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.
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.
The SyFy network, aside from putting out terrible mutant shark movies, has recently dabbled in distributing titles of moderately elevated quality. They previously put out the average science fiction thriller, 400 Days, which was at least something other than a nature gone ridiculously wrong snoozer--although it was still kind of a snoozer. Atomica finds the network taking another step in the right direction--even if it is a baby step.
It's been five long years since Sean Byrne graced us with the near masterpiece that was, The Loved Ones--eight years if you count the lengthy festival run. That's a long time to be twiddling our thumbs waiting to see what the filmmaker would do next. With the release of The Devil's Candy (in select theaters and VOD March 17, 2017) the wait is finally over as Byrne unleashes his totally metal and satanic sophmore effort upon the world.
A comedic thriller might be the best way to describe Macon Blair's directorial debut. Blair is the talented actor that's flown largely under the radar but some will know from his starring role in Jeremy Saulnier's Blue Ruin as well as roles in Saulnier's two other flicks Murder Party and Green Room. With I Don't Feel at Home in This World Anymore Blair shows us that he absorbed a thing or two from his filmmaking counterpart.
There is no pleasure in crapping all over the hard work of many when putting together a small indie genre flick. Similarly, there should be no pleasure in your work crapping all over the genre fans that decide to give your small indie flick their time of day. There's a middle ground somewhere in there that with an open mind and reasonable accommodations that Chris von Hoffmann's debut flick, Drifter, could be appreciated as being conceived with the best intentions that also needs an audience willing to overlook its flaws. This is not one of those times.
Between The Witch and another movie that shall not be named (ya know...spoilers), 2016 was good to witch lovers. 2017 on the other hand, not off to a great start. It's not that Caradog James' Don't Knock Twice doesn't have its moments, but it sort of feels like some annoying kid at the public pool who keeps splashing you while you're trying to relax and get a sick tan.
There is certainly no shortage of misguided misogyny within the horror genre and on first glance Pet could easily be tossed to the side as just another in a long line of offensive setups of a potentially disturbed man attempting to "save" his female obsession--and what better way to do so than kidnapping her and keeping her in a cage? In fact, for the first act, the film and Dominic Monaghan aspires for little else than a troubling male fantasy.
There's just something about a filmmaker named Christopher that--when they've got a new movie out--I get weak in the knees. It's not likely that Nolan will be trampling deep within the horror genre anytime soon, but there is one Chris that has spent most of his career dabbling within it. Christopher Smith isn't nearly a household name as of yet and it's a travesty. With the exception of Get Santa (his children's holiday flick that I can't bring myself to watch) Smith's filmography has nary a blemish.
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