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
Results tagged “Horror”
"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
"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
C.H.U.D. strands a fun premise and surprisingly great cast in a meandering story with few thrills.
What’s weird about C.H.U.D. is how much it’s like a real movie. An '80s horror flick, it has the feel of one of those '70s movies shockers that doled out the horror pretty sparingly, but spent a lot of time building characters and solidifying its premise. Partly this is because of the New York location shooting. Partly it is because the actors, particularly David Stern and Christopher Curry, rewrote large swatches of the script to turn their cut-outs into real characters. The title is an acronym meaning Cannibalistic Humanoid Underground Dwellers. And it’s not a surprise these C.H.U.D.s are working
"The continued loss of interest is correlated to the lack of zombies for me." - Shawn
In which Carl has his first date and kiss. And nothing else happens. Kim: So, once again we all tune in to The Walking Dead and once again I’m left with feelings of anger and resentment for episode #(I don't really care), with the not-so-fitting name. I keep waiting for it to get better. I keep waiting for it to draw me in. It’s just not doing any of that this season. In fact, there are really only two things I feel I need to talk about in regards to this episode. I’ll give you my thoughts and then you
Runaway locomotives, trainspotting hoboes, rail-hopping escapees, and deep-rooted Deep South prides and prejudices highlight this delivery of Blu-ray goods.
Generally, my attempts at finding a common link between Twilight Time's monthly releases leaves me a lot of room to improvise. In the instance of the label's October 2016 releases, however, I didn't have to delve in too terribly far beneath the surface, especially with titles like Runaway Train, The Train, and Boxcar Bertha staring me right in the face. Combine that with the fact there is an awful lot of Southern drama involved in a large portion of the mix ‒ specifically in The Chase and Hush… Hush, Sweet Charlotte ‒ and, well, I'm sure you get the idea
"I found myself wishing that Negan would just start killing people so we could move on from this." - Kim
In which the group gets reverse furniture delivery and Shawn and Kim watch. Shawn: Much like the actual plot development of this super-sized episode, I don't have many comments about this episode of The Walking Dead. I should have more to say in case we look back in a couple years to this as the point where viewers started abandoning ship. For now, I'll keep the good thoughts. "Service" The episode is so called because like any other job in the service industry, like working for Arby's or in the bathroom accessories department at Lowe's, this episode seemed to be
Though the extras for this Arrow Video release are a bit on the anemic side, I can still sink my teeth in this fun '80s vampire cult classic.
While the cinematic equilibrium of horror and comedy had been teeter-totting off and on for many years prior, it really wasn't until the 1980s rolled around that people started to get the balance right (that may or may not have been a Depeche Mode reference, for those of you playing at home). Indeed, the monstrous success of Ghostbusters in 1984 (you know, the good one) all but blew the doors off of the previously sealed gateway to the otherworldly. Within the boundaries of films we weren't supposed to take very seriously, that is. In a way, this permitted the horror
Wes Craven's second film is decidedly low budget and grim, but it shows the early promise of a true master of horror.
Born in 1939, Wes Craven was raised in a strict Baptist family, attended very conservative religious schools, and received a masters degree in philosophy and writing from Johns Hopkins University. He got his start in filmmaking by directing numerous pornographic films before making his break-out horror classic The Last House on the Left. In the 1980s, he created one of the greatest icons in horror history with Freddy Krueger then subverted the very slasher genre he helped popularize with the Scream franchise, which turned slasher films into a satirical exercise of meta-filmmaking. Both of those film series inject humor into