A Frankenstein film Frankensteined from Frankenstein itself. Half-way between a nightmare and a novocaine dream. The musical score is an electronic droning that builds towards music and chanting voices. A sped-up swirl that occasionally stops on a blurred face, like a visual exclamation point. When the windmill catches fire, the film seems to catch fire too. Rather unnerving.
Every year, I endeavor to see a newly released horror movie, preferably in the theaters. Because, while Halloween is about revisiting old favorites, it should be about new discoveries too. Of course, I did see a new horror movie in the theater this season, “Dracula Untold.” But that barely counts. I had other options, like fucking “Ouija,” ugh. The horror movie I really wanted to see, though, was “The Babadook,” a new Australian film that had been getting rave reviews…
This review may contain spoilers. I can handle the truth.
While watching “Scream” this summer, I spent a lot of time thinking about post-modern horror. Naturally, Kevin Williamson didn’t do it first. Dan O’Bannon, a hugely successful and influential screenwriter that never got his due in his life time, beat him by a decade. Originally designed for director Tobe Hooper, O’Bannon injected the screenplay with his trademark inventiveness and quirky humor. “Return of the Living Dead” is textbook post-modern, referencing “Night of the Living Dead” explicitly. O’Bannon makes his intentions…