The first movie to introduce many of us to the knockout trio of Edgar Wright, Simon Pegg, and Nick Frost in a great take on the zombie genre with a bit of british flair. Shaun of the Dead creates a goofy spin on the now humdrum zombie film, but without actually changing from those loveable Romero-esque zombies of olden days, instead using it's main cast to bring about the laughs - something it succeeds at. Considering there are zombies in it, and the requisite violence that such a creature would bring to bat, it's not one for everybody but to those who love themselves some of the shuffling flesh-hungry beasts, it's almost certain you have already seen it.
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A surprise of a movie from way back when: a time of bell-bottom jeans, afros, and funk sharing a deadly little secret. There was a lot more thought put into this story then I at first glance would have thought (I kind of figured I was getting into a generic sea critter turned monster flick), and it would no doubt still be right at home on a giant wooden drive-in backdrop. I'm going to need and use some spoiler blocks through this to not spoil the fun little twists in the film though, so just be prepared to actually have to read parts of this if you want the free spoiled-version of the opinion.
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Taking the spirit of Discovery 's Shark Week into heart, I'd like to spin you a cautionary tale of knowledge about a misunderstood creature: B-movies are a much enthused genre of movies for folks looking for all manner of fun - be it stupid and grotesque, or intellectual and unique - but made on a (normally) less-than stellar budget. Over the years, these films have developed their own set of cliches and styles, which is sometimes emulated by producers who have a bit more money to throw at it than others (such as SyFy channel's notorious strings of original movies), while still retaining the low brow humor and fun often associated with them. Many are even made mockingly of more well known of higher budget films. However, in the existence of all these films, one groups stands aside as hands down the worst movies I have ever seen (seriously, they'd be as bad as Uwe Boll if it wasn't for the fact that I think they try to be bad intentionally) - and thy name is Asylum.
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I know, I know, "Another horror movie? I hate horror movies!" Well, this is the last one for a while okay? I promise. Granted, it's not like you all are particularly making any outcries about it. I guess it's fitting at least that the last horror movie I do in a while is a proper 'scary movie' then. Last time, we had a brief chat about how horror is so diverse - well, to classify this one, we are gonna call it a ghost story. When I say ghost story, I don't mean it is entirely to do with ghosts, but more that it feels like the kind of story that you would tell around a campfire to scare the pants off of your fellow campers. You know what though? It would do a pretty good job of it!
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Horror in its own right comes in many forms, and is something that could be debated widely and hotly across countless hours of time. Let us suffice it to say that this movie focuses more on the areas of a psychological horror - one that makes you think and involves much mystery and atmosphere - than it does in other forms of horror. The tagline "Fear is a Place" aptly describes what they aimed for with their form of scare-induction, and now that you are aware of that, let us proceed into the mundane form of me elaborating to you my experiences with Session 9 .
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There's one type of movie that over the years has slowly turned into a different breed from itself, and that's the horror genre. What used to be more psychological or general trickery of the mind to imply horror slowly turned into "whore"er movies where there happens to be more T'n'A then there is actual credible scares (such as most slasher flicks). Of all the monsters out there in the cryptozoological department, the vampire has been far hit the hardest by the modern-day glam machine, going from a tragic blood thirsty creature to a sparkling pretty-boy elven equivalent in the dead-man market, and so it's not surprising that when I want to watch a vampire flick I draw from an older stash.
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In 2004, Paul W.S. Anderson took the proverbial peanut butter and jelly of two sci fi series with long running comics, novels, and even previous incredible movies and gave us a rather mediocre sandwich for our dinning pleasure. Although it wasn't by any means a terrible meal, it left a bit of a peculiar aftertaste in the mouth, one that many would call the salty flavorings of the tears of franchise lovers. We have already been over my opinions of that back here, but the more important topic is that of the sequel soon to be discussed. Is it possible that the Brothers Strause threw off the shackles of bland mediocrity as they did with the PG-13 rating, or did they feebly try and salvage what was left of a situation too scarred by its plainness to make a difference?
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