Category: External Movies (Page 282 of 336)

Stephen King releases annual Best Films list, no one cares

Horror author Stephen King is not a film critic; he’s a fan. In fact, he’s mentioned this several times over the course of his last few years writing for Entertainment Weekly, so why does the entertainment mag publish his expectedly crappy list every year? Who the hell knows, but between gushing about his man crush on Jason Statham and his totally serious statement that Samuel L. Jackson deserves an Oscar nomination for his work in “Lakeview Terrace,” here’s hoping it’s the last time it does.

stephen king

King isn’t completely oblivious when it comes to good movies – his Top 3 consists of “The Dark Knight,” “Slumdog Millionaire” and “WALL*E” – but the rest of his list is laughable at best. “Funny Games”? “The Ruins”? “Death Race”? Look, there’s nothing wrong with liking these movies, but there’s a big difference between enjoying them and declaring them one of the best movies of the year. Click here for the full list, where you can read all about why each film made the cut.

Icons of Horror

It’s a testament to the strength of the England’s famed Hammer Studios that, while the shock/fear factor of the studio’s “graphic violence” has definitely faded over the decades, three of the four films in this package of lesser known offerings still provide plenty of old fashioned horror/thriller fun. It’s just a shame the box art is so ugly. 1960’s “The Two Faces of Dr. Jekyll” eschews Hammer’s usual decapitations and hand-removals in favor of lots of implied sexuality and heavy use of the B-word in a silly but entertaining twist on the Robert Louis Stevenson tale. Here, the nutty professor…I mean repressed, cuckolded doctor (Paul Massie) becomes a suave, better looking (and suddenly beardless) version of himself who decides to do the obvious – go out and get laid, and also do something about his no good wife (hot Dawn Addams) and her ultra-suave louse of a lover (Christopher Lee, often hilarious in one of his best roles).

The Terrence Fisher-directed “The Curse of the Mummy’s Tomb” from 1964 is exactly what it sounds like and even more amusing, despite the absence of Lee, who played the mumster the first time around. Also directed by Fisher that year, “The Gorgon” is the only a stinker of the set, a leaden blend of 19th century horror and ancient Greek mythology that even Hammer stalwarts Lee and Peter Cushing cannot save. 1961’s “Scream of Fear” might have a lousy name, but it’s a more than fitting finale. A modern day black and white thriller featuring strong performances from Susan Strasberg, Ann Todd, and Christopher Lee (who else?) as an untrustworthy French medic, it starts out as a truly creepy spin on “Gaslight,” but turns out to be a nasty, clever treat from the team of writer-producer Jimmy Sangster and director Seth Holt (“The Nanny”). Modern day gorehounds can have their torture porn, I’ll take Hammer.

Click to buy “Icons of Horror”

No Blood, No Tears

Director and co-writer Ryu Seung-Wan’s 2002 thriller deserves some credit for mixing things up a bit. It attempts to blend Guy Ritchie-style crime-comedy with heavy dramatic elements, the feminist ethos of the Wachowski’s “Bound” (minus the hot actress-on-actress sex), bonecrunching martial arts, and a healthy dose of the semi-mandatory sadism of Korean action films. The only things missing from the exercise are a heart and a point. “No Blood, No Tears” brings us Lee Hye-yeong as a down on her luck cab driver with a criminal past who teams up with a younger woman (Jeon Do-Yeon) trapped in an abusive relationship with her despicable gangster boyfriend (Jung Jae-Young). Their plan is steal a sack full of money during one of her boyfriend’s illegal dogfights and abscond with the loot. The dangerous job turns out to be even trickier than you might think.

Though Seung-Wan tries to goose things along with an endless parade of irritating fancy camera tricks, his film takes an unconscionably long time to get started, the comedy is never funny, while the drama and thriller elements are doomed by paper-thin, almost soap-opera characterization and an overly complicated heist-film plot. On the other hand, some of the hardcore fighting that comes late in the story is impressive, but these fights are so brutal and elongated that they comes across as not much more than nasty mayhem for its sake. Add to that an inexcusable lame non-twist twist ending, and you’ve got one heck of a fancy but kind of revolting piece of non-entertainment.

Click to buy “No Blood, No Tears”

Terminator: The Sarah Connor Chronicles 2.11 – Baby, the stars shine bright

Sarah’s not nuts after all. Well, let’s qualify that: she may very well be nuts, but she’s not nuts about the three dots, as a lengthy flashback episode – gin joints! The Charleston! Twenty-three skidoo! – explained that the machines use three particular stars in relation to the other stars around them as a means of telling time…in years. Very valuable information to us now, but couldn’t Cameron have figured that out before Sarah decided to get medieval on the bathroom mirror? Just a thought.

Tonight’s episode reveals that Cameron has been spending her sleepless nights (cyborgs, apparently, do not dream of electric sheep) at the Hall of Records, reading up on…oh, who the hell knows. One night she stumbles upon a picture from a speakeasy fire in 1920…and she recognizes someone. Soon she’s researching the written history of a man who built a real estate empire from nothing – while another real estate baron suffered a suspicious string of bad luck at the same time, including the death of his son in the speakeasy fire – only to disappear completely in 1925. Where did he go, and why would he erect a building in the name of his rival’s dead son? Cameron knows, but can’t tell. She visits the building, given landmark status and due for reopening in 2010, and finds her man, behind a wall…with a Tommy gun. Nice!

Of course, she kills him, and as far as we know, she leaves the body, which is just nuts. N-V-T-S nuts.

Gotta be a bad girl in this world.
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A Chat with Robert Fuller (“Laramie,” “Wagon Train,” “Emergency”)

If you’re a Western fan, then you know him from his work on “Laramie” and “Wagon Train,” but if you grew up in the ’70s, then you’re more likely to recall him as Dr. Kelly Brackett on “Emergency.” Either way, you have to give it to Robert Fuller: the man had some of the best sideburns in the business. Although he’s since retired from acting in favor of a life of leisure, Fuller is hopping back on the publicity trail to offer his praise for the release of “Wagon Train: The Complete Color Season,” which gave us the opportunity to chat with him about the various films and television series he’s worked on throughout his career.

Get ready for…

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