In which Shawn and Kim wonder if anything but a bloodbath save this season now? Shawn: I'm not going to have many complaints when they finally bring back my Maggie, Jesus, and Daryl to start the episode and then end with an actually interesting ending and in-between don't torture me with Carl or Father Gabriel. I mean, that's quite a formula for success. It seemed like a shorter episode, which is even better compared to the previous couple. I had a few thoughts along the way. Catching up with The Hilltoppers is not my ideal setting for a whole episode.
Results tagged “Horror”
"Wouldn't watch that episode again. Not even if you paid me." - Kim
"Dumbing down the show just makes it dumb." - Shawn
In which a bad cantaloupe does some irreparable damage. Shawn: As low as the show has gotten the past couple episodes, this was a tick up. A tick because there still was no Negan, Daryl, or Jesus again. I was left feeling a little better about where this episode pointed us. A little. A few random thoughts to try to tie together my feelings as we roll towards the finale. One bad cantaloupe can spoil your day. I've had nights ruined by bad peanuts but I have always had a fear of bad cantaloupe. I wondered why everyone else wasn't
Severin Films presents one of the best bad movies ever, fully restored from original elements discovered ‒ naturally ‒ in the remains of a drive-in.
Had your average drive-in movie theater screen been constructed with a curtain, then Stu Segall's Drive-In Massacre would have definitely called for the pulling of such. That is not to say Drive-In Massacre is a "bad" film: truth be told, it's actually quite awful ‒ though, in this particular instance, its sheer incompetence is actually the film's saving grace! Rather, the jaw-droppingly unbelievable 1976 independent no-budget wonder from Southern California was made on little more than a whim and a prayer once it became all too clear the once-popular form of outdoor motion picture entertainment was coming to an unceremonious
"I don’t have any more points to make, because I’m very underwhelmed by this show these days." - Kim
In which Kim and Shawn say no to "Say Yes". Kim: Another week, another character-focused episode that does next to nothing to further the story line. Allow me to share with you what I learned during last night’s episode. 1.) Rick and Michonne are super horny most of the time. Also, chili-mac comes as an RTE. Who knew? 2.) The Garbage Pail Kids really dislike speaking in complete sentences. I’m sorry, but this makes it impossible for me to feel anything but contempt for these folks. Or should I say, “Contempt. No likey.” 3.) Also, they don’t know how to
From Brazilian horrors to 3D European westerns, this assortment of weird and unusual films knows its target audiences quite well.
While the nations of the world may not agree on many points, at least our respective histories of filmmaking have proven there is at least one thing we can see eye to eye on: exploitation. Here, we bridge the gaps between Brazilian horrors and American blaxploitation, and from Italian sex flicks to Spanish westerns. It's a thoroughly jaw-dropping assortment of odds and ends, replete with nudity, sex, violence, and many other magnificent marketing gimmicks, right down to the lost art of Stereoscopic 3D. At Midnight I'll Take Your Soul (1964) / This Night, I'll Possess Your Corpse (1967) [2017, Synapse
"My wonder from week to week now is are we going to see anything we care about?" - Kim
In which Shawn and Kim have the same thoughts about the episode where nothing happened. And they aren't positive. Shawn: Ridiculous. I guess I'd be on "Easy Street" if that was all I said about this episode. But what's an interrogation without a little torture. I sat through this and so I'll torture you too. Welcome to The Sanctuary - here's how it works around here. Oh, did we cover that already in your previous orientation? Well, did we tell you there's a number system? We did? Oh. Did we mention there's a barber? That's interesting, huh? And pickles. Really,
"I feel like I have a bigger picture of where this is all going now and there's a certain satisfaction of watching the pieces fall into place like an old familiar movie." - Shawn
In which Shawn and Kim have some pretty separate takes on the latest twist in the story. Shawn: If I felt like portions of the first half of the season were just long form advertisements for a new Walking Dead video game, then this week was a free playable demo that should be available for X-Box and PlayStation this week. Don't take that as too much of a criticism though because even though I will have some things to say and observations about some little things, I really didn't mind this episode at all. I feel like I have a
"Overall, I think this episode was much better than the first half of the season as a whole." - Kim
In which Rick is Rick again and zombies are dying by the handful. Kim: The Walking Dead has returned and here we are, all revved up and ready to tell you what we thought of the second-half premiere. I have two thoughts to start with and we’ll just go from there. 1) This was everything I wanted it to be.2) This was everything I didn’t want it to be. Now, I know you’re wondering how the heck I could possibly have such bipolar feelings regarding a show. I mean, you either love it or you hate it, right? Wrong. I
Severin Films brings us the seldom-seen supernatural thriller which seems to have inspired others more than itself.
While he is perhaps best known to cult horror and sci-fi audiences today as the guy who was in Michelangelo Antonioni's Blowup, Dario Argento's Deep Red, and Roger Vadim's Barbarella, the career of one-time Alfred the Great star David Hemmings was much more extensive than that. Off-screen, the late English actor/filmmaker was the co-founder of the Hemdale Film Corporation ‒ the very busy production company responsible for several iconic films from the '80s, including several Oliver Stone hits (Platoon and Salvador), Hoosiers, The Last Emperor, and even still-mimicked trendsetters such as James Cameron's The Terminator and Dan O'Bannon's zombie horror
Imagine a seven-and-a-half-hour compilation of nothing but horror movie previews from the '80s. Then go one step further.
Before the days of easily comprised playlists, which can be effortlessly constructed via an MP3 player synced up to something resembling iTunes, we adults had to deal with the complexities of assembling party mixes with using archaic technology such as analog cassette tapes. If you were lucky, you had a dual-cassette boombox with high-speed dubbing capabilities, but that hardly made editing a breeze: you either knew when and where to release the pause on Deck One as you hit the 'record' button on Deck Two or you didn't. And that was just for audio mixes, kids ‒ compiling a video
The 2016 sequel to the '99 shock hit tries to update the original's formula, but to much diminished effect.
Ambiguity is a central attribute to satisfying horror movies (I write "satisfying" because, if the box office is any indication, playing really loud noises every couple of minutes is the key to a successful horror movie). For a horror movie to get under your skin, you have to engage with it and that means, on some level, trying to figure out just what the heck is really going on. The Blair Witch Project, for all it did to foist the found-footage filmmaking style upon us, had ambiguity in spades. What this (comparatively) big-budget sequel, titled simply Blair Witch, demonstrates is
A literary display of the origins of horror in film, harkening back to terrors from our past.
Dracula, Frankenstein, the Phantom of the Opera: all members of the classic horror era that continues to haunt and inspire film to this day. In his novel Only the Dead Know Burbank, Bradford Tatum explains a history in which all of these were inspired by one little girl. The story is a first-person account tracing the short life and long afterlife of a Bavarian girl who lurks in the shadows of history and serves as something of a midwife, if not true mother, of the horror cinematic genre. Tatum is rich in his telling of setting, first illustrating the narrator’s
This box has such sights to show you.
Bringing back 1980s horror is all the rage lately. It's hard to swing a dead cat without hitting reboots of Nightmare on Elm Street, Halloween, and Friday the 13th, throwbacks like Hatchet, or parodies like Tucker and Dale vs. Evil and Cabin in the Woods. It's about time Clive Barker's longest-running and most recognizable franchise enjoyed some of the limelight again. However, where the Nightmare and Friday box sets include every film in their respective franchises, no matter how critically revered or panned they were, The Scarlet Box includes only the first three Hellraiser flicks, which are generally considered the
Alpha Video compiles a selection of creepy shorts guaranteed to leave your mattress well soiled.
A longstanding idiom states "'Tis better to give than to receive" ‒ and that theory definitely holds true with Alpha Video's nightmarish gathering of vintage Christmas shorts, newly compiled and released to DVD-R. From live-action horror to unsettling animation and even bed-wetting puppet play, Strange and Unusual Christmas Films is quite possibly the greatest gift you could give to someone this season, whether they're into the whole holiday thing or not. The assortment of oddities begins with a condensed Castle Films version of the 1945 Czech treat, A Christmas Dream, which actually won an award once upon a time. The
Nicholas Meyer's quirky sci-fi classic ‒ wherein Jack the Ripper and H.G. Wells travel through time ‒ gets a much-needed makeover from the Warner Archive Collection.
Imagine, if you will, Jack the Ripper ‒ having just committed his final murder in Victorian London ‒ hopping into a time machine built by H.G. Wells and venturing forth to modern-day (1979) San Francisco, leaving the latter famous figure no choice but to follow him. It's the sort of premise to a motion picture which definitely falls under the category of "something completely different" ‒ so much so, one might theorize the entire concept had been taken from an unfilmed Monty Python sketch. After the success of writer/director Nicholas Meyer's previous movie mashup ‒ the combination of Sherlock Holmes
"Jesus and Daryl were on the screen at the same time...was, quite possibly, the best 15 seconds in The Walking Dead's history." - Kim
In which there is a sense of redemption of the season to this point and a reason for hope. Kim: Mid-season finales are supposed to make you antsy for the break from your show to be over from the moment you finish watching. In past years, the show would end for the winter break, and I’d instantly look up the return date and start counting down the days until I could get another fix. This year, I’m more interested in my birthday at the end of February and how many people I can fit into an Uber. Aside from the
A misunderstood cult masterpiece of late '70s New York urban squalor.
New York is argubly the most cinematic city of all-time. It has been filmed by the likes of Woody Allen, Martin Scorsese, and Sidney Lumet, among others. On the surface, there is so much life, elegance, and sophistication that comes out of every pore of this most famous of cities. However, there is always a very dark side to every beauty; the dark side that usually goes unnoticed, especially in film. With its authentic ugliness, raw documentary-like atmosphere, and punk-rock insanity, director Abel Ferrara's 1979 notorious masterwork, The Driller Killer, is probably the ultimate depiction of New York's grim underbelly.
"'It's going to be hard to watch.' - Negan warning us a little too late into the episode." - Shawn
In which Kim and Shawn are 50% more bored after being slapped in the face by this episode. Shawn: "Keep Going. Only thing here 4 you is boredom." - me paraphrasing one of the few things I still remember about this episode. "You know what's going to happen. It's going to be hard to watch." - Negan (Jeffrey Dean Morgan) warning us a little too late into the episode. At some point our zombie show became The Negan Show. The network was kind enough to extend the episodes this season so we can figure out key plot points such as
Arrow Video's two-disc Limited Edition release of this '80s horror flick is worth crawling through a mutant-infested sewer for.
Like many of the "classic" horror flicks I tend to review, C.H.U.D. first crawled its way out of the manhole and into my life via videocassette. Even then, during that awkward span of existence known as my teenaged years, I couldn't help but shake the feeling there was something equally thorny about the film ‒ and it had absolutely nothing to do with the titular flesh-eating creatures within the picture itself. Rather, the peculiar odor C.H.U.D. emitted was of an entirely different variety of cumbersome: it was almost as if it was simultaneously trying to be something it ultimately wasn't
"They called it 'Swear' because I swear it contained 13 minutes of actual storytelling." - Shawn
In which the dead horse moves closer to the end. Kim: With only two episodes left before the mid-season break, I’d like to take a moment to discuss what’s really on everyone’s minds: How badly this season sucks ass. So, I tuned in last night fully understanding that we would not see Carol, Morgan, or Ezekiel (or that damn tiger). We would not see Negan. We would not see Daryl. We would not see Rick, Michonne, Maggie, Sasha, or Jesus. I reluctantly sat to watch, knowing that this episode would feature characters that none of us honestly give a shit