Written by Hunter Adams and Jeremy Phillips and directed by the former, Dig Two Graves is an ok drama with a few horror elements that goes at a decent pace. The film has decent characters, decent dialogue; it’s all decent, but it’s all a bit bland. The film has some interesting aspects, especially the family that lives in the woods, but it’s not quite enough to make it a stellar film or even a really interesting one, which is too bad as everyone involved is seemingly talented and capable of more.
Oscar-nominated filmmaker Roger Sherman sets his camera on Israeli culinary culture. With Israeli-American restauranteur Michael Solomonov as the on-screen narrator and guide, the film wanders throughout Israel sampling the foods prepared in the nation’s finest eateries and in the homes of several private cuisine.
Kyoshi Kurosawa’s “Kairo” is a film dripping in terror that deliberately paces itself as a slow burning end of the world tale. Rather than an all out orgy of gore and carnage, “Pulse” eventually explodes in to something of a last gasp of humanity, and a civilization that ends in a whisper and somber whimper. “Kairo” is written as something of a two act structure where Kurosawa opts for a film that’s episode in the vein of “Pulp Fiction,” and then smashes together in the stunning climax. Much of what we see seems and feels random in many places, and events collide allowing for a cogent unfolding of events that doesn’t just make sense but feels so meticulously planned from square one. What makes “Kairo” so haunting even when the credits have drawn to a close is the way the director opts less for splatter and gore, and more for a requiem that depicts mankind as a stain and nothing more.
Logan, the public’s beloved Wolverine, has aged and isn’t doing so great. As he holds onto life for some reason and is looking for a reason to be. His later life is not filled with action, something he seems to have settled into. That is until a woman comes asking for his help and a chain of events leads to him having to help a young girl in desperate need of guidance and assistance.
By 1993, Robocop had turned from a Christ allegory with a vicious blood streak to a bonafide kids’ mascot who was appearing on lunch boxes and Saturday morning cartoons. Thus was the weird period of the eighties and nineties where even folks like Conan, Rambo, Chuck Norris, and heck, even Freddy Krueger became kiddie fodder. The official final go around for Robocop is a tame and pretty dull 1993 film that director Fred Dekker is saddled with, that takes Robocop in to more family friendly territory right down to having a spunky child sidekick. Not much has happened for Robocop and Detroit since the first two films, as the city is still very much under the death grip of crime, while OCP still controls every going on. Dekker has a lot of catching up to do and sadly doesn’t deliver much in the way of a great sequel, as “Robocop 3” essentially repeats a lot of the same beats from the first two films.
Irvin Kershner has a knack for taking original films and amplifying what makes them work initially. With “RoboCop 2,” Kershner takes the RoboCop mythology to new heights creating a film that’s significantly more memorable than the original and arguably better. That’s a controversial statement for sure but when a lot of fans think of RoboCop, they think about the RoboCop 2 unit which becomes something of a parallel to Alex Murphy. Where in Alex is still grasping with bits and pieces of his humanity and consciousness, our villain Cain fully embraces the technological shell he is transplanted in and begins to wreak absolute havoc.
Christophe Gans offers up a richly realized and absolutely beautiful vision of “Beauty and the Beast” that embraces the dark side and fantasy of the original story. While yes, Belle begins to fall In love with the Beast, and is even enticed by him, it’s also thanks his aggression and insistence on influencing her Stockholm syndrome. Belle does eventually find the beauty of living with the beast, in that she’s able to roam his massive castle and is capable of finding secrets and fun corners within it. She even plays hide and seek with dog like creatures that find a fascination with Belle. Gans’ direction is superb and absolutely mesmerizing, I can not stress that enough. Many of his wide shots, and pans are magnificent and he knows how to make the beast both enigmatic and terrifying. There’s even a marvelous moment where the Beast is looking out on to an invading army from his perch, resembling Lon Chaney from “Phantom of the Opera.”
Pee-yew! You have to appreciate Shout! Factory for restoring what is easily one of the worst anthology movies of the eighties. I admit to being a completely newcomer in regards to “Deadtime Stories,” and upon finishing it, I was not surprised it was such a rarity for so many years. “Deadtime Stories” watches like someone really loved “Creepshow” and decided to make their own version with only a quarter of the budget. Then mid-way when the studio realized how awful the movie was, they decided to turn it in to a comedy at the last minute so horror fans can convince themselves the whole disaster is intentional and a tongue in cheek jab at the anthology crazy of the decade.