It’s Halloween season and until this weekend the movie theatres had offered horror fans zero tricks or treats. On October 10th director John Erick Dowdle’s Quarantine became this season’s first theatrically released genre movie and by default it vaulted to the top of my must-see list.
Quarantine, the American remake of last year’s well-received Spanish genre offering, [REC], opens with TV reporter Angela Vidal (Jennifer Carpenter) and her cameraman Scott (Steve Harris) filming an episode of their soft news program in which they profile the firemen at a Los Angeles fire station.
Filmed on location in gorgeous Marin County, California, The Beckoning is an independent horror film based on the legend of Sir Francis Drake. In 1579, Sir Drake landed in California, claiming the land as “Nova Albion” or “New White.” The story of the film is a look at a legend surrounding this historical figure; Drake’s burning of a Native American woman at the stake for setting a pox upon Natives and English alike.
As a fan of Big Red, I was eagerly anticipating seeing this sequel to Hellboy after watching the Hellboy and the Golden Army trailer and hearing about Guillermo del Toro’s involvement with the film. Impressed with del Toro’s work on Pan’s Labyrinth and Christopher Golden‘s novelization of Hellboy with artist Mike Mignola, I went into the movie with certain expectations.
Like other films and content within the Hellboy franchise–you do not need to be familiar with the characters or the setting to watch this film.
With sold out shows and talks of an Oscar, if you haven’t seen The Dark Knight you’re probably wondering if it lives up to all of the hype. Even within the body of countless movie reviews for the film there are a few who, believe it or not, don’t like The Dark Knight. Why? You see, the one thing this comic book movie has at its core (that other movies of a similar type don’t) is an atypical visibility to a broader audience. While it’s impossible to find a true statistic, could it be safe to assume that people unfamiliar with the darker Batman franchise went to see the movie just because it was Heath Ledger’s last role?
“And what have you done lately?” So ends a fast-paced, winner-take-all honey of a comic book brought to life. Wanted builds from a nicely sardonic character study through a romp of an action film into a colossal final fight built around a twist that suddenly catapults the movie from a fun night out into an edge-of-the-seat thrill ride. It may start out slowly, but this movie ends with a bang so big, it will leave you grinning with malicious glee. All nice words aside, don’t go to this movie looking for high drama and a soaring intellectual quotient—although the movie does, at times, make witty, ironic jokes worthy of a wry smile. But if you enjoy a dark comic book writ large and riddled with as much wordplay as bullets, then this is the movie for you.
Starring the voices of Ron Perlman, Selma Blair, Doug Jones and John Hurt
What do vampires, an ancient goddess and Hellboy have in common? In this animated feature film, Hellboy and all his friends take on myth in his signature, sardonic style. True to the mythos, there is a touch of good versus evil mixed in with some savvy backstory and character development.
Independent films often struggle with their ability to attain audiences and garner recognition. I like to think that some of these lesser-known films are self-aware, either stretching their boundaries to be a “great” film, or toying with conventional filmmaking to experiment with the media.
A Japanese terror movie remake is frequently a bad idea, but an American horror movie that looks like one is worst. “Wind chill” tries to tell a declared true story in a Japanese way. That means to use a claustrophobic atmosphere, an aesthetic style and especially a plot based on spirits that want revenge. But in the end, it’s just a nothing-happens movie with bad acting and lazy direction.
I didn’t really know what to expect when I picked up The Fountain; I had read some other reviews of it before I went out and got it and was intrigued by Darren Aronosfky’s writing and film style. Going into it, I had thought it was a film about the fountain of youth, about a couple who were possessed with finding the mythic “fountain” to restore and heal Izzy (played by Rachel Weisz) from her terminal illness.
Sometimes the most innovative ideas are so simple, it’s amazing they haven’t already been done. Such is the case with Cloverfield – a giant monster movie shot entirely from the perspective of a character’s camcorder. Produced by J.J. Abrams, written by Drew Goddard, and directed by Matt Reeves, all of whom are television vets having been responsible for episodes of Lost, Buffy, Angel, Alias, and others, Cloverfield is more than merely Godzilla meets The Blair Witch Project. It’s unique in that it attempts to give us fully developed characters to inhabit it’s high concept scenario and entirely besieged Manhattan setting.
In Marvel’s continued Ultimates series, this particular feature is a re-imagining of Doctor Strange. This film focuses heavily on eastern philosophy and mythic influences, adding several characters that emphasize a larger setting.
The Dresden Files, a series of novels penned by Jim Butcher, came to the small screen in 2007 on the SciFi channel bringing with it some variations – both good and bad. This is a difficult review to write for two reasons. First, the series was canceled after only twelve episodes. In such a short period of time, there wasn’t a lot of ability for the directors to explore the setting in this format. As a result, the events in this series loosely resemble only a few, choice events from one or two books. Secondly, this television series didn’t feel like a literal translation from the novels and, as a result, could easily stand alone on its own merits.
David Slade has provided us genre geeks something to get excited about. 30 Days of Night is quite simply a very solid horror flick. All the ingredients for success are here: good acting, beautiful photography, and great source material. It’s scary, fun, and dramatic, while also giving us a nice example of the potential this genre has to deliver engaging stories. And if a month in the dark shows us anything about modern horror, it’s that David Slade’s future is looking very bright.
The Devil’s Rejects is Rob Zombie’s follow up to his House of 1,000 Corpses though most of it is so different to House of 1,000 Corpses, despite being a sequel, that you wonder if it really is a sequel in spirit. The Devil’s Rejects feels more like a remake than a sequel per se, a sequel made by someone who has come off the fun psychedelics and sobered up.
Hands down, the worst trend in the relatively recent horror movie resurgence is the incessant green lighting of unnecessary and bad remakes. It’s indicative of a larger financial problem plaguing the entire industry and while remakes may guarantee a built-in audience for the short term, they will erode the genre over time. So needless to say, I was none too pleased when Dimension Films first announced that the next classic in line for a rebuild would be John Carpenter’s seminal slasher flick, Halloween (1978). But a funny thing happened upon my learning about Rob Zombie’s involvement – not only did my steadfast opposition to the remake disappear, but I became down right excited to see the movie being made by a film maker who takes his horror very seriously.
The genre of story telling that has best succeeded in giving me the creeps is the tried and true ghost story. It tends to be reliably frightening in written form, and although less so on film, it’s hard to find someone who’s not been given a heebie-jeebies overdose by The Changeling (1980). Other successes worth mentioning include The Haunting (1963), Poltergeist (1982), and more recently, The Others (2001). Unfortunately, the list of bad haunted fright films is far lengthier. This brings us to the genre’s most recent offering. To describe 1408 in appropriately metaphysical terms, Swedish director, Mikael Håfström’s film is stuck in movie purgatory, somewhere between good and bad.
Upon watching the unrated DVD version of Jaume Balaguero’s Darkness (2002/2005), I experienced a first. It was the first time that I would rather have been watching a safely edited PG-13 version of a horror movie (U.S. 2004 theatrical release). It’s not because the unrated version of Darkness is too frightening, gory, or disturbing, but rather it’s longer and given this movie’s lack of originality or anything entertaining at all, length in this case is a negative attribute.
Well, I’ll just start off by saying that the movie has a really good grabber with the two main characters going on vacation, but from there it only gets worse. Grace and Jim (the main characters) plan to go to Mexico on their spring break trip. But sadly, the first night they get stuck in a rainstorm, and then they see a guy on the road and almost hit him.
Well, this movie has a bunch of scientist chasing a big getaway animal, and who doesn’t like a creature flick? Jaws, Cujo and other such movies showed us that creature movies can be good as long as they have a good plot and a good creature.
Given the instant success of 28 Days Later and its money generating influence industry wide, it was to be expected that once the cinematic carnage had subsided, the entrails had dried up, and the dust had settled, we’d be treated to a second go around with the rage virus courtesy of Juan Carlos Fresnadillo’s 28 Weeks Later.
It’s Halloween season and until this weekend the movie theatres had offered horror fans zero tricks or treats. On October 10th director John Erick Dowdle’s Quarantine became this season’s first theatrically released genre movie and by default it vaulted to the top of my must-see list.
“And what have you done lately?” So ends a fast-paced, winner-take-all honey of a comic book brought to life. Wanted builds from a nicely sardonic character study through a romp of an action film into a colossal final fight built around a twist that suddenly catapults the movie from a fun night out into an edge-of-the-seat thrill ride. It may start out slowly, but this movie ends with a bang so big, it will leave you grinning with malicious glee. All nice words aside, don’t go to this movie looking for high drama and a soaring intellectual quotient—although the movie does, at times, make witty, ironic jokes worthy of a wry smile. But if you enjoy a dark comic book writ large and riddled with as much wordplay as bullets, then this is the movie for you.