Category: Horror Movies (Page 79 of 96)

Pathology

Though it spends much of its time dealing with the dead, you’d expect a movie like “Pathology” to have a little more life to it. After all, it was created by the writing team behind “Crank” – quite possibly the most over-the-top movie ever made. Of course, with Milo Ventimiglia headlining the cast, it’s no wonder the film feels a lot duller than it should have been. The “Heroes” star does his best Hayden Christensen impression as Ted Grey, a brilliant medical student who’s just joined the nation’s most prestigious pathology program. When he arrives, however, he’s seduced into playing a twisted game with some of the other interns that involves them taking turns murdering strangers, while the others figure out how it was done. Think of it as Medical Clue, but much more boring than it sounds, because there isn’t a single horrific or suspenseful moment in the film, despite the fact that that is how it’s being marketed. Even worse is that the audience has no one to root for. Sure, Ted is supposed to be the good guy in the movie, but are we really supposed to forgive all of his faults (cheating, killing, using, etc.) as someone who’s simply taken a wrong turn in live? Puh-lease. Only Michael Weston is given a role with any real meat on it, but even his crazy antagonist is never given the attention it deserves. Now, if the film followed him around instead of Milo, maybe we’d have something interesting to watch. It might not be “American Psycho,” but it would definitely be better than this.

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A Chat with Mitch Pileggi

You may know him as FBI Assistant Director Walter Skinner on “The X-Files” or, more recently, you may have thrilled to his recurring role on “Stargate: Atlantis” as Col. Steven Caldwell, but either way, if you’re a sci-fi fan, you probably recognize the face of Mitch Pileggi. Pileggi’s resume is wide and varied – he’s recently popped up FX’s “Sons of Anarchy,” has turned up on CBS’s “CSI” and “Cold Case,” and was a regular on ABC’s short-lived (but thoroughly brilliant) “Daybreak” – but now it’s The CW’s turn. After a one-off turn on “Reaper,” Pileggi has found his way onto a flashback episode of “Supernatural,” playing Sam and Dean’s grandfather. We spoke to Pileggi in conjunction with the episode, which airs on Oct. 2nd, which gave him the opportunity to praise the cast of that show, speak to the variety of work he’s done, and stand bemused at people’s fondness for his 1989 cinematic collaboration with Wes Craven.

Stay tuned for…

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Brand Upon the Brain

It’s over-simplifying, but there’s no way around it: Winnipeg surrealist Guy Maddin works the same general territory as David Lynch. But while Lynch is still, in his unique way, a creature of Hollywood, Maddin has remained a Manitoba miniaturist whose films are both overtly psychological and proudly melodramatic. Oddly enough, Maddin’s movies are often more accessible than Lynch’s – at least partly because the filmmaker is an unabashed fan of the primal storytelling style of silent movies. “Brand Upon the Brain” builds upon the director’s fandom by being Maddin’s second actual silent film, and was originally presented as a theatrical event with a live orchestra, sound effects artists, and narrators. This typically lavish Criterion DVD includes both studio recordings and crisp live audio tracks with seven different narrators, including Isabella Rossellini (“Blue Velvet”), professional weirdo Crispin Glover, and the great nonagenarian character actor Eli Wallach (“The Good, the Bad, and the Ugly”).

The movie itself combines elaborate fantasy and confessional filmmaking, at least on the level of metaphor – the main character is named “Guy Maddin” and the director has described the film as “97% true.” It’s not a drag, though – there’s a pleasing and funny jumble of genre elements ranging from teen detective to grand guignol horror, some nudity (both the sexy kind and the not so sexy kind, in this case involving a male corpse) and Ms. Rossellini’s narration is literally a scream. Featuring a deliberately herky-jerky editorial approach (a new wrinkle for Maddin that I’m not wild about), “Brand Upon the Brain” works for the most part, but for me this doesn’t quite add up to Class A insanity. I would have happier with a bit more melodrama and a bit less psychosexual metaphor.

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Icons of Adventure

Starting in the late fifties and on through the seventies, England’s low budget Hammer film studios became known for a series of profitable reboots of classic gothic horror franchises, but the busy film studio actually produced all kinds of movies. This two-disc set gives us a mixed-bag of thrillers bringing the mean, lean, and graphic (by early sixties standards) Hammer touch to pulpy adventure yarns as well as featuring the considerable acting skills of go-to bad guy/monster man Christopher Lee as the chief villain of three of the four pictures.

The set gets off to an unfortunate start with “The Pirates of Blood River” — an insufferable bore thanks to some plodding pacing and an insipid performance by leading man Kerwin Matthews — Lee’s bad guy pirate, no Jack Sparrow, can only do so much. Fortunately, there’s more of Lee, actual ships, swordfights, and all-around piratical fun in “The Devil Ship Pirates.” The second disc brings us a pair of politically and ethnically suspect flicks set in English colonies. “The Terror of the Tongs” is a casting nightmare from the point of view of ethnic sensitivity, with innumerable Hong Kong Chinese characters played by English, French and, in one shocking instance, an actual Chinese actor. (Burt Kwouk – Kato from the original “Pink Panther” films — who, naturally, is killed five minutes into the movie). Still, it’s a surprisingly nasty and perversely entertaining film with some amazing low-budget production values and another strong bad guy performance from Christopher Lee (no relation to Bruce), speaking perfect English in a sort of practice run for his later performances as super-unPC villain Fu Manchu.

If “Terror” is the set’s Harold, “The Stranglers of Bombay” is it’s Anglocentric Kumar. It’s an fitfully entertaining, occasionally creepy tale of a stalwart British officer (Guy Rolfe) fighting Indian thuggees – those fanatical, kill-crazy bad guys who tried to overrun British India in “Gunga Din,” tried to off Harrison Ford and friends in “Indiana Jones and the Temple of Doom” and who, led by Leo “Rumpole of the Bailey” McKern (!), viciously tried to take Ringo’s famed ring finger, in “Help!”

With four commentaries – three of them featuring Hammer standby screenwriter Jimmy Sangster — this is a must for those obsessed with the famed studio’s history, but definitely optional for others. (Only one commentary, “Terror of the Tongs” is all that engaging, even by film geek standards.) Still, there are worse ways to while away a series of weekend afternoon. For all their flaws, these movies are far more noble time-wasters than most of today’s multiplex potboilers.

Click to buy “Icons of Adventure”

Serial Mom – Collector’s Edition

Director John Waters says that “Serial Mom” is not only one of his own favorite creations, but it’s also the one movie that his two different fanbases (those who dance with “Hairspray” and those who cackle at “Pink Flamingos”) both enjoy. What’s even more interesting is how the film has aged incredibly well and seems timelier than it did in 1994.

Beverly Sutphin (Kathleen Turner) is a hoity-toity suburban mother who seemingly spends her days like June Cleaver. She makes the perfect breakfasts, keeps the perfect home, doesn’t allow gum chewing in the house and plays Barry Manilow’s “Daybreak” on a continuous loop. She’s married to a dentist (Sam Waterston) and has two kids in high school (Ricki Lake and Matthew Lillard in his first big screen role). The Sutphin household appears to be the suburban Stepford ideal, but little things are getting to Beverly, such as her daughter’s uncaring guy friend and her son’s teacher insisting the boy’s interest in horror movies is unhealthy. By the time Beverly’s shown making profanity laced prank calls to uptight neighbor Dottie Hinkle (Mink Stole), we know all is not as it seems. And then she just starts killing people without conscience (but with humor) – anyone she perceives to be a threat to her or her perfect family.

In the second half of the film, the satire really kicks in, and it’s there that the material is most relevant to today’s audience. Beverly is outed, arrested, and put on trial, where she inadvertently attains a celebrity status in Baltimore (where Waters always shoots and sets his films). Beverly becomes a hero to the masses and it’s easy to see why: She hates the annoying, clueless people we all detest, but comically takes her loathing a few steps further than we would. “Serial Mom” is a riot, and a hell of a lot funnier than much of what’s passed off as comedy these days. Amongst the extras on this disc are two separate commentaries – one with Waters flying solo is a repeat from the original DVD release, and the other a brand new track with Waters and Turner. Both are as much fun as the movie itself.

Click to buy “Serial Mom”

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