I started out this review for a single film, and not two. But, about a half hour into watching The Eye (2008), I realized I couldn’t write a review without first watching The Eye (2002, original title Gin gwai), to see what the filmmakers of the newer version stole from the original. That’s because The Eye is not so much a remake of Gin gwai as it is another version. The only changes are on the surface.
Directed by the Pang Brothers (Danny and Oxide Chun), from a screenplay by the brothers and Yuet-Jan Hui, Gin gwai tells the story of Wong Kar Mun (Angelica Lee). When Mun was a toddler, an accident left her blinded. Now, as an adult, she undergoes cornea transplant surgery to restore her sight. Only, from the moment she first opens her eyes in a Hong Kong hospital, something isn’t right. There appears to be an extra person in the room when the bandages are removed. Her sight is very blurred, so she can’t make out more than a dark figure. It presages troubles to come. Continue reading “October Horrorshow: The Eye (2002) & The Eye (2008)”
The 1976 remake of King Kong might be peak Dino De Laurentiis. The legendary Italian producer’s films whipsaw back and forth between the grandiose, the absurd, the exploitative, and the just plain shitty. King Kong is a prime example.
Clocking in at an interminable 134 minutes, this King Kong is meant to be an epic retelling of a cinema classic. Everything about this film, directed by John Guillermin, seems meant to showcase how film has improved and grown in the forty years since the original film was released. The original King Kong was severely limited by what was possible at the time, yes, but it never felt like a failing. Nor is this film an indictment of what came before. But this film does live and die on an implied promise that it will be a better technical film than that which came before. Other than making money, there really isn’t much more reason for this film to exist. Continue reading “Giant Monstershow: King Kong (1976)”
I’ve been picking on Italian movies of late over in the Shitty Movie Sundays department. I can’t help it. I discovered Enzo G. Castellari recently and that opened the floodgates. Just about every week I find myself searching streaming services for another glorious train wreck from that most interesting of old world countries. It’s cinema devoid of shame, unapologetically opportunistic, and, to borrow a phrase from Tom Wolfe, gloriously low rent. Today’s film is not a cheap Italian knockoff designed to trick audiences into buying a ticket, though. Today’s film is a classic, even though its producers did find themselves on the wrong end of a plagiarism lawsuit. Continue reading “Empty Balcony: A Fistful of Dollars”
Alongside post-apocalyptic films, there exists another popular nihilistic genre of film — the dystopian tale. Civilization doesn’t have to have collapsed into a dense ball of suffering for the dystopian film to work. Rather, current mores and politics just need a little bit of tweaking and society becomes unrecognizable. Indeed, in some dystopian futures, it could be argued that humans are thriving. What is common in dystopian films is that some eroding of freedoms has occurred, brought on usually by technology, capitalism, communism, post-industrialism, or a conglomeration of every fear we have about the role of individuality in the future. Continue reading “Empty Balcony: Rollerball (1975) & Rollerball (2002)”
I remember being a child in the 1980s, and movies from the 1950s looked old. The people in them wore weird clothes, had strange haircuts, and drove ridiculous-looking cars. Everything was in black and white, too, making me think, probably up until I was in kindergarten, that the world used to be black and white, and sometime during my parents’ childhoods, all of a sudden it snapped into color. I vaguely remember asking them about that. Oh, the conclusions a child’s mind will come to absent any other information. Continue reading “October Horrorshow: Poltergeist (2015)”
John Carpenter is one of the few filmmakers who ever made a remake at least as good as its source material. Hell, with The Thing, he may have made a better movie than Hollywood legend Howard Hawks. I can’t form a concrete opinion either way. Continue reading “October Horrorshow: The Fog (2005)”
You don’t see this often, but Don’t Be Afraid of the Dark is a remake of a TV movie from 1973. I’ve never seen the original, but apparently it has a decent reputation in the horror world. Anyway, it has enough of a good reputation that Guillermo del Toro decided to write and produce the remake (Matthew Robbins shared screenwriting credits). Continue reading “October Horrorshow: Don’t Be Afraid of the Dark (2010)”
It’s no secret. Hollywood loves remakes. They love squeezing new cash out of old ideas. And why not? We’re a country that embraces the familiar. We find comfort in it. It’s this tendency of the public to seek out what it already knows that makes Applebee’s and the Olive Garden successful properties in Times Square. Who the hell would come all the way to New York City only to eat the same food they can get in Boise? Americans, that’s who. Continue reading “The Empty Balcony: Total Recall (2012)”
Teleportation is a fascinating subject. Most sci-fi fans have watched the transporters in Star Trek or elsewhere and thought how cool it would be to travel instantly from one place to another. But then science rears its ugly head. Sure, it’s a novel idea, and would change the way we live in ways that are hard to comprehend. For instance, if distance becomes meaningless, so does security and privacy. There’s no point in having locked doors if anyone at anytime can just teleport into your apartment and steal your stuff. There’s no point in living in cities if you can have cheap housing in the boonies and just teleport into midtown for work. Hungry for some Italian food? Forget the quaint little place that just opened in the old downtown, in the spot the shoe store used to be. Go to fucking Italy! Teleportation would be such a revolution in the way we think about distance that it would remake society in ways we can scarcely imagine. But there’s a dark side. Continue reading “October Horrorshow: The Fly (1986)”