Only in 1985 could a movie like “The Midnight Hour” have been created. This is the decade of Michael Jackson and music videos. This is the decade of MTV. This is the decade where one of the goofiest Halloween movies ever made has a musical number that breaks the fourth wall because… well, Michael Jackson, and Madonna! Duh. Seriously, it’s a shame that “The Midnight Hour” has been so hard to find and out of print for such a long time, because it’s such a ridiculous eighties gem that I figured people would be watching it during Halloween parties and laughing their asses off.
Author Archives: Felix Vasquez
Leatherface (2017)
This is the story of Leatherface. Again. No, “The Beginning” was not his origin, “Leatherface” is. I’m not sure what “The Beginning” was supposed to be. “Leatherface” is the official prequel to the iconic movie maniac, they promise. And once again, like “The Beginning,” 2017’s “Leatherface” is really just a tired, nasty, unpleasant road film following a group of psychopaths. Leatherface’s actual origin is reserved for the final ten minutes where he just reverts to Leatherface mode because—um—it’s familiar! Familiar is good, right? Once again, no one seems to be interested in actually dissecting the madness of Leatherface, or why and how his persona of wearing human skin and carrying a chainsaw relates to him. In the original Tobe Hooper masterpiece,
Jeepers Creepers 3 (2017)
The definition of disappointing is the big lead in to who or what the Creeper is. The writing makes a big deal about how you’re able to read its origins by touching a severed part of it, even staging a scene where a group of people channel its origins. There’s a close up of its magical spears and emphases on its car which is built like a virtual indestructible tank, and in the finale Creeper wails in anger as crows fly around, reacting to a sign that reads “We know what you are.” Guess what? We’re never told what the Creeper is. There isn’t even a hint of an explanation. The writing tries to cop out by metaphorically explaining that the creeper is a monster that changes and destroys lives. Damn it, to hell with stupid clichés and tell me what the hell the Creeper is!
Bugs Bunny’s Howl-oween Special (1977)
It’s Halloween and Daffy Duck’s Nephew encounters Witch Hazel while trick or treating. Terrified he runs away screaming and insisting to Daffy that he saw a witch. Determined to prove him wrong he takes him to her house. Meanwhile Bugs turns up in the same costume Daffy’s nephew is wearing and has his own adventure with Witch Hazel. As always with these Looney Tunes “movies,” they’re really just bare boned one page premises serving as frames for craftily edited montages that count as big movies. If you hadn’t seen these Looney Tunes shorts a million times like yours truly, you’d never really be able to tell much a difference.
Michael Jackson’s Halloween (2017)
Although I absolutely love “Thriller,” I’ve never been one to associate Michael Jackson with Halloween, but apparently someone does. “Michael Jackson’s Halloween” isn’t just an animated special for the whole family, but it’s classic Michael Jackson. It has his music, it inspires individuality, and it further emphasizes Michael Jackson as something of a mythical figure that centered his life on defending children against sinister forces lurking in the shadows. Suffice to say “Michael Jackson’s Halloween” is a weird animated special, but it’s an oddly entertaining one that will work if you’re a Jackson buff.
Race to Witch Mountain (2009)
A la Arnold Schwarzenegger, a lot of the strategy behind making Dwayne Johnson a lovable and relatable movie star and action hero was teaming him with kids in a lot of family friendly blockbusters. Before he became the movie franchise saver, Johnson limped along for a few years trying to find his niche in movies. “Race to Witch Mountain” is a decent vehicle that’s primarily centered on Johnson and conveys a lot of his charm and enthusiasm that’s made him such a huge star today. I wouldn’t call “Race to Witch Mountain” a great movie, but it sure is a fine diversion with a sleek visual sense, and some interesting ideas.
Red Christmas (2017)
I think that there is a very good movie hiding beneath the nonsense and absurdity that is Craig Anderson’s “Red Christmas.” I want to say that I appreciated it’s willingness to just certain taboos, but in the end I could never figure out if the film was an indictment on the pro choice movement, an indictment of the pro life movement, or maybe just an altogether mushy mélange of nonsense meant to dismiss both sides of the argument. I didn’t know and I really couldn’t care less, because “Red Christmas” has some very strong performances backing it up. It’s just sad that it’s a mean spirited, ugly, tedious, and altogether tonally confused home invasion horror film.