Tag Archives: Horror

Attack the Block will rock your socks

Around the same time J.J. Abrams was showcasing his ode to Spielberg, Super 8, Joe Cornish’s Attack the Block was in limited release and getting none of the attention it deserved.  In contrast to Spielberg and Abrams’ penchant for quaint middle-American childhoods, Attack the Block is all about urban hoodlums putting their life of hard knocks to use when they have to fight an alien invasion.  They aren’t going to share Reese’s pieces or heartwarming moments with the invaders – they’re going to fuck ‘em up. Continue reading

Kevin Smith completely reinvents himself with Red State

Kevin Smith has been making films for almost twenty years, generating a couple of films that hit critical pay dirt (Clerks, Dogma), a few that made cash and satisfied the converted (Clerks II, Jay and Silent Bob Strike Back), and others that achieved an almost cult status (Chasing Amy, Mallrats).  Before bromance became a part of our lexicon thanks to Judd Apatow flicks, Smith was perfecting the model (Clerks, Chasing Amy, Dogma, Clerks II).  Considering Smith’s reputation, deeply entrenched within the bromance and dick jokes niches, it’s a dumbfounding discovery to find that his tenth film is a mature, nuanced look at the horrors of contemporary America.

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Final Destination 5: Are we dead yet?

I spent a whole chapter of my Master’s dissertation in Film Studies discussing how the term “torture-porn” is an eye-catching, hyperbolic phrase that should be swapped out for “torture horror.”  Which is to say, I’m not an exaggerating ninny anytime some gore hits the screen.  Final Destination 5, however, does make that term “torture porn” come to life in unsettling ways. Continue reading

Stake Land the great American vampire tale

It’s not often that a genre film doesn’t realize that it’s a genre film.  A comedy plays within the conventions of its niche and most horror films do the same.  Daybreakers is one of the best vampire films since the 1980′s unleashed Fright Night and The Lost Boys because, like its forerunners, it knows how to play to the genre trappings as intelligent entertainment.  That’s usually the best horror fans can expect from the genre. But films like The Blair Witch Project, Let the Right One In or Stake Land treat a horror tale like a drama and not a creature feature – which makes it all the more frightening. Continue reading

Troll Hunter reminds you to fear bridges

Three wannabe journalism students follow a man in a ghille suit into the woods to find out what’s been killing local hikers in the mountains of Norway.  It’s dark, we’re tethered to the first-person POV of the cameraman, and various flashes of light blast in the darkness, followed by faraway growls.  The woods come alive with the crashing footsteps of something ahead.  It’s the man in the ghille suit, running quickly away from the battle, stopping briefly to announce to his tag-a-longs: “TROLLS!”  It’s a ludicrous moment, but taps into the simultaneous display of comedy and anxiety in Troll Hunter, one of the best genre films of the year. Continue reading

Scream 4 a nearly justified sequel

Fifteen years ago, the original Scream met with huge popularity for its comedic sensibilities and self-aware commentary on the slasher genre. Scream 4 comes eleven years after the previous installment in the franchise, and at first glance it reeks of Hollywood’s current plague, a madness for the re-make, sequel, prequel, and adaptation.  Yet the making of Scream 4 is better justified than expected – to the point that this sequel might surpass the original. Continue reading

Best Horror and Sci-Fi of 2010

In my family’s house, horror films were  a staple.  Fright Night, The Monster Squad, and the genre-mashing Big Trouble in Little China were family staples, fascinating as much for their special effects as for the worlds they explored. As Ben Creech once commented, horror and sci-fi are cousins to the fantasy genre, and I would have to concur.  These genres, traditionally looked down upon by critics and award shows, create fantastic worlds that aren’t always welcoming, but are nonetheless amazing feats of construction.

The following are some horror and sci-fi films of 2010 that are remarkable for the ways in which they play with the trappings of their genre.  In other words, they do something that’s refreshing.  Gather a posse and chow down on some cool cinema.  (Click on the title to read my full review) Continue reading

Rare Exports a Christmas mess

The Finnish film documenting the true, ghastly nature of Santa Clause looked like it could be exploitation horror fun, but instead will leave you with question marks dangling over your head.  The film makes huge leaps in narrative logic, in one case young Pietari deducing from explosions on a mountain, “Santa’s under there!”

What?!

Nothing implies such a statement and Pietari’s proclamation stands in for the film’s inability to expose such a key plot detail in any other fashion.  Which is emblematic for the rest of the film, including the moment Pietari, hitherto a weakling, suddenly becomes Rambo as he organizes helicopter pickups and heroic gestures.  Everything is inexplicable in Finland evidently.

Some of the issues could stem from a terrible subtitle translation, but most of the awful simply stems from bad storytelling.  Cool idea, terrible execution.  Don’t even bother renting.

-Remington Smith

Two Truly Terrifying Tales

In Danse Macabre, Stephen King says there are three types of horror: terror, horror, and revulsion/disgust.  The first is psychological, the second terrifying based on sight, and the third a horror stemming from a reaction to grotesqueries.  With most horror films playing into straight horror (“Look at that freaky monster!”), I thought I’d suggest some stories that fit the “terror”category–things that keep your brain churning as you try to sleep…. Continue reading

Vampire Rumble: Let the Right One In vs Let Me In

As soon as a re-make of Let the Right One In was announced, film fans around the world let out a collective internet groan.  It’s not as if this sentiment is without merit considering the crop of 80′s horror classics that are in the works of being re-made (Fright Night, The Monster Squad), as well as the way foreign films are treated by the Hollywood re-make machine (Eddie Izzard’s commentary on re-makes seem apt [begins at the 1:03 mark].  So just how did Let Me In, the U.S. re-make of Let the Right One In, compare to the original?

Note: to avoid redundancies, let me clarify that Oskar and Eli are the boy and girl from Let the Right One In and Owen and Abby are the boy and girl from Let Me In.  Also, this post contains major spoilers for both films.

My wife pointed out that there is a difference between re-making a story and re-telling a story, as we’re always re-telling similar tales with different window dressings.  Michael Haneke’s Funny Games is a clear example of a re-make: it was first made in 1997  (Austria) and re-made, shot-for-shot, by Haneke in 2007 (U.S.).  Alternatively, something like John Carpenter’s The Thing is a re-telling of The Thing From Another World, which itself was based on the short story Who Goes There? by John W. Campbell.  Let Me In is an example of the latter re-telling, not a mere re-make.  Continue reading