Movie Scum

I have made no qualms about my feelings about The Happening before and this is not the post to indicate that has changed. Just like many of M. Night Shyamalan’s recent movies, The Happening is a mess but one that I am more and more convinced has to be intentional.

AMC CEO Says No End to The Walking Dead in Sight (comingsoon.net) AMC is not content to let The Walking Dead die with grace and dignity when the time comes and instead will parade around its lifeless corpse to viewers and advertisers alike. But, given the massive ratings it currently gets, why would they? Perhaps when every last ounce of stupid-female subplots and wholly unsatisfying story arcs is exsanguinated from the series will it be allowed to expire. And then they’ll bring back Lori and Andrea to start the cycle of idiocy over again. And we’ll probably still watch.

While much derided, sequels can serve a purpose, not just` to the financial end of Hollywood, but also to the creative side. As a member of the audience, there is a comfort in watching a new movie with foreknowledge of its characters or its basic plot structure, especially if the preceding movie is one that you enjoyed. But at some point, every franchise needs to be put out to pasture to spend the rest of its days playing golf and listening to Paul Harvey.

If you ever wondered if the 'found footage' genre would graduate from horror into loftier pursuits (Chronicle notwithstanding), End of Watch might be the film for you. At least, sort of. I was sold on a gritty cop film starring Jake Gyllenhaal and Michael Peña with the aforementioned style but the end result was less than impressive. Imagine COPS: The Movie with attractive actors, love interests, and a big bad in the form of a very shallow drug kingpin and you have the idea.  Gyllenhaal and Pena are two almost-rogue LA cops who manage to get entangled into more shootouts and busts than Riggs and Murtaugh with even more chatty banter but less characterization. As a result of them sticking their noses into a drug war, the two are (eventually) drawn into the seedy underbelly of Los Angeles that permeates almost every other film by David Ayer . Like the "found footage" angle that is more easily explained by having an invisible cameraman, the film suffers from havin...

It seems that since the terrorist attacks in 2001 and the following wars in Iraq and Afganistan, more and more movies and television shows were produced with elements of Middle East tension, a terrorist mastermind, questionable intelligence, or some combination of the above. With the eventual onslaught of bad news from the frontlines of the war and the sheer amount of pop culture fashioned around these modern storytelling tropes, it is easy to grow tired of that trend no matter your innate desire to watch Jack Bauer use "enhanced interrogation" methods. But Zero Dark Thirty 's theoretical trump card of a "realistic" portrayal of the hunt for Osama bin Laden is too little, too late, and especially too rough around the edges for the already crowded geopolitical subgenre.

Written by: Tabitha Johnson Saying this is the best of the ‘Saga’ isn’t wrong but being the best at an unflattering project is not that big of a compliment. I was not so excited about going to see the film but I placed all my grudges aside. And I was not completely disappointed.

Even though Paranormal Activity 4 has the same goals and hits the same notes as its predecessors, it is the weakest entry in the series by far. As another year passes and the already thin concept is stretched more transparent, the filmmakers stubbornly refuse to jettison the established storyline even though the weighty backstory is a hindrance. The main focus this time is teenaged Alex and her family who experience weird happenings after a young boy comes to stay with them. Alex convinces her boyfriend to set up the family’s endless supply of Macbooks to record everything even though that footage is more for our benefit than Alex’s. While I have enjoyed the series up until now to varying degrees, PA4 offers nothing new and worse, it is rather boring. There are a handful of decent jump scares and one extended uneasy scene but the rest is simply filler while we wait for those. The lengthy buildup to shocks and scares doesn’t work this time around since we know what to expect and t...

PG-13 horror movies are nothing new and probably won't be going away anytime soon. Some horror fans bemoan the lack of hard-R stories filled with gore and blood and weighty acts of violence (it seems like the upcoming Evil Dead remake will fill that void though) but the fact is that a good story does much more to elevate a film rather than free reign to shock through gore. The problem though with most PG-13 horror movies, including House at the End of the Street , is a lack of most anything else resembling a horror movie. Like last year's The Possession , this film exists, not as a sobering look at small town prejudices or the foolishness of unmitigated trust, but merely as a way to pander to teenagers looking for something to do on a Friday night. In other words, the mother-daughter pairing of Elisabeth Shue and Jennifer Lawrence is quite nice but there is little else of note on display.

At recent press events, Fox and series creator Kevin Williamson came under fire for the depraved and violent imagery in the new series The Following. While I do not subscribe to the notion of “violent entertainment = violent real actions,” it seems odd that this show would get singled out while other network serial killer/law enforcement drama Criminal Minds is in its eighth season. Perhaps the attention was due to the starring role of Kevin Bacon or the fact that I don’t watch broadcast TV and I still swear I saw about 63 promos for this. It’s like they piped it into my dreams, man.

Written by: PBF The Taking , the first feature length film by The BAPrtists ( Lydelle Jackson and Cezil Reed ) is a bold and well crafted horror film. Upon viewing, the time, emotion and care employed to create this film exudes from the screen and forms an impressive entry in to the cinematic universe. We meet Carl ( John Halas ) and Jade ( Alana Jackler ). Carl's fiancé, Carolina ( Linda Rodriguez ) has cheated on him with his best friend. Jade's daughter was murdered by a man ( Frank Bliss ) and was never caught. They have both somehow found themselves tied to trees in the woods. They suffer from bizarre and horrifying visions and are tormented by a family that perform various rituals. Each vision seems to possess them, and leave them bloodier and weaker. They are frequently confronted by the very cause of the rage that may have brought them to the woods; Carolina and the man that killed Jade's daughter. Carl comes to the realization that this is a place to face on...

With a dynamic cast and an engaging story, it would be hard for Argo to fall flat but considering Grant Heslov and George Clooney's output as a producing team, it could have as easily ended up as an overwrought, insufferable look at international relations (cough,Syriana). Fortunately though, Ben Affleck returns to the director's chair bringing his experience and past strengths and little of the overdramatic and deadly serious tones that normally populate this sub-sub-genre.

A sympathetic or relatable character is generally a necessity in any movie but especially one that's set in the world of a billionaire's family and his money-printing hedge fund. Richard Gere stars as Robert Miller, a who's who in the world of finance who not only is desperately trying to sell his company to cover up his $400 million loss to his investors, but is also having an affair on the side. As if being a cheating and fraudulent investment broker wasn't enough, Miller flees the scene of an accident where his mistress was killed and ropes in an unsuspecting family friend to his shenanigans.