BARE BONES: THE HUNT (2020)

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THE HUNT (2020)

Flick is yet another version of the the tired ‘rich people hunting poor people’ scenario. Here a group of elitist, extreme left rich folks bring a group of low income, right wing captives to an area of Croatia to be hunted for sport. A case of mistaken identity amongst their specifically chosen targets lands ex-soldier Crystal (Betty Gilpin) in their midst and she has no plans to die easily.

Flick gained some attention after being delayed from it’s September 2019 release date due to some real-life shootings at the time. Now having seen the film, it seems more like a publicity stunt to give some notoriety to this turkey. The flick is badly directed by Craig Zobel (the far better Compliance) from an awful script by Damon Lindelof and Nick Cuse. The makers give no credit to it’s audience for having any intelligence and the film stops dead, so characters can recite the film’s political and social commentary right at you. It’s so heavy-handed and obvious that midway through it starts to give you a headache. It would seem like the script writers had no faith in their own story to relay it’s messages…about race, immigration, the division between rich and poor…so they literally throw it in your face every chance they get. Having the rich a-holes being extreme leftists this time and their quarry being right wing “rednecks” does not cleverness make and the attempts at humor and satire fall flat most of the time, as well. Gilpin (Glow) does the best she can with what she’s given to work with and if there are any points to give here, her climactic fight with Hilary Swank’s villainous Athena, is fun to watch. The reveals during this last act confrontation, however, aren’t as big a deal as the film wants us to think they are. We’ve been force fed so much already, we simply don’t care at this point. Avoid unless you are too curious to save yourself money and 90 minutes of your time. Definitely a candidate for worst film of the year

-MonsterZero NJ

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HORROR YOU MIGHT HAVE MISSED: INTO THE DARK-CRAWLERS (2020)

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INTO THE DARK: CRAWLERS (2020)

Emerald Springs is not only a small college town, but a predominately Irish town as well. As such, it goes bonkers on St. Patrick’s Day, but this year, March 17th takes an otherworldly turn. It seems the town is being invaded by bodysnatching aliens and it’s up to spunky, rebellious, drug-dealing local Shauna (Giorgia Whigham) to rally students Misty, Yuejin and Aaron (Pepi Sonuga, Olivia Liang and Cameron Fuller) to save the town and the planet.

Flick is directed for Blumhouse’s monthly movie series by Brandon Zuck from a script by Catherine Wignall and Mike Gan. Story-wise it’s very routine with aliens invading a small town and stealing the bodies of their conquests, but it’s also filled with some fun nods to the films that inspired it. It is a homage and one that is affectionate towards it’s influences, evoking Invasion of the Body Snatchers, the 1988 Blob remake, and John Carpenter’s The Thing, to name a few. Zuck moves things along fairly quickly and has a good time with the scenario to make it fun. The characters are also entertaining to watch, especially Whigham’s sarcastic, tough Shauna, who also serves as the film’s narrator, as this is played as an entry for her online blog. The flick doesn’t try to be more than it is, though there are some serious themes touched on, such as Misty’s being taken advantage of by jerk and campus stud, Michael (Zachary Roozen). Inappropriate behavior commentary aside, It’s tone is mostly all in fun, though it has some bloody moments, some well-rendered SPFX and there is an amusing 80s vibe the helps make it a nostalgically entertaining watch. No better example than the 80s-ish electronic score by Ceiri Torjussen and colorful, green themed cinematography from James Kniest.

The cast are having a good time. Leading lady Giorgia Whigham, is quite the spitfire as the sarcastic, conspiracy theorist that is Shauna. She is a delight to watch a she oozes contempt for the college students invading her town, but these party animals are most certainly the lesser of two evils when compared to the aliens also invading Emerald Springs. So, off she goes to save the world. This along with her roles on season 2 of Netflix’s The Punisher, and season 3 of MTV’s Scream: The TV Series, make her a talent to definitely keep an eye on. Pepi Sonuga is also good as the emotionally troubled, Misty. The issues of a possible date rape, add some nice depth to her character and Sonuga plays it well. Olivia Liang is fun as the bitchy, skeptical Yuejin. Yuejin is looking to replace Misty as campus queen Chloe’s (Jude Demorest) new bestie and wants none of Shauna’s alien invasion theories, despite being dragged into into the middle of it all. Cameron Fuller is solid as Aaron, a frat boy who comes to regret some of his party animal activities, when he realizes Molly and her friends are people and not trophies or conquests. A cast having a good time and getting the tone of the material.

Crawlers isn’t a great movie, but it is an entertaining one and is now one more choice to watch on St. Patrick’s Day. It has a routine sci-fi/horror story, but the director gets the tone of the homage laden script and directs it appropriately. It’s has a hip sense of sarcastic humor, as does it’s leading lady and the characters are fun to watch as they take on invading aliens while everyone else is pub-crawling. It’s cliché and no classic, but still a fun time and doesn’t overstay it’s welcome with an economical 90 minute runtime. Stay through the credits for some fun bloopers.

 

-MonsterZero NJ

Rated 3 (out of 4) pints.

 

 

 

 

 

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REVIEW: THE INVISIBLE MAN (2020)

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THE INVISIBLE MAN (2020)

(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Update of the classic H.G. Wells story finds Cecilia Kass (Elizabeth Moss) running from her relationship with her abusive, control freak boyfriend Adrian (Oliver Jackson-Cohen). She’s helped by her sister Emily (Harriet Dyer) and is living with her friend James (Aldis Hodge), a policeman, and his daughter Sydney (Storm Reid). Two weeks after her daring escape, she hears that millionaire Adrian has committed suicide and even has left her a large sum of money. She thinks she’s free of him, until strange things start to occur around the house and someone starts messing with her life. There are hints that it’s Adrian and soon Cecilia is convinced he’s somehow still around. The events continue to escalate, but no one believes her that her ex is somehow the cause and soon those close to her start to doubt her sanity. Is Cecilia crazy or is Adrian somehow still alive and stalking her for revenge?

Flick is extremely well written and directed by Leigh Whannell, who cut his teeth writing for the Saw and Insidious movies. Whannell showed the potential for solid direction with his debut, Insidious: Chapter 3 and the 2018 Upgradebut really comes into his own here. Not only is the script a clever updating of a story that is well over 100 years-old, but adds in some contemporary themes, such as domestic abuse, stalking and the effect of abusive relationships, in a way that perfectly blend with the story. Here our scientist is a psychotic, Tony Stark-ish, millionaire optics expert, one who uses his brilliant new technological invention to stalk and terrify his ex-girlfriend, rather than benefit mankind. In the director’s chair, Whannell starts the film off with a very tense and suspenseful scene of Cecilia trying to escape from Adrian’s bed and home, while he is in a drug induced sleep. The film gives us just a brief moment to breath before things start going on in James’ house and Cecilia starts to believe Adrian is not as dead as the world thinks. She sees his touch in all that is befalling her, sometimes literally. No one believes her, especially when the invisible stalker frames her for murder and everyone is convinced she’s crazy. It’s a tense, suspenseful and very effective ride as Adrian could be anywhere…and usually is. When Cecilia begins to fight back, all hell breaks loose leading to an intense showdown. Whannell gets a lot of milage out of mixing a classic story with contemporary story elements, but wisely never let’s it go over-the-top. By keeping things grounded, we go along with even the more fantastic parts of the story, such as the manner in which invisibility is achieved. It’s not perfect. When things start to happen in the house, Cecilia skips right over other possibilities, such as, maybe, a haunting and goes right to invisible man. Sure, she knows better than anyone Adrian’s intellect and optics expertise, but it’s hard to swallow, that she’d leap straight to that conclusion so quickly. That and after the exciting and violent final showdown, there are a few additional scenes that continue the story for another few minutes. An extra chapter after we thought it was done. It comes to a chilling conclusion, but sort of takes the flick into an extra inning that doesn’t quite match the momentum of what came before. None of it’s flaws are critical to the film’s effectiveness, but, as said, the flick is not perfect.

Whannell has a good cast. Elizabeth Moss gives a strong performance of a woman terrified to the point of feeling like she’s loosing her mind. When Cecilia starts to fight back, you fully believe she’s a woman driven to the point of finally standing up for herself. As we don’t actually see samples of her abusive relationship with Adrian, we still feel it’s potency based entirely on her performance. Great work. Oliver Jackson-Cohen has only two brief scenes and is fine. Again, most of his character actions are portrayed through Moss’ reactions and FX, so he hasn’t much to do physically. He is appropriately creepy when we do see him. Aldis Hodge is solid as supportive friend James. As a cop, he is forced to walk a thin line with what he can believe once Cecilia begins to rant about being stalked by a man who’s supposedly dead. In more supporting roles, Harriet Dyer is fine as Cecilia’s sister, Emily, Michael Dorman is appropriately slimy as Adrian’s lawyer, brother Tom and Storm Reid is likable as James’ daughter, Sydney. A solid and effective cast.

A very effective thriller from Leigh Whannell. It’s tense, suspenseful and mixes contemporary themes into it’s sci-fi/horror story very well. It’s paced efficiently and moves quickly for a film over two hours in length. There is some shocking violence to punctuate certain scenes and really recreates the fear of someone being stalked and manipulated to maximum effect. It has a few flaws, but otherwise shows Whannell has really locked in his directorial skills and one looks forward to whatever he comes up with next.

-MonsterZero NJ

Rated 3 and 1/2 (out of 4) invisible men.

 

 

 

 

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BLUMHOUSE and JOHN CARPENTER ANNOUNCE 2 HALLOWEEN SEQUELS!

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BLUMHOUSE and JOHN CARPENTER ANNOUNCE 2 HALLOWEEN SEQUELS!

Blumhouse and legendary director John Carpenter have announced today that there will be, not one, but two sequels to the hit Halloween 2018. Carpenter, Jamie Lee Curtis, director David Gordon Green and co-writer Danny McBride will supposedly all return for Halloween Kills on 10/16/2020 and Halloween Ends on 10/15/2021. Will this finally conclude this decades spanning franchise? We’ll find out in 2021!

-MonsterZero NJ

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HALLOWEEN II (1981) and HALLOWEEN (2018): A COMPARISON IN HORROR!

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HALLOWEEN II (1981) and HALLOWEEN (2018): A COMPARISON IN HORROR!

MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen Halloween II (1981) or Halloween (2018), there are MASSIVE SPOILERS BELOW for each film. You have been warned!

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Comparison In Horror is back!…and in this installment the comparison is between the two direct sequels to John Carpenter’s original classic Halloween. In 1981, the success of Halloween led to an inevitable sequel, Halloween II. Recently, for Halloween‘s 40th anniversary, a new film, Halloween (2018), was made that went back to the source and erased all the previous sequels, as a direct continuation of Carpenter’s original story. It’s created a unique situation where one classic film now has two direct sequels…remember, Halloween H2O, acknowledges the story elements of Halloween II, so it is not quite a direct sequel to the 1978 classic. Two direct sequels that take place forty years apart, let’s take a look these two films and compare…

(Click on the highlighted movie titles to go to the full length reviews and on the photos to enlarge them!)

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THE STORY

Halloween II takes place on the same night of the original, basically picking up right where the first film leaves off. The flick continues with an injured Laurie Strode (Jaime Lee Curtis) being taken to a hospital in Haddonfield, while Dr. Loomis (Donald Pleasence) and the police scour the neighborhood for the still at large Michael Myers (stuntman Dick Warlock). Unbeknownst to them, Michael has discovered Laurie’s whereabouts and heads to the hospital to find her, leaving a trail of bodies along the way. Once there, he begins to decimate the hospital staff, one by one, in search of his prey. It is in this film that it is revealed that Laurie is actually Michael’s other sister and he has come home to finish the job he started 15 years ago.

Halloween (2018) opens forty years later to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been re-incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. Hearing of his escape, Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all. By ignoring all the sequels, this film eliminates the subplot that Laurie is Michael’s sister and returns her to a random victim.

Except for both films being direct sequels to John Carpenter’s Halloween, the stories are vastly different.

 

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MICHAEL MYERS

Obviously the Michael Myers in 1981’s Halloween II is the same as in John Carpenter’s Halloweenas the film picks up minutes after the first movie. He’s about twenty-one years-old and is a brutal killer, murdering anyone he encounters during his pursuit of Laurie. It starts out as random neighbors, as he flees from the police and Loomis, to various hospital staff once he finds Laurie at Haddonfield Hospital. He uses a variety of weapons or his hands to brutally dispatch his victims. His mask is still new, stolen earlier that day from a general store. There are hints that there is something supernatural about him, a pure evil more than human.

Halloween (2018)‘s Michael is a Michael forty years older than when we…or Laurie…last saw him. He’s got grey hair, is balding and covered in scars from his first encounter with Laurie. Once reunited with his mask, it too is showing wear and tear, with cracks and thinning hair much like it’s wearer. Despite being 61 years-old, he is still a strong, brutal and efficient killer murdering any innocents he encounters on his way back to Haddenfield and Laurie. In comparison, he seems a bit more vicious here, using his bare hands more often and otherwise mostly sticking with a simple kitchen knife, ironically obtained in a nice homage to Halloween II. He still prefers gas station coveralls and stalking women home alone or babysitting. The supernatural hints are downplayed here, save for a few lines in a nice homage/vocal cameo by Dr. Loomis.

In neither film does he ever speak and any emotions are marked by a shifting of his head or an intensifying in his movements. While he seems more interested in babysitters than their charges in the 1978 and 1981 films, 2018’s Michael has no qualms killing a young boy with a gun…but will still spare a baby. In the 1981 sequel, he started to appear more invincible and unkillable like his cinematic rival Jason Voorhees. In the 2018 sequel, he is back to being more human and can be hurt or injured.

 

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LAURIE STRODE

The Laurie Strodes portrayed in both films are a vast contrast due to the proximity and/or passage of time to the original film’s events.

In Halloween II Laurie is a terrified high school girl who is still traumatized from her encounter with Michael that night. She is basically a damsel in distress, continually on the run from Myers once he reacquires her. She actually seems to have a little less fight in her than she did in her earlier battle with the masked killer, though understandable being wounded and sedated by the hospital staff. Loomis once again comes to her rescue.

In Halloween (2018) we find a Laurie Strode who has been haunted for forty years as a result of the attack by Michael Myers and the murder of her friends. Aside from a few failed marriages and having a daughter from one, Laurie has lived a solitary life where she constantly prepares for Michael’s return…in fact she actually prays for it. The only way Laurie can purge the events of that Halloween night in 1978 from her mind is to kill the man who traumatized her and turned her into the paranoid recluse she now is. When she hears of Michael’s second escape, instead of hiding, Laurie arms herself and the hunter becomes the hunted. Laurie is more Sarah Conner than damsel in David Gordon Green’s film and Jamie Lee Curtis gives one of the best performances of her career.

 

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THE SETTINGS

The settings for both of these films is Haddonfield, Illinois and despite taking place forty years apart, not much has changed. In both films Haddonfield is a small suburban midwestern town that seems to celebrate Halloween enthusiastically. Halloween II ‘s town is still mostly unaware there is a killer in their midst and are only starting to hear the news that there has been an escape at Smith’s Grove and murders committed locally. The original Myers murder of his sister Judith, fifteen years earlier, is almost an urban legend at this point, especially to the town’s younger generations. A lot of the action takes place in the local hospital where Laurie has been admitted.

Same goes for Halloween (2018)‘s Haddonfield which has almost forgotten about the murders of forty years ago, save for the reminder of the eccentric woman who lives secluded in the woods. The new generation of teens know very little about Myers and that night and are too busy partying and trick or treating to realize a killer is on his way home again. Much like Halloween II, the Myers story is treated as an urban legend by everyone but for Laurie and a save few, including her daughter and granddaughter. The action takes place first at Smith’s Grove and then moves to Haddonfield with a last act at Laurie’s fortress home.

 

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THE OPENING SCENES

Rick Rosenthal’s 1981 sequel opens at Halloween‘s climax with Michael vanished and Loomis pursuing him into the street, much to the chagrin of a next-door neighbor. The opening sets the tone of the movie by quickly recounting the closing moments of the first film and then establishing that the danger is still out there. After a very effective opening credits scene where a pumpkin splits open to reveal a skull, we get Michael’s theft of a knife and first kill to make sure the dread is re-established.

Halloween (2018)  Opens with a pair of British podcasters visiting Michael at the Smith Grove Asylum. Journalist Aaron Korey (Jefferson Hall) uses some connections to borrow Michael’s mask and brazenly shows it to him to no effect. The other inmates react and it is their reaction that gives the opening an unsettling creepiness. After a very effective title sequence with a rotten pumpkin slowly reforming, we then follow Korey and his partner Dana (Rhian Rees) as they visit the reclusive Laurie, thus re-introducing us to her after all these years.

Both openings serve their respective stories well. Though in terms of sheer effectiveness, Halloween II is definitely the more potent opening, when going from Loomis’ classic “You don’t know what death is!” line to the pumpkin/skull credits, in getting us in the mood to be scared. Halloween (2018) only really gets going at a gas station scene which amusingly homages Halloween 4.

 

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THE ENDINGS

Both films end in fiery conflagrations with Michael at the receiving end.

In Halloween II, Michael bursts in as Loomis and Laurie are hiding in an operating room. Blinded by some well placed gunshots, Michael is lured into the center of the room as Laurie escapes. A wounded Loomis ignites the oxygen tanks causing a massive explosion. Myers walks out of the fire engulfed in flames before collapsing. Carpenter intended this to be the end of Michael Myers, though he would return for five more sequels before being “re-imagined” by Rob Zombie.

Halloween (2018) has Michael and Laurie engaged in a final(?) showdown at Laurie’s remote fortress house in the woods. She traps Michael in the cellar and then ignites the house which was always fitted to be a trap for the serial killer. Michael stares up at her as the room becomes engulfed in flames around him. Next we see the room, it is completely in flames, yet we see no sign of Michael. As we do hear his trademarked heavy breathing during the end credits, we are led to believe David Gordon Green is not done with the saga of Michael and Laurie quite yet.

 

 

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MISC

Halloween II is directed by Rick Rosenthal from a script by John Carpenter and Debra Hill, while Halloween (2018) is directed by David Gordon Green from a script by he, Danny McBride and Jeff Fradley. Both films are scored by Carpenter himself, with collaborations from Alan Howarth on the 1981 film and son Cody and Daniel Davies on the 2018 film. Both films look great with Dean Cundey doing the cinematography on Halloween II and Michael Simmonds on Halloween (2018). Both films feature graphic violence which is well represented by their respective make-up effects departments. As the recipient of such, both flicks have characters that are obviously there just to be Michael fodder. Each film does make good use of spooky Halloween imagery and were both box office hits with Halloween (2018) coming in just under the original film when tickets are adjusted for inflation.*

*as per Box Office Mojo

 

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IN CONCLUSION

Both films have their flaws and both have their merits. Both films effectively continue the story, but from completely different points in the timeline. One movie beginning where the first left off and the other continuing the story four decades later. As in all cases such as this, it’s up to the individual to choose a favorite. On a personal level, I’ll go with Halloween II as it’s an 80s slasher after all…my favorite kind…and flaws aside, it’s still the last Michael Myers film to really feel like a Halloween movie with Carpenter scoring and Dean Cundey doing cinematography…and let’s not forget the sadly missed presence of Donald Pleasence as Loomis. Halloween (2018), certainly got a number of things right, and does include a great performance from the queen herself. It also stumbled too, especially with it’s Loomis wannabe Dr. Sartain (Haluk Bilginer) and a failed subplot involving him. The 2018 film does have a strong police presence in Will Patton’s Deputy Hawkins who makes a nice replacement for the original part I and II’s Sheriff Brackett (Charles Cyphers) and Deputy Gary Hunt (Hunter von Leer). Addressing issues such as the long term effects on an attack victim, Green’s film has more substance, though Rosenthal’s sequel is simply more fun. Either way, Michael Myers fans win, as we probably haven’t seen the last of him. 🎃

-MonsterZero NJ

Check out more editions of A Comparison In Horror here!

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HORROR YOU MIGHT HAVE MISSED: HALLOWEEN (2018)

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HALLOWEEN (2018)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

It’s the 40th anniversary of John Carpenter’s Halloween and so there is no surprise that there is a new Michael Myers film this year. This film hits the reset button and rejects all the other sequels and remakes and is a direct continuation of the first film, picking up the story 40 years later…

Halloween 2018 opens to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. But Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all.

John Carpenter returns to the series to executive produce, along with Jamie Lee Curtis. He also co-wrote the score with son Cody Carpenter and Daniel Davies. The film itself is directed by David Gordon Green (Pineapple Express) who co-wrote with Danny McBride and Jeff Fradley for Blumhouse and Miramax. Background in comedy aside, Green delivers what is probably the best of the post Halloween III sequels, though technically that is not saying much. It also feels much more like a Halloween film than Rob Zombie’s efforts, but those are their own thing and exist in their own universe. It’s not perfect and still can’t come close to the original, but it does provide some intense scenes, especially in the last act confrontation. There is some brutal violence and Myers hasn’t mellowed in his old age (he’s about 61 here) as he still has a fondness for babysitters, anyone home alone…and or course, the Strode women. The film’s drawbacks are mostly script problems. The character of Loomis protégée, Dr. Sartain (Haluk Bilginer) seems shoehorned into the story, just so it has another Loomis. He doesn’t provide any useful exposition and as Michael hasn’t spoken in 40 years, he can’t know anything much more about him than Loomis did. There is also a last act plot twist involving him which simply doesn’t work and serves only to set up one of the film’s many conveniences. The flick also never maintains a constant feeling of dread as did the original. It’s never really scary, though it does get intense and there are some suspenseful moments. Michael’s killings in Haddonfield seem far more random than before. In the original he stalked Laurie’s friends, here it’s just randomly picked people to add body count before the last reel showdown. It works, but still seems like filler. When that showdown comes, it is intense and delivers what we came for and Green does pay nice homage to the original and some of the sequels it chooses to ignore. It also looks great, Green has a good visual eye and Haddonfield looks the most like Haddonfield since it did in 1981’s Halloween II.

Green also gets good work out of most of his cast. Jamie Lee Curtis is great as the emotionally troubled survivalist that Laurie Strode has become. If her character evokes the transformation of Sarah Conner from The Terminator to it’s sequel, T2: Judgement Day, it’s probably intentional…and it works. She’s still the queen of final girls. Greer is very good as her somewhat estranged daughter and it’s a shame this talented actress constantly gets these second banana supporting roles. Andi Matichak was solid as Strode’s granddaughter Ally. She seems to take more after her grandmother than her mother, though due to the story trajectory, she takes a backseat to Curtis in terms of final girl duty. Will Patton was solid as the local sheriff, Haluk Bilginer is no Donald Pleasence as Sartain, and Rees and Hall were suitable in their brief roles as the British journalists who rattle the wrong cage. Last, but certainly not least, Nick Castle and James Jude Courtney combine to make an imposing Myers, who is more threatening than he was in any of the post Halloween III, pre-Zombie sequels.

Overall, Halloween 2018 was a suitable enough sequel, though not without it’s flaws and it’s no classic. Director Green gave us some intense scenes and some brutally violent moments, as well as, a strong last act confrontation. His script let’s us down a bit, with some really contrived conveniences and a Loomis replacement that wasn’t necessary and who suffered one of the worst plot twists of the film. The continual sense of dread Carpenter established was missing and Michael’s kills seemed especially random and there to “kill” time as we awaited his reunion with Laurie. Curtis is still queen of the final girls forty years later and Dr. Sartain aside, most of the cast and characters worked, even if some were obvious Michael fodder.

Halloween 1978 is a masterpiece and a horror classic, so one can’t expect the same from any of the sequels. Most of them sucked, anyway, making it easy for this film to be able to at least hold it’s ground against the original three…and flaws aside, it does. Stay through the credits.

-MonsterZero NJ

Rated 3 three carving knives. Happy Halloween 🎃!

 

 

 

 

 

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HALLOWEEN 2018 HAS A NEW TRAILER!

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Blumhouse has dropped another trailer for their new Halloween film from director David Gordon Green. It is a direct sequel to John Carpenter’s classic and not only does it have Carpenter’s approval, but he is scoring as well! Jamie Lee Curtis returns as Laurie Strode as does Nick Castle as The Shape. Flick also stars Judy Greer and WIll Patton. Check out the second trailer below! This one has me a lot more excited than the first trailer…

Source: Youtube

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REVIEW: UPGRADE (2018)

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UPGRADE (2018)

(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Set in the near future, Upgrade tells the story of vintage car restorer Grey Trace (Logan Marshall-Green), who on the way home from delivering a car to a client with his wife Asha, (Melanie Vallejo) is ambushed by a group of men. They kill Asha and turn Grey into a paraplegic. Paralyzed from the neck down, Grey’s client, billionaire genius Eron Keen (Harrison Gilbertson) offers him a chance at being able to function again. A micro computer called STEM (voiced by Simon Maiden) will be inserted in his spine to bridge the gap between his body and mind. STEM, however, is not just a computer but an A.I. that co-exists with Grey. Now with STEM operating in his head and enhancing his physical abilities, the A.I. begins to help Grey track down those who murdered his wife and make them pay.

Fun 80s style action flick is written and directed by Leigh Whannell, who wrote the first three Saw films, all the Insidious flicks and directed Insidious: Chapter 3. It tells of a future where humans can be enhanced by computers and internal parts, such as the thugs who killed Grey’s wife having their guns built inside their arms. Now enhanced with STEM, mild-mannered Grey can fight like a trained soldier and move like a martial artist. He can also kill with lethal efficiency. It’s an entertaining good time to watch him track down those responsible, all the while being pursued by a cop (Betty Gabriel) who is trying to figure out how a paraplegic is killing the thugs in question one by one. While the film can get silly at times, a bar scene stands out as an example, it’s mostly a fun time well directed and cleverly presented by Whannell, with some intense action and chase sequences and horror movie level gore. On a technical level Whannell accomplishes a lot on his modest budget. The film looks great and has an awesome 80s vibe with colorful cinematography by Stefan Duscio and Jed Palmer’s very 80s electronic score. A fun homage, yet also very contemporary with it’s portrayal of the gap between man and technology becoming smaller and smaller.

The cast are solid. Logan Marshall-Green is convincing as a guy-next-door who becomes a detective and a skilled killer basically overnight. He is fun to watch as he tries to deal with having another intelligence in his head and abilities he’s never had before, not to mention a peaceful man now killing for revenge. He’s very well cast. Simon Maiden is effective as the voice of STEM, who only Grey can hear. He gives the A.I. character. Harrison Gilbertson portrays well the recluse billionaire who is barely out of his teens. He captures the solitude and awkwardness of being a unique individual very effectively. Betty Gabriel is good as Cortez, a cop trying to figure out how these thugs are being murdered when her only suspect is in a wheelchair. Rounding out the leads is Benedict Hardie playing Fisk. He’s basically the lead thug, a former military man now with computer enhancements to make him even more lethal and an equal opponent to the upgraded Grey. It was refreshing that he wasn’t played as a paramilitary tough guy, but almost a nerd that was now equipt to kill and enjoying it. While her screen time is limited, Melanie Vallejo made an impression as Asha and she and Logan Marshall-Green had nice chemistry, so their relationship was believable and the effect of her demise strongly felt.

Overall, this was a fun and clever action movie with a delightfully 80s vibe. Whannell directs well from his own inventive script and accomplishes a lot without a big budget. He has a good cast and if the film has any flaws, it’s that occasionally it veers into silly territory and the end reveal wasn’t that hard to see coming. The action is well choreographed and there is some graphic violence which fits in with it’s 80s feel. A very entertaining and sometimes inventive little movie that works as both 80s homage and contemporary sci-fi thriller.

-MonsterZero NJ

  Rated 3 computer chips.

 

 

 

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THE HALLOWEEN 2018 TRAILER HAS ARRIVED!

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The moment Halloween fans have been eagerly awaiting is here! Blumhouse has dropped it’s trailer for their new Halloween film from director David Gordon Green. It is a direct sequel to John Carpenter’s classic and not only does it have Carpenter’s approval, but he is scoring as well! Jamie Lee Curtis returns as Laurie Strode as does Nick Castle as The Shape. Flick also stars Judy Greer and WIll Patton. Check it out below!

Source: Youtube

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REVIEW: IN A VALLEY OF VIOLENCE (2016)

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IN A VALLEY OF VIOLENCE (2016)

(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Western homage is written and directed by Ti West who is known for horror films like The House Of The Devil and the recent The Sacrament. This is a departure for West and shows he can do more than just horror with this tale of revenge. Flick has ex-soldier Paul (Ethan Hawke) wandering into the small town of Denton, New Mexico. He is just passing through, but in true western fashion, has an altercation with the town bully/deputy, Gilly (James Ransone). Paul is commanded to leave town by Gilly’s sheriff father (John Travolta), but is pursued into the desert by Gilly and his thugs. Upon being ambushed, his beloved dog, Abbie is murdered and Paul himself left for dead. Surviving Gilly’s attempt at payback, the lone drifter heads back to Denton with death and revenge on his mind.

In A Valley Of Violence may not be perfect, but it is a fun homage to both spaghetti and American westerns. Ti West creates a classic drifter in Paul, a man who grew tired of killing Native Americans senselessly and left the army behind, too ashamed to return home to his own family. He wants no more to do with death, but is forced by the slimy Gilly and his father into picking up gun and knife once more. We also get the classic love interest in young Mary-Anne (Taissa Farmiga) who happens to be the sister of Gilly’s fiancé, Ellen (Karen Gillan) and takes a shine to the handsome drifter. In telling this classic story, West’s horror background does come through. Paul uses an assortment of weapons to gain revenge, including gun, straight razor and bludgeoning a man with his own boot heel. The flashback to the Native American massacre the broke him down is also very reminiscent of his set up for the sacrifice scene in The House Of The Devil. This western is also a bloody one, thought he does not go overboard with it. If West stumbles a bit, it’s with the film’s odd sense of humor. It is a bit intrusive in a few spots such as during the climactic scenes with Paul stalking Sheriff Martin and his posse throughout the town. There are a couple of moments where some humorous dialogue interrupts the tension that West has built, such as after witnessing a cohort gunned down, one of Martin’s thugs (Tommy Nohilly) declares, in a rant, that he no longer wants to be called “Tubby”. The humor is blended fine most of the time, but here it seems to slow the momentum a bit and break the suspense. It doesn’t damage the film, but the climactic showdown could have been tighter and more tense. On a technical level the film looks good. Cinematographer Eric Robbins makes good use of the New Mexico locations and Jeff Grace gives it a homage filled western score that evokes Morricone at times.

West also gets good work out of an impressive cast. Hawke may be no Clint Eastwood, but he plays the tortured drifter very well. Paul is a man who has come to abhor violence, but is forced back into it, reluctantly, by the bully Gilly. His dog Abbie is the rock that what humanity he has left clings to and when she is taken, the killer is unleashed again. Hawke makes Paul likable, yet a bit distant and we do believe he is lethal when the time comes. Travolta is very good as Sheriff Martin. He plays him as not quite a bad guy, but obviously someone who lets his son and thugs have their way around town. He knows enough to not mess with the ex-soldier Paul, but sadly is not convincing enough to his son. As Gilly, James Ransone is appropriately slimy and full of himself. Gilly is a bit too much of a jerk to really be completely menacing and Ransone plays him as someone a bit too over confident to know when to quit. Taissa Farmiga is sweet and spirited as Mary-Anne, the lonely impressionable young girl who falls for Paul and Karen Gillan is also entertaining as her snooty sister Ellen, who is engaged to the bully Gilly. Indie flick icon Larry Fesenden also appears as one of Gilly’s three thugs along with Toby Huss and Tommy Nohilly.

Overall, I liked this odd little western homage and was entertained. The story is common to the genre as are the stereotypical characters, but that is completely on purpose. This is some nice tension and suspense to go with the bloody action and the cast all perform their parts well. If the film falters somewhat, it is in that sometimes it’s quirky humor comes at the wrong moments when things should stay tense. Otherwise this is a fun western from a man who has already impressed with his horror flicks and Blumhouse who continues to support indie filmmakers. Also stars Burn Gorman as a less than typical priest.

-MonsterZero NJ

3 six-shooters.

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