Category Archives: Horror

It-2017

It-2017

Director Andres Muschietti

Starring Bill Skarsgard, Jaeden Lieberher

Scott’s Review #684

Reviewed September 20, 2017

Grade: A-

An enormous hype has gone into the first big-screen adaptation of the epic-length 1986 Stephen King novel, It.

An above-average mini-series based on the book was released in 1990, but the film version is much more effective.

Officially entitled It: Chapter One (2017), it divides the story in half, only focusing on the characters as children, not as adults decades later.

The film is highly effective, with a fantastic story, visuals, cinematography, and a rocking musical score. Simply put, it is one of the better Stephen King film adaptations.

As rabid Stephen King readers will understand, at over eleven hundred pages in length and spanning thirty years, a two-hour and fifteen-minute film simply wouldn’t encompass the author’s artistic vision.

To be determined is how chapter two will measure up to the glory of the first chapter.

Derry, Maine, is the sleepy little town where the action takes place. The period is 1988, but it is worth pointing out that the novel takes place in the late 1950s.

On a stormy afternoon, seven-year-old Georgie takes a paper boat, constructed by his older brother Bill Denbrough, outside to see if it sails. He meets a clown in the storm drain, who introduces himself as “Pennywise the Dancing Clown.”

Pennywise toys with Georgie turns vicious, and tears the boy’s arm off.

Months later, life goes on as Bill and his group of friends known as “The Losers Club” all separately begin to see variations of Pennywise.

The film is part of a teenage summer adventure balanced with a terrifying horror film, and director Andres Muschietti achieves this mixture seamlessly.

Lighting is one example of how the film goes about in this fashion.

Most of the outdoor sequences are bright, sunny, and airy. Conversely, the terrifying scenes, usually involving the entity of Pennywise, are shot using dark lighting, eliciting fear and a perfect mood.

The casting is terrific—I specifically found actor Jaeden Lieberher as Stuttering Bill, Jeremy Ray Taylor as Ben Hanscom, and actress Sophia Lillis as Beverly Marsh to be wonderful performers and clear standouts among the teenage characters.

Lillis, bright-eyed and with a strong-willed composure, resembles a young Scarlett Johansson and could have a bright future ahead of her. Lieberher’s earnestness and stuttering ability are believable, and his innocence is reminiscent of every kid’s.

Lastly, Taylor fills a pudgy new kid in town, Ben, with comedy and romanticism in his unrequited love for Bev.

Thriving is the portrayal and appearance of the demonic entity Pennywise. Since the fictional clown has over thirty years of interpretation and imagination, bringing him to cinematic life was challenging.

The risk would have been making him either too horrific or cartoon-like- the result is a perfect hybrid. Bill Skarsgard exudes crazy in his brilliant performance, teetering between goofy and playful with Georgie and evil personified as he taunts and terrorizes the kids in his dusty hideaway.

Interestingly, none of the adult characters are written sympathetically. From the creepy Alvin Marsh to the nerdy pharmacist, even the stern librarian and the overbearing Mrs. Kaspbrak are each laden with an unlikable quality.

The closest adult to being “nice,” Bill’s father, finally screams at his son to accept the fact that Georgie is dead.

Two small complaints include the two secondary bullies—the King Bully Henry Bowers cohorts are not given their comeuppance and simply vanish from the screen, never to be mentioned again.

Secondly, the sound exterior shots of Derry, Maine, exude a New England freshness and a small-town mystique. It’s too bad the scenes were not filmed in Maine at all but somewhere outside of Toronto, Canada—more realism would have been nice.

Due to the massive success of the adapted film, legions of fans will undoubtedly hold their breaths waiting for the resurrection of Pennywise and “It” to be unleashed on film fans everywhere- probably in 2019.

I will be one of those fans.

Clown-2016

Clown-2016

Director Jon Watts

Starring Andy Powers, Laura Allen

Scott’s Review #681

Reviewed September 16, 2017

Grade: B-

As a fan of all things horror and with a robust appreciation for the genre, clowns in said genre are always a stroke of genius, and the 2016 film Clown establishes a creepy premise right off the bat.

After seeing the film, it was not until a few days later that the story began to marinate in my mind, and I gained a bit more appreciation than I had once the film had ended.

Clown is one hour and forty minutes long, but it reminds me of the mid-2000s Showtime horror anthology series Masters of Horror.

The film has a unique, creepy vibe, is also a highlight of the cherished series of yesteryear, and oddly plays out like a vignette.

The premise is creepy as the action kicks off.

When Kent McCoy (Andy Powers), a likable young father who works far too much maintaining his real estate business, is notified by his wife, Meg (Laura Allen), that the clown they hired to entertain at their son Jack’s birthday party has canceled, he is determined to save the day.

Kent discovers an old clown suit in the attic of one of his abandoned houses and dons the costume. The next day, Kent and Meg are startled when Kent cannot remove the costume, even when pliers, a hacksaw, and other horrid machinery are used on him.

The story then introduces a strange character named Herbert Karlsson (Peter Stormare), who informs Kent that the clown costume is not a costume but the hair and skin of an ancient demon from Northern Europe.

Kent realizes that the demon needs to feast on and devour children to survive, and he becomes ravenous and hungry. Karlsson attempts to kill Kent, revealing that the only way to destroy the beast is via beheading.

The clever and compelling part of the story is the mixture of clowns and children in peril, a recipe for success in most horror films.

The fact that Kent and Meg slowly begin the temptation to harm children is both shocking and compelling.

The McCoys are average, everyday folks, Meg even working as a nurse, so the likelihood of the pair harming kids on any other day is remote, but tested by a vicious demon and their son Jack in peril makes Clown work well.

My favorite sequence occurs during a birthday party at Chuck E. Cheese. While the kids play in a lavish and dark tunnel, the demon (Kent) is on the loose, causing havoc and eating two children.

When Meg drives an unwitting young girl home, she is conflicted and tempted to offer the girl to the demon as a sacrifice to hopefully save Kent.

The girl’s pleading is palpable.

The film is gruesome from a violent perspective and hesitates not to go where many horror films dare not to go, with the death and slaughter of young children.

One kid, in particular, is shown disemboweled. The kid is written as a bully and gets his comeuppance in grisly form.

Sad is the death of a lonely trailer park-type kid, only looking for a friend in Kent. Little does he know his short days are numbered.

As strong and measured as the story idea is, Clown does have some negatives. The film has an amateurish quality, not because it is independent. Instead, the style almost comes across as a student film.

Some of the acting is not great, specifically Laura Allen’s performance as Meg. The filmmakers might have been wiser to make this project more of an episodic venture instead of a full-length release.

Clowns, kids, and demons make a fun combination for horror, and the aptly named Clown is a solid B-movie effort in the glorious chambers of the cinematic horror genre.

With a few tweaks and zip-ups, Clown (2016) might have been an even more memorable film. It will not go down in history as a masterpiece, but it has the necessary elements for a good watch.

Bride of Chucky-1998

Bride of Chucky-1998

Director Ronny Yu

Starring Jennifer Tilly, Brad Dourif

Scott’s Review #680

Reviewed September 11, 2017

Grade: D+

Bride of Chucky (1998) is the fourth installment in the famed late 1980s Child’s Play hit franchise. The late 1980s was not the best time for the horror genre in general, but the film was quite the highlight in a slew of duds.

By this time in the series, (1998), the child/victim of the doll premise is dropped in favor of dark humor, thus the series immerses itself more into the horror-comedy arena.

A treat is the inclusion of a fantastic hard rock soundtrack led by the Rob Zombie classic, Living Dead Girl, adding some points to the film’s final grade, otherwise have been more dismal.

The film is not great and I find perverse pleasure in reviewing poor films. However, Bride of Chucky does have its place- as a late Saturday night viewing choice amid strong cocktails it contains a certain charm.

Not to be taken seriously, the placement of a love interest for Chucky gives the film macabre romantic humor.

Still, the film suffers from lackluster acting and quickly turns into drivel by the time the credits finally roll.

The action picks up from where Child’s Play 3 leaves off and the appearance of Chucky is now weathered and stitched giving the doll a more gruesome and maniacal look- this works given the elimination of a child lead character.

Left for evidence in a police compound, Chucky is stolen by Tiffany Valentine, played by Jennifer Tilly. The girlfriend of a deceased serial killer, Tiffany is convinced that the spirit of her boyfriend exists within Chucky and she is determined to bring him back to life using a voodoo ritual.

When the act finally works, Chucky and Tiffany reunite, but shortly afterward, Tiffany is also turned into a doll and the duo sets out on a killing spree.

The best aspect of the film is the camaraderie between Tilly and actor Brad Dourif, who voices Chucky. The duo has a light, comic banter that is fun to watch, as well as fantastic chemistry.

Granted the actors only voice the dolls for a small part of the film, but their back-and-forth works well.

This is what makes Bride of Chucky tongue in cheek- let’s face it, with talking dolls as your main characters, director Ronny Yu wisely avoids making the killings too grisly or heavy-handed, but rather, frequently uses quips and one-liners throughout the film.

As Chucky and Tiffany slice and dice their way to Hackensack, New Jersey, their motivations are to embody a neighborhood boy, Jesse, and his girlfriend Jade, played by a young Katherine Heigl.

Along the trek, the foursome is faced with ludicrous obstacles, such as the brief introduction of a con artist couple who meet their doom by flying shards of glass after stealing Jesse’s money.

The side story of Jade’s overprotective police chief Uncle, played by a miscast John Ritter, does not work at all. His schemes to plant marijuana in Jesse’s van are little more than plot-driven machinations to advance the thin plot.

The characters of Jesse and Jade are trivial and secondary and Heigl’s acting is particularly garish to say nothing of the lack of any chemistry between Heigl and actor Nick Stabile.

Heigl seems to wear a pout throughout the entire film. But, not to worry, these characters are as meaningless as all the others.

The gimmick ending, surely meant to “spawn” yet another sequel is as interesting as it is grotesque and a small highlight in a poor film.

Bride of Chucky (1998) provides a nice lineage to the history of the franchise, a killer musical score, and decent chemistry among the leads, but also suffers a similar fate to many horror films, especially sequels- poor acting, a silly tone, and no character development.

XX-2017

XX-2017

Director Jovanka Vuckovic, Annie Clark, Roxanne Benjamin, Karyn Kusama, Sofia Carrillo

Starring Natalie Brown, Melanie Lynskey

Scott’s Review #677

Reviewed September 1, 2017

Grade: B

XX is a 2017 American anthology film featuring four unique horror vignettes directed by female directors—a brazen feat in itself as this gender is too often underrepresented in the genre.

The chapters do not always make complete sense, but they achieve a creative, unpredictable edge and the feeling of watching something of substance.

Another anomaly is that each features a female lead, giving the film a measure of female empowerment.

Immediately, we are treated to an odd tale named The Box, based on a short story written by an author notable for composing tales of the gruesome Jack Ketchum.

In this story, a young boy named Danny, cheerfully riding a train with his mother and sister during the holidays, innocently asks an odd-looking man to peek inside a shiny, red, gift-wrapped box.

When the man agrees, Danny initially goes about his day but stops eating, much to his parent’s horror. This installment is my favorite of the four as it is the only holiday-themed chapter and contains a morbid quality amid the cheeriness of the season.

The perspective soon switches from Danny to his mother, Susan, and the conclusion is surprising.

Next up, The Birthday Party features middle-aged Mary, intent on holding a birthday party for her young daughter, Lucy. When Mary finds her husband dead, she dresses him up in a panda costume and attempts to conceal him from the group of anxious young party-goers.

The conclusion is a mix of the hilarious and the disturbing. This vignette features a nanny and a neighbor, both odd and mysterious characters. I admire the black comedy in this one most of all.

Third in the series is Don’t Fall, which transports the viewer to the middle of the desert. Four friends are on an expedition seeking adventure. The main character, Gretchen, is deathly afraid of heights.

When the group discovers a cave with ancient, evil writings on it, one group becomes possessed and embarks on a killing spree against the others.

Very short in length, Don’t Fall suffers from absurdity and has the least character development of the four—it is also the one I found to be the weakest.

Finally, Her Only Living Son is the strangest in the quartet. Cora, a working-class single mom, has only one son, Andy. About to turn eighteen, he is rebellious and known to be cruel to classmates—even gleefully tearing off one poor girl’s fingernails.

Ironically, the high school faculty seems to worship Andy, deeming him remarkable and seeming somewhat entranced by him. As Cora becomes influenced by her mailman, Chet, it is revealed that Andy’s father is a Hollywood star and wants nothing to do with Cora or Andy.

When Andy develops claws on his fingernails and toenails, Cora fears that he is not her ex-husband’s son at all but the spawn of Satan. This tale is a miniature of the classic 1968 horror film Rosemary’s Baby, haunting and devious in tone.

Enticingly, each chapter runs the gamut in theme and is unique and different enough from the others to be distinguishable and not suffer from a blended or all-too-similar feel.

Indeed, each situation is implausible in “real life,” and some head-scratching plot points abound. For instance, how is it possible for an emaciated child, under a doctor’s care, not to be force-fed?

Also, a teenager growing claws and hooves? Really? But horror, and sometimes supernatural, or even silly, elements can be fun.

XX, new for 2017, is reminiscent of the successful horror anthology that the Showtime cable network was daring enough to air from 2005-2007- this series ran the gamut in stylized and edgy horror escapades, using various directors to achieve this result.

Here’s to hoping that XX opens new doors and prompts a new horror series. XX has a few flaws but is successful in undoubtedly pleasing the legions of horror fans.

Annabelle: Creation-2017

Annabelle: Creation-2017

Director David F. Sandberg

Starring Anthony LaPaglia, Stephanie Sigman, Talitha Bateman

Scott’s Review #672

Reviewed August 17, 2017

Grade: B+

Annabelle: Creation (2017) is a prequel to the successful 2014 horror film entitled Annabelle and the fourth installment in a total of the popular The Conjuring series (2013-present).

Over just a few years, these films have become well-crafted, intertwined stories in the modern supernatural horror genre.

Compared to another latter-day horror franchise, Saw, Annabelle/The Conjuring elicits more of the classic spook factor rather than the gore associated with the Saw franchise (2004-present).

The time is 1943, set somewhere in the desert and mountainous region of California. Dollmaker Samuel Mullins (Anthony LaPaglia) and his wife Esther (Miranda Otto) live a cheerful existence with their young daughter, Annabelle, whom they nickname Bee.

The family attends church services regularly and plays cute games of hiding and seeking in their vast farmhouse and land. When one sunny day, Bee is struck and killed by a passing car, the couple is devastated beyond repair.

Twelve years later, a group of orphans led by Sister Charlotte (Stephanie Sigman) are invited by Mr. Mullins (Mrs. Mullins is now bedridden due to a mysterious accident) to spend some time at the farmhouse when their orphanage shuts down.

The six orphans, led by best friends Janice (Talitha Bateman), and Linda (Lulu Wilson) embark on the quiet farmhouse and immediately are met by strange goings-on, most notably a life-sized doll living inside a forbidden room, which Janice inevitably stumbles upon out of curiosity.

Stricken with polio, Janice has been left a disabled person, unable to move around very well.

As Janice discovers the creepy doll, or shall we say, Janice awakens the doll from a strange closet covered with bible verses, the doll terrorizes the girls. It wreaks havoc on Janice and Linda in particular.

An evil entity inhabits the doll, and the peculiar circumstances following Annabelle’s death years earlier rise to the surface as secrets are revealed and demons seek refuge in the farmhouse.

Annabelle: Creation is exceptionally well made and inundated with scary elements of surprise. The farmhouse, in particular, is a fantastic setting for a horror film—the remote locale, the eerie quiet, and the dark, unfamiliar layout of the house all come to fruition throughout the film.

Specifically, a scarecrow, a stairwell chair-lift, and the years between 1943 and 1955 are of special importance.

Besides the common horror elements that the film uses to its advantage, it is just downright scary and tense. On plenty of occasions, the cameras are positioned so that a figure or object could easily be lurking behind a particular character but out of sight from the audience.

Sometimes, nothing appears, and the scene goes on, but other times, a scare occurs that makes us jump out of our seats—this is good, classic horror at its finest. One knows not what is, or could be, coming next.

I did not find Annabelle: Creation predictable in the slightest, which makes the film succeed.

As if I was not entertained enough throughout the film, the final set of scenes, now some twelve years after 1955, brings us to the very beginning of 2014’s Annabelle. We witness the very first scenes of that picture, now making perfect sense and weaving the two films together in a compelling fashion.

Apt viewers will remember that Annabelle begins with a horrific, brilliantly crafted, and shot home invasion scene. Now, the storyline will make more sense, and viewers will experience an “oh wow” moment.

I was left with a couple of slight gripes about Annabelle: Creation.

The character’s appearances are quite modern-day—not the clothes per se, but the hairstyles, mannerisms, and figures of speech—and I never, for a second, believed the time was the mid-1950s.

To build on this point, and at the risk of an honest historical inaccuracy critique, a black orphan would never have resided with white orphans, let alone be one of the “popular girls,” nor would the orphans ever have been led by a sexy, Indian nun wearing heavy mascara.

I get that the filmmakers deemed inclusiveness a higher priority over historical accuracy. Still, these details are noticed and readily apparent as not having existed if the film were “real life.”

Furthermore, the point was repeatedly hammered home that the film was a massive supporter of Christianity and went out of its way to promote the goodness of religion over evil.

Annabelle: Creation (2017) reaffirms my belief that good, old-fashioned horror films can still be successfully made in the modern era, using elements firmly etched in the genre but used in a contemporary, scary, and sinister way.

Here’s hoping the creators come up with another good idea and create another segment in this thrilling dual franchise.

Homicidal-1961

Homicidal-1961

Director William Castle

Starring Jean Arless, Patricia Bresling

Scott’s Review #661

Reviewed July 8, 2017

Grade: A-

Homicidal is a 1961 horror film, shot in black and white, that is a direct homage to the successful Psycho, made only a year earlier.

While some would argue Homicidal is a direct rip-off of Psycho, I see the film as containing elements of Psycho but twisted around so that its unique story is created.

Regardless, Homicidal is a fantastic, edge-of-your-seat film that never drags or slows down and deserves recognition.

The surprise ending is terrific.

The story starts when a tall, leggy, blonde woman confidently walks into a local California hotel to request a room.

There is something mysterious about the woman. She appears to be a woman of some wealth and convinces a young bellhop to marry her for $2,000.

Hesitant but enamored by the woman, he accompanies her to the local justice of the peace, who marries them in the middle of the night. The woman (Emily) then savagely bludgeons the justice of the peace and flees the scene.

Later, she brags about the murder of a mute and sickly older woman named Helga, who she is caring for.

From this point, other characters in the small town are introduced, and we slowly learn more about the intriguing Emily (Jean Arless).

Flower shop owner Miriam (Patricia Breslin) and her brother Warren are central to the story. Warren will inherit a fortune on his twenty-first birthday the next day. Miriam’s boyfriend, Karl, is the local pharmacist whom Emily appears to fancy.

All of these characters come into play as the intriguing plot develops. Is Warren’s inheritance a motivating factor? Will he be killed? Why isn’t his sister, Miriam, receiving any money? Could she be secretly plotting something?

The comparisons to Psycho are endless.

The gender-bending twist during the final act is the most obvious. Arless deserves kudos for tackling both roles in a wonderful, compelling fashion.

The fact that Arless resembles Psycho actress Janet Leigh is another similarity. Otherwise, Miriam and Karl resemble characters from Psycho, and Helga could be a dead ringer for Mother Bates. Even some sets, specifically a staircase, resemble the one in Psycho.

Director, William Castle, brilliantly adds a gimmick to Homicidal that works very well as the film is about to reach its shocking climax, the action suddenly stops and the introduction of a “fright break” ensues.

At this point, Castle gives the audience forty-five seconds to leave the room to avoid what comes next. We see the clock countdown in real-time. What a fantastic idea!

Throughout the film, I noticed some actors, most notably Jean Arless, playing their roles within a melodrama. Suddenly, there is a knock at the door, or a car drives up, and the character quickly turns their head in a fast movement to look in an almost cartoonish way.

Rather than see this as a negative, this style works for me and adds a bit of humor to the film.

Another positive is the way the film is gruesome in several parts. As a character descends the staircase from a stairlift, the image of the body is shrouded in dark shadows. When the dismembered head topples down the stairs, it is macabre and compelling.

The justice of the peace death scene is also well done and will please horror fans with its hefty bloodletting. Surprisingly, only two murders occur.

Certainly not as crafty and containing a smaller budget (though Psycho was also small), Homicidal is quite a solid effort in a B-movie way.

Success is primarily due to the fantastic direction of William Castle, who carved a similar story to Psycho (1960) but in a different way so that his film does not feel like a carbon copy.

Homicidal (1961) is a film for fans of classic, solid horror films.

Strait-Jacket-1964

Strait-Jacket-1964

Director William Castle

Starring Joan Crawford, Diane Baker

Scott’s Review #650

Reviewed June 7, 2017

Grade: B

Strait-Jacket (1964) stars legendary Hollywood film star Joan Crawford on the heels of her successful “comeback” role in What Ever Happened To Baby Jane? Circa 1962.

Following this film, older actresses achieved some semblance of success in camp-leaning B-horror films, and Crawford led the pack.

Strait-Jacket is a perfect example of this subgenre. The glamorous Crawford sinks her teeth into this film with gusto, playing an ax-wielding former mental patient who has been released to the outside world after a lengthy stay in an insane asylum.

William Castle, a popular director of the time, could churn out films quickly and for very little money, a talent marveled at by studios. In the cult vein, Castle created Strait-Jacket on a dime and with one of the biggest stars in the world- now slowly in decline.

In “real life,” Crawford felt the role was beneath her, yet one would never know it by the brilliant performance she gives, a performance that makes Strait-Jacket better than it ordinarily would be.

We first meet Crawford’s Lucy Harbin (twenty years before present times) as she returns home late one night to a remote area, having spent the weekend out of town. Her husband is a philanderer and has picked up a cheap girl at a bar, making love to her while his young daughter, Carol, pretends to sleep.

In a fit of rage, Lucy decapitates them both while a horrified Carol watches. Years later, Carol (Diane Baker), now a grown woman,  prepares to introduce a recently released Lucy to her intended, Michael, and his affluent parents.

Living on a remote farm with Lucy’s brother and his wife, Lucy, and Carol experience strange occurrences: a dastardly child’s song, cut-out faces from a photo album, and “imagined” decapitated heads.

Castle wisely gives Lucy a makeover, changing her graying, matronly appearance to a sexy, youthful one reminiscent of her days before the murders.

Soon, the film, short at one hour and thirty-two minutes, reaches a climax when Lucy appears to begin chopping new victims to bits. But is everything as it seems?

As a viewer, Strait-Jacket’s appeal is watching Joan Crawford tackle the role. Talented beyond belief, and with expressive eyes and facial features, she owns the role and subsequently the entire film, though Diane Baker is no slouch either.

Crawford, never one to phone in a performance, was happy with any role she received at this time in her career. She gives Lucy grit and vulnerability so that the audience roots for her.

As the film progresses, we slowly wonder if Lucy is hallucinating, still unstable, or perhaps being set up by someone else.

Strait-Jacket is laced with several good scares, as a grizzled farmhand and a vacationing doctor meet their fates. The build-up to the kills is quite well done. A slamming door or a figure in the shadows are all used to tremendous effect and elicit suspense.

To Castle’s credit, he uses elements of fright to make the film better than the writing is.

The plot itself is fine, but indeed not high art, nor anything rather inventive. The “big reveal” at the end is rather hokey and seemingly a play on the Alfred Hitchcock classic Psycho (1960), but lacking the high intensity- the ending is also a tad abrupt.

Strait-Jacket (1964) is a terrific little horror film featuring one of the legendary actresses of Hollywood film history- and that is more than enough for me to recommend this film to both Crawford fans and horror film fans, or ideally both.

The Faculty-1998

The Faculty-1998

Director Robert Rodriguez

Starring Josh Hartnett, Piper Laurie, Salma Hayek

Scott’s Review #648

Reviewed June 4, 2017

Grade: B

Having watched The Faculty, a  teenage horror/science fiction flick,  at the time of release in 1998 (now almost twenty years ago!), I fondly remember sitting in the movie theater watching this soon-to-be cult classic take hold of its audience.

Despite some now-dated (in 2017) special effects, the story holds up well, and what a treat to see some “stars of tomorrow” mixed in with some venerable veterans, take center stage.

The Faculty stirs up a strange hybrid of classic films (Invasion of the Body Snatchers, Alien, and The Breakfast Club) to create a fun, and gory, horror film.

The action takes place in a small town said to be somewhere in Ohio, though the film is shot in Texas. A football town, and home to the Hornets, sports are central to Herrington High school- both to students and faculty.

It becomes immediately evident that some of the staff is not “right” after two of the teachers stab Principal Valerie Drake (Bebe Neuwirth) with a pencil and scissors and flee with no emotions late one night after a faculty meeting.

Later, student Casey Connors (Elijah Wood) confesses to his group of friends that he believes the teachers are being controlled by aliens. Naturally, they are skeptical until strange events among the staff begin to take shape once the students watch the staff’s activities closely.

The film then turns into a clever whodunit as one student after another is revealed to be infected and therefore an alien.

A highlight of The Faculty is its stellar casting- there is the younger set of actors, who share great chemistry- Josh Hartnett (Zeke), Wood (Casey), Jordana Brewster (Delilah), Clea Duvall (Stokes), Laura Harris (Marybeth), and Shawn Hatosy (Stan) all make up the troupe of characters thrown together due to unlikely circumstances to figure out the big mystery- who amongst the staff is an alien and where they come from?

All of the students are from different social classes, which makes their antics unique- Zeke, the rebel, Stan, the jock, Stokes, the “weirdo”, and Casey, the nerd. In this way, the film reminds me of The Breakfast Club, a mid-1980s “coming of age” high school film.

Additionally, the staff comprises some of the best in the business- stalwart Piper Laurie appears as the drama teacher, luscious Salma Hayek as the sexy school nurse, comic Jon Stewart as the science teacher, and rugged Robert Patrick as Coach Willis.

What a treat for film fans to watch a film such as The Faculty to see a bevy of popular film and television stars amongst the cast.

Director, Robert Rodriguez, most notably known for creative left-of-center work such as Machete (2010) and Sin City (2005) and for being a frequent collaborator of Quentin Tarantino in his edgy collection of films, helms a rather mainstream piece of work in The Faculty.

The film is targeted at your typical, mainstream audience, but with the right blend of clever quirks added in.

Delicious is the ode to the classic science-fiction classic Invasion of the Body Snatchers (1956 and 1978), only set in a suburban high school. Clever still is the revelation of the teachers as the robotic “pod people” or aliens from outer space.

This cute reference, in 1998, and still today is an innocent knock on authority figures as the high school kids slowly get their comeuppance against some of the staff.

There comes a point in the film where nearly everyone is an alien and the film runs out of gas. However, the final scene is wonderfully constructed as the film ends as just another day in the life of a small-town high school- life goes on and all is well.

The Faculty (1998) is a treat to watch in present times as a “trip down memory” lane experience.

10 Cloverfield Lane-2016

10 Cloverfield Lane-2016

Director Dan Trachtenberg

Starring Mary Elizabeth Winstead,  John Goodman

Scott’s Review #643

Reviewed May 11, 2017

Grade: B+

10 Cloverfield Lane is a 2016 psychological thriller billed as somewhat of a successor to the 2008 hit Cloverfield, though I fail to see the apparent correlation between the films.

Furthermore, the two stories seemingly have little or nothing to do with one another.

Despite these pesky details, 10 Cloverfield Lane is a perfect, edge-of-your-seat type film that is unpredictable and thought-provoking.

By the time the credits roll, it is a film worthy of discussion—an excellent quality for a movie.

Without any dialogue during the opening sequence (a clever move), we meet Michelle (Mary Elizabeth Winstead), a twenty-something woman presumably on the outs with her boyfriend, who we never see.

Alone, she flees their residence and drives into the night to parts unknown. The couple is metropolitan, living in central New Orleans.

Now in the middle of Louisiana, and hearing radio reports of strange blackouts, Michelle is soon involved in a terrible car accident. When she awakens, she finds herself chained to a bed inside a small bunker inhabited by two men, Howard (John Goodman) and Emmitt (John Gallagher, Jr.).

They insist that the outside world is no longer and all human beings are dead as a result of a catastrophic attack. Initially skeptical, Michelle slowly uncovers various clues that baffle her about the truth.

10 Cloverfield Lane may very well be John Goodman’s best film performance.

He plays Howard with gusto and mystery, and the audience is primarily baffled about whether to trust this man. Is he a vicious abductor, creating a make-believe world to keep Michelle hostage-or is he telling the truth?

He plays the character as creepy and surly but with a tinge of vulnerability and sadness.

I certainly was both fascinated and confused by Howard and could not determine his true motivations.

Winstead also deserves credit for portraying a strong yet sympathetic female character who is never reduced to playing a victim, a testament to the actress’s ability.

Over the years, Winstead has appeared in several duds (Black Christmas, 2006, and The Thing, 2011), so seeing her in a film worthy of her talents is nice.

Michelle is intelligent and determined to deduce her surroundings and formulate a clever escape plan. However, in a nice twist, the filmmakers ask whether she wants to leave the safety of her bunker after all.

Producer J.J. Abrams weaves a story with twists and turns, keeping the tension and interest high throughout the film. The primary question that reoccurs is, “What on earth lies outside of the bunker?”

I enjoy that this film is not the typical, cookie-cutter fare in which we root for the female victim to escape the clutches of a male maniac—it is much deeper and more complex than that.

Most enjoyable is how events slowly unfold, and we, the audience, begin to question thoughts we have harbored throughout the run of the film.

A perfect example of this comes in the final chapter, when events take off in an entirely different direction than the rest of the film. I felt a bit suffocated inside the bunker. What a relief to finally have some action occur outside of this location and into the fresh air.

But what lurks in this new setting?

One slight oddity is that the film includes Bradley Cooper’s voice as Michelle’s boyfriend, Ben, who is heard only by telephone. I did not notice this until the credits rolled, and it seemed like a silly and unnecessary inclusion.

Also, we never know the turmoil between Michelle and Ben. Is their domestic trouble simply plot-driven antics, or does it have a deeper meaning?

In a nutshell, 10 Cloverfield Lane (2016) is a film best watched when one does not know the first thing about the plot or circumstances surrounding events.

The film was enjoyable because I did not know the twist, the conclusion, or even who starred in it. This kept all of the elements of surprise from me, making it more enjoyable.

Chained-2012

Chained-2012

Director Jennifer Lynch

Starring Vincent D’Onofrio

Scott’s Review #627

Reviewed March 24, 2017

Grade: B-

Chained is a 2012 independent horror film directed by Jennifer Lynch, who is the daughter of the brilliant film and television director, David Lynch.

His influence is readily felt throughout.

The film is an exercise in cerebral, psychological horror, and is quite mesmerizing for most of the experience. The ending, however, is the pits and takes away from the enjoyment of the rest of the film in its asinine, quickly wrapped-up, conclusion.

The film is set in an unknown area- all the audience knows is a  decrepit, isolated, cabin in the middle of nowhere and that the shack exists in somewhat proximity to a college town.

Since the film is shot in Canada that is a good enough locale for me to accept.

One day a seemingly happy husband drops off his wife and nine-year-old son at the movies but implores them to take a taxi home as the bus is too dangerous. When they heed his advice, they are accosted by a deranged serial killer, Bob (D’Onofrio), who drives a cab and whisks them away to his remote home.

After he kills the mother, he makes the son, whom he re-names Rabbit, his slave, reducing him to household chores and a somewhat accomplice to the subsequent victims he brings home.

As the years pass and Bob continues to kill, he is determined to have, a now mature, Rabbit, follow in his footsteps.

A large chunk of Chained (and the film is aptly named because Bob commonly keeps Rabbit chained) takes place in Bob’s lonely home and Bob and Rabbit are all each other have for support. Bob presumably earns a living by stealing the cash his victims carry.

Many scenes of a binding nature, albeit perverse, are featured as the two dole away the time between Bob’s kills, almost like a father and son.

Jennifer Lynch wisely moves the film at a slow pace for appropriate build-up.

Bob’s psychologically troubled childhood is told through flashbacks as he is victimized by his abusive father and forced to have sex with his mother, who blames him rather than her husband.

As a result, Bob hates women, and lures victim after victim into his cab and then slices and dices them back at his home.

Bob is sympathetic, like a wounded bird, and whether he rapes the victims before killing them is unclear, as much happens off-screen.

The cabin is purposely suffocating and when Bob teaches Rabbit intellectual facts and encourages him to read and study to become smart, it is a bonding experience.

Slowly, Bob trusts Rabbit more and more.

When Bob makes Rabbit pick out a young girl in a school yearbook to kill, the film kicks into high gear. Suddenly, it becomes vague whether Rabbit is loyal to Bob or still determined to escape. Will he help his intended victim instead of killing her?

David Lynch’s imprint is blatant in both the pacing of the film and more specifically in the low hum musical score, common in his films.

Daughter Jennifer knows her father’s techniques as they continually come into play. A nice homage to Mulholland Drive (1992) appears when a sweet older couple rides in the back of Bob’s cab, reminiscent of the older couple featured in Mulholland Drive.

The gloomy ambiance is highly effective in Chained and the relationship between Bob and Rabbit, not sexual or overly violent, becomes rather sweet in some moments.

The rushed conclusion of the film is disastrous and Lynch’s attempt at a twist goes haywire in the “makes sense” department.

After a compelling fight scene with Bob, Rabbit finally kills him, escapes his clutches, and returns to his father’s open arms (now newly re-married with another son) only to reveal to his father that he knows he orchestrated Rabbit and his mom’s abduction years ago and that Bob is Rabbit’s uncle!

To matters even more confusing, after a dramatic event, Rabbit is sent away yet again and returns to the cabin as his only safe place.

This final act is a real dog, makes little sense, and is tough to digest.

I will give some liberties to 2012’s Chained since the director is spawned from the great David Lynch and the mood and several characteristics mirror his work, but still with her unique vision an obvious characteristic.

Most of the film is a solid effort, but due to the ending of the film being such a letdown, the body of work seems incomplete.

Snakes on a Plane-2006

Snakes On A Plane-2006

Director David R. Ellis

Starring Samuel L. Jackson

Scott’s Review #607

Reviewed January 11, 2017

Grade: B

Snakes on a Plane, the surprise internet bruhaha sensation of 2006 has much to criticize.

The plot is inane, the acting way over the top, and the subject portrayed in such a dumb manner, I could see the results being horrific, but there is just something I enjoyed about the film too, as admittedly stupid as it is.

I simply could not help but sit back and enjoy it.

I enjoyed the setting of an airplane- trapped at 35, 000 feet, in peril, has always enamored me (think Airport disaster films of the 1970s).

The story involves a plot to release hundreds of deadly snakes on a passenger flight, to kill a witness to a murder trial.

Of course, innocent passengers are met with their dire fates as the cartoon-like characters are offed one by one, horror film style.

Sadly, the film did not live up to anticipated expectations, commercially or critically, and was considered somewhat of a dud after all of the hype, but I rather enjoyed it for what it was.

Hardly high art, it entertained me.

My Bloody Valentine-2009

My Bloody Valentine-2009

Director Patrick Lussier

Starring Jensen Ackles, Jaime King

Scott’s Review #604

Reviewed January 11, 2017

Grade: B

What can I say? The remake of the classic slasher film from 1981 is a very slick version of the perfect Valentine’s Day treat- My Bloody Valentine.

To compare the 2009 offering to the original is unfair since I consider that one top-notch. This version is what I expected it to be.

Though several aspects of it were changed from the original, it was entertaining all the same.

The sleepy mining town that the film is set in becomes immersed in scandal as a string of grisly murders occurs in one of the town mines. It is revealed that a tragic accident occurred at one time causing several deaths. The one remaining victim awakens from a coma and goes on a killing spree.

At the same time, youths throw a party near the mine and a series of deaths begin again.

The 3-D effects are necessary for a film like this because, without them, this movie would have been as generic as anything else in the same style.

The story is lame and implausible, and the characters are dumb, but looking past all that, as I usually do in the horror genre, this was a fun ride.

Lots of gore, nudity, violence, and a few genuine scares.

Zombie Strippers-2008

Zombie Strippers-2008

Director Jay Lee

Starring Jenna Jameson, Robert Englund

Scott’s Review #599

Reviewed January 10, 2017

Grade: C-

Zombie Strippers (2008) is so filled with campy moments and so over-the-top, that it’s a film that is impossible to remotely take seriously.

As they say, there is a time and a place for everything, and this includes films.

It is completely a cheesy, campy B minus horror film.

The story, if one can call it that, involves a small strip club, in Nebraska, in the middle of nowhere. The star stripper is played by former adult film star, Jenna Jameson, who, I am pretty certain, was not hired for her acting talents.

One day, a government-controlled virus is released by the government, causing Jameson’s character to be transformed into a flesh-eating zombie.

The motivation is not there, and, who cares anyway?

This is not the film to watch for a compelling plot.

The acting all around in the film is poor, and the story is completely unrealistic-laced with stereotypes galore. However, how nice to see horror legend, Robert Englund (Nightmare on Elm Street-1984) in a prominent role, even in a bad film.

Also deserving of credit is the makeup and prop department, having a small budget, for making the film look better than it might have.

If you are looking for a cheesy, after-midnight, and after-a-few-drinks fun film, this is it. Otherwise, don’t waste your time.

Friday the 13th-2009

Friday the 13th-2009

Director Marcus Nispel

Starring Jared Padalecki, Danielle Panabaker

Scott’s Review #592

Reviewed January 8, 2017

Grade: C-

As a devoted and faithful fan of the Friday the 13th film franchise and I have many wonderful memories of Friday the 13th of the past, I was expecting better than this version.

There was no reason for the producers to start from scratch with a brand new beginning- that makes no sense to me.

There is nothing to distinguish this, 2009 Friday the 13th,  from other sequels. They would have been better suited to making a “Friday The 13th Part 11” since that’s what it was.

An entirely new storyline was created- only keeping to the original Jason and Mrs. Voorhees characters and Camp Crystal Lake location.

This movie is not scary, nor are any of the characters particularly likable. Several were quite unlikeable- way too many horror films do that.

The film also contains very distinct stereotypes, which in this day and age seem ridiculous.

Also, Jason has now graduated to “taking prisoners” instead of simply hacking his victims.

There is also a “flashback” scene from 1980, which, inexplicably is a newly filmed scene. A wiser choice, and treat for loyalists, would have been to show this scene from the original Friday The 13th from 1980 instead of foolishly recreating one.

The story is completely implausible in countless ways.

I am giving this film a very liberal C- grade for at least giving us a new film and for being somewhat entertaining, even though there are many negatives.

This film will be forgotten before too long.

Drag Me To Hell-2009

Drag Me To Hell-2009

Director Sam Raimi

Starring Alison Lohman, Justin Long

Scott’s Review #591

Reviewed January 7, 2017

Grade: B

Drag Me To Hell (2009) is a fairly predictable, modern-day horror film, with some supernatural elements and special effects that make it slightly above average.

Directed by Sam Raimi (of Spiderman fame) one can see his stamp on it, as he has a way of horror camp. 1983’s cult classic, Evil Dead, directed by Raimi is evidence of this.

Young Loan Officer, Christine Brown, played by Alison Lohman, is bucking for a promotion and intent on impressing her boss by being a stickler for the rules. She chooses the wrong day to do this as an elderly woman, desperately needing a loan, is denied one by Christine.

The angry woman places a curse on Christine, causing her life to spin out of control. She has a mere three days to remove the curse before her soul is “dragged to hell”.

As with most horror films involving a curse, the plot is completely unrealistic and filled with holes. The film also tries to be both serious and comical at times- sometimes succeeding, sometimes not.

In a few scenes I was not sure if the intention was to be comical or if it was unintended, but periodically the acting was over the top.

With all that said, if one is interested in a fun horror film that has a few scares and is not too gory (it is rated PG-13 after all), one will enjoy Drag Me To Hell (2009).

The Final Destination-2009

The Final Destination-2009

Director David R. Ellis

Starring Bobby Campo, Shantel VanSanten

Scott’s Review #587

Reviewed January 7, 2017

Grade: B

The Final Destination (2009) is a fun, entertaining film, and exactly what one might expect from a film of this nature, of the horror genre, and by this time the fourth in the series.

The 3-D effects are a nice and needed addition to the franchise as a way of keeping it modern and fresh.

The film has the expected additives- an attractive cast, mediocre acting, and ridiculous situations, which inevitably lead to the fated kills- in typical grisly fashion.

As audiences of the Final Destination films know, characters cannot tempt fate, and there is a specific order to the deaths. The only aspect that sets The Final Destination apart from its predecessors is the 3-D effects.

The story is reminiscent of the original version of Final Destination, made in 2000, only instead of an airport, the action begins at a raceway, where the main character of the film, Nick O’Bannon, has a premonition of a grisly accident at the racetrack.

After he saves some folks from their deaths, they believe they have “cheated” “death”, but before long, fate has other plans for them.

Some fun kills include decapitation by a flying tire, a sharp rock emitted from a lawnmower, a crushing tub, and a speeding ambulance.

The novel concept of the film, originally fresh and unique, has become to be expected and rather redundant. The fun part is the creative kills.

The film is the perfect movie to sit back, relax, have fun, see some interesting deaths, and be entertained by.

The Fourth Kind-2009

The Fourth Kind-2009

Director Olatunde Osunsanmi

Starring Milla Jovovich, Will Patton

Scott’s Review #583

Reviewed January 4, 2017

Grade: B-

I went into the theater to see The Fourth Kind (2009) not expecting a classic, but rather, a few frights, chills, and something compelling. I ended up completely entertained and believing it was a good movie.

However, after the credits rolled, I was left with an unsatisfying and misrepresented feeling.

The premise of the film is admittedly a bit trite. An Alaskan female psychiatrist, Dr. Abigail Tyler (Milla Jovovich) videotapes her therapy sessions with patients and discovers some sort of alien has possibly abducted them.

Yes, this sounds crazy, but the film is well-made and rather believable.

The look of the film is similar to the Paranormal Activity films, a craze that was happening when the film was released in 2009.

The documentary look and the interviews with the actors will be looked back on as “of its time”, to be sure.

The style and interspersing of “real” events with fictitious events were interesting. However, I was disappointed when I read that the supposed “real” events were entirely made up, a fact the movie never admits, and, in fact, time and time again reminds the audience are real events.

I enjoyed the movie but felt duped afterward, rendering The Fourth Kind (2009) trivial and forgettable.

The Crazies-2010

The Crazies-2010

Director Breck Eisner

Starring Timothy Olyphant, Radha Mitchell

Scott’s Review #568

Reviewed December 27, 2016

Grade: B+

The Crazies (2010) is an example of a very rare instance of a remake (especially in the horror genre) being better than the original (Cape Fear also comes to mind).

Despite the original film being made in 1973, a wonderful time for creative film-making, I was not such a fan.

The remake is more slick and stylized, but I think it works well and makes the film an above-average effort.

There are many thrills during The Crazies and jump-out-of-your-seat scares (car wash scene), and I may never look through a keyhole again!

I felt tense watching several scenes and I genuinely did not know what was going to come next, which is quite an achievement for the modern horror genre.

I love the heartland, small town, middle of nowhere elements. A feeling of isolation and vulnerability is apparent and a must for successful horror.

The acting is above average for a horror flick, though, let’s not kid ourselves- who watches horror films for the Shakespearean acting?

This film was sort of a cross between 28 Days Later (2002) and Night of the Living Dead (1968) but set in mid-western surroundings.

A must for fans of modern horror.

Repulsion-1965

Repulsion-1965

Director Roman Polanski

Starring Catherine Deneuve

Scott’s Review #554

Reviewed December 21, 2016

Grade: A

Repulsion is an excellent British film, an early film by the great director Roman Polanski, made in 1965. The film was shot on a low budget, and the action mainly takes place inside a small London apartment.

Repulsion is part of Polanski’s “Apartment Trio,” along with Rosemary’s Baby (1968) and The Tenant (1976), which are all set in apartments.

The film tells the story of Carol (Catherine Deneuve), a beautiful young woman who slowly goes insane throughout a weekend while left alone by her vacationing sister.

Carol is a beauty parlor worker who is seemingly sweet and shy but gradually becomes violent, volatile, and unbalanced. She experiences hallucinations, and it is alluded to that she may have been sexually abused as a child.

She loathes men.

The film is shot in black and white, with eerie camera shots, background noises, and very little music. Its claustrophobic atmosphere makes it all the more disturbing.

These characteristics make the film a challenging experience to watch, but that is to its credit.

We see Carol unravel and are mystified by the aspects that make her this way. The bathtub scene and the scene with Carol’s landlord are highlights of their brutality.

Repulsion (1965) is challenging to watch but an excellent piece of cinema. It is an in-depth character study of an unhinged woman reaching her psychological breaking point.

Friday the 13th: Part VII: The New Blood-1988

Friday the 13th: Part VII: The New Blood-1988

Director John Carl Buechler

Starring Lar Park Lincoln, Kevin Spirtas

Scott’s Review #551

Reviewed December 19, 2016

Grade: B-

The seventh installment of the legendary Friday the 13th franchise is enjoyable, yet predictable.

Props must be awarded to the creators for at least attempting a novel idea- this time, the “final girl” is not the damsel in distress type, but rather, gives as good as she gets.

Friday the 13th: Part VII: The New Blood (1988) is a decent offering in the horror genre and better than some of its companion films.

The main heroine is a telekinetic girl named  Tina Shepard (Lar Park Lincoln). Via flashbacks, we learn that Tina’s father had alcoholism and abused her mother.

When Tina’s telekinesis was unlocked ten years earlier, Tina caused her father’s drowning death, conveniently at Camp Crystal Lake.

Tina has harbored deep regret ever since and is now treated by Doctor Crews (Terry Kiser). The duo- along with her mother- decides to stay at the lake where a group of partying kids takes up residence next door.

None of them has any idea who Jason Voorhees is.

The beginning and end are ridiculous even by horror standards, as the action is way over the top and too convoluted to go into, but everything else is fine.

The cast seems a bit larger than in other chapters, which is great because that means more kills. Unfortunately, many of the kills have been edited to make an R rating. (I try to watch NR horror films- no edits).

My favorite kill by far is the “sleeping bag” kill. Awesome!!

Unfortunately, the DVD version of this film is severely edited from the theatrical version.

Also, Jason looks like a true monster in this one, and that is to be applauded. Stuntman Kane Hodder would begin a successful stint as the killer, and he looks the part.

Friday the 13th: Part VII: The New Blood (1988) is a fun popcorn horror flick.

The Believers-1987

The Believers-1987

Director John Schlesinger

Starring Martin Sheen, Helen Shaver

Scott’s Review #547

Reviewed December 12, 2016

Grade: B

The Believers is a very obscure film that I had never heard of before viewing it. Given that it was made in 1987 (not a great time for movies), I was skeptical about this one but was pleasantly surprised.

It has some edge to it, is mysterious, and is set in New York City- always a plus for me.

Martin Sheen- merely a youngster when this was made-plays a police psychologist, Cal Jamison, involved in a voodoo serial killer cult.

He moves from Minnesota to New York City following the death of his wife by electrocution when her coffeemaker malfunctions.

Is this key to the case or a red herring?

The plot is a bit convoluted as the serial killer targets Cal’s son, and when a frazzled police officer, Tom Lopez (Jimmy Smits),  takes center stage.

I did not find Smits all that believable in this role, and the film has a striking 1980s feel.

The locales, since it was shot in New York, are fantastic, and the plot contains some scares, surprises, and spooky effects along the way.

I was also very impressed by the satisfying ending.

The Believers (1987) is a very good thriller/horror film.

Saw V-2008

Saw V-2008

Director David Hackl

Starring Tobin Bell, Donnie Wahlberg

Scott’s Review #532

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Reviewed December 1, 2016

Grade: B

The Saw franchise films are fun, bloody, late-night flicks.

It is quite helpful if you see them close together, and in sequence, as they either continue or backtrack to previous films- past knowledge is very helpful.

Saw V (2008) is no exception, as we learn the hows and the whys of serial killer Jigsaw, an apprentice, and detective Mark Hoffman.

What would possess this man to follow in the footsteps of Jigsaw?

In their heyday, the Saw films were intriguing and more cerebral than the standard slice and dice ’em offerings.

I like these films because there is usually a plot twist or some other surprise connection to an earlier entry to look forward to.

Also, the victims are not merely innocent but are in the wrong place at the wrong time, nor are they killed for the sake of killing.

They typically have embezzled someone, maimed an innocent party, or caused someone pain in some fashion, so the audience does not feel sorry for them, making their various tortures tolerable to watch, if not satisfying.

In Saw V, as far as the kills go, we are treated to somebody being sliced in half, a decapitation, another blown to bits by a detonating bomb, bloodletting, a crushing to death, and various other forms of mutilation.

This is all well and good, but by Part V in a franchise, even the most clever of stories run out of gas, and by this point, the series is feeling a little tired, although still enjoyable for the puzzle of story connections.

Saw V (2008) is a very bloody film, so not intended for the squeamish.

Piranha 3D-2010

Piranha 3D-2010

Director Alexandre Aja

Starring Richard Dreyfuss, Elisabeth Shue, Ving Rhames

Scott’s Review #529

70108986

Reviewed November 29, 2016

Grade: C-

2010’s Piranha 3D is a tongue-in-cheek horror comedy that saves itself from being a complete drivel by having some sense of humor.

Remarkably, it stars some decent talents- Richard Dreyfuss, Ving Rhames, and Elisabeth Shue.

The film is pure fluff- not high art in the least, with no message or purpose to be found.

The film is terrible, but kind of fun at the same time. It’s camp and not to be taken at all seriously.

The plot is simplistic and standard horror fare- a school of piranhas are unleashed after an underwater earthquake, kill a fisherman, and ravage a college vacation party on a lake.

The college kids come to Lake Victoria to party and lounge on the beach, and typically, are dressed precariously. They are unceremoniously ripped to shreds by the angry and hungry killer fish.

Shue and Rhames must have hit rough times, and have required a paycheck to star in this. They play a Sheriff and Deputy- laughably unbelievable- as they try to protect the beach-goers from a grisly fate.

Dreyfuss plays a ridiculous and unnecessary role as the aforementioned fisherman.

On a serious (and sour) note, the objectifying of women is shocking in this day and age. Haven’t we seen enough stereotypes in one lifetime?

A few cool kills and humor, but Piranha 3D (2010) is a dumb, popcorn horror film.

The Last Exorcism-2010

The Last Exorcism-2010

Director Daniel Stamm

Starring Ashley Bell, Patrick Fabian

Scott’s Review #528

70136074

Reviewed November 27, 2016

Grade: B+

The Last Exorcism (2010) is an enjoyable independent horror film.

I found it unique and creative and it’s shot documentary style, so there is a level of watching something new and different in the horror world, that I appreciated.

The usage of either hand-held or documentary footage has been done before, but this film feels fresh and not cliche-driven.

Horror master Eli Roth produced the film.

A doubtful preacher (Reverend Cotton Marcus) who lives in Louisiana, sets out to perform his final exorcism with a documentary crew in tow, only to find a girl who is possessed by the devil.

Cotton is assumed a con artist, so we doubt he actually can help the girl, which is what makes the film so interesting and unpredictable.

What will happen next? Could the girl or her family be frauds?

The film is really scary and contains a dark, creepy, ambiance. It reminds me a bit of The Blair Witch Project (1999) with its shaky camera, dark, raw tones, and independent nature.

Recommended mostly for fans of horror.

Independent Spirit Award Nominations: Best Supporting Female-Ashley Bell, Best First Feature

Devil-2010

Devil-2010

Director John Erick Dowdle

Starring Chris Messina

Scott’s Review #523

70142822

Reviewed November 23, 2016

Grade: B

Devil (2010) is an enjoyable thriller/horror film deemed the first in a trilogy, though it is unknown if the subsequent films will see the light of day since this film was not a smash success at the box office nor was it critically acclaimed.

A fun fact is that the screenplay is based on a story written by respected director, M. Night Shyamalan.

The premise is delicious;  set in Philadelphia, a man suddenly jumps from a tall skyscraper to his death. We learn from a narrator that the devil takes many forms and makes his presence known by suicide.

Detective Bowden (Messina) is called to investigate the death.

Eventually, five people are stuck in an elevator and one is a killer, presumably the devil. The film is a whodunit of sorts and a tale of morality, good versus evil.

Parts of the film are a bit hokey and suspension of disbelief is certainly required, but Devil is also a decent, edge-of-your-seat thriller.

Being only rated PG-13, the film tones down the gore and the death in favor of lighter, tamer activity.

The revelation of the actual killer is surprising and rather enjoyable.