"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Virginia Madsen’

Candyman (2021)

Thursday, September 2nd, 2021

CANDYMAN (2021) is the first sequel in 22 years to CANDYMAN (1992), my pick for the best horror movie of the ‘90s. Though I don’t think this one’s nearly as good as Bernard Rose’s original, it’s much more worthy of the mantle than the previous sequels, Bill Condon’s New Orleans-set CANDYMAN: FAREWELL TO THE FLESH (1995) and (it goes without saying) Turi Meyer’s horrendous DTV CANDYMAN 3: DAY OF THE DEAD (1999). It’s nice that various trends have aligned to allow revisiting the subject decades later, minus any mercenary needs to strike while the iron is hot, and with the now-gentrified Chicago neighborhood where the first film took place providing a new angle from which to explore its still-relevant race and class themes. That seems to be the main point of interest for director Nia DaCosta (who did the excellent 2018 drama-with-some-crime LITTLE WOODS) and her producer/co-writers Jordan Peele (GET OUT, US) and Win Rosenfeld (executive producer of BLACKkKLANSMAN).

When the movie starts, the Universal logo comes on, so that globe spins around, and the letters come out, and then you realize they’re backwards. For half a second I thought something was wrong with the projection, but of course it’s referencing the importance of mirrors in the CANDYMAN films (where the titular restless spirit is summoned by chanting his name, like Bloody Mary). A couple of production company logos proceed to play backwards as well, so by the time the film proper started I had to look around until I spotted some numbers on a building and could finally be sure the movie was playing properly. Beginning the movie already off balance. Nice touch. (read the rest of this shit…)

Highlander II: The Quickening

Thursday, May 23rd, 2019

“It’s weird how they built a huge franchise off of the first film. I can’t quite understand it. It’s like they say in the film ‘There can only be one. ‘ In a genre film you can create any scenario you like, but once you break your own rules, the audience feels betrayed, which is what happened with HIGHLANDER II.”–Russell Mulcahy to Money Into Light, 2016

“The more cornered we were, the more stupid things we had to come up with.”–Christopher Lambert

From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of The Reviewing, when Vern will look back at the whole franchise

I missed out on being disappointed by HIGHLANDER II: THE QUICKENING with the rest of the world in 1991. Somehow I never watched the HIGHLANDER movies until the 21st century, at which point I’d lived many years knowing part II had been universally rejected and mocked. And when I did watch it it was the re-edited and 19-minutes-longer “Renegade Version” put together for DVD in 1997, and I’ll be honest – I liked it! I’ve always been one for weird, not-taking-the-easy-road sequels like BABE: PIG IN THE CITY, BATMAN RETURNS, TEXAS CHAINSAW MASSACRE 2, MAD MAX: BEYOND THUNDERDOME, BRIDE OF CHUCKY, RETURN TO OZ, JASON X, etc. So I was into the idea of Connor MacLeod in a dystopian future city working with rebels to, uh… blow up a shield around the earth, because it’s not necessary anymore. I mean — sure. Why not? (read the rest of this shit…)

CANDYMAN and the racial divide

Thursday, November 1st, 2018

FROM THE VERN VAULT: Don’t worry friends, I’m not about to start doing reruns all the time, but there are two pieces that were written for One.Perfect.Shot that disappeared after they were bought out by Film School Rejects. Prompted by Rumsey Taylor I located them on Internet Archive and I’m reposting them for posterity.

Maybe I’m full of it but it seems to me this piece from October 26th, 2015 was a little ahead of the curve. At the time I knew of no one else who considered CANDYMAN the best horror movie of the ’90s and I didn’t think people talked enough about its exploration of the legacy of slavery in America. I’m proud of this as well as my 2005 take on the movie. (It’s not dangerous until I review it five times, is it?)

P.S. I am responsible for the headline but that term “the racial divide” bugs me now – I wish I called it “WE’RE NOT COPS – WE’RE WITH THE UNIVERSITY.”

‘CANDYMAN’ AND THE RACIAL DIVIDE: WHY ONE OF THE BEST HORROR FILMS OF THE 90S IS EVEN MORE RELEVANT TODAY

“These stories are modern oral folklore. They are the un-self-conscious reflection of the fears of urban society.” –urban legends lecture by Professor Lyle (Xander Berkeley)

“What if a person had this thing done to him and what if he had the opportunity to come back and say, ‘Watch out!’ to the world that created this person and the conditions?” –Tony Todd to Fangoria Magazine, March 1995

American horror movies have played off of all manner of primal and societal fears: tensions between social classes, the invasion of the sanctity of the home, the dangers of trespassing in forbidden places. But leave it to a couple of British artists – writer/director Bernard Rose and executive producer/short story author Clive Barker – to explicitly tie those themes to the racial atrocities of our history, creating a truly American horror story. (read the rest of this shit…)

Better Watch Out

Tuesday, December 19th, 2017

BETTER WATCH OUT is a non-supernatural, non-Killer-Santa Christmas horror movie with a fun feel to it, but with deeply uncomfortable undertones. Or maybe it’s overtones. In fact I’m gonna say it’s deeply uncomfortable overtones and undertones with just a thin layer in the middle of that fun feeling I mentioned. It’s not particularly gruesome or anything, it’s just that the psychology of the villainy is fucked up in a way that got under my skin. There is a physical threat, but it’s more about creeping you out that there are people out there who think like this.

It mostly stars the youths. There’s the kid that played Peter Pan in PAN (Levi Miller) and the two kids from THE VISIT (Olivia DeJonge and Ed Oxenbould). There are other characters, like Patrick Warburton (THE WOMAN CHASER) and Virginia Madsen (CANDYMAN) as the parents of Miller’s character, but much of the movie is just between those three kids. (read the rest of this shit…)

Candyman

Sunday, October 30th, 2005

This movie surprised me. Everything about it is classier than I expected. From his reputation you’d think this Candyman guy is just a B-list Jason or Freddy type. But it turns out he’s more a classic movie monster like Dracula or the Phantom of the Opera. And his movie has more subtext than all of Freddy and Jason’s pictures put together, including JASON X. Hell, throw in a couple Child’s Plays too. And one or two Halloweens. And one Silent Night Deadly Night. No Texas Chainsaws though, that would tip the scale.

You know why we have to deal with Jason? Because of some horny counselors not doing their job. Freddy, because of some overzealous parents who took the law into their own hands. Dr. Phibes because some doctors fucked up a heart operation. But we got Candyman because of a bigger reason: America’s history of racist oppression. This is the only slasher/ghost movie I know of that deals with the legacy of slavery and racism (only BLACULA comes close). (read the rest of this shit…)

Sideways

Sunday, December 26th, 2004

So there’s these two middle aged dudes, Miles (Paul Giamatti) and Jack (some dude from a sitcom they used to have). Jack is an ex-soap star who’s about to get married, Miles is a depressed middle school english teacher who can’t get his novel published and is obsessed with wine. Together they have to stop a criminal mastermind who is poisoning the wine supply in the San Fernando valley and turning wine drinkers into an army of zombies.

Actually I made that last part up but what it’s actually about is they go on a trip into wine country the last week before the wedding. The idea is for Miles to show Jack “a good time” which to him means going around tasting wine and showing off that you know how the grapes were grown and what year it is and stupid crap like that. I mean in this movie you got people talking on and on about Pino this and 1961 is peaking and all this shit, they might as well be talking backwards, you got no idea what these idiots are blabbing about. Except when they start talking about how fragile the grapes are or something, and it is obviously a parallel to their own emotional state or their dreams or something. But I’m sorry, metaphors are not a good enough excuse for that kind of talk. Anyway, it works for the movie because they are good characters. You are not supposed to think their wine talk is cool. (read the rest of this shit…)