Category: Horror Movies (Page 62 of 96)

Icons of Sci-Fi: The Toho Collection

Despite some highly questionable packaging (three discs on a spindle), this collection is a must for serious fans of the cycle of the monster and science fiction films released by Japan’s Toho in the fifties and sixties — and optional for everyone else. It’s certainly nice to see finally see these in widescreen and the original Japanese.  (Slightly shorter English versions are also included for those who want to set the movies on “extra-campy.”)

All three films included in this set were directed by Ishirô Honda, the creator of the often disrespected Japanese monster genre, starting with 1954’s “Godzilla,” who also happened to be best friends with Toho’s resident cinema god, Akira Kurosawa. 1961’s “Mothra” is the only actual monster tale in the set and a favorite of aficionados. It’s a genre-blending variation on “King Kong” in which a giant caterpillar (later a multicolored moth) becomes highly problematic for Japan and a fictional stand-in for the U.S when its two incredibly small fairy protectors, “tiny beauties” played by singing duo the Peanuts, are held captive and forced to perform on stage by a greedy not-American explorer/impresario (Jerry Ito). Honda was tiring of straight-up antinuclear grimness and his addition of comedy and some enchanting musical numbers makes for added fun. 1958’s “The H-Man” is another stylish and mostly entertaining genre-combo, in which police investigate a series of purported yakuza murders that are actually the doing of a creepy atomic slime.  Early SFX geeks may adore “Battle in Outer Space” — and that certainly includes authors Steve Rylie and Ed Godziszewski who recorded two commentaries for this set. As for the rest of us, this forerunner of  “Independence Day” is rather leaden and easily the least entertaining offering of the three.

Click to buy “Icons of Sci-Fi: Toho Collection”

Gearing up

As I recall, not a whole lot of work really got done on the first day of school, but as people trickle back in from vacations, film festivals and the like, things are starting to happen.

Nicolas Cage* THR blogger/reporter Borys Kits has been keeping busy over the long weekend. He reports that Nicolas Cage will be starring in an action/revenge film, and another action/revenge film, with cars and in 3-D, entitled “Drive Angry.” Don’t take the car, Nick, you’ll kill yourself!!!!! (It’s a reference to an old commercial that you may not be in the right age/geographic group to get, but Mr. Cage most certainly is.) Kits also reports that Steven Soderbergh will be entering the action game with martial artist Gina Carano. As if that’s not enough, Kits also has a news story posted on a new documentary about Stanley Ann Dunham, Barack Obama’s late mother who figured prominently in today’s ever-so-controversial “work hard and stay in school” speech, to be directed by acclaimed Los Angeles-based indie filmmaker, Charles Burnett (“Killer of Sheep”). I actually have some very slight personal connections with the group behind this film, so this one has my extra attention.

* Fans of Shinya Tsukamoto’s “Tetsuo” series should maybe brace for a disappointment.

* Anne Thompson summarizes the Telluride Film Festival in the time of recession. BTW, she has some very kind words for Nicolas Cage’s performance in Werner Herzog’s unauthorized Abel Ferrara homage (or something), “Bad Lieutenant: Port of Call New Orleans.” After debacles like “The Wicker Man” (my nominee for worst remake of all time with one of the worst lead performances by a major star), Cage badly needs to at least give a well-regarded performance or two. He’s a hugely talented performer — anyone remember “Leaving Las Vegas”? — but they all run the risk of sort of falling into themselves.

* I don’t know how to work this in tastefully. Let’s face it, most of what I talk about here is trivia — and then real life enters the picture and it’s hard to know what to say or do. Anyhow, critic/cinephile blogger Noel Vera has more thoughts, and some affecting links, on the lives of 28 year-old Canadian-Filipino critic Alexis A. Tioseco and his partner, film journalist Nika Bohinc. Both of them were killed last week when they apparently surprised a burglar in their Manila home.

Holdovers nail Labor Day audiences

final_destination4_7

Sorry, I couldn’t not use the image above, since it graphically demonstrates what happens when the studios release a trio of unexciting-to-detested entries into a Labor Day market full of strong, and strongly violent, competition. It starts with this week’s b.o. winner. It might not be anything resembling a critical darling, but “The Final Destination” boasts the power of gimmicky horror added to the additional gimmick of 3-D, offering some pretty easy to sell ghoulish fun to audiences, who bought it to tune of an estimated $15.4 million over the long weekend.

Brad Pitt contemplates his masterpiece.And this year’s cinephile sensation is also a hit with audiences. “Inglourious Basterds” held beautifully in its third weekend and only came in a few points below its “Final” competition with an estimated $15.1 million. Word of mouth, or tweet, or whatever is obviously working in the long-awaited WWII-flick’s favor — as may be the fact that every film geek in the world is probably going to see it at least twice, if not thrice.

Variety‘s Pamela McClintock also reports that “Basterds” actually won the day on Sunday. She also mentions that with a domestic “cume” of $95.2 million, the wartime fantasia is now Tarantino’s second biggest earner after “Pulp Fiction,” which made just below $108 million back in 1994. Adjusted for inflation, that number may still be hard — though not impossible — to beat. Not adjusted for inflation is looking easier all the time to me. When you consider the near absolute certainty of at least two or three Oscar nominations (quite possibly several more at this point), I’m not sure when this thing stops earning signficant money. Also, THR reports “Basterds” topping the international charts in a slow overseas weekend.

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Void at the box office

gerard_butler_gamer

There’s a definite feeling of apathy about this week’s new box office releases, but on we go.

Topping this Labor Day weekend’s movie newbies is the Gerard Butler sci-fi action flick from the team who brought us “Crank.” “Gamer” adds a video game twist to such past violent media commentaries as “Death Race 2000” and “The Running Man.” Lionsgate isn’t screening this one for critics, so there’s no reason to assume there’s anything terribly clever or satirical about it, though a capable supporting cast led by Michael C. Hall (Showtime’s “Dexter“) as a villainous game designer as well as Ludacris and Kyra Sedgwick seem to indicate someone, at one point, hoped to do something interesting with this one. As for commercial success, it appears to all be laid at the feet of Butler. Nothing against the very capable Scottish thespian, but I just don’t see this one beating last week’s leader, the gimmick-driven 3-D horror opus, “The Final Destination.”

And that, I’m sure goes double for next of the three new major releases of the week, the Sandra Bullock headlined screwball romantic comedy, “All About Steve.” A film which the nation’s critics might well wish Fox had withheld, it has achieved the still fairly rare honor of a 00% Rotten Tomatoes “Fresh” rating (as in 100% “rotten”). Costar Bradley Cooper’s newfound recognizability via “The Hangover” probably won’t help much here, and Thomas Haden Church doubtless deserves better. Apparently the creators of this one intended Bullock’s character to be a lovable eccentric, but instead wound up with the more usual sort of eccentric — the kind who’s just weird. There’s likely a reason this one’s being dumped at the end of a long movie summer.

It’s in significantly fewer theaters than its competitors at only about 1,500, but Mike Judge’s “Extract” simply has to be better than either of them. At a 55% RT rating, the nation’s critics pretty much reflect the divided reaction of my fellow PH-er Jason Zingale, who calls it “a wildly uneven film that is deftly funny at some points, and just plain dull in others.” Still, though Jason 100% detested Judge’s earlier, barely released, “Idiocracy” that film got better reviews and the portions I’ve seen on cable certainly made me laugh — not that anyone cares what us critics think.

Jason Bateman in
As the writer-director of “Office Space” and the creator of TV’s “King of the Hill” and “Beavis and Butthead,” Judge is a knotty figure when it comes to movies. His now legendary workplace comedy was pretty much dumped at the box office only to be discovered later on vide0, and “Idiocracy” got even less promotion than the original release of “Space.” (Jason would say for good reason.) “Extract” star Jason Bateman is a skilled comedian but despite important parts in numerous hits, including “Juno,” he’s a very long way from the film stardom of his onetime TV son, Michael Cera. Still, both Judge and Bateman have a lot of pent-up goodwill. Maybe there’ll be a surprise here, but don’t bet the farm, or even the garden, on it.

That leaves two 100-theater releases. The first is a horror flick being dumped after the demise of Paramount Vantage. “Carriers” seeks to milk horror from pandemic fears. Quarantined from critics, it stars the talented Lou Taylor Pucci and the new Captain Kirk, Chris Pine. Speaking of James Tiberius, the other release isn’t new at all but another chance to catch J.J. Abrams’ hugely entertaining (if oddly filmed) “Star Trek” in Imax, which has certainly lived long and prospered at the box office.

Star Trek

Are we excited about “The Descent: Part 2”?

The Descent

Here’s the synopsis taken from the movie’s IMDB page:

The sequel will continue the story of Sarah, who as the only survivor of an all-female caving expedition gone horrifically wrong, suffers severe psychological trauma. Unable to speak, she accompanies a rescue team back to the cave, but events once again take a sinister turn.

THE DESCENT 2 picks up immediately after the events depicted in THE DESCENT Sarah (MacDonald), emerges alone from a cave system following an expedition with her five friends in the Appalachian mountains. Distraught, injured and covered in the blood of her missing companions, Sarah is incoherent and half-wild with fear. Skeptical about her account of events and convinced Sarah’s psychosis hides far darker secrets, Sheriff Vaines forces her back into the caves to help locate the rest of the group. Trapped by falling rocks, the rescue party are driven deep into the caverns, and as one by one the fate of the missing girls is revealed, Sarah is forced to confront her deepest fears.

By the look of the trailer below, the sequel appears to be much more like your standard thriller than the character-driven original. What made the original so great was the underlying tension between the characters of Sarah and Juno. The scares and violent scenes didn’t just shock you, but they each actually contributed to the plot because of the subtext that existed. The original’s writer/director Neil Marshall didn’t have his hand in the creative process of “The Descent: Part 2”, and it shows. I’ll still check it out, but I’m not expecting much. To this day, “The Descent” is only the movie I’ve seen where a good portion of the audience walked out of the theater because of how frightened they were.

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