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

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

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

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

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

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

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

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.