Posts Tagged ‘Zombie

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!!!!!!!!!!

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.

24
Jan
09

REPO! The Genetic Opera Review (Directed by Darren Lynn Bousman of SAW fame)

Badass.  Digging the Communist theme.

Badass. Digging the Communist theme.

Repo! The Genetic Opera is the brainchild of Darren Lynn Bousman, who most of you know as one half of the team that made SAW such an immensely popular and lucrative franchise, and buddy Terrance Zdunich, who is mainly a storyboard artist working on movies and TV shows.

Here’s a quick snapshot of the plot.

In the year 2056 – the not so distant future – an epidemic of organ failures devastates the planet. Out of the tragedy, a savior emerges: GeneCo, a biotech company that offers organ transplants, for a price. Those who miss their payments are scheduled for repossession and hunted by villainous Repo Men. In a world where surgery addicts are hooked on painkilling drugs and murder is sanctioned by law, a sheltered young girl searches for the cure to her own rare disease as well as information about her family’s mysterious history. After being sucked into the haunting world of GeneCo, she is unable to turn back, as all of her questions will be answered at the wildly anticipated spectacular event: The Genetic Opera. Written by Lionsgate

If there’s one thing that is grossly apparent right off the bat, it’s that Bousman and Zdunich have a lot of respect and love for cult classics such as Rocky Horror Picture Show and also seem influenced by more elegant and classic opera works such as Phantom of the Opera.  There’s even a bit of The Who’s rock opera Tommy in there.  It’s no shock that the mind that helped push the SAW franchise forward would be able to create a Gothic, dystopian future, but credit must be given for slick, yet earthly atmosphere embedded in the sometimes hallucinogenic visuals of the film.  It looks great, period.

Bousman manages to keep the narrative moving along swiftly with great focus, even while dealing with the difficult medium of opera.  That’s right kids, an opera where no word of dialogue is ever simply “said.”  Unlike musicals, where there can be breaks in between musical passages to drive the story home with normal movie dialogue, Bousman ensures that every word is “sung”, which can be very awkward at first when your not expecting it.  It’s difficult to accurately describe, but once you see and hear it you will clearly understand what obstacles must have popped up from this bold and daring choice.  Other than that, Bousman also unleashes some incredibly awesome graphic novel panels to fill us in VERY quickly of a particular characters background.

Paul Sorvino and his shotgun-wielding ninja chick bodyguards.

Paul Sorvino and his shotgun-wielding ninja chick bodyguards.

It may be a tricky type of film to make, but Bousman is a razor-sharp horror producer and director, and knew that if he brought in the right talent, he would have a chance to lure in a slew of fans regardless of the experimental nature of the film.  Paris Hilton (Super Global Slut) , Anthony Head (Giles from the Buffy TV Series), Sarah Brightman (acclaimed opera/classical singer and once married to Lloyd Weber who wrote Phantom of the Opera), Bill Moseley (Of House of 1,000 Corpses and The Devils Rejects fame) and Paul Sorvino round out the eclectic nucleus of the cast.  Terrance Zdunich also has a fairly large role as the Graverobber, and steals the show with his “Zydrate Anatomy” song.  The cast is, like so many aspects of this brave venture into total cult cinema, uneven throughout, with those who can sing clearly being more enjoyable and tolerable than those who can’t, with Alexa Vega and Bill Moseley probably being the two biggest culprits.  Hopefully the star power and notoriety brought by those actors outweighs the damage they have done by simply being the weak links vocally.

Sarah Brightman definitely has some bitchin' pipes.  And she's kinda sexy, in that scary way.  She probably a goddamn witch in real life.

Sarah Brightman definitely has some bitchin' pipes. And she's kinda sexy, in that scary way. She's probably a goddamn witch in real life.

Which leads me to my assessment of the acting itself, which again can be easily defined as uneven.  While some amount of over and under acting is perfectly acceptable in horror, especially in something this theatrical and over the top, but sometimes the cartoon like personalities crossed the line between tasteful and embarrassingly out of place.  At times the actors would play very serious, as if this carried the same weight as The Phantom of the Opera, and at other times it was clear everyone was having fun and things were much more airy and carefree.  I waited for the flick to settle down, and choose a definite mood and direction, but it never did, as it gleefully jumped back and forth between trying to be emotionally heavy and serious, and being grin-worthy, funny and lightweight.  Maybe I am reading to much into something that can’t truly be defined, but I would have loved to see some lines drawn pertaining to acceptable behavior from all characters, as you would with any other film.

She got the creepy, goggley eyes.  Burn at the stake, you kinda-sexy witch.

She's got the creepy, googly eyes. Burn at the stake, you kinda-sexy witch.

The final piece of the Repo puzzle is one that isn’t a very common problem in movies, the soundtrack.  That’s not to say all movies has great soundtracks, but they also don’t rely as heavily as Repo does on its’ music.  So how does the song selection hold up?  Take a guess.

UNEVEN.

Some of the songs, like Zydrate Anatomy and Legal Assassin knock it completely out of the park, while others are either too short or too gimmicky to be considered truly great. While taste is bound to vary from viewer to viewer, I felt the music was acceptable, but could’ve benefitted from maybe one or two ballads complete with verses, chorus, and a bridge and a few more rock and roll anthems.

There's also some gore, which is very well done, but used very rarely.

There's also some gore, which is very well done, but used very rarely.

I, like so many of you, have waited for years, eagerly anticipating this movie to be released in any format, anywhere.  And while it may look and sound like I have nothing but negative things to say about Repo!, I feel it’s a case of me being exceptionally critical of a piece of work I felt had all ingredients to really show the world how versatile the “horror” genre can truly be.  Repo is by no means a failure, but instead comes off as a combination of over-indulgence and lofty ambitions.  It succeeds at what it aimed to do, but the cost for achieving that goal may be a dent in Bousman’s reputation, depending on how this is received in the community.  There’s no doubt in my mind that this vehicle can be used to create an amazing, genre-bending film, but Repo! isn’t that flick.

There’s a lot of psychotropic, semi-gory fun to be had with Repo!, but it’s kinda like looking for a 20 dollar bill in your friends extremely messy room, you know it’s worth it to look, but your gonna have to sift through some shit to get what you want.

09
Jan
09

Internet Oddities January 2009

It may be a new year, but there is no shortage of viral lunacy circulating the Internet.  So, while we cook up some new original material behind the scenes, have a gander and kill some brain cells from this garbage, and I mean that in the most flattering way possible.


P.S. I also included some trailers for upcoming flicks I think we should have on our collective radar.




06
Nov
08

7 Minutes of nostalgia

Yeah, I notice things are getting a little slow around here.  Call it post-Halloween depression, or spending way to much time playing and anticipating the wave of new, highly addictive video games for my 360.  By the way, if you guys want video game reviews, leave a comment.  Were a flexible duo here, and will bend to all 3 of our fans desires.

To make up for my laziness, here’s an awesome little zombie short.  Lots of subtle nods to other things in here, see if you can spot them all.


31
Oct
08

top five albums for your Halloween party

Halloween isn’t just about dressing up, but to get you in the mood for things, here’s my Top 5 albums fit for Halloween…

Slayer – Divine Intervention

Slayer - Divine Intervention

You can’t go wrong with some Slayer on Halloween, and Divine Intervention is a growling, scary, album. This is the first Slayer album I heard (and bought) so has always been one of my favourite Slayer albums. Has songs dedicated to Jeffrey Dahmer (213) among other things.

White Zombie – Astro Creep 2000

White Zombie - Astro Creep 2000

101% relevant to this blog is White Zombie’s Astro-Creep 2000. All the songs on this album pay homage to the exploitation genre. The songs are heavy and littered with audio clips from various B-movies.

Scum of the Earth – Blah Blah Blah…

Scum of the Earth - Blah Blah Blah...

A truly under-rated band. Scum of the Earth is made up of the band members from Powerman 5000 and the guitarist from Rob Zombie’s solo albums. Similar to White Zombie (and Rob Zombie’s solo stuff) Scum of the Earth has some groovy, heavy, songs – fit for Halloween.

Slayer – Reign In Blood

Slayer - Reign In Blood

It wouldn’t be a Halloween music list without Slayers Reign In Blood. A legendary album which has EASILY stood the test of time. These youngsters now-a-days can’t hold a candle to this album. Wussies!

Rob Zombie – Hellbilly Deluxe

Rob Zombie - Hellbilly Deluxe

The ULTIMATE Halloween album (in my opinion) full of creepy tunes, movie audio clips and growling guitars. You NEED this album for your Halloween party!

Feel free to leave your suggestions for cool Halloween albums!

12
Oct
08

Zombies! Zombies! Zombies! Strippers vs. Zombies

How?  How do you fuck this up?

How? How do you fuck this up?

Look at that poster.  How?  How is this not a home run?  You have zombies.  Zombies are fucking great.  You have strippers.  Here at Midnight Showing, we’re all about women, especially those who seem to think clothing is optional.  Plus, it’s a low budget film.  Really low budget.  So you figure they would  have to bring the violence, the gore, the hilarious and copious amounts of nudity, and the humor right?

Wrong.

Strippers vs. Zombies, or is that Zombies! Zombies! Zombies!, fails to even deliver us what is shamelessly promised on the cover.  To put it mildly, the overall quality of this film is only slightly above something a high school A/V club member would produce as a side project with his stoner buddies.  There almost no nudity, and none of it is in the least bit sexual or even funny.  The gore is a mish mash of horrible cgi, and so-so make up and practical effects.  The acting, from everyone besides the Samuel L. Jackson “funny black pimp” guy was pretty much forgettable, if not downright terrible.  The music is just generic sounding rip offs of pieces featured in movies like the Exorcist and Terminator.  And the director could barely keep the actors and actress’s in the shot, let alone do anything with the camera other than follow the action, and he even did that shitty.

Oh, and the really embarrassing thing?

At times throughout the movie, people would talk, on camera, and there would be no sound.  Like an old Godzilla movie that’s poorly dubbed.  Also, if any lines needed to be done over with dubbing later on, it was obvious the voices were recorded at different volumes, in like 128 kbps quality, in a completely different environment.  Obviously the makers of this film are not only shameless (a trait i would never fault anyone with), but also completely without a sense of professional pride.

It feels like they let this movie be released without watching the finished product.  Just like when I write for this site, you gotta proofread that bitch, and at least knockout the obvious errors, you know, like releasing a movie with LINES OF DIALOGUE COMPLETELY MISSING EVEN THOUGH THE ACTORS MOVE IS MOVING ON CAMERA!

If you follow zombies flicks, you’ll know that 2008 has been the year of the stripper vs. zombie movie.  Earlier in the year a movie starring Jenna Jameson and Robert Englund came out called Zombie Strippers.  I thought it was friggin’ terrible, but at the very least, it had some parts that showed you the filmmakers aren’t completely brain dead.

Strippers vs. Zombies goes that extra mile to make you just give up hope.  It shows you why movies like Snakes on a Plane are made, and even how movies like Snakes on a Plane MAKE MONEY!  By the way, the “funny black pimp” i mentioned earlier, he actually said in the movie “I’m tired of these motherfucking zombies in this motherfucking club!”  Really.  He did.  And it was probably the best part of the movie.

Maybe you should watch it, just because that guy is hilarious.  No, no you shouldn’t.  If there is any lesson to be taken from this film, it’s that if you come up with a good poster, a good title, and have no talent, you too can help make a mockery of the horror genre.

11
Oct
08

Dance of the Dead (NOT the Masters of Horror Episode!!)

Little bit of a rip-off of Shaun of the Dead, but still nice.

Little bit of a rip-off of Shaun of the Dead, but still nice.

Dance of the Dead has the look and feel of a disastrous zombie flick.  It has a bunch of no name teenage looking actors and actresses.  A plot (Zombies rise from the dead on the night of the prom and high schoolers have to fight for their lives and their town) ripped from several other zombie movies.  A movie poster eerily similar to that of 2004’s amazing “zombedy” Shaun of the Dead.  And, on top of all this, a director with virtually no feature film directing experience.

But this, true believers (Yes, I just pulled a Stan Lee reference out of my ass.  You don’t like it?  Go read a DC comic then you pussy.  Yeah I know Batman is good, but other than that, DC sucks.) is why we watch movies, and THEN decide if they suck or not.  Or at least some of us do.

Dance of the Dead managed to do something that all good horror, and especially zombie flicks, HAVE to do.  Make the most out of the pieces you have.  If you look back in the legendary genesis of the zombie flick, you will quickly find out that the best of the bunch, even the ones done by famed directors like Romero and Fulci, were done on smaller budgets without the luxury of having big stars to bank on for success.  Dance does this wonderfully, making even the predictable and annoying characters seem likable.  And if they weren’t likable, then they at least had the presence of mind to kill them off early!

This all brings me to my first point.  The cast here, again full of people who’s biggest project to date seems to be Dance of the Dead itself, are all very competent.  The movie is exactly demanding, but it still has a lot of dialogue, and without people to spew those words out, however trite or meaningless, it’s difficult to make a movie work.  The saving grace seems to be the comedy within the conversations though.  Nothing is taken to seriously in Dance of the Dead, and that lightens the load for everyone involved.  It’s a feel good, fun time zombie flick, and the cast seem to reflect that with the youthful energy being the driving force.

Direction here is solid, but not in the least bit flashy or pretentious.  There some nifty use of heavy lighting and filters, the cornerstones of any 80’s “Return of the living Dead” style zombie flick, but other than that, everything’s played pretty straight forward, and I for one have no problem with that.  If you don’t feel comfortable as a director taking chances and being experimental, there’s no need to force it.  That “comfort” is actually a strength to the film, and I felt right at home with the direction, and thankfully nothing was ruined by the dreaded “shaky cam” or choosing shitty angles to shoot the action on.  Simply put, the camera work never gets in the way of the fun.

Gore and special effects are all good, but it’s most likely all stuff experienced zombie fans have seen before.  Doesn’t mean it isn’t highly entertaining, and some of the bullet wounds are particularly graphic.  There’s also a head split in half the long way, and a severed head “still alive” gag that is very cool.  Nothing here will have you howling or calling your friends to tell them “how awesome that kill just was”, but it’s all impressive none the less, and thankfully, almost totally free of any cgi.  Yay!  Here at the Midnight Showing we basically have one rule concerning our gore and special f/x, and that is “Fuck CGI!”

If you couldn’t tell by now, Dance of the Dead is a movie that has all the elements to become a cult classic.  Sure, that’s pretty cliche to say, but when a movie has it, it just has it.  I think the director has a pretty good handle on this zombie thing, and if he continues to interject the brand of humor in his future flicks, he should make some very interesting stuff.  Also, some of the actors and actress’s are surely going to be noticed because of this film.

If your looking for a light-hearted, “Shaun of the Dead” style zombie flick, and you can appreciate flicks that pay obvious homage to what’s come before it (Return of the Living Dead, Night of the Creeps), then you should get plenty of enjoyment out of Dance of the Dead.

If only my prom was overrun by zombies.

30
Sep
08

Sleazoid Express by Bill Landis and Michelle Clifford

Sleazoid Express by Bill Landis & Michelle Clifford

Sleazoid Express by Bill Landis & Michelle Clifford

With a sub-title like: A Mind Twisting Tour Through The Grindhouse Cinema Of Times Square!, how could I resist?

The book begins way back in the 60s where it goes in to great detail about the atmosphere in grindhouse cinemas and the danger that lurked in some of these hell holes. Initially this chapter seemed completely pointless, but reading on – you realise that you needed that chapter to give you the background of which cinema was where, who owned it and it’s reputation within the legendary 42nd Street.

Sleazoid Express moves chronologically through the exploitation movies being peddled. Filled with crackheads, thiefs and prostitutes/pimps 42nd Street certainly sounds sleazy! Beginning with the Olga series of movies (a pre-cursor to the Ilsa movies) it often gives a brief review (sometimes a lengthy review, if the film was decent) of the movie plot and, most times, even giving away the ending, so if you don’t want your plots spoiled, beware! But lets face it, how many exploitation movies have an in depth plot or twist ending?

The chapters are genre points within the exploitation time line, chapter titles such as: The Anco Does A Gendertwist and Blood Horror: Chopping ‘Em Up At The Rialto hint at the subjects (the Anco and Rialto being cinemas with Times Square). Many different types of film are spoken about in the book, everything from the early gore classics (Blood Feast) through to the zombie flicks, cannibal movies and even the influx of gorey westerns and wacky oriental fung-fu movies (Flying Guillotine).

Just shy of 300 pages the book also lists exploitation video companies who still sell many of the gems mentioned in the book. The index is excellent as lists actors, directors and film titles, so it’s easy to dive in to the book to find a fact. This is THE exploitation book to own, Nightmare USA is also excellent, but spends too much time reviewing, Sleazoid Express gives history, and life, to the home of exploitation cinema. If you want to know how it all started, this is the book you want.

Favourite fact gleaned from the book? The fact that Dyanne Thorne (Ilsa, She Wolf of the SS) is now an ordained minister!

SEE ALSO: Nightmare USA – The Untold Story of the Exploitation Independents.

26
Sep
08

Going to Pieces: The Rise and Fall of the Slasher Film

Much better than the dvd cover.  Simple and to the point. (he he)

With the horror in general seeing a major revival in the new millennium, horror fans have seen their fair share of documentaries on the subject pop up both on TV and on DVD.  Most are around to cash in on either the Halloween season, or plug their own horror related ventures by recapping all the movies and characters that came before it that it will ultimately rip ideas from.  Going to pieces isn’t some shameless ploy to get you to watch something else though.  What it is is a entertaining, informative and passionate look back at how we got to where we are in the slasher sub-category today, while simultaneously showing us a portion of the history of the horror genre as a whole as well.

It opens by introducing us to some of the humble beginnings of horror in the theater, and then rockets us to Psycho, shows us a bit from that time period (the 60’s) as a foundation for what’s to come.  It really picks up when they begin to discuss the immense success of Halloween, and really champions it as THE slasher movie to see, not only as a perfect example of everything a slasher can be, but as the ignition of societies relationship with killers in film.

The whole gangs here, from Nicotero, Savini, Carpenter, Cunningham, Craven, Winston, Rob Zombie, and more.  Familiar faces talk about their work and contributions to the genre, and talk about how and why they came upon the ideas that wound up shaping the face of horror forever.  The special effects guys run us through some of their favorite and more notable kills, and touch on why people seem to enjoy watching people getting killed in horrible ways.  Coming from the elders of not only the slasher set, but horror in general, this is somewhat of the gospel to us fan boys, and i suspect many of you out there will enjoy just hearing your heroes talk, let alone actually listening to exactly what they are saying.

They also go into the political and social controversy that plagued these films in the 80’s, and show clips of Siskel and Ebert claiming that the slasher film is anti-women, misogynistic, and so on and so forth.  Going to Pieces fights back however, standing up for our beloved serial killers by providing some nice commentary on the subject that isn’t just your typical “HEY…leave us alone” rhetoric.  It acknowledges the fact that horror films are the easiest to go after, and that many critics have made a name for themselves slamming them and standing up for morality.  Rob Zombie then chimes in with an interesting point.  If you were to show a prison full of criminals Disney movies non-stop, would they turn into good people?  I thought that was a fairly astute observation, and a convincing argument from someone very passionate about our beloved movies.

My major complaint is that in examining some better known movies, they reveal the twist endings to many of them.  So if you haven’t yet seen Prom Night, Sleepaway Camp, Friday the 13th, and some others, you may want to watch these first, as the whole surprise will be ruined and you’ll never get to experience the thrill of not seeing these fantastic finishes coming.

If you love the masked murderer sub-genre, this is a must see.  Rarely do you see this much care and accuracy in a documentary, and while there are some mistakes, most notably that Halloween wasn’t truly the FIRST slasher the American audience had been subjected to as many predated it, it still comes off as an in-depth, and more importantly, highly entertaining look into what has been, what is, and what will be in one of the most extreme types of scary flicks around.