You guys ever seen this one called PSYCHO? It’s Alfred Hitchcock’s take on PEEPING TOM. Good shit. Check it out.
The weird thing about watching PSYCHO is that after you’ve already seen it (which in my opinion you have) the biggest trick is already given away. I’m not talking about the ending, the solution to the mystery. I’m talking about the fact that about half of the movie is all mis-direction… Marion Crane is unhappy, so she takes off with $40,000 of her boss’s money. Is the cop onto her? Will her boss know where she went? Will she decide to give it back? In a normal Hitchcock movie it might be about the money, but we know it’s not about the money. The money is not even the mcmuffin, it’s the red herring. We know not to really get invested in this because there is a little matter of something that happens in a motel shower that makes the money irrelevant. We know that and we still watch it again and again.
But with this hindsight we can also notice other things going on: the talk of Marion having to turn her mother’s picture around when her boyfriend is there, her co-worker (played by Hitchcock’s daughter) talking about her mother calling to check up on her… everyone has a mother lingering in their life from afar, overseeing things. But not quite like Norman does. (read the rest of this shit…)
Man, I knew everybody loved NIGHT OF THE CREEPS, but the way people talked about it I always figured it was some nostalgic grew-up-in-the-80s thing like GOONIES or heavy metal. No, it turns out NIGHT OF THE CREEPS is truly fucking great! You guys should’ve been more clear!
Man, if it walks like a duck, talks like a duck… oh wait, this guy doesn’t walk like a duck. But the title slasher of NEW YORK RIPPER is a guy who makes quacking noises while killing, and in taunting phone calls.
I tell ya, I’m as shocked as you are that a movie called THE NIGHT BRINGS CHARLIE doesn’t turn out to be the great unknown slasher gem I’ve been searching for. I mean, people love a killer they can call by his first name, like Jason or Freddy. Informality = terror. And that’s what they got here, they got Charlie. It seemed like they thought of everything, but for some reason the world gave them the cold shoulder. I’m sure around ’88 they were kicking themselves that they didn’t call him Chucky and make him a killer doll and do a way better job.
THE HILLS RUN RED probly isn’t a new classic, but I think it’s a solid DTV horror and a good take on the “meta-slasher” sub-subgenre that includes SCREAM and my unfavorite BEHIND THE MASK: THE RISE OF etc. etc. This is another one about people making a documentary, but thank the Lord Christ it’s not presented as a documentary. Tyler (Tad Hilgenbrink, some guy from DISASTER MOVIE) is a film school nerd obsessed with a 1982 slasher movie called THE HILLS RUN RED (wait a minute… that’s what this movie is called! what on earth is going on here?). It was supposedly so horrifying it was pulled from release. The director and all prints of the movie have been missing for over 20 years. 
One year before PREDATOR, two years before DIE HARD, John McTiernan wrote and directed this unusual thriller about ghostly demons or demonic ghosts. (Actually I thought they were ghosts, but the back of the DVD calls them demons. So let’s split the difference.) NOMADS stars Lesley-Anne Down as Dr. Flax, recently moved to L.A. One night after 32 hours on shift she sees a patient covered in blood, babbling in French, so crazed that they have to cuff him. He’s played by “Pierce Brosnan, the star of REMINGTON STEELE like you’ve never seen him before” according to the trailer narrator.
Well, say hello to the bad guy. The wet blanket, the party pooper, parade pisser, Gloomy Gus, Whiny Waldorf, Joyless Jim, Bum-out Benjamin. I’m talking about me here, the guy who achieved the dubious record of “First Person Not To Like [REC] Very Much.” Sorry guys. Didn’t think it would be me, so I didn’t prepare a speech.
Loosely based on Hanna-Barbera’s YOGI BEAR, GRIZZLY is the story of an uptight forest ranger (Christopher George) who just can’t stand that a bear is running around his woods living the free, unencumbered life of fun that his conformist philosophy won’t allow him. This is the more realistic BATMAN BEGINS version though so Yogi doesn’t talk or wear a hat or tie. Instead he’s 15 feet tall and weighs over a ton. Instead of stealing pic-a-nic baskets he steals people, by which I mean he eats them. Boo Boo is not a major character but is represented by a bear cub who some yokel hunters decide to capture and use as bait for Yogi. Yogi’s wiseass response? He eats Boo Boo. 
HALLOWEEN III isn’t the worst HALLOWEEN sequel, but it’s probly the most hated because it’s a new story unrelated to Michael Myers. Producer John Carpenter had this knuckleheaded idea that it was better to treat it like an anthology series, each one a new story having something to do with the holiday. What he didn’t consider seriously enough, maybe because he’s too modest, is that the first HALLOWEEN is a masterpiece and not a whole lot of stories or concepts feel worthy of being in the same series. Maybe if he’d done HALLOWEEN III: THE THING people would’ve gone for it, but not this.
