Marko Mäkilaakso’s movie It Came from the Desert evokes the creature features of the 1950s by way of the late 80s, making it a cheesy, nostalgia-packed thrill ride from start to finish. Inspired by the 1989 video game by Cinemaware, it never once takes itself too seriously, and keeps you watching with clever effects, over-the-top action sequences, and a number of hysterically funny lines that are sure to offend. What more could you ask from a monster movie?
When an alien from another world crashes to earth via meteor and takes human form to hide in plain sight, it’s not rocket science to establish they’re not here to do any good. In fact all nastiness is planned as it’s on the hunt to impregnate a female to birth its own spawn!
The Spawning’s premise is simple enough, with clear influences of 70s & 80s British low budget sci-fi which I do have an affinity for, so I was so wanting The Spawning to succeed. Unfortunately what we get is a strained affair that may have played out better as a short.
“To save his race, he will devour yours.”
Craaaazy killers decked out in scary masks, wreaking havoc on Halloween night! Pretty spooky plot for a film right? Eeeeh, you’d think so wouldn’t you. All Hallows, and the anonymity it provides those with devious tendencies has been an informative and conducive background to some of our cherished seasonal classics. So, for the premise to be utilized once again comes as no real surprise. Unfortunately, neither does ANYTHING in Bryan Coyne’s Bad Apples, which strives for Carpenter charisma, but winds up leaving a bitter taste in your mouth.
“Rotten to the core.”
There’s an old saying about how you can choose your friends but you can’t choose your family. You also can’t generally choose your neighbors, and sometimes they can be even harder to avoid than family. It can be a real risk to try to befriend a neighbor, because if it all goes wrong somehow your only option is to pack up and move, and that’s a hassle nobody wants. Still, in Under the Tree, both sets of neighbors would have been much better off if they’d fled to opposite sides of the country. Admittedly Iceland isn’t a very big country, but that might have worked.
“Two families. One tree. A bloody mess.”
Created by writer Joe Kelly and artist J.M. Ken Niimura, I Kill Giants was first launched as a limited comic book series from Image Comics in 2008, and compiled into a graphic novel in 2009. Now a full-length feature film from director Anders Walter, I Kill Giants tells the story of pubescent girl Barbara Thorson who spends much of her time focused on the task of luring, trapping and killing the giants that she believes threaten her small coastal town. I Kill Giants does offer a family, fantasy adventure that is brave enough to deal with some distinctly adult themes.
“I find giants, I hunt giants. I kill giants.”
Writer/director Dan Bush says of his film, The Vault, that his vision was to make a movie where ‘Heist meets horror’. He couches this ambition in a story dealing with sibling loyalty and conflict.
When Michael Dillon gets into trouble with a vicious gangster, he has to come up with a great deal of money very quickly in order to save his life. His two estranged sisters, Leah an ex-con, and Vee who has spent time in the military, come up with a plan to recruit some heavies who will help them rob a nearby bank.
“No one is safe.”
Adapted from Koji Suzuki’s 1991 novel of the same name, Ringu リング is a cultural phenomena. Directed by Hideo Nakata, Ring launched a revival of horror filmmaking in Japan, and influenced American horror cinema at the turn of the 21st century. From the moment the Toho vanity card ends, Ringu gets under your skin. Forgoing the science behind the videotape in Koji Suzuki’s original novel, Hideo Nakata and screenwriter Hiroshi Takahashi instead re-imagine Ringu as a curse.
“So that video is… It’s not of this world. It’s Sadako’s fury. And she’s put a curse on us.”
Umberto Lenzi had quite a career during his time as a film maker. Lenzi started law school, then decided his true passion lay with movies and attended the prestigious Centro Sperimentale di Cinematografia. His resume’ included peplum, westerns, giallos and mysteries, all typical of Italian cinema of the time. He later retired from cinema and wrote a series of detective novels. Then in 1972 Lenzi made what many consider the first true, cannibal film, Man from the Deep River. The work contained many of the attributes of future cannibal movies; violence, sex, the consumption of raw, human flesh… The movie established Lenzi as a director of turgid, offensive films.
“The nightmare becomes reality.”
I heard of this anime film years ago but heard such bad things it put me off, then last week I found a good review on it that mentioned the plot and I thought I’d give it a go. Firstly like many other reviewers I must admit this is probably the craziest Dracula plot ever. It’s based of Tomb of Dracula issues 40-75 and as such there’s a lot going on…
Overall this film is very true to the comic and has a good storyline but it’s too rushed. The visuals in part are faithful to the comic but frequently seem low budget. If you liked Tomb of Dracula I’d definitely recommend this. If you’re looking for a different Dracula film you should enjoy it.
“Darling, I want to tell you about the man I used to be before I became the cursed slave of Satan.”
Those unfamiliar with the works of Eddie Romero should make it a priority to search out a few of his titles. Romero is the John Ford, Frank Capra and Wes Craven of Philippine cinema all rolled into one, having directed war films along with dramas, comedies and horror movies. The film industry of the Philippines is a remarkable story in itself, a business that is now well over a hundred years old. In the late sixties and early seventies Romero put a series of films together known as “The Blood Island Trilogy” which were low-budget shockers containing sex, blood and monsters.
“See human heads transplanted!”
Sometimes in film, a mood or feeling transcends the writing, itself. Kevin Philips’ debut feature, Super Dark Times is one of those films. The overall moodiness and aura of this teenage drama/horror film creates a skin-crawling dread that stuck with me long after viewing it. Super Dark Times is a teenage drama film that feels closer to horror at many points, and because of this, may scare off some fans of either genre. It is also extremely well-crafted and wonderfully moody, which is why it is a film that should definitely not be overlooked.
“If anybody asks, we’re already fucked.”
With Premutos: Lord of the Living Dead, Olaf Ittenbach has managed to create a movie that doesn’t take itself too seriously; instead opting to bring humour to the violence portrayed onscreen. It is grosser, nastier, gorier than most splatter films, and likely done on a much smaller budget too. If you enjoy video violence exaggerated to the extreme, and your humour as black as the night sky, look no further than this fallen angel.