Haunt starts off on the right note - a suitably creepy introduction leads us to well-worm supernatural thriller territory, but territory that is well worn for a reason.
After some classic family-moves-into-home-with-dark-past plotting, things get going. Despite some poor spectral-effects, Haunt is extremely well crafted on the technical side. This flick checks off almost all the right boxes, from cinematography to score and atmosphere. But it misses one of the most important elements of all: substance.
Despite having so much…
I hated this awful fucking movie. I don't like calling movies boring that much, but damn Howling V: The Rebirth was BORING!
It's even worse due to the fact that it has an intriguing set-up - you'll read in pretty much every review for this thing that it's a take on Agatha Christie's Ten Little Indians, but with a werewolf.
I love that idea, a whodunnit murder-mystery in a spooky castle with the added bonus of having the killer transform…
I'm starting to think this might be one of my favourite Hooper films post-Texas Chainsaw Massacre.
It probably edges out The Funhouse just a little bit seeing how batshit-insane it all is. It's just berserk from start to finish - even the dialogue-driven scenes are all bonkers. The effects are fantastic, the performers give it their all - even with how silly some of it all - and Hooper renders everything with a really classy, throwback vibe to the cinematography.…
This was basically a fresh viewing, as I have not seen the film since I was so young that I don't even remember any details any more.
Without that attachment, I couldn't muster a lot of interest in praising this messy, uneven, yet often wonderful film.
There's a lot to like in here - from the casting, to the production design, sets, and in some regards the script, which chooses…
This is a tough one to write, as a huge fan of Cannon films.
I've been pretty pumped for this movie, having loved Cannon since the first time I saw their logo adorning tapes in my local rental shop.
A few years back, I had a job that allowed me to read online while I worked, and I often poured over the Cannon Group Wikipedia, obsessed with their storied rise and subsequent demise.
Unfortunately, Mark Hartley's film didn't quite do…
This won't grab a casual, non-tech audience, or anyone who wasn't around for the early days of Napster, but if - like me - you used to crawl IRC for files and welcomed the software with open arms when it dropped, this is a well-told, well-framed documentary from director Alex Winter that will fill an afternoon quite nicely.
Solid Netflix pick.
For further reading, check out the book Fortune's Fool: Edgar Bronfman, Jr., Warner Music, and an Industry in Crisis
Lazar Rockwood sniffs, hollers, and mangles the English language as he and his girlfriend maneuver through a series of puzzling death-traps in the Canuxploitation pic Beyond the 7th Door.
Rockwood is a proto-Wiseau (proseau?) type, in a film that almost plays out as proto-Cube-lite.
You should probably see this, that's for sure.
Upon this reviewing, things dragged a little bit when the film gets three-quarters of the way through.
Despite it dragging on a bit before the climax, I still maintain that this film has everything you want from a late-night horror-comedy - especially the uncensored version. Werewolves ripping people in half, gooey vampire-inflicted leg wounds and goofy laughs abound.
It's also got a solid sense of style and is thoroughly well-directed to boot.
This period coming-of-age romp has chuckles and groans in equal measure, but is seriously undercut by the fact that these dudes are straight up stalking Marilyn Monroe. Their determination gets quite creepy - not to mention downright illegal at times.
The film makes a massive misstep in wanting us to believe these kids camping out in their car overnight and constantly trying to break into her house is charming, and not straight up creepsville. Lotsa familiar faces pop up though, which brightens the mood a bit.
The 90s - sheesh!
A charming and funny romantic comedy that plays with the cliches of the genre in all the right ways. Yes, you know where this film is going to end up from the start, but it doesn't matter because it all just works.
I left with a smile - but similar to Chef, which I watched the same weekend, I could have done without the additional ending they tacked on to make things groaningly obvious.
Probably my favourite of the series, to be honest.
The first film is creepier overall, but I've never been fond of the ending. This film feels like the best way to approach a sequel to that flick, and it really balances the jokiness with the ew, yuck! vibe well - this is just at the apex of Freddy becoming a huge pop-culture icon after all, but thankfully he has yet to suck people into video games while yelling "Now we're playing with power!" or brandish a pair of RayBans.
It's a good balance and you can see why they really pushed that in the later sequels.