Although I absolutely love “Thriller,” I’ve never been one to associate Michael Jackson with Halloween, but apparently someone does. “Michael Jackson’s Halloween” isn’t just an animated special for the whole family, but it’s classic Michael Jackson. It has his music, it inspires individuality, and it further emphasizes Michael Jackson as something of a mythical figure that centered his life on defending children against sinister forces lurking in the shadows. Suffice to say “Michael Jackson’s Halloween” is a weird animated special, but it’s an oddly entertaining one that will work if you’re a Jackson buff.
“Blood & Iron” is a stellar sequel to the entertaining and raucous “Sword of Storms,” and it’s a yet another faithful adaptation that emphasizes the lore and world of the BPRD. The animated follow ups to the movie, set somewhere between the movies, have been worthy of the time spent with excellent animation, and a compelling narrative, overall. The idea bout the audience watching outcasts defend our Earth and realm is continuously fascinating, and the cast bring their A game.
For folks that appreciated the subversive artistic style that launched Mike Mignola into stardom, “Sword of Storms” practices a lot of the grit and indie flavor, along with much of what made Del Toro’s films so stellar. There’s even voice work from the original films’ stars including Ron Perlman, Selma Blair, John Hurt, and Doug Jones, all of whom are about as fun as ever. Directors Phil Weinstein and Tad Stones’ animated movie is set between the live action installments, channeling creator Mike Mignola with dark and often grim animation, with the back drop of an exciting narrative that never trails from its original source material.
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.
One thing I will say about “Bonejangles” is that it has a lot of enthusiasm. It has so much enthusiasm, in fact, that every bit of coherence is thrown out of the window in favor of a horror mish mash that makes no sense, is unfunny, not scary, and feels like it was put together by someone who had a lot of ideas, all of which were not enough for one feature length movie. It’s a shame too since Bonejangles is a cool slasher villain with a lot of potential, he’s just bogged down in to a movie that is without a doubt a humongous waste of time. I’m not against nonsense, but “Bonejangles” is directionless, random nonsense that felt sloppily composed from minute one.
Zack Snyder re-invents the late George Romero’s masterpiece in a mess of a remake that starts off very strong, gives up trying to make sense mid-way, and them limps to the finish line as fast as it can. Snyder and James Gunn’s script never takes time to slow down and breathe, jumping from one action scene to the next, from one musical laced montage to the next, and from one weak moment of tension to the next. Characters are stale and barely developed, and the script never hides that these people are meant as cannon fodder and nothing else. Worse, the script is clumsily paced, the overall film is tonally uneven, and often times the horror element is an afterthought.
It’s fitting that Shout Factory would release “Land of the Dead” right around the same time as 2004’s version of “Dawn of the Dead.” After almost twenty years in development hell, and with the title “Dead Reckoning,” Romero was able to finally complete his planned fourth part of his dead series thanks to the success of “Dawn.” Even Romero admitted that he owed a lot of his ability to make “Land” thanks to the evident success of “Dawn.” While “Land of the Dead” feels incomplete and under developed, I give Romero a huge pass mainly because he was given so much hell while filming the long awaited sequel. Not only did he have to scale down his story yet again like he did with “Day of the Dead,” but he couldn’t film in Pittsburgh which he always did with his zombie epics.
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.