Movie Scum

Despite seeing all the other movies in the franchise multiple times, I had never seen the Friday the 13th: A New Beginning of the Halloween series, Halloween III: Season of the Witch . Sure, I could deny that is because Michael Myers is absent in this installment but that would not be exactly accurate. Yet, over the years I have heard time and time again that this film would have a much better reputation if it did not have Halloween in the title. That may in fact be true. But it is still a shitty movie.

It was about fifteen years ago that I saw the most recent film based on the novel Celle qui n’était plus by Pierre Boileau and Thomas Narcejac. I remembered the basic gist of the tale but not much else. Now, having seen the 1955 French thriller Diabolique (or Les Diaboliques), even without remembering much I can safely say the 1996 Americanized remake was far less effective than this version. There is a reason this is a highly regarded film in general. Christina Delassalle (Véra Clouzot) is in a tough situation. She runs a young boy’s boarding school with her husband Michel (Paul Meurisse) whose stern and controlling demeanor makes him hated by all including his wife. Michel harbors much resentment for Christina and she for him with his abusive and cheating mannerisms. After eight years together, Christina reaches the point where she wants Michel gone one way or another. She schemes with her closest companion Nicole (Simone Signoret), also Michel’s former mistress, and develop a f

Largely thanks to John Carpenter‘s original Halloween , the 80s were chock full of slasher flicks taking place everywhere from summer camps to sorority houses and everywhere in between with a collection of mostly bland, forgettable murderers. Everyone seems to remember this era fondly even though the sad reality dictates that most of these films are pretty bad with a few notable exceptions sticking out here and there. With the title, heroine, and villain notwithstanding, Halloween II would be more of the former than the latter.

Since beginning this year’s Monster Scum marathon, I have had a blast catching up on old favorites and learning about classic movies that I had never seen before. I figured though that even though my viewing list is fashioned from the IMDb Top Horror Movie list, I would come across a film I either didn’t get or just didn’t like. Given that this is my first time viewing James Whale‘s original cinematic telling of Frankenstein, I can appreciate its impact on film and specifically monster movies, but this one just didn’t gel for me. Even having not read the original novel by Mary Shelley (though I’m sure I have the Cliff Notes version somewhere), the story of Frankenstein has been told so many times either in film or television or homaged elsewhere, it’s impossible not to know the genesis of the Monster. Henry Frankenstein (why not Victor?), the mad scientist who has a serious God complex and creates a being that ends up destroying its creator is nothing new even without seeing the

Stop me if you’ve heard this one before: in a small town, weird things start happening as the townsfolk who look seemingly normal turn into emotionless robots with only a few becoming aware of the differences. No, it’s not the plot to The Faculty. Despite the 1955 short story by Jack Finney and four movies based off of it (one of which we even covered last year), I have not seen any version of this tale but it seems so common because it has been remade and homaged (or in the case of The Faculty almost blatantly ripped off) countless times over the years. Yet, the original Invasion of the Body Snatchers is a short and creepy thriller even though everything seems cliched by now. Doctor Bennell (Kevin McCarthy) returns home to Santa Mira, California with reports that most of the town wanted to see him for undisclosed reasons. Now though, everyone seems to be healthy and normal aside from the little boy who is almost mincemeat after running into the street trying to escape his mother

It wasn’t until the past seven or eight years that I first saw The Exorcist. Back in probably 1999 or 2000, I bought a DVD with the intention on catching up with one of horror’s most renowned films but I didn’t get around to it until many years later when the random urge struck one night as I sat alone at home. Needless to say, the movie creeped me the hell out and even watching it today still invokes a strong sense of unease. It isn’t the “scariest” film in terms of jump-scares but William Friedkin‘s classic tale is still as unsettling today as I’m sure it was almost forty years ago. As I remarked when I reviewed this film’s sequel, Exorcist II: The Heretic some time ago, I haven’t watched the original in some time. Of course the basic summary of the movie still stuck out as well as the priest who defenestrates himself but Exorcist excels just like the other classics I’ve covered like Halloween because we are not immediately thrust into the conflict. Friedkin (and writer William

Confession time: I’ve never seen King Kong, neither the original or the remakes. Still, the 50ish-foot gorilla is one of those legendary cinematic figures like Darth Vader or Freddy Kruger with a legacy that everyone knows even if you have not seen any of their films. Honestly, I can’t say I was expecting much out of Merian Cooper and Ernest Schoedsack‘s tale of a captive beast gone wild in the streets of New York even though it still has a very positive rating. But holy crap was it really good! Beginning as I figure most early movies are (kind of stilted and stodgy), cryptic movie director Carl Denham (Robert Armstrong) is about to set sail to an unknown island to film a “picture!” When his crew fails to turn up a young, attractive woman to star in the production, Denham goes out and recruits the shoplifter Ann Darrow (Fay Wray) to play the love interest with no questions asked. After they’ve embarked, Denham tells the captain and his right-hand man Jack Driscoll (Bruce Cabot) o

I know. I’ve already reviewed Scream 4 once before. It was hardly an impartial review though since it had been eleven years since the premiere of the preceding movie and it was not too thorough since I banged it out after a midnight showing opening day before going to work. But, since it was just released on DVD and Blu-ray this week, why not take another look? Beginning with a dizzying number of “opening” sequences, Scream 4 sets the action back in Woodsboro as Sidney (Neve Campbell) has returned on a book signing tour and reunited with Dewey (David Arquette) and Gale (Courteney Cox) who are now married. Dewey is now the Sheriff, Gale is retired from reporting and unsuccessfully trying to write a fiction novel, and Sidney is the proverbial black cat who is constantly followed by death and despair. The mayhem starts up again as Sidney’s cousin Jill (Emma Roberts) and her friend Kirby (Hayden Panettiere) watch as their neighbor is savagely (and I mean savagely!) butchered by Ghost

My how the world has changed since the 1930s. I can only imagine the chagrin that theater patrons were treated to while watching Tod Browning‘s Freaks, otherwise known as awesome horror film #24 by the IMDb. Yet, watching this film several decades later takes most of the shock and awe out of these characters. Instead of being shunned by society and making a living by begging or doing parlor tricks, abnormal, or unique if you’d rather, people have been featured in movies, TV series, and hell … even reality shows. Oh well, I can’t blame the film for the sad state of popular media today. Poor Hans (Harry Earles) just can’t seem to catch a break. He is smitten with the beautiful Cleopatra (Olga Baclanova), even though she stands about three feet taller than his dwarfish frame. After being given extravagant gifts by the foolhardy Hans, Cleopatra and her beau Hercules learn that Hans has received a large inheritance and Cleopatra strings him along until the two get hitched at one of the

Originally published January 7, 2010 Surprisingly, I had been missing out on John Carpenter’s The Thing until a few years ago when a friend of mine turned me on to it. I thought it was a very effective movie and the DVD was great, featuring commentary by Carpenter and Kurt Russell as well as an in depth documentary on the making of the film. Sadly, my original DVD was not anamorphic so I had no desire to watch the film in recent years until I upgraded my disc to the re-release from a few years back. For some reason, I didn’t remember much from the film so it was almost like watching it for the first time all over again. A loose remake of the 1951 film The Thing from Another World, Carpenter’s version puts us in the middle of an Antartic research team who uncover a monstrous alien who has already devastated another research camp. As the being infiltrates the tight group of men, it takes their appearance and mannerisms leading them to doubt as to who is human and who is not. It is

During my personal dark ages of movies, otherwise known as the mid 2000s, there were a host of films that demanded viewing that I casually disregarded. Some of those I have come to regret. Others I have not seen at all. One that I made a point to see though was Shaun of the Dead. There was something about the film that stood out to me as important enough to see in theaters even though I ended up seeing it alone in a showing of about six people. It was billed as the zom-rom-com (or zombie romantic comedy) but only two of those adjectives really fit. With numerous hints and winks to other zombie films and properties in general, Shaun of the Dead is a movie that is crafted so well and foreshadowed so effectively, I almost guarantee that you can watch it many times over and find something new to grin or chuckle about. Our lovable slacker Shaun (Simon Pegg) is an everyman with no ambitions, no drive, and no desire for anything other than playing video games with his pal Ed (Nick Frost)

Without watching, and thinking of, the two back to back, it is easy to miss the similarities between John Carpenter’s Halloween and George Romero‘s Night of the Living Dead. Both were made by a bunch of amateur filmmakers on a minuscule price tag and both are highly regarded, not only in horror films, but in their respective sub-genres. Romero helped define the modern zombie as we know, and despise, it today. Previously, zombies were not autonomous flesh-eating beings, but pawns by some voodoo priest from some exotic locale. Now, zombie is not only a term for mindless folk enacting a set routine consistently (we’ll get to Shaun of the Dead soon enough) but also deadly slow (or fast depending on the movie) “people” out for blood by way of whatever reason is given or not. In fact, just like Halloween, the gist of the film (people trapped in a confined space battling deadies) has been done and done again to the point that it seems cliched. Night being the start, and to some extent th