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Archive for the ‘Horror’ Category

Prom Night IV: Deliver Us From Evil

Monday, June 4th, 2018

By the time they finished off the PROM NIGHT series it was 12 years after the original. The ’80s horror cycle that had given rise to Mary Lou Maloney had petered out. This was a year of studio auteur horror (BRAM STOKER’S DRACULA, RAISING CAIN, DEATH BECOMES HER), genius cult directors getting to work with more resources (DEAD ALIVE, ARMY OF DARKNESS), shitty horror with morphing (Stephen King’s SLEEPWALKERS, not Stephen King’s THE LAWNMOWER MAN) and in my opinion the best horror movie of the decade (CANDYMAN). The PROM NIGHT series was part of another trend of lesser or totally unwanted sequels, arguably including PET SEMATARY TWO, HELLRAISER III: HELL ON EARTH, HOUSE IV, STEPFATHER 3, WITCHCRAFT IV & V, 976-EVIL 2, CRITTERS 4, AMITYVILLE 3: IT’S ABOUT TIME, BASKET CASE 3: THE PROGENY, THE GATE 2: TRESPASSERS and SCANNERS III: THE TAKEOVER (and some might say ALIEN 3).

PROM NIGHT IV: DELIVER US FROM EVIL, the finale of the original Canadian PROM NIGHT series (so far), ditches parts IIIII‘s story of the avenging prom queen ghost for some new religiously themed horror about some Catholic school students and their boyfriends from Hamilton High who get dressed up and rent a limo and do not go to prom. (So there is no disco, no rock, no Maestro Fresh-Wes, no popular music at all.) (read the rest of this shit…)

Prom Night III: The Last Kiss

Thursday, May 31st, 2018

PROM NIGHT III: THE LAST KISS is the only PROM NIGHT movie to directly follow up on the previous one. It opens on the grave of Mary Lou Maloney, who we see is now in Hell, where chained up dead girls in underwear and torn stockings do a kick line barefoot on burning-hot bricks to the tune of ’50s rock ‘n roll saxophone and moans of agony. But somehow Mary Lou (now played by Courtney Taylor, COVER ME, CAMP BLOOD) got a hold of a nail file, and when she manages to file through her chain she explodes out of her grave and EVIL-DEAD-cams right back to the school, where she manifests a working jukebox to lure in the night janitor (Terry Doyle, NIGHT FRIEND) and ask him to dance with her. She knows him by name because he was one of the many boys she dated in high school.

It’s a depressing commentary on small town life that this poor guy would still be living in the same god damn town where he grew up, mopping floors, and so mush-brained that when a mysterious sexy trespasser calls him by the same pet name as the girl he dated in high school who was burned alive in front of his eyes and recently came back from the dead, killed several students and burned down the gym during the prom he smiles nostalgically and says “I haven’t heard that name in 30 years. There was a girl–” (read the rest of this shit…)

Hello Mary Lou: Prom Night II

Wednesday, May 30th, 2018

HELLO MARY LOU: PROM NIGHT II doesn’t have a whole lot to do with the first PROM NIGHT, but it follows the same basic template of opening with a tragic past incident and then skipping to the present day, when older actors playing some of the same characters await impending tragedy at the senior prom.

This one seems even more CARRIE-inspired than the first one, even having a part where the protagonist is teased while playing volleyball in P.E. and gets hit in the head with the ball and knocked to the ground. But instead of having an obvious HALLOWEEN influence it’s the NIGHTMARE ON ELM STREET series. This is, after all, a relatively late sequel – seven years later, in a whole new era of horror.

The classics were just pouring out in 1987: EVIL DEAD II, THE STEPFATHER, THE MONSTER SQUAD, A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS, HELLRAISER, PRINCE OF DARKNESS and many others. There was so much going on in the genre that this didn’t make the cover of Fangoria when it came out in October – that honor went to Jason Voorhees, with THE HIDDEN, PUMPKINHEAD, THE UNHOLY, GHOULIES II and WEREWOLF on the sidebar.

When PROM NIGHT came along in 1980 the modern age of horror had been just kind of kicking off. By ’87 it was an industry, it had a built-in audience that worshiped special effects artistry and loved franchises. So hey, PROM NIGHT was a big one. Time for another PROM NIGHT. Doesn’t even need Jamie Lee. She would’ve graduated by now. Who was the killer again? The brother? Well, that doesn’t work. Do a new one. Make her a prom queen. And put her name in the title. Maybe make it rhyme? (read the rest of this shit…)

Prom Night

Tuesday, May 29th, 2018

PROM NIGHT is one of the early slasher cash-ins. It has a 2008 remake, though, so it’s a classic. It kind of seems like there’s not alot going on, because the body count is pretty low and the killings don’t start until 2/3 of the way in and there’s a surprisingly long uninterrupted disco dancing scene. But at the same time there’s a couple movies’ worth of things going on.

1. There’s the whole HALLOWEEN plot. A killer (also child molester) has been locked up (and burned up) and now it’s the anniversary of the murder of a little girl and he’s escaped and kidnapped a nurse and the police are trying to find him and I hope he doesn’t come after Jamie Lee Curtis (this time playing prom queen Kim, whose little sister was the murder victim).

2. Also there’s the CARRIE plot. A mean popular girl named Wendy (Eddie Benton, DR. STRANGE, HALLOWEEN II, Sledge Hammer!, married Michael Crichton and co-wrote TWISTER with him) is jealous of Kim getting to go to the prom with her ex-boyfriend Nick (Casey Stevens, THRESHOLD) so she gets a thuggish gum-chewing neanderthal lookin guy named Lou (David Mucci, “Quick Mike” in UNFORGIVEN) to help her with a cruel prank planned to take place when the king and queen are being crowned. (read the rest of this shit…)

A Quiet Place

Wednesday, April 18th, 2018

A QUIET PLACE is a really effective monster movie that goes a long way just on the strong execution of a simple, cool premise. 89 days ago as of the opening scene, civilization as we know it ended under the sharp teeth of some GREAT WALL-esque man-eating monsters. They’re blind, but they have great hearing and they run fast, so they’ll zip in and munch on anybody who makes any kind of noise. That could be some librarian’s bedtime story to keep the kids in line, but it feels a little more like THE ROAD or something.

We follow a family who have already developed methods to survive in this dangerous new reality. They live on an isolated farm, they speak in sign language. Their daughter (Millicent Simmonds, WONDERSTRUCK) is deaf, so she’s good at being silent, but of course she doesn’t necessarily hear if there’s a monster behind her or someone else is making a sound that’s gonna attract one. They’ve developed warning systems involving lights, torches that seem to communicate with other survivors (though we never see them) and various emergency backup plans. When they need to go into town to scavenge they walk barefoot on trails of sand (I wonder where they got all that from?) It shows just how serious this is, and how much work they have to put into it, and also it’s a cool visual. (read the rest of this shit…)

Night of the Living Dead

Wednesday, March 14th, 2018

An obscure kind of conspiracy: NIGHT OF THE LIVING DEAD

NIGHT OF THE LIVING DEAD is on a long list of the movies that I mention all the time in reviews and then when I go to add a link I realize that I’ve never officially written it up. It’s one of those classics that so much has been said about that it’s intimidating to even approach it. Seems presumptuous to think I might have something new to say about it.

It’s also a movie that I felt I had worn out at a certain point. I remember a Halloween some years back when I put it on and when it was over I felt I hadn’t gotten as much out of it as I used to, so I put it on hiatus. But now the Criterion Company has given us what could be the definitive release of the abused-by-public-domain film, which is as good an excuse as any to finally revisit the movie, discuss different aspects of it and see how its themes apply to these fucked up times we’re living in fifty years later. (read the rest of this shit…)

Hellraiser: Judgment

Tuesday, February 13th, 2018

It wasn’t much more than two years ago that I finally bit the bullet and reviewed the entire HELLRAISER series. I’d always had an attachment to the four theatrical ones (HELLRAISER and HELLBOUND: HELLRAISER II are still classics, HELLRAISER III: HELL ON EARTH is ridiculous, HELLRAISER: BLOODLINE is a mess with its hellbound heart in the right place) but had previously stayed the hell away from the DTV sequels (HELLRAISER: INFERNO (directed by Scott Derrickson), HELLRAISER: HELLSEEKER, HELLRAISER: DEADER, HELLRAISER: HELLWORLD and HELLRAISER: REVELATIONS). That last one feels for all the world like they just had to shit something out by the end of the month to maintain the movie rights, and that’s what they came up with. Yet they’ve gone almost seven years without making a new one or a remake. Could it be that they finally decided to let it–

AH, FUCK. They made another one. And you know me, I’m a completist, I can’t be the guy who’s watched nine of the ten HELLRAISER movies. I had no choice but to watch this shit.

(read the rest of this shit…)

Victor Crowley

Thursday, February 8th, 2018

VICTOR CROWLEY is part 4 of the HATCHET series. Despite the title it’s not any kind of a reboot or a prequel or anything. Part I-II director Adam Green made it secretly and surprised fans with it at an event advertised to sound like a tenth anniversary screening of the first one, and it’s very much designed as a fun time for dedicated fans of the series and the people who buy t-shirts of Green’s dog  and stuff.

So the fact that I didn’t love it shouldn’t scare fans off, because it’s not really for me. I really liked part III, a final girl vs. slasher standoff cranked up to 11. This is more in the tradition of parts 1 and 2, with the quirky character business, broadly cartoonish performances and occasional over the top chopping and splattering of bodies, done with a scream and a wink. Also you got your cameos by horror people, though some of them just in cell phone footage this time. (read the rest of this shit…)

Happy Death Day

Tuesday, January 30th, 2018

HAPPY DEATH DAY is a nice little high concept horror movie. 90 minutes, fast paced, upbeat. When I first saw the teaser I thought “I can’t believe nobody’s thought to do that before!” and sure enough these people did it ably.

See, it’s GROUNDHOG DAY meets a slasher movie (specifically SCREAM 2 I would say). Oddly named sorority girl Tree (Jessica Rothe, LA LA LAND) wakes up hung over on her birthday in the dorm room of some geek she barely knows. She shame-walks out of there in her shoulderless sequin blouse, squinting at the bright sun, and goes through a busy day (rushed changing of clothes, late for class, awkward run-ins with guys, sorority meeting, avoiding her dad, attempted tryst with a teacher) before being stabbed to death by an unknown person in a baby mask (weird school mascot, good slasher mask). And then she wakes up in that dorm again, on her birthday again. So she has to keep re-living this day, but also solve her own murder so that maybe she can see tomorrow. (read the rest of this shit…)

Leatherface

Monday, January 8th, 2018

Who will survive and what will be left of them and also will they grow up to be Leatherface?

As you are all aware, Tobe Hooper’s two TEXAS CHAIN SAW masterpieces are holy horror writ to me. But since Hooper’s second chapter more than thirty years ago a succession of copyright holders have given us LEATHERFACE: THE TEXAS CHAINSAW MASSACRE III and TEXAS CHAINSAW MASSACRE: THE NEXT GENERATION and TEXAS CHAINSAW MASSACRE the remake and TEXAS CHAINSAW MASSACRE: THE BEGINNING and by then I was able to have realistic enough expectations to let it go and enjoy TEXAS CHAINSAW 3D as just some stupid bullshit where yeah, the Leatherface looks fucking horrible, but at least Alexandra Daddario finds out she’s his cousin and decides to side with him and throw him his chainsaw. That was pretty funny.

With that standard in mind, the new prequel LEATHERFACE (the second prequel/premaquel in the series, and the second movie called LEATHERFACE in the series, but the first of the series that is both a prequel/premaquel and called LEATHERFACE) is a really impressive feat. It’s the first TEXAS CHAINSAW that doesn’t at all follow the template of the original. It’s a different subgenre – outlaws on the run – that happens to take place in some approximation of Hooper’s universe. No, I don’t want a backstory for Leatherface, but after accepting that they’re set on doing that task (again), I was glad they found a more clever way to do it this time. The screenplay is by somebody named Seth M. Sherwood, but it’s directed by France’s Alexandre Bustillo & Julien Maury, who did the excellent INSIDE and LIVID. (read the rest of this shit…)