Man, DAYBREAKERS was not what I expected. I heard some good things (all of it from commenters here) and I had high hopes for a dumb-but-fun B movie. But I’d also seen pictures of Willem Dafoe with a crossbow so I thought maybe it had a pretty cool concept of a world populated by civilized vampires, but that it would then go into a familiar vampire hunting drill that hopefully wouldn’t pale too bad in comparison to BLADE and VAMPIRES.
But it’s not that type of movie at all. The crossbow is strictly for self defense. I was even wrong about who the main character in the movie would be. (read the rest of this shit…)
“Hey, I didn’t think SURVIVAL OF THE DEAD was all that terrible. Just not very good.” That’s what I told my buddies who had seen it before me. They were surprised and appalled.
The word was abysmal on George Romero’s latest, especially from the guy I saw DIARY OF THE DEAD with. He agreed with me that although that one was an embarrassing failure at least it had some good parts. He offered no such mercy for the new one. (read the rest of this shit…)
I’m not sure why I’m okay with the title WES CRAVEN’S NEW NIGHTMARE. It’s one of those dated titles, because it’s not new anymore. And is the actual title supposed to be “New Nightmare” and it’s presented by Wes Craven? Because I always think of Wes Craven as being part of the actual title, that it’s about his nightmare. I don’t know. Anyway, it fits.
WES CRAVEN’S NEW NIGHTMARE by Wes Craven is easily the smartest Freddy sequel and the one that most sounds like it could never work. I guess maybe some people might consider the premise ridiculous, but I always just went with it, it works like a charm on me (a very effective charm – I don’t actually know how charms usually work but this one works real good is what I mean). It’s the story of original NIGHMARE ON ELM STREET star Heather Langenkamp (uncannily portrayed by Heather Langenkamp) trying to stay sane in the face of some harassing phone calls, a series of earthquakes, some strange dreams and increasingly creepy happenings with her son. She and others keep having strange dreams – Freddy dreams. Meanwhile, Robert Shaye (Robert Shaye) and Wes Craven (Wes Craven) want her and Robert Englund (V’s Robert Englund) to return for a new Freddy sequel that Craven is writing. (read the rest of this shit…)
MEGA-ACTING! (Just kidding. No, that’s just screaming.)
Over there on the Ain’t It Cool News I reviewed the new straight to DVD sequel to THE DESCENT. The bad news is that it’s not from the director of the original, the good news is that it’s not from the director of DOOMSDAY.
Well, anyway, you’ll see what I think when you read the review. But please take special note of the authentic spelunking lingo used in the headline. They don’t always use my headlines over there but in this case they did. I researched that shit. It was awesome.
Well, they probly shouldn’t’ve made a DESCENT PART 2, but the one they made is not too shabby. It has just the acceptable level of shabbiness. It’s by rookie director Jon Harris, who edited the original THE DESCENT and to his credit not DOOMSDAY. (read the rest of this shit…)
THE COLLECTOR is a new horror picture and although the title does refer to the villain (who collects people – sorry, I was hoping it was gonna be Beanie Babies too, but it’s people) it focuses much more on the other guy. Not that he’s a saint either. He’s there to rob the place.
The opening establishes that this guy is doing repairs on a rich family’s home and his interactions with each family member. But it also shows why he’s so desperate for money that he’d pull an asshole move like robbing their safe. He tells a crime boss (Robert Wisdom) that he’s the only guy that can get into that safe, but I think it’s a lie. He just has a little box he can use to listen to the clicks as he spins the dial – I feel confident that I could figure out how to use that thing if you gave me a couple minutes. But maybe he’s the only guy with one of those boxes, that’s why he said it. And because he knows the code to turn off the alarm. (read the rest of this shit…)
Speaking of small time horror remakes, the STEPFATHER one came out on DVD a week or two ago. This is another one where it’s not really a big name for the teens to have heard of like NIGHTMARE ON ELM STREET or something, so it’s kind of weird that they bothered. But the source material is an underrated movie with a good, simple premise, so that’s attractive. I think the original’s script by Donald Westlake is real good, but it’s definitely elevated by a great performance by Terry O’Quinn. And that guy’s apparently on the popular television program LOST, so you’d think they’d just push the original on the kids and not bother with a new one. You’d think that – but the old one doesn’t have text messaging in it. The new one does. Also, internet research instead of going to the library. It’s a whole new ball game. (read the rest of this shit…)
Sometimes when we talk about all these horror remakes it seems kind of senseless, you can’t even tell what they’re thinking when they pick which movies to remake. But the reasoning behind this one is clear: HOUSE ON SORORITY ROW is one of our culture’s most recognized and beloved stories ever. The name recognition alone is invaluable, even if you change the name, like they did here. But the idea of a killer going after sorority girls to avenge a prank gone wrong, you can’t just make something like that up. You gotta remake it up. You buy the rights to it, then you change what the prank is and who is accidentally killed and who gets revenge and how they do it and why, and you change the title and most of the characters and events.
I trust I’ve made my case. This young generation was hungry for a movie that is not named after but is slightly similar to a whole bunch of movies they never heard of including HOUSE ON SORORITY ROW. These producers and filmatists could feel that hunger, they could hear the growling stomach of the zeitgeist, and they delivered it this pizza. And we, as a culture, used a coupon and didn’t tip. (read the rest of this shit…)
There was a time in our cultural history, or in our life’s journey or whatever, when the freaky grossout shit seemed real interesting. The odd top shelf Troma, the young and hungry Peter Jackson, the works of Frank Henenlotter. These are home made labors of love obsessed with bodily fuction and dumb humor, trying hard to disgust you but not really to scare you, and not to be taken very seriously. For a while it’s fun, but you can only go so far with that. It gets old after a while, or you get old after a while.
Still, I gotta admit, I had some fun with Henenlotter’s new one, BAD BIOLOGY, which is about a monstrous 7-clitorised vagina on a collision course with a detachable superdick that the vagina-possessor believes is God’s penis. (I know, I know… yet another movie about that. But bear with me.) The clean-cut-looking Charlee Danielson plays Jennifer, the woman whose orgasms are so intense she tends to accidentally beat her lovers to death in the process. You know, it’s about sex and relationships from a woman’s point of view, like Sex & the City. (read the rest of this shit…)
Since I was one of the elite few to sort of recommend HALLOWEEN REMAKE II I thought it was my duty to inform you that I less-sort-of-recommend the new unrated director’s cut than I do the theatrical one. The new cut is quite a bit different, but mostly what’s added is unpleasantness to make you not like the characters or enjoy the experience of watching the movie. There are several scenes and extensions added so that Laurie – who had a sweet friendship with fellow survivor Annie in the theatrical cut – is angry at Annie and they’re always fighting. Most of the new material involves Laurie screaming, crying and swearing, getting in arguments with Annie, then screaming FUUUUCKKKK! She also has a screaming fit at her therapist (Margot Kidder) and calls some beer she’s drinking in her bedroom “my new best friend.” (read the rest of this shit…)
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Recent commentary and jibber-jabber
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Man, DAYBREAKERS was not what I expected. I heard some good things (all of it from commenters here) and I had high hopes for a dumb-but-fun B movie. But I’d also seen pictures of Willem Dafoe with a crossbow so I thought maybe it had a pretty cool concept of a world populated by civilized vampires, but that it would then go into a familiar vampire hunting drill that hopefully wouldn’t pale too bad in comparison to BLADE and VAMPIRES.
“Hey, I didn’t think SURVIVAL OF THE DEAD was all that terrible. Just not very good.” That’s what I told my buddies who had seen it before me. They were surprised and appalled.
I’m not sure why I’m okay with the title WES CRAVEN’S NEW NIGHTMARE. It’s one of those dated titles, because it’s not new anymore. And is the actual title supposed to be “New Nightmare” and it’s presented by Wes Craven? Because I always think of Wes Craven as being part of the actual title, that it’s about his nightmare. I don’t know. Anyway, it fits.
THE COLLECTOR is a new horror picture and although the title does refer to the villain (who collects people – sorry, I was hoping it was gonna be Beanie Babies too, but it’s people) it focuses much more on the other guy. Not that he’s a saint either. He’s there to rob the place.
Speaking of small time horror remakes, the STEPFATHER one came out on DVD a week or two ago. This is another one where it’s not really a big name for the teens to have heard of like NIGHTMARE ON ELM STREET or something, so it’s kind of weird that they bothered. But the source material is an underrated movie with a good, simple premise, so that’s attractive. I think the original’s script by Donald Westlake is real good, but it’s definitely elevated by a great performance by Terry O’Quinn. And that guy’s apparently on the popular television program LOST, so you’d think they’d just push the original on the kids and not bother with a new one. You’d think that – but the old one doesn’t have text messaging in it. The new one does. Also, internet research instead of going to the library. It’s a whole new ball game. 
Sometimes when we talk about all these horror remakes it seems kind of senseless, you can’t even tell what they’re thinking when they pick which movies to remake. But the reasoning behind this one is clear: 
There was a time in our cultural history, or in our life’s journey or whatever, when the freaky grossout shit seemed real interesting. The odd top shelf Troma, the young and hungry Peter Jackson, the works of Frank Henenlotter. These are home made labors of love obsessed with bodily fuction and dumb humor, trying hard to disgust you but not really to scare you, and not to be taken very seriously. For a while it’s fun, but you can only go so far with that. It gets old after a while, or you get old after a while.
Since I was one of the elite few to sort of recommend HALLOWEEN REMAKE II I thought it was my duty to inform you that I less-sort-of-recommend the new unrated director’s cut than I do the theatrical one. The new cut is quite a bit different, but mostly what’s added is unpleasantness to make you not like the characters or enjoy the experience of watching the movie. There are several scenes and extensions added so that Laurie – who had a sweet friendship with fellow survivor Annie in the theatrical cut – is angry at Annie and they’re always fighting. Most of the new material involves Laurie screaming, crying and swearing, getting in arguments with Annie, then screaming FUUUUCKKKK! She also has a screaming fit at her therapist (Margot Kidder) and calls some beer she’s drinking in her bedroom “my new best friend.” 
