Horror movies and beer - the only two viable options for entertainment in the wastelands of Nebraska as far as he's concerned. When he's not in the theater he's probably drinking away the sorrows of being a die-hard Chicago Cubs fan.
Far and wide. That's how far you'll have to look for someone who does not have at least some association with the words, Mortal Kombat. Of that large sample size you might find a larger ratio that had no idea there was a movie adaptation--plus a sequel. There are a couple of reasons for that. Hipster culture hasn't quite ruined that nostalgic sub-sector and secondly, there are so few of us that still look back with rose colored glasses at the Paul W.S. Anderson joint.
Who's to say how any of us would react should someone we love come down with some supernatural ailment. Yes, ailment--because according to Aaron's Blood vampirism is an affliction that can be cured...and not by maiming the infected party. Lame right? If only a lack of original gore and compelling father/son drama were the only problems sucking the life out of Tommy Stovall vampire drama.
Lots of directors have taken inspiration from the great James Cameron and his many iconic films. Add first timer Steven Gomez to that list as his debut, Kill Command, is one part Terminator and one part Aliens--and to change things up a bit, maybe a dash of Robocop on top. However, the eager filmmaker seems to have been caught in an endless code of homage and forgot to program in some innovation along the way.
Countless movies since Steven Spielberg's shark masterpiece came out tried to use the tag "Jaws, but with [Insert Predator Here]." In the case of Lee Tamahori's 1997 bear attack/survival thriller the tagline seemed more qualified than most--the DVD box art boasts a catchy spin on the aforementioned sentiment, "Jaws with claws." Tamahori's film is of course not genre darling that Jaws remains to this day, but The Edge holds up well thanks to some dynamic performances from Anthony Hopkins and Alec Baldwin.
The nice thing about the reach of the genre is that it affords one to stretch the limits as to what is considered genre adjacent. Small Crimes, Evan Katz's second feature, combines his first film, Cheap Thrills, with the likes of Macon Blair's (who co-wrote with Katz from a novel of the same name by David Seltserman) I Don't Feel at Home in This World Anymore in terms of tone.
What do you do when a serial killer is loose in LA dicing up Russian immigrants? Bring in Russian Schwarzenegger, duh. Black Rose harkens back to the glory days of 90's action thrillers, but amongst all the machismo and super energetic music for no reason Alexander Nevsky's film lacks a key ingredient--quality.
There are any number of reasons to not involve yourself in the world of the occult. In his first feature Liam Gavin explores two of them--the spells are rich in detail and incredibly time consuming. A Dark Song delves deeply into the world of evil and magic in a way you have not seen before while weaving an intimate character study doused in desperate human emotions.
Let's get this out in the open right off the bat. At least 90% or more of people who queue up Netflix's latest original movie, The Discovery, will disagree vehemently that it is a horror movie--and obviously since you're reading this, I disagree with that. This Jason Segal vehicle is so heavily doused in melodrama that one cannot blame anyone for writing it off as high concept drama and not extend it the courtesy of recognizing its reach into the sci-fi and horror genres. There are no monsters, no ghosts or masked slasher stomping around murdering over sexed teens.
Did you hate It Follows? Bored by The Witch? Then The Blackcoat's Daughter (originally titled February and hitting VOD/select theaters March 31st) is not the film for you. Oz Perkins' directorial debut is not some unholy combination of those two aforementioned indie films, but it follows suit with the trend of moody horror flicks that turned heads on the festival circuit. Similarly it may drive audiences to claw at its metaphorical throat.
Back around '07 and '08 French horror was pummeling critics and fans alike with shocking and brutal titles like Frontier(s), Inside and Martyrs. These were the types of movies being hyped at film festivals and advanced screenings as being endurance tests--movies that induced physical reactions such as puking and fainting amongst the audience. The standard for that sort of "press" has been morphed and distorted time and time again since those "glory days" and it'd be fair to say that most genre fans haven't seen anything quite that extreme since.
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