What?! Is that a werewolf bite?! Well if you can’t beat your inner-beast, having a drink from a limited edition Comet TV pint glass will soothe even the darkest soul.
In The Eyes of My Mother director and writer Nicolas Pesce offers a disturbing examination of serious emotional dysfunction and disorientation.
We meet a little girl named Francisca (Olivia Bond) who lives on an isolated farm with her mother and father. She is unfazed by death from this early age because her mother, formerly a surgeon in Portugal, is educating her in a dispassionate and thorough understanding of human anatomy.
“Go placidly amid the noise and haste, and remember what peace there may be in silence. And whether or not it is clear to you, the universe is unfolding as it should.”
The Necronomicon was never meant for the world of the living, but with it Ash unwittingly summoned Kandarian demons in Sam Raimi’s The Evil Dead. Now Fright-Rags resurrects the ancient ‘Book of the Dead’ with The Evil Dead & Necronomicon Collection.
“I fear that the only way to stop those possessed by the spirits of the book is through the act of…bodily dismemberment.”
John Wick: Chapter 2 is a ride into hell, or, a hell of a ride – either way it’s going to drag you along with it, maybe gasping, maybe kicking and screaming, but either way, it’s an adrenalin rush. The John Wick movies are all about the momentum of action, with Wick moving so precisely, so speedily and yet so gracefully that it all becomes a mesmerising ballet of Grand Guignol.
A pre-credits action set-piece starts the movie as it means to go on, and cripes, if it isn’t an absolute corker!
“John Wick, you’re not very good at retiring.”
Remember what happened as the 14th draws near! Fright-Rags has a gift from the heart for fans of George Mihalka’s 1981 Canadian slasher My Bloody Valentine: The Ballad of Harry Warden Collection. Valentine’s Day will never be the same again…
“Valentine’s Day will never be the same again…
With Richard Donner’s Superman still a few years off from transforming comic cinema into a legit and lucrative genre, letting the audience in on the gag and addressing its protagonist’s more antiquated elements would have been a wise move. But outside of pausing every so often to superimpose a gleam across Ron Ely’s peepers or randomly announce a new, heretofore unknown talent of Doc’s, Doc Savage: The Man of Bronze does little to deconstruct its parent property or its contemporaries in the world of crime-fighting fiction. Producer George Pal took a chance on a big-screen throwback.
“Have no fear! Doc Savage is here!”
I usually have a bit of a problem with zombie movies – I find them dull. Yes, I know zombie fans will be throwing their Walking Dead box sets at my head (and those are some hefty tomes) but I find that, although they may be a popular horror monster, zombies are forced to rely heavily on the cheap, gross-out factor in order to distract from the fact that they have scanty horror mileage, no rich mythos to draw on and offer little scope for variation, tension or development. I am left to suppose that zombie fans are in it for the fashion statement. I am however, an Asian horror enthusiast.
“Life-or-death survival begins.”
In Rings we have the [second] long anticipated sequel to The Ring, the English language remake of the hugely successful Japanese horror Ringu. We also have a kind of Samara origin story, but this storyline seems to be less a labour of love, and instead, rather laboured.
Ringu, the celebrated Japanese horror movie that started it all, was released in 1998. We should remember that in the dark ages of the nineties, VHS tapes and creepy death-threat calls through landlines were not as yet, a form of ancient technology.
“First you watch it. Then you die.”
Comet, the newest and obviously coolest Sci-Fi TV network, is heading to the skies this month; battling the cosmos with Flash Gordon, before teaming up with Attack from Planet B to play a game of Rollerball with LL Cool J and give away yet more science fiction themed swag.
Competition ends Thursday 9th February 2017
It’s fair to say that Straight to Hell isn’t widely considered to be one of director Alex Cox’s best films. Some people may even consider it to be his worst.
However, whilst its creation, cast, setting and gonzo punk style, make it an undeniable curiosity, it is its adaptation and reclamation of popular genre style, that may make Straight to Hell Cox’s most notably cine-literate film. For the uninitiated: Cox was the punk filmmaker who made it big early on, blew it nearly as quickly, and has steadfastly done his own thing ever since.
“A story of blood, money, guns, coffee, and sexual tension.”
Few directors have experienced quite as public a fall from grace as M. Night Shyamalan. After his hugely popular debut The Sixth Sense, the director’s subsequent features appeared to be a series of close misses or shots that veered way off target.
I can’t say I have always wholeheartedly embraced his movies, but I have found that Mr. Shyamalan’s singular imagination usually comes up with an interesting and unusual premise.
“Kevin has 23 distinct personalities. The 24th is about to be unleashed.”
In The White King, directors Alex Helfrecht and Jorg Tittel cleverly introduce the viewer to the world in which their tale is set by means of a beautiful animated exposition during the beginning credits. We then enter the film with some background knowledge of what we are dealing with – a harsh, rural, dystopian society, created by a mythical ‘hero’…
The White King is adapted from a series of short stories by the Romanian novelist György Dragomán.