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Awix (3310 KP) rated Greed (2019) in Movies
Feb 24, 2020
The latest Coogan-Winterbottom collaboration is the kind of satire that draws blood, so it's lucky they have a note from the lawyers making it clear that it's absolutely and positively not based on the life of Sir Philip Green. A crass and amoral entrepreneur prepares for a lavish and decadent birthday celebration, in part to restore his image following some very bad publicity. Friends, family, and various hangers-on assemble; all does not go quite to plan - meanwhile, the ugly tale of the man's rise unfolds in flashback.
A friend initially demurred from seeing Greed, suggesting that he didn't need to see a movie to know how screwed up capitalism is - but I dragged him along anyway and we both enjoyed it. Mainly this is because it has a strong cast and a good script, although Steve Coogan is doing one of his comic grotesques and David Mitchell is basically just playing his usual comic persona under a different name. The shift from comedy to darker and more serious material as the film goes on is well handled, although you could argue the film is pushing it by attempting to be anti-capitalist, pro-feminist and pro-refugee all at the same time. Manages to be crowd-pleasing entertainment while scoring some serious points about the nature of the world in which we live. It may not teach you anything new, but it will probably make you care more about things you already know.
A friend initially demurred from seeing Greed, suggesting that he didn't need to see a movie to know how screwed up capitalism is - but I dragged him along anyway and we both enjoyed it. Mainly this is because it has a strong cast and a good script, although Steve Coogan is doing one of his comic grotesques and David Mitchell is basically just playing his usual comic persona under a different name. The shift from comedy to darker and more serious material as the film goes on is well handled, although you could argue the film is pushing it by attempting to be anti-capitalist, pro-feminist and pro-refugee all at the same time. Manages to be crowd-pleasing entertainment while scoring some serious points about the nature of the world in which we live. It may not teach you anything new, but it will probably make you care more about things you already know.
Ryan Hill (152 KP) rated Spider-Man (2002) in Movies
Jun 30, 2019
" With great power comes great responsibility"
One of the first movies to pave the groundwork for modern superhero flicks, Spider-Man is an incredibly fun & endlessly entertaining action-adventure that brings its web-slinging hero to life on the silver screen in a truly fascinating manner after spending nearly a quarter of a century in development hell and, with its record-breaking box office performance, acts as a precursor to an era when superheroes would dominate the summer box-office.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
Based on the Marvel Comics character of the same name, the story of Spider-Man follows Peter Parker; a high-school kid who after being bitten by a radioactive spider at a genetic laboratory begins to develop spider-like abilities and puts his new powers to good use by turning to crimefighting. Meanwhile, Norman Osborn experiments a power-enhancing drug on himself as a desperate attempt to preserve a military contract critical for his company's survival.
Directed by Sam Raimi, Spider-Man has all the ingredients of a summer blockbuster plus it benefits a lot from Raimi's dynamic filmmaking style that doesn't dwell on a single moment for far too long, keeps the story fresh, light-hearted & action-packed for the most part, plus never loses its initially-gained momentum. David Koepp's screenplay is no slouch either for it packs in a compelling plot & few interesting characters and the whole story is cheesy but well humoured.
The technical aspects are all brilliantly executed. Camerawork is excellent for the most part for the chosen angles, swift movements, slow-mo shots & warm colour palette are correctly employed. Editing provides a frenetic pace to its narrative, each moment has a role to play, and its 121 minutes of runtime simply flies by. Visual effects team makes use of both CGI & practical stuntwork and it's amazing just how well it has aged when compared to other effects-laden movies released back then.
Coming to the performances, Spider-Man packs in a very interesting cast in Tobey Maguire, Kirsten Dunst, James Franco, Willem Dafoe, J.K. Simmons & others, and many of them are pretty convincing in their given roles. Maguire does a terrific job under Raimi's supervision, Dafoe plays Norman Osborn with finesse but that Green Goblin suit is extremely off-putting, Simmons is a near-perfect rendition of J. Jonah Jameson from the comics while both Dunst & Franco do a fine job as Mary Jane Watson & Harry Osborn, respectively.
Also worthy of admiration is Danny Elfman's outstanding score that captures just the right tone & feel of your friendly neighbourhood Spider-Man's universe and brims with tracks that seamlessly integrate into the story. On an overall scale, Spider-Man may not seem as impressive today as it did back when it made its debut on the silver screen but it still remains one of the best offerings of its category and delivers a roller-coasted ride that's enjoyable, entertaining & highly satisfying. Spider-Man is a summer popcorn extravaganza right on the money.
KyleQ (267 KP) rated Halloween (2018) in Movies
Jul 20, 2020
I wanted to like it.
Ignoring every entry other than Carpenter's original, 2018's Halloween attempts to reboot the Franchise in anew direction.
Oddly enough, comedian Danny McBride was a writer, while director David Gordon Green (Pineapple Express) directed.
I blame much of my distaste on their overhyping it. They said this would be a slower movie focused on creating suspense ala the original.
In reality, this more than tripled the body count, even surpassing Rob Zombie's remake which was 10 minutes longer.
From the get-go, Michael just wanders about killing people, at one point we just follow him walking down a street randomly killing people. This has more senseless violence then Zombie's outings.
Another thing I didn't like was that, with this only following the original in which after escaping, he killed 4 people. It doesn't make sense that he would be this popular legend still talked about 40 years later.
Also, victims are idiots, it's no shock who gets killed. Honestly, Laurie (Jamie Lee Curtis) was the only likable character, and even she pushed it a bit.
For positives, Carpenter's score was great, I liked some of the camera work. Intro credits were cool, throwing back to the original. And Curtis was good returning as Laurie Strode.
I really wanted to like 2018's Halloween, but it lacked suspense, characters were dumb, it felt more like a senseless action/comedy than horror. This would've fit the Friday the 13th franchise better. I really hope that the sequels are better.
Oddly enough, comedian Danny McBride was a writer, while director David Gordon Green (Pineapple Express) directed.
I blame much of my distaste on their overhyping it. They said this would be a slower movie focused on creating suspense ala the original.
In reality, this more than tripled the body count, even surpassing Rob Zombie's remake which was 10 minutes longer.
From the get-go, Michael just wanders about killing people, at one point we just follow him walking down a street randomly killing people. This has more senseless violence then Zombie's outings.
Another thing I didn't like was that, with this only following the original in which after escaping, he killed 4 people. It doesn't make sense that he would be this popular legend still talked about 40 years later.
Also, victims are idiots, it's no shock who gets killed. Honestly, Laurie (Jamie Lee Curtis) was the only likable character, and even she pushed it a bit.
For positives, Carpenter's score was great, I liked some of the camera work. Intro credits were cool, throwing back to the original. And Curtis was good returning as Laurie Strode.
I really wanted to like 2018's Halloween, but it lacked suspense, characters were dumb, it felt more like a senseless action/comedy than horror. This would've fit the Friday the 13th franchise better. I really hope that the sequels are better.
Scott Tostik (389 KP) rated Hatchet (2006) in Movies
Jan 4, 2019 (Updated Jan 4, 2019)
Victor Crowley (Kane Hodder) (2 more)
Good blend of comedy and horror
Finally a ________er kill!!!!
SLASHER FANS REJOICE!!!!
Contains spoilers, click to show
Having seen this film in 2009 after a friend loaned ke his copy... Which i never returned... Because this movie is the "tits" ( watch Holliston to understand).
Epic performances from Joel David Moore, Dieon Richmond, Tamara Feldman and the always reliable killing machine, KANE FUCKING HODDER!!!!!
Sorry if I fanboy out about Kane... The man is a living legend of horror fandom. He is also one of the nicest, most genuinely thankful to his fans actor that i have ever had the pleasure of meeting.
Anyways... Back to the task at hand.
Hatchet starts off strong... Never taking it's foot of the pedal for even one split second.
You may thibk to yourself before watching this, "Oh great. Another empty plotted excuse for bare breasted women get hacked to pieces... Big whoopity do!!!"
But, friends, let me reassure you... You will never see some of the kills in this movie done with this much love for the game attitude as the ones brought to film by the mind of Adam Green.
Seeing an annoying wifes head torn in half with someones bare hands... A face smoothed off with a fucking belt sander... And... Finally Kane gets his hands on Robert Englund and tears him limb from limb...
This is and always will be my favorite horror debut of all time.
Keep an eye out for Candyman himself Mr. Tony Todd as Voodoo Shop proprieter Rev. Zombie.
I can not say enough good things about this movie. Once you view it... You will not be disappointed.
Victor Crowley = Slasher God.
Epic performances from Joel David Moore, Dieon Richmond, Tamara Feldman and the always reliable killing machine, KANE FUCKING HODDER!!!!!
Sorry if I fanboy out about Kane... The man is a living legend of horror fandom. He is also one of the nicest, most genuinely thankful to his fans actor that i have ever had the pleasure of meeting.
Anyways... Back to the task at hand.
Hatchet starts off strong... Never taking it's foot of the pedal for even one split second.
You may thibk to yourself before watching this, "Oh great. Another empty plotted excuse for bare breasted women get hacked to pieces... Big whoopity do!!!"
But, friends, let me reassure you... You will never see some of the kills in this movie done with this much love for the game attitude as the ones brought to film by the mind of Adam Green.
Seeing an annoying wifes head torn in half with someones bare hands... A face smoothed off with a fucking belt sander... And... Finally Kane gets his hands on Robert Englund and tears him limb from limb...
This is and always will be my favorite horror debut of all time.
Keep an eye out for Candyman himself Mr. Tony Todd as Voodoo Shop proprieter Rev. Zombie.
I can not say enough good things about this movie. Once you view it... You will not be disappointed.
Victor Crowley = Slasher God.
David McK (3232 KP) rated Batman: The Long Halloween in Books
Jan 30, 2019
Of all the Superhero's around, I personally think that Batman has the best Rogue's gallery of villains: Superman, for instance, has Lex Luthor And (to a lesser extent) General Zod, while Spiderman has, what, Green Goblin? Dr Octopus? Venom?
Batman, on the other hand (and purely off the top of my head): The Joker. The Penguin. Poison Ivy. The Riddler. Catwoman (on/off as a villain). Scarecrow. Bane. And Two-Face.
Admittedly, some of those characters are now more famous than they used to be before due to the various Batman films, with the last four (And the first) mentioned in my list all appearing in the more-recent Christopher Nolan 'Dark Knight' series of Batman films. Of that trilogy, the second movie concerned itself principally with two main villains: The Joker, and Harvey Dent (aka Two-Face) and, in particular, the circumstances that led District Attorney Dent to become Two-Face.
Those circumstances are also the subject of this graphic novel, which also has a foreword/introduction by the director and writer of 'The Dark Knight', Christopher Nolan and David Goyer, in which they acknowledge the huge debt their movie owes to this novel.
This is also commonly cited as one of the better Batman stories, and is set during the early days of Batman's crusade against criminality in Gotham - there's no Robin here, nor Oracle (well, there is, but only as a baby), for instance.
As such, it makes a good intro (IMO) into the Batman mythos, not far behind the futuristic The Dark Knight Returns or the early-set Year One.
Batman, on the other hand (and purely off the top of my head): The Joker. The Penguin. Poison Ivy. The Riddler. Catwoman (on/off as a villain). Scarecrow. Bane. And Two-Face.
Admittedly, some of those characters are now more famous than they used to be before due to the various Batman films, with the last four (And the first) mentioned in my list all appearing in the more-recent Christopher Nolan 'Dark Knight' series of Batman films. Of that trilogy, the second movie concerned itself principally with two main villains: The Joker, and Harvey Dent (aka Two-Face) and, in particular, the circumstances that led District Attorney Dent to become Two-Face.
Those circumstances are also the subject of this graphic novel, which also has a foreword/introduction by the director and writer of 'The Dark Knight', Christopher Nolan and David Goyer, in which they acknowledge the huge debt their movie owes to this novel.
This is also commonly cited as one of the better Batman stories, and is set during the early days of Batman's crusade against criminality in Gotham - there's no Robin here, nor Oracle (well, there is, but only as a baby), for instance.
As such, it makes a good intro (IMO) into the Batman mythos, not far behind the futuristic The Dark Knight Returns or the early-set Year One.
Movie Metropolis (309 KP) rated Halloween (2018) in Movies
Jun 10, 2019
A True successor to the original
Halloween 1978 and little-known director John Carpenter terrifies thousands of impressionable horror fans with the introduction of ‘The Shape’. Jamie Lee Curtis becomes the new ‘scream queen’ and all is well in the world of the slasher genre.
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
Chris Sawin (602 KP) rated Spiral (2007) in Movies
Jun 19, 2019
Mason isn't exactly your everyday joe. He's an artist. A sketcher and a painter, but he's also incredibly quiet and tends to keep to himself. He has an office job where he tries to sell car insurance, but he doesn't exactly fit in with others. His only friend(if that's what you want to call him) is Berkeley, the boss. Berkeley comes off like he cares about Mason, but his compassion is overshadowed by the fact that he's a prick. Things start looking up for Mason as he meets Amber. After seeing Mason's sketches and getting to know him a little better, she decides she wants him to paint her. Mason's...odd side starts to reveal itself as he won't let Amber see his sketches. "There are rules," he says, "You can't see it until it's done." As Amber gets closer to Mason, what can he be hiding? Why is he such an "enigma," as Amber put it? Why does he keep having disturbing dreams about another woman?
Where do I start? I actually really liked this. I was expecting to as Adam Green and Joel David Moore were both involved with Hatchet, which is a guilty pleasure of mine. While Hatchet is half comedy and half gorefest, Spiral is more of a dramatic thriller that builds towards the ending. Spiral, while being low budget, is shot in superb fashion. The way its shot is actually its charm. I love the way the camera gets shaky during the scenes where Mason seems like he's going to lose it or when he finally does. Joel David Moore is also in top form here. His talent truly shines in this role. Everything from his body language to the way he chomps his teeth when he gets nervous, he sucks you in. You wind up feeling sorry for Mason even though you know he's twisted in some way. Witnessing his character unveil how dark really is is just amazing. The other actor I was really impressed with was Zachary Levi. I wound up becoming a fan of his with Chuck, but I've never seen him like this. He's basically a prick with a heart(even though that side of him is really only shown to Mason). While his role is a little small, he's still able to steal a few scenes...especially in the last half of the film. The other element that really adds to the film is the jazz music used. It fits perfectly with Mason's personality. Jazz music accentuates Mason's insanity that nothing else could. I really have nothing bad to say about the film.
This may surprise a few people, but Spiral is actually quite enjoyable. The acting is top notch and it's written incredibly well. For a movie that went straight to DVD, it's quite surprising how good it actually is. Even if you hated Hatchet, you should give Spiral a chance as it's a completely different kind of film.
Where do I start? I actually really liked this. I was expecting to as Adam Green and Joel David Moore were both involved with Hatchet, which is a guilty pleasure of mine. While Hatchet is half comedy and half gorefest, Spiral is more of a dramatic thriller that builds towards the ending. Spiral, while being low budget, is shot in superb fashion. The way its shot is actually its charm. I love the way the camera gets shaky during the scenes where Mason seems like he's going to lose it or when he finally does. Joel David Moore is also in top form here. His talent truly shines in this role. Everything from his body language to the way he chomps his teeth when he gets nervous, he sucks you in. You wind up feeling sorry for Mason even though you know he's twisted in some way. Witnessing his character unveil how dark really is is just amazing. The other actor I was really impressed with was Zachary Levi. I wound up becoming a fan of his with Chuck, but I've never seen him like this. He's basically a prick with a heart(even though that side of him is really only shown to Mason). While his role is a little small, he's still able to steal a few scenes...especially in the last half of the film. The other element that really adds to the film is the jazz music used. It fits perfectly with Mason's personality. Jazz music accentuates Mason's insanity that nothing else could. I really have nothing bad to say about the film.
This may surprise a few people, but Spiral is actually quite enjoyable. The acting is top notch and it's written incredibly well. For a movie that went straight to DVD, it's quite surprising how good it actually is. Even if you hated Hatchet, you should give Spiral a chance as it's a completely different kind of film.
Scott Tostik (389 KP) rated Holliston in TV
Dec 17, 2017
Some good writing (2 more)
Great cast
What would happen if Friends met Hatchet in a dark alley
A horror/comedy series that leaves you begging for more
I love Adam Green!!!! The man has proven with this series that he can wear many hats in the industry. As can co-star Joe Lynch (director of Mayhem).
This show is everything a horror fan needs wrapped up in a 45 minute(first season) and 22 minute(second season) episodes. Some great dialogue and brilliant acting by co-stars Corri English (country band Brokedown Cadillac) and Laura Ortiz (The Hills Have Eyes remake) make this show easy to swallow and a fun time for even the mildest of horror watchers.
Don't forget some great guest appearances by Kane Hodder(Hatchet), Danielle Harris(Halloween 4 & 5), Derek Mears (Friday the 13th remake), Colton Dunn(hatchet 2), Ray Wise(Digging Up the Marrow and TV's Twin Peaks), Tony Todd(Candyman) and David Naughton(An American Werewolf in London) who all go to lengths to prove that horror is not the only genre they belong in.
Twisted Sister's Dee Snider is a series regular as Cable Station Managere Lance Rockett and provides the viewer with some great one liners and laugh filled on screen moments that can not be easily forgotten. Dave Brockie or Oderus Urungas as he was better known to metal fans as the lead singer of the band Gwar also appeared regularly as Adam's imaginary friend who lived in his closet and came out occasionally to give words of wisdom, advice and shots to the nuts. Sadly Dave lost his life in April of 2014 causing Adam to put the series on hold for the time being because of the death of his longtime friend.
Holliston is nothing short of brilliance to people who not only love the horror genre. it is nothing short of amazing. With laughs, scares and even a few tears shed during its brief interlude on Fearnet.com. This show will forever remain in my heart and mind as one of the best sitcom/horror shows I have ever watched. Give it a try people
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This show is everything a horror fan needs wrapped up in a 45 minute(first season) and 22 minute(second season) episodes. Some great dialogue and brilliant acting by co-stars Corri English (country band Brokedown Cadillac) and Laura Ortiz (The Hills Have Eyes remake) make this show easy to swallow and a fun time for even the mildest of horror watchers.
Don't forget some great guest appearances by Kane Hodder(Hatchet), Danielle Harris(Halloween 4 & 5), Derek Mears (Friday the 13th remake), Colton Dunn(hatchet 2), Ray Wise(Digging Up the Marrow and TV's Twin Peaks), Tony Todd(Candyman) and David Naughton(An American Werewolf in London) who all go to lengths to prove that horror is not the only genre they belong in.
Twisted Sister's Dee Snider is a series regular as Cable Station Managere Lance Rockett and provides the viewer with some great one liners and laugh filled on screen moments that can not be easily forgotten. Dave Brockie or Oderus Urungas as he was better known to metal fans as the lead singer of the band Gwar also appeared regularly as Adam's imaginary friend who lived in his closet and came out occasionally to give words of wisdom, advice and shots to the nuts. Sadly Dave lost his life in April of 2014 causing Adam to put the series on hold for the time being because of the death of his longtime friend.
Holliston is nothing short of brilliance to people who not only love the horror genre. it is nothing short of amazing. With laughs, scares and even a few tears shed during its brief interlude on Fearnet.com. This show will forever remain in my heart and mind as one of the best sitcom/horror shows I have ever watched. Give it a try people
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Gareth von Kallenbach (971 KP) rated Joe (2014) in Movies
Aug 6, 2019
So, officially … spring is here although it still feels like winter to your friendly
neighborhood freelance photographer but according to the calendar it’s spring.
Another indicator that it might be spring? Nicolas Cage has a new film out.
Seriously, he does .. and it’s actually a dark, heavy-duty drama.
‘Joe’ is based on the 1991 novel of the same name written by author Larry Brown.
Directed by David Gordon Green who’se credits include comedies like 2008’s
‘Pineapple Express’ and the HBO t.v. series ‘Eastbound & Down’ … ‘Joe’is certainly
no comedy.
Starring Nicolas Cage, Tye Sheridan, and Ronnie Gene Belvins ‘Joe’ is a dark, gritty
film that tells the story of Joe Ransom. An angry ex-con who befriends Gary, a teenager
from an abusive, broken home who approaches Joe looking for work with his ‘tree poinsoning’
crew. Impressed by Gary’s stubborness and determination Joe gives him a job (and later
his truck) and attempts to set Gary on ‘the right path’ and becomes an unlikely rolemodel
for him. At home though, Gary’s family life is slowly spiraling at of control due to
his alcholic father and the situation points to a dark, violent confrontation.
I can honestly say that this is one of Nic Cage’s best and ‘sincere’ performances in a
while and due to the darkness of the film, it will most likely go unrecognized. The film
doesn’t hold back. It’s in-your-face, gritty, and violent. The minute you don’t think it
can get more disturbing, it does just that. As the viewer, the experience was like an
old-fashioned pinball machine only you, the viewer, ARE the pinball.
I don’t recommend this as a ‘date movie’ but if you like Nicolas Cage’s work and you’re
looking for a good drama, this is defintely one to see. If this movie is any indication,
I imagine it won’t be too long before Nic Cage has another great performance under his belt
so keep an eye out. ‘Joe’ is rated ‘R’ and you can catch it in theaters on April 11th.
I give the film 4 out of 5 stars.
neighborhood freelance photographer but according to the calendar it’s spring.
Another indicator that it might be spring? Nicolas Cage has a new film out.
Seriously, he does .. and it’s actually a dark, heavy-duty drama.
‘Joe’ is based on the 1991 novel of the same name written by author Larry Brown.
Directed by David Gordon Green who’se credits include comedies like 2008’s
‘Pineapple Express’ and the HBO t.v. series ‘Eastbound & Down’ … ‘Joe’is certainly
no comedy.
Starring Nicolas Cage, Tye Sheridan, and Ronnie Gene Belvins ‘Joe’ is a dark, gritty
film that tells the story of Joe Ransom. An angry ex-con who befriends Gary, a teenager
from an abusive, broken home who approaches Joe looking for work with his ‘tree poinsoning’
crew. Impressed by Gary’s stubborness and determination Joe gives him a job (and later
his truck) and attempts to set Gary on ‘the right path’ and becomes an unlikely rolemodel
for him. At home though, Gary’s family life is slowly spiraling at of control due to
his alcholic father and the situation points to a dark, violent confrontation.
I can honestly say that this is one of Nic Cage’s best and ‘sincere’ performances in a
while and due to the darkness of the film, it will most likely go unrecognized. The film
doesn’t hold back. It’s in-your-face, gritty, and violent. The minute you don’t think it
can get more disturbing, it does just that. As the viewer, the experience was like an
old-fashioned pinball machine only you, the viewer, ARE the pinball.
I don’t recommend this as a ‘date movie’ but if you like Nicolas Cage’s work and you’re
looking for a good drama, this is defintely one to see. If this movie is any indication,
I imagine it won’t be too long before Nic Cage has another great performance under his belt
so keep an eye out. ‘Joe’ is rated ‘R’ and you can catch it in theaters on April 11th.
I give the film 4 out of 5 stars.