I have to admit, I’m getting pretty sick of found footage horror films. The technique was unique for only a small handful of films, but it crossed into gimmick very quickly. I don’t seek out these films. To prepare for the October Horrorshow, a lot of times I’ll just grab whatever is currently popular for rent or whatever has made a splash in the last few years. This has led me to watch Quarantine, Grave Encounters, The Last Exorcism, Paranormal Activity, Apollo 18, Cloverfield, Diary of the Dead, The Tunnel, REC, many, many others, and now, Trollhunter.
These days, watching so many found footage horror flicks is a bit like being a connoisseur of fast food burgers. Sure, there are some good ones out there, but you have to shove down a whole lot of big macs and junior whoppers in your quest to find one. Flashes of grilled perfection are found in too few breaks in the normal routine of noxious, artery-clogging, commodity fare that does naught more than fill both bellies and graves. Real love and care are not just offset, but dominated by the work of hucksters who would prefer a person not think too much about how they are feeding both mind and body. Why would a person subject themselves to this? Dear reader, I do it for you. I do it...for you. Continue reading “Trollhunter, or, The Troll Hunter...Whatever”
If someone were to guess where this movie takes place, there’d be a fifty-fifty chance they’d get it right. Is it Connecticut or Georgia? Well, let’s analyze. The film is called The Haunting in Connecticut 2, subtitled Ghosts of Georgia. Going in, knowing nothing about the film, I inferred that it takes place in Connecticut, but the characters, or possibly whatever ghosts are causing the haunting, have roots in Georgia. Maybe there’s a plot that has something to do with the Civil War or the Underground Railroad. Not exactly original, but logical.
The Awakening, from 2011, is better than most horror films I’ve seen. It’s also one of those films featuring the supernatural that doesn’t quite fit all that well into the surprisingly rigid definitions of the genre. Films like The Shining, The Sixth Sense, and others, are horror films by default, when in actuality, they rise above such rote classifications. The Awakening is not in the class of the two films cited above, but it has the same aspirations to break away from the bonds of genre.
The only way to kill a movie franchise is to look away. The business model of the film industry necessarily requires that films display a certain amount of histrionic personality disorder (after all, if it ain’t worth looking at, it ain’t gonna make money), but eventually all franchises end up wearing out their welcomes. Narcissism, egocentricity, etc.; a person could have a field day going through the DSM looking up conditions that apply to the film industry, but it all gets back to money.
As moviegoers, we’ve been spoiled rotten this past decade. When a good movie is released that makes a pile of dough, the studios have been more than happy to invest money in a sequel, or two, or three. Unlike the days of Hollywood past, these latter-day sequels usually measure up to the original. Sure, there are still dogs out there, but long gone are the days of Jaws 2 and Rocky 2...and Jaws 3, and Jaws: The Revenge. The willingness of original stars and creative teams (i.e., them being contractually obligated) to retread familiar ground is a big part of this. Outdated notions of artistic integrity don’t stand a chance with all that potential money flying around. 
The last horror flick I saw with Guillermo del Toro serving as executive producer was The Orphanage, from 2007. I reviewed it in