It’s easy to see where director Beth Dewey draws her influences from as “Erasing Eden” is very much a modern successor to “Five Easy Pieces.” Rather than the story of a well off young man, “Erasing Eden” centers on a young woman with everything who is prepared to destroy it all. For what reason? Even she doesn’t know, as she spends so much of “Erasing Eden” setting off a series of catastrophic events and reluctantly trying to reverse them in order to make it to her own wedding.
Recently, Scream Factory put out a filled to the gills Blu-Ray of “The Hills Run Red” which felt like a “finally” on this film as it’s one that seems under-seen and under-appreciated. This slasher is one that came and seemingly went with the general public, but that slasher fans and many horror fans have been loving its release. It’s a brutal, meta slasher film that is a fun watch for fans of the genre and is a bit much for casual horror fans, which is exactly why it’s so great. The film itself is greatly entertaining and the kills are violent and bloody. It’s what a slasher fan wants and it’s what a horror fan in general wants. The story itself is strong enough to support the film without the blood, but there is more than that to this film. There is a lot here to unpack and it’s definitely a must see.
I’d be lying if I said that I’m the biggest Scooby Doo fan around. Hell, I’m still stunned that Hanna Barbera has placed so much stock in the franchise for so many decades, but I digress. I had high hopes going in to “Scoob!” as every generation is introduced to Scooby Doo once again in some new form, and “Scoob!” seemed like the right avenue. Not only does it give us a new vision of Scooby Doo, but it makes tweaks to the mythos that I liked, while also establishing a shared Hanna Barbera universe. And yet, at the end of it all, I’d still rather have seen “Scooby Doo on Zombie Island” or “Scooby Doo and the Witch’s Ghost,” again.
Director Jeff Wadlow’s (“Truth or Dare”) big screen adaptation “Fantasy Island” is a mess of a genre picture that easily one of the most tonally confused movies I’ve seen in years. Its prologue sets it up as a horror movie, then it becomes a goofy comedy about wish fulfillment, then it’s a character study about a son reconnecting with his father, the next minute it’s a torture revenge thriller, and the next it’s a movie about looking back at what could have been. None of it is remotely creepy, none of it is remotely spooky, and to top it all off, it’s all so painfully boring from beginning to end.
John Landis’ werewolf thriller is a hard film to pigeon hole. It’s not exactly a horror movie, not exactly a comedy, and not entirely a drama. It is in fact a unique beast and amalgam of various genres that’s managed to remain absolutely timeless since its initial release. The fact that Landis breaks so many of the tropes of the werewolf film while also embracing the classic mythos of the monster is what makes “An American Werewolf in London” such a masterpiece.
We’re at the middle of an all out Stephen King renaissance where, once again, he is a hot item in Hollywood. Many of his short stories and novels are being adapted in to big, acclaimed projects, and we’re even getting second stabs at “The Stand” and a third stab at “Salem’s Lot.” With “Doctor Sleep” on the way, and Hollywood opening the scope of King’s writing for films or television, there is an inevitable remake of “The Shining” coming. But until then, fans of Kubrick’s loose cinematic adaptation can now invest in the 4K edition of the horror masterpiece.
Thirteen years later, Guillermo Del Toro’s period dark fantasy is a masterpiece of the genre telling a tale of loss of innocence and good versus evil that’s touching, gripping and a bit spooky in its way. Del Toro’s film is one that warrants repeated viewing and continued analyses as it’s a fairy tale that masterfully mixes “Alice in Wonderland,” the Brothers Grimm, “Wizard of Oz,” along with classic folklore.