It’s hard to re-imagine or re-think the zombie movie, especially in the times where just about everyone has thought of everything. Director Il Cho’s “#Alive” is basically the sequel that “Train to Busan,” should have been, “#Alive” is such a great mix of “28 Days Later,” “The Night Eats the World,” and “Dawn of the Dead ’04.” While it doesn’t re-invent the wheel it manages to offer a fun, exciting, and creepy movie about the pros and cons of modern technology and the value of human contact.
I rather enjoyed Josh Ruben’s horror comedy mainly for the fact that it’s a unique look at writing and the creative process. Would I see it again? No. Would I add it to my collection? No. Is it one of the best films of the year? Goodness, no. But I can’t say that I was bored while watching it. I definitely enjoyed the meta-horror comedy, and the looks in to how some writers can make anything out of nothing. Especially horror writers, and their ability to take the seemingly mundane and turn it in to a twisted nightmare.
1990’s “Tales from the Darkside: The Movie” has a lot in its corner with me. It’s a childhood favorite, has a ton of sentimental value, and it’s a damn good anthology horror film. It almost feels like the lost “Creepshow” movie that we never got in theaters, which is a shame as the movie is very well produced and directed. It’s creepy, darkly humorous, and has a great pair of wraparound segments that hearkens back to the vicious violence of the Brothers Grimm.
Marcus McCollum’s horror drama is a film teeming with potential that never fully realizes it. Even with the somewhat tense finale, a lot of “Noise in the Middle” is mixed up, half baked ideas about mysticism, the supernatural, the afterlife and the toll that grief can have on us. It’s “The Shining” meets “The Babadook” without any of the heavy emotional weight or substance. The writers MCollum and Mark Conley throw so much in the air and none of it ever lands with considerable resonance.
Scott Beck and Bryan Woods’ horror film is like one big Halloween treat that comes at just the right time. It’s a novelty, it’s occasionally silly, but it’s also extra creepy in that it takes much of its menace from the inherent dangers of Halloween that lurk in every corner of the holiday. “Haunt” isn’t particularly original, but when you get down to the meat and potatoes, it’s surely a lot of fun and garners shockingly empathetic protagonists, all of whom are never let off the hook from the moment they enter the danger of this enigmatic haunt.
Nicole Groton has worked within the Hollywood system for years in various functions, working on films like “X-Men” and “Zombieland: Double Tap.” Ms. Groton recently released her second film, and first feature film with “Darkness in Tenement 45,” a horror thriller set in a closed in New York apartment building after a biological attack from the Soviet Union. We spoke with Ms. Groton on her newest genre entry.
Scott Glosserman’s horror masterpiece is a beautiful examination of the slasher sub-genre and its once simplistic genre elements takes a story, and provides a whole new twist to the axe wielding maniac. In the process, it presents us with dark humor that’s actually funny, great performances, and debuts from actors you’ll want to see more often after this. The humor in “Behind the Mask” is never smug of self-aware, and the movie never once breaks the fourth wall by making audiences aware that yes, they are watching a slasher film. Director Scott Glosserman breaks down the elements of the sub-genre forcing audiences to take a second look at the whole concept of the slasher film and the axe wielding maniac.
“Unholy” stars horror veteran Adrienne Barbeau who does her best to cope with the material she’s given in this shlocky, dull ghost film. In one of the only gripping moments of the film, Barbeau’s character Martha arrives home for her daughter Hope’s birthday to find her in the basement preparing to commit suicide. Truly, Barbeau and co-star Siri Baruc sell this moment sans any dramatic pitch in the score. Subsequently, director Daryl Goldberg can never seem to break out of the vicious cycle of clichés, predictable plot twists, nor enough to provide material that will put the talents of its infinitely small cast to work.