I was thoroughly surprised with 2017’s “Happy Death Day.” The more I’ve thought about it and re-watched it, I’ve come to like it more and more as a horror reworking of “Groundhog’s Day.” It’s a fun and creepy character piece about a despicable young woman who realizes that maybe the way to keep herself from dying and end the cycle of re-living the same day over and over, is to think about other people in her life. “Happy Death Day 2U” is that same concept, but a wholly different movie. It’s a sequel that brings us a new angle of the narrative, expands on the concept of the original film, while also continuing to explore the character of Tree Gelbman.
Despite generally loving movies about the supernatural, and in spite of “The Plague of the Zombies” being very much ahead of its time in its implementing of voodoo as a means of our villain enacting his devious plan, I was indifferent toward “The Plague of the Zombies.” I can’t say that I completely hated it, but while it packs in some tension and great mood set pieces, I wasn’t too sad when it finally drew to a close.
It’s fascinating to watch “10 to Midnight” today and explore how dated it’s become and how much the themes and overtones it presents have been somewhat flipped on its head. J. Lee Thompson attempts to appeal to the folks that love their Dirty Harry’s and Lee Marvins by basically trying to turn Charles Bronson in to something of an aged vigilante that we can root for. But he basically comes off as an anti-hero, and “10 to Midnight” ends up becoming a war between a psychopath and a corrupt cop, both of whom never actually come out looking pristine once the film draws to a close.
What we see in “Sisters” is the template for what would become the basic mold for most Brian De Palma films. So enamored is he with Hitchcock that he essentially pays tribute to the man’s filmmaking techniques and films consciously and sometimes sub-consciously. “Sisters” is rough around the edges, but an otherwise fascinating thriller about the perversion of voyeurism, and the suppression of sexuality and female independence in an often matriarchal society. De Palma unfolds an interesting murder mystery filled with psycho sexual overtones that almost feel like nods to the Giallos of the decade.
It’s well documented that William Castle had aspirations to be Hitchcock, or in many ways rise to his level of filmmaking prowess. Speaking as someone who loves Castle as much as Hitchcock, I’d say they’re about neck and neck, but with different ideas of what constitutes a horror movie. Castle’s talent is theatrics, and with “Strait-Jacket” he takes what is essentially his own version of “Psycho” and stages it as a twisty, occasionally campy, and very cerebral murder mystery. Castle also goes a step forward, turning his killer on their victims with an axe that they use to lop their heads off.
It’s amazing how prophetic Satoshi Kon’s “Perfect Blue” was back in 1997. Even though it was released at the beginning of the internet age, “Perfect Blue” is a very strong and still very relevant tale about rabid fandom, gate keeping, obsession, and the struggles to maintain one’s own sense of self and agency in a world where growing in one’s career means relinquishing our dignity and discretion. In a time where actresses are being chased and harassed off of social platforms, “Perfect Blue” conjures up so much interesting and familiar imagery and plot beats, and ultimately is about the cost of rabid fandom.
The thing about RKSS’s latest eighties inspired genre offering is that it’ll poke all the right nostalgia cords with audiences. There’s so much eighties ephemera, that it’ll be difficult not to be charmed by it. But deep down beneath the “Cruel Summer” music cues, and giant camcorders beats the heart of a vicious, mean spirited and dark murder mystery that was often unpleasant and kind of dull. To admit that isn’t easy as I loved RKSS’s “Turbo Kid” and anxiously wanted to see what they would do with a murder mystery. But while you might get shades of “Stranger Things” here and there, the movie itself is pretty crappy.
Joe Dante has always had this peculiar style that’s always helped his films stand out among everyone else’s. “The ‘Burbs” is another of his films that features the suburban unit being terrorized or working themselves up in to a stir. Dante loves to put his hands in to the perceived American norm and stir it up with some chaos and anarchy. It’s hard to believe that “The ‘Burbs” was originally a flop, as it’s managed to become one of the most highly appreciated cult classics of all time. In the face of the passing of the late great Carrie Fisher, if you’ve yet to see it, you definitely owe it to yourself to.