I’ll likely piss off some readers, especially horror fans, when I say the slasher genre has pretty much been dead for the last two decades. It has been one of the weakest and most under-utilized subgenres of horror film lore, and looking back, it’s been nothing more than remakes, sequels to remakes and cookie-cutter, cliché-riddled schlock.
Drafthouse Films has released a trailer for Joshua Oppenheimer’s The Look of Silence, his follow-up to the Oscar nominated documentary The Act of Killing, which looks at the Indonesian genocide which left over a million people dead at the hands of kill
Sean Bean has been announced as the latest addition to Ridley Scott’s upcoming sci-fi flick The Martian, which also stars a slew of big name talent including Matt Damon, Jeff Daniels, Jessica Chastain, Kate Mara, Michael Peña, and Kristen Wiig.
Deadline reports that Warner Bros. and New Line have decided to push back the release of The Conjuring 2 from October 23, 2015 to sometime in 2016. With the huge success of the first Conjuring along with the decent sales of
Here Comes the Night has the hallmarks of do-it-yourself filmmaking. It was written and produced by directors Pete Shanel and Peter Kline as well as the film’s principal actors, Ben Duhl and Kurt Haas. The result is nearly 90 minutes of what amounts to the beginning of a film; that is, there is a premise that is never fully explored or realized. Duhl and Haas create likeable characters who might have something to say in a bigger universe than the one they inhabit on the streets of Los Angeles.
It was announced today the Tribeca and Lionsgate are partnering up to deliver a new subscription-based VOD service that will offer up a collection of curated titles from both companies. This marks the latest in a recent batch of SVOD services, with
Think back on the last movie you watched. Where and how did you watch it? On your laptop? On your phone? On Blu-ray or DVD? In a movie theatre? Regardless of how films are ultimately distributed they are always meant to be seen on the big screen with an audience. Good or bad, ultra-low or sky-high budgeted, recent release or over a century old, movies were meant for movie theaters. When films are out of circulation that is where the repertoire theaters come in. Revival theaters, as they are also referred to as, screen films that are no longer in circulation. Often these theaters will screen a film in whatever format is available to them, on film, via Digital Cinema Package (DCP) or even off a blu-ray if necessary. Nearly all the films screened are readily available on some home format. So this begs the question, why would you want to see something in a theatre when you can just watch it in the comfort of your own home? Julia Marchese’s entertaining documentary looks to answer that question and more as she examines the revival cinema culture, film preservation and the palpable impact of recent developments in film exhibition.
Who doesn’t love a good monster movie?
The creature feature. It’s a genre that hasn’t received much attention as of late. In the last decade, horror movies have primarily focused on crazed killers, self-mutilation, supernatural entities and recently unearthed, never-before-seen footage. Every now and then genre fans would love nothing more than to see a good old-fashioned monster movie.
If you were a fan of HBO’s True Blood but found it desperately lacking in its lycanthropic side, then David Hayter’s Wolves is for you. Although it has decidedly fewer fairies and moody goth vampires, it does have plenty of burly biker werewolves and plenty of silly drama. This is a B movie to be sure, but the forgettable characters and action beats make this pup feel slightly neutered.
One of the most intriguing aspects to Alex Ross Perry’s Listen Up Philip will most assuredly be looked at as the biggest point of contention in the film. Although its central character, Philip (Jason Schwartzman), is featured prominently within the first and last acts, the middle of the movie detaches itself from him, resulting in an interesting narrative structure that will fascinate some and leave others disenchanted.
I’ll be the first to admit I didn’t like Gregory Dark’s 2006 horror-thriller See No Evil. While it introduced a new crazed psychopath, Jacob Goodnight, to genre fans, it didn’t leave much of an impression. The film arrived when torture-porn horror films were beginning to reach their peak. Films like Saw and Hostel were pushing the envelope in terms of what horror films can get away with or even show. At the time, the genre became more about shock, blood and just how brutal and gross can you get. After a while you can become so desensitized that it becomes boring. That pretty much summed up my opinion of the original – all shock and brutality and little substance – to the point it was forgotten. It’s 2014 and here comes See No Evil 2, and much to this viewer’s surprise, it’s better than the original and is a pretty well made slasher film.
Horror-comedy is a genre that you seldom see much from nowadays. In recent years you’d have to look to films like Shaun of the Dead, Slither or Zombieland to deliver the shrieks and guffaws. The genre’s offerings can take many forms, such as flat-out parodies (like the Scary Movie franchise), self-aware films that scare you while letting you in on the joke (like the Scream series) or films that deliver exactly what the title promises (like Killer Klowns from Outer Space).