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horror

David Fincher WWZII photo
aka The World War Z-quel
According to a report tonight from Variety, David Fincher is close to a deal to direct World War Z 2, the sequel to the 2013 Brad Pitt zombie film loosely adapted from the book by Max Brooks. While Fincher is apparently wary ...

The Mist trailer photo
The Mist trailer

Trailer for Spike TV's The Mist series takes the Stephen King story beyond the store


It's all foggy and misty
Apr 12
// Hubert Vigilla
Frank Darabont's 2007 adaptation of The Mist played out like a long, taut episode of The Twilight Zone. The movie offered one hell of a downbeat final scene--maybe mockingly downbeat--that differed drastically from the closin...

Review: The Void

Apr 10 // Hubert Vigilla
[embed]221365:43495:0[/embed] The VoidDirectors: Steven Kostanski and Jeremy GillespieRating: NRRelease Date: March 31, 2017 (UK); April 7, 2017 (US)  Daniel (Aaron Poole), a small town cop, finds a distraught man on an empty road in the middle of the night. This guy's just fled from a mysterious home invasion and murder, but Daniel doesn't know that. Daniel brings the man to the local hospital for treatment. A group of cultists surround the hospital, and strange, cosmic horror-y things begin to happen. The characters are quickly hewn from familiar tropes: the protagonist's estranged wife (Kathleen Munroe), a pregnant woman about to deliver (Grace Munro), a caring town doctor everyone respects (Kenneth Welsh), and two killers with uncertain motives who may or may not be good guys (Daniel Fathers and Mik Byskov). This group has to fend off the evil outside while strange powers turn people into tentacled, tumored, cyst-covered creatures that are a little bit H.P. Lovecraft and a lot of Rob Bottin. It's a modest set up, but there's a lot to do within that framework. Writers/co-directors Steven Kostanski and Jeremy Gillespie know their way around genre conventions and the camera. As the film goes wild with creatures and slime, they do an admirable job of making their film feel like an artifact of the VHS era. Even though the characters are usually one-note, there's a genuine sense of tension as they fight for their lives. In the first creature scene I think the effects are shown too obliquely and there's too much flickering light, but Kostanski and Gillespie typically show their horrors in all of their wonderful, lymphy madness. Yet as The Void unfolded, I felt like I was mostly noticing nods to other films rather than getting lost in The Void. When The Void revealed a plot twist, I thought about another movie; when a creature appeared on screen, I thought about another movie; even when The Void ended, I thought about another movie (two, actually). What I'm getting at: The Void is a great stroll through a videostore, but it doesn't go that additional step beyond its influences to become its own thing. I think about cover bands that don't quite twist the original enough, or maybe a tribute band--songs in the style of a downbeat Lucio Fulci zombie movie as done by John Carpenter. It's not like Kostanski and Gillespie lacked their own material. The mythology of their cosmic horror is promising. Sadly, it's left vague--a pretext for plot rather than something fully realized--and they never allow their own mythology's eldritch contours to wrest control from their genre forebears. There was so much unexplored territory they could have covered, but they stuck to the well-worn paths that others had made before them. I couldn't help but feel disappointed even though I liked what I saw. Experiences like this that make me appreciate the originality of those seminal 80s horror and sci-fi films. It's easy and enjoyable to recreate moods and pay homage to scenes, but much harder to go that extra step and create something genre-defining. That said, I want to see what Kostanski and Gillespie do next. There's promise in The Void, and maybe if I were younger or hadn't grown up watching the same movies the filmmakers did, I would find the movie more satisfying. I just hope in their next movie Kostanski and Gillespie get away from the videostore and put more of themselves and their original ideas front and center.
Review: The Void photo
Fulci + Carpenter + Lovecraft
The 80s aesthetic is chic these days in genre films. Just take a look at Beyond the Black Rainbow, It Follows, or The Guest, among others. Homage and pastiche don't guarantee quality, of course, but it's an indicator tha...

It/Cat In the Hat trailer photo
It/Cat In the Hat trailer

Watch an It trailer parody featuring Mike Myers' Cat in the Hat as Pennywise


OH YEAAAAAAH!
Apr 06
// Hubert Vigilla
Even though we were skeptical and mockingly dismissive about the look of the new Pennywise, we can't deny that the trailer for the 2017 It adaptation is frightening and well done. It's racked up 22.9 million views on YouTube ...

Review: Colossal

Apr 05 // Hubert Vigilla
[embed]221367:43490:0[/embed] ColossalDirector: Nacho VigalondoRating: RRelease Date: April 7, 2017 (limited) Gloria (Anne Hathaway) skulks into her boyfriend's apartment and gets kicked out. She's an alcoholic and self-absorbed, and like any real life fuck-up, Gloria excels at fucking up her attempts at getting un-fucked-up. She moves into her empty childhood home. She sleeps on the floor in an uninflated air mattress; she rolls into it like the filling in a burrito. A childhood friend named Oscar (Jason Sudeikis) helps get her back on her feet with a job at his bar and a little bit of furniture. And for some reason, whenever Gloria does a certain thing in the morning, a giant monster shows up in Seoul, South Korea. And for some reason, Gloria is able to control it. I love absurd conceits like this. The weirdness is the whole allure of the world created, and it serves as a foundation for some larger metaphor. Once the goofiness of the set-up clears (it doesn't entirely), Vigalondo and his cast take it deadly serious, as if all this strangeness has life-or-death consequences. That's weirdness wielded right rather than weirdness for its own sake. All of this is in service to a pomo allegory about (initially) fucking up. Using the kaiju as a guide, I could see Gloria drunkenly careening through her entire life without any regard for the lives she's affected. When you're drunk or depressed or your life is in such haze that you've become oblivious to the world around you, it can be difficult to see that you're hurting others. In Gloria's case, pissing off bosses or boyfriends is nothing, but now she sees news footage of how bad choices lead to the suffering of dozens, even hundreds, of total strangers. The guilt is immense because the scale of moral consequence is magnified to an absurd level. It's an inversion, and I think an intentional one, of the idea that one death is a tragedy while a million deaths are a statistic. For Gloria, those interpersonal, everyday interactions aren't enough to cause a major existential reassessment, but at this scale with so many people at stake, suddenly the implication of a city in peril calls attention to a one-on-one ethical interaction. To put it another way, the cries of a hundred strangers somehow magnify the faces of the people in front of her. Ditto her own face in the mirror. Hathaway has a great way of conveying the moral shock of it all in her eyes and on her face. Sometimes she winces with a "Did I do that?" expression, like spilling a drink. Other times she's doubled over with guilt, bawling, as if watching people in front of her suffer; worse, she feels too helpless to do anything about it. And yet there's more to Colossal than this single metaphor played out to its logical conclusion. The conclusion is not so clear cut. There are different kinds of monsters in Colossal. Without giving anything away, the film focuses just as much on the people we know as it does on the inner demons we're not quite acquainted with. The monster in Seoul gives the audience a projection of Gloria's interior life. As I watched Gloria with her ex-boyfriend and certain people in her hometown, I got a clear, sad, familiar portrait of her interpersonal life filled with "nice guys", toxic masculinity, and different forms of abuse. Most men treat her like a child, like a sexual conquest, like an irredeemable fuck up, like someone beneath and always dependent on them. Maybe Gloria's monster, destroyer of cities, is not just a kaiju made of her many fuck-ups. Maybe it's also a response to the men who put her down, demean her, and try to keep her compliant, weak, insecure, and small. It's self-destruction writ large on the one hand, but maybe it's also a strong and ennobling part of Gloria. Good symbols have different--sometimes even contradictory--facets to them, just like complicated people and lovable stories. From one angle, a dazzling light, from others a murky view of the world, but it's all of a piece. I keep turning Colossal around in my mind, admiring its angles and performances, how it fits together in an asymmetrical way. Mostly, though, I love how seriously it takes Gloria in the face of such gargantuan weirdness.
Review: Colossal photo
The genre mash, it was a kaiju smash
One of my least favorite movie cliches goes something like this: A person who lives in the city has an existential crisis. They reluctantly return to their hometown, where things are much simpler and quieter. The main charact...

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New It reboot has trailer, will terrorize kids birthday parties


Tim Curry nods seal of approval
Mar 29
// Rick Lash
It, the re-clown-boot, which previously underwhelmed, nay, whelmed with first look material has put on its big boy clown pants for this new teaser trailer (clocking in at a full 2:32). Allow me to say, I'm intrigued again. No...

Review: Raw

Mar 10 // Hubert Vigilla
[embed]221293:43454:0[/embed] Raw (Grave)Director: Julia DucournauRating: RRelease Date: March 10, 2017Country: France/Belgium Justine (Garance Marillier) is an in-coming freshman at a veterinary college. It's the same school that her parents attended and where her older sister Alexia (Ella Rumpf) is a current student. She's a lifelong vegetarian; at a buffet en route to the college, her mom berates a clerk for an errant meatball in Justine's mashed potatoes. During a hazing ritual at the vet school, Justine gets her first taste of meat when she's force fed a raw rabbit kidney. That fetid little taste awakens something sexy and dangerous in her. Raw is set in an off-kilter place where fictional conceits co-mingle with quotidian problems. It's the location for weird literary short fiction, allowing anything and everything to function as a metaphor or a metaphorical space. There's the familiar trope of the teenage girl whose sexual maturation is a source of horror for herself and others. Justine is the gawky young woman trying to figure out adulthood and sexiness and desire and how to juggle all of these new cravings she has. But Ducournau avoids many of the simple 1:1 ratios of familiar genre metaphors by complicating her world and its characters. Justine's taste for flesh is borne of freedom from home, and it becomes a point of sibling rivalry. I mentioned Ducournau's knack for the visceral, which is evidenced early in the film during the first hazing ritual. The freshman are forced out of bed and into some on-campus rave. Ducournau's camera follows Justine through the flashing lights and the throb of the music. First she's annoyed and alone, but as the scene continues to play out, she and the audience find the exhilaration of the moment, and the underlying emotional current of the scene changes. When Justine gets the shakes like a junkie in withdrawal, Ducournau closes the whole of the world into the hallucinatory nightmare of Justine in fetal position under her sheet. In what's sure to be the most talked about scene of the film, a silly, sisterly moment of bonding between Justine and Alexia becomes a squirmy horror set piece for the ages. As it happened, I smiled at the brilliant audacity of the execution. That "brilliant audacity" is what I liked about so much of Raw, and it's often pulled off throughout the film with casual unexpectedness. Justine seems to be going mad with her rush of desires, and occasionally some unexpected image would appear on screen and haunt me a bit. A horse on a treadmill or an animal carcass ready for class dissection is full of such fervid, dreamlike weight. Marillier plays fragile Justine and feral Justine so well and of a piece. Any interaction between Justine and her male roommate Adrien (Rabah Nait Oufella) gets loaded with an expectant dread. Will she? Is this hunger? Won't she? Is this desire? Why not both? The way Justine and Alexia's antagonisms play out over the course of Raw is fascinating as well, and hints at a longer history. There's affection tinged with enmity between these sisters. The fact that so much of Raw works so well may be why I come back to the closing notes of Raw and why they fell so flat for me. So much of the movie is a gut punch filmed with such great craft. Justine is built up and broken and humiliated and I was hoping for one last moment that would linger the same way as so many others. I felt like the movie traded its gut punches for a rote, tepid, expected wind down, and then punctuated it with a flimsy punchline. And yet that wind down makes sense emotionally, and that punchline opens up this rich, sadly unexplored avenue of the story. That may speak to the promise of Ducournau as filmmaker to watch--that I think there's something good wrapped up in a sour note, something exciting in the shadow of a disappointing coda. I guess sometimes even great cuts of meat have a little gristle.
Review: Raw photo
Flesh, sex, and self-destruction
While playing at film festivals last year, the hype over Raw was insane. Writer/director Julia Ducournau's coming-of-age horror/cannibal drama purportedly caused audience members to faint, to vomit, to leave screenings in dis...

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New Alien Covenant Trailer Indistinguishable from Old Alien Trailers


Mar 01
// Rick Lash
The latest trailer for the latest Alien feature, the third to be directed by Ridley Scott, shows us more of what is to come in the second Alien prequel (this will be the sixth film in the series, and the eight to feature the ...
Alien: Covenant photo
Alien: Covenant

Alien: Covenant gets a prologue with food and drinking


These people will die
Feb 23
// Matthew Razak
Yesterday we got our first good look at the crew of Alien: Covenant and today we have a bit of a prologue to the film that's been released. "Prologue: Last Supper" doesn't really tell us much, but it has fun playing with...
Castlevania poster photo
Castlevania poster

Adi Shankar releases teaser poster for the Castlevania series on Netflix


Needs more stupid Medusa heads
Feb 23
// Hubert Vigilla
Castlevania producer Adi Shankar has been using Facebook as a hype machine. Years ago he teased the potential series on his Facebook page. Shankar would then take to Facebook to confirm two seasons of Castlevania are in the w...

Review: Get Out

Feb 23 // Alec Kubas-Meyer
[embed]221322:43429:0[/embed] Get OutDirector: Jordan PeeleRelease Date: February 24, 2017Rating: R The opening shot of Get Out is a tour de goshdarn force. If you've seen David Robert Mitchell's (exceptional) It Follows, this is in the same vein. We're in a suburb, and we're following a young black man as he talks on the phone. He's in white people country, and he's kind of lost. As he walks, the camera follows, and soon we see a car come up the street beside him. The car follows, and he turns around, because "No, not today" (cue first laugh of the movie). He goes into the street, and suddenly someone, face obscured, comes up behind him and chokes him out. This someone drags the man to his car and puts him in the trunk. The car drives away. Get Out. Nice. It's the perfect preparation for what is set to come: a horror comedy about racism. A great horror comedy about racism. Probably the best one, though I'm not really sure what its competition is. Like most people, I've been of a fan of Jordan Peele's since Key & Peele got started, and I greatly enjoyed his turn in Keanu (my review of which was also heavily focused on race; I don't know why this keeps happening). But this is different. Having skipped trailers or really any information of any kind, I had kind of expected to see Peele play some role in the film. In fact, there's a role that would have definitely gone to him were it in a K&P sketch. But that's not what this is. He was just the writer and director here, and his debut film is all the better for it. There will be people who say that this film spends too much time on race. They will say that, because more-or-less every single scene in Get Out is making a statement on race or racism, and that makes them uncomfortable. (I'm talking about white people.) Let's take the premise: Chris Washington (Daniel Kaluuya) is a black man going to meet his girlfriend-of-four-months's parents for the first time. Allison Armitage: Man, what a white name, right? He asks her if her parents know that he's black. She says no but not to worry about it; her dad would have voted for Obama a third time, and he is definitely going to mention it. Because that's what white people do. Case in point: Me. Yesterday. Talking about this movie. Once I got to the office, I went around telling people in my office just how good Get Out was, but when I got to a black colleague of mine who I am friendly with but don't know very well, I went about it a little differently. I mentioned John Wick 2 first, which I recently rewatched (still loved it). After recommending that, I mentioned Get Out, almost as though it was an afterthought. It was not an afterthought: John Wick 2 was an afterthought. But I was concerned that he might think I was telling him because he was black, so I changed my behavior. And you know what that is? That's racism. Subtle, harmless(?) racism, to be sure, but racism nonetheless. Most of what we see in Get Out is a little less subtle than that. At the Armitage house, the parents are... off-putting, and Allison's brother is disturbing, but the friends of the family who come to visit are really the point. As they're introduced, they make various comments about blackness to Chris, seemingly expecting to be applauded for noticing his skin color without running away screaming. And through it all, Chris just smiles and nods. (When Allison goes on a tirade about her family's behavior, Chris just agrees with a knowing look; this scene got some of those loud laughs from select sections of the theater. I assume that, for some, it was a lived experience... For me, it was just a well-constructed joke, but I continue to wonder exactly what that means. Was I laughing with it, because it seemed "relatable" on some level... or was I laughing at it because I know that kind of thing happens and thank gosh I don't have to deal with it?) Things get strange pretty quick. The white family's hired help, a black man and black women, have terrifying smiles plastered onto their faces, and their actions and words feel... wrong. You know something is off pretty from the get-go, but you don't know what. And then you think you know what, but you're dead wrong. And you're dead wrong for two reasons: The movie sets up a fairly simple explanation and then half-subverts it in a fairly fascinating way. The implications of what is going on don't actually make a lot of sense (certainly less than the fairly simple explanation I was expecting). The more you consider what exactly happened to these people, the more confused you'll get. The conceit is cool. In the moment, it's terrifying. But on reflection, it's less "Ahhh!" and more "... Huh?" And, without spoiling it too much, the question becomes: Why? You can understand the expressions and actions to some extent, perhaps, but there's a deeper level that just doesn't make sense the more I think about it. (I'll be seeing the film again soon, which I think speaks to how much I enjoyed it, and this is something I'll be spending a lot of time trying to figure out if it feels Right. I hope that I'm being dumb and not the movie, but I fear it's the opposite.) Speaking of fear, aside from some Very Loud Noises early on, Get Out isn't really overtly "scary." It's more generally creepy, and I'm a big fan of Generally Creepy. The way everyone acts is unsettling (at the very least), and the descent into madness gets into your brain. You wonder, especially early on, if something like this could actually happen. Could actually be happening. (You don't wonder that in the final act.) There's probably an argument to be made that the comedy and horror stuff are too separated. There are the funny sequences, most of which involve Chris's friend Rod, who is watching his dog for the weekend, and there are scary sequences, most of which take place at the Armitage home. There's not a whole lot of overlap between the two. I don't know if this is a good thing or a bad thing. Someone I talked to afterwards didn't like it (he also felt like the race issues had somewhat of an anti-climax, a point on which I vehemently disagree). I think it's strange but not necessarily bad. I'm not sure how levity could have really been injected into the actually horror elements, because on the face of it, the way people act is kind of funny. But it's not actually funny. It's horrifying. (Racism is bad, you guys.) Before we wrap this thing up, let's have one final digression about race: Get Out was shot by a white man. I knew this before I looked it up, because I spent a large portion of the film thinking about lighting. In an interview with Dealine, Selma cinematographer talked about the complexity of lighting dark skin. It's relatively easy to light white skin, especially very pale white skin (we glow in the dark, so they say). But dark skin's harder. Lit poorly, they seem to disappear entirely. Vox has a fascinating video about how color film itself (the physical object, not the medium) was originally designed for white skin at the expense of all others. As one might expect, much of Get Out is shot at nighttime and in the dark. I mean, the dark is scary. However, said darkness should be obscuring the evil in the shadows and not the person who acts as our anchor. On more than a few occasions, it is difficult to make out Chris amongst all those shadows. Crucially: it doesn't feel intentional. It feels like a mistake, one made by a man used to lighting white people in the dark. (He does this well, in the moments where it's needed.) And that isn't to say that someone has to be black to know how to light black skin, but it's definitely not something that comes naturally. For the most, this is a film that looks quite good (I mean, that opening shot, though), but it's a pretty glaring fault there and Get Out suffers for it. But neither this nor any of its other faults keeps Get Out from greatness. It's objectively well made, and a fascinating way to visualize the black experience. I don't know how true to life it is, but my guess is that it's more real than any of us want it to be. Some will write it off as a flight of fancy, but they do so at society's peril. There are lessons to be learned from Get Out. I know I'm going to be thinking about it for a long, long time. And thinking about how I reacted and why I reacted the way I did. It got in my brain, and it's supposed to. That's what I'm focusing on, not the logical inconsistencies or any of the technical issues. I'm thinking about what matters. And sometimes the answers to those questions are tough to face. Jordan Peele has shown himself to be a very talented filmmaker with a unique voice and vision. I am very excited to see what he comes up with next.
Get Out Review photo
Wherein I Whitesplain Racism (Great...)
There's a story I heard but cannot verify about why Dave Chapelle ended The Chapelle Show when he did, with tens of millions of dollars on the line. So the story goes, he was working on a sketch that dealt prominently wi...

RIP Hellboy 3...? photo
RIP Hellboy 3...?

Guillermo del Toro says Hellboy 3 is dead, creator Mike Mignola hints at creative tension


Aww crap
Feb 22
// Hubert Vigilla
At this point it seems like Guillermo del Toro has a knack for movies getting away from him. They gestate, they build, but they don't come to fruition. The Hobbit, for instance, and also At the Mountains of Madness. Now you c...
Tales from the Crypt photo
Tales from the Crypt

The Tales from the Crypt reboot has trailers now


M. Night Shyamalan brings it back
Feb 21
// Matthew Razak
There are episodes of Tales from the Crypt that are eternally stuck in my mind. The show's combination of horror, weirdness, violence and nudity made it an instant cult classic when it was on. Also, there was the comic, ...
Alien: Covenant photo
Alien: Covenant

New image for Alien: Covenant teases new trailer


Most of these people will die
Feb 21
// Matthew Razak
When the first trailer for Alien: Covenant landed I was pretty excited as it looked like a true return to from for the series after the oddness of Prometheus. I mean just check out this new picture; it's basically a smal...
The Void US teaser photo
The Void US teaser

US teaser trailer and poster for The Void instills cosmic dread by way of 80s horror


John Carpenter and HP Lovecraft
Feb 20
// Hubert Vigilla
Last week we shared the UK teaser trailer for The Void, a cosmic horror film with shades of John Carpenter, H.P. Lovecraft, and Hellraiser II. Even though it was just 30 seconds long, it packed in lots of gore and dread. Toda...

Review: A Cure for Wellness

Feb 17 // Nick Valdez
[embed]221240:43388:0[/embed] A Cure for WellnessDirector: Gore VerbinskiRelease Date: February 17, 2017Rating: R Lockhart (Dane DeHaan) is a young, successful businessman who's tasked by his company to retrieve an executive who's vacationed to a wellness center in the Swiss Alps. But when he shows up to the center, a castle on top of a hill, and meets the mysterious Hannah (Mia Goth) and Dr. Volmer (Jason Isaacs) he discovers something's a miss in the Swiss. Especially when he's forcibly admitted to the asylum. A Cure for Wellness tests the limits of environmental characterization. It's almost as if it's a thesis statement positing how much a film's setting can balance out faults in its characters as long as its engagingly built. Wellness puts the bulk of its work behind building its central asylum, and thus every human character therein is overwhelmingly unlikable as a result. Lockhart's especially troublesome from the second he shows up on screen. While this is clearly an intentional choice, there's very little to invest in when you care so little about Lockhart's well being. Lockhart's put through the ringer, but the film never quite reaches a place where we care about anything happening to him. As he falls victim to various levels of body disfigurement and gross out torture, it becomes more about enjoying the visceral nature of its imagery rather than further the tension of Lockhart's situation. To slightly remedy this, Mia Goth's Hannah is this childlike sprite of a character who seems out of time and place. Every member of this asylum is an wealthy elderly individual leaving their life behind, but Hannah doesn't seem to have a life of her own. When Lockhart's goal transitions from escape to rescuing Hannah, there's a slight shift in his character but he's still very much irredeemable. Thankfully, Goth portrays the right sense of naivete but Hannah's characterization is all in the performance as the film gives her very little to work with.  The flat characters are only a reflection of the film's setting. But while the drab colors and muted tones do not do them any favors, it works wonderfully for the asylum. Verbinski, most likely culminating a career's worth of visual trickery, absolutely nails a creepy vibe. Stark whites (both in the asylum's outfits and staff) juxtaposed with slimy greens coupled with an overall sepia-toned frame to lock the asylum in a past time. Wellness also surprises with a couple of well composed shots (one of which can be sort of seen in the image below) that provide a welcome breather from the asylum's dank nature. This dankness elevates Verbinkski's eventual gross out, masturbatory thrills and truly reaches a point where it can get under your skin. It just never does. Despite this well crafted world, the narrative falls as flat as the characters. Wellness asks for a hefty amount of investment and forgiveness in order to truly enjoy it.  Due to the magical realism of the setting (where slightly mystical themes and subjects coexist with the modern world), and Lockhart's constantly medicated physiology, Wellness essentially follows an unreliable narrator. But this great idea is stifled by a core mystery that's solvable within the first quarter of the film. Which means, you're left with characters making dumb decisions and have overall less sense plodding through the film's run time. It's Verbinkski's recent editing folly that also gives way to six different climaxes. There was a scene about two hours in that would've been a perfect end, but then it just kept going. That's only one example of this too. There are several sequences that feel entirely unnecessary as they neither build character or flesh out the ickiness of the surroundings. Speaking of icky, the actual ending of the film crosses from cool gross out horror into sexual assault and reaches 'B' movie levels of cheese. It's an unfortunate break in tone from the film's build up, and weird to have it both played straight and ridiculed concurrently. It's kind of a kick in the teeth for those who might've enjoyed the rest of the film.  A Cure for Wellness is a "glass half full or glass half empty" situation. It all depends on your perspective of its waters. Half full of good ideas, but half is brought down by poor execution of those ideas. A film I'd slightly recommend as a cautionary tale for film school students or as some goofy entertainment you'd drink through the first half but pass out before the end.  Unfortunately, A Cure for Wellness isn't even a cure for boredom. 
Wellness Review  photo
Remove the cause but not the symptom
Gore Verbinski has always been a peculiar director. I've been a fan of his ever since he did remarkable work adapting the Japanese film Ringu into The Ring (a series that has not fared well in his absence), but choices in Pir...

Trailer: The Void photo
Trailer: The Void

NSFW teaser trailer for The Void is a gory blend of John Carpenter and H.P. Lovecraft


I'm sold
Feb 16
// Hubert Vigilla
I was completely unaware of The Void until last night. Now it's one of my most anticipated movies of the next few weeks. (I mean, come on, it looks great, but I don't want to oversell it, right?) Written and directed by Jerem...
Happy Valentines Day photo
Happy Valentines Day

These David Cronenberg Valentines transform body horror into bloody romance


Long live the new flesh, and our love
Feb 14
// Hubert Vigilla
It's Valentine's Day, which means you are obligated to do something special-ish because greeting card companies own you. If you are single, this means your parents will guilt you into having children because the biological im...
Fangoria lives... sort of photo
Fangoria lives... sort of

Fangoria issues official statement, says publication will continue in 2017


A vague and apologetic statement
Feb 13
// Hubert Vigilla
Just as our piece on Fangoria possibly folding went live, the publication released an official statement about its future. Brief, vague, and apologetic, Fangoria President and Owner Tom DeFeo said the following: I&rsquo...
Fangoria Magazine dead? photo
Fangoria Magazine dead?

Horror magazine Fangoria may be dead as a print publication, future murky


An official announcement coming soon
Feb 13
// Hubert Vigilla
In its heyday, Fangoria was the premiere horror genre publication. Started in 1979, Fangoria covered mainstream releases, cult gems, and held weekend-long fan conventions that celebrated all things horror. A lot of my love fo...
Netflixvania photo
Netflixvania

Netflix Castlevania: Producer Adi Shankar says 2 seasons in works, both written by Warren Ellis


Netflix-vania
Feb 09
// Hubert Vigilla
The animated Netflix Castlevania series was announced yesterday, although it was buried in a press release. Producer Adi Shankar, who teased the series back in 2015 on Facebook, took to social media again to share some small,...
Netflix Castlevania photo
It's on like Donkey...vania
Netflix is making a series based on Castlevania, which will debut later this year. The first season of the series has been written by comics scribe Warren Ellis (Transmetropolitan, Iron Man, Planetary). According to Poly...

World War Z 2 photo
World War Z 2

David Fincher may still direct Paramount's delayed World War Z sequel


The ball is in Paramount's court
Feb 08
// Hubert Vigilla
Paramount Pictures recently killed off the Friday the 13th reboot and delayed World War Z 2: The Zquel. As they figure out how to rework and retool World War Z 2 for a potential 2018 or 2019 release, there are rumors that Dav...
Paramount nixes movies photo
Paramount nixes movies

Paramount nixes Friday the 13th reboot and World War Z sequel from release calendar


Ka-ka-ka-ka... kill-kill-kill-kill...
Feb 07
// Hubert Vigilla
If you were looking forward to the Friday the 13th reboot and World War Z 2 (aka A World War Zequel), you're going to have to wait a bit longer. You may be waiting indefinitely. Paramount Pictures has removed both of these fi...
Life photo
Life

Newest trailer and Super Bowl spot for Life looks pretty great


I don't want, your life
Feb 05
// Nick Valdez
There haven't been enough sci-fi horror films lately, and this year's great because we're getting two! Along with Alien: Covenant (which will inevitably draw comparison to this) is Life, a film that's more likely going to be ...
Clive Barker contest photo
Clive Barker contest

Clive Barker and Shudder offering $300,000 to an aspiring horror filmmaker as part of contest


Barker will executive produce the film
Feb 02
// Hubert Vigilla
Clive Barker may never direct a horror movie again, but he wants to help young talent make their first movie. The author, artist, and filmmaker is participating in a contest with the horror streaming service Shudder and Adapt...
Apocalypse Now: The Game photo
Apocalypse Now: The Game

An Apocalypse Now video game is looking for funds on Kickstarter


I love the smell of crowdfunding
Jan 28
// Hubert Vigilla
Francis Ford Coppola's Apocalypse Now is a dark, maddening, sprawling masterpiece about the horrors of war. It's still one of the best movies about Vietnam and its impact on the American psyche, and it's often ranked among th...

Review: Resident Evil: The Final Chapter

Jan 27 // Nick Valdez
[embed]221227:43368:0[/embed] Resident Evil: The Final ChapterDirector: Paul W.S. AndersonRelease Date: January 27, 2017Rating: R Much like previous entries in this series (a technique unique to this and the Saw series, hilariously enough), Final Chapter begins immediately after the events of the previous film, 2012's Retribution. After a failed attack on the Umbrella Corporation in Washington D.C. -- causing the deaths of all but one of the remaining characters from the video game series -- leaves Alice (Milla Jovovich) alone and broken, she learns of a cure to the T-Virus locked within the corporation's base from the first film. But with only 48 hours until the last settlements of humanity are wiped out, Alice is forced to race against time and face villains from her past like Dr. Isaacs (Iain Glen) last seen in the third film, Extinction. Also Ali Larter shows up.  Final Chapter is an aggressively busy film. The camera is constantly in motion. Whether it's shaky cam during dialogue, quick cuts of the same fight scene from different angles, or zoom-ins to Jovovich's face, the camera is rarely still, if ever. Coupled with sound mixing making everything about ten times louder than it needs to be (making the numerous jump scares in the film's opening much more abrasive than they should be), and the film has a high barrier to entry to those outside of its fan base. Sure it may be ridiculous to assume a person would watch Final Chapter before any of the other films, but I could only assume those without background knowledge of the series would be completely lost. With only a brief primer outlining the series thus far at the opening, there's not much to latch onto since the story is too bare bones to stand out beyond its technical mayhem.  But while the film is a technical mess, and its story is spread too thin to work anywhere else, somehow Final Chapter's bits of awfulness coalesce into a workable package. It's the "so bad it's good" film conundrum the series has found itself in the past, and pockets of that occasionally pop up here. The film hits such a height of ridiculousness at certain points, I didn't really know how to react to it. While Final Chapter is indeed taking itself seriously, its punctuated by fun, action film choices. Triple barreled shotguns, rivers of fire, and even fan service like the return of the series famous laser grid. It may all be incredibly juvenile, but I still appreciate seeing Milla tear up the joint. This film reminded me how well the Resident Evil series has focused action films around a female lead, and how much better these films are when Jovovich is clearly enjoying her work.  As for everyone else involved, I couldn't say the same. While there are other actors in this film, I couldn't say there were any real characters. The Final Chapter has such a brisk pace, there's no room for development for other characters than Alice. The Alice-focused narrative works for Jovovich's performance, but lowers the film's stakes and tension. Characters fight and die, but there's little reason to care about any of it. The only performances worth noting beyond Jovovich are Ali Larter's and Iain Glen's because they've nailed down the strange seriousness they need to deliver their lines. And since I'll probably never get the chance to mention this again, I just want to declare how much I've missed Ali Larter. Seeing her in Final Chapter reminded me how much I loved seeing her on-screen. There may not be any more Resident Evil films in the works (presumably), but I hope she pops up somewhere. Same for Jovovich, too.  Your mileage will vary with Resident Evil: The Final Chapter. If you've never seen the Resident Evil films, don't bother. If you're slightly interested in it because the newest Resident Evil game piqued you curiousity, don't bother. If you've watched the other films but only slightly curious to see how the series ends, you're better off waiting a while until you can watch it a home with a bunch of drinking buddies.  But for those of you who absolutely love the Resident Evil films, and there are some of you out there, you won't get a better ending than this. Final Chapter is passionately, crazily built for you, and you won't get the same care anywhere else.  Sadly, however, this film was released to everyone. 
RE Review photo
At least it's the last one
The Resident Evil films have always been a special kind of terrible. While not great films in their own right, each film is part of a larger ambitious tale further spurned on by both fan and creator devotion. Each one might n...

Review: We Are the Flesh

Jan 12 // Hubert Vigilla
TRAILER IS NOT SAFE FOR WORK (NSFW) [embed]220963:43146:0[/embed] We Are the Flesh (Tenemos le carne)Director: Emiliano Rocha MinterRating: NRRelease Date: January 13, 2017 (limited)Country: Mexico  We Are the Flesh reminds me of early Clive Barker splatterpunk stories; one scene in thermal vision even recalls Barker's little-seen short film The Forbidden. There's also a hint of Shinya Tsukamoto's Tetsuo: The Iron Man, though it's shorn of the technological madness and kinetic stuff--this transgression is luridly organic. Maybe Tetsuo by way of Gaspar Noe, with occasional outbursts of hysterical excess straight out of Andrzej Zulawski (Possession). The film also has some moist, mucus-rich makeup effects that wouldn't be out of place in a Brian Yuzna movie (Society, From Beyond). This paragraph is either a warning or a recommendation--if you want blood, you got it. There's a man with a demonic smile (Noe Hernandez) who lives in an abandoned building. He gets high on homemade gasoline and gets off on solitude. A boy (Diego Gamaliel) and a girl (Maria Evoli), siblings, enter his building. They're desperately in search of food and shelter. The man lets them stay as long as they help him construct a claustrophobic landscape within the building. Think of something like a cave and a uterus complete with a pseudo birth canal; a psychoanalytic hellscape where the id can thrive. All the while, the man tries to coerce the boy and the girl to break social, sexual, and interpersonal taboos. Minter builds up dread through whispers and shouts as he mounts transgressions upon each other. There's incest, rape, murder, cannibalism, on-camera sex, and necrophilia, and even now I can't say what it all adds up to. We Are the Flesh may not add up to anything, to be honest. Even though Hernandez and Evoli give the film their all--Evoli in particular goes for psychotic broke--the movie may just be images and noise with the intent to shock. I think there's a political allegory about Mexico and poverty, that a lack of means reduces us to some base state of nature in which social mores no longer matter. But it's a bit of a guess. It might be a stretch. Sometimes extreme cinema is just extreme cinema, but I can't help but sense something more meaningful behind all of this given how repulsed yet affected I felt. When someone lets out a blood-curdling scream, there has to be a reason, right? Maybe? Or was it just the desire to scream? This struggle for meaning is probably an intentional provocation from Minter. When confronted with something shocking, I usually feel challenged to interpret it. Yet Minter evades overt meaning making. There seems to be 10 minutes missing from the final act of the 80-minute film. Several events take place off camera unexplained, and it leads to total narrative disorientation. We Are the Flesh was a feverish nightmare already, and then that skimpy dream logic breaks down completely. No order, not for this this movie. What Minter provides is a sustained sense of unease, however. That feeling remained with me even after a less than satisfying conclusion. Even if We Are the Flesh only prompts exasperation and disgust, it's such a strange trip into the abyss I want to send others down there into the dark who are willing. Minter, like or hate it, is a Mexican filmmaker to watch. I'm reminded of something Clive Barker said about movies once (paraphrased): I want to feel something, even if it's just disgust; better that than thinking, okay, let's go for a pizza. After We Are the Flesh, pizza was the last thing I wanted.
Review: We Are the Flesh photo
The ecstasy of pure id
Reviewing We Are the Flesh from writer/director Emiliano Rocha Minter is tricky. On the one hand, it's a deeply flawed film aimed at a limited audience. It's transgressive in the extreme, sexually explicit bordering on pornog...

Trailer: The Lure photo
Trailer: The Lure

Trailer: The Lure looks like the sexy cannibal mermaid musical the world needs (NSFW)


But is it the one Gotham deserves?
Jan 06
// Hubert Vigilla
I had no idea about The Lure until last night even though it played at Sundance last year. The Lure is now one of my most anticipated movies of 2017. The debut film from Agnieszka Smoczynska, The Lure is a horror/fantasy musi...

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