Of Silence (2012)

WARNING: May Contain Some Spoilers

Colby is man confined by his past horrors and the current ones that invade his broken life. After an accident causing damage to his ear Colby's love of scuba diving is lost, as well as a steady pay. And with the death of his wife following in recent wake it doesn't help as Colby becomes more withdrawn from family and life. Debt collectors, a worried family, and no other job passion Colby is falling further into depression. And to make matters worse he begins to hear strange and frightening noises, ones his family and the people around him cannot hear. As Colby divulges further into isolation and deeper into his wife's death, he's to uncover a horrifying presence that could take away the only meaningful thing left to him, his sister Haley.

Of Silence is a different kind of horror film. A simple but aesthetic piece that looks more to a sophisticated level than that of something floating around the indie circuit. Although I can see where a few people may not care for it as writer, director, and star of the film Jeremiah Sayys pays more attention to the subtler build than to a hellacious climax. There's not much visually occurring as the director wants you to listen rather than see the nightmares that surround Colby's life. As any void of dialogue is filled with unique sounds that don't attest to the common horror noises. There's an unsettled sense in your incapability to define what they are. However, your not denied entirely of a monster as the final product does offer a creature but still yet it remains mostly in the shadows. The special effects department creates creatures that look rather interesting, a bit of shame as you never get full exposure but that of course adds to the effect. Less detail is attended to some of the smaller effects, i.e. the smoke, but an overall professional effort on their part.

Usually when a person tries to write, direct, and act in a film they tend to be mishandled, with the qualities varying between the fields. But Jeremiah Sayys seems to have it down as he's preeminent in all aspects. There's a small moment in the film where Colby shows a remote bliss, one that really isn't seen throughout the rest. A smart directorial and acting choice for the film as the slight act elevates both the performance and the character. It let's way to a Colby that the audience never really gets to know, but at one point did exist. And of course the rest where he's imprisoned by his melancholic temper is acted out in a a believable and appropriate manner. The supporting cast is good with noteworthy Ashlee Gillespie as Haley, who acts as the somewhat brighter note of the film. And Matthew Lawrence as the brother, who I recognize from my nineties childhood. On a visual standpoint Of Silence in flawless in cinematography. Scenes in blackness appear intentional and not because of misused lighting. And the set design is captured in a serene gloss that I personally care for as a visual palate.

Outside of the strong technical structure there's also a lovely score that fit to the film perfectly. A defined and disturbed lullaby of sorts that I could recognize in an instant if played again. Not all may like Of Silence, as I said it's a cautious film that paces itself before any horror moment. Some may not personally like the surreal world Colby's life becomes as it fades in and out of memories, visions, and overall bizarre occurrences. Which is a weaker point in the film as it's often hard to decipher exactly what happened and what didn't. I hope to watch it again some day to maybe fill in some of the blanks that it left for me. It's also tending to characters before action, as your often more involved in Colby's state of dejection than the weird noises. But don't let it mislead, Of Silence is a stunning little film that I quite enjoyed. I'd watch again and I'd recommend as a watch for any slow burn horror fan.

How Do You Like Your Midnight Son Served? DVD? VOD? Or Digital?

I believe that title has potential of being the worst title post I've ever come up with. I do apologize.

If you don't remember back in October I wrote a review for the film Midnight Son. If you have never read the review and don't care too I was able to view the independent horror film at The Mile High Horror Film Festival and I loved it. I found it to be a unique and beautiful film, unlike anything spewed of the vampire genre. It also made my TDHorror list last year as the best film of 2011. If my opinion however doesn't convince you this should. Anyways Matt Compton, the producer for the film, asked me to post something so that people know the film is available for purchase in several different forms and of course I'm more than happy to support. But first...

MIDNIGHT SON is the story of Jacob, a young man confined to a life of isolation, due
to a rare skin disorder that prevents him from being exposed to sunlight. His world opens
up when he meets Mary, a local bartender, and falls in love. Tragically, Jacob’s actions
become increasingly bizarre as he struggles to cope with the effects of his worsening
condition. Forced by the disease to drink human blood for sustenance, he must control his
increasingly violent tendencies as local law enforcement narrow their focus on him as a
suspect in a series of grisly murders.

The film is available for purchase at Amazon for DVD and Digital Download. You may also get it at Walmart, if out and about for the shopping purposes. You may also get it on VOD, if that sort of thing appeals to you. As you know me I'm a hardcore old school DVD/VHS kind of girl. VOD platforms that carry the movie include DirecTV, Time Warner, and Charter. Digital platforms that carry the film include iTunes, Amazon Instant Video, Vudu, CinemaNow, Playstation Store, Xbox Marketplace, and YouTube.

But really Midnight Son NEEDS to be seen. It's such a beautiful film in presence and that last shot. I wish I had a still of it for my still collection at the bottom of the blog. Please help support this independent film and let it be known. The film deserves a cult following at the least, if not an apology by all distributors who turned down the offer to give the film support. Really.

Website: http://www.midnightsonmovie.com/
Facebook page: http://www.facebook.com/MidnightSonMovie
Twitter page: http://twitter.com/midnightsonfilm
Myspace page: http://www.myspace.com/506915472
YouTube channel: http://www.youtube.com/user/midnightsonmovie

The Human Centipede 2: The Full Sequence (2011)

In this meta-horror film Martin is a disturbed loner who's long suffered from mental abuse from his mother and sexual abuse from his father. Martin works an imaginably boring job in a parking garage where most of his down time is spent in bondage type masturbation to Tom Six's infamous horror film The Human Centipede. Martin's love of the film goes beyond that of the typical insane horror fan (shout out to myself and others) and he has a dream of creating a human centipede of his own, using twelve people. It isn't until Martin kills his mother though that he seeks out to pursue his dream and in a ghastly attempt captures twelve random strangers. Where Dr. Heiter had the surgical skills and operating room to achieve his dream all Martin has is an empty warehouse and Heiter's kindergarten drawings from the film. In a brutal, graphic, and explicit final twenty minutes Martin creates a human centipede in a grisly conclusion.

Please, excuse me for the socially inept term but this film is retarded. Interesting how it reflects that of its main character Martin, it's a little tragic, a little disturbing, a little boring but ultimately is challenged. Tom Six's sequel to his infamous first film is in likes to nature of being a social commentary, it's about the fans of the first who called to derogatory comments of masturbation and obsession but also to the skeptical horror fans who felt it was too tame for it's hype. Six isn't shy in showing you everything, and then some. Maybe it was the poor use of special effects or the spoilers I read beforehand but I felt I saw through the grim of the film and saw for what it really was, nothing. That's not to say it wasn't graphic and unneccessary and I have no shame in saying I looked away for a good portion of the shit scene but it was all just...well fake. In that it holds to its tagline, 100% Medically Inaccurate, as besides the amateur approach to the medical stuff which I'm sure would kill most from shock he hits all his victims hard enough with a crowbar that I'm sure they'd die, if not then the second hit.

There's not much to say in casting as of the twelve people only a few stand out, Ashlynn Yennie returns and of course being meta it is as herself. She's not in it much and as a favor to us all again Martin rips out her tongue so even as the A piece she doesn't have to speak. The pregnant lady sticks out because of what her fate entails, which I'll say is more horrible than people defecating in each other mouths. The rest get a few lines that are mostly useless or campy, my favorite being "He's going to sew us ass to mouth!". That just leaves us Martin, now if Six knows how to do anything it's how to cast his villains. Laurence R. Harvey is really terrifying as Martin, his lack of dialogue and large eyes are very effective in creating a man unhinged. Scenes where he cries or laughs adds to that human quality to the character and you get a sense he could exist. Very worthy with Dieter Laser. Again, pre final twenty minutes, Six's strongest aspect in film making is his camera work and visual choices. His decision to shoot the film in black and white gives it a nightmarish visual overlay. The ascension of bright lighting in focus creates a surreal feel to the build of Martin's world and obsession. As well as a lot of other cleaver shots to master that loner and warped mindset feeling. For a brief moment you do live inside his head.

Yet it is effective. I felt wrong and nauseated after its ending. It resembles the creed of a homemade snuff film and even now I feel unease having it on my blog, as if it's tainting it or making it dirty. While I found The First Sequence to be good, only in originality and camera work, I find that The Full Sequence to not be good but had the potential from the first simple thought. Maybe my biggest issue with Tom Six as a director and writer is he has the ability to create horror films with depth and an artistic touch but goes for the shameful gore and tits show. The Human Centipede 2 is just one of those films that I cannot tell you to watch but it is iconic, it's part of this generation of horror, and it does what those who bitched about what the first film didn't, it goes there. However no plot and a single character developed doesn't surpass the grotesque latter half which isn't horror but rather just shoddy. Maybe its to say that you can achieve your dreams with a little duct tape and a staple gun? I don't know, it's not something I can recommend but it is what it is. Your decision.

The Crow (1994)

Devil's Night - Halloween Eve - is a night with a reputation of arson and murder for inner city Detroit. On this night Eric Draven and his fiance Shelly Webster were brutally murdered and she brutally raped. Leaving behind a grieving surrogate-esque daughter, Sarah, and a fearful city. The gang composed of TinTin, Skank, Funboy and T-Bird are free without even an arrest. A year later though the Crow, which has been said to carry you to the afterlife, brings back Draven in his grief. He seeks revenge on the four men who killed Shelly but is unbeknownst that the gang is part of a larger criminal empire run by the high class katana wielding Top Dollar. When Top Dollar finds out about Draven's invincibility and the Crow's powers he seeks after Draven with the only thing he has left, Sarah.

I'm not sure if it's because of the on set tragedy (Lee was accidentally shot in the making of the film) or just the somber context of the script but The Crow has a drear veil in its viewing. That's not to attest it as uninteresting but rather the opposite as I'm always drawn into the tenebrous subject matter in that it never fails to evoke emotions from me. The film borders revenge flick to Gothic thriller, tending to shy away from the more violent scenes, but not denying us the final product; the gun shoot out felt more like it belonged in a action film than it did with the rest. Towards the hour mark it drags some and I lose focus for a minute or two, whenever I watch it. And as goes the plot is a bit absent minded and one dimensional. But I've always attribute character to surpass plot and I love Draven's character so I could care less if the plot was less attended too. The special effects are not great, even for its time and likely standout the most in the film.

Inevitability praise for Lee's work has been questioned by the close occurrence of his death on set, similar to Heath Ledger's Joker, many claim that the only reason the film is known and his performance accredited is because of the tragic accident. I make no mistake in saying that's absolutely wrong, tragedy or not Brandon Lee is immense in the role of Eric Draven. The sinister clown exteriors the broken angel, both which make for a memorable character. Draven's one liners and his depression from his and Shelly's death create a character that is to stay with you, despite an unstable plot. Ernie Hudson is good at being Ernie Hudson...that's a little harsh, I honestly don't mean it as a negative. His self portrayed likable cop is a nice character to relax on, you always know he's going to be the good guy in that sense it relives the tension from the dark script. And Michael Wincott is great as the baleful Top Dollar. This is a Gothic visual stimuli in a more natural approach than Tim Burton's inspired work. The prominent color of black is painted on nearly everything but it never hides or darkens the screen. Instead it blends with the gray skies and red flashbacks to bleed a comely cinematographic show. Attribute to director Alex Proyas and director of Photography Dariusz Wolski, who I hold this to be his best work.

The film like most of my favorites is a beautiful flaw, not perfect but hits my right notes. I consider it a great piece similar to Guillermo del Toro's Hellboy, not strong on plot but excels in character development and visuals. I love the soundtrack as well with a mix of rock songs and romantic scores to capture the dense sadness and angst. Another thing I picked up was Lee's usual of martial arts in his stance and actions. They didn't really need a stunt double as the martial arts expert was able to do most of the stunts himself. Not necessarily a martial arts fan (odd considering my favorite movie is Kill Bill Vol 2) but I love when it's present in outside genre films. The Crow conceived quite a bit of sequels and a TV spin off; the films holding under a five star rating on IMDB. I believe one of them even has Edward Furlong in it. I can't speak for the sequels as I have not seen them myself but the 1994 film The Crow is a stunning Gothic entry in the horror genre. A must watch but be weary of the black subject matter as it's not for a light viewing.

The Master of Horror - Dario Argento

Next year's lists will not be so crammed, I promise. I'll admit I tried to squeeze a few viewings in of films the night before, having not seen them but knowing they had a strong legacy in the genre. I'm sure some that I critiqued or rather ignored will grow on me and the list will inevitably change, hell Boyfriend's With Fangs needs a drastic update since last year. So do know that none of them are absolute or near such (maybe with the exception of Stephen Kings) and that all contain the fine print "So far".

Thus to prevent addressing it in ever paragraph of this list (as it inevitably would be) lets just mention the flaws of Argento's work; awful sound transfers, not the best acting, and plot instances that fail. Its safe to say character development and the logical plot are not his strong points. What are? Setting up atmosphere in set design (I've heard he's meticulous about such things), collaborating well with composers, directing his DP's to gorgeous cinematographic heights and creating a beauty in death, something I don't believe any other filmmaker has done quiet so well. To note I didn't get distinctly different in separating the giallo's from the true horrors as I would therefore not have a list and they are scary despite trying for a more crime fiction motif. Not solely a master of Italian horror but basically a master of horror in general Dario Argento's films established a cult following based of his work. Not all can be Argento fans (understandably) but those who are appreciate them for what they are, broken masterpieces. So for this year's Master of Horror I focused on my favorite country of horror by one of my favorite directors, My Top Five Favorite Dario Argento Films:

#5 Phenomena (1985)


This is Argento's heavy metal rock film of the 80's, a combination I couldn't dream up if I'd even believed it to work. However, it does in this outlandish piece of cinema. Usual Argento the film has excessive flaws in plot, where most lead dead or near death, and dialogue. Often I'm afraid that he's more interested in surprising us with a killer than establishing a substantial reason as to why this person is murdering everyone. Regardless Phenomena did capture my heart briefly at it's start, young Jennifer Connelly and Donald Pleasence are good in their roles which they play against a beautiful Swiss Alps scenery. The soundtrack is killer as it plays loud chords and blares inside the story, and unlike other films its never inaptly played (I'm looking at you Deep Red). Jennifer's creepy bug telepathy and the rest of the works I've praised place this as number five on my list.

#4 Opera (1987)

Another gore fest Argento with surrealism at play. Again he creates a beautiful sculptured film that transcends the expectation of art. A deeply unhinged but emotionally sympathetic lead makes this the closest thing Argento has had to a character study. Of course bad dubbing doesn't precede the film but no less tolerable than normal. This is by far the most brutal flick ever conceived from this MOH. Harsh and stunning at the same time.

#3 The Bird with the Crystal Plumage (1970)





Oddly The Bird with the Crystal Plumage is less known or rather less acclaimed than his other films. I'm a little confused to this; yes there's an absence of blood but this is one of the best Argento films ever, and it happens to be the first he directed. It follows the basic giallo plot of a writer who witnesses an attempted murder outside an art gallery and begins to investigate for himself. In a way I felt that Deep Red was almost a remake of this, between the similar plots and Sam eerily wearing the same black button up shirt and khaki pants as Marc Daily. The film, though mostly giallo, has a very haunting atmosphere, curtosy of an enchanting score by Ennio Morricone. It takes a real horror turn when Sam's girlfriend is locked in her apartment and the killer is trying to break in. A little excessive reaction but ultimately effective in capturing the terror of that moment, which is to attribute to good acting, especially by lead Tony Musante. No amateur directing shown on his half, Argento's first try was impressively good and a tense suspenseful watch, with a bit of humor.

#2 Deep Red (1975)

If Phenomena hadn't of fallen apart towards the end it had a better chance at ranking higher than Deep Red. But overall Deep Red is the more composed film and the quintessential of his giallo's. A complex range of characters speaking between Italian and English this was the film that scared me since seeing Suspiria. A breach of safety in my seat when I jumped from that laughing doll, a provoked chill from the break in and the death at Amanda Righetti's house, and essentially a great build of tension for the Italian thriller. Deep Red is a quite important viewing in the world of giallo films, not only Argento's most significant but arguably one of the most significant of the genre. And even better a killer with motivation! Deep Red is topped with good performances and an astounding soundtrack (though not the best, in my opinion) which makes it a must see.

#1 Suspiria

This was likely obvious as my header is of the film's eloquent cover but it's not as if there's any other choice. As gathered I liked/loved the other four films on this list nothing comes close to the bravura of Suspiria; a bleeding array of colors via the director of photography and a deafening soundtrack by the Goblins escalate the film to horror movie greatness. The lost in translation aspect appears here as Jessica Harper's Suzy is attending a ballet school in a foregin country. The plot doesn't succumb to the typical monsters as we tend to expect (vampires, werewolves, etc) but does a more rare fear of witches. Suspiria is the work of an preeminent nightmare caught on film, the images, the blood, the lack of distinction to what's going on, the distorted set pieces...nothing is right within the film. Captured soundly by Argento, bad dubbing and odd dialect aside this I'd argue is Argento's most seamless film. Unlike the others which become tangled in themselves Suspiria stays generally focused (I didn't say absolute now did I), and delivers a horror induced ending. As said Suspiria does not go without faults but I don't care, my favorite Argento film is certainty not Oscar worthy, nor is my favorite horror movie. Two titles that Suspiria shares.

Honorable Mentions: Inferno (1980), the sort of sequel to Suspiria that takes a focus on the Mother of Darkness, with a beautiful underwater sequence guest directed by Mario Bava. Tenebre (1982), another giallo piece that follows the murder surrounding a novelist's new book; a blood spattered ending is undoubtedly to satisfy fans.

If you're reading post your own.

Midnight Son (2011)

In Midnight Son Jacob has suffered from a sensitive skin condition all his life where any exposure to the sun will severely burn him. As an adult he begins to notice that more symptoms seem to be appearing, specifically a thirst for blood. Tight for supplies Jacob has to resort to different, and creative, matters to curb his hunger which gets him involved with a blood dealer who provokes trouble in the security guard’s life. All this happens to align with his meeting of Mary, an attractive bar tender/candy cigarette dispenser who doesn’t appear to mind Jacob’s nocturnal lifestyle. As Jacob begins to divulge further into his vampirism his liking of Mary grows and the two begin to connect on an intimate level.

Midnight Son was the only full length film I saw at the Mile High Horror Film Festival and I'm glad I did. It was beautifully shot, beautifully written, and beautifully acted. Basically it was a sublime film that I want to own. It's what most modern vampire love films are not, romantic and horrifying; capturing the trauma of relationships and the inner desires, vampire and human alike. As much as I did love the film its not full horror, as the only truly terrifying part is the last five minutes and the aesthetic last frame. Up until then it’s mainly Jacob adapting to his life and falling for Mary. That’s not to attest that it’s not a horror film, it is but like another in its genre, Let The Right One In, its just not in your face. The subtle and kempt paced finale is a moving and violent build up, and the final image haunts you long after it fades to black.

Writer and director Scott Leberecht created a unique script where Jacob's conditions weren't just amounted to vampirism but diagnosed as actual illnesses (anemic photosensitive anyone?). The love story is not only convincing but quietly played between our two leads Zak Kilberg and Maya Parish. There's that struggle but desire to come back. Kilberg's Jacob is able to let way with his carnal changes in breathtaking pain but doesn't overplay the hatred of what he is. Parish plays a darker Mary with her drug habit, but it’s countered with her tending towards Jacob's unusual lifestyle. Both actors are deeply in-stitched in their roles, and with each other; there was never a moment where I didn't believe that Jacob liked Mary. The lighting and cinematography give way to a more gritty style; with a conducted base of grim tones and camera angles, several scenes stay in your mind from the art alone.

This review isn't particularly long as there isn't much to say about Midnight Son other than that...it's a beautiful film. If ever in need for a definition of the adjective and noun when used together this would be the film to render such. There were a few questions I had that went unanswered but another thing Leberecht did was set up the script so I was able to imagine what happened after the credits (my questions pertain to more of Jacob’s past). I’d also like to note that the image of Jacob holding a blood stained Starbucks coffee cup is really just waiting to become iconic. Midnight Son isn't available for direct watchers as of the current, mostly gaining its viewings at film festivals. Therefore access to this uniquely incredible film is limited. However, if there is a film festival within your range playing this GO SEE IT. Please do not miss it; you won’t regret what I find to be a gorgeously laid out film and what’s currently developing into a favorite of mine. 


Go to the film's website,  http://www.midnightsonmovie.com/, to get more info and try to get it in your area.

Deep Red (1975)

WARNING: May Contain Spoilers

After a performance jazz pianist Marc Daly is witness to the brutal murder of psychic Helga Ulmann, who read the mind of the precocious killer earlier in the day. Marc with little leads from the police begins his own investigation with the help of a feisty local journalist. Dissecting the clues though proves as a challenge as the killer is always a step ahead of Marc, and is now targeting him. Drawn into different leads, only to be left dead by the killers actions Marc begins to uncover that this killer isn't all that new to murder and has a very dark past. I must apologize ahead of time, though I'm not comparing it to Suspiria, the film comes up several times in this review, but do know that I do not measure this based on my love of Dario Argento's masterpiece, merely just using it as reference.

Deep Red, or Profondo Rosso,  is the first of Argento's stuff that has scared me since seeing Suspiria years ago. I admittedly jumped when that doll came running out of the closet in that absurd bit of laughter, it about scared the piss out of me. In true Italian Horror, or rather maybe just signature Argento, the deaths are gory and run a bright red color of blood. Always memorable my personal favorite was the bathroom scene murder, where it was actually absent of blood but made for a rather haunting death that doesn't leave you. The murder mystery proves to be as deceiving as can be, I only guessed it seconds before the reveal. As in all his films Deep Red is quite visually stunning to look at, with the dazing use of red and surrealistic lights of blues. In this however Argento uses a distinct lack of color, painting a portrait with neutral tones, which I may find more gorgeous to look at than the former. The music, though phonemically composed by the Goblins, is ill-fitting at times (i.e. Giordani's death, Marc scaling the balcony), but very tone setting in others (Amanda Righettani death, the uncovering of the drawing).

I'm an Argento finantic as much as the next horror movie lover but I'm not shy toward admitting there's faults in his work. In watching a Dario Argento's film I've noticed that generally the same story occurs, or rather the same basics. The beginning usually opens up with a woman who we never really get to know dying a gruesome death only to be followed by more unattached deaths, all of course in full giallo style. Also in having a love for his films that does mean you substitute certain qualities over the others, i.e. I'm willing to forgive the poor sound editing in respect to the DP and camera movements. The construction of characters is more developed in this as opposed to his prior films, and oddly human with their faults and personalities. David Hemmings Marc, the pianist, is sensitive in his work as an artist, which is humorous in contrast to Daria Nicolodi's Gianna as the high strong reporter. And then the darker side of the film, Gabriele Lavia as Carlo, the talented composer suffering from alcoholism.

In reading reviews prior to viewing the film most acclaimed this as the best of his giallo's, which as far as I've seen might be true. Hoping that my next film to watch by him does not disappointment me as the dreaded Tenebre, which unfortunately might be attributed to me watching it after I watched Suspiria. When renting the film make sure you get the Italian version, not the American. For those who hate subtitles you'll be disappointed as putting it in English there still are bits in Italian for scenes that had to be re-edited in after being cut. But that's the film in full form and has several important if at the very least enjoyable moments. Nothing will ever be Suspiria, I'm sure most know this, but Deep Red is rather a good on its own terms and defiant of the genre giallo. I really enjoyed the film and found it scary, I'd recommend for Argento or Italian horror fans.

A Nightmare on Elm Street 4: The Dream Master (1988)

I am the wizard master! Oh wait wrong Nightmare. A Nightmare on Elm Street 4: The Dream Master starts with our previous heroine Kristen having nightmares again, although Freddy is DEAD and Kincaid and Joey try to convince her otherwise she is bothered by the thought that he might be back. By a hellish chain of events Freddy is resurrected and kills Kristen, but not before Kristen pulls Alice, a friend of her's from school, into the dream and gives her power over to her. From there it becomes the contrived plot line of Alice and her friends trying to stay awake and live through Freddy's nightmares. Nightmare on Elm Street 4 proves to not be as good as its predecessor but not awful all around.

The film is quite visually pretty, my favorite being the water bed scene that illuminates green's in blues in a darkly lit room. The death's in this one don't register as anything special in my eyes, and maybe it's just a pet peeve of mine but what's the point of Freddy's claws if he isn't going to kill anybody with them? In truth the best, more creative I should rather say, is Freddy's death, which I loved! In the reviews for the Nightmare remake I noticed that a lot of individuals were criticizing the fact that Freddy didn't toy with his victims before killing them, which I have to agree would annoy me too since it's one of my favorite things about Freddy. But this film seemed to fall victim to the same fault, he toyed with two teens, Alice and Kristen but offed the others without second thought. Am I being picky? Maybe.

Its saddening that Patricia Arquette did not come back for this one, her replacement is deficient, to say the least. Her scream sounds more like her having an orgasm rather than her burning in a pit of fire, every line out her mouth is forced, and she just didn't really get the Kristen character. I liked Alice's transformation, a nice layer to the movie that worked out subtly enough. As for the others well Alice has a lot of friends, who die of course, all of which are played by eager young adults wanting to be in a movie, but their names aren't memorable enough nor is their performances. Is it appropriate for me to gush over the same actor in 7 reviews straight? Probably not so I'll just say that it's Robert England playing Freddy Krueger.

I didn't hate the film, that's a bit drastic to say, but in a lot of ways it wasn't for me. I've observed that in the past three Nightmare's that Freddy's makeup is pretty weak, not really looking like burns. Maybe I'm just nit picking because the first one of is one of my favorites but who knows. This is also the film where the one liners become a small annoyance, nothing too excessive but you notice. As I was saying I don't hate the film, but the lack of blood and the shift in separating some of the mythology from the first film is enough to surpass good direction and a visually satisfying film.

Halloween II (2009)

I'm curious if it even matters since I have no followers but yes I haven't posted in two months now due to school and detached interest. Seeing as no one reads my reviews I'm more or less talking to myself but oh well. I'm in a current state of boredom so I've decided to post a review or two.

I'm a fan of the original Halloween II, though John Carpenter himself doesn't really care for it I find it to be in par with the first and fairly decent for a sequel, which is saying a lot considering the reputation horror movies have for their sequels and remakes. But I'm not reviewing John Carpenter's film, I reviewing Rob Zombie's. What's my verdict? I assure you, I'm surprised that I'm actually going to put this but...it really wasn't all that bad. Maybe its because I read the reviews for it before I watched it and had such low expectations that it turned out better than expected, or maybe I've seen too many horror movies and I no longer can decipher any more what is shit and what is good. Either way, yeah I liked it.

Don't let that suggest that the film is flawless, far from actually. There's...several issues with the film, first and foremost the biggest in hardcore fans eyes is Michael as a character. He grunts now, if you must know, making him feel not so much like the original Michael Myers. Following him is Dr. Loomis (who, by the way, I was for in casting Malcolm McDowell) who's become the world's biggest Diva; as he he's out promoting his new book which, in traditional Gail Weathers fashion, exploits the murder's in the first movie. Then there is Scout Taylor Compton and her...ugh...I don't know if I can call it a performance it's so bizzarely  (not a word) awful. Her alone probably put me over the edge in hating the second half of the first film, so in short I've never really like her as Laurie. If anything I'll give her that she was a bit more tolerable this time around. And finally there is is the Ghost Mom. That side story shouldn't have even seen the light of day it was so pointless. Not to mention the ending of the film just plain sucked.

If your not discouraged yet by that last paragraph, remember that I did say I enjoyed the film. In my opinion the good Zombie gives to the film out weighs the bad. Rob Zombie may not be the best writer out in Hollywood but this is the most original Halloween to date, which is refreshing since slasher films are as cliche as they come. There's a lot of moments in the film between Annie's and Laurie's characters that demonstrated the strain on their friendship, and unlike a lot of people I don't think the plot of Laurie becoming a more darker human being is that much of a stretch, considering she survived a horrifying incident (AKA I'm not going to throw a hissy fit because she has a poster of Marilyn Manson on her wall). What has been an appeal about this film and the first is Zombie's homage to horror films by casting icons (Dee Wallace, Malcolm McDowell, Danny Trejo) but I'm most enthusiastic at giving Sheriff Brackett (Brad Dourif) a larger role. Besides the plot the cinematography is flat out gorgeous. His use of darks in contrast with lights is stunning and several shots are alone memorable solely on the cinematography part.




More than anything it was better than his 2007 rendition of Halloween, which I enjoyed only in part. Hell, I'd probably watch it again if there was nothing else on TV, I honestly didn't find it as bad as some did. If you detach yourself from the original series and then view it as a film you could see that maybe if Zombie had made this with different characters and not in the Halloween franchise it'd be a fairly decent bloody horror movie. Not for die hard fans but maybe for those who are a bit more open minded.