“Pryde of the X-Men” (also known as “X-Men: Pryde of the X-Men”) is an animated pilot I mostly remember thanks to its VHS release in 1989 that my brother and I must have borrowed from my cousin a thousand times over. Despite its obscurity, however, this relic of the early Marvel Entertainment days is one of the many abandoned projects from Marvel that’d inadvertently become a classic. Before 1992’s “X-Men: The Animated Series,” there was 1989’s “X-Men,” a series that begun development after constant guest spots from the team during “Spider-Man and His Amazing Friends.” Watching it years later, it’s surprising just how much of the early episodes of the 1992 series were based on the “Pryde of the X-Men” pilot.
I love the idea of indie filmmakers taking their various horror short films and turning them in to anthologies, especially now with the horror anthology hotter than ever with audiences. “Blood Clots” has a lot of great intentions, but in the end it’s just an okay anthology with seven pretty okay horror shorts. I was never blown over by anything I saw here, but I appreciated the effort, and I liked the variety, overall. There are zombies, mutants, monsters, and werewolves, and that’s basically the only overarching theme for audiences.
The mix of war movies and horror movies have always been a natural combination, since they’re both manage to examine the dark sides of combat and humanity. It’s just a shame that there haven’t been many movies of the sub-genre that have been worth watching. Thankfully, while “Overlord” isn’t a complete masterpiece, it manages to come out in the end as a sleek and very clever amalgam of horror, fantasy, and war oriented action. It might also sweeten the pot that Avery’s horror war hybrid feels like a spiritual prequel to “Re-Animator.” Director Julius Avery approaches the idea of a horror movie set during World War II with great right balance of both genres, allowing “Overlord” to be a character piece first and then delve right in to the horrendous grue and human ugliness.
Larry Cohen’s horror film “It’s Alive” didn’t always get the respect it deserved. While it’s certainly a seventies shock horror film about a mutant baby, it’s also about fear of genetic and birth defects, the question of abortion, and the idea of euthanasia in children. It thrives on being a horror cult classic, but it’s also a socially relevant movie that pounces on a lot of important issues. Larry Cohen’s classic film gets a wonderful treatment from the folks at Scream Factory with all three “It’s Alive” films on one box set, and it’s a collector’s set that’s impossible to pass up.
A family expecting their second born is surprised to have a mutant child as it arrives in this world and kills all in its path when scared. As a baby, being scared is something that happens quite a bit, creating a mounting body count for this tiny tot.
Written and directed by Larry Cohen, It’s Alive is a tale inspired by pollution and environmental effects on humans’ reproductive systems, eventually leading to a damaged progeny trying to survive when it’s scared and ready to kill for survival. The film takes this and turns it into an easy to watch horror film about a newborn mutant monster that can easily be taken as just that, a monster film, but is much more once one delves into the environmental message. Here Cohen creates a tale that is deeper than it seems and works with monster film tropes to pass along its message and entertain at the same time.
Logan, the public’s beloved Wolverine, has aged and isn’t doing so great. As he holds onto life for some reason and is looking for a reason to be. His later life is not filled with action, something he seems to have settled into. That is until a woman comes asking for his help and a chain of events leads to him having to help a young girl in desperate need of guidance and assistance.
“Logan” is a terrible X-Men movie, but a very good Wolverine movie. I say that because director James Mangold holds about as much contempt for X-Men and its concept as Bryan Singer does. Mangold offers a vision of the team that is none too flattering. Set in an undetermined timeline of the movie series, we’re met with Logan in the distant future where he’s one of the only surviving mutants left on Earth. The dream has died, Professor X is now suffering from a brain disease that has turned him in to a burden, and everything the X-Men strived for has been forgotten and passed off as a joke. Now faced with nothing but a dark ending, he is confronted by a Hispanic woman who pays him to help her. Logan, at the behest of Charles Xavier, is tasked with caring for a small girl named Laura who is much more like Logan than even Charles Xavier realizes.
“Rock & Rule” is a wonky, surreal, and entertaining animated musical that feels like Ralph Bakshi, Don Bluth, and “Heavy Metal” magazine were combined in to such a frantic cult gem. The 1983 movie has gone through years of being an underground classic, and has finally been embraced for such an ahead of its time science fiction tale. The animation for “Rock & Rule” is completely out of the box, resembling rotoscoping in many aspects, and opting for character models you don’t often find anywhere else. “Rock & Rule” is a science fiction, punk rock, steam punk tale set many years in the future after world war III wiped man off the face of the Earth. The only surviving species are cats, dogs, and rats. They have evolved in to anthropomorphic mutants, all capable of thought and speech.