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LeftSideCut (3778 KP) rated A Nightmare on Elm Street (1984) in Movies
Jul 4, 2021
80s horror is its own unique thing, and nothing quite encapsulates the era as well as A Nightmare On Elm Street. Another series that spawned a whole bunch of sequels, the original holds the crown, and still stands the test of time.
For one, iconic slasher villain Freddy Krueger is a scary motherfucker here. There are glimpses of the more comedic elements that would encompass his personality in later entries, but here, for the most part, he's a no nonsense, nasty SOB. Of course Robert Englund relishes in his role, and it's hard to see anyone else effectively filling his shoes.
Opposite Freddy is Nancy Thompson (a fantastic Heather Langenkamp), a well written and hugely likable final girl, a final girl who rivals Laurie Strode in the pantheon of horror protagonists.
The premise of ANOES is wonderfully simple. Don't fall asleep. This film scared the living shit out of me when I was a young teenager. Wes Craven was extremely successful in doing for sleep what Jaws did for swimming in the ocean. As an adult, it's less scary sure, but still makes me feel uneasy. This is thanks to a wonderfully creepy score by Charles Bernstein, and the of course, the incredibly executed, and imaginative kill scenes. The gory moments are paced out nicely, and hit hard when they arrive. The first kill in particular is a solid all timer, and then the infamous scene where Johnny Depp meets his demise is so otherworldly. It really drives home the near impossible odds that the good guys are facing.
ANOES is obviously a genre classic, and I personally think it just gets better with age. One of the all time greats, from one of the all time greats.
For one, iconic slasher villain Freddy Krueger is a scary motherfucker here. There are glimpses of the more comedic elements that would encompass his personality in later entries, but here, for the most part, he's a no nonsense, nasty SOB. Of course Robert Englund relishes in his role, and it's hard to see anyone else effectively filling his shoes.
Opposite Freddy is Nancy Thompson (a fantastic Heather Langenkamp), a well written and hugely likable final girl, a final girl who rivals Laurie Strode in the pantheon of horror protagonists.
The premise of ANOES is wonderfully simple. Don't fall asleep. This film scared the living shit out of me when I was a young teenager. Wes Craven was extremely successful in doing for sleep what Jaws did for swimming in the ocean. As an adult, it's less scary sure, but still makes me feel uneasy. This is thanks to a wonderfully creepy score by Charles Bernstein, and the of course, the incredibly executed, and imaginative kill scenes. The gory moments are paced out nicely, and hit hard when they arrive. The first kill in particular is a solid all timer, and then the infamous scene where Johnny Depp meets his demise is so otherworldly. It really drives home the near impossible odds that the good guys are facing.
ANOES is obviously a genre classic, and I personally think it just gets better with age. One of the all time greats, from one of the all time greats.
Kim Pook (101 KP) rated The Woman in the Window (2021) in Movies
Jul 26, 2021
A woman, Anna, wakes up and we get a view around her home, followed by a conversation with her daughter and her husband. We see her watching her neighbours before engaging in a therapy session. It is soon clear that Anna has problems. She has attempted suicide, has a drinking problem and is agrophobic meaning she is too scared to leave the house.
One evening her new neighbours son Ethan, comes over to introduce himself and they get talking, but something is worrying him. The next day his judgemental mum, Jane, comes over after Anna's House is egged on Halloween and they also get talking, but she is worried about her son and husband. That same evening, the husband comes over asking her if his family had come to see her, she lies and says no.
One evening whilst in the bath, Anna hears a scream coming from her new neighbours house, she speaks to Ethan who is clearly distraught but won't say why. Then whilst watching them again, she witnesses a brutal crime where a Russell family member is stabbed, but when she reports it nobody believes her, so she decides to try and find out what happened, which isn't going to be easy for someone with agrophobic.
I want to say I have never seen a movie like this before, and in truth I haven't, but I have seen a very similar storyline on the simpsons, when Bart thinks ned flanders has killed maude, it even plays out in a similar way.
It was an interesting movie though, with so many twists that I didn't see coming and it kept me interested right to the end. I did feel the end wasn't In keeping with the tone of the movie though, it started off like a psychological thriller but ended like a teen Slasher.
One evening her new neighbours son Ethan, comes over to introduce himself and they get talking, but something is worrying him. The next day his judgemental mum, Jane, comes over after Anna's House is egged on Halloween and they also get talking, but she is worried about her son and husband. That same evening, the husband comes over asking her if his family had come to see her, she lies and says no.
One evening whilst in the bath, Anna hears a scream coming from her new neighbours house, she speaks to Ethan who is clearly distraught but won't say why. Then whilst watching them again, she witnesses a brutal crime where a Russell family member is stabbed, but when she reports it nobody believes her, so she decides to try and find out what happened, which isn't going to be easy for someone with agrophobic.
I want to say I have never seen a movie like this before, and in truth I haven't, but I have seen a very similar storyline on the simpsons, when Bart thinks ned flanders has killed maude, it even plays out in a similar way.
It was an interesting movie though, with so many twists that I didn't see coming and it kept me interested right to the end. I did feel the end wasn't In keeping with the tone of the movie though, it started off like a psychological thriller but ended like a teen Slasher.
LeftSideCut (3778 KP) rated Friday the 13th Part V: A New Beginning (1985) in Movies
Nov 29, 2020
Part V of the Friday the 13th franchise is an absolute blast, and no one can tell me otherwise. Is it silly? Definitely. Does it go overboard with its goofy characters a little too often? Damn right it does (pretty sure someone gets called "a dildo" at one point) Are there better Friday films out there? Yes sir, but none of this stops the fact that Part V is a decent, entertaining, smack bang middle of the 80s slasher.
The killer this time around isn't Jason Voorhees, even if it is only by name, and this "mystery" surrounding the killers identity achieves two things - 1. It adds a whodunnit element to the series, otherwise only ever seen in the original and 2. It keeps the killer offscreen for most of the runtime, saving budget costs by not showing much in terms of kills (although that belt against the tree death is a doozy). This results in a less gory sequel, especially after the more brutal Part IV, but it's not a big issue. The whole thing almost feels like an R-Rated episode of Scooby-Doo. The reveal of the killer is definitely weak though. Not enough set up means and underwhelming payoff.
There are soooooooo many characters in this. I swear there are still new ones being introduced up until the last 20 minutes, and they're all just body count fodder for "Jason". Not necessarily a bad thing, pretty standard practice by now. I did like little Reckless Reggie. That dude is awesome. Way more awesome than Tommy Jarvis, who is just a whiny bitch for the whole runtime. Thankfully Thom Mathews is just around the corner.
It's not the best Friday movie, but far from being the worst. As far as 80s slashers go, it's damn good time.
The killer this time around isn't Jason Voorhees, even if it is only by name, and this "mystery" surrounding the killers identity achieves two things - 1. It adds a whodunnit element to the series, otherwise only ever seen in the original and 2. It keeps the killer offscreen for most of the runtime, saving budget costs by not showing much in terms of kills (although that belt against the tree death is a doozy). This results in a less gory sequel, especially after the more brutal Part IV, but it's not a big issue. The whole thing almost feels like an R-Rated episode of Scooby-Doo. The reveal of the killer is definitely weak though. Not enough set up means and underwhelming payoff.
There are soooooooo many characters in this. I swear there are still new ones being introduced up until the last 20 minutes, and they're all just body count fodder for "Jason". Not necessarily a bad thing, pretty standard practice by now. I did like little Reckless Reggie. That dude is awesome. Way more awesome than Tommy Jarvis, who is just a whiny bitch for the whole runtime. Thankfully Thom Mathews is just around the corner.
It's not the best Friday movie, but far from being the worst. As far as 80s slashers go, it's damn good time.
LeftSideCut (3778 KP) rated Friday the 13th Part VIII: Jason Takes Manhattan (1989) in Movies
Jan 11, 2021
Maybe I'm a little numb to this franchise being bad in anyway at this point, because I low key loved this. It's unencumbered nonsense, but dammit it's entertaining.
That title is misleading too. It should be called "Friday the 13th Part VIII: Jason on a boat, and then fucking around in a Manhattan sewer tunnel" but I absolutely commend the makers for trying something different with a new location. Jason on a cruise ship is actually a pretty neat visual.
This franchise has always been campy (pun fully intended) but Part VIII does really dial it up. Everything is so painfully 80s and over the top that not even Jason feel intimidating, which is doubly as frustrating considering Kane Hodder is back for another turn.
On top of this, the series strays even further from the formula of having at least one likable protagonist, with every character here just being plain unmemorable (apart from the boxing dude, that guy deserves all the praise for taking Jason on with his bare hands).
To drive the final nails into the coffin, the gore is once again really toned down, the make up effects on Jason's unmasked face are atrociously bad (his face looks like a soggy and battered piece of toast) which is a real shame after how fucking dope he looks in Part VII, and finally and arguably most importantly, this is the only entry in the core series that isn't scored by Harry Manfredini, which is just heresy in my book.
Despite all this, I still find Part VIII weirdly entertaining and enjoyable. Its doesn't get boring and should be watched knowing what's about to unfold - a tongue in cheek, 80s as balls silly slasher that has at least two instances of a girl doing extended electric guitar solos - it's better than Part III, fight me.
That title is misleading too. It should be called "Friday the 13th Part VIII: Jason on a boat, and then fucking around in a Manhattan sewer tunnel" but I absolutely commend the makers for trying something different with a new location. Jason on a cruise ship is actually a pretty neat visual.
This franchise has always been campy (pun fully intended) but Part VIII does really dial it up. Everything is so painfully 80s and over the top that not even Jason feel intimidating, which is doubly as frustrating considering Kane Hodder is back for another turn.
On top of this, the series strays even further from the formula of having at least one likable protagonist, with every character here just being plain unmemorable (apart from the boxing dude, that guy deserves all the praise for taking Jason on with his bare hands).
To drive the final nails into the coffin, the gore is once again really toned down, the make up effects on Jason's unmasked face are atrociously bad (his face looks like a soggy and battered piece of toast) which is a real shame after how fucking dope he looks in Part VII, and finally and arguably most importantly, this is the only entry in the core series that isn't scored by Harry Manfredini, which is just heresy in my book.
Despite all this, I still find Part VIII weirdly entertaining and enjoyable. Its doesn't get boring and should be watched knowing what's about to unfold - a tongue in cheek, 80s as balls silly slasher that has at least two instances of a girl doing extended electric guitar solos - it's better than Part III, fight me.
LeftSideCut (3778 KP) rated My Bloody Valentine 3-D (2009) in Movies
Jan 13, 2021
One of the avalanche of classic horror remakes to surface during the 00s, My Bloody Valentine (in "spectacular" 3D of course) isn't the worst of them by a long shot, but it still suffers from the soul-less-ness that the majority of them seem all to keen to pack in.
Its certainly more action packed and gory than it's 80s older sibling. The violence on display packs a punch for sure, some of it looks great, some of its looks terrible. The Harry Warden killer, much like the Michaels and Jasons of this remake era, is more of a machine than before. Relentless, brutal, faster, and pretty intimidating as far as these things go. It also packs in a fair amount of character development, which is a nice touch that gives the whole narrative some much needed gravitas, and the cast all do a good job with the by-the-numbers slasher-remake screenplay, with highlights being Jaime King and the ever reliable Tom Atkins.
You know how these things go though, and the simple fact is that this do over isn't as good as the original. It lacks the realness and charm (there's that word again) that the original had. There's a twist near the end that is designed to pull the rug out from under fans of the original, and it's actually a pretty interesting one, albeit executed poorly, and requires the viewer to really suspend disbelief in order to glaze over some gaping plot holes.
All in all, it's gory and fun enough to easily pass a couple of hours, and manages to feel like a homage to the original, rather than a straight up copy, and that I can respect, but ultimately, it's not a strong argument for the case of remakes.
Its certainly more action packed and gory than it's 80s older sibling. The violence on display packs a punch for sure, some of it looks great, some of its looks terrible. The Harry Warden killer, much like the Michaels and Jasons of this remake era, is more of a machine than before. Relentless, brutal, faster, and pretty intimidating as far as these things go. It also packs in a fair amount of character development, which is a nice touch that gives the whole narrative some much needed gravitas, and the cast all do a good job with the by-the-numbers slasher-remake screenplay, with highlights being Jaime King and the ever reliable Tom Atkins.
You know how these things go though, and the simple fact is that this do over isn't as good as the original. It lacks the realness and charm (there's that word again) that the original had. There's a twist near the end that is designed to pull the rug out from under fans of the original, and it's actually a pretty interesting one, albeit executed poorly, and requires the viewer to really suspend disbelief in order to glaze over some gaping plot holes.
All in all, it's gory and fun enough to easily pass a couple of hours, and manages to feel like a homage to the original, rather than a straight up copy, and that I can respect, but ultimately, it's not a strong argument for the case of remakes.
Gareth von Kallenbach (980 KP) rated Happy Death Day (2017) in Movies
Jul 11, 2019
Using familiar themes can be a risk. What we have seen in previous films that define a style, becomes cliché and bores the audience. Then there are times when movies turn the trope on its head and gives us a clever take on the familiar. Christopher Landon (Scout’s Guide To The Zombie Apocalypse) has directed a fun romp in suspense and horror. Yes, there is the blatant reference to Groundhog Day, but this film is definitely a homage to John Carpenter, the master of the genre.
We know from the trailer that this is a horror/suspense loop and there are expectations set in this type of film. The young, attractive, woman, stalked by an unknown, masked assailant with a penchant for cutlery. As we know, Tree (Jessica Rothe) gets killed repeatedly on her birthday. We know it’s a slasher flick, expecting to see lots of blood and gore. Putting the main character in a time loop is definitely a twist in the storytelling.
Using repetition in film can be a tricky, stalling the momentum of the film. There was a moment during where I wondered when the loop would end, creating the feeling of hopelessness. It is at that time where Tree’s through process shifts and we travel with her in this never ending day. It takes a few times in the loop for Tree’s character to become enlightened She does figure out that each return is a do-over, an opportunity to make different choices.
The film also tips it’s hat to the college/high school, mean girl movies and definitely a nod to John Hughes Sixteen Candles. It had humor, wit and clever character development, I certainly did not expect to enjoy the film as much as I did. I would definitely watch it again to catch all of the references.
We know from the trailer that this is a horror/suspense loop and there are expectations set in this type of film. The young, attractive, woman, stalked by an unknown, masked assailant with a penchant for cutlery. As we know, Tree (Jessica Rothe) gets killed repeatedly on her birthday. We know it’s a slasher flick, expecting to see lots of blood and gore. Putting the main character in a time loop is definitely a twist in the storytelling.
Using repetition in film can be a tricky, stalling the momentum of the film. There was a moment during where I wondered when the loop would end, creating the feeling of hopelessness. It is at that time where Tree’s through process shifts and we travel with her in this never ending day. It takes a few times in the loop for Tree’s character to become enlightened She does figure out that each return is a do-over, an opportunity to make different choices.
The film also tips it’s hat to the college/high school, mean girl movies and definitely a nod to John Hughes Sixteen Candles. It had humor, wit and clever character development, I certainly did not expect to enjoy the film as much as I did. I would definitely watch it again to catch all of the references.
Gareth von Kallenbach (980 KP) rated Wish Upon (2017) in Movies
Jul 11, 2019
We often wonder what wishes we would cast if given the opportunity. We think of the riches, second chances, and various selfish or generous choices we would make. In Wish Upon, we bear witness to how this plays out for one teenage girl.
Wish Upon stars Ryan Phillippe as a widowed father to a teen daughter, Clare, played by Joey King (Ramona and Beezus). Working as a salvager, he comes across an antique Chinese Box that he gives to her for her birthday. Clare quickly understands that the box has the ability to grant wishes, but her limited understanding of Chinese prevents her from being able to decipher all of the characters on it which reveal an all important disclaimer: each wish will result in the death of someone you know.
The film is ambitious with its premise yet falls flat in its execution. What seemed to be a promising mix of The Box and Final Destination, resulted in an uninspiring teen thriller that, at times, seemed more slapstick than a film that would grab your attention and fill its viewers with anxiety and tension. Wish Upon checks off many of the cliché boxes with respect to their storytelling and interactions between characters and provides little originality.
Wish Upon misses the mark in not finding an identity. It jumps from being a slasher, to being a teen comedy, to being a romance. This would not be problematic if it incorporated all of these facets into creating a film that takes advantage of these aspects, but it does little to allow for the story to seem as one that would be memorable. Wish Upon will leave audiences wishing they had made a different choice at the box office.
Wish Upon stars Ryan Phillippe as a widowed father to a teen daughter, Clare, played by Joey King (Ramona and Beezus). Working as a salvager, he comes across an antique Chinese Box that he gives to her for her birthday. Clare quickly understands that the box has the ability to grant wishes, but her limited understanding of Chinese prevents her from being able to decipher all of the characters on it which reveal an all important disclaimer: each wish will result in the death of someone you know.
The film is ambitious with its premise yet falls flat in its execution. What seemed to be a promising mix of The Box and Final Destination, resulted in an uninspiring teen thriller that, at times, seemed more slapstick than a film that would grab your attention and fill its viewers with anxiety and tension. Wish Upon checks off many of the cliché boxes with respect to their storytelling and interactions between characters and provides little originality.
Wish Upon misses the mark in not finding an identity. It jumps from being a slasher, to being a teen comedy, to being a romance. This would not be problematic if it incorporated all of these facets into creating a film that takes advantage of these aspects, but it does little to allow for the story to seem as one that would be memorable. Wish Upon will leave audiences wishing they had made a different choice at the box office.
Andy K (10821 KP) rated Prom Night (1980) in Movies
Sep 19, 2019
Halloween 1.5
Fairly forgettable slasher/horror film with a lot of similarities to the original Halloween which had been released only 2 years earlier also starring Jamie Lee Curtis. Maybe at the time, all the now predictable horror cliches had not been overdone as they have been these days, but it was still mostly a bore.
After several children murder another girl in an abandoned building, they decide to keep their crime as a secret. Years later the children are now in high school when a mysterious stranger now decides to look them up and make them pay for the dastardly deed. They don't notice subtle clues immediately as the stranger starting calling them with his "spooky voice". The night of the prom is different though, as he decides to take his revenge on them one at a time after there is plenty of disco dancing of course.
Were audiences easier to please back in 1980? Clearly this was a cash grab of a film coming right on the heels of a much better ground breaking entry into the horror genre. This killer is pretty boring in comparison to others even of the same time period. No Captain Kirk or hockey masks here. The guy just wears all black with a black ski mask.
The soundtrack of disco tunes and the prom dancing scene with Jamie Lee strutting her stuff with her date was the highlight for me. It was also funny, yet not funny to see Leslie Nielsen in a dramatic role. It's hard to believe his career would change forever the same year when Airplane! was released.
I would pass if I were you.
After several children murder another girl in an abandoned building, they decide to keep their crime as a secret. Years later the children are now in high school when a mysterious stranger now decides to look them up and make them pay for the dastardly deed. They don't notice subtle clues immediately as the stranger starting calling them with his "spooky voice". The night of the prom is different though, as he decides to take his revenge on them one at a time after there is plenty of disco dancing of course.
Were audiences easier to please back in 1980? Clearly this was a cash grab of a film coming right on the heels of a much better ground breaking entry into the horror genre. This killer is pretty boring in comparison to others even of the same time period. No Captain Kirk or hockey masks here. The guy just wears all black with a black ski mask.
The soundtrack of disco tunes and the prom dancing scene with Jamie Lee strutting her stuff with her date was the highlight for me. It was also funny, yet not funny to see Leslie Nielsen in a dramatic role. It's hard to believe his career would change forever the same year when Airplane! was released.
I would pass if I were you.
LeftSideCut (3778 KP) rated Wes Craven's New Nightmare (1994) in Movies
Nov 2, 2021
Off the bat, New Nightmare is a veritable treat for fans of A Nightmare on Elm Street. Six films deep, the cold hard fact is that this series had become so far removed from what it once was, for better or for worse, and this 7th entry into the franchise provided the shake up so sorely needed. It's meta as hell, taking place in the "real world" where ANOES is just a movie. It's a fun slasher that sees the beloved series bleeding over into reality, when an evil entity begins to terrorize the actual Heather Langenkamp, posing as the ever popular Freddy Krueger.
This whole premise is just great. The dialogue can be a bit on the nose sometimes, but it's honestly forgivable, considering that Wes Craven was trying to out-Scream himself before Scream even existed. Craven himself appears alongside the likes of Robert Englund and producer Rob Shaye as themselves. Krueger himself is thankfully a scary bastard once again. This version doesn't have time for quips or shenanigans, instead opting for general terrorising and murder (a particular highlight riffs on the infamous ceiling kill from the original, but adds to it in the best way) and is probably the scariest version of Freddy since the first two movies.
The plot is clever in its way that it connects back to the original 84 story, and deserves all the credit for having the balls to take the series in a new direction. It deserves bonus points for the commitment to using practical effects
New Nightmare is a wonderful example of what a somewhat stale series should do next, and further cements just how important Wes Craven was to the genre. It's an ambitious sequel that earns it status as a fan favourite.
This whole premise is just great. The dialogue can be a bit on the nose sometimes, but it's honestly forgivable, considering that Wes Craven was trying to out-Scream himself before Scream even existed. Craven himself appears alongside the likes of Robert Englund and producer Rob Shaye as themselves. Krueger himself is thankfully a scary bastard once again. This version doesn't have time for quips or shenanigans, instead opting for general terrorising and murder (a particular highlight riffs on the infamous ceiling kill from the original, but adds to it in the best way) and is probably the scariest version of Freddy since the first two movies.
The plot is clever in its way that it connects back to the original 84 story, and deserves all the credit for having the balls to take the series in a new direction. It deserves bonus points for the commitment to using practical effects
New Nightmare is a wonderful example of what a somewhat stale series should do next, and further cements just how important Wes Craven was to the genre. It's an ambitious sequel that earns it status as a fan favourite.
LeftSideCut (3778 KP) rated Hellraiser III: Hell on Earth (1992) in Movies
Jan 8, 2022
Hellraiser III is undoubtedly an odd beast. It feels so out of touch with the genuinely fantastic first two films, to the point where it should be a massive shot in the foot, but somehow, it's ludicrously entertaining.
The big and obvious potential for error is the series' infamous antagonist/anti-hero Pinhead. I say anti-hero because the first two films don't portray him as a flat out villain. He's rather, an indifferent creature, who acts with some sort of honour. Hell on Earth just goes full blown bad guy, aligning him more accurately with slasher villains of the 80s. It's proves to be a hinderence in execution, replacing the mysterious and sparingly shown Pinhead of before with one that throws out an evil cackle whilst slaughtering his victims, and even provides a couple of quips. He gets some cool lines here and there but it leans too heavily into occasionally goofy over-exposure.
The other cenobites that surround him are kind of lame this time around as well, even if there's a weird enjoyment in watching one of them slice up innocent bystanders by throwing CDs at their faces.
The story kind of makes sense, and it's commitment to staying connected to the previous films is commendable, but it does completely fall off the rails near the end. It doesn't help that the editing is so jarring between scenes.
In spite of these issues, the overall experience is a lot of fun. It lacks the subtlety and borderline arthouse style that really set the first two apart, but it still kind of works. It's not ideal, but intriguing, kind of like an oddball cousin that might visit now and again.
The big and obvious potential for error is the series' infamous antagonist/anti-hero Pinhead. I say anti-hero because the first two films don't portray him as a flat out villain. He's rather, an indifferent creature, who acts with some sort of honour. Hell on Earth just goes full blown bad guy, aligning him more accurately with slasher villains of the 80s. It's proves to be a hinderence in execution, replacing the mysterious and sparingly shown Pinhead of before with one that throws out an evil cackle whilst slaughtering his victims, and even provides a couple of quips. He gets some cool lines here and there but it leans too heavily into occasionally goofy over-exposure.
The other cenobites that surround him are kind of lame this time around as well, even if there's a weird enjoyment in watching one of them slice up innocent bystanders by throwing CDs at their faces.
The story kind of makes sense, and it's commitment to staying connected to the previous films is commendable, but it does completely fall off the rails near the end. It doesn't help that the editing is so jarring between scenes.
In spite of these issues, the overall experience is a lot of fun. It lacks the subtlety and borderline arthouse style that really set the first two apart, but it still kind of works. It's not ideal, but intriguing, kind of like an oddball cousin that might visit now and again.