San Diego horror fans gather and listen.
We have a fantastic small independent movie theater called the Digital Gym Cinema on El Cajon Blvd in North Park. It’s small (46 seats), cozy, and it hosts some of the best horror films and events in the county.
A few weeks ago, I was lucky enough to attend their screening of Tales of Halloween presented by Horrible Imaginings and the Film Geeks.
After her mother’s death, Max has difficulty re-adjusting to life without her. As she grieves, she’s invited to a screening of 80s slasher Camp Bloodbath in which her mother starred. Against what might be her better judgment, she decides to go with her friends. Once there, an incident pushes the group into the film itself, Last Action Hero style, where they face off with its masked baddie Billy Murphy and try to save themselves, the cast, and Max’s mother.
Believe the hype. “Saving Christmas” is one of the most bafflingly awful movies ever made. And while I can kind of see the distorted logic behind making this kind of movie, nothing about it makes any kind of sense. Every time you think the movie almost understands where it’s heading, it just completely flies off the rails and injects some truly remarkable moments of lunacy. Star and producer Kirk Cameron is so sure that his movie will finally convince people that Christmas is Christian and only Christian that he begins the movie with a monologue about his agenda for the movie. There are only about five characters in the movie, including one really creepy Santa, and they’re all portrayed by a truly horrific cast of performers.
“Saving Christmas” is much too certain about itself to be considered satire, and often much too campy to be taken seriously. Kirk looks dead certain he knows more than anyone about religion and Christmas, and doesn’t mind flaunting it throughout the film, but then he literally ends the movie on our cast break dancing during a Christmas party. In a slow motion montage. Again, I’m almost certain it’s meant to be taken with a tongue in cheek, but I’d wager Cameron intended the climax to be taken seriously, much like the message behind “Saving Christmas.” The movie is much too baffling and surreal to trash it completely, so I just couldn’t help but itemize five observations about this oddity.
While the rest of America is celebrating the resurgence of the Peanuts with “The Peanuts Movie,” those that want an education in to the appeal of the series can pick up Warner’s latest release. While the holiday series from the Peanuts are typically timeless and quite iconic, the Peanuts has also earned themselves plenty of Emmy nominations and a few wins with some non-holiday themed Charlie Brown specials that are also quite good in their own right. Warner releases over four hours of Charlie Brown specials on a two DVD set that is so worth the pick up. Especially if you’re a hardcore Peanuts fans like yours truly.
Joel Edgerton’s “The Gift” is this year’s “Gone Girl.” It’s one of the most irredeemably dark and nasty thrillers made in years and one of the best films of 2015, easily. It’s packed to the brim with morbid undertones, despicable circumstances, and characters that always walk in shades of grey. Despite audiences being able to identify who the protagonists are, they’re brutally unlikable people that all pretty much build the foundation for truly dire consequences. I highly suggest to audiences that love a good mystery, that they completely avoid any and all spoilers, and really absorb the message and dread soaked mystery behind “The Gift” for themselves.
2013 saw the immense and sudden popularity of The Make a Wish Foundation and the wish they granted, which promised young Miles Scott, a Leukemia patient, he could be Batman for the day. What started out as a silly premise for a public interest news item transformed in to the feel good story of the year, and thankfully it’s still a cute take about the lengths humans can go to give one another happiness and fulfillment. I’m still not sure if it warranted a full length documentary, but “Batkid Begins” is a fine ode to Batman and the human condition.
“Vacation” is a reboot of the original National Lampoon’s series, but it’s not dedicated to reminding fans that it stems from a once beloved series. There are your typical nods, but through and through the new film is its own animal that strives for its own brand of sleazy comedy, and for that I respect it. It acts as a sequel, and virtual restart, while also allowing a platform for fans to go out and check out the original Chevy Chase films for some frame of reference. It’s not mandatory, however. I also enjoyed “Vacation” much more than I thought I would, speaking as someone who went in to it with rock bottom expectations; even if it tends to be something of a mixed bag right until the very end.