Every few years, the Hollywood machine dips in to their pool of public domain legends and stories, failing to realize that no one is interested in them. No matter what new spin they put on them, they almost always turn out poorly. “Robin Hood” is on the chopping block once again, with Summit Entertainment trying their damndest to superhero-ify the merry thief. The only problem is that we’ve had a superhero Robin Hood for decades now, and—no one gives a shit about Robin Hood anymore. No matter gloss the studios put on the tale, even turning him in to pseudo-Batman, “Robin Hood” (or “Robin Hood Begins” or “The Dark Hood Returns”) is a swing and a miss, a giant squishy thud that lands in a year filled with some truly stellar action and fantasy films.
After almost twenty years basically out of print, us “Critters” fans spent the better part of the digital age celebrating our favorite movie series on DVD. And not just any DVD, but a basically cheap transfer DVD that stuffed all four movies on to a few DVDs. Granted you could have done worse, but the movie series deserved so much better. The “Critters” series remains one of the more underrated creature features in horror, and it finally gets the royal treatment on Blu-Ray. With a hard shell casing, all four movies come packed, along with a humongous plethora of bells and whistles. This is the collection I as a hardcore fan, have been waiting for. It’s also a good thing that the “Critters” movies are a lot of good, gory, monstrous fun.
What we see in “Sisters” is the template for what would become the basic mold for most Brian De Palma films. So enamored is he with Hitchcock that he essentially pays tribute to the man’s filmmaking techniques and films consciously and sometimes sub-consciously. “Sisters” is rough around the edges, but an otherwise fascinating thriller about the perversion of voyeurism, and the suppression of sexuality and female independence in an often matriarchal society. De Palma unfolds an interesting murder mystery filled with psycho sexual overtones that almost feel like nods to the Giallos of the decade.
Stephen King is a pop culture entity that is guaranteed to stay in the public consciousness for a very long time. Every few years he fades in to the background for a while, and then re-emerges to take pop culture by storm. The last few years have been yet another Stephen King renaissance with the new popularity of classic novels, the smashing popularity of “It” and the re-release of a lot of his famous and infamous cinematic entries. Everything from “Christine” to “Maximum Overdrive” has been given a physical release, and it’s a lot of to see how much King has carved his way in to pop culture, with various hits and stumbles. “Sleepwalkers” is a stumble.
John Turtletaub’s adaptation of “The Meg” may not have been everyone’s cup of tea in 2018, but for me it was a damn good time with an eye on being about as novel as possible. While it does pander to the ever important Asian movie going audience, “The Meg” is a weird and wild action movie that feels like an eccentric amalgam of Peter Benchley, Renny Harlin, and Paul WS Anderson. It’s a comedy, a science fiction film, an action movie, a romance, a man vs. nature picture, and a tale of redemption all rolled in to one. It even squeezes in a bang up cast of character actors like Cliff Curtis, Li Bingbing, and Rainn Wilson as an eccentric billionaire thrust in to the extraordinary confrontation with a giant megalodon.
While it’s important to note that Wes Craven’s 1995 horror entry “Scream” was a very influential horror movie that reinvigorated the slasher sub-genre, it’s also important to chronicle the films that it influenced. After the release of “Scream,” every studio far and wide began releasing their own slasher films, and many of them were whodunits, and or based around some kind of gimmick. While slasher movies are the breakdown of taboos and morality tales with the help of folklore, “Urban Legend” cuts right to the chase creating a slasher who uses urban folklore to dispense of hapless victims in a college. The results are, suffice to say, a mixed bag.
In the competitive world of cam girls, Lola/Alice has created herself a good niche and is gaining in popularity. As she reaches higher and higher levels, her account and personality are taken over and she must figure out who or what is behind it to regain her rightful place.