Starring: Ethan Hawke, Juliet Rylance, James Ransone, Fred Dalton Thompson, Michael Hall D’Addario, Clare Foley, and Vincent D’Onofrio.
Written By: Scott Derrickson, and C. Robert Cargill
Directed By: Scott Derrickson
Review By: Joshua Macmillan
Synopsis: A washed up true-crime author moves his family into the home of a mysterious murder. While researching the crime, he finds a mysterious box in the attic full of super 8 home videos depicting multiple grisly homicides, leading the author down a path he is not prepared to take.
2012 was a weird year for the horror genre. We saw Sinister release, as well as Excision, American Mary, The Collection, The Possession, and many others- most of which fell below the mark and found themselves in the realm of obscurity. Sinister was one of the few that didn’t fall to the wayside, instead it was one of the best horror films of the year if you look at the “mainstream” releases. Continue Reading
[PRAAAAWBABLY SOME SPOILERS IN THIS ONE]
I actually just had to go through my now-double-digits past write-ups for Machine Mean to see if I was right on this…but HHLLC will be the first found footage film I’ve actually reviewed. And by found footage, I mean the shot-on-video incarnation, and not earlier films with an in-progress-documentary-film conceit like Cannibal Holocaust, Man Bites Dog, etc..
Coincidentally, I think I was supposed to review The Houses October Built but maybe didn’t for scheduling reasons or something. I say ‘coincidentally’ because that was another found footage film about the “Haunt” industry—commercial haunted house attractions run by professionals during the fall season, especially around Halloween. HHLLC goes a very different way with its scares, mostly due to revealing itself as a different subgenre of horror to THOB, which was something more like The Blair Witch Project meets The Strangers. Continue Reading
The Grudge (2004) seems to be one of those films it’s cool to hate. The only thing cooler is preferring the Japanese original. I’m going to be uncool (not a stretch) and play a little devil’s advocate (assuming my proposed generality is accurate). I’m going to try to focus on what I think is the film’s greatest virtue. It may even be the case that The Grudge (2004), Takashi Shimizu’s English language reworking of Ju-on, has a great deal to teach us about how to make an effective horror film, even if it ultimately fell flat for you.
What is the virtue in question? The Grudge is played straight. Its premise is held up to the light to live or die by its own merit. The film doesn’t lean on homage the way many horror films have done. Recent successful horror installments like Hereditary and A Quiet Place share this quality with The Grudge. All of these films owe something to the catalog of horror films that preceded them, but they are the clear result of careful digestion and organic integration of classic tropes, not so much ham-fisted nods to their predecessors. There’s a sense that the creators were excited about the stories they were telling. They felt they had something unique in hand, and the general consensus seems to be that they were right. Continue Reading
One of my buddies on Facebook had been pestering me for years to give Supernatural (1933) a watch. Seeing how we’re in the thralls of March Madness, I thought what better time than now. I am after all a fan of classic cinema, especially classic horror. While produced by Paramount Productions, Universal Studios had been sold the rights in 1958. Directed by Victor Halperin, who just one year prior directed White Zombie (1932), a mildly successful release with audiences of the Great Depression, Supernatural was not as revered and today has become a somewhat obscure and hard to find film. In fact, if you Google Supernatural you’ll only find images of Jensen Ackles and Jared Padaleski in the hit CW show of the same title. Needless to say, Supernatural, the 1933 movie, was hard to track down for screening. But by some miracle of modern streaming devices, I was able to procure a copy. Continue Reading
Now THIS is my kind of film. It’s 124 minutes of the stupidest, most offensive garbage I’ve ever seen – and, trust me, I’ve seen a LOT. As a taster, the top-rated IMDB review ends with the line: “How many ‘eating faeces’ scenes can a normal person watch before going insane?”
Cheap, nasty, and utterly repellent, this Tro-masterpiece is for fans of early John Waters, early Peter Jackson, and general trash aficionados.
Terror Firmer is a film made by the infamously tasteless Troma studio. It’s also the Troma film to end all Troma films, and piles atrocity upon puerile atrocity, packages it in a box of provocation, and decorates that box with a bow made of congealed bodily fluids. It’s as silly and outrageously violent as you’d expect, and tells the tale of how a Troma film production is thwarted by the antics of a deranged sexual sadist who keeps slaughtering cast members and crew. Continue Reading
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
[ 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
I was a freshman in college when The Relic came out, and I remember sitting in the theater with my friends watching the film. I have a special place in my heart for creature features. I just love how creative and awesome some of the creatures turn out to be. I’m a huge fan of creatures created by Stan Winston, so I just had to see this film.
The Relic is still one of my all-time favorite creature features. Apparently my memory was a bit hazy and I didn’t remember that the audience saw as much of the creature as they did. I remember it being shown in bits in pieces in the dark, but it gets shown in all its glory—albeit in the dark, but that just adds to its awesomeness. It deserves its time on the screen. Continue Reading
There are only three rules.
Any time a character is told something like that in the movie, it’s pretty much always a recipe for disaster. It’s right up there along with, here take this ancient book but don’t ever read anything out of it. It’s pretty much a guarantee that no matter what, something is going to go wrong and it’s going to be because somebody didn’t follow the rules.
This isn’t exactly a new narrative device. We are all pretty familiar with it, but I identify one movie as being the original, the best and shining example of this type of story. Continue Reading
In 2005, my interest in the undead had officially been reclassified as ‘Mildly Addicted’, due in no small part to the Romero trinity of Night, Dawn and Day. By now I had branched out, and was working my way through any zombie film I could get my distended claws into. Then the news broke that Romero was making a new zombie film, Land of the Dead. To say I was a little excited would be an understatement. I remember watching it at the time and whilst I enjoyed it, it was not a patch on the originals, or most of the films I had been watching during that period.
So, looking at it objectively now and giving it another (overdue) viewing, has my opinion changed? Well…get comfortable, and I’ll begin. Continue Reading