horror

Horror Icon Mini-Marathon: JIM ISAAC

Jim Isaac began his career in film the same way that many horror filmmakers do, by working in the world of effects. Like Robert Kurtzman and Chris Walas (with whom Isaac would later work on “The Fly”), other effects gurus who made the move up to director, Jim Isaac began as a creature technician in films such as “Return of the Jedi” and “Gremlins”.

Horror Icon Mini-Marathon: STEVE MINER

Director Steve Miner has had more than an interesting directing career; he has had several interesting directing careers within the span of a single artist’s lifetime.

Rosemary's Baby (REVIEW)

I recently had the opportunity to attend a press re-screening of two of Roman Polanski’s most influential films. “Repulsion” and “Rosemary’s Baby” were the picks for the night to honor the work that Polanski has done in his career. I decided against writing a full blog post about the event and thought doing a review of “Rosemary’s Baby” would be more fitting. This cult classic has become a seminal horror icon and still holds up as a masterpiece of film. The pacing of events combined with the competency of each character is as subtle as the hellish baby bump growing on Rosemary’s tummy.

Horror Icon Mini-Marathon: GEORGE A. ROMERO

The counterculture film movement never had a better representation than that of writer/director George A. Romero.

The Factory (REVIEW)

Hollywood always attempts to make the planets align when it comes to horror movies. Taking every successful film from the past and morphing all of those ideas into one film has to work! Right? Sadly, no, that’s not how it works. At least that didn’t work for Warner Bros. crime thriller with a splash of horror mojo, “The Factory”. Take one part “Silence of the Lambs”, a little “Manhunter”, and add every Ashley Judd crime thriller available and “The Factory” is born. While it may be a distorted love child of the past, it has a strong cast, great photography, and a surprisingly twisted twist.

Crawlspace (REVIEW)

Crawlspace

Before we begin the review, one thing to get clear about “Crawlspace.” This is not the “Crawlspace” from 1986 starring Klaus Kinski, and it’s not the “Crawlspace” that’s set to be released later this year starring Lori Loughlin. It’s also not the film that was originally named “Crawlspace” before getting re-named “The Descent” (yes, that “The Descent). No, this “Crawlspace” was released in 2012 and is from Australia.

Horror By the Sub-Genres: VOODOO ZOMBIE HORROR

It’s hard to argue that there could be an iconic horror figure that is currently more popular than the zombie. From film to television to comics, the living dead have done to popular culture what they do to human flesh: they have devoured en masse and made converts of us all. The ultimate irony, of course, is that the creatures that populate these movies and shows that we love so much aren’t actually zombies at all.

Horror By the Sub-Genres: Body Snatching Horror

The death of the body is supposed to be the last journey that the physical form goes on in a lifespan. Regardless of one’s spiritual beliefs, all religions tend to agree with the central tenet that the human body is a physical one, meant for eventual decay, and that we will all end up traveling back into the life cycle of the Earth, decomposed and returned to the soil, broken down to the key components that made us alive in the first place.

Horror BY the Sub-Genres: Pregnancy Horror

Giving birth is the weapon humanity has against the constant attempt of nature to destroy it, the yin to death’s yang. It is the way that people gain a measure of immortality in the physical world, a way to make sure that half of the genetic information that makes up who you are continues on after you’re long gone. It’s also an amazing way to bring together humanity, literally combining two separate human beings at a genetic level, knitting them together more closely than any relationship ever could.

Twixt (REVIEW)

“Twixt” surprised me more than I could have expected. I went into this film blindly, and by the end I chocked it all up to a valiant effort from a first time director. There were some intriguing concepts strewn here and there but overall it felt like an introductory mess. Needless to say when I saw the director and writer of the film I was floored. Francis Ford Coppola, director of iconic films such as “The Godfather” trilogy and “Apocalypse Now”, had taken a stab at the horror genre. The whole feeling of the film changed with that knowledge.

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