Blumhouse has found a little niche market in taking classic comedies and turning them in to bonafide horror movies. After “Happy Death Day 2 U,” they take the creaky Disney classic “Freaky Friday” and add a slasher twist to it. Shockingly, it works more times than it doesn’t. Christopher Landon doesn’t just embrace the classic narrative, but he tops it off with a gory slasher movie, and even injects so many LGBTQ overtones that it wouldn’t surprise me if it picked up steam as a LGTBQ classic very soon.
It’s apropos and yet somewhat inexplicable that Hayao Miyazaki would end his career on one what is easily his most divisive film. Miyazaki has spent so much of his career delivering masterpieces of animation that discuss the horrible fall out of war, destruction of the environment, and war machines. So it’s absolutely confounding that Miyazaki takes a more objective approach to Jirô Horikoshi and his creation of what would become certified weapons of war.
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.
Director Rudy De Luca amassed a career working with and writing for Mel Brooks, so it’s likely intentional that “Transylvania 6-5000” feels like an attempted companion piece to “Young Frankenstein.” It seems to aspire to do so more times than the viewer would like. “Transylvania 6-5000” feels like a pseudo or spiritual sequel to “Young Frankenstein” which is a good element in some instances and works to its detriment in other instances.
Even though I was born in the eighties, I don’t have a particular connection with “The Goonies” as while it’s mostly considered a masterpiece, I’ve only ever considered it just pretty good. Director Richard Donner’s adventure film is the Hardy Boys Meets Indiana Jones and for the most part it’s an entertaining call back to fodder like “The East Side Kids,” which keeps in line with Spielberg’s ode to his childhood cinema.
A germaphobe meets the girl of his dreams who he follows to a supermarket as she steals chocolate while wearing a similar protection outfit as his. Together, they attempt to make their life better, or at least perfect for them as a couple, that is until something unexpected happens and changes one of them.
Intentional or not, when you go in to “Nothing But the Blood” you’re bound to have flashbacks of “Red State,” as director Daniel Tucker seems to be sewing his narrative from the same cloth. Ideas about religious fanaticism, the deadly cost of religious institutions, and the hypocrisy of religious leaders are all here. Les Best even seems to spend most of his time on screen channeling Michael Parks. Daniel Tucker tries hard to establish him as a source of evil, even beginning the movie with a fourth wall breaking prologue as Best’s character reads a long sermon and angrily preaches to us.
Why this should set up the story I was never entirely clear but—it’s black and white, so it’s eerie…?