Have a safe one, kids. See you in 2012!
Saturday, December 31, 2011
Friday, December 30, 2011
Best (& Worst) Horror of 2011.
In the days coming up to compiling this list, I was thinking 2011 had been a pretty weak year for horror. If you took away the stuff I saw at film festivals, it would appear downright dismal. However, when I started going through the archives, I did happen to find a large handful of good titles from this calendar year. Here below, in no particular order, is my top five.
USA, Dir: Adam Wingard
If you saw my Halloween costume this year, it should not surprise you that this movie was one of my faves. Wingard finally won me over this year with his wildly fresh slasher flick. It is funny, smart, gory and features one of the most feisty final girl’s in a very long time. This movie blew the roof off the Ryerson at Midnight Madness, so if Lionsgate has any sense they will get this out into the world as soon as possible.
UK, Dir: Joe Cornish
The movie that Super 8 wishes it could have been, Attack the Block absolutely wowed me this summer. Attack did everything right. It had well conceived action sequences punctuated by a fantastic score, as well as great performances by a genuine ensemble cast. And again, unlike Super 8, when the effects became prominent, there was an actual payoff and not a nonchalant shrug of the shoulders. This was a home-run for Cornish and company in my opinion.
USA, Dir: Ti West
West followed up his solid 2009 flick House of the Devil with another genre doozy this year. It has atmosphere in spades and a spirited and adorable performance from Sara Paxton. As we saw in House of the Devil, West’s sensibilities lean more toward an older style of filmmaking, but he also skilled enough to keep The Innkeepers from feeling outwardly retro, and thus being just a redo of his previous work. This was a fun ride, and the type of movie more genre directors should be making.
Canada, Dir: Jason Eisener
Though not technically a horror film, it has pretty much everything I love in a genre film. Plus, I gotta represent my peeps, don’t I? As I said in my review, this love letter to 42nd Street goes way further than Machete and is pound-for-pound more authentic than Grindhouse. It pulled no punches and just kept getting more and more bloody as it progressed. Rutger Hauer lived & breathed this role, and I was in it from start to finish.
France/Belgium, Dir: Hélène Cattet & Bruno Forzani
Even though Amer didn’t turn out to be the mind blowing experience I was hoping for, it was still pretty great. Soaked in atmosphere and paying homage to so many films I hold dear, it was impossible not to enjoy it, frankly. I still wish there was more of a structured narrative throughout, but I can fully appreciate it as a piece of art rather than a traditional film. It is a must-see for any fan of the gialli.
There were a lot of films that bubbled under this year. Insidious could’ve made my Top 5, but it was on last year's list, as it played Midnight Madness 2010.
Red State was perhaps my biggest surprise this year. Kevin Smith really spread his wings here as a director. A lot of people complained about the movie's lack of direction, but I chose to embrace the unpredictability of the whole affair. Anchored by some great performances – most paramount among them being Michael Parks as the fanatical preacher – I never felt it got away from itself.
Troll Hunter was just a hugely enjoyable movie. Combining the age old lore of Norway with present day science really lent itself well to its faux documentary conceit. Even though it got increasingly effects heavy, the CGI was just good enough to not take me out of the experience.
There were several films from last year that I caught in 2011, that would’ve surely been in last year’s post. These include the excellent German zombie flick Rammbock and the criminally underseen The Shrine. I also loved Tetsuya Nakashima's Confessions, as well as Dream Home out of Hong Kong. However, the one film from 2010 that is still rattling around in my brain is the Spanish home invasion flick Secoustrados AKA Kidnapped. Oh, and by the way, most of these are now on Netflix, so go watch them!
Also, 2011 was a huge year for low-budget indies. I can name five that made an impression just off the top of my head. Absentia, Midnight Son & Some Guy Who Kills People, Lovely Molly and The Reef are all worth your time. Write them down for future reference.
Though David Fincher’s The Girl with the Dragon Tattoo and Contagion are not technically horror, they were up there with some of the best films I saw this year.
The negative column is mercifully short this year. Scream 4, Fright Night and Don't Be Afraid of the Dark were glaring disappointments and I was unimpressed with Paranormal Activity 3 for messing with the wonderful lore it had set up in the previous two installments. And the more I think about The Thing prequel, the more I realize just how much the botched effects ruined the entire experience.
However, if I was to pick the movie that I disliked the most this year, it would be Lucky McKee’s The Woman. I am well aware that this movie is on several 'best of' lists, and they can have it. I want no part of what this movie is selling, and it's the final nail in the coffin when it comes to Jack Ketchum. I am still of the opinion that a large ingredient of satire is comedy, and there was absolutely none to be had here.
So, that's another year wrapped up. Check back next year for my 2012 preview. Until then, have a fun and safe NYE!
Posted by Jay Clarke at 12:30 PM 3 comments:
Wednesday, December 28, 2011
All Heads Half Off!
It should come as no shock to you that one of my favourite slashers is Scott Spiegel’s Intruder. It has always surprised me that a film as significant as this one hasn’t found a bigger audience among horror fans. Not only was it the first project that KNB EFX worked on as an official collective, but it was also because of this movie that producer Lawrence Bender – through his relationship with Spiegel - came to meet Quentin Tarantino. I also feel that Intruder has a lot more personality to it than most slashers, by and large because of Spiegel’s visual flair.
Due to Intruder being heavily censored on its initial release, I have amassed many different versions on a few formats over the years, thus I was very excited when I heard that Synapse Films was releasing a definitive Director’s Cut on Blu-ray. I got a chance to dig into this over the Christmas break, so here is my rundown on the package.
It is safe to say that Intruder has never looked better, as the Blu-ray transfer is quite decent. The fantastic gore effects still hold up and the movie is still as entertaining as ever. I think the highlight is Red Shirt Pictures’ fourty-minute featurette about the making of the movie. It features everyone from the production – save Sam Raimi – reminiscing about their experiences and reveals several things of which I wasn’t aware, including how they got the supermarket location and that Charles Band, of Full Moon fame, became involved along the way.
Sam couldn't make it. He got hung up nyuk nyuk nyuk.
Also of note on this disc, are the extended murder scenes from the original work print, as well as outtakes from Spiegel’s 1979 Super 8 short film Night Crew. Like Sam Raimi’s Within The Woods transforming into The Evil Dead, Night Crew was an early version for what would later become Intruder. I was very sad to hear that the full version of Night Crew was lost in the early eighties because I love watching those old shorts from The Renaissance Boys.
The Blu-ray also has a commentary track, which was fun to listen to, but kind of wish Spiegel & Bender had been a little more prepared. Since it had been years since either of them had watched the movie, there was a lot of “Hey wow, I’d forgotten about that”, “I can’t believe we did that” & “Whoa, this is great seeing this again” going on throughout. They also repeatedly dwelt on having to use a library stock score. I feel having a third or fourth voice on the track, like Greg Nicotero or Danny Hicks, would have added a lot to the proceedings.
Anyway, this is a great package and the definitive version for slasher fans. As a bonus, I included some old KNB EFX footage below. I’ve posted it previously, but if you haven’t seen it, it is vintage behind-the-scenes of Nicotero and Bob Kurtzman working on the effects for Intruder.
Posted by Jay Clarke at 12:58 PM No comments:
Sunday, December 25, 2011
Put Frosty In The Microwave.
Media mashups are a common thing on the Internet now, but perhaps the first ones on record were Todd Graham's Blue Peanuts & Apocalypse Pooh. Created right here in Toronto in 1987 and passed around pre-Web via VHS tapes, they were an underground sensation. I saw them circa 1994 and thought they was not only hilarious, but perhaps one of the most clever things I'd ever seen. It certainly got my creative juices flowing and I always wanted to try something similar, but never had just the right sources, nor the technical means to do so.
Fast forward to a few months ago when I finally got my hands on Microwave Massacre. Finding out that its star Jackie Vernon was also the cartoon voice of Frosty the Snowman, the gears started turning in my devilish little mind. Here below, is my mashup debut, Put Frosty In The Microwave. It is admittedly pretty rough, but I think you get the idea.
Merry Christmas all!!!
Posted by Jay Clarke at 8:00 AM No comments:
Saturday, December 24, 2011
The Ghost of Xmas Past.
I thought I'd pass along some holiday merriment in the form of The Twelve Days of Christmas - Twin Peaks style!
Warning: This video contains spoilers, but if you haven't seen this show already... WTF is wrong with you???
A Merry Christmas Eve to all of you out there!
Posted by Jay Clarke at 5:00 PM No comments:
Friday, December 23, 2011
The New Girl.
When journalist Mikael Blomkvist's (Daniel Craig) investigation into a fourty-year old missing person case hits a dead end, he enlists the help of a troubled computer hacker named Lisbeth Salander (Rooney Mara).
I guess I should start off by saying that having not read the books, my opinions are based solely on how I feel this film compares to the Swedish original. That said, David Fincher’s take on The Girl with the Dragon Tattoo was rather impressive, but overall it didn’t hit me as soundly as the one that came before it. I could chalk this up to having known nothing about the original before walking into it last year and being blown away, but I think it’s more than that. There were several small tweaks made by Fincher – and again these may have very well been to line up with the book – that shifted the dynamic between the two main characters, I felt to their detriment.
In this version, Salander seemed a lot more outwardly invested in her relationship with Blomqvist. I preferred Niels Arden Oplev’s take where Salander was more nonchalant and guarded. The parallels between her past and how they related to the climax of this film were removed from Fincher’s version, as well. This was likely a choice to make this more of a stand-alone film than part of a trilogy, but I felt some depth was lost as a result.
This doesn’t however; take anything away from the performances. Mara, who was given the impossible task of filling the shoes of Noomi Rapace, is exceptional as Salander, playing it a little more wild and unstable. Her & Craig are very good together, but because the romantic relationship was a little more overt here, I didn’t find them as engaging as their Swedish counterparts. I did like that a lot more character stuff directly pertaining to Blomqvist and Salander was present though.
When it comes to the bells and whistles, Fincher comes out on top. It looks fantastic, and the locations very closely mirror those of the original. The best thing about the film was the score provided by Trent Reznor & Atticus Ross, which really helped along the extended sequences of exposition. A highlight of their work was the Led Zeppelin cover featured in the main titles.
It looks like something out of a Bond film, doesn’t it? It also reminded me a little of the Hell sequences from Event Horizon, but that could be because I just watched it again last weekend. The Girl with the Dragon Tattoo perfectly suited Fincher’s sensibilities, and he did an admirable job. Even though I wasn’t on board with some of the changes, it’s still an exceptional thriller.
Posted by Jay Clarke at 10:08 AM No comments:
Wednesday, December 21, 2011
Event Horizon Q & A
I’m just going to come right out and say it. I like Paul W.S. Anderson. He gets a lot of grief among cinephiles, but I’ve always enjoyed his movies. Last Sunday at The Toronto Underground, I was lucky enough to catch a special screening of the 1997 sci-fi horror flick Event Horizon, for which Anderson and producer Jeremy Bolt were in attendance, having just wrapped principle here in town on Resident Evil 5.
Here below, courtesy of YouTube user emaninTdot is the full Q&A. Anderson seems like a very cool guy and just as passionate about his work now, as he was when he burst onto the scene in 1994 with his debut, Shopping.
Coming out of the theatre, my cohorts and I saw Anderson still milling about the lobby. He hadn’t intended to stay and watch the whole movie, but he said he just couldn’t resist.
I think that's pretty awesome.
Posted by Jay Clarke at 12:35 PM No comments:
Sunday, December 18, 2011
Hello, welcome to an all-video edition of Don't Kill the Messenger. Enjoy!
The Infection Has Left The Building.
A while ago, it was announced that Spanish mavericks Paco Plaza and Jaume Balagueró would be splitting up directing duties on the next two [REC] films. Paco would helm the direct sequel, and Balagueró would then follow up with a prequel of sorts. Here below, is the new trailer for the former, [REC]3: Genesis, that Twitch posted a few days ago.
It appears that Plaza is diverging from the tried-and-true POV device which is rather exciting. [REC]2 was a shining example of not resting on your laurels, so I would hope that Genesis continues that legacy.
It Never Gets Old.
Bad-ass Schoolgirl. Check.
My Viewership. Check.
Click the cc button for the subtitles.
Rubbing Salt In The Wound.
It is not my intention to depress you on this Sunday morn, but I wanted you all to see this. Recently, Amalgamated Dynamics, Inc - the effects company that worked on The Thing remake - released behind the scenes footage of their creations for the project. You deserve to see what could have been before the studio decided to mask it all with inferior CGI. Click on the image below to be redirected.
Posted by Jay Clarke at 10:53 AM No comments:
Friday, December 16, 2011
I managed to squeeze in the A&E mini-series of Stephen King’s Bag of Bones before my Christmas schedule ramps up this week.
After the death of his wife, bestselling author Mike Noonan (Pierce Brosnan) retreats to his summer home in small town Maine to recuperate and combat his crippling writer’s block. He quickly finds the locals to be largely unwelcoming and soon discovers that they might be hiding a dark secret.
I should preface my opinions by saying Bag of Bones is one of the few King works that I haven’t read, so I can’t speak to its adaptation from the page. As a mini-series though, it was nothing special. I think overall, it was a little bland and all too familiar. A&E hyped the shit out of this thing, I think to a fault, as it wasn’t nearly as epic or intense as they made it out to be. Then again, after being hit over the head the last few months by the extreme nature of American Horror Story, most genre television now seems tame by comparison.
I can see parallels between the plight of Mike Noonan, and Bag of Bones as a mini-series. In the story, when called upon to come up with something quickly, he pulls out an old discarded draft – something he refers to as a “trunk novel” and pawns it off as new. Having not read it, I wouldn’t call Bag of Bones a trunk novel, but perhaps a “trunk adaptation.” It seems to me that A&E went mining through King's unproduced back catalogue and came up with this one. The problem is that the themes within, of curses, ghosts & troubled authors, have already been explored – decidedly better I might add – in his other works.
I don’t want to bash Bag of Bones too much though, as it is completely functional. The performances were solid, and despite the formulaic setup, there was something very honest about it. I was glad to see Melissa George, as well. Along with her turn in the British actioner A Lonely Place To Die, this has been a good year for her. I think the only characters I wasn’t onboard with were the villains Max Devore (William Schallert) and his crusty assistant Rogette (Deborah Grover), for they were overly cartoonish and often took me out of it.
As far as presentation goes, you know what you’re getting with Mick Garris. His utilitarian style gets the job done, but at the same time, hasn’t felt fresh to me for quite sometime. It was nice to see him lean toward practical effects though, as many a King production has been derailed by CGI in the past.
Bag of Bones was a serviceable genre experience, but not something I would likely ever revisit.
Posted by Jay Clarke at 10:11 AM No comments:
Tuesday, December 13, 2011
Be Kind, Rewind!
I appeared on another episode of the Laser Focus podcast last weekend. It followed a screening of the Full Moon Entertainment offering Trancers, but we mostly ended up talking about our favourite VHS memories. Click on the image below to be redirected to the episode.
Posted by Jay Clarke at 8:01 AM No comments:
Monday, December 12, 2011
The Last Of Us.
Naughty Dog, the A-list video game studio responsible for the awesome Uncharted series, announced their newest IP at the VGA's last weekend. Here is the trailer.
Not that I would need much prodding to enter this universe, but if it's got the Dog's stamp on it, I'm in. Three Uncharted games have taught me that they are unmatched when it comes to delivering action adventure. I am very excited to know more about the nuts and bolts of The Last Of Us. My hope is that ND doesn't feel they have to shake things up and add unnecessary RPG elements. If I wanted Fallout, I'd play Fallout. No thanks. If they deliver, as one YouTube commenter put it, "I Am Legend with Ellen Page", I'd be perfectly happy with that.
I actually wasn't suprised to see a familiar face show up in their trailer, as this isn't a new practice for ND. The villain in Drake's Disception was very clearly supposed to be Helen Mirren, after all.
Anyway, this kinda made my Monday morning. Thanks to DirtyRobot for the heads up!
Posted by Jay Clarke at 12:41 PM No comments:
Sunday, December 11, 2011
Good afternoon everyone! Here is what's in the pipe currently.
You Think You Know The Story.
After gestating for many moons, Cabin In The Woods is now blazing forward full steam ahead. Last week, we saw a poster emerge and now there, on its heels, is a trailer.
Wow, that was NOT what I was expecting. There is a lot going on here. I am really excited to see where this goes now. Here's hoping Lionsgate stays firm on their April 2012 release date.
The ABC's of Gens.
Now that the ABC's of Death are all locked in, we can look forward to bits and pieces of bloody sinew to come across the Web in the next few months. Below, is a still from Xavier Gens' offering for his yet undisclosed letter.
B is for Blood Loss? Or E is for Exsanguination, perhaps? I guess we'll just have to wait and see. For more info on the ABC's of Death project, click here. Oh, and if you'd like to see the ABC contest entry I co-produced a few months ago, click here.
Lastly, I wanted to draw your attention to a new show called Black Mirror that just started on Channel 4 in Britain. It is a three part anthology mini-series from Charlie Brooker, who gave us the fantastic zombie series Dead Set a few years ago. The first episiode, "The National Anthem" aired last week, and man, it always amazes me what they'll show on TV over there. It was truly one of the most bizarre mixes of comedy & horror I have ever seen, and definitely the most "modern" piece of genre fiction out there. For those of you who don't have access to Channel 4, you can also watch it online. Here is the first part below.
Keeping with the over-infatuation with technology theme, the second episode, "15 Million Merits" appears to shine a light on our obsession with reality shows. It airs on Channel 4 tonight. For more info, click here.
Posted by Jay Clarke at 12:59 PM No comments:
Friday, December 9, 2011
THS Turns 4!
Unbelievable I know, but The Horror Section was birthed into the world four years ago today! As this marker approached, I was racking my brain trying to figure out how to celebrate. I'd already done something cute, informative and then nostalgic for the one, two & three annum milestones respectively, so where was I to go from there? It then dawned on me that I should involve VHS somehow, as it was the reason I started this whole thing in the first place. In my mind's eye, I envisioned a monument of sorts... an obelisk if you will.
Yes, your eyes don't deceive you. That IS a 3 by 6 foot tower of VHS cassettes. Three hundred and sixty of them to be exact. You can click the image for a closer look, or go here for a better sense of scale.
Thanks to everyone who keeps on coming by to check out my humble ramblings. I think I still have a few more years left in me, so I guess I'll be around a while yet.
Posted by Jay Clarke at 8:00 AM 1 comment:
Wednesday, December 7, 2011
Big Brother; Japanese Style.
I whipped into Eyesore the other day and grabbed the first interesting looking title I came across, which happened to be Hideo Nakata’s newest The Incite Mill.
Ten people are recruited for a mysterious seven-day experiment that promises a big payout at its conclusion. All they have to do is survive each other.
For a film that I picked solely on its premise, The Incite Mill turned out to be quite an entertaining yarn. Granted, the Ten Little Indians plot device is one of the most enduring out there, but this had a lot of other things going for it, as well. It wasn't really hard for me to get onboard, as it shares elements with three other films that I hold in high regard, the most prominent being Battle Royale. The flamboyant explanation of the rules and the characters’ gradual discovery of the weapons in play really took me back to that first magical viewing of Fukasaku’s masterpiece. Additionally, the social experiment angle was reminiscent of the 2001 German film Das Experiment and the omnipresent surveillance recalled Marc Evans’ 2002 thriller My Little Eye.
With ten characters to establish, obviously some were more fleshed out than others, but considering there is supposed to be air of mystery to the proceedings I think the ambiguity worked for the most part. It’s a strong ensemble, with the most familiar face being Tatsuya Fujiwara, who also played Shuya in the aforementioned Battle Royale. Perhaps the biggest scene-stealer though, was Guard, the automated robot sentry. His appearance was probably my favourite part and actually made me ‘WTF’ aloud. That was the point I really clocked into the somewhat heightened reality that The Incite Mill inhabits. From then on, I was one hundred percent in.
The common problem of Japanese genre films not knowing how to wrap up their films is present here, with some character motivations being a little thin or murky – especially a final decision made by one of the players – but as is usually the case, it’s a small gripe in amongst a wholly enjoyable experience.
The Incite Mill was exactly what I wanted it to be and a best-case scenario from a blind video store rental. If it should someday show up on Netflix, I recommend checking it out.
Posted by Jay Clarke at 6:13 PM No comments:
Sunday, December 4, 2011
Good afternoon everyone! Here's what's been happening in Horrorland this week.
Uh, Yes Please.
Twitch reported this week that British director Neil Jordan's next project will be of the vampire variety. Titled Byzantium, it features Gemma Arterton & Saoirse Ronan as a mother/daughter pair of roving bloodsuckers. I am extremely excited for this - shocking I know. I loved Ronan's turn as a teenage assassin in Hanna earlier this year, and Arterton completely won me over as the title character in the criminally underseen The Disappearance of Alice Creed. Click here for the original article.
Only of the many projects that has been affected by MGM's recent woes is Joss Whedon's horror project Cabin In the Woods. It has been gestating for what seems like years now, but this week a poster arrived.
I dig the design for its cool Hellraiser vibe. Cabin In The Woods is directed by Drew Goddard, stars Richard Jenkins & Chris Hemsworth and is scheduled to hit screens (we hope) in April next year.
Onto Park City We Go.
With 2012 almost upon us (IKR?) the lineup for Sundance's slew of films was announced this week. Here below are some of their Midnight programme titles that have me really excited.
The Irish/UK co-production Grabbers has a premise so simple, it's brilliant. A seaside village is attacked by parasitic creatures, for which the only defence is a high blood-alcohol content. Let's hope this delivers on both the comedy and the horror.
I am a huge fan of the tv show The League, so I was very happy to hear about Black Rock. Directed by Katie Aselton and written by Mark Duplass, it features Aselton, Lake Bell and Kate Bosworth on an island getaway gone wrong. I am used to seeing Duplass and Co's boundary-breaking comedy, but I'm interested to see how they'll deal with straight up horror.
V/H/S. Need I say more? This anthology named after our beloved video format features the work of such mavericks as Ti West, Adam Wingard, Glenn McQuaid and Joe Swanberg. I cannot wait to see how this turns out. I am crossing my fingers for something as lovingly authentic as Grindhouse or Hobo With A Shotgun.
Click here for the full Sundance lineup.
Posted by Jay Clarke at 11:03 AM No comments:
Friday, December 2, 2011
The venerable Colin Geddes recently turned me onto the musical stylings of Umberto. The brain-child of Kansas City maestro Matt Hill, it doesn't take long to pinpoint his artistic influences. The prog-rock synth of Goblin and John Carpenter permeates Umberto's work, but I also see other artists like Jean Michel Jarre and Fred Mollin filter through on occasion, as well. That's some good company. Here below, is a taste.
A handy YouTube playlist of fourteen Umberto tracks can be found here. This has basically been my background music for several days now. Enjoy!
Posted by Jay Clarke at 10:02 AM No comments:
Thursday, December 1, 2011
It Came From The Archives 13!
While waiting for a show to start at Toronto After Dark last month, a buddy and I were shootin' the shit about horror movie-going experiences of our youth. Mike brought up Army of Darkness and how he wasn’t able to see it because it was Restricted. That immediately struck me as odd. I definitely remember being parentless while watching Ash kick Deadite ass back in 1993. My father dropped me and a friend off at The Oakville Mews; in a snowstorm no less. That's dedication! Mike however, insisted that it was Restricted and not 14A. I then remembered my pack rat nature and said that I probably had the original newspaper clipping of Army of Darkness’ release somewhere and we could find out for sure.
First though, a little background for my American friends, if you are unaware of the differences in the Canadian rating system. Here in Canada, Restricted is basically the same as your NC-17. The rating that closely doubled the US version of Restricted was 14A, which was anyone under 14 must be accompanied by an adult, until Canada brought in the stricter 18A – under 18 must be with an adult – in 2001. The difference between what was acceptable for minors twenty years ago and today is staggering.
As you will soon see, some of the most innocuous stuff from the nineties was slapped with an ‘R’, but now it is almost unheard of. I can count on one hand the horror films that have actually been Restricted here in the last few years.
Anyway, it turned out that I didn’t have an Army of Darkness movie listing – though Imdb does state it was indeed rated 14A in Ontario – but found a shit-ton of others, which are now below. Take a trip down memory lane with me, won’t you?
I’m sure residents of the GTA will get an extra kick out of some of these theatre listings, as most of these venues no longer exist. Feel free to click to enlarge.
Look closely and you’ll see they had midnight screenings at the Eaton Centre. I’m not sure venturing into the musty dungeon-like corridors of that theater at the witching hour was such a good idea.
Such a harmless movie for all the woes of the world to have been heaped on. I remember being so flabberghasted, I almost went on Speaker’s Corner with my Chucky Doll to voice my outrage.
I had such an awesome time watching this one. I was just so glad that mainstream audiences were getting to see the brilliant genius of Sam Raimi. Not deterred by Hollywood refusing him a superhero property, he just decided to make his own! How ironic that a decade later, Raimi would later be handed one of the biggest on a silver platter.
Sadly missed this in theatres, as I loved this movie when I was a teen.
Freddy’s Dead I actually saw at the Drive-In with my brother and his girlfriend. It was one of the several times they snuck me in. I still have the 3D glasses.
This movie is of note because I saw it on my eighteenth birthday. I basically walked up to the ticket taker with my ID held out in front of me, like a badge of honour. The movie turned out to be pretty excessive in the gore department – at least in relation to the first one – so it was kind of fitting in a way.
The weird thing about this movie is that it had two versions. The theatrical version that I saw was vastly different from the one that came out on video. I actually dug this movie when it came out. I was a big video game geek, so this movie really opened up my imagination. Plus, as I've said before, I had a huge crush on Jenny Wright.
I remember three things about this movie. First was the ewwww factor, Second was the lovely Mädchen Amick and the third was that the hero of the picture was a cat. I have a soft spot for two of those things. (Note: one of them isn’t the incest.)
After watching the previous eight installments from my couch, this was the first one I got to see in a theater. Imagine my disappointment when Jason was hardly in it. I must admit that the ending was pretty epic though.
The Int-er-net? What's that???
I hope you enjoyed those. I have many other clippings and such lying around, so you can look forward to seeing more in a future archives post.
Posted by Jay Clarke at 10:06 AM 1 comment:
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