I’m not a subscriber to Hulu but my mom is, and she’s often on the hunt for horror series’, as someone whose own love for horror dwarfs my own. For the last year, she’s been insisting that I check out a show called “Freakish,” a show that she describes as a “great zombie show” and one I’d particularly love, since I tend to have a real weak spot for shows about zombies and the apocalypse. Hell, I am a regular viewer of “Fear the Walking Dead,” “The Walking Dead,” and even love “Dead Set,” so “Freakish” is kind of up my alley.
The story of Joss Whedon’s “Buffy the Vampire Slayer” is about as classic a tale and about as old a tale as most other movies in development. Whedon had a vision for a new take on a horror story and Hollywood didn’t get it and kind of fucked it up. Everyone by now knows the tale of 1992’s “Buffy,” and how Joss Whedon initially wanted to make something of a darker more stern take on the vampire hunter that minced a coming of age tale with a story of a young woman coming to maturity. When Whedon was given the chance to finally bring his film in to development he kind of lost control of his creation.
Fred Dekker’s “The Monster Squad” is the assembly of many eighties tropes, even conjuring up the aesthetic of a novel series one might have found tucked beside “The Hardy Boys,” and “Babysitters Club.” It’s Amblin, Spielberg, Universal and everything else we loved about the eighties, and while it can in many ways be considered a take off on “The Goonies,” it watches so much better over time. Even better is the script by Shane Black allows for interesting and complex preteen heroes, all of whom have their spotlight, as well as their own personal struggles. Like Spielberg, Black introduces a potentially broken home with main hero Sean, while this extraordinary situation allows his family to re-unite for the fate of him and his little sister.
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.
There’s a considerable drop off in quality with “Teen Wolf Too” with what is essentially the same movie with a premise that was cut and pasted. Michael J. Fox opted out of this follow up, setting the stage for the film debut of Jason Bateman, who took the first and last sequel of this oddly popular series. I remember watching this movie as a kid quite often, since the channel I always watched never had the original. Years later, “Teen Wolf Too” isn’t a very good movie, and as a follow up should be watched by fans that are either Jason Bateman fanatics, or absolutely have to watch every sequel of a movie series. Hey, it’s not as bad as any of “The Howling” sequels. That’s about as big an endorsement I’m wiling to give it.
Before it became a homoerotic horror series on MTV, “Teen Wolf” was the epitome of eighties cheese that mixed a teen coming of age comedy with horror tropes. The idea of being a werewolf is of course a metaphor for puberty, as Michael J. Fox takes a baffling but oddly fun turn in his career after the success of “Back to the Future.” The 1985 “Teen Wolf” hasn’t aged very well, but it’s still a fun novelty of the decade where almost nothing was off limits it meant possibly drawing a laugh. Surely, the idea of a werewolf becoming a star basketball player is absurd, but not offensive as a comedy based around a corpse, or a college student wearing black face. But I digress.
Did you see “Scream 4”? Do you remember the finale and surprise reveal, as well as the reasoning for the murderer’s devious deeds? Well, then you’ve seen “Tragedy Girls.” It feels a lot like Tyler MacIntyre loved the finale to “Scream 4” so much that he took that one twenty minute explanation, and transformed it in to a ninety minute movie that presents glimmers of brilliance, but stumbles quite often. While many will liken “Tragedy Girls” to “Heathers,” it’s actually about as smug and annoyingly self-satisfied as films like “Detention” and “Easy A.”