A Nightmare on Elm Street 3: The Dream Warriors
My appreciation for the 3rd installment of the Nightmare on Elm Street franchise skyrocketed after watching Christopher Nolan's Inception. Yes, it takes itself less seriously. Hell no, it never received any Oscar buzz. Yes, it's outright cartoonish at times, And, no, you can't convince me I've lost my mind for thinking this (if I'm insane you wouldn't be able to win an argument with me anyway). A Nightmare on Elm Street 3: The Dream Warriors is actually the more sensible, and even more creative film. Re-watching it again recently, I was in awe of its inventiveness with dream logic, and its surreal special effects and production design. It also establishes an idea within two minutes that Nolan completely fails at with 148: that death within a dream has high consequences.
Nightmare 3 ignores whatever happened in Part Two, and so it's not required viewing beforehand (though none of it will make a bit of sense to those who never saw the original Nightmare on Elm Street). The film opens with a teenage artist named Kristen (Patricia Arquette in her first feature-length role). She's mixing coffee grounds with Coke to stay awake, and building a model of a certain creepy house on Elm Street she keeps visiting in her dreams. Soon enough, we're in it with her after she falls asleep, and she's attacked by a razor-gloved, dream-stalking serial killer known as Freddy Krueger. She wakes up in her mother's bathroom holding a razor with slit wrists.Continue Reading
"O God, I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams."
-William Shakespeare's HamletContinue Reading
"The enemy of art is the absence of limitations." — Orson Welles
“I like the dark. It’s friendly.” — Simone Simon as Irena DubrovnaContinue Reading
Dawn of The Dead
The original Dawn of the Dead from ’78 is still best viewed at a midnight show in an afterhours crappy mall multiplex, the way most people saw it in the pre-VHS domination era. George Romero’s first and best sequel to his seminal, groundbreaking zombie flick Night of The Living Dead came out ten years later, with a much larger budget and an even grander eye for detail. (Hereafter the film will be referred to on this page in its shortened form, the way most Romeroites refer to it, as just Dawn.) Dawn owes more to 1970s post-apocalyptic films like The Omega Man and No Blade of Grass than the old school setup of victims trapped in a house waiting to be picked off one after the other, which the first film employed. Much of Dawn’s well earned reputation among gore-aficionados comes from the film's opening prelude, which is truly nasty, with many head explosions (Romero exploring an FX path he first ventured into earlier in the decade with his under-appreciated shot-gun-to-the-head epic The Crazies). The beauty of Dawn is though the draw may be the zombies (now in glorious color!), unlike the wave of imitations to follow, this is actually an existential, character-driven drama where the threat of the undead becomes secondary and humans prove to be much more dangerous (a concept finally realized again years later in the too-talky TV series The Walking Dead).
It was Night that gave us the zombie movie rules that have been followed like a bible ever since: the dead, now lumbering mummy-like bores, have come back to life to eat the living. The only way to stop them and send them back to a bag-of-bones state is to destroy their one-track brain. Apparently pretty soon after the first film ended, Dawn picks up. The world has plunged into anarchy. Two SWAT team officers, Roger (Scott Reiniger) and Peter (Ken Foree ) become fast friends while trying to clear a zombie-and-resident-filled Philadelphia apartment building. (One guy is black, the other white--without vocalizing it--it continues some racial themes brought up most credibly in the first film.) Again the majority of the film’s gore content really does happen in that first scene. (The film was released without a rating to avoid the X it was threatened with.) Roger invites his new pal to join up with his buddy Stephen (David Emge, who later popped up in the under-seen horror masterpiece Hellmaster) and his girlfriend Francine (Gaylen Ross), two television station employees who have a plan to escape town in the station’s helicopter--after all, Stephen is known as “flyboy.” As pandemonium takes over the ground, the foursome take to the sky, eventually landing on the top of a suburban mall. Easily breaking in through the roof, they do a little exploring of the huge shopping mall to look for supplies; the place has been untouched so it’s complete with all supplies needed, including gun store and an ice rink!Continue Reading
I checked out Deadgirl as an experiment. There was no way anyone could make a film about a zombie sex slave and elevate it beyond an unbelievable, exploitative sleaze-fest of misery the trailer painted it out to be. At best, I would walk away from it knowing how NOT to make a horror film; at worst, I'd say "yuck" and take a long hot shower afterward. But I also had to see it because it was the first movie idea I heard in a while that actually made me think I could say "yuck." As horror fans, we're all trying to find the next high--the next stomach-churning gross out, or even better, a story that might actually send a genuine chill of fear down our spines after we thought we've seen it all. Deadgirl delivers the heeby-geebies more effectively than I predicted, but probably not in the way the filmmakers intended. Underneath an odd attempt to create a coming of age story, there's a social commentary being made on how terrifyingly clueless teens might be today on what it means to be a "man."
Unpopular, more likely to smoke a joint than pick up a football, and too inept to talk to girls, Rickie and J.T. at least start the story off as ordinary teenage misfits. When cutting school for a day for some old-fashioned beer-drinking and petty vandalism at the local abandoned insane asylum, however, they find something that proves to be a right of passage neither quite imagined for themselves: a naked girl strapped to a table in the dank and decrepit basement of the hospital. Rickie wants to run away and pretend they were never there, but J.T. gets a more deviant idea. "We could keep her," he says. What's the moral thing to do? Well, that question gets hazy once they realize the girl is sort-of-but-not-really dead. The real trouble begins, though, when word gets out to more boys at school. I'll just say that a whole lot more gets lost than friendship (and virginity).Continue Reading
Dust Devil: The Final Cut
Dust Devil has suffered from a bad reputation ever since Harvey and somebody Weinstein eviscerated Richard Stanley’s cut of the film from 108 minutes to 87 for its ill-fated theatrical release. Stanley’s previous feature was the cult hit Hardware, which was noted for having made back its micro budget many times over as a video store hit. Why the Weinsteins chose to lop off 20 minutes and remove all the sense from the film is a bit of a mystery. Hopefully, Dust Devil: The Final Cut will redeem the film in the eyes of those who had seen it previously and introduce this gem to a new generation of horror fans.
Set in an arid, remote region of South Africa, Dust Devil follows an enigmatic serial killer (Robert John Burke), half man-half demon who follows the lonely highway, making love to and then killing depressed women. The killer uses ritual magic, attempting through his murders to transcend the earthly plane so he can return to the spiritual world. The desert setting gives the film a Western atmosphere as does the casting of an American actor in the drifter-killer role. Whether there are supposed to be additional political connotations in an American man using African magic and killing white African women is an unresolved quandary. Wendy, a narcissistic housewife, leaves her brutish husband, eventually crossing paths with the handsome killer. The fact that neither the killer, nor Wendy, nor her husband are likeable characters and the latter two are idiots, makes the final battle all the more enjoyable. By liberating you from sympathizing with the protagonists, Stanley allows the viewers to consider the killer’s motivations objectively and also enjoy the resulting bloodshed more thoroughly.Continue Reading
Evil Dead 2: Dead By Dawn
Bold as it is to say, Evil Dead 2: Dead By Dawn is my favorite movie of all time. For me, it teeters in competition with Alfred Hitchcock’s Psycho. And to be clear, just because it happens to be my favorite movie doesn’t mean that I think it’s the best acted, best scripted, best directed movie ever. (Although the directing is top-notch. More on that in a bit.) Movies are entertainment; their sole purpose is to entertain us. So for me personally, in terms of sheer entertainment value, I find nothing more entertaining than Sam Raimi’s sequel to his own break out independent hit, The Evil Dead.
The first Evil Dead was the culmination of years and years of Sam Raimi, Bruce Campbell and Rob Tappert honing their filmmaking skills by cranking out numerous short films together in school. Pooling together a budget from investors primarily consisting of dentists, they managed to make a little indie movie touted as “the most grueling experience ever!” An endorsement from Stephen King early on solidified The Evil Dead’s cult status. So several years later, after Raimi and the Coen Brothers had a creatively unsuccessful studio experience making the feature Crimewave, Raimi went back to the ol’ cabin and decided to sequelize his big break out movie with Evil Dead 2: Dead By Dawn.Continue Reading
For a country not known for redefining or even perpetuating the horror genre, the French are starting to step up to the plate and show the world how it’s done. In recent years, we’ve seen several little horrifying gems come from a place better known for idiosyncratic comedies, dark fairytales and, essentially, the definition of modern cinematic storytelling. Such films include Irreversible, Haute Tension, Inside, and this film – Frontiere(s).
First of all, I have to thank Phil Blankenship for motivating me to check this one out. I had read a really good review in a recent issue of Fangoria yet I wasn’t convinced. Apparently, it was apart of the “8 Films To Die For” festival that takes place in November (that could very well be the reason I didn’t take this one too seriously upon discovery). It wasn’t until my conversation with Phil that I really took notice.Continue Reading
Garth Marenghi's Darkplace
Ok, so Darkplace is a 1980's horror television show... no wait. It's about this horror author... no, that's not right either. You see, I have to pretend I don't know how to properly describe Garth Marenghi's Darkplace, not only as a silly writer-ly way to start a review but also because I genuinely have a hard time doing it.
Garth Marenghi is a creation of actor Matthew Holness. He is not a real person. Much like Stephen King, Marenghi is a horror novelist who specializes in turning the mundane into the horrific. But then back in the 1980's Marenghi grew tired of books and decided to turn his attention to television and Darkplace was born! Being the way-ahead-of-his-time writer that he his, Darkplace was pulled from television for being either too frightening or possibly too moronic (depending on who you talk to) and never shown again... until now.Continue Reading
Halloween 4: The Return Of Michael Myers
After both the box office failure and predominantly negative (and unfair) critical reviews of Halloween III: Season Of The Witch, the future for the Halloween franchise seemed unsure. Original creators John Carpenter and Debra Hill never intended or wanted to do Halloween II. They would have preferred their Michael Myers story be a single film and instead they wanted to continue the franchise as a series of stand alone horror tales that all took place on Halloween. But when Halloween III failed to launch this version of the franchise, producer (and Godfather) of the Halloween franchise Moustapha Akkad decided it was time to go back to the basics and bring back Michael Myers.
The opening of Halloween 4: The Return of Michael Myers is not only one of the most beautiful introductions of the entire series, but it perfectly captures the odd underlining uneasy feeling of the fall season. It’s a series of primarily landscape shots setting up Halloween, the holiday. Decorated pumpkins are set up at stoops, a gust of wind blows through the fields and the overall sense of dread that comes with the Halloween is palpable.Continue Reading