Usually a director you like producing somebody else’s movie doesn’t mean much. See for example Sam Raimi. Love the guy’s directorial works, but look at the stuff he and his company produced – not necessarily the seal of quality. I’m starting to see Guillermo del Toro is different, though. I still gotta see THE ORPHANAGE, but most people seem to speak highly of it. I loved DON’T BE AFRAID OF THE DARK and now this one is pretty good. These last two are movies where he found new filmatists who had done short films and helped them to make a feature.
In this case the director is Andres Muschietti, who wrote the script with Neil Cross and his sister Barbara Muschietti. (That’s kinda cool, I don’t know of another brother-sister filmmaking team other than the Wachowskis. And I guess Joie Lee wrote CROOKLYN.) They’re “adapting” it from their short film of MAMÁ, but I put adapted in quotes because there really isn’t a story in the short version, it’s basically just a cool shot (which is replicated in the feature version). I have no idea how del Toro figured out from that clip that this guy could direct a real movie that tells a story and has acting in it, but somehow he guessed right. (read the rest of this shit…)
When I watched THE TALL MAN recently I thought it was writer/director Pascal Laugier’s first English language picture. Turns out his one feature before MARTYRS was also in English. Coincidentally this was produced by Christophe Gans, whose CRYING FREEMAN I reviewed recently too. Laugier was apparently Gans’s assistant, and director of the BROTHERHOOD OF THE WOLF making-of documentaries. (I wonder what kind of crazy unpredictable plot turns those had?) I guess he also appears in the movie itself, playing the assistant to Machemort, whoever that is. I wonder if he’s friends with Mark Dacascos? (read the rest of this shit…)
POLTERGEIST III is not a very good movie, but I will go out on a limb and say that it’s a decent try, considering the circumstances. They only have Heather O’Rourke and Zelda Rubinstein returning, not the rest of the family. But at least they found a way to mix it up in location and filmatic style.
The director is Gary Sherman (VICE SQUAD). He co-wrote it with Brian Taggert (VISITING HOURS). IMDb also says that Steve Feke (WHEN A STRANGER CALLS, MAC & ME) worked on it uncredited. In this installment Carol Anne has gone to live with her mom’s sister (Nancy Allen), who is newly married to Tom Skerritt, who also has a pouty teenage daughter (Lara Flynn Boyle). They all live in a fancy new skyscraper in Chicago, which Skerritt is the bigshot manager of. (read the rest of this shit…)
Well, POLTERGEIST was a movie that people loved, so the best thing to do is to get the surviving cast members back together four years later (the actress who played the older daughter had been murdered), but not Spielberg or Hooper. The director this time is credited as Brian Gibson (WHAT’S LOVE GOT TO DO WITH IT) but I bet Tobe Hooper secretly was uncredited director to make up for not getting full control last time. You can’t disprove it so go ahead and add it into wikipedia if you want. (read the rest of this shit…)
Back when I was doing the Spielberg marathon somebody suggested I should review POLTERGEIST, and I thought it was a good idea. Oh shit, today is the 30th anniversary of the movie’s release! I guess we’ll do it today.
It definitely fits in with the Spielberg marathon. Tobe Hooper is the credited director, but Spielberg was a very hands-on producer and writer, and it seems way more like his directorial works than his other productions do. It has good, natural performances by kids and adults, smoothly choreographed camera moves, a suburban mid-west setting, state-of-the-art-at-the-time visual effects, people looking in awe at glowing light. Like E.T. (which came out one week later) it has a little boy with a room full of STAR WARS toys. The score is by Jerry Goldsmith, but is used similar to how Spielberg uses John Williams. There’s a group of scientists in a specialized field (like JAWS, CLOSE ENCOUNTERS, even JURASSIC PARK). There’s not as much that reminds me of Hooper – just TEXAS CHAINSAW MASSACRE 2’s Lou Perryman in a bit part as a guy working on the house, and a pit of rotting corpses at the end. That part seemed like something he’d be into. (read the rest of this shit…)
I didn’t expect to write a review of this movie, but I think I liked it more than everybody else, so I figured I should stick up for it. I mean, I don’t necessarily plan to watch it again in my life, but it has an odd tone that I enjoyed and shows signs of life in ol’ Tim Burton. (read the rest of this shit…)
THE INNKEEPERS is the new one from Ti West, the guy that did HOUSE OF THE DEVIL. This one doesn’t have the same retro trappings (I still believe if I came across HOUSE on cable and didn’t know what it was I would think it really was made around 1980) but it has a similar attitude about taking its sweet time getting to the horror part. In this one I really appreciated that because I almost preferred just hanging out with the characters to watching them get scared. (read the rest of this shit…)
ALWAYS is very cutesy and sentimental, it’s got some pretty weak comedic bits and it’s definitely the weakest full-length Spielberg I’ve watched in this marathon so far. But it’s still pretty good, and with some things nobody could’ve done as well as Spielberg.
This one’s about the pilots who dump the red stuff on forest fires, and the Tom Cruise of red-stuff-dumpers is former shark expert and Close Encounterer Richard Dreyfus. The Anthony Edwards is John Goodman and the Kelly McGillis is Holly Hunter. Actually, Dreyfus looks kinda like Paul Newman in this one, strutting around in aviators, leather jacket, baseball cap and grey mustache. The point is he thinks he’s awesome, and everybody else agrees. His girl seems to have when are we gonna settle down? type issues, but he makes her happy by buying her a nice dress, something you don’t see around the base much because she’s the only woman there. (read the rest of this shit…)
Here’s a weird one. Martin (Pierre Lenoir) comes home one day to find his wife Alice (Lynne Adams – “Yakuza with rocket launcher” in JOHNNY MNEMONIC) cutting his suits into little squares. After Alice has a stint in a mental hospital the couple comes to live in a new house, still undergoing some refurbishment.
One night Alice wakes up and hears power tools being used in the basement. She investigates and finds a dude (Wings “Ramrod” Hauser) still working on the house. He explains that he has a strong work ethic and won’t stop until the job’s finished. (read the rest of this shit…)
One thing about JOHN CARPENTER’S GHOSTS OF MARS: it’s definitely John Carpenter’s GHOSTS OF MARS.
It has plenty of elements that could be perfect for one of his movies. It’s kind of a siege movie like ASSAULT ON PRECINCT 13, although the simplicity of that type of setup is mired in flashbacks and narration. It’s got a western motif – even though it’s in the future and on Mars there’s a train, and colonists possessed by angry Martian spirits take the place of the Natives defending their land. It’s got a ready-made anti-hero – Ice Cube as the bad-but-not-guilty-of-the-specific-crime-he’s-accused-of prisoner-in-transfer Desolation Williams. It has a pretty good soundtrack where Carpenter melds his style with a bunch of rock n roll dudes with electric guitars and drums, playing Martian tribal rock. It has Ice Cube, Jason Statham, Joanna Cassidy and Pam Grier in the cast! This shit should be great. (read the rest of this shit…)
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Recent commentary and jibber-jabber
KayKay on Pulp Fiction: “Greene also got cinema’s coolest cigarette toss: A glowering butt right to the face of Stephen Baldwin in THE USUAL…” Dec 14, 07:41
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Muh on High Plains Drifter: “I’d say Eastwood is thoughtful about those tropes, but they are fairly standard action hero tropes. He can just tend…” Dec 13, 11:19
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lly a director you like producing somebody else’s movie doesn’t mean much. See for example Sam Raimi. Love the guy’s directorial works, but look at the stuff he and his company produced – not necessarily the seal of quality. I’m starting to see Guillermo del Toro is different, though. I still gotta see THE ORPHANAGE, but most people seem to speak highly of it. I loved DON’T BE AFRAID OF THE DARK and now this one is pretty good. These last two are movies where he found new filmatists who had done short films and helped them to make a feature.
Well, POLTERGEIST was a movie that people loved, so the best thing to do is to get the surviving cast members back together four years later (the actress who played the older daughter had been murdered), but not Spielberg or Hooper. The director this time is credited as Brian Gibson (WHAT’S LOVE GOT TO DO WITH IT) but I bet Tobe Hooper secretly was uncredited director to make up for not getting full control last time. You can’t disprove it so go ahead and add it into wikipedia if you want.
Back when I was doing the Spielberg marathon somebody suggested I should review POLTERGEIST, and I thought it was a good idea. Oh shit, today is the 30th anniversary of the movie’s release! I guess we’ll do it today.
a.k.a. TIM BURTON’S WHITE BLACULA
THE INNKEEPERS is the new one from Ti West, the guy that did 
ALWAYS is very cutesy and sentimental, it’s got some pretty weak comedic bits and it’s definitely the weakest full-length Spielberg I’ve watched in this marathon so far. But it’s still pretty good, and with some things nobody could’ve done as well as Spielberg.
Here’s a weird one. Martin (Pierre Lenoir) comes home one day to find his wife Alice (Lynne Adams – “Yakuza with rocket launcher” in JOHNNY MNEMONIC) cutting his suits into little squares. After Alice has a stint in a mental hospital the couple comes to live in a new house, still undergoing some refurbishment.
One thing about JOHN CARPENTER’S GHOSTS OF MARS: it’s definitely John Carpenter’s GHOSTS OF MARS.
