It’s surprising for such an iconic author that Stephen King’s tales are so tough to bring to the big screen. I don’t know why “Children of the Corn” has managed to become something of a semi-classic since 1984 because the only scary thing about it is how boring it is. “Children of the Corn” has been a baffling horror presence since 1984, garnering a whole series of movies, including a remake, and sequels to the remake. There’s even been a new film in 2018.
“Gate 2” has been a rarity for years and finally gets a very good re-release by Scream who treats us to a sequel that’s nothing like the original. That’s both a good and bad aspect for the film as Tibor Takacs returns to direct, and complete his story arc, while also advancing the mythology. With Stephen Dorff on to better pastures, we follow his more reluctant friend Terry, who is now all alone after his friend moved away with his big sister. With no one around to corroborate their adventures in a hell dimension, Terry is now a pariah. Anxious to re-open the gate properly this time, Terry is egged on by two local bullies to let them take part in the summoning, promising them wish fulfillment. Much to their surprise, they manage to trap one of the minions of the gate, and Terry keeps it, hoping to find out its secrets.
It’s ironic, and perhaps not incidental, that Vestron would release the entire movie series for “Wishmaster” and “Warlock.” They’re two weak attempts at movie maniacs in a pretty stale decade for horror, and deep down while they have potential to be menacing and terrifying horror villains, they’re poorly realized, and potentially trail off in to absolute nothingness. “Warlock” is not as bad a slope as “Wishmaster,” as it managed to gain some momentum in the nineties, even sporting a Sega Genesis video game in 1995 which involved platforming, and fighting off zombies and demonic beasts with magic spells. 1989’s “Warlock” is a tonally confused movie that wants sorely to be a horror film, but ends up sliding in to dark fantasy territory by the time it draws to a close.
Widescreen and Uncut for movie buffs everywhere, “Satan’s Cheerleaders” is a wonderful piece of crap that mixes all of the seventies hallmarks in a ninety two minute piece of junk food. There’s your disco soundtrack, your scantily clad cheerleaders (Kerry Sherman is a stonecold babe), and of course what would the decade be without Satanic cults and women in the buff praising an altar of some kind? “Satan’s Cheerleaders” is a delightfully campy bit of nonsense that felt like someone had a script for a horror movie and a teen sports movie and put them together for the sake of getting a movie funded.
A starting band with members from the US and the UK moves to Los Angeles to make it big. Living in their van, they work hard to get their start on the Sunset Strip. After a chance encounter with a mysterious man, things start to fall into place, but there is a price to pay.
McG’s newest film tries to be everything for everyone. And while it doesn’t always work, I loved “The Babysitter” for being so self aware most of the time. It’s not just a horror comedy about a really hot babysitter who turns out to be a Satanist, but it’s also a film packed with heart. It’s about growing up, learning to conquer your fears and insecurities, and learning that in life you have to take your lumps instead of finding the easy way out. Don’t get me wrong, “The Babysitter” is a fun and demented horror comedy, but it’s also a stellar coming of age film, as well. Writer Brian Duffield successfully conceives a slew of characters that learn something about each other and come to some kind of self realization.
I would be lying if I said I was looking forward to “The Void.” Not only have I not been a fan of what Astron 6 has put out there for audiences, but “The Void” seemed generally like a vain attempt at Lovecraft. I’m glad to admit, though, that “The Void” is so far the best film Astron 6 has ever put out there. While the fan boy winks and nods are still there, it’s considerably toned down and doesn’t bog “The Void” down too much. Directors Jeremy Gillespie and Steven Kostanski are damn good at taking a miniscule budget and building with that, as “The Void” is an incredibly creepy survival horror film that feels like a nightmare from beginning to end. Even when the film has seemingly closed, “The Void” is never done choking you with its mesmerizing imagery of another world, and assures you that it will indeed return to haunt the audience once more.
After buying their dream house in Texas, The Hellmans, a painter, his wife, and their daughter, must face human and supernatural threats. As the father finds an incredible muse and must paint, his daughter and wife deal with lurking dangers.
Written and directed by Sean Byrne, The Devil’s Candy is a strong follow up to his debut feature The Loved Ones, showing that his talent was not fluke and showing that the man can craft a good horror story with truly creepy and even scary elements. Here he creates an interesting family who is traditional in one way and not in others; they are a cool, artsy family with a love to heavy metal. Their differences set them apart from the usual cinematic families who encounter evil in their new homes. Also, the way the evil comes into their lives is original and works well in the film’s context. His characters work well together, giving them more to care about, more to worry about, more to lose. His writing and directing create a film with a family the viewer can identify with and care for. Also, his human antagonist is one that has presence, who oozes creepiness while playing in the potential supernatural angles.