The Horror Effect

Interview with Last Ride Director James Phillips

2012-01-21T11:46:00.000-08:00

Fellow blogger and filmmaker James Phillips kindly shares some background behind his incredibly ambitious and unique single-take found footage film: LAST RIDE. Back in July of last year, I had the opportunity to review the film: LAST RIDE review.

In his film, a group of bikers disappear after a day-long ride in Australia's Blue Mountains. The only evidence uncovered is the footage from a helmet-mounted video camera.

B-Movie Becky (BMB): Where did the concept for LAST RIDE come from?

James Phillips (JP): Oddly enough, it was really the tech that decided how LAST RIDE was going to be made. I saw some videos shot on the GoPro cameras, and was really impressed with it. After a day or two, pretty much the whole idea came about, involving the bike riders, the myth of the Blue Mountains Panther and the single take.

BMB: Why did you decide to not only shoot the film in the found footage style, but to also shoot the entire film in one shot?

JP: For years I'd been looking to do something about the Panther myth, then when the wearable HD cameras came along, the found footage route was an obvious choice to go with. There's two things I always hate with found footage films. First, that the person carrying the camera never feels quite scared enough to just ditch the camera. They always keep shooting. Second, is edits. If you're so freaked out while running around, somehow managing to keep filming, then you would keep filming, the whole time. Would you turn the camera off for a split second? Never knowing if you might miss something? Or really even caring about the camera that is in your hand?

By attaching the camera to one of the characters helmets, it frees them up to use their hands, never really paying any attention to the fact that its even still on his head, let alone recording anything. And by forgetting about it being there, makes a single take make more sense.

I also thought the single take is a nice unique take on the found footage genre. There's not many single take films out there, and they may be hard to prove that they are indeed single takes right the way through anyway.

BMB: Is the film really one take? Are there any hidden cuts?

JP: Yes, it really is one continuous take. There were things I wanted to do in the film, like submerging myself underwater, as the cameras are completely waterproof, but I was adamant to not have one single black frame in the whole thing. No one spot where I could sneak in a cut. Again, we shot it in the daylight, to ensure no trickery.

BMB: How many takes did you go through before you got it right? What was this experience like for your actors?

JP: We had locked in 4 days to get it all done. Monday was always going to be a full dress rehearsal, and despite everyone knowing exactly what we would be undertaking, I don't think it was until after this first day that it really sunk in. It was a pretty chaotic day, essentially me pushing everyone forward, calling out to people as required, it was pretty messy.The next day we were rained out, instead doing further improvising and rehearsing around the house.

Our first real take was done on the Wednesday morning, and the Thursday take is the one that you reviewed, the one that will be available as the regular release. I recently revisited the Wednesday take, and it is really good, in some parts better than the Thursday take, in other parts, not so much. One of the biggest differences is that the Wednesday take is only 63 minutes, while the Thursday is 79. The Wednesday take will also be released as an alternate angle/take of the film, for a two disc release.

One thing the actors kept saying they really liked about the whole single take aspect was how much it was like theatre. The whole cast did really well with improvisation. There were times where we'd be heading along a track, and I needed a bit more time, a bit more drama happening, so I'd tell an actor to hit the deck and give me an extra minute or two. There's a lot of pressure when you're fifty minutes into a single take feature film, and times like that they really pulled through, and delivered solid performances.

BMB: You wore many hats in the film: a writer, director, actor, and cinematographer/camera operator. What was this experience like? Would you ever do it again?

JP: Last Ride was a really collaborative process. There is no script for the film, still only a ten page synopsis, with about four lines of dialog. The rest is all ad lib, or rehearsed and roughly remembered. This goes for characterizations as well as dialog. For a few months leading up to the shoot, I would work with the actors to develop each of their own characters and back stories.

In terms of the actual shooting, trying to keep my head fairly steady, and my eyeline high was tough. It may not sound like much, but after hiking for 4 kilometers (2.5 miles) through rough terrain while wearing a helmet with two cameras and two microphones attached to it, keeping your chin up starts taking some effort. Especially while trying to act.

That was the hardest part for me, and the part I was least prepared for. Acting. While I didn't have to perform as such in front of the camera, I obviously was there alongside everyone the whole time, taking consolation knowing that if I was truly terrible, I could be dubbed over.

I really enjoyed shooting LAST RIDE. Getting out into the bush like that, I love it out there. Course, when I say out there, we shot LAST RIDE literally a five minute walk from my house.

My favourite part of shooting a single take film is the afternoon screenings. We would all trudge back to the house and get cleaned up, plug the camera straight into the projector, and have a screening. Sure, it needed some audio work done, but knowing what you would be changing and adding, you would watch your finished film, then and there. No months of editing. That was all done by my neck earlier in the day.

BMB: What was the most challenging experience for you and your crew during the production?

JP: Haha, that's my favourite word so far in regards to LAST RIDE. Crew. The crew consisted of myself and my wife Irene, the only qualified one in my crew and that wears possibly more hats than myself, from looking after the cast in terms of sleeping arrangements and meals, right up to her actual job of make up and special effects.

The biggest challenge for all of us, was the distance travelled in that location. While we would be running one way, Irene would be running another way, to get prepped and ready for the next effect gag. There were a few small bottles of blood along the track for us so she didn't have to be there for all of those, but the major ones like the camp scene... You know what, I still don't know what happened behind the scenes there! It was one of those things where if I ever saw Irene out there, then so did the camera, so it would be all over. All I know is that somehow she got to that spot before us, and I wouldn't even know if she was there or not, and then that she would have moved on by the time I returned.

By the Thursday take, we had both found things we could do differently to make life easier, and it was a lot smoother for all involved.

BMB: What sort of themes did you want to explore with LAST RIDE? Why did the subject matter interest you personally?

JP: Essentially, LAST RIDE is all about 'How long can you run to save your life?' This seems to be somewhat of a recurring theme for me, but I'm not really sure why. It's simply about survival, and what drives people to persevere.

BMB: What's next for you? Any future projects you'd care to divulge?

JP: We wrapped shooting 'The Proposal' at the end of October, and it is currently in audio post production. It is another single take film, but this time shot with a completely static camera. It is about 44 minutes long, and we're looking to release it online for free in the coming months.

Also Relentless, the film which you named all those moons ago, is just about finished. It's been a long road, but it will be worth it, and a nice change for my viewers from these single take films.

There's a stack of films I'd love to start making now, but at the moment I'm putting all productions off until all three of these films are released. Which is tough, because I love being in production!

Head on over to www.lastridefilm.com, where the full film is now available via streaming or download. If you're still not convinced, check out the the teaser below and see if you're not intrigued.

Happy Friday the 13th!

2012-01-13T17:19:00.000-08:00

Happy Friday the 13th all! Hopefully some of you are finding your own little (or big) ways to celebrate. Generally, I at least try to watch a Friday the 13th film or two. This year, I have a couple plans...

1. I simply had to wear my super awesome limited edition Jason shirt from Fright-Rags. This is the shirt that came with a vial of water from Crystal Lake, as well as other goodies. I received a few compliments at work, in addition to some odd glances. I guess not everyone knows what to make of a t-shirt featuring a masked man wielding an axe.

2. I am placing my order for Fright Rag's latest Friday the 13th extravaganza: G.I. Jason. Now the only question is to get a t-shirt or a hoodie? Hmm...decisions, decisions.

3. Undoubtedly, I will watch some films. I'm thinking of starting with the remake. I know. Blasphemy, right? Truth is...I haven't watched the Blu-Ray that I own yet and I think this is an excellent opportunity. Plus, I actually do like the remake.

Have a safe, fun, and lucky (hee) Friday the 13th!

My Anticipated Horror Films of 2012

2012-01-07T11:00:00.000-08:00

Here are some of the films rolling around in my head, as I await their alleged 2012 release. I'm sure there are movies I'm missing that I will later learn of and I'm sure some of these selections will turn out to be disappointments, but nonetheless, I'm excited at the idea of the following...

The Divide

My husband and I happened across this movie by chance when looking at upcoming releases at the local theater. I was blown away by the trailer. How did this one slip by me? Xavier Gens, director of the surprisingly awesome Frontiers, helms this post-apocalyptic vision. Oh and Michael Biehn is the star. Sold.

The Woman in Black

Featuring Daniel Radcliffe all grown up, this Hammer horror film promises to bring a classic ghost story set in the dreary landscape of an English estate. I'm hoping the brief glimpses of CG I saw in the trailer are outshined by practical makeup and efx.

Prometheus

Ridley Scott claims that this sci-fi horror epic is not a prequel to Alien, but it is unquestionably rooted in the world of the Alien films. The trailers are chill worthy and I'm dying to see Scott back in science fiction. The fact that no one really knows what the film is about feeds my anticipation.

Knights of Badassdom

From Joe Lynch, director of everyone's favorite direct-to-video sequel Wrong Turn 2, comes a fantasy-horror-comedy about a group of larpers who accidentally summon an ancient demon that subsequently wreaks havoc on their nerdy world. Steve Zahn, Summer Glau, and Peter Dinklage make this a must-see for the all-around geek.

The Lords of Salem

While Rob Zombie is hit or miss for me, I am ever so curious about his Salem witch film. Though my excitement dwindled when I learned it is not an actual period film (I would have loved to see Zombie outside of his comfort zone), I am still anxious to see a fresh take on the witchcraft sub-genre, which has been left in the dust since the 90's.

The Wicker Tree

The director of the original The Wicker Man, who hasn't been up to much over the years, brings us another wicker-themed horror film. I'm not entirely convinced by the trailer, but I am convinced that it will be just as much of a trip as the notorious 1973 film.

V/H/S

This project is produced by Bloody Disgusting's Brad Miska and Tom Owen, but that is not what has me intrigued. Its the strange nature of the project and the directing talent behind it. I suppose it would be called an anthology found footage film, with people like Ti West (The House of the Devil, The Innkeepers), Simon Barret (A Horrible Way to Die), and David Bruckner (The Signal). This project doesn't have huge names attached to it, but it does have promising, passionate filmmakers.

Over yonder on my other blog-A Fistful of Awesome, I talk about The Most Awesome Horror Movie Moments of 2011. So check it out if you like living in the past.

Apollo 18: What Could Have Been

2011-11-09T13:13:00.000-08:00

A smart premise does not take advantage of its potential in Apollo 18.

I'm definitely late to the game on this one. Though the trailers looked mildly interesting and plot was intriguing, the negative reviews circulating the interwebs kept me from paying top dollar to see Apollo 18 on the big screen. Now that it's playing at the local $3 theater, I thought I'd give it a shot.

Hopes were high in the beginning, as we are introduced to our astronaut heroes through scratchy film footage. In a 4x3 presentation, we are delivered the basics: 3 men on a top-secret mission to the moon to retrieve rock samples. The aesthetics or so basic and the story presented so plainly, that it truly felt like an Errol Morris documentary for a while. In fact, a woman, who we can only presume is not of the highest intellect, turned to her husband and asked in between popcorn chews, "Is this a doc-u-men-tareeee?"

Things slowly become less subtle as time goes on. CGI, white noise effects, frenzied edits, and shutter speed effects necessarily dilute a look that I was otherwise digging. The cool color pallet, occasionally contrasted with desaturated yellows and reds, created a wonderful sense of isolation on the moon. Just as the aesthetics of the film are encroached by needless effects, so is the story convoluted with too many elements and not enough basic scares.

VAGUE SPOILERS BE FOLLOWING
Government conspiracy, alien lifeforms, infections, mental instability, Russian cosmonauts, blah, blah, blah. Found footage films work because they are usually focused on a simple premise. The Paranormal Activity films have become less effective as they wander away from the core story. Blair Witch worked so well because it didn't explain everything. I would have liked to see Apollo 18 with one simple threat and less explanations.

SPOILERS BE DONE

Ultimately, Apollo 18 is just a bunch of wasted potential. Throughout the film, there are some great uses of negative space and darkness, but nothing ever really pays off. It misses so many opportunities to elevate suspense. Instead, the film plays slowly, with in-your-face scares every 20 minutes or so. This couldn't even be called a slow burn, because that would suggest a steady progression.

It may be worth a look if you're really into sci-fi horror or found footage films, but definitely don't go out of your way to see Apollo 18.

Happy Halloween!

2011-10-31T00:42:00.000-07:00

A quick short, wishing everyone a fun, safe, and merry Halloween!

Tucker and Dale vs. Evil: Super Funny, Extra Bloody

2011-10-12T13:03:00.000-07:00

An outstanding horror comedy that fully delivers on its hilarious premise.

Heading into the Varsity Theatre in Seattle's University District, I was happy to see that my husband and I weren't the only ones who felt like a horror comedy starring Firefly's Wash was a good idea on a Monday night. Of course, I wonder what all of the moviegoers thought of my husband and I's guttural laughter, as the charming tale of Tucker and Dale unfolded.

Heading to their fixer-upper vacation home, Tucker and Dale run into a group of good-looking college kids who misread the hillbilly pair as murderous backwoods freaks. After Dale saves one of the girls from drowning and brings her back to his cabin to recover, her friends believe that she has been kidnapped. What ensues is a series of misconceptions, as the dim-witted college students end up doing more harm to themselves than to the hillbilly's they are trying to rescue their friend from.

You know you're a redneck if...

Basically, we have a reverse hillbilly horror story that plays on stereotypes. Tucker and Dale turns this horror sub-genre on its head with ease, while providing plenty of gore and laughs. These kids don't just trip and fall off cliffs, they somehow find ways to die horribly painful and grotesque deaths all by their own hands. In fact, I'd say Tucker and Dale has the best use of a wood chipper in film history. Yes, it even beats Fargo.

Most importantly, Tucker and Dale stands out as a brilliant horror comedy because of one reason: the story is told with good characters. Even in its short 89 minute run time, it takes plenty of time to develop Dale, its central character. As an audience member, you truly want Dale to succeed in romancing the pretty, sophisticated college girl. Without setting up Dale as an empathetic character, it wouldn't nearly be as funny when he is accused of being a vicious psychopath and it wouldn't nearly be as interesting to watch him fail at explaining himself to others. In the vein of Shaun of the Dead, Tucker and Dale creates strong characters in a world of comedic situations.

The finest that higher education has to offer

Thematically, Tucker and Dale also brings out some intriguing discussion on what it means to be intelligent, sophisticated, and open-minded. The moral of this horror story is that being judgmental leads to a hideous death. While it is a common theme in horror films for a group of "normal" teenagers to judge an outcast, it is uncommon for that outcast to actually turn out to be the sympathetic character. Instead, this outcast falls into those judgements and takes revenge, becoming the film's villain. In Tucker and Dale, the outcasts are never once the villains.

You don't have to read much into Tucker and Dale vs. Evil as you watch it. Though it provides some nice color, it is still entirely watchable as a comedic gorefest. If it happens to be playing in a theatre near you, by all means check it out and bring your hillbilly friends!

For Shame: Halloween II Blu Ray

2011-09-16T13:13:00.000-07:00

Now, I haven't seen the transfer of Halloween II (1981) and so I'm not complaining about technical details here. The reason I am urging you not to purchase this newly released Blu Ray is based on principle. Moustapha Akkad's title card has been removed from the opening credits and replaced with Universal's. Moustapha Akkad is the executive producer behind all of the pre-Zombie Halloween films. In 2005, he was killed during a tragic bombing in Jordan. His son, Malek Akkad, has carried on his father's role in producing several Halloween films, including the Rob Zombie reboots.

Without Moustapha Akkad, there would be no Halloween. By stripping "Moustapha Akkad presents" from the film, the producer's memory has been disrespected and it shows a callousness for preserving the authenticity of the original film. If something like this is altered, then what else might be changed under the guise of "updating" a film? Don't even get me started on George Lucas.

In a landscape where we have countless versions of what is supposed to be the same movie--director's cuts, unrated cuts, producer's cuts--what version of the film will be preserved in the future? Who chooses which one is the right cut? If you watched the theatrical cut of Zombie's Halloween, then you might be confused why Dr. Loomis appears in the second film at all since Michael crushes his skull, leaving a lifeless body behind. You see, in the unrated director's cut, Dr. Loomis doesn't die after all. In order to understand the series, you need to see the unrated DVD, not the theatrical version.

If there needs to be so many iterations of a film, then there is surely something inherently wrong with the film industry (surprise!). A filmmaker should be able to release the film that best communicates the story. Period. The version released in theaters should always be the director's cut. If not, who's cut is it? The studios?

I know I'm not bringing up anything groundbreaking here, but the controversy with the Halloween II Blu Ray has just reminded me of the convoluted, studio-centric state of the film industry. Stories are rendered through so many channels that the original purpose becomes lost.

Although word on the street is that Universal plans to respond to these complaints, I'm not holding my breath. If you'd like to join the Facebook boycott, here is the page: Boycott Universal's Halloween II.

Summer Memories of a Horror Fan

2011-08-12T13:26:00.000-07:00

While the rest of the nation is suffering a massive heat wave, Summer has only started to rear its sunny head here in Seattle. Now that Summer has arrived just in time for it to disappear, I thought I'd share some of my favorite memories of summer from childhood. Because horror movies were such a big part of my life, horror-centered activities dominated many of my adolescent activities. Here are some I'm particularly fond of:

-Dressing up in the Ghostface mask and hiding outside my friend's house, while threatening them with menacing phone calls. There were tears and it was awesome.

-Inventing a Jaws-themed game in the pool. Chlorine-water sharks will be the next big thing.

-Creating another game of tag that was based off of Predator. Sometimes this involved Schwarzenegger impersonations.

-Making a feature film over the course of several months on a VHS-C camera with no editing equipment. Not to mention it didn't have a script and involved every slasher cliche known to the human race.

-Using fake blood and latex wounds leftover from Halloween, we loved to pretend some terrible accident had occurred to us and freak our parents out.

-Buying tickets for PG-13 movies, only to sneak into the R-rated horror films. Dang you cinema nazis.

-Sitting around the campfire, telling ghost stories, zombie stories, vampire stories, mass murderer stories...you get the idea.

-Getting my friends in trouble by watching Children of the Corn, even though PG was as extreme as they could go.

-Explaining to my 6th grade teacher why Halloween was my favorite film and why I was allowed to see it.

-Debating with a friend who thought I Know What You Did Last Summer was better than Scream. Who makes Direct-to-Video sequels now, huh?

Well, there you have it: a selection of my treasured memories. Feeling all nostalgic yet? I know I am...maybe I'll go home and listen to Bush, while talking on my brick (I mean cellular telephone).

Last Ride (2011): Into the wild

2011-07-27T20:29:00.000-07:00

A high concept found footage film that sucks you in.

Set in the trails of Australia's Blue Mountains, a group of bicyclists head out into the wilderness, unknowingly headed towards the last ride of their lives. Our point of view is that of James, who also happens to be the film's director, as he straps a helmet cam on himself to catch the action. Writer, Director, Actor, Cinematographer James Phillips delivers the entire 80 minute film in one continuous shot, giving the amateur footage vibe all the more authenticity.

Unlike countless other found footage films, the camera setup actually makes sense here. The wide angle lens is specifically designed for sports, so the aesthetic and the reason for bringing a camera are justified. Also unique is that the camera operator need not hold on to the camera. So when things get intense, the character can run, climb, and jump, since the camera is completely hands-free. So instead of asking, "Why does so-and-so keep filming?"; we ask, "Why would he bother to take the time to stop recording?" Any writer can tell you, giving the characters reasons to keep filming in a found footage film is challenging. Thankfully, Phillips avoided this problem.

One of the great things about this film is that it is quite literally experienced through the eyes of the characters. Precariously crawling through the foliage, the characters desperately want to know what is hiding in the woods, but are also afraid to look too closely. As the camera cautiously turns each corner and spins around to capture movement, the audience is holding its breath, experiencing surprise and anxiousness in the same way as the film's characters. I found myself leaning in to the screen and turning up the volume on my speakers, eager to discover what was hunting the group. This interactiveness was refreshing, as traditionally, we are aided by zooms and close-ups that cater to the viewer. Because we are not handed anything so easily in Last Ride, the film becomes more captivating.

On the other hand, one of the flaws of the movie is its simplicity. Much of the film is spent watching characters trek through the woods, with lots of "Did you hear that's?" and "Which way should we go's?" The three act structure that us movie fans have become accustomed to is hardly present here. With the exception of the beginning and the end, the film is pretty even -- giving us the same struggles, characterization, and visuals throughout the runtime. I would have personally liked to see more unique challenges thrown in the way of the bikers, which would have provided more opportunity for character development as well as a generally more enthralling experience for the mainstream moviegoer.

Ultimately, this film is quite an achievement. The actors cover a tremendous amount of ground and emotional ranges all within a single take. The coordination and planning on behalf of Phillips and crew must be commended. While I would have appreciated more diversity in the story structure and more payoff as far as action goes, I thoroughly enjoyed Last Ride and fans of the found footage genre should seek this one out.

Check out the Last Ride Facebook or IMDB pages for more information!

Fledging Serial Killer Needs Your Help!

2011-07-01T14:27:00.000-07:00

A few years back, I happened across a seemingly random independent film that ended up being one of the best horror films of the decade. In fact, it became one of my all-time favorites. Behind the Mask: The Rise of Leslie Vernon was the witty, homage-y mockumentary that earned my adoration.

It is with great anticipation that I discovered (thanks to Freddy in Space and I Like Horror Movies ) the legend of Leslie Vernon shall live on! Upon hearing this glorious news, I ran around the house like a gazelle and woke my husband up from his sensory deprivation tank. However, let us hasten our excitement for a moment, because there's still a chance that this prequel/sequel may not be made. I know, you may need a tissue just thinking about such potential gone to waste.

The filmmakers are calling out to fans for support. How can you help? Easy. Just pre-order a copy of the film to help Leslie find paradise. If the film doesn't get made (sniff), you won't be charged. "Like" the Facebook page, "Attend" the event, and be a hero! Follow the link for details: HELP Get "Before The Mask: The Return of Leslie Vernon" Made!

In case you haven't seen the original film, you can read me gloating about it here. So if you're a fellow Vernonite or even if you're just curious, it can't hurt to throw a little bit of cash at some talented filmmakers who are delivering straight to the fans.

Dance of the Dead (2008): I Love Catapulting Zombies

2011-05-29T13:21:00.000-07:00

It took me a while to get to this one. I let this flick slowly work its way up on the Netflix queue, believing it to be just another ZomCom. However, I was pleasantly surprised by this low-budget film with lots of energy, just enough gore, and many laughs.

Dance of the Dead begins like any high school movie, introducing us to an array of teens getting ready for the prom, some cool and some not. Our hero is the jokester, who can't take anything seriously but happens to be dating the girl who takes her school career very seriously. After sitting though amusing drama and archetypal-yet-truthful coed behavior, we finally get to the meat of the story. A nearby power plant has leaked a green substance that turns the inhabitants of the local cemetery into the walking dead.

And they're off...

And that's where the catapulting zombies come in. The funniest moment of the entire movie is when the zombies are literally launched from the graves, only to land on their feet in mid-sprint. Pure genius. My husband and I almost died laughing.

The remainder of the film follows around an eclectic group of kids, who must fight their way to the city to reach the school's gymnasium where the prom is being held. It was rather refreshing to see a zombie movie where the goal was not to hunker down and survive, but rather to kick zombie ass and rescue the entire town.

The sunken eyes really emphasize the mini mohawk.

Also refreshing? The fast editing, snappy style, and fun characters. This film didn't really on witty dialogue and brilliantly-lit scenes. Instead, we had well-drawn characters to follow through situational humor and old-fashioned zombie action. Sure, the cinematography wasn't top notch, but the shots were well designed and effective. The acting may have had its ups and downs, but the characters were too likeable for it to matter. The filmmakers focused on delivering a tightly-paced zombie movie, with only the smallest breaks for comedic interludes.

If only prom pictures were this cool...

As much as I love the introspective foreign films and edgy indie movies, this is the type of show that gets me excited about low-budget filmmaking. It is the type of movie I can see myself making. While it is difficult to explain, some movies just have a spirit about them that others are missing. During a recent slump in horror movies, this is just the pick-me-up I needed. If you've waited a couple years to see this one like me, don't wait any longer.

Break Posters - Opinions Please

2011-05-21T16:05:00.000-07:00

Many of you have probably heard about my feature film, Break. If you'd like to learn more, you can read this post or check out this blog. We've been experimenting with a variety of poster designs for the film, especially since it is screening on June 5th at the Seattle True Independent Film Festival. While we settled on a design for the screening, I wanted to share some of the designs we've played with and collect your opinions on them.

1. Abstract Design

2. Breaking Glass

3. Simple and Creepy

4. Atmospheric

5. Retro Design

6. Original Concept Art

So, which one do you like the best? I know horror bloggers don't have a shortage of opinions, so give your thoughts on these. In the meantime, if you happen to find yourself in Seattle this June, here is a link to more information on the screening: Seattle True Independent Film Festival.

Altered (2006): Let's Kick E.T.'s Ass

2011-04-13T20:39:00.000-07:00

I was in the mood for something I knew nothing about, as I browsed through the Netflix Instant queue. Some days I miss the times before the internets, when it was much easier to stumble upon films. I knew I was taking a chance by choosing a random indie sci-fi/horror film, but sometimes, you have to live life on the edge, right? Little did I know that the film I chose was from the director of The Blair Witch Project and little did I know that I was in for a treat.

What originally lured me into giving Altered a shot was its premise. Fifteen years after a group of high school students were abducted by aliens, they seek revenge for the irreversible effects. From a story perspective, Altered is the perfect low budget science fiction film. Its story is simple and rooted in characters, not relying on the usual spectacle and scale. Essentially, 80% of the film takes place in a small house, as our heroes capture an alien and restrain it inside a garage, unsure of what to do next. Emotionally charged, they wish to torture the alien until death, but the level-headed protagonist of the bunch suggests that this would be a dangerous move. Will the rest of the extra-terrestrials seek retaliation? Will they be able to hide out much longer without making a move?

"So, uh, who's idea was this again?"

Most of the film's interest comes from watching the character's interact, each revealing different motivations and subtly demonstrating the life-altering effects of the abduction. The actors are surprisingly good too. The standout performance, according to me, was delivered by Paul McCarthy-Boyington. Even though he is the least likeable of the bunch at first, he is stellar in this role as the gung-ho, harpoon-shooting brother of one of the abductees who never made it back to Earth. When he is at his lowest, he really shines, gaining sympathy from the audience. Overall, it was refreshing to see a group of heroes that didn't look the part. If you see a group of hicks sporting jean jackets and mullets in a horror film, they're either padding for the body count or they're rapist cannibals. Instead, these all-American boys are the stars of the show.

Real men of genius take a harpoon gun with them.

While the film isn't heavy on effects, there are two major effects pieces that are done very well: the alien itself and an infected body of a slowly decomposing corpse. The filmmakers shoot the alien the right way, slowly revealing bits and pieces of the creature, never giving us a full sight until far into the film. The alien design itself is pretty cool - not incredibly frightening, but the design is solid and effective for the film. The infected corpse design is brutal, almost difficult to look at sometimes. Kudos to the effects team for making their budget count.

Technically speaking, the film is solid. There's nothing incredibly impressive about the cinematography or sound work, but there's nothing negative to say either. Everything works as it should, but my only complaint would be that the film lacks an overall sense of style. The shot design seems almost too basic throughout the film. However, I'd still rather have the camera go unnoticed than be distracting.

He didn't like the bath toys.

If you've happened across this title on Netflix or if you're thinking about adding it to your list, give it a shot. It's a refreshingly simple, clever story that is told in a smart, engaging way. Sure , I have some things on my wish list that could have made the film better, but why bother picking it apart? I liked it. I hope you will too.

Insidious Is Insidious

2011-03-31T12:15:00.000-07:00

On Tuesday night, we caught a special "sneak peek" screening of Insidious at the local AMC. Insidious turned out be a suspense-ridden ghost story, jam-packed with content. Today, I'm bringing you a guest post from Nick Sayers, my husband and partner in crime. For the record, I agree with 90% of his review. All in all, it was a great film despite a few quibbles here and there. Without further ado....

Some are marking Insidious as James Wan's return to horror. I mark it as entertainment’s return to horror. Audiences have sat through a decade of J-Horror remakes, media-medium hauntings, and found footage fright fests and for the most part, audiences like it. James Wan is very conscience of this and melds what y2k audiences find scary into a terrific, terrifying film about the nether world of demons, hungry spirits, and how humans experience the spirit world.

The setup of the film starts like many others: new family in a new house. Much like Paranormal Activity, we are acquainted with the house and then shown small, detailed glimpses of changes between daylight hours and nighttime. The turning point is when tragedy strikes the family, as one of their young boys falls from a ladder and ends up in a coma.

As the haunting comes to fruition, the audience is tricked and lulled into the negative spaces of the frame, which evolves into one of the most intense jumps/scares I have ever experienced in a film. In fact, my legs spasmed so hard I jammed my ankle against the seat in front of me, causing me to have a sore leg. After I came to my senses, I looked around to see if I had been the only one with a strong reaction (out of embarrassment). I breathed a sigh of relief to see most people in the theater were just as shaken. Overall, the first half is a very recognizable love note to old fashion scares, subtle horror, and Judeo-Christian ghost myths.

The second half of the film takes the classical ghost movie setup and creates a vast mythology filled with the nether world, Asian concepts of hungry ghosts, and the nature of demons. I believe Wan's departure from the subtleness of the first half of the film will be the source of most contention for audiences. Some will see the start of the film as a breath of fresh air from J-Horror concepts and more reminiscent of an old fashioned scare-fest. This aspect did not weigh negatively on me, because Insidious expressed a culmination of all the things in ghost movies that have scared audiences for the past fifteen years. It works too. This all comes to light when Elise Rainier, brilliantly played by Lin Shaye, comes to the family as a ghost hunter and "traveler" expert (won't define due to spoilers).

According to Rainier, hungry ghosts appear in the world because they crave life, while demon's slip from the nether to possess and cause pain. Sounds like The Grudge and Paranormal Activity with some tweaks, but Insidious takes it a step further with the nether world, or “the further”. As Wan takes us on the journey to the nether, it turns into a haunted house of scares and evocative imagery, rooting to Wan's love for the "50's nuclear family." To explain the intricacies of this world and its connection to human dreams would spoil much of the film, so you will have to take my word that it's well worth the wait. I will tell you that my own encounter with the climax of the film had me smiling and unnerved at the same time as I left the theater. Mainly because it has been a while since I felt my skin crawl, stomach drop, and my adrenaline surge while watching a horror movie.

At the start of this post, I wrote that I thought it was entertainment's return to horror. I want to be entertained by a horror movie. This is apparent because my favorite horror movies are Evil Dead 2 and The Thing, which are films with no bull-shit entertainment factors. Lately, I feel like filmmakers are trading entertainment for unimaginative remakes (and sequels), obscure art-house duds, and the classic exhibition of the awkward sex-rape-violence triangle to "shock" folks. Rarely is the audience's entertainment an object of attention. With Insidious, it is not only taken into account, it is a focus of the film, taking the viewer into a haunted house and scaring the crap out of them. You will find no awkward female masturbation, Serbian rape, or clumsy rebooting of classics in Insidious. Just an enjoyable ride.

Written by Nick Sayers

Horror Movies That Make Me Happy

2011-03-14T13:26:00.000-07:00

The Monster Squad

I only wish had seen this movie when I was a kid, but then again, my tiny head may have exploded out of sheer happiness. This movie will always put a smile on my face. Watching Frankenstein hold hands with little Phoebe is more priceless than any Hallmark moment.

The Lost Boys

This movie was a mainstay of my adolescence (even though it was made the year I was born). The Frogg brothers can easily wipe away any frown, fighting for truth, justice, and the American way...in 80's Rambo-inspired outfits. Heck Yes!!!!

Army of Darkness

The greatest thing about Raimi's film is that it's a gift that keeps on giving. Long after the film is over, you get to revel in quote after quote, finding the ideal situation to say things like "Yeah and I'm a Chinese Jet Pilot."

Halloween 4: The Return of Michael Myers

Oh yes, the fourth film in the Michael Myers series makes me giddy. Vigilante rednecks, Danielle Harris, and seriously intense face gouging...more please.

Behind the Mask: The Rise of Leslie Vernon

A film that's so clever it inspires me every time I watch it, reminding me why I love the horror genre so much. Plus, it ends with "Psycho Killer" by The Talking Heads. Instant smiles.

Hatchet

A movie that embraces guttural laughter with extreme gore. Anytime I need to cheer up, I can just fast-forward to all of Victor Crowley's scenes.

Friday the 13th: The Final Chapter

There's something undeniably charming about little Corey making the most intricate monster masks, while a hefty collection of teens are dispatched by Jason. Who knew the word "die" repeated dozens of times could be so uplifting?

A Nightmare on Elm Street 3: Dream Warriors

From the Dokken soundtrack to Freddy's campy one-liners, the third Freddy movie is all about making horror fans happy. And this one still has John Saxon in it.

10 Horror Blogger Confessions

2011-03-03T20:22:00.000-08:00

1. I'm not a tool. I won't be persuaded to like a film just because it caters to horror fans; I will judge it on its own merits. The only exception is campy films full of gore and nudity made before 1990. Then, I can't help myself.

Did you know that a film can suck, but still be

considered a classic if Linnea Quigley is in it?

2. I don't jump on any bandwagons. My opinions are my own. However, if the bandwagon happens to be an "edgy" film that hasn't been made cliché by film students yet, then I will gladly hop aboard. Also, wagons involving an intense hatred for something are much easier to ride in.

3. I respect everyone's opinion and encourage comments on my blog...unless you disagree with me, then you're an idiot and have no taste. Of course, I won't actually say that, I'll just tell you that you have "an interesting perspective" or delete your comment.

4. I love independent filmmakers, unless they're successful. Then they're a sellout, whose films never surpass their hype. I'd prefer them to stay homeless, so I can like their films without being called a lemming.

Did you know that horror bloggers instantly think

you're cool if you hate Adam Green?

5. Obscure films help validate my opinion, because it's one of the only opinions around. Screeners make me feel important.

6. I track my Google analytics and Followers list religiously. I also spam other blogs with useless comments like, "I liked that movie too. I think you'd like my blog, check it out!" Still, I don't care about how many followers or hits I have. I do this because I love to write, but I do miss the Horror Blips rankings.

7. I like all of the big names in horror, but just to maintain an aura of objectivity and to garner some street cred, I choose one horror icon to tear down. Argento, Carpenter, Craven....one of you are on my hit list.

8. Before I finish watching a movie, I've already started writing the review in my head. I take particular joy in thinking about witty remarks to place under the screen captures. Don't worry, I really am paying attention to the movie.

9. I'm always most impressed by foreign films, regardless of the actual content. Because it is French, it is better.

Did you know that nihilism and the French language combine

to create an automatic gush fest for bloggers?

10. Any ideas that don't fit into the horror blogosphere trope hold no weight with me. You can never mention the two evil R words: Republican and Religion. I'm all for tolerance, unless you believe in the R words.

Buried (2010): Man in a Box

2011-02-15T13:06:00.000-08:00

Proof that variety isn't always important to a film, Buried is one of the best one-actor, one-location films I've seen. In fact, it's pretty remarkable how engaging this film is. I've been bored in movies with epic locations, a large cast, sweeping helicopter shots, and production value in the high heavens. However, director Rodrigo Cortes and lead actor Ryan Reynolds, show us what really makes a compelling story.

Paul, a U.S. contractor in Iraq, wakes up inside of a coffin, not sure how or why he was put there. Armed with a cell phone and a lighter, he begins a desperate hunt for clues that might help him find his way out. More and more information is revealed through phone conversations, as Paul attempts to contact friends and family, as well as the government. Battling with bureaucracies, impatient people, and inaction, he knows that time is running out.

"Broccoli for dinner was a bad idea."

Ryan Reynold's totally sells this role. We are right there with him in his frustration, gasping at the idea of being put on hold with elevator music while he's lying in a wooden box under the ground. We also sympathize with him as he loses his temper at the people on the phone, who clearly don't want to be bothered with his problem. Reynolds manages to pull of some snarky humor as well, which is much appreciated in such a dire film.

I still can't decide who makes the movie more watchable: Reynolds or Cortes. The director manages to provide constant visual interest, despite the obvious limitations. Of course, on occasion, the camera travels outside of the confines of the coffin. However, this is only done to punctuate certain moments, such as the isolation and desperation Paul feels, as the camera pulls back to his body trapped inside a box surrounded by endless darkness. Most of the time, the camera placement communicates the stuffy, claustrophobic atmosphere extraordinarily well. Additionally, cinematographer Eduard Grau provides interest through lens variation and changes in color.

"The rave should be around here somewhere."

Another credit must be given to the writer, Chris Sparling. Sparling squeezes character development, subtext, and intrigue out of every phone conversation. It's no easy task to tell a story through a cell phone. Yet, one of my complaints about the story also comes from the script. In the trailers, the film is sold as one that takes several twists and turns. This isn't really the case. It's actually more straightforward. I think Sparling could have taken advantage of Paul's mistrust of the government more. There are moments where Paul asks questions that make you think something more complex is occurring, but this never fully materializes. In the end, he's just a dude that was randomly put in a box for ransom.

***SPOILERS***

My other major point of contention is the film's conclusion. Staying true to the one-location concept, we never end up leaving the coffin. And of course, that means Paul never makes it out either. While his final conversation with his wife is heartbreaking, it all feels too senseless. Yes, a real world exists, I know. I understand that most violence is rather senseless and that the good guy doesn't always survive. However, I felt cheated. His death doesn't add anything to the themes of the story; it only pissed me off and made me wonder why I watched the movie to begin with. I don't want to see a movie about a guy buried alive who doesn't make it out; I want to see the incredible story of a guy buried alive who uses every resource at his disposal to find a way out. That's the interesting story ...to me at least.

***END SPOILERS***

I've had nightmares that start this way.

I do recommend Buried, even if I have a few issues with the story and the ending. It's a unique film, with a genius low-budget concept. It's also a good lesson for any filmmaker to see how little is needed to tell an engaging tale.

A Project from Yesteryear

2011-01-31T13:12:00.000-08:00

While I'm not usually a procrastinator, sometimes I decide to pick up old projects and complete things I should have done ages ago. Recently, I just finished up editing a trailer for my senior thesis film, "Among Wolves." That's right...my senior thesis film. I graduated in 2009 and it's 2011. Granted, a trailer for a 20 minute-ish film isn't necessary, but I had always intended to cut a trailer for this film. This is mostly because I love editing.

I did struggle with this trailer. One reason is because the film is a tough movie to explain in a short amount of time. There's also hardly any dialogue in the movie, so most everything is inferred through visuals. Trailers don't have to communicate the whole story, but if a trailer is effective, it will at least communicate a tone and generate interest in learning more about the story. For the hell of it, I thought I'd post it and get your thoughts.

Just for fun, I also thought I'd share some of the horror connections with you all. The film's lead, Frank, is played by David Alan Graf, who also played one of the teachers in Deadgirl. Erin McCarthy, who plays Frank's wife, was also in The Quick and the Undead and The Flesh Keeper. Kuma, the dog, was in An American Crime. The last connection involves one of the actresses who auditioned for a role. She was Daeg Faerch's mother (young Michael from Zombie's Halloween). He actually came to the audition with her. I was tempted to cast simply for the horror connection, but I went with the person that was the best for the role.

The Taint (2010): Hipsters Gone Wild

2011-01-24T15:16:00.000-08:00

By now, you may have heard that this film is offensive and disgusting. Despite these descriptors, you may have also heard fellow bloggers hail the film as a schlocky ode to Troma cinema. All of these comments are true, but it's a tough film to jump on the bandwagon with.

Phil O'Ginny suddenly discovers that the men of the world have become increasingly violent and savagely sexual towards women. He eventually realizes that this has occurred as a result of a tainted water supply that transforms men into misogynists. B-Movie plot aside, the purpose of The Taint appears to be a satirical look at dangerous attitudes towards women. Of course, it may take a while before this thought ever crosses your mind when actually watching the film.

You need not watch 10 minutes of the film to realize what you're getting into. Excessive nudity (particularly for males), hyperbolic violence, exaggeratedly bad performances, and random jump cuts all spell the workings of low-brow, highly offensive entertainment.

In between all of the usual tropes of intentionally making a bad movie, there are moments of originality and genuine humor in The Taint. I found that the funniest moments were those that had nothing to do with the sex or potty humor. After all, unique characters, ironic situations, and poignantly executed commentary are the stuff of true comedy. The Taint does posses many of these features, but I found myself constantly distracted by the overused penis jokes.

Is The Taint a feminist piece cleverly disguised as a bunch of juvenile jokes? Or is it a bunch of juvenile jokes cleverly disguised as a feminist piece? You be the judge. If the point of this film was to show the ridiculousness of a culture absorbed in violence against women, I don’t believe that this is the most effective way of communicating such a message. Holding far too long on shots of men aggressively ejaculating on a woman’s face, while she screams in terror, is probably not the best method of encouraging respect for females. I do get that it’s supposed to be over-the-top, but it’s not using exaggeration to prove a point, but to disgust.

Pink is the new black, and penises are the new breasts in The Taint. With marks of hipster spirit all over it, I was digging the synthesized music and I chuckled at some sardonic moments. I was also impressed with the sheer amount of gore (squashed heads) – racking up a body count this large is no easy task for low-budget filmmakers. For the most part, the kills and money shots are all pulled off well. I’d love to see directors Drew Buldoc and Dan Nelson tackle something completely different, as the filmmakers clearly know how to deliver a uniquely entertaining viewing experience.

If exploitation as opposed to subtlety is your thing, then go for it. Just don’t tell me I didn’t warn you.

Black Swan: A More Pointless, Female Version of The Wrestler

2011-01-06T13:27:00.000-08:00

A lot of people may think I'm entirely off-base with this review. First, they may think this because I didn't like the film. Second, they may think that my comparison to The Wrestler is inaccurate. Third, they may think that I'm failing to understand the subtext of a metaphorical film. Read on to find out for yourself.

Black Swan is quite similar to Darren Aronofsky's previous Oscar bait, The Wrestler. Both films are about self-destructive performers who can't help but push themselves to the edge in seek of something intangible - perfection, a fleeting taste of the limelight, meaning behind their work, catharsis. What's the difference? The Wrestler is about a guy that everybody knows, the person struggling with drug or alcohol addictions, who means well but can't get it right. Black Swan, on the other hand, is not grounded in realism with characters we're sadly familiar with. Instead, the young female lead is just plain crazy. Black Swan is a horror film after all, while The Wrester is straight drama.

Oh, the stressful life of a dancer who lives with her mom and has no real responsibilities.

There's nothing subtle or incredibly unique about Aronofsky's story. In fact, early buzz around the internets claimed that the film was a remake of the classic Japanese anime, Perfect Blue. Indeed, Arononfsky did purchase the rights to Perfect Blue so that he could recreate the bathtub scream that is now famous in Requiem for a Dream. Now that I've seen both films, I would never call Black Swan a remake, but they are definitely very similar stories. Nina, a dedicated ballet dancer, strives to obtain a sought after role that embodies both the White Swan and Black Swan in "Swan Lake." Slowly, Nina's innocence is devolved as she becomes more and more like the Black Swan character. This dissent is one of paranoia, psychosexuality, and self-inflicted violence. But I'm sure you already know that.

I get this strange feeling that I have an alter-ego following me around.

My biggest issue with Black Swan is the sheer pointlessness of it all. What message was being communicated by this film? Why create yet another evil twin doppleganger story? We've all seen Fight Club, so we know the drill. Only, Black Swan doesn't try to hide the duality, nor does it offer anything subtle about the psychology of Nina's character. Everything is laid out in the open. Every scene is in your face. It's like watching a 10th grade literature class's explanation of symbolism. So Nina plays a part where she has to be the White Swan and Black Swan, but the Black Swan character is hard for her to dance because she is so sweet and innocent. But wait, as she becomes more violent and sexual in her real life, she is able to fully embrace the darker role. Given the complexity of Aronofsky's previous films, I was immensely disappointed by the elementary story.

If the plot had been more complex and Nina's transition been more subtle, I probably would have enjoyed the movie more. Perhaps if there were more mystery behind the story, it would have also helped. I would have liked to see some suspicion over whether or not Nina was being manipulated or whether or not someone was trying to steal her role. I find that when the audience is secretly allowed into the paranoid fantasy, a film becomes so much more impacting. Instead, Black Swan is so literal and obvious it in its symbolism that it hurts. While some moments were certainly cringe worthy, many of the CGI swan bits had me laughing. And I wasn't the only one in the theatre that found it to be silly.

On the plus side, Natalie Portman's performance is stellar. I can't think of anyone else that deserves an Oscar more. Granted, I haven't seen every single dramatic indie film that came out in 2010, but Portman is perfect in this film. All other actors were great, with the exceptions of Winona Ryder and Mila Kunis. Neither of them were bad, but I would have liked to see some other actors in their roles. I do not envy any performer who had to go toe to toe with Portman in this film.

If only she had the munchies, then we could rule craziness out of the diagnosis here.

Additionally, the sound design was fantastic. In Aronofsky tradition, sound and music play a large role in the film and they work splendidly. In some scenes, sound tells more of the story than anything else. It's only when the sound design is transformed into bold visuals that the film becomes less interesting. I did not care for the visual style of the film. Sure, the costume design and makeup were great, but the cinematography was too similar to The Wrestler. It just didn't fit the world of the film, nor did the cinematography devolve to match Nina's descent. It starts off in a loose, handheld (oh so intentionally indie) style and hardly wavers from that design. I would have liked to see a graceful, poetic camera slowly downgraded to a raw, gritty, shaky camera.

At the end of the day, I didn't get anything from Black Swan. There's nothing new here - not even stylistically. Although, I appear to be in the minority with this opinion. So tell me why I'm wrong...or agree with me to make me feel better.

The Horror Effect's 2010 Awards

2010-12-28T22:21:00.000-08:00

Well, 2010 was an interesting year. I'm not usually one to formulate a top ten list anyway, but looking back on the year, I think this would be a tough compilation. There certainly were some interesting horror films, but not too many standouts in a year of sequels, remakes, and independent efforts.

Instead of arbitrarily generating a ranked list, I'm going to give out awards!!! Yay for awards....well not all of them are good. Cheer 'em on or boo 'em off the stage. Your call.

The Best:
The Last Exorcism

I saved the best for first. How's that for being anti-climatic. This movie was really, really great. It was the only film I considered for this esteemed award. The writing, acting, and technical details all worked together in a beautiful marriage that created the most intriguing film of the year. Check out my review here.

The Most Fun:
Hatchet 2

Just like the original film, the sequel was all about sleeze, cheese, and gore (I wish there was another word that rhymed). Adam Green delivered on the silly fun once again, making Hatchet 2 a joyous watch. Check out my review here.

The Most Underrated:
My Soul to Take

Hey, I really enjoyed this movie. Wes Craven provided a light-hearted, teenage slasher movie that had me thoroughly entertained. While it's no classic, it's definitely worth a watch. Check out my review here.

The Biggest Disappointment:
Paranormal Activity 2

Why bother to remake a film and offer nothing new? Slow, repetitious, and ineffective. As a big supporter of the original film, I found myself awake at night thinking about this sequel - not out of fear, but out of frustration.

The Most Uncomfortable:
Splice

I was expecting a cool science-fiction film about the creation of a new species - perhaps something along the lines of Alien. Wishful thinking, I know. I've seen Species, so I really didn't need to see a more disturbing visual display of inter-species fornication. No thanks. Check out my review here.

The Most Half-Assed:
Machete

Come on now Robert Rodriguez, don't play me like that. Planet Terror is one of my favorite movies, so I dig the whole over-the-top grindhouse thing and all. What I don't like is how an epically trashy trailer was transformed into a convoluted piece of weak social commentary. Fail. Check out my review here.

The Best Remake:
The Crazies

Not bad, I found myself thinking after walking out of the theater. I have to admit, I'm not a huge fan of George Romero's original film, so I was pretty interested in this remake. It had action, good actors, and a pretty generic script, but overall, I liked it. Check out my review here.

The Best Extended Scene of Carnage:
Piranha 3D

While the whole movie wasn't fantastic by any means, there is a scene in this film that blows everything else out of the water! The pun is most definitely intended here. After piranhas attack a group of spring break partiers enjoying a wet t-shirt contest, a scene of gore ensues that is absolutely glorious. The real point of this film is revealed: to watch drunk douche bags die grotesque, yet hilarious deaths. Check out my review here.

The Best Adrien Brody Film:
Predators

While I haven't seen Giallo cause of the whole payment fiasco, I have a feeling that Predators is still better. This reboot of a badass series could have been disastrous, but instead, it was a fun, slick presentation with lots of stereotypical action characters that we all like to see. This movie tried new things, without trampling upon the original lore and I definitely appreciate that. Check out my review here.

The Best Technical Achievement:
Frozen

Congratulations to Adam Green for making my list twice and both awards are good ones. This movie was gripping, intense, and moving. A large reason for this success was the fact that the move was shot practically and entirely on location. No green screens. No backdrops. No CGI wolves. Real cold, real heights, and real filmmaking. Kudos to the Ariescope team for an outstanding film. Check out my review here.

The Best Surprise:
Devil

While I don't personally have a problem with M. Night Shyamalan, I can see why lots of people were concerned when his name was attached to this project. However, Devil turned out to be really good. With an intriguing premise and tight execution, the movie was suspenseful, engaging, and highly effective. I look forward to sharing this little surprise of a movie with others.

The Least Surprising Surprise:
Shutter Island

Aside from falling into the inevitable Scorcese trap of being too long, Shutter Island failed to be effective because so much of the film operates on a surprise that couldn't possibly be a surprise to anyone that's ever seen a movie before. Yes, the film had some terrific moments and a great performance from Leo, but I was bored less than 30 minutes in. Check out my review here.

The Most Blah:
The Wolfman

There's really not much to say about this one. It's an okay remake that didn't take advantage of the fact that it had great actors and great potential. The first mistake they made was promising all practical effects and the second mistake was not delivering on that promise. It's enjoyable enough, but not all that good either. Check out my review here.

The Most Unnecessarily Dramatic:
Legion

Okay. After I saw the trailer for Legion, I was like "Sweet. A movie that doesn't take itself seriously about angelic battles of biblical proportions." Yeah, how about a movie that does take itself way too seriously and can't help but give every single character a monologue to explain their sad life story. Snore. Check out my review here.

The Worst:
A Nightmare on Elm Street

Good lord, this movie sucks. Even though I thought the trailers kind of looked cool, I half-expected the train wreck that happened. So uninteresting and so pathetic it hurts, this remake will go down in history as one of the worst. Check out my review here.

Exam (2009): Highly original and thoroughly engaging

2010-12-20T20:14:00.000-08:00

Every now and then I come across a trailer that causes me to stop everything and jump on Netflix to move the film to the top of my queue. This happened after watching the trailer for Exam, which I will share with you now...

While this isn't really a horror film, it's definitely something I think you'd all enjoy. It has plenty of horror elements and it relies heavily on suspense (hey, I just talked about this here). Exam's premise appears to be simple and that is the genius of it. 8 candidates for an extremely competitive position are in the same room. There is a test, of which they have 90 minutes to complete, and there is only one question. The only problem is no one can figure out what that question is. How far will each job-seeker go to uncover the question and eliminate the competition? Apparently, pretty far.

"Umm, could we get a question up in here?"

The film opens to a fantastic sequence of close-ups, all revealing tiny details about the candidates as they prepare for their final step towards obtaining a dream job. Just like the rest of the film, Exam shows without telling - using small character traits and acting moments to speak volumes about these people we know nothing about. Once all the candidates enter the guarded and sealed room, the proctor delivers a strict, yet bizarre, set of rules for the examination. They are informed that there will be one question before them and it will require one answer. After he leaves the room, the first moment of panic sets in for the candidates. Blank papers sit before them. Where is the question?

Meanwhile, the timer is ticking. 90 minutes to answer the question. The candidates work together, as well as against each other, in real time. And it's incredibly interesting. The diverse group of highly intelligent individuals start to poke and prod their way through the room, attempting to find a question hidden under objects or discover a UV light that may reveal the question. The battle of wits is punctuated by terrific acting and writing. Just as the characters are guessing, so is the audience. At every moment, I was thinking about what I would do (and wouldn't do) in their situation.

"This is way worse than when I farted during the SAT."

As the time whittles down, so does their threshold for rational behavior. The film quickly propels towards paranoia and violence, as the world of ethics and morals begins to fade away under the haze of isolation. To say much more about the film would ruin the fun, so I'm going to leave this review short and sweet.

To summarize: Very highly recommended! An original film executed wonderfully.

Where has all the suspense gone?

2010-12-15T20:10:00.000-08:00

While watching the remake of When A Stranger Calls, I started thinking about the lack of suspense in recent horror films. Though the movie was a watered down PG-13 remake of a terrific film, the movie still generated a decent amount of suspense. Despite some poorly directed action sequences, I actually enjoyed the 2006 version quite a bit. Yes, the original is well-known for a certain twist and the remake's trailer gave this away, despite the fact that the movie hinges heavily on that twist and it occurs towards the end of the film. Even though I knew the surprise that was coming, I was impressed with the taught line of suspense strung throughout the movie's 87 minute runtime. The clever use of set pieces and red herrings transformed what could have been painfully boring into enjoyable.

After you're done cursing me for not finding the When A Stranger Calls to be completely unwatchable, you can calm down and focus on this food for thought: Where has all the suspense gone? I had this refreshing feeling while watching the movie and I couldn't figure out why. What could be refreshing about a safely executed unoriginal Hollywood film? It was the suspense. I've missed it in recent horror movies. The more I thought about this, the more I realized how sorely modern cinema is missing out on the wonderful tool of suspense.

I'm reminded of the classic example of surprise versus suspense once illustrated by Alfred Hitchcock. Imagine a family eating dinner peacefully. A bomb explodes. Surprise! Now, let's take the same scene and add suspense to it. You see the family eating dinner, but you also notice that there's a bomb underneath the dining room table. Will they notice the bomb before it explodes? Will someone come to their rescue? That's suspense, keeping the audience guessing and wondering what will happen next.

Most recent horror films seem to operate primarily on surprise, utilizing a shock and gore campaign. While there's definitely a place for the well executed surprise and definitely a place for films that lean more on surprise than suspense, I can't help but miss all the suspense from yesteryear. It's no secret that the original Halloween is my favorite film and a large part of why I love that movie so much is the suspense. In comparison, we have Rob Zombie's Halloween, which hardly contains any suspense. It's all bombs going off in your face. The 1978 film creates suspense through steadicam POV shots, lingering edits, and Dean Cundey's atmospheric cinematography. When Laurie Strode slowly explores the neighbor's house, anyone watching is on pins and needles. In contrast, Zombies Halloween shocks the audience with raw violence and disturbing imagery. Michael's lurking presence is just not felt in the same way.

I've been thinking about this and trying to come up with recent horror films that rely more on suspense than surprise. The House of the Devil, Frozen, Antibodies, and Devil are a few superb examples that come to mind. At first, I thought of Inside and Them, but then thought about it some more...they really rely more on surprise than suspense to scare the audience.

What are some recent horror movies that you guys feel were suspenseful? Why is surprise being utilized way more than suspense? Comments anyone?

My 2010 Christmas Watch List

2010-12-01T11:03:00.000-08:00

Rather than creating a top ten list of the best Christmas horror movies, I’m just going to make a list of the movies I plan on watching this year in celebration of the holiday season. No, Silent Night, Deadly Night, didn’t make the cut this year.

The Thing (1982)

Isolation. Snow. Cold. Frigid Cold. Nothing says Christmas more than those words, right? Really, this movie is just all kinds of cool and I could watch it anytime of year, but this gives me an excuse.

Black Christmas (1974)

Yes, I’m referring to the original. Maybe the remake will make next year’s list…heh, doubtful. It’s been way too long since I’ve seen the classic slasher and what better time of year to rekindle the ol’ magic?

Inside (2007)

Cryptic, I know. I don’t know of another movie involving Christmas that could rip me out of the holiday spirit more than this movie can. We’ll see if I can actually sit through the entire runtime again. Hint: It hasn’t happened yet.

It’s a Wonderful Life (1946)

Sue me. It’s not a horror movie, but you know what? It’s one of the most awesome movies ever made and I’m going to watch it no matter how trite it sounds. After Inside, I deserve it.

P2 (2007)

I already watched this in October, but I just may give it another go with a different audience. No one ever talks about this movie (which takes place on Christmas Eve), but I love it. Santa Baby, hurry down the chimney tonight…

In Memorium (Screener): Knocking on Death’s Door

2010-11-24T11:49:00.000-08:00

A film that effectively delivers unique concepts in the quickly-tiring found footage format. One cannot help but immediately draw comparisons to Paranormal Activity on a surface level. Indeed, it’s about a couple living in a house with cameras capturing bizarre supernatural events. However, that’s where PA ends and In Memorium ’s plot begins. Recently diagnosed with cancer and given a couple months to live, Dennis, a filmmaker, and his devoted actress girlfriend, Lilly, decide to document their last days together with dozens of cameras and microphones wired throughout their rented house. It doesn’t take long before the cameras capture something unexplainable in the house. Is it the ghost of the home’s previous tenant? Or is it a manifestation of his impending death? The conclusion is genuinely surprising and wholly original.

The plot details themselves are what make In Memorium more interesting than your average found footage film. That said, I still wish the film explored the possibilities more. Given a unique premise and a short run time, there was definitely room to go all philosophical on us. Although I would have appreciated even more complexity in the story, I must say that I was never bored when watching this film. That is rare for a found footage movie. Whether it be Blair Witch or even Cloverfield, boredom is typically a necessary evil to gain authenticity. Having the immense variety of camera angles (detached from the hands of the actors) made the film move faster and freed the actors up to actually act as if there wasn’t a camera in the room.

This brings me to the topic of characters. In Memorium ’s cast is likeable and multidimensional. However, at times I felt like the characterization was being thrust upon us. Lilly and Denny's broish brother, Frank, provoke fights with each other for little to no reason. Some of the early scenes’ performances felt forced and showy. As the events unfolded, however, these faults began to disappear. When it mattered most, the actors were great and I was completely connected to the characters.

Now, the question everyone has been waiting for. Is In Memorium scary? At times, it is, but overall, I didn’t lose any sleep. It didn’t begin to compare to Blair Witch and PA’s scales of creepiness. Still, it succeeds in areas where these films failed. I would compare the movie to The Last Exorcism, where the film wasn’t all about the scares, but more about the characters unraveling the mystery of the situation. That’s not to say there are not some well-executed jumps and a superb tone of dread throughout the film.

This brings me to my next topic: the medium itself. A question kept re-entering my mind as I watched the film (and this is one I ask every film of this type): Would the film be more effective if it was shot in a traditional cinematic way? I still don’t know the answer to this question for In Memorium. There are so many cameras placed in non-security-camera-style angles that you wonder, why shoot with the limitation of found footage at all? Maybe it was cheaper for the filmmakers, but I’m not entirely convinced that this is the case. Despite all this, there is something to be said about the intangible creepy quality of found footage. Somewhere in the high angles and digital video characteristics, there is a voyeuristic element that tugs at us. In Memorium is effective in its existing medium, but my question still remains unanswered in my mind.

Clever, creepy, and engaging, In Memorium delivers. I may have minor quibbles here and there, but minor they are. A solid effort that doesn’t leave the viewer disappointed. For more information on In Memorium, check out the official site.

Knuckle Supper: For those who hate Twilight and love charity

2010-11-14T11:29:00.000-08:00

It has been called the anti-Twilight book. However, Drew Stepek’s Knuckle Supper is more than a simple rejection of the romanticized vampire. Indeed, it is a rejection of all things vanilla. Packed with violence, drugs, and anything revolting, this book will have you scrubbing your skin in the shower. It will also have you eager to read the next book in this humorously gross vampire saga.

Knuckle Supper is a truly unique take on the vampire genre. Based in Los Angeles, the story follows RJ, the leader of a brutal vampire gang known as the Knucklers, who will stop at nothing to satisfy their drug addictions. Equally as important as blood to Stepek’s vampire are drugs. There is no glamour in this world of addiction and violence. The author spares no disgusting detail in describing the manner of dispatching human beings for their blood, nor in the decrepit day-to-day dealings of a nasty drug addict. RJ’s world is quickly interrupted by the arrival of a 12-year-old prostitute, nick-named Bait. Perturbed his conscious, he cannot bring himself to kill her or throw her out on the street, much to the dismay of his fellow gang members. As he becomes more and more attached to the girl, the more he separates himself from the vampires and the more of a target he becomes.

To describe too much of Knuckle Supper would destroy the fun of learning this world. There’s no way I can begin to explain the bizarre violence of this novel. As a seasoned horror fan, I have never read or seen anything quite like this. Still, it’s not all the violence and grime that make Stepek’s work of fiction so engaging. Rather, it’s the candid depiction of characters that you want to discover more about. The reader is equally as curious as RJ about his species’ origins. You actively seek to unravel each terrible secret Bait unveils. More than anything, you wonder how it’s all going to end for a gang leader and his newfound tweenage friend.

Admittedly, it took me a while to truly connect with the book. Pages and pages of macabre accounts had me interested on a superficial level, but I didn’t find myself turning those pages with anticipation at first. It wasn’t until about half way through the book that I found myself so eager to finish. Indeed, getting readers to relate to a slimy bunch of vampire junkies is no easy task. But give it time and the characters will inevitably grow on you.

Highly recommend for any horror fan, Knuckle Supper is a great read. Plus, the book has teamed up with one of my favorite charities: Children of the Night. This non-profit organization aims to rescue and aid child prostitutes. 10% of hardcover profits and $1 from every digital download will be donated to Children of the Night. Knuckle Supper hits shelves this Tuesday, November 16^th, so pick it up and not only support original horror literature, but also a terrific cause.

Because the truth is always more horrifying

2010-11-09T15:35:00.000-08:00

In celebration of two upcoming documentary events, I thought I’d share some of my favorite documentary films with you all. Firstly, the wonderful Kristy Jett of Fright-Rags fame has decided to take her love for the 1991 film, Popcorn, to a whole new level. She is now in pre-production on a documentary all about Popcorn. Visit the production diary here to show your support. Secondly, Best Worst Movie is out on Blu-Ray and DVD on November 16^th. Documenting the cult phenomena surrounding Troll 2 and its cast/filmmakers, Best Worst Movie promises to be a hilarious yet heartfelt look at an endearing film. Check out the official site here.

Now, back to the title of this post. Here are some of my favorite documentaries ever made—some involve the horror genre and some are simply horrifying. I’ll start with the most horrifying documentaries and work my way down.

Paradise Lost: The Child Murders at Robin Hood Hills (1996)

This film tops the list because everything about it is horrific. From the documentation of the most heinous crime imaginable to the subsequent deconstruction of justice, I have never been so enraged by a viewing experience. Chronicling the sadistic rape and murder of three children in West Memphis, Arkansas, this doc censors none of the terrible details. Following the murders, three teens, who listen to metal and explore the goth scene, are arrested and the trial is documented. What follows is the destruction of more life, as stereotypes and ignorance outweigh reason. I cannot recommend this powerful film enough, and I also encourage you to visit the Free the West Memphis Three site to learn more about their ongoing struggle for justice.

Deliver Us from Evil (2006)

No film has ever made me cry like this one. I’ll admit it, I literally sobbed uncontrollably during an interview. This documentary follows the exploits of a single Catholic Priest, who was moved from congregation to congregation to cover-up his abuse of far too many children. This film not only captures the immense suffering of the families whose trust was violated so deeply, but it exposes a sickening corruption scandal in the highest levels of the Catholic Church.

The Thin Blue Line (1988)

Another film dealing with a miscarriage in justice, acclaimed documentarian Errol Morris was so effective, his film literally saved a man’s life. How many movies can claim that? Utilizing reenactments and interviews, Morris studies the conviction of an innocent Texas man wrongfully accused of the murder of a police officer. While this movie is not as entertaining as others on the list (this was back in the day when docs were shot on film), it is most definitely an important documentary that exposes the weaknesses of our justice system and human prejudice.

This Film is Not Yet Rated (2006)

Censorship. Yup, that’s pretty frightening, especially for fans of the horror genre. Kirby Dick’s documentary aims to expose the unfair practices of the MPAA (Motion Picture Association of America). Tackling an entity that is shrouded in secrecy, Dick hires a private investigator to find the identity of the ratings board members. Although horror fans may not appreciate the way the documentary tackles violence, it is definitely worth a watch for any cinephile or student of the First Amendment.'

American Movie (1999)

What’s so horrifying about a documentary that captures an amateur filmmaker’s attempts at completing a horror movie? To anyone that has ever tried to make a movie, you’ll understand. Fear of failure is almost as scary as death. Milwaukee native Mark Borchardt, the film’s tragic hero, is perhaps the best documentary subject ever committed to film. Full of passion and conviction, but with hardly any resources to support his dreams, we watch Mark work through a struggle that is terrifyingly familiar for any artist. Highly recommended to even those who don’t care for documentaries, American Movie glides between hilarious and moving without pause.

Happy Halloween from The Horror Effect!

2010-10-31T13:43:00.000-07:00

The big day is here! Time for us to act like six-year-olds on Christmas morning. Halloween is here!!! I'd like to wish you all a happy and safe holiday, whether you spend it watching AMC's FearFest followed by the premiere of The Walking Dead, getting inebriated at a party, dressing up for an elaborate costume contest, attending haunted houses and corn mazes, or maybe even tick-or-treating. Unfortunately, I didn't host a party this year, but I do plan on attending a local haunted forest this evening. A report will follow in November.

And of course, last weekend Nick and I carved ourselves some pumpkins. Mine was a mere 26 pounds, while Nick's weighed in slightly under 30. Needless to say, there were plenty of orange guts to clean up after words. Definitely worth it though!

Becky's Jack-O-Lantern: Boo, the ghost from Mario.

Nick's Jack-O-Lantern: Predator

And with Pumpkin Spice Mousse and Pumpkin Pie Ice-Cream for later, I'm looking forward to a festive dessert! Hope your holiday is equally as tasty.

Romero Week at The Death Rattle

2010-10-28T13:30:00.000-07:00

Head on over to The Death Rattle for George Romero week! What better time to celebrate everyone's favorite zombie maker? Not only is Aaron creating a Top 13 list of Romero films, he has also asked yours truly to contribute a guest post. I prepared a mix between a retrospective on the original Night of the Living Dead and an analysis of the decline of the zombie sub-genre. Sounds fun? You bet! Plus, you'll also find great pieces from the minds behind I Like Horror Movies, Agitation of the Mind, and Cool Ass Cinema. And if you're not following The Death Rattle, be sure to start doing so. Aaron is one of the best horror bloggers out there.

My Soul To Take (2010): Better than you think

2010-10-24T11:09:00.000-07:00

Firstly, this movie is actually pretty unique. Despite the baseless claims that Wes Craven was borrowing from his previous works, My Soul To Take has a completely different style than his other films and a storyline that resembles no other teen slasher. There was something almost refreshing about My Soul To Take, almost similar to a feeling of nostalgia as if I were returning to a long-lost form of cinema. Dramatic reminiscing aside, it's a good film with a few matters of contention here and there.

The premise is this: the soul of a serial killer, the Riverton Ripper, enters the body of a child born on the same night of his death. Seven local kids share a birthday with the famed killer of their hometown, but which one will take the Ripper's place? Sixteen years later, the film introduces us to the Riverton Seven struggling through the cruel politics of high school, while participating in annual rituals to keep the Ripper's ghost away. The intricacies of the social environment at this high school is rather ridiculous, but it all strangely works for the movie. Building strong myth in a modern era, it was nice to see a town shrouded in some old school superstition. It's fun not to have a million conversations about how ghosts, spirits, and other supernatural elements don't exist. I appreciated a group of kids that lived in the shadow of the past and feared the unknown powers of evil.

First sign of evil: high school hipsters surround you.

Though Wes Craven calls this his most personal film, it's all still executed in a fun, but grounded way. Hyperbolic examples of high school hierarchy and elaborate Ripper ceremonies show a lighthearted aspect of the horror genre that is seriously lacking. As stated, the film is still grounded in a dark reality. Much of the film's heavy thematics revolve around Bug, the film's lead. Suffering from some clear psychological issues and an inability to realize his masculinity, Bug has a strange aura of innocence and dangerous anger. This works so well for the film and is really what drives the suspense forward. It was a pretty bold move to make the title character so strange. And indeed, his actions become so bizarre, you'll definitely start questioning whether or not he may be taking the place of the Riverton Ripper.

Max Thieriot's performance as Bug is exceptional. In fact, all of the teens are surprisingly good. Ironically, when the movie first began, I thought the actors would be the downside of the film. The adult performers are stiff and awkward, especially in the opening scenes. However, once the Riverton Seven are introduced, performance becomes one of the film's greatest assets.

Bug says, "No more post-conversion."

It's not all songs of praise for My Soul To Take. The film is not scary at all. I know I'm rarely actually scared by a horror film, but I still feel a rush of anxiety during intense scenes and I still feel scared for the characters every now and then. But in My Soul To Take, I didn't ever feel those things. I did like the lead character and connected with him, but I never feared for his life. Perhaps that's because in the back of my mind I was wondering if he really was the murderer. There's still plenty of mystery and suspense to keep the film moving, but don't expect anything along the lines of Scream or Nightmare on Elm Street. Think more like Shocker...but not as silly.

My Soul To Take may not be great, but it is good and it is original. If a movie fails to scare me, then it can at least entertain me with new ideas. Craven achieves that here. Unfortunately, creative horror films like this are too often at the shallow end of the box office, while we all know what brings in bank. Give it a shot if you can still find it playing.

P.S. I didn't bother with 3D on this one.

T-Shirts, T-Shirts, Everywhere!

2010-10-18T16:18:00.000-07:00

If you're feeling the Halloween spirit and would like some new festive attire, check out some of these websites to bulk up your horror wardrobe:

Crazy Dog T-Shirts:
The site has kindly offered readers of The Horror Effect $5 off of their purchase from now until Halloween. Just enter the following code: HALLO5. Check out their zombie section, Halloween shirts, and Halloween costumes. I really want this hoodie:

Threadless:

These guys are also running a Halloween sale until November 1st. All Halloween shirts are just $10. Plus, they will send a "Trick or Tee" mystery shirt from their Halloween collection for $5 extra with your purchase. Let fate decide your wardrobe. This shirt, "When Pandas Attack," makes me very happy:

Fright-Rags:

Of course, you all should know about Fright-Rags, but in case you haven't heard, they're amazing. I own five of their shirts, including a special edition Friday the 13th print and special edition Ladies of the Evil Dead print. You get 10% off of your first purchase, if you sign up for their newsletter (which is not spam; it's always useful). One of their newer shirts:

My First Feature Horror Film

2010-10-14T12:39:00.000-07:00

So I’ve been up to something lately. You may have noticed my sporadic bouts of absence from the horror blogosphere over the past couple of months. I wish I could say I was out saving the world or something, but I’ve been working on the next best thing: my first feature horror film. (Besides the one I made in junior high--that doesn't count because it's terrible)

The film is titled Break and here is the synopsis: Reunited for the weekend, a group of friends are driven to violence when an unknown force seems to bring out the worst in them. Who will be the first to break?

Melissa Fisher as Angela

My husband and I made Break in about two weeks for a couple thousand dollars, using non-professional actors and hardly any crew. Relying on friends, family, and film students, Break was somewhat of an experiment to see if we could really make a feature film. Well, our hypothesis was correct: we could do it and we did.

Break was one of those projects that kept evolving over time. The story was changed to accommodate budget, the cast was swapped at the last minute due to schedules, and Nick and I found ourselves constantly filling in crew (and even cast) positions at the last minute. However, I believe that the best directors are those who understand every job on set and the best way to understand those jobs is by actually doing them. Ideally, it wouldn’t be all at once, but hey, at the end of the day the movie needs to get made regardless of who does what. We learned so much from the experience of Break and I wouldn’t trade all of the trials and tribulation for a smooth ride.

Danny Bauer as Kane

I just created a blog for the film, which you can find here. Follow for updates on the future of the project, as we send it out to contests, festivals, and whatever else comes our way. We just entered the film into the “Big Break Movie Contest,” which is sponsored by Rogue and offers the chance to have your feature film screen at 50 AMC theatres. There are some awesome films submitted already, so go check them out. And if you feel compelled, please rate the trailer for Break here. I don’t think the rating actually impacts the contest, but it can’t hurt.

If anyone is interested in obtaining a screener, just let me know and I’d be happy to send you one—don’t worry, no rave reviews required. =P I know the movie isn’t perfect, but I am curious to see what people (especially horror fans) think of it.

The Final Chapter on the Big Screen

2010-10-13T23:51:00.000-07:00

Before tonight, the only films in the Friday the 13^th series that I had seen in a theatrical setting were Freddy vs. Jason and the remake. So of course when I had the opportunity to see one of the most beloved of the sequels, I was excited. Central Cinema in Seattle not only screened Friday the 13^th: The Final Chapter (Part IV), but also held a pre-show from the Bloodsquad--in which they improvised a live version of a slasher film.

The comedy group first asked the audience to pick a fake name for a slasher movie. Someone immediately shouted, “Let’s Kill a Co-Ed.” And with that, the Bloodsquad improvised a ten-minute collegiate slasher on stage. Poking fun at Final Girl clichés and creating a rather impressive beatbox version of Manfredini’s F13 score, I can’t think of a better way to get ready to watch some classic 80’s Jason carnage.

Luckily, the audience was just as excited as I was. Guffawing at Crispin Glover’s hideous dancing (the theatre also screened an extended version of his dance from the outtakes prior to the film) and cheering whenever Ted White's Jason graced the screen, I was in horror fan heaven. My favorite part about the night was when the audience counted out the deaths, yelling “1” after the first death and so on. Some began to lose count and others got confused about the mother’s off-screen death. However, myself and a couple other faithful fans knew the real score. In the end, Jason kills 13.

Seeing a classic Friday film on the big screen was way more fun than I could have anticipated. There’s something about the high-pitched score surrounding you and seeing girls catapulted out of windows in slow motion. The Final Chapter still plays great to an audience. Now let’s hope I get to see Part II (my personal favorite) in a similar fashion someday.

The Craft (1996): When California teens dabble in witchcraft

2010-10-11T15:44:00.000-07:00

Not nearly as frightening as the sensationalism surrounding election season, The Craft brings us the dark world of the occult as seen through the eyes of a thirteen year old. Jammed with young 90's stars and an alternative rock soundtrack, this movie is nothing more than a time capsule for the modern audience.

Going to a wealthy private school in Southern California is soooo hard.

With Robin Tunney, Neve Campbell, Skeet Ulrich, Breckin Meyer, Christine Taylor, and the stereotypical goth chick--Fairuza Balk, The Craft plays like a 1996 yearbook. The setup is equally as dated: three wannabe witches convert the new girl into their coven so they can wreak havoc on fellow high schoolers who wrong them. So it sounds like Heathers, but with a 90's goth twist, right? Unfortunately, The Craft doesn't believe in satire. Nor does it have the nerve to blatantly execute jocks in the middle of the woods. If only...

If only The Craft took some risks, it might have actually been good. Instead, we see the girls using "glamour" to change their hair color (and with laughable special efx), removing scars, and casting love spells for half of the runtime. Where is all the revenge stuff? Where is the dark humor? The Craft's all-holds-barred attitude shows that this was marketed towards young girls just entering high school, because an older audience can't possibly get much from this. The R-rating on the film is especially surprising, as there is hardly any violence.

Find the one that doesn't belong.

This isn't to say that there are no good moments in The Craft. There are. Skeet Ulrich's performance under Tunney's love spell had me chuckling. The "light as a feather, stiff as a board" game actually looked good. And after conjuring up a spirit by the ocean, Balk rejoices over the site of several dead sharks washed ashore, which was probably the most effective scene in the whole film.

With another draft of a script and some more attitude, The Craft could have been good. The cast was capable of taking this film up a notch if the story allowed them to. However, the characters have forced motivations and the premise falls apart with unnecessary story twists. Oh well. Better luck next time if this film is ever remade. Ha.

Case 39 (2009): Playing it safe

2010-10-10T15:44:00.000-07:00

There’s nothing particularly special about Case 39, but there’s nothing bad about it either. A solid film that just doesn’t do much to stand out from other killer kid movies in the genre. And no, Renée Zellweger is not a standout.

A passionate social worker becomes obsessed with rescuing a child from what appears to be an abusive, psychotic household. Eventually taking custody of the disturbed child, she discovers that the crazy parents may not have been so crazy after all. From the trailers, you can tell it’s a killer kid story, but you don’t know whether or not the child is evil or if something else is manipulating the child. The movie makes it pretty clear—the kid is a demon. And that’s not a spoiler.

The happy family.

It’s a shame though, because I wish there was more suspense surrounding the little girl. Is she a demon? Is she followed by an evil force? Did her religious fanatics for parents do something to her? The movie would have been more fun if the plot was more complex, but then again, sometimes it’s nice to have a straightforward villain in postmodern cinema.

As for the girl, with Lilith of all names, she is genuinely creepy. However, most of this is not due to her performance, but rather some cleverly written and directed moments. You may recognize her from Silent Hill, as she has a great look for horror and was a good casting choice here. Still, she’s no Esther. In fact, The Orphan was probably the reason the theatrical release of Case 39 was postponed. Unfortunately for Case 39, The Orphan had a better cast, a more interesting story, and some great twists.

Duct tape fixes everything.

As a fan of director Christian Alvart, I was pretty disappointed in Case 39. The brooding tone and compelling performances of Antibodies cannot be found in this movie. Nor can the intense cinematography and thoughtful themes of Pandorum. The visual design was uninteresting (too many overhead shots and high angles) and sloppy editing (unusual for Mark Goldblatt) make Case 39’s average story appear even more average. All the right players were there to make this movie better than its logline, but the result just leads me to believe that Alvart may not do as well in a studio setting.

No one reads her diary.

Like I said, there’s nothing really wrong with the movie and it has some good scenes. Still, the suspense, scares, and story just don’t match up to similar films in the genre.

Hatchet II (2010): Citizen Kane Hodder

2010-10-02T23:44:00.000-07:00

Has anyone else made that joke before? I’m not sure, but I like it. Hatchet II is the Citizen Kane Hodder of slasher sequels. What the heck does that mean? It means the movie is gratuitous, hilarious, ridiculous, and insidious. It’s not every day you get to use all those adjectives in a positive way. But then again, it’s not every day you get to see an unrated horror film in cinemas either.

Hatchet II picks up right where the original left off á la Halloween II. The very first frame of the film? A tight close-up on Victor Crowley’s mangled, gurgling face of course! Next we see Danielle Harris take on the role of Marybeth, as she frees herself from Crowley’s grasp and emerges from the swamp. After rounding up a group of hunters with Reverend Zombie (Tony Todd), Marybeth returns to the swamps to defeat Victor Crowley and avenge her family. While the formula is similar to the original, there are many differences that I appreciated.

Jamie's uncle is the boogeyman!

The origin story is more detailed this time, as more supernatural elements are weaved into Crowley’s identity. While this may be a strange route to go with a slasher film, I think it capitalizes on the mythos often found in bayou culture. Plus, we get to see more of Kane Hodder without makeup (playing Crowley’s father again). I was rather impressed with Hodder’s performance and hope this results in more face time in other films. The only downside to the more extensive backstory is the overlap for fans of the original film. The tricky thing about sequels is finding the right balance between recapping information from the first film for new audiences and not boring the crap out of those who have already seen the original. Unfortunately, a little too much time was spent on exposition, causing the first act to feel pretty long.

Speaking of pacing...Much of the pacing problems from the original were improved upon. In the first film, it took too long for the main action to get rolling. Hatchet II gets the cast into danger much quicker (or at least it feels that way) and it was much appreciated. The characters, while not as diverse, are more fun to follow and the character jokes work better. Yes, we all got a little tired of the cat fighting between the airheads in the original. The sequel brings us a colorful collection of rednecks with names like Cleatus and Layton.

The Projects or New Orleans...take your pick.

This film had a lot to live up to in terms of gore. Victor Crowley’s methods of dispatchment are so over-the-top, they are played as comedy. Revolting but funny. Personally, I like the death scenes in the original better, but that doesn’t mean the sequel doesn’t deliver. Intestinal gore, boat propeller to the face, the return of the belt sander, and so much more make Hatchet II the crazy blood bath that it is. In grand sequel tradition, the body count is much grander, including a fantastic montage of deaths at the swamp. Was that a Joe Lynch cameo I saw? Heehee.

Cameos and nods. There are lots of them. Not just in the form of actors either. Adam Green’s directing credit hits the screen next to a shot of the director himself puking the nastiest looking vomit ever. Green inserts lots of little references to his films and others. In Reverend Zombie’ s shop, there’s a little advertisement for the “Jack Chop” with Paul Solet’s smiling face. He’s also watching something on the news about a group of skiers caught in a chairlift. My personal favorite reference is from one of the hunters talking about how he knows of a legend like Victor Crowley in a place called Glen Echo and a man who goes by the name of Leslie Vernon. As a huge fan of Behind the Mask, I was gleeful upon hearing that well-crafted plug.

Crowley mostly comes out at night...mostly.

Through and through, Hatchet II is all about having fun with the horror genre. It’s never making fun of horror; it celebrates the outlandish nature of the genre. Perhaps there are some moments in the beginning when Danielle Harris’ performance is a little too somber and Green is taking the characters a little too seriously, but none of that lasts long before we are treated to mutant-redneck-ghost mutilation.

In the end, Hatchet II is an improved film over Hatchet. The actors, jokes, and structure are better, even if I do prefer some of the deaths from the original. Shot for 2 ½ million dollars without studio support, Hatchet II does a lot with very little. With about zero advertising, it will be difficult for Hatchet II to make money this weekend, which is unfortunate because it deserves a chance to be seen.

5 Reasons to see Hatchet 2

2010-09-29T14:33:00.000-07:00

Hatchet 2 hits AMC theatres unrated on October 1st! Will you be there to show your support? Here's five reasons why you should be out there watching Victor Crowley power up the ol' gas-powered belt sander this Friday.

1) If you're a fan of the first Hatchet, then things look promising. All the gore and camp that made the original so fun are said to be doubled in the sequel. I can't tell you how many times I've re-watched the various death scenes in Hatchet, showing them to friends who were almost in tears from laughter. Now, that's a good time! On top of Kane Hodder and Tony Todd, throw longtime genre favorite Danielle Harris and new genre star AJ Bowen into the mix and you have yourself a formula for success.

2) Are you in the camp that finds Hatchet overrated? Get off any high horse you might be riding and consider this: it was Adam Green's first real feature! (His first was Coffee & Donuts shot for $400, so that hardly counts). Green has been improving with each film he has made. He himself has admitted that he learned a lot since Hatchet, which is something I've heard just about every director say about his or her first few films. Let's see what a new and improved Hatchet looks like this weekend.

3) Support this exciting UNRATED theatrical release! As horror fans, we constantly complain about pseudo censorship from the MPAA (Motion Picture Association of America) and NATO (National Association of Theatre Owners). Commercial viability is the key to any change. Now, we have a chance to show that we will fill the seats, regardless of a MPAA rating. Find out which AMC is playing Hatchet 2 near you!

4) How are you going to welcome in the month of October? Go see an ORIGINAL, INDEPENDENT horror film instead of yet another mass-marketed remake. I'm not categorically against remakes (even if I think remaking a boring Swedish film made only two years ago sounds like a bad idea), but if I have the opportunity to show filmmakers, studios, and distributors that I want to see original horror, I'm going to to do it.

5) Give Adam Green a shot. Even if you don't like Hatchet, or Spiral or Frozen (hey, what's wrong with you?), you gotta' love Green. He's a true lover of the genre and does a lot for his fans. Check out Ariescope pictures if you don't believe me. He's always working on something because he loves what he does. Whether it's a feature film or the hilarious Halloween shorts that he does every year ("Jack Chop" is the best!), Green is someone who deserves a chance to get a real wide release someday.

And don't forget to wear your Hatchet Army shirt. I'll be sporting mine!

I Know What You Did Last Summer (1997): Back to my adolescence

2010-09-27T23:03:00.000-07:00

There’s something special about late 90’s horror films. Maybe it’s the alternative rock soundtrack. Or perhaps it’s the unflattering jeans on beautiful girls. Whatever it is, the post-Scream slasher era is a fun one. I’ve always been jealous that I wasn’t alive when some of my favorite slashers hit the cinemas. I like to imagine that my nostalgic feeling when revisiting IKWYDLS is similar to the warm, cozy feeling others get when re-watching Friday the 13^th: The Final Chapter or April Fool’s Day. Just like those films, IKWYDLS treads familiar territory, but nevertheless provides interest to the jaded slasher fan.

Featuring the best-looking teenagers to ever grace a small North California…err Carolina town, IKWYDLS is the ideal snapshot of 1997. With Jennifer Love Hewitt as the smart final girl who dresses like a librarian and Sarah Michelle Gellar as the blonde bombshell best friend, male audiences will find a pleasant sight in nearly every frame of the film. And for the teenage girls, good ol’ Freddy Prince Jr. as the humble fisherman boyfriend and Ryan Phillippe as the jock bad boy round out the principle cast. You all know the drill: four friends accidentally run over a dude wearing fishing boots and dump the body. One year later, some dude in a slicker is chasing after them with a hook in hand. But remember, this was penned by the great Kevin Williamson of Scream fame (and don’t forget Dawson’s Creek-blarg!). The plot may be recycled, but the details are carried out surprisingly well, as IKWYDLS takes itself seriously and so does the audience.

"Never tell anyone about Ghost Whisperer, ok?"

The dialogue is well written, the characters are kind of interesting, and the story is infused with some good twists. Williamson’s words bring the occasional chuckle. My personal favorite being a response to Helen’s hair being chopped off in the night--“Why did he make coleslaw on Helen’s head?” Of course, Williamson is also good at making us feel for the characters, even when they’ve done some bad things. Some of my favorite moments are when Julie returns home after a year to discover that everyone’s high school dreams have fallen apart. Not only is this a depressing portrait of a common reality, but it’s also a subtle way to demonstrate the toll that the “accident” had on all the characters. Unlike similar prank-gone-wrong/accident slashers, guilt over the mistake is more deeply felt. Particularly revealing is the scene in which Julie and Helen visit David’s (the guy they think they killed) sister and she talks about how things haven’t been the same since he died. With decent actors (hey—Anne Heche!) and good writing, scenes like this make IKWYDLS a solid film.

The stars of the show...

When it comes to the actual horror elements of IKWYDLS, the film is a little weak. Things are suspenseful, sure, but never scary. IKWYDLS is about as generic as they come in terms of chase sequences and death scenes. There is very little gore, but that’s not an entirely bad thing. The off-screen deaths and non-direct angles actually work at times, especially Helen’s death at the parade. If not for language and a few seconds of additional gore, this movie could have easily secured a PG-13 rating. It’s actually surprising that this incredibly bankable movie ended up with an R. If it was made today, it probably would be trimmed down for wider audiences.

All in all, IKWYDLS isn’t a fantastic movie, but it’s not bad at all. For every great moment, there are about five superficial, uninteresting ones. Still, it’s a fun one to revisit every now and then. I’m glad I did. Now time to go watch Urban Legend.

New sci-fi/horror comic: UXB

2010-09-19T13:04:00.000-07:00

Colin Lorimer, more well-known as Lubbert-Das to the horror blogosphere, has just launched an online comic by the name of UXB. UXB is a horror/science-fiction story about....well I don't know yet. I just started reading. All I know is that the artwork is incredible and the characters are shaping up to be interesting, including the protagonist, Das Bombast, penned as the future Lord of London. Written with self-referential humor and dark personality, I think a lot of you will really enjoy it.

Check out UXB here. And while you're at it, check out Colin's blog, Lubbert-Das. I've been following it for a while, as he chronicles various artistic adventures. Colin is also a reader of The Horror Effect and many other fellow horror blogs, so show your support and head on over to his new kick-ass site!

Machete (2010): The Legend is just a legend

2010-09-12T17:16:00.000-07:00

We’ve all been anticipating Machete since way back in 2007 when Robert Rodriguez brought us the most kick-ass faux trailer we’d ever seen through Grindhouse. With the weathered ex-con Danny Trejo as the lead, we were promised an action-packed exploitation extravaganza of revenge. However, as word spread that Machete would become a legitimate feature film, the news started getting stranger and stranger. Boasting a smorgasbord of Hollywood stars and genre actors, Machete began to look a lot less like the original exploitation saga it once resembled.

Machete was a mixed bag for me. I did enjoy watching longtime favorite Danny Trejo slice and dice his way through a leading role. Still, I couldn’t help but be disappointed. As a fan of Rodriguez and a lover of action films, there was a lot of expectation going into this one. The gore was over-the-top and fun, despite a severe lack of practical effects. The action was absurd with off-the-wall characters. The score by Rodriguez’ band Chingon was pitch perfect. The comedic relief was almost always hilarious. However, that’s about as much praise as I can unfortunately sing.

Setup and double-crossed.

For every glimmer of Machete’s machete that we catch, we are also treated to loads of political banter on hot button immigration issues. Many exploitation films of the yesteryear were rife with sociopolitical commentary. Machete doesn’t appear to be mimicking these films, rather it appears to preach a half thought-out message. The politics are never subtle, but they are never balls-out like you might expect from an exploitation film. Thus, we get something in between. It’s not racy enough to be exploitive, but not tame enough to simply be an undercurrent. The immigration issue is the central thrust of the plot and it just doesn’t work.

I don’t know about you, but I was expecting a revenge movie. Machete doesn’t simply go around taking out those who betrayed him from the top down, which is what I wanted. Instead, he is on the run from those who wronged him thoughout most of the film. The vengeance component isn’t really felt.

I wish he got around to using more of those cutting utensils.

Technically, the film is kind of a mess. It’s the sloppiest and most unpolished film I’ve seen from Rodriguez. And yes, I get it. It’s a grindhouse film, so a certain degree of “unpolished” is expected. However, Planet Terror managed to capture the aged film print feel without sacrificing craft. Perhaps this has to do with the fact that Rodriguez did not do the cinematography this time, and he co-edited with his daughter. The film is shot poorly and edited sloppily. Maybe the fact that Rodriguez co-directed with Ethan Maniquis also explains some things. In fact, I suspect that Rodriguez may have primarily directed the footage from the original faux trailer and left the rest for Maniquis to fill in. The co-direction is obvious, as the film is totally confused tonally and visually.

I guess Machete mania didn't sweep the entire nation.

The best parts about Machete were the moments that we had already experienced in the original faux trailer. And in some cases, the legend was better left to the imagination. Now, I guess I’m being pretty harsh about Machete and it’s probably a little unfair. I hold Rodriguez’ work up to a high standard, since Planet Terror is probably in my top 10 favorite movies of all time and From Dusk Till Dawn is definitely in the top 25. All personal paradigms aside, Machete is still a good time, but certainly won’t have any lasting impact.

House (Hausu) (1977): WTF?!?!

2010-09-03T14:11:00.000-07:00

Officially the weirdest movie I’ve ever seen. That’s right. More trippy than The Holy Mountain. More fantastical than Videodrome. More confusing than Lost Highway. It’s HAUSU!!!!

Based on an idea from his seven-year-old daughter, director Nobuhiko Obayashi (I’ve never had to double-check my spelling so many times) forces an insane story upon us: a group of Japanese schoolgirls travel to a mysterious mansion only to be consumed by the home’s owner.

Just to give you some hint of the fundamental weirdness, the girls’ names are Gorgeous (the pretty one), Fantasy (the imaginative one), Prof (the smart one), Kung-Fu (the athletic one), Mac (the chubby one), Melody (the one who plays piano), and Sweet (the one who cleans everything? Figure that out). Prior to seeing this movie, I was worried that I would be a bit bored before the main events occurred. I was wrong, however. There is not a single drab moment in Hausu, as every frame is packed with psychedelic, experimental craziness.

The fakest backgrounds ever are thrown behind the actors and they just go with it, sometimes calling attention to the “beautiful sunset” or “foreign land.” And the sound design must be heard to believe. I knew I was in for a treat when even a simple wind sound was so cartoony that it could have been manufactured by the director exaggeratedly blowing into a microphone. And let’s talk about the dialogue for a moment. Well, firstly it makes no sense. Secondly, it’s just amazing. Here’s a little sample: “Old cats can open doors, but only ghost cats can close them again.”

With all the bizarre visual elements, it is interesting that the film was made in 1977. The experimental technology feels like it’s just slightly ahead of its time. Not a single shot is normal, so I can only imagine that it must have been very time consuming to create Hausu in the format it is presented in. The fact that this was made before most digital technologies further reinstates that only an insane person would create such a movie.

This isn’t so much a review as a statement of confusion. How am I supposed to review a movie where a girl is literally eaten by a piano? Or a film that features a cat that meows to the music? Or a dancing skeleton? Hausu just has to be seen. There is no way to describe or critique it. If you ever get the chance to see Hausu, do it! You won’t regret it. It’s being released this October on DVD and Blu-Ray on…wait for it… The Criterion Collection! Watch the trailer if I haven’t been very convincing.

P.S. Obayashi is also known for directing those super awesome “Mandom” commercials with Charles Bronson. Do yourself a favor and watch this. You'll love it. I guarantee it.

The Last Exorcism (2010): Really Damn Good

2010-08-30T17:17:00.000-07:00

Spoiler Free Review! Maybe later, I'll post about the ending (I don't see what all the fuss is about; I liked it) after more people have had a chance to see it.

It’s been a while since I walked out of a theatre discussing how much I loved a character from a horror movie, or any movie for that matter. If there’s any fault to The Last Exorcism, it’s the uninteresting marketing campaign behind one of the most interesting subject matters to be analyzed in a horror film. Comparisons to Paranormal Activity are inadequate. And comparisons to The Exorcist itself are just plain unfair. The Last Exorcism shouldn’t be compared to these movies because it is unique enough to stand on its own.

"Just, uh, take deep breaths...oh and ten Hail Mary's"

If only the movie had stuck with its original title, Cotton, then perhaps people would not have been as misguided going into the film. Then again, it probably wouldn’t have opened to over $20 million at the box office either. We all know the superficial plot: An evangelical minister, Cotton Marcus, brings along a documentary crew to film the final exorcism he will perform. Here’s what the film is really about: Cotton Marcus, a jaded minister raised as an ardent evangelical, attempts to expose exorcism as a scam in order to protect easily-duped religious fanatics. He eventually discovers that his last exorcism is not going to be as simple as past cases. The nuances of Cotton’s character make all the difference to the story of the film. Patrick Fabian’s performance is absolutely perfect, capturing every bit of my interest even during the slow, expository scenes.

Take a seat and wait until your number is called.

Your Exorcist will be with you shortly.

Some have complained that The Last Exorcism takes a while to get going. While this may be true, I found every piece of information/footage to be engaging. Director Daniel Stamm introduces us to evangelical showmanship, rural Louisiana culture, and the sheltered Sweetzer family. Speaking of the Sweetzers, the entire cast gives terrific performances. Ashley Bell, as the allegedly possessed Nell, will hopefully not be given the Linda Blair treatment for her great work here. What I enjoyed most about the characters, locations, and other exposition is how far away from Hollywood this film feels. A nice breath of swamp air for a change.

In terms of the found footage aspect of The Last Exorcism, the style didn’t have much of an effect on me. Films like The Blair Witch Project and Paranormal Activity successfully used this technique to create atmospheric scares (and to lower their budgets), but The Last Exorcism primarily uses the technique to present a topic and its characters in a more interesting fashion. As I said before, the movie is really about Cotton Marcus. The mockumentary format works so well for capturing the story of his childhood, his father propelling him into ministry, his crisis of faith, and his motivations for uncovering a widespread scam. The cinematography is more professional and more choreographed than most found footage films (hey, it’s a pro documentary crew filming it after all). So we are still treated with establishing shots, a variety of angles, and EDITING! Thus, this movie doesn’t have the inevitable found footage bore aspect that TBWP and PA suffer from.

"There is a difference between a sixteen-year-old girl

and sixteen-year-old psychopath."

In the end, is The Last Exorcism all that scary? Ehhhh, no. It’s got creepy moments and intense scenes here and there. However, scares aren’t what this film is all about anyway. Rather, it sheds some light on several disturbing realities: lack of education in extreme evangelic households, the dangers of said extremists, the disconnect between rural and mainstream society, science and medicine versus faith healing, and most importantly, one’s personal battle when caught between the modern world and a conservative upbringing.

The scariest thing about The Last Exorcism is not knowing what to believe in the end. So check it out and see for yourself.

Hostel: Part II (2007): This Time With Estrogen

2010-08-26T01:03:00.000-07:00

Since I waited four years to check out Hostel, I thought I’d give it at least three until I viewed the sequel. After I surprisingly enjoyed the original (review here), I was happy to see the second film, which I have been told is better than the first. After seeing the female version, I mostly agree with that assessment…mostly.

"Am I drunk enough to be taken advantage of yet?"

Imagine the plot of the first Hostel with women playing the leads. What do you get? Less nudity, less dirt bags, and more high-pitched screaming. A group of young women (an overly promiscuous one, a nerdy sheltered one, and the middle-of the-road final girl one) are led to a Slovakian hostel by a gorgeous, manipulative woman only to be auctioned off for rich a-holes around the world. Since the setup is already known, Hostel: Part II is able to reveal more of the inner workings of the torture operation early on in the film. This time, we get to see a variety of anxious masochists drooling over fresh American blood in a hilarious montage of a bidding war. We are also privy to the story of two first-timers in the “hunting club.” The exchanges between the two men are sickly comedic, which is a tone that each Hostel film captures well.

Back to our party of pretties. The cast suit their roles perfectly; Lauren German, Bijou Phillips, and Heather Matarazzo are all believable, even if they don’t always have the best chemistry. The build-up in this film is much more well-directed and well-paced than in the original. Drawing in what appeared to be The Wicker Man homages, the production value in the set pieces is also far improved. With over double the budget (but still at $10 mill), Eli Roth was able to show off more of his visual directing skills. The cinematography and production design look great. Particularly vivid is the scene over the opening credits, as the contents of an American girl’s wallet are burnt. The rollicking flames captured in long lenses are almost seductive. Throughout the runtime, I enjoyed this atmospheric take on a mildly sardonic human trafficking film.

Don't worry, this happens all the time in Slovakia.

However, my greatest issues with the film are in the unfortunately brief third act. Just when things get going, it’s over before you know it. While the first and second acts of the sequel were much more enjoyable for me, I found myself longing for the same intense struggles of the first film. Where are all the cringe-inducing moments? Where are the desperate attempts to escape?

What made the first film so successful were obviously the gut-wrenching scenes of torture, but not necessarily just on-screen gore. In part, it was the threat of violence that was so disturbing—the taunting and teasing with macabre devices. *SPOILERS* The blood bath scene did a superb job of this, but it was the only time that the film really got my blood going. The sound of the blade scratching Lorna’s back was almost unbearable. When Whitney reached her demise, I expected to endure a similar feeling. Instead, she sort of fades away as soon as Beth is captured. While I could have used a more climactic final act, I did enjoy all of the plot’s offerings: the switch in behaviors of the two first-timers, and the way Beth manages to buy her way out of the situation. Just as the first film gave us an ending to cheer for, Roth again delivers a vengeful protagonist in the final moments. Let’s hope if they make a Hostel III, Beth doesn’t lose her head. *END SPOILERS*

She cleans up well.

This may sound strange, but I’m really rooting for another Hostel film. Saw needs some healthy competition and we are all eager for original horror films in the cinemas. So why the hell not?

Piranha 3D (2010): There’s more to cheese than blood and boobs

2010-08-22T11:30:00.000-07:00

I had high hopes going into Alexandre Aja’s remake of Joe Dante’s 1978 Jaws parody. This is not to mean that I expected a great film from Aja that rivaled High Tension and The Hills Have Eyes remake. This meant that I wanted a film that delivered the goods, which this film does, but I also wanted a film that delivered the goods with style, wit, and just a tincy wincy bit of substance, which the film does not.

Don't let the CGI fish fool you, there is real gore in this film.

Here’s the good news: Piranha 3D is full of the major crowd-pleasing requirements. Regardless of any of its many faults, it’s still fun to watch. The first half of the film is relatively free of gore, but maintains interest with oodles of nudity. A Girls-Gone-Wild-style shoot is one of the primary settings…so you can imagine the sheer amount of skin this movie brings to the table. When the second half starts, the boobs tuck away (well, not quite) and blood pours out. KNB’s work is outstanding. The EFX gurus went to town and simply had fun with the macabre piranha-induced massacre. Horrific bites, floating limbs, boat prop mishaps, and more render Piranha 3D one of the most violent films I’ve ever seen in mainstream theatres. Luckily the MPAA must have had a sense of humor too, because it’s difficult to imagine this type of carnage obtaining an R rating. The gory chaos of man-eating fish attacking drunken bros and hoes is worth the price of admission alone.

Eli Roth cameo for horror nerd points.

But…it’s still not all there. The filmmakers try to hit some of the right notes, but completely neglect the rest of the keyboard. The movie gets points for opening to a scene of Richard Dreyfuss singing “Show Me the Way to Go Home.” And even more points for a lovely forced perspective shot on Elisabeth Shue. The minor Jaws references, however, are not enough. Holistically, the film misses out on any real cleverness. Rather than an overall goofy tone, I would have liked to see more humor spread throughout the film…with jokes that were actually funny. Additionally, I would have liked to see better use of the set pieces in a variety of atmospheres. It feels like we are in the same couple of places for 90% of the film. With less wide angle shots of saucy partiers and less time spent on the quazi-porn shoot, we could have had more action packed into its 89 minute runtime.

Douchebags in Lake Havasu... I mean Lake Victoria

Aja’s presence really isn’t felt in this film. I know he’s a better director than this. Sure, it’s a silly movie to begin with, but there was plenty of opportunity to do things better. Piranha 3D could have gone the half-scary/half-silly route or it could have gone the all-out cheesefest route. Unfortunately, it does neither. It tries to be fun and intense, but only succeeds in the fun arena. It tries to make you care about the characters, but only makes you hate them.

I recommend Piranha 3D, but only because I know many horror fans will enjoy the 20 minutes of mayhem so much that they will forget about the downfalls…at least forget about them until they sit down to write a review for their blog.

Mad Linkage! Slashers, Love, Money, and Badassness

2010-08-18T13:40:00.000-07:00

Time to share some links with you all (some of which shamelessly promote myself, others are selfless acts of goodwill). So here we go.

Slasher Speak:
Head over to The Vault of Horror for the slasher installment of The Lucky 13, in which horror bloggers discuss some of their top picks in the sub-genre. What movie did I choose? I'll give you a hint: It's not Halloween. (Thanks to Christine Hadden for being quicker to the draw).

Love Stories:
A little while back Kristy Jett of Fright Rags fame brought us a blog-a-thon on love. Check out her blog, The Person You Benefit From Knowing and see my tale of sweet blood--I mean love.

Calling All Student Filmmakers:
Are you a student studying film in hopes of breaking into the horror genre? If so, the folks over at Star Costumes have a Horror Scholarship of $1,000 that they'd like to share with you!

Badass Blog:
I've been following Joe Lynch's (director of Wrong Turn 2) blog, Transmissions and Confessions From a Mad World, as he chronicles his journey on his latest epic: Knights of Badassdom. The shoot is coming to a close, but go ahead and check out the gory and goofy pics from set.