After making a splash with their major studio debut, Feast, and shouldering the burden of continuing the formidable Saw series from the third entry on, screenwriters Marcus Dunstan and Patrick Melton came into their own with the release of The Collector in 2009. Dunstan directed the film from a script co-written with Melton that was originally pitched as a Saw prequel. The end result was a horror movie similar to the Saw films in its levels and methods of violence and gore, but with a chillingly different breed of killer.
And in the annals of horror, he and the film he dominantes are barely a footnote. Continue Reading
Tonight we take a look at one of the big four. I mean, really, when one hears the word SLASHER, four characters jump to mind, right? Freddy Krueger, Michael Meyers, Leatherface and of course, Jason Voorhees.
There are countless other stalker killers out there, but for some reason, these four are synonymous with the word slasher. It doesn’t seem to matter that there were slashers before and after these classics were made, these are the Grandaddies of the slasher family. Take it or leave it. One might make a case for Chucky, The Firefly Clan and others, and while terrifying and time-tested, in my opinion, Chucky has become a lampoon of himself and The Fireflys were only in two(?) movies. That’s not to say that Jason and Freddy haven’t become parodies either, but that’s a topic for another day. Today we talk about the birth of all things Camp Crystal Lake and why teenagers of the 80’s didn’t want to go to camp. Continue Reading
Starring: Brad Dourif, Alex Vincent, Chris Sarandon, Catherine Hicks
Directed by: Tom Holland
Written by: Don Mancini, John Lafia, Tom Holland
What begins like a crime thriller quickly escalates into a bizarre horror about a dying murderer who manages to use black magic to transfer his consciousness into a ‘Good Guys’ doll. ‘Chucky’ finds a home with 6-year-old Andy, initially befriending and manipulating him into helping him commit more murders, and then Andy himself becomes the target as Chucky plans to transfer his consciousness into him before he can be killed in his doll form. Continue Reading
Fans of Bava’s films know they are more about style than plot. The revolutionary use of color and framing create mood and atmosphere that leave a deep impression. A BAY OF BLOOD is loose and sometimes confusing, but it set the tone for many important films to come after it. The main film is, of course, Sean Cunningham’s FRIDAY THE 13th.
A BAY OF BLOOD centers around the inhabitants of a small bay. Countess Frida, (Isa Miranda,) is murdered by her husband, who is then himself murdered. The murders set off a chaotic chain of events as neighbors and family members fight and back stab each other for control of the bay. Among them is Simon, (Claudio Camaso,) the Countess’s illegitimate son; Renata (Claudine Auger), his step sister, and her husband Albert (Luigi Pistilli); Frank (Chris Avram,) a greedy businessman and his secretary Laura (Anna Maria Rosati), and card reader Anna (Laura Betti), spreading doom and gloom with her insect loving husband. There is also a side story of two young couples camping out in one of the empty houses and falling prey to the killer. The ending involving Renata and Albert’s children also makes no real sense. Continue Reading
[ blahblahblah Spoilers Probably yaddayaddayadda ]
This is a weird one, you guys. Not in a deliberate, fun way. More in a… I-have-no-idea-what-the-director-was-thinking-half-the-time kind of way. I’m going to keep myself to the format I’ve been using for the most part and not get too far ahead of myself this time. I’ll just say this one might be a little less meaty than my usual review as I’m not sure how much I can say about this one. We’ll see what happens as I get further down this cuppa (Joe)… Continue Reading
Rob Zombie knows movies, and he takes his knowledge of and passion for film and applies it to his own projects. Sometimes he is successful in his execution, sometimes he isn’t. It all boils down to personal preference. When it comes to The Devil’s Rejects, I believe he was successful.
This film came out in 2005 and is the follow-up to House of 1000 Corpses. It follows the Firefly family as they attempt to escape the law. The film is a mash up of different genres, including crime films and sexploitation, drawing heavily from slasher films with murder and gore to beat the band. Continue Reading
[65 minutes. Unrated. Director: Jorg Buttgereit]
Sometimes – okay, a lot of the time – I question the logic that drives my physical-media collection. Why are some DVDs more disposable and trade-worthy than others? Why are others as immovable as Stonehenge? There are films that sit on my shelves, never leaving the shrink-wrap; and others that are so mood-specific, I only re-watch after a passage of years. Salo is a great film, no question about it, but two hours of feel-good vibes it most certainly ain’t.
The same applies to the work of director Jorg Buttgereit.
After a string of shorts, his career began proper with the worldwide-controversial Video Nasty Nekromantik, which took a semi-comedic approach to a young couple’s desire to bring a rotting corpse into the bedroom. While a fine showcase for Buttgereit’s low-budget ingenuity (including some sick – and sick-funny – practical gore effects), the film was little more than the sum of its shock value (and I liked its labored, cheap-looking sequel even less).
The director fared much better with two other efforts: 1990’s actively oppressive Der Todesking (English translation: The Death King), which follows a group of unfortunate souls who fall victim to a lethal chain letter over the course of a week. The film is devoid of hope, and its experimental nature (more anthology than conventional narrative) creates a detachment from the characters that is deliberately cold. One can imagine Buttgereit’s intent: “This is humanity with the forced pleasantries and rule of law removed – see it and weep.” Continue Reading
I had the basic plot idea for Literary Stalker – a bad writer with grudges who takes revenge on selected colleagues – many years before I wrote the novel, but it remained on the back burner because it seemed too simplistic. Then I had the further idea of making the work a pastiche, with showcased references to films and other novels, very much in the style of Quentin Tarantino. Having fun developing this, one film in particular popped into my mind – one I hadn’t actually viewed for decades, but which I remembered fondly from way back in the 1970s and ’80s. It was Theatre of Blood, and I got the DVD and re-watched it, several times. The rest, as they say, is history. Continue Reading
Well, here we are. Six years after Nancy defeated(?) Freddy, and a new batch of crazy(!) teenagers for our favorite undead serial killer to torment when their eyes close. Heather Langenkamp and John Saxon reprise their roles as Nancy and Lt. Thompson (from ANOES) and we find that Nancy has gone to school to become a psychiatrist making groundbreaking work in “Pattern nightmares.” This was the directorial debut of Chuck Russell, who would go on to direct the cult favorite The Blob remake, as well as Jim Carrey’s comedy The Mask. Based on a story by Wes Craven and Bruce Wagner, the screenplay was written by Wagner, Craven, Russell and a young upstart writer named Frank Darabont (I hope I don’t need to remind this crowd who HE is, do I?)
As I said, there is a new cast of teenagers to be led to slaughter by Freddy, including Kristen (Patricia Arquette), Kincaid (Ken Sagoes), Joey (Rodney Eastman), Taryn (Jennifer Rubin), Phillip (Bradley Gregg), Will (Ira Heiden), and Jennifer (Penelope Sudrow). Continue Reading
EDITOR’S NOTE – Monster was a movie that had a huge impact on me and I think this is one example of, while the story of a film might not be as memorable, the performance elevates it into something extraordinary. I think Charlize Theron is one of the most exciting actors of our time. I’ve been a fan of hers from the day I saw her steal practically every scene she graced in Devil’s Advocate. I think she has a unique ability to completely occupy the space of a character. With many legendary actors, when it comes down to it, you still feel like you are seeing a variation on that person. I watch DeNiro’s films and for the most part, I still feel like I’m seeing Robert DeNiro, or Russell Crowe or whomever. Charlize Theron is a rare example where I feel like she becomes something completely different with each role. Continue Reading