Some horror movie premises are just ripe for comedy gold. Cockneys vs. Zombies, strippers vs. zombies, Brits vs. Zombies, et al, but “Ahockalypse” which pits hockey players against a zombie apocalypse is a swing and a miss. It’s not a complete miss overall, but in the end there was just so much that could have been done with the premise. The hockey themed horror comedy’s lack of budget is one of the elements that hinder an otherwise clever idea, as well as a clear lack of tonal consistency through and through.
“The Tingler” is one of my first introductions to William Castle and the art of his theatricality when it came to horror movies and making them an experience. As a kid, “The Tingler” and “House on Haunted Hill” were constant rotation at my home, and I loved how Castle’s films sucked you in. To this day I remember being very riveted in the brief moment during “The Tingler” where the movie breaks the fourth wall asking you, the audience, to scream loudly to avoid being attacked by—dramatic pause—the Tingler!
I think the time for Slender Man to become a modern horror icon has passed. He had his period after 2009 where he rose to popularity as a genuine boogey man so authentic people still believe there’s a basis of truth behind his creation. I think with horror moving at such a fast pace, we likely won’t see a good Slender Man movie at all. Which is a shame, because Slender Man could be fodder for how horror and technology has evolved, but now he’s just a fourth tier movie monster behind Jigsaw and Bughuul from “Sinister.”
How do you top one of the most influential and punk rock horror movies of the eighties? You—uh—follow it up with a sequel that repeats everything we saw from the first film. It’s as if someone said “Let’s make “Return of the Living Dead” again, but crappy this time.” To say “Return of the Living Dead II” is bad is pretty much an understatement as it’s only mostly acknowledged for being the poorer brother to the highly superior and excellent original. That’s ironically also part of its appeal, too, as it takes some twists and turns that’ll leave you laughing in disbelief and confusion.
I’ll admit again and again that post apocalypse movies are my sweet spot in regards to genre cinema. I eat movies about survival after the end of the world with a spoon and am hardly ever let down. “What Still Remains” as far as its concerned is fairly standard post apocalyptic fare. It by no means re-invents the wheel with its narrative and characters, but at times it doesn’t seem like director and writer Josh Mendoza is trying to. In the end I was more impressed by what Mendoza does with his lead heroine more than anything, and I’d love to see Ana return once again in another movie of this ilk.
A teenager goes missing and his mom seeks help from the police. A detective is put on the case and brings with him is own demons. As the search proves fruitless, the detective’s drinking problem becomes more of an issue as he faces off against a peculiar teacher and falls for the victim’s mother.
Newly married Elizabeth and Henry arrive at home to a decadent house where he woos her. As time goes by, she meets the house staff and becomes curious of her surroundings and husband. Being locked out of a single room raises her curiosity until she decides to investigate.
One of the most controversial and heavily disputed comic book events of all time is finally brought to the DC animation universe. It’ll probably also setting up potential movie go arounds for supporting characters within the “Superman: Doomsday” scope. I can imagine if the course is cleared, we could see some overdue attention paid to “Steel.” One can hope. In either case, “The Death of Superman” is pretty much a truncated version of the original mini-series, with a look at the massive event that brought DC to its knees and Superman to death.