I’d love to know what the thought process was behind “Rim of the World.” Directed by McG, it’s much too crude and violent for kids, but much too juvenile for anyone looking for a good action horror movie. Netflix and McG obviously had in mind the “Stranger Things” crowd when they concocted this unpleasant, long, obnoxious film. It wants to be mentioned in the same conversation as “The Goonies”, Amblin, and “It,” but I doubt in a few years it’ll even be mentioned in the same favor as “Mac and Me.”
At the very least, “Cannibal Holocaust” had something to say about humanity and the cruelty of alleged civilized societies. It also had a lot to say about xenophobia and white privilege. Even “Cannibal Ferox” had something interesting to say. “The Green Inferno” is peak Eli Roth where it has no idea what it wants to say and it bathes itself in disgusting, sadistic, unpleasant, garbage that it never quite rebounds from. Whether it’s stoned cannibals eating a guy, to a prisoner masturbating to calm himself down, “The Green Inferno” is the bottom of the barrel sophomoric nonsense that Eli Roth puts on to film with pride.
The entire “John Wick” series is something of a surprise seemingly out of nowhere. What might have been a weak vehicle from Keanu Reeves turned in to a pretty groundbreaking and exciting action series where Reeves is able to re-invent himself once again for a new generation. You wouldn’t figure Reeves would be believable as one of the deadliest assassins in the world, but he handles the role of John Wick so proficiently. Wick has become something much more than the titular anti-hero of his film series. He’s become the key in to a very unique cinematic universe.
Touted as “The Expendables” for horror fans, “Death House” is a huge missed opportunity that revels in its painfully derivative and clumsy premise. Ripping off “Alone in the Dark,” “Cabin in the Woods,” and yes, even “Jurassic Park,” Harrison Smith manages to do absolutely nothing with the plethora of horror stars that show up for the film. Most of the people that are promoted in the opening credits only show up for thirty seconds at a time with glorified cameos, while folks like Kane Hodder take a back seat to the bland, forgettable protagonists we’re supposed to be rooting for. By the time the movie ended I couldn’t even tell you what their names were.
I’ve always been and will continue to be a staunch defender of John Carpenter. He’s one of my all time favorite filmmakers and even his weakest outputs have some great creativity to them. “Vampires” is fun in all its schlocky nonsense, and “Ghosts of Mars” is a fun remake of “Assault on Precinct 13” for a contemporary audience. Eighteen years later, “Ghosts of Mars” is fine C grade science fiction redeemed by Carpenter’s sharp direction, and the absolutely gorgeous Natasha Henstridge.
I love the idea of indie filmmakers taking their various horror short films and turning them in to anthologies, especially now with the horror anthology hotter than ever with audiences. “Blood Clots” has a lot of great intentions, but in the end it’s just an okay anthology with seven pretty okay horror shorts. I was never blown over by anything I saw here, but I appreciated the effort, and I liked the variety, overall. There are zombies, mutants, monsters, and werewolves, and that’s basically the only overarching theme for audiences.
It’s tough to believe that The Asylum is behind “Black Summer.” It’s definitely one of the biggest surprises of 2019 as I’ve made it no secret about my disdain toward the company and “Z Nation.” I thought the show was insanely dumb and boring, but I was very much open to “Black Summer.” Keeping my expectations rock bottom (because The Asylum has done horribly with zombie entertainment consistently) I was stunned to very much enjoy “Black Summer.” In fact if it continues its course and settles down a bit in season two, it might end up being one of the great zombie TV series.