Director Tom De Simone’s “Hell Night” usually gets lumped in together with a lot of the other eighties slashers, but in reality his genre offering is so much more unique than a simple hack and slash. “Hell Night” is a great Halloween horror romp that feels like something pulled out of a haunted house Gothic novel. It’s the perfect fixture for the holiday delivering a relentlessly bleak tone that makes it quite an unnerving experience all the way through. Linda Blair can do these kinds of horror movies in her sleep and she plays final girl Marti quite well, doing her best to battle a deformed monster in its territory.
Like most of Greg McLean’s films, “The Belko Experiment” is just a big excuse to be as sadistic and inexplicably cruel as humanly possible, while taking pages from Koushun Takami’s “Battle Royale.” Coincidentally, another film in the same vein as “The Belko Experiment” came to theaters in 2017, in the form of Joe Lynch’s “Mayhem,” and while both films are insanely violent, at least the latter film had something to say about office culture and corporate politics. There’s a certain point in “The Belko Experiment” where it’s clear that McLean and writer James Gunn have no commentary on office culture and are by no means exploring the idea of fighting for a job through over the top violence, clearly just going for cruel unnecessary violence.
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.
What I love about “Kong: Skull Island” is that while it’s essentially a good old fashioned matinee monster movie at heart, it’s also a pretty clever take on the Vietnam war. “Kong: Skull Island” implements the classic trope from the classic giant monster movies taking a group of armed men and women in to the wilderness, and uses that as an allegory for the Vietnam war. Like the aforementioned war, US soldiers storm in to a wilderness they were unprepared to do battle with, except they face an unparalleled force of nature. Also very effectively setting up a cinematic universe, Jordan Vogt-Roberts aspires for a lot, and succeeds as a simple and harrowing adventure with big monsters, and menacing creatures far and wide.
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.
“Brawl in Cell Block 99” is the second feature from director S. Craig Zahler, the man behind “Bone Tomahawk,” the acclaimed horror western that sent critics buzzing. I, for one, didn’t enjoy the movie, so imagine my surprise when I tuned in to “Brawl in Cell Block 99,” a movie that is essentially a throwback to prison brawlers and a compelling drama. Not since “Raze” have I seen a movie so raw and vicious in its depiction of humanity. Vince Vaughn gives an enormous turn as Bradley, a man at the end of his rope who literally has to dive in to hell to save his wife and unborn child. And what’s surprising is not how far he goes, but how easy it is for a good man to sink in to hell so rapidly.
There’s a reason why sometimes a one off joke is used just once. It’s because stretching it out destroys the momentum of the joke. Someone behind “Cute Little Buggers” loved the scene in “The Holy Grail” involving the man eating cute rabbit and decided to turn it in to a horrendous horror comedy. Not that I have anything against movies that take inspiration from Monty Python, but when they have a rhyme or reason, and an actual good idea, I’m all for it. But “Cute Little Buggers” seems centered on the premise of one joke that one joke that gets boring after being used repeatedly mainly since the joke just isn’t that funny in the beginning, anyway.