2009’s action horror comedy “Zombieland” is something of a cult classic, and while not exactly a masterpiece, it’s been admired in its own right for a decade. After many, many years, Columbia brings us a sequel that’s probably way too late. After fans demanded a sequel shortly after the release of the 2009 film, “Zombieland: Double Tap” finally graces us with the characters we love—and it does absolutely nothing new with them. It also doesn’t take us in to any kind of new area of Zombieland that we haven’t seen before, which ends in disappointing returns in a follow up with occasional bright spots.
The making of “Night of the Living Dead” 1990 has become one of the most fascinating movie making tales of all time. George Romero teamed up with friend Tom Savini to direct an official remake of his 1968 horror masterpiece. What Savini found was no end of interference, intrusion and creative stifling from the studio that funded the film. Despite excellent creativity and clever ideas to bring to the table, horror icon Savini was turned off from filmmaking for so many years, and he wasn’t able to deliver the film he actually wanted. Ironically, “Night…” 1990 is widely considered a top shelf remake of the original, and is argued to be superior to Romero’s by some horror buffs.
Allegedly recounting the grizzly child murders that took place in the Moors of Europe, “See No Evil: The Moors Murders” is a sluggishly paced dramatic thriller that is often too centered on character to ever actually concentrate on the murders behind Myra and Ian Bradley. Apart from its tedious pacing, the constant meandering from Writer Neil McKay and Directors Christopher Menaul, and Nicola Morrow turn the mini-series “See No Evil: The Moors Murders” into a trying, often tedious experience that frankly bored me out of my skull.
“Is it me… or is the world getting meaner?”
Bill Finger’s creation The Joker has remained one of the most fascinating figures in all of pop culture and comic books medium. Every new generation finds an angle upon which to examine the Joker and how he’s so much more than a simple Batman villain. It has fascinated artists for decades how someone can sink so far in to the murky depths of madness that they can’t even see the light anymore. Christopher Nolan set a high bar that director Todd Phillips almost touches with the ugly, grotesque, depressing and yet quite fantastic “Joker.”
In a year that nearly everyone across the board has admitted to being a weak one for films in general 2009’s “Survival of the Dead” continues to stand out among the mediocrity and abysmal for its sheer down to Earth storytelling in the saga of the Dead where Romero is completing a second chapter in his Dead franchise. We had “Night,” “Dawn,” “Day,” and “Land,” and now to fit in with modern society, Romero has restarted the whole premise and entire sensibility with “Diary,” and “Survival” showing the downfall of a world, now very dependent on technology and the world wide web. “Diary” is a movie that continues to be misunderstood.
So “Zombi 3” is technically “Zombi 2” while “Zombi 2” is technically “Zombi” if you cut out “Dawn of the Dead” which was renamed “Zombi.” It’s a confusing rabbit hole that goes so deep, you’ll pass out from the confusion. In either case, Bruno Mattei’s (Lucio Fulci’s? Claudio Fragrasso’s?) “Zombi 3” is one of those so bad it’s good zombie films that I didn’t hate. Maybe it’s because I didn’t have a history with it, but I kind of loved how aimless “Zombi 3” was with its zero plot, paper thin characters and the way it meanders back and forth.
Nelson McCormick’s “Prom Night” is not even technically a remake, at all. In fact most of the film doesn’t even take place during prom night. After drudging through an endless array of teen melodrama that was obviously only a lead up to the killing, director Nelson McCormack’s thriller seems to actively work at not being scary. Perhaps it’s to keep from offending the young audience to which this PG-13 snooze fest was touted to, but “Prom Night 2008” lacks any of the inherent terror the original film possessed, however minimal it is.