Stephen King has always been less about ghosts and monsters, and more about the ghosts and monsters in man. “The Shining” and “It” were so much less about the supernatural, as they were the darkness that is already there in humanity that helps breed evil and allow it to thrive. The stay at the Stanley hotel, the experience that inspired “The Shining” also helped King garner a keen insight in to the human condition. “1408” is something of an extension of “The Shining” where a man is already doing battle on the inside and comes face to face with a presence that is only a mere extension of himself. That’s scarier than anything that anyone can conjure up.
With the unfortunate death of George A. Romero this year, now is the best time to re-visit “Night of the Living Dead.” It’s hard to believe what one small mistake could have done to alter history, as Romero’s accidental omission of the copyright sign for “Night of the Living Dead” allowed his horror masterpiece to become public domain, and for his idea of the zombie to become open game for anyone and everyone with an imagination. Just imagine if Romero had copyrighted the concept of the flesh eating zombie and we probably wouldn’t have about eighty percent of the zombie movies we have today.
Written by Alston Ramsay and directed by Julius Ramsay, Midnighters is a thriller with touches of horror that takes its time to set up the situation and the stress of it before through a wrench into the proceeding and ads extra characters in the story and everything takes a few more turns that are surprising yet still make sense. The writing and directing of the film show that they creators work well together and them being brothers definitely help. Their work is good here and the film is a tightly planned and executed thriller.
Andrés Muschietti’s “It” has proven in a year of really bad Stephen King adaptations, that it is very possible to put one of King’s most popular novels on screen and remind us once again why King is King. Muschietti, like Tommy Lee Wallace before him, has the daunting task of compressing an eleven hundred page novel in to what will end up being a five hour epic. Yet, “It” manages to come out mostly unscathed as a film that is both a spooky horror film and a stellar coming of age drama. Much like “Mama,” Muschietti’s work on “It” ends in a film that can be appreciated as a human drama and a pure horror movie packed with heart, scares, insight in to growing up in an unforgiving, cruel world.
Before The Ripper, another serial killer terrorized London, so much so that people believed the killer could not be human but a being called a golem. As the police looks for the killer, a woman finds herself embroiled with the situation.
An art student has a switch in her painting style and inspiration following the accidental death of her rapist. Following this, she paints more and more inspired pieces and is inspired to do something about other college rapists.
A straight A+ student, Lynn sells the right to cheat of off her for money which her family desperately needs so she can maintain going to private school where she has a better chance at a better education. As the stakes go up, she gets involved in a plan to cheat on an international university entry classification test. From there on, things become stressful and nerve-wracking for her group of friends and herself.
Edgar Wright has proven himself to be one of the most unique and creative living directors today and the man has only honed his craft to deliver a great spin on a classic crime tale about love, and redemption. “Baby Driver” is a remarkable turn for Wright who creates a pulp masterpiece. “Baby Driver” is a powerful and emotional tale about a truly engaging protagonist who is sinking in to a world of violence and murder, and has no idea how to get out. We’ve seen movies about getaway drivers before, but “Baby Driver” works to the benefit of Wright’s strengths including dynamic characters, sharp humor, and amazing editing.