It’s becoming easy to recognise a film by Edgar Wright – there are trademark aspects: a sense of wit, sharp editing, and a rousing soundtrack. Baby Driver, Wright’s first-ever solo screenplay, offers a premise that is a cinematic convention, but told in a wholly energising and original way. The action-movie potential of the virtuoso driver is hardly a new concept. It’s a proposition that has had its twists and turns, from Walter Hill’s The Driver, The French Connection, Bullitt and Ronin right through to Ryan Gosling’s nameless specialist in Refn’s Drive.
Continuing five years after the events that occurred on Friday the 13th, this second installment is significant for introducing audiences to director Steve Miner (House, Halloween H20: 20 Years Later). Miner previously worked with producer/director Sean S. Cunningham on projects such as The Last House on the Left and the original Friday the 13th, before carving out his directional debut with Friday the 13 Part 2. Knowing how the character of Jason Voorhees evolves as the franchise continues, Friday the 13 Part 2 feels like a particularly special entry.
“The body count continues…”
In You Were Never Really Here, Lynne Ramsay explores the themes of abuse, violence, trauma and the corruption inherent in the powerful elite. She has re-fashioned the narrative and plot without diminishing its brutal impact, and elevated what might have been a conventional revenge flick by sheer filmmaking skill. The action of the film accelerates and ultimately concludes without necessarily developing in the conventional way. In You Were Never Really Here, Ramsay has managed to translate her singular vision into a complex, but compelling, feature film.
“I want you to hurt them.”
“We love you more than anything in the world, but sometimes…” Mom and Dad is the new feature written and directed by Brian Taylor. It proves to be a kinetic, pitch-black horror-comedy – a gleefully wicked story propelled by some crazed characters.
The story develops at a ripping pace and director Taylor and the principal players appear to have a lot of fun with the disturbing premise and the savage lunacy. Despite their violent inclinations, we never really doubt that these parents still love their kids in some bizarrely distorted way.
“Sometimes, they just want to kill you.”
Gaining accolades at film festivals around the world, The Shape of Water, Guillermo Del Toro’s latest feature, is part tribute, part pastiche, of the post-war monster movie. In his recent talk at the London Film Festival, Mr. del Toro affirmed: “Monsters are evangelical creatures for me. When I was a kid, monsters made me feel that I could fit somewhere, even if it was…an imaginary place where the grotesque and the abnormal were celebrated and accepted.”
“Unable to perceive the shape of you, I find you all around me. Your presence fills my eyes with your love. It humbles my heart, for you are everywhere.”
Sam Peckinpah achieved prominence as a director and writer by showing us the savagery and the effect violence had upon human beings. The Wild Bunch, a revisionist, neo-western epic. The movie shocked critics and audiences alike with an opera of bodies torn apart by various weapons and the wholesale killing of women and children. The Wild Bunch thus became the essence of a Peckinpah film, one against all his other movies were judged.
“Why is his head worth one million dollars and the lives of 21 people?”
The Green Inferno is the horror director’s homage to the Italian cannibal films of the 1970s and 1980s. Those films, such as Cannibal Holocaust, Make Them Die Slowly and Eaten Alive were in turn influenced by the sub-genre of Mondo films. These films showed actual executions, animal slaughter and other graphic scenes of barbarity. While these movies portrayed indigenous and primitive peoples in an unflattering light, the invading Western protagonists also committed unspeakable acts of violence, leading the audience to wonder who the real savages were.
“No good deed goes unpunished.”
Sometimes during the holiday season, the same nine or ten Christmas movies that appear on television can get quite stale. Rare Exports: A Christmas Tale has a very different take on a Santa Claus than your typical holiday film, VERY different. As the film’s young protagonist Pietari says, “The Coca-Cola Santa is just a hoax.” In this movie, being on Santa’s naughty list gets you a far more severe punishment than just a lump of coal in your stocking.
I watched this film on a whim and was pleasantly surprised.
“This Christmas everyone will believe in Santa Claus.”
Michael Dougherty’s horror anthology is a Halloween classic that no fan should miss. The film is an anthology composed of four interconnected tales that are all brilliantly shot and suitably scary.
The fact that this film is not derivative in any manner is a near miracle. Each story has a life of its own and fits together seamlessly with the next. The scares, dark comedy and bloody violence are well balanced and I can see watching Trick ‘r Treat each Halloween…
“If you don’t follow the rules tonight, you won’t live to see tomorrow.”
Humanoids from the Deep, directed by Barbara Peeters (and an uncredited Jimmy T. Murakami), is an American science fiction monster movie produced by Roger Corman and New World Pictures.
Star Ann Turkel has stated that what began in pre-production as “an intelligent suspenseful science-fiction story” soon became an exploitative splatter movie. Roger Corman, disappointed with the rough cut, requested that further sex be shot and inserted into the final cut.
“They’re not human. But they hunt human women. Not for killing. For mating.”
Today, when we refer to modern horror icons we still mention the now decades old Michael Myers from John Carpenter’s Halloween, Freddy Kruger from Wes Craven’s A Nightmare on Elm Street and Jason Voorhees from Sean S. Cunningham’s Friday the 13th. This is testament to their popularity, that has arguably surpassed that of both Universal and Hammer’s horror creations. It is perhaps then surprising to horror newcomers that the character of Jason is notably absent for the majority of the original Friday the 13th.
“They were warned… They are doomed… And on Friday the 13th, nothing will save them.”
Tobe Hooper was one of the most influential horror directors of all time. His vision and intelligence can be seen in almost every slasher and splatter film over the last forty years and The Texas Chain Saw Massacre is Hooper’s masterpiece.
Originally conceived as a faux film “based on true events”, Hooper did draw inspiration from the story of Ed Gein, a murderer, grave robber who had a predilection for a number of other unsavory character traits.