The Wraith, the 1986 flick from writer/director Mike Marvin, is in stiff competition with Road House for the most relentlessly ’80s movie in the Watchability Index. The music, the fashion, the bright colors, the bitchin’ cars, the way the film is shot, and the raspy-voiced presence of Charlie Sheen will all transport the viewer back to the heady days of mid-1980s Tucson, Arizona.
This film is also a throwback to the teen dramas of the 1950s. The local youths are consumed by their dramas, and, like all good teen flicks, the only adult with significant presence in the film is the local sheriff. Continue reading “Shitty Movie Sundays: The Wraith”
I am baffled, flabbergasted, dumbfounded, astonished, nonplussed. I am deep into the thesaurus when it comes to how I regard Leprechaun 2, the 1994 sequel to filmmaker Mark Jones’ magnum opus. The first flick stank. It only made a little over eight and a half million bucks at the box office, yet it spawned a film franchise that has now spanned a quarter century. I admire the fact that everyone involved keeps making these shitty flicks despite an unending wave of negative criticism. It’s just that in a country known for such ruthless capitalism, I’m surprised these turds keep finding financial backing. Continue reading “Attack of the Franchise Sequels: Leprechaun 2″
Ah, the early 1990s. It was a time of transition. The neon styles of the ’80s were losing their cool, and the plaid drabness that supplanted it was crossing over into movies and television. In the cities, violent crime reached its peak, and gentrification was an idea that had yet to find its execution. The ’90s as a whole were a time when the rough edges still existed, but the polishing was underway.
I bring this up because one would be hard pressed to find a movie that looks more 1990s than Ticks. Released in 1993, Ticks comes to viewers via director Tony Randel and screenwriter Brent V. Friedman. Continue reading “October Horrorshow: Ticks”
Tango & Cash is somewhat of a watershed moment for the excessive 1980s style of action flick. It’s so ridiculous and over-the-top that a viewer could be forgiven if they thought this film was a spoof. It is not. However, it is an excellent example of what can go right and wrong in an action film, and in film productions in general. Continue reading “Stallone Month: Tango & Cash”
Nothing is ever interesting enough for Hollywood. If you pitch them a movie about mountain climbers starring Sylvester Stallone, they follow that up by asking what the hook is. Alpine climbing in bad weather just isn’t compelling in their line of thinking, so the movie has to be augmented with a bunch of bad guys who robbed the Treasury Department. And that’s how we got the movie Cliffhanger.Continue reading “Shitty Movie Sundays: Backdraft”
There are two things every person should know before viewing House of the Dead. One: the film is based on a video game. Two: the film is directed by Uwe Boll, who is the object of an online petition calling for his retirement from filmmaking. At one time, Boll vowed to adhere to its conditions if the petition reached one million signatures. Of course, no one forces the public to watch his films. But it is an indication of the type of vitriol Boll engenders.
House of the Dead, without any sort of qualification and without my devoting any amount of unnecessary time in analyzing it, is one of the worst films I have ever seen. It represents just about everything that could go wrong with a film, horror or otherwise. The acting is bad, the screenplay is atrocious, and the directing is just awful. That’s 3 for 3. I’m digging, but the only redeeming quality I can find in House of the Dead is that it was filmed in color.
So what is the film about? It’s about an hour and a half long. Your life is too valuable to waste watching this crap. Stay away. You’ve been warned.
House of the Dead is far worse than Alien: Resurrection.
Cruelty is a hallmark of Rob Zombie’s films. His antagonists revel in the infliction of pain, and Zombie revels in putting it on film. As a filmmaker, Zombie has embraced the current trend in horror films of making murder graphic and disturbing, bringing it visually closer to the real thing. This is no feather in his cap, nor is it a daring attempt to hold a mirror up to the violent society in which we live. There is no depth or complexity, no higher meaning that is being pursued, no redeeming quality that makes it worth the time and effort it takes to sit through one of his films. Continue reading “October Horrorshow, Summer Edition: Halloween (2007) & Halloween II (2009)”