Posts Tagged ‘Top

05
Apr
09

Dead Snow: The Next Great Zombie Film

The Next big thing in Undead Cinema.

The Next big thing in Undead Cinema.

For those of you who may not know, I have a serious love for anything involving the use of zombies or the undead.  From movies to video games to literature, I am fascinated by how versatile they are in any storytelling medium.  So imagine how excited I was when I first heard about a foreign zombie flick, taking place in the snowy mountains, that feature…(drum roll please)…Nazi Zombies.

Oh yes kids, it’s true.  And you know what is even better?  It is a superb horror flick.

Now, a little history.  There have been some exploitation style movies, back in the 60’s, 70’s and I think even up until the 80’s, that have tackled the idea of having undead nazi soldiers, but most were completely and utterly terrible.  I’m not talking “funny Ha-Ha get drunk with your friends and watch it” terrible.  I’m talking bad to the point of nausea.  For evidence of this, please see (read: download illegally for free) Zombie Lake. /End history lesson.

But enough wasted time establishing the immense uphill battle that Dead Snow faced, and let’s get on with the review.  The plot of Dead snow is a simple one, but simple doesn’t imply that it isn’t well utilized and perfectly solid.  Some 20 somethings are going on vacation, and decide to go up to a cabin in the snowy mountain woods.  The “old crazy story teller guy” warns them of some old wives tale about soldiers who died in these woods surrounding the cabin.  Of course, our 20 somethings, including a great “movie geek guy”, cast him off as a crazy local, and shortly there after, all hell breaks lose in the form, you guessed it, Nazi Zombies.

Fantastic make up on the Nazi Zombies

Fantastic make up on the Nazi Zombies

The magic of Dead Snow isn’t it’s plot though, it’s in the characters and the fantastically rewarding pace.  The group of friends aren’t typical zombie fodder, there isn’t a clear cut stereotypical “slut”, nor is there the guy who is hopelessly in love with a girl he can never get, and there isn’t a clear “dick” character, who is rude and crass but painfully funny and accurate in his social observations.  Instead, everyone character feels a bit more three-dimensional, they all seem to have a good, general sense of wit, and while they each have unique personality traits, like a knack for humor or a knowledge of movies, they come on as more than just TV sitcom characters who are helping to strengthen rigid stereotyping.  Also, characters evolve, something rarely seen in horror today.

The pace is the second most important piece to the Dead Snow puzzle.  From the opening scene, we are treated to classical music as a Jane Doe gets hunted down by our ruthless zombies at night.  This is a great way to introduce people to the movie antagonists without spoiling there appearance, and combining it with a classic misdirection “boo” scare makes it all the more fun.  There is no notion that in order to create good characters, that we the audience can relate to and invest in, we have to stare at them doing mundane things for 45 minutes.  Dead Snow introduces everyone quickly, letting you adapt to their personal behavior and traits on the fly, all the while keeping the tension high by inventing some new and resurrecting some old classic boo scares.  And when the well dries up on tension and suspense, the movie goes into absolute overdrive, providing the kind of kick ass orgy of violence only true horror can deliver.

Sometimes, you just gotta fight back the undead horde with garden tools.

Sometimes, you just gotta fight back the undead horde with garden tools.

The last thing I would like to touch on is the special effects.  Minimal CGI means that lots of fake blood, limbs, and intestines get strewn all over the place, and the choreographing of the fight scenes is so tight and visceral, that it really helps bring you into the struggle.  It’s a scrappy, survivor type of fighting, nothing fancy or cool about it.  It’s a nice contrast to the modern day practice  of ridiculously complicated and illogical battles between good and evil in horror movies, when instead you would just be reduced to dirty tactics and savagery in the case you were ever attacked by the undead.

So, in the interest of keeping this one short and sweet (just how I like my women) I will wrap this up by saying that Dead Snow has all the earmarks of the next big independent horror film, especially in the flooded sub-division of Zombie films.  It shows an intimate knowledge and respect of its’ ancestors, most notably Raimi and Romero, but it also comes packing a slew of original ideas, as well as innovative implementations of standard tricks of the horror movie trade.   It is  unpredictable, direct, funny, unapologetic, and wholly satisfying.

It is at this point in time where you should be googling your ass off trying to find this flick.

BRAINS!!!!!!!!!!

BRAINS!!!!!!!!!!

11
Mar
09

Blots on the Canvas: An Ink Update

INKmovieposterAs many of you faithful followers of Midnight Showing might have already noticed, there’s a movie that has taken me completely by storm and it is called Ink.

For a look into what the film is about, here is the preview I did for the film including trailers for the Ink and a short by director Jamin Winans.

If you haven’t already, you can read my full review here.

So now that I have you all Inked up, here’s where I tell you how WE can help, by doing very little.  Double Edge Films is in the process of trying to secure some distribution, and is trying to promote their movie the old fashioned way, great looking trailers, direct contact with movie-goers and bloggers (like myself), and word of mouth.

Are you on facebook?  Sure you are you bastard, don’t lie.  My mom’s on facebook, which means so are you, so become a fan of Ink, it takes like 3 seconds, and chances are you already signed in.

Ink’s Facebook page

Are you on Twitter?  Probably.  Add them. They are respectful and smart filmmakers, those Winans, so you won’t have to worry about a bunch of silly, non-sense texts, just the important stuff.

Double Edge Films (the people who made Ink) twitter page.

How about youtube?  Oh, I know your on youtube.  My dad gets on youtube, the same man who leaves his keys in the door when he comes into the house and can never find his glasses, wallet, etc.  That means your on youtube too.

Double Edge Films youtube channel

Do you like blogs?  Of course you do silly head, your on a darn blog right now.  So how about following a blog connected to Double Edge Films?  Whats that?  You don’t want to?  Who said I was giving you a choice? Just kidding, but seriously, its a quality blog.

Double Edge Films Blog

Follow, fan up, do whatever you gotta do, but we as a movie loving online community got to team up and support flicks like Ink.  We can’t just sit around and bitch about how movies suck now a days and then not support the ones who truly deserve it.  Plus, all the things above cost you only about 3 minutes of your life…combined.

Stay tuned to Midnight Showing for more coverage of Ink, and my somewhat delayed Watchmen review.

This is Alex signing off.  Have a pleasant tomorrow.




09
Mar
09

Ink Review

ink2A question that’s rung in my head since first hearing about the movie Ink, was what relevance the title of the film held. From the first moments of the trailer, and subsequently the film, I knew I was in for a movie that had calculated its’ steps carefully, creating something in between an eloquent waltz and an algebra equation. I knew that the title was another vital part of the whole experience, and that deciphering it’s meaning was another key to unlocking the many mysteries that lay inside the delicate layers of Ink’s story.

That story, written by Jamin Winans, is a tale of multi-dimensional dream weavers, consisting of one bad stable and one good one. The good ones, dubbed Storytellers, give us good dreams by visiting us in our rooms once we’ve fallen asleep and gently waving there hands slowly by our heads. The bad ones, called the The Incubi, give us the nightmares. Beyond the ability to grant dreams, these people also battle over the souls of those who are sleeping.

Ink's spectacular makeup and look.

Ink's spectacular makeup and look help solidify him as our complicated, yet menacing antagonist.

This is more or less where our story begins. A drifter, one who is stuck in between life and death, named Ink is propositioned by the Incubi to steal the soul of a seemingly insignificant little girl named Emma, in exchange for the ability to become an Incubi himself. Emma’s estranged father, John, is also battling staggeringly high odds, both physically and emotionally, due to a demanding and stressful job, and the weight of his own guilt and shame. The rest is quite simply too exciting and emotionally propelling to spoil for the sake of this review.

The first thing that one notices about Jamin Winans film Ink, is that it is in an entire league of it’s own in terms of visual style. While some influences are noticeable, Jamin takes the idea of kinetic and potential energy in a movie to new heights. The pace is fluid, only jumping a beat to drive home a scene or a moment, then quickly snaps back into place, driving the narrative along briskly enough to demand a viewers full attention without overloading and confusing them. The editing is so precise, so flawless, that it begins to feel almost euphoric. Jamin manipulates the order of certain events, in order to keep viewers on there toes about where the story is heading. There is no point in the movie where I could clearly say what was going to happen next, and that feeling of wonderment and vulnerability is something that has stuck with me even through writing this piece. It’s a hypnotizing film, and it never sacrifices the gravity of what’s happening on screen in favor of giving you a flashy, “Hollywood” shot that only looks great on movie posters. This film exudes an aura of tremendous planning brought to life by even more impressive execution.

The cinematogaphy is remarkable, looking even better while in full motion.

The cinematography is remarkable, looking even better when in full motion.

Hand in hand with the visual buffet, is the equally sublime audio package. From the old-timey camera snap-and-flicker sound effect used for when storytellers teleport in, to the visceral crunch of a perfectly placed uppercut, to the appropriate tinkering and manipulation of certain voices to help give them an other worldly feel, the effects are all nothing short of innovative. Everything sounds crisp and distinctive, and every action is accounted for. Holding all the aforementioned technical elements together is a subtle, oceanic, and deeply emotional score, written by Jamin Winans. The score is reminiscent of some of John Muprhy’s work, as well as some of Danny Elfmans’ dreamier, calmer material. But Jamin really shows he has the patience, style, and talent to not only create a great stand alone score, but also one that personifies and amplifies perfectly everything his film has to say. Not enough can be said about how much the score adds to the entire feel of the film, something not seen enough in the days of soundtracks where popular artists write a soulless song that supposedly represents the movie.

An Incubi, who brings nightmares.

An Incubi, who brings nightmares.

Along with the groundbreaking special effects (see the reconstructing furniture fight scene for evidence of this) there is the cinematography of Jeff Pointer. All the different planes of existence in Ink’s world are accompanied by a strikingly different palette of colors and lighting techniques. It not only creates the appearance that they are entirely different dimensions, it becomes other dimensions altogether. Due to the digital filming techniques I am almost sure Jamin Winans used extensively while shooting Ink, he gains an incredible amount of control over lighting, filters, color correction and saturation, which he uses to great dramatic effect. They also function perfectly as cues that we have begun to look in on a different scene, and helps indicate silently where we are, who were are with, and with whom there alliances lay.

But if Ink is anything, it’s a damn good story. The story is so luminary, so rife with honest humanity and emotion that it’s near impossible not to invoke some kind of serious, introspective moment within you while watching. It’s not the kind of emotion that make boyfriends not want to go see the romance flick with their girlfriends, it’s the kind of emotion that’s intrinsic within the human conscious. It’s about loss, innocence, desire, motivation, and possibly above all, hope. The film makes some very philosophical observations on the sordid perils of everyday life, but it makes them in a passive, courteous way. It acknowledges that we are, to a degree, the sum of our parts and past experiences, but it also points out that there is always the opportunity for radical change. Jamin manages to ease his way into some very heady, intellectual space without losing sight of the plot and the characters I found myself heavily invested in. This alone is quite an achievement.

The sunny, surine dimension of the Storytellers.

The sunny, serene dimension of the Storytellers.

All those points wouldn’t have been so well conveyed without actors who really seemed to understand the vision of Jamin. Consider that a non-issue though, as all the actors and actresses playing there roles without incident, with no one seeming out of place or terribly miscast. Extra credit must go to Chris Kelly for playing John and Jessica Duffy for playing Liev, whose performances were simply to sensational not to mention. There isn’t really much else I can say about the cast other then Jamin Winans must’ve have had at least some, if not all, of the actors and actress’s in mind when he wrote the script, because the roles seem tailor made for the individuals playing them. They are always shown in their best light, the emotion that Jamin squeezed from them seems as genuine as anything I’ve even seen. If there’s one thing that’s evident in independent film making, it’s the passion of those involved. It’s the whole reason independent film making still exists, because I assure you, it isn’t for the money. In Ink’s case, the movie is overflowing with determination and fire, which helps envelope the viewer in the vibrant, awe-inspiring world that this magical yarn is spun in.

The only obstacle I can see any audience having a major problem with, would be the sheer emotional investment and outside the box thinking a movie this cavernous can require for full enjoyment and understanding. It’s all about invading the comfortable areas of your life, it’s about turning the mirror on yourself, and it’s about the stuff all of us have deep inside, regardless of whether or not we pretend it’s not there. It’s story is not only timely, but timeless. There is no restriction on when a tale like this could be told.

Our Storytellers along with their quirky, philospoical guide, The Pathfinder.

Our Storytellers along with their quirky, philosophical guide, The Pathfinder.

In the end, I think I’ve found the answer to my original question, and that the answer may be that we are all Ink. We are all different colors, different viscosity, and different blends. We are the instruments of change, both good and bad, but we are not immune to them ourselves. The randomness of life can be extremely disruptive, and seem devoid of pattern, reason and predictability, but just because the last few moments, days, or years have blindsided you, it doesn’t mean you are lost forever. At least, that’s how I saw it.

Jamin Winans has concocted a potent narrative, one that is as focused as can be, while still leaving enough room for individual interpretation. It is assembled in such a way that not only promotes, but encourages multiple viewings. Technically speaking, there is nothing that could be done better within the budget, and the acting is all fitting, bringing believability and heft to each role, while naturally allowing the main figures to steal the show. Ink deserves a special place inside the hollowed halls of great intellectual cinema, here’s to hoping it takes its rightful places in that gallery one day.

Love

12
Feb
09

Friday the 13th: A Midnight Showing Fanboy Retrospective

Curse or Creative Genius?  We'll soon find out how well the Marquee player from the slasher genre holds up in modern day.

Curse or Creative Genius? We'll soon find out how well the Marquee player from the slasher genre holds up in modern day.

Good day to you, fellow Midnighters, and welcome to my first ever Retrospective piece here for Midnight Showing.  I want to handle this a little differently than most “retrospective” pieces I see on the Internet.  Instead of simply trying to impress you with my harmfully encyclopedic knowledge of this series and it’s many quirks and idiosyncrasies, I want to take a look at it from a relatively spoiler free perspective of a fan who is analyzing the overall impact of such a lucrative and beloved,  yet heavily criticized series that’s bread and butter was the apparent exploitation of sinful teenagers who just so happened to be fucking around with the wrong psychopathic serial killer.

And what a wonderful place to start.  The Friday the 13th series (which I will refer to as F13 for the rest of this piece since it’s much shorter and easier to type!) has become a source of ridicule and comparison.  Whenever a movie series begins to take a turn for the worst while cranking out sequels, everyone seems to jump to equate that failure, with the failure that was the endless stream of entries into multiple horror franchises in the 80’s.  Also, people in general (people in general meaning not fan-boys and horror geeks) seem to feel the movies have absolutely no value or merit, and serve only to fulfill a misogynistic, predatory sexual desire only experienced by guys usually aged 14 to 35.

The funny thing is, now a days dressing like a homeless manical serial killer is kind of an "in" look.

The funny thing is, now a days dressing like a homeless manical serial killer is kind of an "in" look.

For those who feel this way, do me a favor.  Got to your local movie theater on Thursday the 12 of February of 2009.  Get there about 11 o’ clock.  Stand in the parking lot, and see how many people go up to the ticket window and buy tickets to see F13.  Note how many of them are women.  You will then be prompted to SHUT THE FUCK UP by me.  The notion that F13 is some kind of soft-core porn for men who have trouble with women, is an asinine, paranoid delusion created largely in part by ultra-sensitive people with too much free time.  They claim its to protect their innocent children (who undoubtedly have porn underneath there bed mom doesn’t know about) from on-screen violence and the temptation of sex and drugs.  The irony of course, is that even back then in the 80’s and especially in today’s media, we glorify and report on death, rape, famine, disease, torture, executions and everything else that’s horrible and desensitizing.  Apparently, by many folks sense of logic, real death and other horrible acts of humanity are perfectly acceptable to be reported 24/7 on the news, but if we perhaps want to get scared a little, in a safe and communal environment such as  a movie theater and watch some dumbfounded teenagers fuck, do drugs, and get ripped to shreds by a masked iconic serial killer, to whom we relate to more than those dying on the news, we are bad people.  Apparently a lot of people who criticize the already marginalized horror genre don’t own any mirrors in their houses.

But before I dig any deeper into the messy pit that is morals and standards, let’s explore the soul of the series a bit.  F13 (the original) is actually more of a cautionary tale than anything else, it’s just told in such a where were relatively innocent teenagers (Hey, they smoked pot and had sex, so of course they are a little guilty) are brutally slain.  For those who haven’t seen the original F13, what I’m about to say will be a major spoiler, so now would be a good time to scroll down to the next paragraph or watch the goddamn movie, since it is still quite good.  The mother of Jason Voorhees is in fact the killer throughout the entire first film.  Although since you never see her, you just assume it’s Jason taking revenge for the negligence of the camp counselors who let him drown.  This twist should intrigue anyone looking to see the remake, as Jason is clearly visible in the trailers and commercials, yet it’s widely known he didn’t start his body count until Part 2.

Marijuana

Marijuana

+

sex

sex

=

Equals Death.

Equals Death.

So if F13 isn’t just useless trash spit out into the cinematic world by perverts, than what is it really?  Surely, it’s still a horror film, with the fact of whether or not it is actually scary still being hotly debated.  What I never hear in conjunction with F13 conversation and retrospectives is the fact that F13 was a movie made in a completely different time and social climate than the one we are currently in.  In the 80’s Reagan was president and he and his wife were trying desperately to clean up the world many saw as full of filth and sin.  The world’s major threats were Russians, not low-tech religious fanatics hiding in a cave in a desert of a 3rd world country.  Aids popped up, and subsequently scared the shit out of almost everyone.  All these factors, and about a million more, made the perfect breeding ground for escapism theater, a brand of movies that weren’t all based on history or current events, or even reality for that matter.  Even though F13 takes place at a very earthly and mundane looking summer camp, the idea that a undead, superhuman monster of a man, who seems fully grown by the time he makes his triumphant entrance in Part 2, can rise from the dead again and again to exact his bloody revenge against really anyone who gets in his way is quite out of the realm of possibility.

Why So Hockey?

Why So Hockey?

But it’s just that “unreal events in a familiar setting” that gets people all worked up.  Proper horror is all about taking something you may use or see or interact with in your life, and turning into a source of fear, tension, and discomfort.  The fact that because there is a certain amount of familiarity with something in the movie, in this case a normal summer camp in the woods, we can then use our imaginations and our disbelief to begin to believe how a place where so many have created cherished childhood memories, can turn into a labyrinth of pain, death, and mutilation.  The 80’s were chock full of repression, and from repression comes niche markets.  The aforementioned social climate saw a tidal wave of movies misdirecting our fear from the ones the nightly news we talking about, to indestructible bogeymen who can get us when we least expect it.  The only thing was, the niche was exploding at the seems, too much of a popular thing, and when niches become mainstream, they rarely remain the edgy, alternative , cathartic, and even experimental forms of entertainment they once were, they instead become just a vehicle for making a lot money.  F13 did have some surprisingly good sequels such as the ultra-violent and fast paced 4th entry (Friday the 13th The Final Chapter), which was originally slated to be the series finale, and the underrated 7th entry (Friday the 13th The New Blood) where Jason is confronted by some form of a meta-human with psychic powers who accidentally awakes him from his slumber (I call it slumber because it’s surely never death).  When it was all said and done though, most people didn’t see any of the newer entries as anything more than cannon-fodder for critics, porn for the perverse gore-hounds, and a cash cow for the big wigs pulling the strings.

Yet, there F13 sits, primed to make millions during one of the hottest movie going weekends of the year, Valentines Day Weekend.   Marcus Nispel and Michael Bay are directing and producing respectively.  This is the same tandem who delivered the Texas Chainsaw Massacre Remake back in 03, for what that knowledge is worth.  In the decade where Hollywood has completely abandoned any ability to create original content, especially within the horror genre, Jason Voorhees has been dug out of his 6 year nap, as Hollywood scrambles to put together a Reunion tour of sorts.  Michael Bay is surely kicking the tires on what once was a proud, thriving series to see if maybe now is the right to re-unleash the Camp Crystal Lake Slasher.

It will no doubt be financially successful, and will probably pay for itself within the first weekend, but I still feel uneasy.  Were less than 48 hours away from go time with the remake, and the Internet is buzzing, both good and bad.  Will my beliefs hold up?  Can a series that was at one point laughable, find a new home in the hearts of a new generation of film goers?

There’s only one thing I know for sure though.  It can’t be any worse than Rob Zombie’s Halloween.  Oh wait, fuck, what if it is?  Holy shit.  I need to lay down my head is starting to hurt.

Happy viewing this weekend fellow Midnighters, and do something nice for your girlfriend…oh wait who am I kidding, none of us have girlfriends.  But seriously, if you do, take them to see Friday the 13th.  They get all touchy feeling.  Trust Me.

Or just watch the recently released UNCUT version of the 1981 slasher sleeper hit My Bloody Valentine.

28
Dec
08

Alex’s Top 10 Movies of the Year!!!!!!

Greetings fellow Midnighters!!!!  Here is my video of my top ten films of the year.  Sorry it turned out to be much longer than I anticipated, but I had a lot to say.  DIG IN!

21
Oct
08

Top 5 (+3) Posters for Halloween

It was near impossible for me pick just five, and somehow I managed to stop myself from cruising the Internet and sifting through my own collection at the magical number of…8


The criteria I used for my picks was simple.  Firstly, I had to actually know about or enjoy the movie’s themselves, as I will try to couple something akin to a mini-review with each poster.  Also, I tried to choose the most creative and eye-popping of the bunch, and if possible, the ones that have really cool innuendo, double-images, or are just plain sick and twisted.

In no particular order.

You see?  It's a skull, but it's also the women from the flick. That's fucking cool.

You see? It's a skull but it's also the women from the film. That's fucking cool.

If you haven’t yet seen Neil Marshall’s The Descent, then you need to go rent, buy, download, borrow from a buddy, or…something and see this flick.  The Descent is one of the most legitimately terrifying, psychologically draining, and claustrophobic films our generation is likely to ever see, and unfortunately the poster you see above wasn’t used very much in advertising for the film.  The reason?  Well, it probably had something to do with some stuck up liberal cunt thinking that the fact that women are screaming and posing on a poster is somehow sexist and degrading to women.  The irony of course, is that the movie is one of the strongest and best portrayals of women I’ve ever seen, in or out of the horror genre.  Anyway, this one-sheet gets on my list for being very innovative, slightly sexual, and having sweet double-imagery.  Oh, and the movie itself is near perfection.  That never hurts.

So much going on.  And the movie actually has ALL that crpa in it!

So much going on. And the movie actually has ALL that crap in it!

The Beyond is one of my all time favs.  Reviewed already on here by my best buddy Ronnie, who wasn’t as fanatical as I was about it, he still gave it some credit for being a cool little gore/zombie flick.  This poster, to me, represents perfectly the sheer chaos the film exudes.  Zombified girls getting their fucking heads blown off by grown men with a .357 magnum.  People running from scary shit.  Lots of screaming.  Dead people.  More dead people.  Mega bonus points for the almost “hand drawn” feel to it, and just the sheer amount of scenes from the movie they were able to fit into one sheet a paper without actually ruining some of the best parts, which of course are the gnarly kills.

Someones about to get a good Ol' fashioned raping.  Wait, IN A HITCHCOCK FILM?!?!?!?!?

Someones about to get a good ol' fashioned raping/murder combo. Wait, IN A HITCHCOCK FILM?!?!?!?

This one threw me for a total loop.  Hitchcock, a man known for his thrillers and endless amount of class in dealing with sex and violence eloquently, yet this poster seems to suggest something totally different.  While Rear Window still is my favorite Hitchcock film, Dial M for Murder is a damn close second.  This poster seems very risky, even if we saw something like it today.  I mean, the girl is obviously in peril, and not only is it clear that the shady man’s intentions are to silence that bitch permanently, he may also be looking to get some non-consensual love while he’s at it.  Again folks, this is pretty dark, twisted, and edgy for Hitchcock, probably why I had never seen it before I started digging for posters for this project.

Spooky.

Spooky.

Fulci again graces my list, and this time for a film that is considered by many to be his nastiest.  House by the Cemetery has a reputation for being possibly the most sadistic and grotesque of Fulci’s work, a man who has nack for combing the surreal elements of Giallo films, with the raw horsepower of lingering, graphic, and sickening violence.  If you wanna see the most fucked up slit throat scene in the history of slit throat scenes, grab yourself a copy of this gore classic.  The poster though, speaks to me on a very Halloween “spooky” level, and is…dare i say…very classy and simple.  A little shadow play with a disfigured face up in the clouds, a full moon, a dark, twisty, kind of bent house and a graveyard with some fog.  This is the kind of stuff you see if a movie theater, and immediately turn to your friend and say “Fuck yeah were seeing that when it comes out!”

I so want this one my wall one day.  Cre-epy!

I so want this one my wall one day. Cre-epy!

Del Toro nailed two birds with one stone with his adult Gothic fairy tale Pan’s Labyrinth.  He not only re-asserted himself as one of the premiere genre directors to watch out for, but also may have creating the defining piece of his entire career.  I just don’t know how he will eclipse of movie that not only showed so much creativity and imagination , but had not one, but two amazing story lines to boot.  (One storyline taking place inside the “Fairy-Tale” world, and the other happening in reality)  This teaser poster always made me sweat in anticipation when I was waiting for this one to come out, and it’s because it’s both incredibly simple, and very creepy.  That sure looks like a “Baphomet” type character to me, not someone who I would let lead a small girl into another dimension.  Another movie that’s highly recommended and another poster I plan to one day have framed on a wall somewhere.  Alice in Wonderland for grown ups, but really really fucking twisted.

What the fuck is that thing on that poor girls HEAD?!?!?!?

What the fuck is that thing on that poor girls HEAD?!?!?!?

How much blood will you shed to stay alive?  Do I really need to say anything else?  The movie (notice I didn’t say series, as everyone seems to have different opinions about how the series has been handled, especially going into the 5th entry in ’08) that changed how audiences viewed horror movies forever, and catapulted the “Torture Porn” sub-category into the cross-hairs of oversensitive fagots worldwide, also happened to have one of the best marketing campaigns ever.  Starting with teaser posters that began floating around the Internet as early as 2001, and extending to some of the most clever “We’re showing you a lot but you have no fucking idea whats actually going on” trailers, SAW burst onto the scene and claimed it it’s own within weeks of its release theatrically.  A perfect tag-line.  A girl in peril without having to rely on sexuality.  One of the best movies series ever. It may not save horror, but it made me believe in slashers again.

It may not save horror, but it made me believe in slashers again.

The tag-line reads “It’s not a remake.  It’s not a sequel.  And it’s not based on a Japanese one.”  Hatchet was a movie I had my eyes on for almost four years, before finally getting to experience it myself in 2007.  Sometimes waiting for shit is a really good thing.  Hatchet delivered on every promise it’s first time director made.  The gore was ALL practical, NO cgi fuckery.  There were ample breasts, some extremely funny humor, some great boo scares, an incredibly likable monster/slasher, and the list goes on and on.  This poster sums the whole thing up too.  It’s an original piece of old school American horror, and sometimes all you need is an axe with some blood on it.  Run, don’t walk, to get your hands on this gem.

The Trick was to Stay Alive.  That is so classic

The Trick was to Stay Alive. That is so classic. And that chick is so fucked.

The poster no one ever saw.  Apparently there are some stories about how much trouble this little poster got into, but I haven’ been able to put all the pieces together, and I don’t want to sit here and just make shit up, so I will instead give you my take on it.  The picture itself is mostly distorted, obviously we can make out a girl in terror, and a hand outside that’s getting dangerously close to her.  Anyone who has seen the film knows what scene this is from.  The Tag-line here really butters my biscuit though.  “The Trick was to Stay Alive.”  That’s some badass shit folks.  Like, if Michael Myers ever needed a one-liner, it would have to be that.  The easy choice was the classic “pumpkin with a knife” poster, but this one, when I found it, spoke to me, especially with the woman in terror and then the incredible tag-line.  And again, it doesn’t give away too much, just enough to put asses in seats.

BONUS!!!!!!!!!!!

For those who have never been treated to seeing the made for tv halloween special, here is, in three parts via youtube, The Halloween That Almost Wasn’t!!!!!

P.S.  Told you I’d find it mom.  Love ya!



06
Oct
08

Top 5 Halloween Flicks

Hold onto your hats, boils and ghouls, it’s time for Alex’s top 5 picks for October movie viewing.  Some are safe, comfortable picks you may see coming, and some may throw you for a major loop.  Enjoy kiddies.

In no particular order:

Classic.  Nothing like a full moon and a headless horsemen to get me in the mood.

Classic. Nothing like a full moon and a headless horsemen to get me in the mood.

Tim Burton’s legacy will always be tainted by the few stinkers he’s done, especially as of late, but I can’t hate the man because he’s having a bad streak.  Sleepy hollow is an effective little horror period piece that faithfully retells the legend, while spicing things up just enough to make it feel hip and modern.  Add some great use of clever humor, as rock solid cast, brutal and gory death scenes, and Christopher Walken as the Headless Horsemen, and you have yourselves a winner.

Look at that hard drawn cover art.  Can't beat it with a stick.

Look at that hard drawn cover art. Can't beat that with a stick.

The Witches, from the brilliant writing mind of Roald Dahl, is an often forgotten spooky movie that is intended for kids, but comes with a heaping helping of adult size fun and scares.  Incredible make up and effects litter this film, as does a cute story about a boy turned into a mouse who must stop the evil Witches from taking over the world.  A sleeper hit no doubt, and one you probably haven’t heard of or never paid much mind to, seeing as the audience it’s geared towards.  Take a chance on this one to mix things up this October.

The mask looks even better in the movie.

The mask looks even better in the movie.

Another sleeper gem that most would overlook due to an overly cheesy cover art and no real hype at it’s time of release, this fun little slasher takes place on Halloween, and has a few interesting gimmicks and noble ideas that makes things more interesting than your average slasher.  The well-placed dark humor and twisted nature of the whole tale more than make up for it’s other shortcomings.  If you think you’ve seen every Halloween based slasher flick, pick this up.  It might be more entertaining than you think, even for the diehards.

Yeah.  This still kicks so much ass its not even funny.

Yeah. This still kicks so much ass its not even funny.

Call it nostalgia.  Call it being  a Tim Burton Fan boy.  I call it a masterpiece of animated cinema, one of the best holiday themed movies ever made, and Tim Burton’s crowning achievement.  Nothing will ever eclipse this, even when people try to enhance with updated soundtracks and 3-d glasses.  I’m begging for the hate mail to come pouring in now, and I may even lose the trust of my co-writer here on Midnight Showing Ronnie, but I still feel as much love and devotion to this film as i did 15 years ago.  A masterpiece.

AS IF YOU DIDN’T SEE THIS ONE COMING…

All hail.

All hail.

THE Halloween movie to end all Halloween movies.  John Carpenter’s timeless classic is the epitome of how to create tension, atmosphere, and intrigue with simple pieces. Most don’t even realize that some of the movie is simply shots of interiors and exteriors of houses and neighborhoods, with just the theme laid over top of them.  That’s how genius it is.  He takes a dark stairwell and makes it terrifying.  Combine that with some shots through wide screen and other strange lenses to give it a surreal feel, the most memorable killer of all time, and the emergence of Jamie Lee Curtis as the “door next girl babysitter” and you have one for the ages.  Who would’ve thought one of the most recognized movies in the history of horror cinema would be as tame and bloodless as this flick?

We hope you enjoyed our picks for the Top 5 Halloween flicks this year, and stay tuned for more themed content coming throughout the month of October.

Sleep tight and remember, the killer about to call you is already in your house.