Imitation is often seen as a tribute to an artist; other times it is seen as a mockery and a laughable attempt to establish, oneself, in a world of other artists. A question that should be asked, what separates the good imitations from the worst?
The answer is a little more underlying.
A work of imitation can branch off and become something different, something appreciated by others. The difference is—Appreciation for the original work and artist—nothing more.
In 1978, John Carpenter set out and defined the slasher genre. Many fans were introduced to their first masked serial killers: Michael Myers. The original story was enough to send millions of fans into a terror filled adventure, murder and mayhem a-plenty. Man escapes mental institution after murdering his sister twenty years prior and begins slashing and stabbing his way through Haddonfield, IL. Continue Reading
WELCOME friends to a new year of “In Review.” As you no doubt have guessed, this year we’re running the gauntlet with Slashers & Serial Killers. To say we’ve got our work cut out for us would be an understatement. Thus far the review count looks to be well over 150 different movie reviews all spread throughout 2018 with our usual break in observance of the holiest of horror holidays, Freight Fest. Why such a high review count? There’s the love of course…the utter romanticism of this particular horror sub-genre–knowing the killer in us all by living vicariously through onscreen murderers and villains. Beginning as early as Psycho in 1960 and continuing on all the way into 2018, slasher and serial killer movies are alive then as they are today with hundreds of different movies to choice from. To kick things off, my movie of choice may seem a bit odd…allow me to explain. Continue Reading
What’s the worst that can happen? That is what I had said last night before renting the yet to be released remake of George A. Romero’s DAY OF THE DEAD (1985). Deep down, I knew…I knew it wasn’t going to be good, and yet there I was, pushing select and paying $6 despite my better judgement. I try to be fair. I know I am very particular about zombie movies. Deep prejudices, you might say. Being a Romero-purist makes it really hard to get into anything other than Romero. I understand that the late great grandfather of the zombie genre wasn’t perfect, we need only look at Survival of the Dead to realize that, but still…there has to be something. Story. Acting. Gore. The trifecta, no, the algorithm to making a solid zombie movie. So, did Day of the Dead: Bloodline make the cut? 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
What is the chance of a once-in-a-lifetime love worth? Is it worth the embrace of a monster, or death? SPRING is not just any monster movie, no typical vampires or werewolves here. What remains is the inescapable drive for connection that goes beyond emotional need.
SPRING, directed by Justin Benson and Aaron Morehead and written by Benson, is the story of Evan (Lou Taylor Pucci,) a young man who has just lost his mother and his job. His life has been on hold, taking care of his dying mother and his father who has also passed. He is an adult orphan, alone in the world with no direction. He makes an impulsive decision to head to Italy, a trip he and his father always talked about. He arrives with no clear idea of what he is looking to find. Continue Reading
The Blob, but with clowns. That will get you close to understanding what this film has in store if you haven’t seen it yet, but it doesn’t quite cover it. In fact, despite the Chiodo brothers’ stated intent to pay homage to The Blob, as well as the 50s alien invasion film in general, chalking it up to a simple homage would be a disservice. Killer Klowns from Outer Space is such a great movie in so many ways, but one of its most important features is its originality. Continue Reading
Today’s offering borderlines what we’d define as a “creature feature.” The monster isn’t some radiated beast nor is it (he) cosmic or multidimensional. Castle Freak is without a shadow of a doubt human. Not subhuman nor extraordinary. He’s not unkillable (such as Jason or Freddy) or super strong. But I wouldn’t categorize Castle Freak as a slasher or serial killer or mass murderer either. In fact, when researching some info on Castle Freak I was shocked to find that it was labeled as a mystery slasher film. I think perhaps that’s because the people doing the “labeling” didn’t understand what it was they were looking at. The “monster” in Castle Freak isn’t out for revenge or to score a high kill count, in fact, there’s not a heck of a lot of death in this movie, not if it were indeed a slasher flick. No. Castle Freak isn’t a slasher, its a creature feature, and I’ll tell you why… Continue Reading
Francine Parker: They’re still here.
Stephen: They’re after us. They know we’re still in here.
Peter: They’re after the place. They don’t know why; they just remember. Remember that they want to be in here.
Francine Parker: What the hell are they?
Peter: They’re us, that’s all, when there’s no more room in hell.
Peter: Something my granddad used to tell us. You know Macumba? Vodou. My granddad was a priest in Trinidad. He used to tell us, “When there’s no more room in hell, the dead will walk the Earth.”
Dawn of the Dead is among many things a very quotable movie. The scene above is probably everyone’s favorite, and for some there are more selective scenes to nibble on. Scientists arguing on what remains of the news broadcast. The SWAT incursion of the Philadelphia apartment building. The refueling scene, the dock scene, the shopping montage. The raiders and ensuing firefight. There are plenty. And if you were to ask me, I can’t really say if I personally have an all-time favorite scene, I mean let’s be honest here, there are so many to choose from. From the very beginning, Dawn of the Dead lures you in and keeps your attention rooted into the story. The pacing couldn’t be more perfect. Continue Reading
Though zombie is never said in Night of the Living Dead, this 1968 horror film set the standard for all following zombie films: radiation raises the ghouls (as they’re called in the film) to life (though, as of this film, radiation as a cause is only speculation), they move in a slow, plodding manner, they eat the flesh of the living, and the people they kill turn into zombies.
What makes George A. Romero’s Dead films so important, though, isn’t the thrills and chills they provide, as generous as that providing assuredly is. It’s the social and political commentary, hidden beneath the piles of corpses, that distinguishes him from his imitators. The following is my interpretation of that commentary, a theme of mindless, pitiless killing, and a killing not limited to what the zombies commit, by the way. Continue Reading