALLOWWALKERS (2012)

GALLOWWALKERS (2012) is a horror-western populated with the usual gunslingers, whores, cops, and bandits except the bandits in this film don’t die but return after death as undead immortals that kill and feed off everything they encounter.  They are called Gallowwalkers and they are a close in relations to vampires except they can walk in the daylight and they have to replace their outer skin with fresh skin on a regular basis.  On the trail of a gang of Gallowwalkers is the outlaw Aman (Wesley Snipes) who will stop at nothing to kill all the Gallowwalkers that were responsible for the death of his loved one.

There is a lot of style to be had in this film in regard to the cinematography and the production design but the film itself is crippled by a sub-par screenplay and the acting which isn’t at top form.  The most odd and bonkers aspects of the film just come off as incredible uneven because of the direction which can’t bring all the elements together. 

Snipes seems to be phoning it in doing a less interesting “Blade” impression.  Although some of the action sequences are quite good, the editing ruins the pacing of some of them.  Some of the scenes would seem more authentic with more attention paid towards the editing and pacing but then there are some scenes that fall completely flat.

There are some interesting elements to the film, but the overall result has too many issues to recommend it an enjoyable film, but it was an interesting idea that was developed.

Film Review: TREMORS: A COLD DAY IN HELL (2018)

It seems that Burt Gummer (Michael Gross) and son Travis (Jamie Kennedy) have found themselves once again in Graboid country in TREMORS: A COLD DAY IN HELL (2018).  Burt finds himself having tax problems (mainly because he hasn’t paid them) and decides he must go back into the wild and battle the Graboids one more time.  Global warming is in effect and the devastating consequences is that the artic ice caps are melting allowing for the appearance of Graboids in Canada’s Nunavut Territory where a couple scientist have been killed.

This is the perfect opportunity for Burt to get back into action one last time to battle Graboids as he soon learns that he is dying from Graboid poison (from an encounter in a previous film) and the only antidote is from a living Graboid.  The race is one for Burt and Travis to not only rid Canada of their Graboid problem but to also find a way to save Burt’s life by catching a Graboid alive.

Although a ludicrous premise (and what really in this franchise isn’t), making Burt more vulnerable places more weight on the supporting characters especially Travis who as Burt’s son comes into his own as an adequate supporting character.

Written by John Whelpley and directed by Don Michael Paul (both of whom worked on the previous film in the same capacity) this is a great companion film to the previous films as it helps craft a new era of the franchise separate from the previous films yet still a part of them.

This film also brings in Global Warming and government conspiracy and other elements that make it more topical than previous entries in the series.  I like the idea of taking Burt and Travis to other countries to fight the Graboid menace (especially since the town of Perfection has been overused in previous films) and it shows that there are still some interesting and interesting stories to tell even six films (and a television series) into the franchise.

Film Review: TREMORS 5: BLOODLINES (2015)

Burt Gummer (Michael Gross) travels to South Africa where the Graboids have returned and deadlier than ever in TREMORS 5: BLOODLINES (2015).  It seems that the Graboids have migrated from North America and found their way to a new continent and a new breading ground.  This film opens with Burt marketing his new videos promoting his latest survival techniques.  When his old videographer leaves for a more production union job in Hollywood, in steps Travis B. Welker (Jamie Kennedy) a fan of Burt’s who wants to help change his image for a progressive future.

When the Graboids surface in South Africa, Burt is called upon to once again bring his expertise to the battle and his new cameraman Travis comes along for the ride to make sure they get good footage.

This film has the Graboids (in all their many different forms) becoming more dangerous and more aggressive than in previous films which is exciting for the series as a whole as it expands the universe but keeps it linked to all the previous films (and television series).  If this franchise has one thing going for it, it’s the continuity of characters which is why fans continue to follow Burt Gummer no matter what he gets himself stuck in.  Travis Welker makes for an odd, but interesting choice for a sidekick this go around.  Travis isn’t quite as interesting as previous sidekicks but when it comes to a Tremors film, it’s the Graboids that are the most interesting thing in the first place.

The film is entertaining in seeing Burt out of his element and in a new country, but the film does suffer from being too much like the original films.  Even though there are some changes and new elements added these additions do little to remind you that you’ve seen everything done before.   This being said, if you’re a Tremors fan then half the fun is seeing Burt and company getting into a new mess.

Film Review: AMERICAN POLTERGEIST 2 (aka THE POLTERGEIST OF BORLEY FOREST) (2014)

Originally released in 2013 under the title “The Poltergeist of Borley Forest”, AMERICAN POLTERGEIST 2 is not a sequel but more a stand-alone film that has nothing to do with the previous film.  This film has a pretty standard plot in which a teen out partying goes into a forest that the locals call haunted.  She unexpectedly brings back with her a ghost that has become infatuated with her and then she spends the rest of the film trying to get rid of the ghost.

Written by R. Presley Stevens and directed by Stephen McKendree this is a pretty standard ghost story that lacks any defining traits to separate it from all the other dreck being produced.  This film is brought down by the bad acting of generally every actor in the cast and the lack of interesting ghosts or any make-up FX of any kind.  The film meanders through a lot of bad jump scares and incompetent cinematography that produces no suspense whatsoever (this can also be attributed to the horrendous editing). 

This is just a bad film all around with absolutely no redeeming qualities (not even entertaining ones).  It’s a shame that ghosts/haunting/poltergeist films have become a new dumping ground for indie film-makers because even with zombie films I’ve seen more creativity than what is on display here.

Film Review: AMERICAN POLTERGEIST (2015)

Over the years there have been just as many ghosts & poltergeist films produced as there have been zombie films and for the most part they are truly forgettable.  The same can be said for AMERICAN POLTERGEIST (2015) in which five friends move into a house with only one other tenant that just isn’t really there.  One of the friends Taryn (Ashley Green Elizabeth) starts to feel a strange connection to the house but the more she learns, the more she comes to realize the malevolent past of the house and how she is connected to a serial killer whose spirit is tied to the house and to her.

This being said, this is a pretty standard and bare bones poltergeist film with the jump scares (that don’t actually make you jump) but little in the way of logical plot or interesting characters.  I would forgive the film if it had any interesting gore or action sequences, but all this is lacking as well.  The poltergeist, when revealed, does very little that you haven’t seen before (and done better) and isn’t at all that interesting despite being based on an actual story.

The film is written by Nicole Holland and Michael Rutkowski (who also directs) and despite following the conventions of a typical ghost story it isn’t really executed in any way that would interest either lovers of horror film or ghost stories.

“Favorite Films of 2018…So Far”

It’s been a strange yet exciting year at the Box Office after the dismal year that was 2017 where both the Box Office was at its lowest in sixteen years and the quality of films was eclectic at best.  This year is a different story altogether as there has been a great sampling of films from across all genres.  I’d like to tell you my favorite films of the year…so far and I hope if you’ve not seen some of them that you give them a watch.

15. THE FIRST PURGE – A very interesting sequel to one of the most polarizing film franchises out right now.  A dystopian near-future that showcases the very First Purge.  Although, at first, I thought that the franchise didn’t need a prequel, but this film is both exciting and relevant and opens new possibilities for future films (and TV series).  This racially and politically charged film is a great indicator of the possibilities of this franchise as it continues to branch out and expand.

14. HOTEL ARTEMIS – Jodie Foster leads and impeccable cast in a film that’s reminiscent of John Wick and The Raid: Redemption but is something all its own.  Sterling K. Brown, Sofia Boutella, and Dave Bautista also add tremendously to this off-beat film that has character.  It may not be as action oriented as one might expect but it has a sharp script and great wit.

13. ARMED – I was completely shocked when I learned that writer/director Mario Van Peeples had another film coming out this year (in fact, I only learned about this the week it was released).  Without any advance notice or fanfare this film about a former US Marshall suffering from a form of PTSD in a world overtaken by gun control and mental disorder surprised me because of just how hard or a film it is to categorize and much like the film-maker’s best films – i.e. Panther, New Jack City, and Posse, this film is just as contemporary and controversial.  Peeples has matured as a film-maker (as he’s spent most of the last couple decades directing episodes of acclaimed TV shows).  Also, a film inspired by a true story.

12. BLACK PANTHER – Was a film I tremendously enjoyed for the first two-thirds as it shaped some great characters (and supporting characters) but by the third act was too reliant on over-blown CGI that took me out of the film.  The third act felt too much like most of the other MCU films and was lost in the over excess of trying to appease too many “masters” (especially since it was essentially an origin story).  This being said, there is great individuality in that first two-thirds of the film that shows immense promise for future films.

11. TAG – Inspired by actual events, this film actually is quite a very good film about long lasting friendship and competition amongst friends/family.  This has a great cast that never goes too far in the absurd territory despite the crazy premise.  There is not a weak spot in this cast and that is most of the fun in this slapstick comedy.

10. DEADPOOL 2 – Most people like the original better than this film but I think both films are equally good for different reasons.  The original is one of the best origin stories ever crafted that breathes fresh life in the format whereas this film is one of the best sequels (to a super hero film) ever crafted as it takes all of audience’s expectations about super hero films and throws them out the window.  The film is fresh and never feels repetitive or predictable mostly because the character is anything but predictable.  The film has tragedy in equal parts of comedy and the character of Deadpool goes through many different stages despite how absurd most of what is presented in the film actually is.  My choice for best comic book film of the year.

9. ALONG WITH THE GODS: THE LAST 49 DAYS – The original 2017 film was one of my favorite films of that year and this film is equally as good as the original but this one focuses on the characters and goes a long way of establishing their origins.  The film is at times a bit long because the Purgatory doesn’t come off as fresh as it did in the original but there is one amazing sequence that’s an homage to Jurassic World that has to be seen to be believed.

8. THE DEATH OF STALIN – took a great graphic novel and made it better!  This is an amazing adaptation that has a great cast that is equally funny as much as it is a satire.  There hasn’t been a satire like this (or that is as equally as good) since Dr. Strangelove.

7. GAME NIGHT – This comedy gets high marks not only because of the amazing cast but the cinematography, editing, and musical score to name but a few of the great elements that make up this film.  Many may have looked at this film as a simple comedy, but directors John Francis Daley & Jonathan Goldstein have crafted a modern day comedy masterpiece in film-making that’s equally funny as it is entertaining.

6. UPGRADE – The very fresh and surprisingly excellent science fiction-horror hybrid that has a whip-smart script that’s expertly executed by writer/direct Leigh Whannel and star Logan Marshall-Green.  A low budget sci-fi gen like Ex Machina.

5. A QUIET PLACE – One of the most poignant and psychologically perfect horror films of the year which also happened to be a huge audience pleaser.  One of my favorite horror films of the year (in a year filled with a lot of mediocre films).

4. THE SPY GONE NORTH – This is an excellent film from beginning to end and one of the best examples of an espionage film (far superior to Red Sparrow).  An excellent cast with an equally suspenseful script and assured direction from Jong-bin Yoon.  Not a film to be missed.

3. SEARCHING – An edge of your seat thriller that uses modern day technology to tell a conventional tale in a not so conventual way.  John Cho proves he’s an amazing actor with a lot of range in this film of a father searching for his missing daughter with the help of a dedicated police detective using computer screens as the style of the film.  This film shows that there are still new tools to tell old stories in new and exciting ways.

2. BLACKKKLANSMAN – One of director Spike Lee’s absolute best films and one of the year’s best films!  Lee is at top form with this controversial and polarizing film which is also funny and entertaining from beginning to end.  Lee is kind of a hit or miss director but this film everything lines up perfectly for the veteran film-maker.  One of the absolute best films of the year.

1. HEREDITARY – Is my favorite film of the year for the simple reason that it is a powerful and uncompromising film that’s polarizing and anything but predictable.  Anchored by an amazing performance by Toni Collette that has to be seen to be believed, this is a film that leaves an impression long after the credits roll.  Every year there are good films, but few leave an impression with you like this film does.  There is not one person I know of who hasn’t seen this film and thus been changed by it in some way.

There are plenty of films that didn’t make the list for various reasons.  A film can be entertaining (i.e. The Meg, Skyscrapper, Tomb Raider, Ocean’s Eight) and it can satisfy yet predictable (i.e. Avengers: Infinity War, Blood Fest, Solo: A Star Wars Story), and then in there are those that just needed a little something more (i.e. Kin, Unsane, The Nun, Winchester. The Maze Runner: The Death Cure).  Then there are the films I just thought weren’t worth the time – i.e. Jurassic World: Fallen Kingdom, Den of Thieves, Red Sparrow, and Slender Man, to name a few.

I saw more than these films at the Box Office this year (thank you Movie Pass and AMC’s A-List) but some of the films I didn’t see (but wished I had) includes – 12 Strong, Annihilation, Won’t You Be My Neighbor?, Chappaquiddick, RBG, Eight Grade, Beirut, Blindspotting, The Wife, A Fantastic Woman, Mary Shelley, and Sicario: Day of the Soldado, just to name a few. 

My opinions of the above mentioned films is nothing but that, “my opinion” and I hope you all decide for yourself which films to take a chance on.  Film-makers and artists put a lot of work into all the films and regardless of what I think they are all worth a look, if for no other reason than to say “I’ve seen it and therefore my opinion means something.”

I’ll make sure to get back with you at the beginning of next year so you know what I thought of the rest of 2018s releases but until then, enjoy your film watching!

Graphic Novel Review: NANJING: THE BURNING CITY

During World War II, the Imperial Japanese Army entered and seized the Chinese capital after the bombs fell and shook the walls of Nanjing.  In Ethan Young’s Nanjing: The Burning City two abandoned soldiers are trapped and desperate to find a way out of the city before they are discovered by Japanese soldiers.

In Young’s wartime nightmare the soldier Lu and The Captain are on a mission to simply survive but when they witness atrocities done to the people that they refuse to help a sense of honor and duty becomes more important to them than just simply surviving.  The characters go tremendous turmoil and tragedy as they think they get closer to freedom and an escape of Nanjing that crumbs around them.

Young’s black and white art focuses on visuals to move the story forward and it is truly a remarkable feat.  War has never looked so harrowing as it does in Young’s story.  This is a great graphic novel for readers who love these type of stories about characters trying to overcome unspeakable odds and human tragedy.

Graphic Novel Review: I KILL GIANTS

Joe Kelly and JM Ken Nimura’s (writer and artist, respectfully) graphic novel I Kill Giants is part family drama and part fantasy epic in it’s scope of following a young girl Barbara who believes that it is her destiny to rid her town of giants and the even larger gods Titans.

Barbara is a young girl with no friends and a recluse from everyone in the town who believes she’s crazy because she believes in giants and that it is her job to hunt and kill giants.  Most people can’t see them and don’t believe they exist as the damage they cause is usually thought to be the cause of major disasters natural or otherwise.  With her trusty weapon Coveleski she hopes to vanquish the giant she knows is coming even if no one else believes her.  She also has to contend with a school bully, a new school psychology that just wants to get to know her, an indifferent brother and sister who have her own issues, and the appearance of new girl in the neighborhood that just wants to be her friend.

Kelly’s script gets to the heart of an adolescent girl growing up and learning to navigate grief and life and family and friendship even when she believes she has a higher calling.  Barbara isn’t the most likable young girl, but Kelly manages to push the boundaries with his writing of the character.  Nimura’s exquisite drawings perfectly capture the fantastic world that Barbara lives in while balances the real-world elements so audiences don’t realize where reality ends and fantasy begin.

I Kill Giants is filled with characters you will grow to love and respect and at times empathize with.  Kelly and Nimura’s collaboration will leave you going back to re-read the book many time just to get all the subtle nuances of the characters and the world that has been crafted and it is a wonderful world to visit time and time again.

Graphic Novel Review: HADRIAN’S WALL

A hundred years in the future there will be a new type of Civil War in space between those on Earth and those on the off-world planet Theta.  When an astronaut mysteriously dies on the survey ship Hadrian’s Wall an uneasy conspiracy may unravel the peace between these two different worlds.  Kyle Higgins and Alec Siegel’s Hadrian’s Wall is a murder mystery thriller about a group of characters trapped on a space station.  Simon Moore is sent to the ship to investigate the death and apparent suicide of Edward Madigan, who just so happens to be with his ex-wife (both of which work on the ship).  When Simon starts to believe that Edwards death may not have been a suicide his investigation into the crew of Hadrian’s Wall leads him to some horrifying discoveries that threaten his and everyone else’s life on the ship.

Simon soon doesn’t know who to trust when anyone on the ship can be the murderer and things just get more complicated when other members of the crew start showing up dead.   Hadrian’s Wall is a tense murder mystery thriller that puts the reader in the same shoes as Simon. 

Art is by Rod Reis and Eduardo Ferigato and the style perfectly compliments Higgins & Siegel’s words.  This is a visually tense thriller that also set up a complex and exciting world in which characters can have many different allegiances.  Higgins, Siegel, and Reis all worked together on C.O.W.L. so if you enjoyed that book then you will love this one.

Graphic Novel Review: BLACK MAGICK VOL. 2

In the world of Greg Rucka and Nicola Scott’s (writer and artist, respectfully) Black Magick Det. Rowan Black is a witch that lives in the city of Portsmouth trying to forget her past and live in peace.  But living in peace is not really possible for a witch who can remember all her past lives and the atrocities brought upon her people and herself.  In Vol. 2 of the series – “Awakening II” (which covers Issues #6-11 of the ongoing series) there are two main stories.  The first covers Rowan when she was young and about to go through a ritual that would allow her to recall all her past lives.  This may seem like a simple thing but learning about one’s past drives you towards your future of which plays a huge part in why Rowan became a police office.

In the present, Rowan has to contend with a new menace which is a society of witch hunters known as Aira, who have killed many of her kind including several of her past lives.  With the help of her best friend Alexandra Roman must discover what plans Aira has for her city while also keeping her day job and solve a new series of murders. 

Rucka (as usual) has crafted an engaging supernatural story that both has its roots firming planted in a detective story and that of a witchcraft story.  The entire story is character driven and the supporting characters are all extremely well written and engaging on their own rite making for a compelling read.  I love Scott’s style of grey-tone artwork with splashes of color when it is needed. The whole feeling is a noir film but in comic book form.

If you enjoy these types of stories, then this is the perfect comic for you.  Rucka maintains the same quality of some of his most popular books like Whiteout or Queen & Country or even his amazing run on Wonder Woman.

Graphic Novel Review: THE BEAUTY VOL. 4

Jeremy Haun & Jason A. Hurley craft an even more engaging and intricate chapter in the world of The Beauty Vol. 4 (Issue #17-21).  The story of The Beauty follows a sexual transmitted disease that makes people “beautiful” and who wouldn’t want that?  When people with The Beauty start to mysteriously die people start to wonder whether or not The Beauty is responsible or if there is something more nefarious going on.  The series does a great job as an anthology focusing on different aspects and characters of the world and how they are affected by the disease (whether some people see it as such or not).

In this volume Cooper is a journalistic blogger who gets involved with a whistle blower who works for Abericorp, a corporation who has deep ties with The Beauty.  Cooper, seeing a cover-up, tries to learn as much as he can to expose the truth about what Abericorp knows about the truth of The Beauty even if it puts his life in dangerous.

Haun & Hurley know how to craft a story build around corporate espionage, government secrets, and the truth in journalism in the hopes of bringing “the truth” to the people before it’s too late.  From the very first issue of this engaging and electrifying series what may have started as a simple story about an infectious disease that makes people “beautiful” has become a cautionary tale about so many other things.  You’d think that presenting the stories in an anthology format would be detrimental to the overall series, instead, it allows the whole series to constantly introduce new characters that the reader cares about even if you don’t know their fate.

Matthew Don Smith (Issue #12) and Thomas Nachlik (Issue #18-21) have different styles but they compliment the entire series and especially each of the individual stories that are being told.  This is one of my favorite series and it just gets better and better.

Graphic Novel Review: FULL MOON PRESENTS: SUBSPECIES

The Vampire Radu returns in an all-new story in Action Lab Comics’ Full Moon Presents: Subspecies.  Taking place right after the events of the cult favorite Full Moon Entertainment franchise Subspecies, this new series finds Michelle (a former college student whose friends had all been killed in the films and herself turned into a vampire by Radu) working as a nighttime nurse in a hospital under the name of Shelly.  After having killed Radu four times, she’s trying to put her life back in order by helping people and living off the Bloodstone (a stone that can feed her bloodlust so that she doesn’t have to feed off real people to survive).  Then one night, Radu returns but it’s not quite the Radu she remembers.  It appears that the essence of Radu has been split into five separate vampires who all seek the Bloodstone.  Now Michelle has to find a way to defeat not one but five of her worse nightmares.

This story is written by Cullen Bunn & Jimmyz with art by Daniel J. Logan.  This story fits more in line with fans of the films and less about trying to bring on new fans but for readers familiar with the films this story gets straight into the action and carnage without a lot of (unnecessary) set up and exposition.  Bunn & Jimmyz fills the story with tons of references to the films and Logan’s style of art is perfect for the story as he knows how to bring out the menace and savagery of this vampire story.

The graphic novel is filled with extras but the most interesting are snippets from the actual script used and the steps to the final artwork.  This will interest readers with interest in the process of how the comic was crafted.

Graphic Novel Review: CAPTAIN KRONOS: VAMPIRE HUNTER

Titan Comics’ collected graphic novel of Captain Kronos: Vampire Hunter is a love letter to the original Hammer Studios film of ’74!  Written by Dan Abnett with art by Tom Mandrake this story follows the events of the original film with Captain Kronos and his sidekick Grost and the latest addition to the team Carla who find themselves on a trail of a new vampire Porphyr.  Upon dispatching Porphyr, Kronos and his team find themselves outside the border town of Serechurch, which they soon learn is under the spell of an even more deadly menace which may be the greatest vampire threat that Kronos may have ever encountered.

For both fans of the film and vampire fans in general, this new tale is both entertaining and exciting.  Mandrake’s art is a perfect fit for the period setting of the story and has some amazing similarities to the artwork you’d see in the old EC Comics.  Abnett’s story is very vibrant and to the point but still retains the cadence of the characters from the film while also making Carla a more modern woman who has come as her own as a vampire hunter.

The is one of the first of the new Hammer Comics titles from Titan Comics who seem to want to be faithful to the original films while also trying to attract new fans for a new generation.  Despite never having a sequel, the Captain Kronos film has a huge following for which fans will be able to appreciate how much this new story feels like an authentic sequel to the film.

Caroline Munro, who was Carla in the original film, provides a Foreword while there is a collection of great interviews at the end to help readers enjoy the legacy of Captain Kronos.