It’s a shame that John Carpenter’s remake of “Village of the Damned” isn’t more highly regarded. If it were his own adaptation of “The Midwich Cuckoos,” it would be placed alongside his other apocalypse or alien films like “They Live,” or “Prince of Darkness.” I don’t think Carpenter’s film is better than the original George Sander’s horror film, but I think it holds up very well and can stand alongside it like Carpenter’s version of “The Thing” with the Howard Hawks original.
JJ Abrams has a lot of work to accomplish with “The Force Awakens,” removing the stigma and stench the series has accumulated over the years with the release of the “Star Wars” film prequels, the constant re-editing and changes to the original films, and so much more. “The Force Awakens” actively works as a rebuttal to the aforementioned legacy set, unleashing a film that’s very down to Earth and celebratory of the original trilogy as a whole. It not only musters up a lot of the tropes from the original trilogy, but acts as a launch pad for a massive movie series that Lucasfilm and Disney are planning for a very long stretch. While some have criticized the film for recycling some elements from “A New Hope,” Abrams fully understands what he’s working with, and working on, and uses “The Force Awakens” as a massive doorway accessible to literally anyone.
Director Quentin Tarantino has apparently had enough of delivering fans films that are mash ups of genres he loves and instead seems to want to challenge his audience the older he gets. Any artist grows the older they become and Tarantino has grown, exploring cinema that’s gradually more polarizing and alienating as time goes on. Quentin Tarantino hasn’t lost his ability to tell a story and unfold an interesting narrative, as he’s hellbent on exploring a character piece that’s less action and call backs to past genres, and more of an implementation of certain genres to create what has been his most divisive film to date.
Now Available for fans of extreme horror and underground cinema, Cult Epics releases a four movie compilation of Jörg Buttgereit’s acclaimed genre films along with a near encyclopedic series of extras. Featured is “Nekromantik” the film that centers on a young man named Rob who collects body parts while disposing of corpses through his job. An avid necrophiliac, he ventures to steal a fully in tact corpse and brings it home to wife Betty, who is also a necrophiliac. Before Rob realizes, Betty gradually falls in love with the corpse, and leaves husband Rob for it. “Nekromantik” is still considered a volatile and controversial horror film even in the day and age where blood and grue are common place on mainstream television. Divisive and revolting, “Nekromantik” garners a large reputation both good and bad from horror fanatics.
Once again DC Comics advertises a throwdown between titans that doesn’t totally deliver. True, the two teams of old and young battle, but it’s under wild circumstances, and it’s only a two minute bout at best. Sam Liu’s film should have been called “Teen Titans” and been done with it, but how else to cash in on “Batman v Superman,” I guess? The film is primarily centered around the building of the Teen Titans and their dynamics as a whole. The movie channels both the original animated series, and the cult classic “Young Justice” to offer up a movie that I wish would begin a new series of more exciting movies, showing how these teens have to work and fight in a world dominated by basic gods. That said, “Justice League vs. Teen Titans” isn’t a bad film, despite the criticisms and observations. It’s a very fine action adventure that focuses on the interesting interplay between Robin and Raven.
If anything, “Cherry Falls” is a valiant attempt to deliver a game changing slasher film that tries to challenge the conventions of the sub-genre left and right. It has all the right ingredients for one excellent horror film, but in the end is just a fine and serviceable genre entry. I wouldn’t be so quick to say it’s mediocre, but compared to a lot of other “Scream” clones released at the time, “Cherry Falls” is a fine companion piece. It’s not often we get a slasher film about a knife wielding killer hacking virgins to death. This time rather than slut shaming as we saw in “Scream,” the victims are punished for not having sex, and that’s a formula that almost works. Almost.
Say what you want about Bob Balaban’s horror comedy “My Boyfriend’s Back,” but it’s one of the more pleasant and twisted films to ever come out of the nineties. This was a decade where horror almost died, and what horror there was was deadly serious. “My Boyfriend’s Back” is a funny and sometimes demented take on acceptance with Andrew Lowery giving a bang up performance as Johnny Dingle. Dingle is a love starved high schooler who has the deepest affections for his lifelong love Missy McCloud. To win her heart, he stages a fake grocery store robbery to save her, but things go awry when an actual robbery ensues, and Johnny is murdered. Mysteriously, he comes back from the dead and is told that he can lurk around, but only in the confines of the town cemetery.