With the long-awaited release of The Green Inferno this spring, Eli Roth came back into the spotlight, with fans and haters alike waxing poetic about his long absence from the scene. But the lack of original content didn’t mean that Roth wasn’t hard at work as evidenced by a number of horror posters boasting “Eli Roth Presents” at the top. One such film is Guillermo Amoedo’s The Stranger, currently streaming on Netflix.
Sometimes movies are incoherent, but fun. They concoct a mess of a plot that can lead to a sense of blissful bewilderment as you are swept up in the bedlam. Once in a while, a movie can make you love it in spite of yourself because of the joy and excitement imbued in every frame. This is not that kind of movie.
When horror movies spend too much time in the arthouse, audiences get antsy for some old-fashioned filth. The Funhouse Massacre’s title foregrounds its subject matter with such brutal frankness it sounds like a campaign promise. “Get ready for 90 minutes of trash,” it screams, “and if you don’t like it, you have no one to blame but yourself.”
When it was first announced that a new zombie comedy was forthcoming and it's title (originally) was Scouts Vs. Zombies, we all probably thought the same thing...the scouts are still a thing? After that thoughts likely flocked to the next logical feeling- oh boy..another zombie comedy. Changing the title to Scouts Guide to the Zombie Apocalypse sure does make the film sound a little less boring, sadly the execution can't quite match the same enthusiasm.
Episode seven of AHS: Hotel, “Flicker,” gives us what we’ve all been waiting on since the beginning: The Countess’ history.
While Will Drake is breaking ground and walls on the renovations to the Hotel, the construction workers demo through a metal wall and discover an eerie corridor that smells like death. Obviously, for our entertainment, the two men venture into the darkness and are attacked by two zombified vampires. When Iris goes to show the Countess was found – we see the first crack in her icy veneer and know she is terrified.
Both “cabin in the woods movies" and “road movies” are well-worn and well-loved genres but, on paper, the two don't seem like they should go to together. The isolation inherent in an far-flung cabin or other spooky setting is the polar opposite of the sprawling broadness of the world in a “road movie.” For all intents and purposes, Ash. vs Evil Dead, playing on the fear and remoteness of the movie for which its named and taking to the open road should not work as well as it does.
In a weird way, the thought of another Human Centipede movie is less disturbing than the thought of the final Human Centipede movie. After all, we’re already familiar with the escalation writer/director/series creator Tom Six is willing to perpetrate from one film to the next. However, the mind reeled at the level of nauseating madness he might execute in the name of sending his body horror/torture series out with a bang. In practice, Human Centipede 3 (Final Sequence) turns out mostly as expected.
The World's End brings Edgar Wright's "Cornetto Trilogy" (previously including Shaun of the Dead and Hot Fuzz) to a fitting close. The film sees a group of friends reuniting to complete a pub crawl from 20 years earlier only to drawn into an otherworldly plot that sees them way out of their drunken depth.
They say imitation is the sincerest form of flattery. However, when you lift whole cloth from a classic in the genre with disregard for the art of creating a coherent story or character arcs, the viewer is simply left feeling cheated. When it comes down to it, Harbinger Down is John Carpenter's The Thing without the wit, charisma or dizzying paranoia.