When discussing horror stories, very few things (if any) irk me more than people being so scared of (or having such disdain for) the dreaded “h-word” that they try to re-categorize a successful horror story. The wild financial success of It has put it in the crosshairs of horror-haters who apparently want to christen it a thriller or even a drama so as not to give credit to any movie associated with that damn h-word. Brian Collins at Birth.Movies.Death rails against this as well as I ever could, so I’m gonna go ahead and leave a link to his article here. Suffice to say, I couldn’t agree more with everything he has to say.
Recently, IMDb shared their favorite foreign posters for horror movies. Even people with a casual interest in movie posters are probably aware that the foreign version of a movie poster are, if nothing else, often weirder and more curious than what we end up with stateside. I wouldn’t say that the Hungarian poster for Star Wars is better than the classic original, for instance, but it’s certainly memorable in its own very different way.
While IMDb’s list is fun and interesting, I’m pretty sure that the number of posters selected is entirely arbitrary. There are plenty of great choices here, but the list could probably stand some trimming. Some of the posters are almost identical to the original Hollywood poster, with the biggest difference being the language for the title, tagline and credits. Some are pretty good, but just didn’t stand out to me, or just didn’t strike me as terribly effective horror movie posters. And while the syntactically ambiguous “Foreign Horror Movie Posters We Love” title leaves the IMDb list open to include posters for foreign-horror movies, I think it’s more interesting (or at least consistent) to just look at the foreign-version of posters for “non-foreign” (aka, U.S. and English) horror flicks.
I am always eager to enjoy every short horror film that catches my interest. Whether the title grabs me, or the short description of the story, or the endorsement of a website or reviewer or friend whose tastes I generally trust, or a recognizable name behind or in front of the camera, if a short film gets me to click the “play” button, it has me ready to meet it halfway toward thinking it was pretty good.
Despite this, too many short horror movies lose me by the ending. Sometimes well before, despite the abbreviated run time.
The film adaptation of Peter Straub’s novel is unsurprisingly simplified in comparison to its source material. While it has its moments, including a fairly well executed and suitably gruesome climactic reveal, and Alice Krige is pretty magnificent in it, it also has more than its share of corny scenes doomed by bad shot selection, or oversold acting, or questionable (even unnecessary) dialogue. There’s an opening scene featuring a man plummeting to his death that’s laughable even by 1981’s “We’re still sketchy on how best to execute believable falling scenes” standards. A later scene of someone falling off a bridge ends with the same clumsy impact seen when a character takes a dive in Les Miserables thirty-one years later. Apparently, in this one very, very specific area, we haven’t collectively learned much in the past three decades.
Not too much to say beyond what’s in the title of the post. I’m glad to see (or hear, rather) that this trailer didn’t use some slowed town, sobered up, somber, twisted, chopped-&-screwed, or otherwise tortured cover version of the song “Proud Mary.” If you’re not too good to use the name, you’re not too good to use the song, and the trailer’s creators recognize this, so bravo to them for that. Beyond that, the trailer is edited well (including a nice bit using diegetic sounds to replace Tina Turner’s vocals) and is solid enough for an action movie trailer.
The recent box-office disappointment Rough Night drew obvious comparisons to the movie Very Bad Things given the shared premise of “accidental killing of stripper/sex worker leads to cover-up and further criminal behavior.” In speaking of Very Bad Things, several of the film’s detractors have pointed to just how vile and insufferable the characters were. Sure, it’s a dark comedy/thriller, so at least some of its characters are expected to be criminals. And it’s far, far, far from being the first or only movie whose primary characters are unsympathetic, selfish and even murderous assholes. And while there are certain people who are just never going to be on board with watching or reading a story featuring “unlikable” unsympathetic characters, there are many others (like me) who find such stories interesting, provided that the story is, well, interesting, and provided that the unlikable characters aren’t utterly insufferable.
The men are very similar and it shows up on screen. Sometimes we’re simply told that two characters are or were similar in some fashion, but we’re given scant evidence of it. In Carlito’s Way, for example, one character scolds the older Carlito that brash, upstart Bennie Blanco (from the Bronx) is just a younger version of Carlito, to which the more seasoned gangster responds, “Never me.” It’s an example of how sometimes telling isn’t always necessarily worse than showing (a flashback would be cumbersome and disrupt the movie’s momentum), but it’s still something that we never get to visualize. Not so with Tombstone. The confrontation in the video above efficiently illustrates how Ringo and Holliday mirror one another. It also shows us where they differ.
I’m a sucker for a certain level of audaciousness, and the premise of Body Parts has audacity in spades. It belongs to the “possessed limbs” sub-sub-genre of horror. While “posessed arms/hands” are most memorably used to mine gruesome humor from a horror story, Body Parts, is entirely oblivious to its ludicrousness, as you can see in the trailer below.
The most famous “killer arm/hand” in horror cinema history probably belonged to Ash in Evil Dead II, and its presence was played for gruesome laughs. The most famous in movie history of any genre might belong to Dr. Strangelove, where it was also a comedic device. Body Parts said to Hell with that, and the result is captivating enough to almost be mistaken for effective.
I’ve mentioned it on here a time or three, but I’m not automatically averse to remakes. While people speak as though it’s a relatively new blight upon the world of cinema, there is a long, rich tradition of remaking movies in and outside of Hollywood, dating back to at least the 1920’s. Years pass, new technologies come along, new potential audiences come along, you try to update something that came before and, hopefully, make it even better than it was the first time. That last part is usually where the problems come in–when you’re remaking something that was already great, you better have a fantastic take on the material in store, otherwise people are likely to consider your efforts a waste of time at best.
Special Effects guru Stan Winston poured his best efforts into horror flicks ranging from the obscure or ill-regarded (The Bat People, Darkness Falls), to the cherished and influential (The Thing), but he only directed one horror movie during his career. Pumpkinhead is a well-built, country-gothic chiller with a memorable, somewhat laughable title that still makes me wonder if the general dearth of humor in the film is a missed opportunity. Granted, it’s hard to inject humor into a premise that is essentially “What if the father from Pet Sematary couldn’t resurrect his son and resorted to conjuring a vengeance demon instead?”