Until the day Wes Anderson turns his recent musings on making a horror film into something tangible, Aimy in a Cage might be the closest we come to seeing his unique style in the horror genre. This film features many familiar Anderson-isms, including an affluent family of flamboyant characters, a heavy helping of pastels, scene-setting tracking shots, and a love of title cards. What it lacks is the consistent humor and lovable characters needed to really bring that comparison home.
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.
Exorcisms may be a staple within the horror genre, but they were never an integral part of the original Evil Dead mythos—once a person became a Deadite, the only way to deal with it was bodily dismemberment (preferably by chainsaw). But with the addition of a larger pantheon of capital “E” Evil in the universe of Ash vs. Evil Dead the options have grown. More demons mean more ways to send them back to hell!
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.