Category: External Movies (Page 308 of 336)

Scare of the Day: “Cutting Class”

Wow, dig that big-ass picture of Brad Pitt on the front cover of “Cutting Class,” the 1989 teen horror flick that provided Mr. Jolie with his first-ever leading role…or something approaching one, anyway. He’s actually third on the bill after Donovan Leitch and Jill Schoelen, but, hey, close enough. Still, what do you want to bet that he wasn’t as prominent on the original movie poster? (I couldn’t find a .jpg of it online, but the VHS release of the film at least offered equal space to pictures of Leitch and Schoelen as well.)

“Cutting Class” takes place in a high school full of stereotypical students and eccentric teachers, features a synth-heavy score and a soundtrack with several songs from Wall of Voodoo. Yep, sounds like an ‘80s film to me. In fact, there are several occasions when you get the very distinct impression that, at some point in the process of this film being pitched to the studios, someone used the phrase, “If John Hughes made a horror film…” Unfortunately, however, screenwriter Steve Slavkin is no John Hughes…and it shows. (He did, however, go on to write quite a few episodes of “Salute Your Shorts” for Nickelodeon, so it’s nice to know that he eventually found his niche.)

The flick revolves around three main characters: cheerleader Paula Carson (Schoelen), basketball star Dwight Ingalls (Pitt), and crazy guy Brian Woods (Leitch). We’re not talking “crazy” as in “wild and crazy,” by the way; we’re talking “just got released from a mental hospital after killing his dad” crazy. Brian’s got a crush on Paula, but Paula’s dating Dwight, so you know right away that this is definitely one of those love triangles that’s gonna end in a major slayfest. Added to the mix is the fact that Paula’s dad (Martin Mull) is the district attorney and was directly responsible for Brian being put away…so when Daddy goes on a hunting trip at the very beginning of the film and gets shot in the chest with an arrow, it looks juuuuuuust a little suspicious.

By the way, I hate to be Joe Spoiler, but in the interest of helping out anyone who may have just seen Martin Mull’s name and said, “Hey, I’ll watch anything that that guy’s in,” I should tell you that Mr. Mull gets almost no lines in the film. The majority of his time on screen occurs in conjunction with an excruciatingly unfunny running gag that literally lasts up until the credits roll, and it provides a closing joke that’s so terrible that it deserves to be followed by Patton Oswalt going, “Wackity smackity dooooooo!” Fortunately, getting more screen time is the late, great Roddy McDowall, who I still miss terribly to this day. (This was not long after his work in “Fright Night” and “Fright Night 2,” if you’re wondering.) He gets to have more fun than anyone else in the film, playing the lecherous principal who enjoys grabbing a peep at female students’ dainty underthings and scoring laughs every time he’s on the screen.

Pitt is the designated asshole of the film, but his greatest achievement is the introduction of what must surely be the most mood-killing thing ever to say to a woman who you’re trying to sleep with: while trying on her father’s clothes, he observes, “Your father’s a little bigger than I am…but, of course, I’m much bigger where it really counts.” Mind you, she’s not much better, coming back with the worst possible response to his amorous advances: “Not until your grades improve.” I’ve heard of conscientious girlfriends, but, wow, that’s one for the books. But, then, these are some really weird teenagers, anyway. They’re some seriously bold sons of bitches at this school, with Pitt heading to the front door of the school with a beer in his hand, only throwing it away at the last second, then having his friends come up a few minutes later, yelling about how they should all just go get more beer. So, what, was the drinking age still 18, or are they just unapologetic alcoholics? Also, Schoelen’s character is about as wishy-washy as they get. “Gosh, they gave me this key to the school files because I’m trustworthy! But ‘cause you’re hot, Brad Pitt, I’ll let you break in and look at the file of another student.” I’ve known some bad-asses in my time, but I’ve never known anyone who, for kicks, decided to break into their school and look at people’s permanent records.

Despite the amusement I might’ve had writing this entry, “Cutting Class” was a film that desperately needed to cut to the chase. It never seems to know if it wants to be a horror film, a comedy, or a teen drama, and none of the three aspects ever prove terribly interesting; the film drags throughout, to the point where, during the climactic metal shop duel, you’re begging for it to come to rapid conclusion. I’m in no way surprised that there are absolutely no special features on this DVD; I can’t imagine anyone in the cast or crew had any real interest in revisiting it. If Brad Pitt hadn’t been in “Cutting Class,” we’d probably have forgotten all about it by now. As it is, there isn’t even a trailer for the flick on YouTube…but as a substitute, here’s a Pringles commercial Mr. Pitt did right around the same time:

Scare of the Day: “Return to House on Haunted Hill”

Hey, kids! Who wants to see a crappy sequel to a crappy film remake? “Sign me up,” you say…? Awesome. Then you can totally have my copy of “Return to House on Haunted Hill,” because it sucks ass.

I’m not looking to be overly critical here – honest, I’m not – but, hand on heart, the film was so God-awful boring and filled to the brim with cliché-ridden dialogue that I actually briefly fell asleep somewhere around the 20-minute mark and had to be roused by my wife. (This event would recur at least two more times before the end of the 81-minute film.)

The only person brave enough to return from the original film is Jeffrey Combs, who reprises his role of Dr. Richard Benjamin Vannacutt, the decidedly deceased former head of the Vannacutt Psychiatric Institute for the Criminally Insane, now otherwise known as the House on Haunted Hill. Given Combs’ history in the horror and sci-fi genres, we wouldn’t begin to begrudge him the paycheck, but it’s only fair to note that when he’s the biggest name in a film, it’s not what you’d call a great sign. Cast-wise, it’s also a major, major comedown from the first film, which starred Geoffrey Rush, Famke Janssen, Taye Diggs, Peter Gallagher, Chris Kattan, Ali Larter, and Bridgette Wilson.

The lead character this time around is Ariel Wolfe (Amanda Righetti), whose sister, Sara, was in the original film, played by Larter. Ariel’s the ballbusting editor of a fashion magazine, but she becomes a caring sister about, oh, maybe five seconds after finding out that Sara’s killed herself. (Bad timing, that.) As it turns out, however, it wasn’t actually suicide; Sara was murdered by someone looking for access to something called the Baphomet Idol, which Dr. Vannacutt referenced in his journals.

God, y’know, I’m sorry, but I’m bored just talking about this film, so I’m just gonna cut to the chase here: this entire film exists solely to get some more people back into the house, so they can get killed. The dialogue is so bad that it makes me want to write a film script, because, damn, come on, I can write better lines than…

* “I think I’m losing my mind.”
* “They say the ghosts of the people who died here still haunt this house.”
* “What are you saying, that someone killed my sister?” “All I’m saying is…be careful.”

The only thing this film has going for it at all are the special effects; it isn’t until almost the 30-minute mark that they really kick in, and they’re not really that great when they do. (Oh, wait, I just remembered that the film has one other thing going for it: lesbian ghosts. But they’re only for one scene…dammit.) The sound mix on the DVD is really the only thing that makes the film even remotely scary, as it provides the sounds of doors slamming and machines creaking in different speakers.

I did, at least, come up with a new entry for Roger Ebert’s Little Movie Glossary while watching this film: when there’s a knock on a closed door and the person who goes to open it is addressing the person on the other side, the person on the other side is invariably not who they thought they were addressing.

If this entry already exists, however, please don’t tell me; I’d hate to think the entire experience of watching “Return to House on Haunted Hill was in vain.

P.S. As I struggled to stay awake for the last few minutes, I leaned over to my wife and said, “Okay, well, there’s the ending, so now all we need is the tacked-on scene to provide the link to the sequel to the sequel.” But we didn’t get it. Instead, it went to the credits, and I did NOT let the door hit me on the ass on the way out. As it turns out, however, if you watched beyond the credits, that’s where the scene resides. So be prepared for that sequel to the sequel after all…and be prepared for it to suck even more ass than this one did.

Scare of the Day: “Dark Ride”

How ironic that I should’ve spoken in a write-up the other day about how Hollywood would never allow today’s crop of filmmakers to successfully reproduce the feel of horror flicks from the ‘70s and ‘80s. As I watched “Dark Ride,” all I could think was, “Holy shit, here’s someone who’s actually trying to get away with it!”

Everyone knows that the best films are those that address universal fears, and while you just don’t happen upon dilapidated old amusement parks as often as all those old episodes of “Scooby-Doo, Where Are You?” would have you believe, anyone who’s ever been to a traveling carnival can surely appreciate the inherent spookiness of a so-called “dark ride.” (Honestly, I wasn’t even familiar with the term until I started working on this write-up, but it seems to be a universally-accepted phrase that’s used to describe any indoor amusement ride involving a vehicle which rides through various animated scenes.)

Writer / director Craig Singer begins “Dark Ride” with all the right pieces to create a classic slasher film scenario. Two young girls are killed on an amusement park ride, which results in the park being closed and their killer being institutionalized, but several years later, two things happen almost simultaneously: the park prepares to re-open…and the killer escapes from the institution! Meanwhile, a group of teenagers have decided to sneak into the park and enjoy the rides before anyone else gets the chance. Do I smell a slaughter on the horizon…?

Well, duh.

The first thing that horror aficionados will notice about the premise of this movie is that it’s strikingly similar to Tobe Hooper’s 1981 film, “The Funhouse,” where four teenagers spend the night in a carnival funhouse and find themselves stalked by a crazy guy wearing a Frankenstein mask. In the audio commentary for “Dark Ride,” writer / director Craig Singer assures listeners, “I really never thought of that as inspiration.” Okay, fair enough, I can buy that…mostly because Singer is so forthright throughout the commentary. He acknowledges that he’s gone out of his way to have an almost-cheesy vibe to the film at times, but he’s also proud that he’s taken the time to make sure that each of the teenagers in the film has their own distinct personality.

Unfortunately, Singer’s desire to expand the identities of the characters drags down the movie a bit, especially during the interminable ride to the park; I’m all about his good intentions, but even *I* just wanted them to get on with the killing. Worse, not every actor offers a performance that’s worthy of Singer’s noble efforts. Thank God for Jamie-Lynn Sigler, who deserves the Sarah Michelle Gellar Award, an honor presented to any actress who tries to make the move from TV to movies via a horror flick; she can actually act, which places her head and shoulders above your average scream queen from the word “go.” Also in the cast is Patrick Renna, who’s probably still best remembered for his role in “The Sandlot”; he’s saddled with a character who’s constantly spouting trivia, but at least he’s got good comic timing. Beyond that, though, it’s a big ol’ ham-fest, with the worst offender being Jennifer Tisdale, whose sister Ashley (“High School Musical”) was apparently the only one in the family to get the good-acting gene. Fortunately, once “Dark Ride” makes its way into the park, things look and feel so creepy that you’re generally on edge even when the acting does venture into sub-par territory.

The gore is gloriously over the top at times, such as when one of the girls is decapitated while in mid-fellatio, but like the recent “Wrong Turn 2,” “Dark Ride” often fails with its attempts at dark humor by shooting right past dark and into “none more black” territory. Still, kudos to Singer for coming a lot closer to capturing that old-school horror feel than the majority of his peers.

Scare of the Day: “Beneath”

Call me cynical, but from my experience, it’s reasonable to be skeptical of the quality of any motion picture which features the words “MTV Presents” above the title. It’s all fine and well that MTV Films has brought us quality comedies like “Election,” “Orange County,” and “Napoleon Dynamite” over the years, but they’re still responsible for the bad movie trifecta of “Joe’s Apartment,” “Pootie Tang,” and the Britney Spears vehicle, “Crossroads,” and even releasing “Hustle and Flow” ain’t gonna wipe away sins like those.

In the case of “Beneath,” though, I have to admit that the imprint’s first-ever horror flick is more successful than I ever would’ve expected. Now, normally, I’d just chalk it up to the fact that I went into the film with really low expectations…but, no, I was legitimately sucked into the proceedings.

Nora Zehetner, who played the highly persuasive Eden McCain on “Heroes,” is Christy, a girl who lost her sister, Vanessa (Carly Pope), in a car accident when she was a teenager. Well, actually, Christy didn’t lose her in the accident; Vanessa suffered 3rd degree burns all over her body as a result of being trapped in the flaming wreckage, eventually succumbing to them…or did she?!? Given that Christy had a nervous breakdown at Vanessa’s funeral when she became convinced that her sister was still alive within the coffin, we’re left to suspect that perhaps she didn’t. Now, Christy is 20, and although she’s taking prescriptions to combat the psychological scars that remain from her sister’s death, she’s having strange visions which make her more certain that Vanessa’s demise was hastened by someone else.

Since we’re dealing with a 2007 release, I’m not going to dive quite so deep into the plot of “Beneath” as I have with some of the other flicks I’ve been discussing. I will, however, say that Zehetner is the perfect lead for this flick, looking just doe-eyed and innocent enough for you to feel for her while still coming off crazy enough for you to be uncertain as to whether her visions are real or not. The film does drag a little in its middle third, but it starts intriguingly and has a power-packed finish with a shocking moment in the last few minutes that actually succeeded in catching me by surprise. In short, if you can hang on through the slow bits, you’ll get your pay-off.

I don’t want to play “Beneath” up as the best horror film of the year or anything (though by clocking it at a mere 81 minutes, it may yet prove to be the shortest), but it’s another entry into the field of films that try to be scary without being gory, and given that we’re mere days away from being hit with “Saw IV,” surely that alone is worthy of a certain amount of applause.

Scare of the Day: “The Burning”

It’s no wonder “The Burning” got greenlit. I mean, c’mon, think about it: it’s 1981, and somebody offers you an uber-gory slasher film that takes place in a summer camp…? Hel-lo, “Friday the 13th”-sized box office! You know the studio execs’ eyeballs were turning into dollar signs and popping about six inches out of their sockets, like something straight out of a Tex Avery cartoon.

Well, clearly, the flick never hit the heights the Weinsteins might’ve hoped, which is a shame, since I’d like to think that, had it been a success, we’d’ve been the recipients of sequels with titles like “Still Burning After All These Years,” “The Burn Goes On,” “Once Bitten, Twice Burnt,” and…um, wait, hang on, I’ve got more. (Editor’s note: Actually, that’s quite enough, thanks.) But even without setting the box office on fire – and can I get a high-five for that one? – “The Burning” has still maintained a cult following over the years, resulting in this special-featured-laden DVD release, which includes audio commentary as well as a new retrospective documentary.

The opening minutes of “The Burning” set the stage for the rest of the film. A bunch of campers decide to get even with the camp’s particularly obnoxious caretaker nicknamed Cropsy – something to do with his omnipresent garden shears, apparently – by trying to scare the living shit out of him, so they place a skull candle on his nightstand while he’s sleeping, light it, then wake him abruptly. Unfortunately, he’s so scared that he knocks the candle onto his bed, sets his blanket and himself afire, and ends up going up in flames, running through the woods and jumping into the river to extinguish himself. Understandably, he’s a little bitter about this, especially when it turns out that the burns are so bad that he can’t even get skin grafts, so upon his release from the hospital, it’s off to extract revenge on the camp. He can’t even be bothered to find the campers responsible; it’s just, like, “Okay, anybody at the camp will do.”

You have to admire the restraint on the part of the folks at Fox for not making note anywhere on the DVD box that “The Burning” features Holly Hunter, Fisher Stevens, and even a very young Jason Alexander amongst its cast…the latter with a full head of curly hair, no less. (If you’ve ever headed over to YouTube and watched Alexander extol the merits of McDonald’s McDLT…and if you haven’t, now’s your chance…this movie was filmed right around the same time, maybe even a few years earlier.) Stevens, who looks like he’s about 12 years old, even bares his buttocks for the camera, God love him, bending so far over that only careful camera positioning saves us from getting a good shot of his nut sac.

Wondering about the gore level? Well, there’s a really nasty scissor stab to the stomach immediately following the credits, but after that, there are more fake-outs than you can shake a sharp stick at. You needn’t worry, though: special effects master Tom Savini more than makes up for lost time during the last 45 minutes or so, particularly during the infamous “raft massacre” scene. But even with all the stabbing and the cutting and the “please, oh, God, please don’t,” there’s something rather…quaint about “The Burning.” Sure, it might’ve been…oh, shit, never mind, there ain’t no “might’ve been” about it: it is a “Friday the 13th” knock-off! And, yet, given all the dreck today that’s supposed to pass for horror, there’s something refreshing about a film that features a long, lingering shot on one of the female campers taking an extra-soapy shower. Damned refreshing. Oh, and then there’s the full-frontal skinny-dipping scene. Mmmmmmmm…

Sorry, where was I?

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