Strippers vs. Werewolves (2011)

I appreciated “Strippers vs. Werewolves” for being just a good enough movie with a lot of fun moments. Surely, it’s not a flawless film, as it aims mainly for cult appeal with goofy comedy, and a meta-format that breaks the fourth wall on occasion. You have to appreciate how writer Phillip Barron tries to inject an interesting story in a movie where you expect nothing but strippers fighting werewolves. To be honest, the fact that there’s an actual story with twists makes up for the fact that a movie with strippers doesn’t actually feature any bare skin at any point.

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The Lost Boys (1987)

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It’s pretty rare for a horror comedy to be so very funny while also serving up a genuine sense of terror with every laugh. Though the comedy does intend to spark raucous chuckles, most of it is based around the uneasiness of the situations present. The final showdown in the finale is hilarious, but only because our characters are in such severe danger and are at risk of being torn apart if they don’t step lively. “The Lost Boys” is a flawless vampire film that is so steeped in the eighties, and still manages to retain the timelessness just the same. It’s about two brothers being pulled in opposite sides of the war against good and evil, and their accidental introduction to a city that’s the stomping ground for a clan of century old vampires.

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Exists (2014)

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For audiences that didn’t appreciate the year’s more subtle anti-found footage film “Willow Creek,” director Eduardo Sanchez offers a more action packed and frightening alternative involving the mythical monster. “Exists” is a creepy and vicious found footage horror film with a surprising amount of heart and depth to it, to boot. Surprisingly, director Sanchez works around the found footage gimmick, supplying a score and editing that make the film neater and less like actually found footage. This may irk hardcore enthusiasts of the sub-genre, but it’s a welcome change of pace from the typical format. Especially since Sanchez runs the risks of repeating the same beats from “Blair Witch.”

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Hard to Die (1990)

hardtodie1990What Jim Wynorski’s “Hard to Die” has in common with “Die Hard” is that it features a high rise. And that’s about it. But I don’t blame it for being so shameless in exploiting the aforementioned action film, when “Hard to Die” is purposely exploitative and shameless to begin with. 1990’s “Hard to Die” also known as “Tower of Terror” and “Sorority House Massacre 3” is seventy minutes (Well if you cut out the montage from “Slumber Party Massacre,” the film is a cool hour) of goofy ridiculous fun intended to mock the horror genre at every turn. It’s a horror movie, a comedy, a slasher, a demon possession film, and a softcore porn romp all in one. And damn it, it’s still a lot of fun.

There’s really not much to say about “Hard to Die” except that its narrative is nothing but a hodge podge of plot elements mashed together for the sole purpose of featuring our buxom cast run around in lingerie. A group of gorgeous busty women working in a lingerie shop have to pull an all nighter sorting out stock for their sleazy boss. They’re also easily startled by the building janitor Orville, as played by Peter Spellos. He survived the previous confrontations from the past “Sorority House Massacre” movies and is still suspected of murdering the poor girls. Deciding to pass the time, they put on lingerie and scamper around, all the while taking showers together, bouncing and jiggling and making pretty funny jokes that reference previous scenes.

When a pizza delivery girl is called up to the building through the elevator, the mysterious killer of the movie sets her ablaze. Cut to one of the characters moaning “Where’s the girl with the food already? It’ll be char broiled when she gets here.” Yes, it’s that kind of movie. While “Hard to Die” is a loose sequel it’s also very much a horror comedy that spoofs all of the eighties film tropes, right down to the action flicks. Suffice it to say if that isn’t enough, the girls accidentally receive a package in the form of a locked box that unleashes a demonic spirit. When released, the murdering begins as someone is knocking off the buxom troop. Could it be Orville? Or could it be someone entirely unexpected?

For a movie that doesn’t require much in the way of acting ability, the cast of gorgeous women pull off their performances well, and Peter Spellos is very good as the enigmatic Orville. “Hard to Die” has a narrative that’s just absolute nonsense, but I enjoy how it seems aware of that, and uses it to deliver a hilarious and entertaining horror comedy. When the girls happen upon a gun store in their high rise, and one of the characters justifies being able to inexplicably handle a machine gun like a pro by declaring “My dad was a marine!” you just have to laugh and enjoy the ride.

Arachnophobia (1990)

arachnophobiaIf you’re going to name your movie “Arachnophobia,” your movie should embrace its title wholesale, and surely enough Frank Marshall‘s film does a hundred times over. “Arachnophobia” garners a creepy story, interesting characters, a very scary dilemma, but mostly it’s an endurance test on how much you can stand to watch poisonous spiders creep in and out of every nook and cranny without keeling over in fright. “Arachnophobia,” in any other decade, would be a B monster movie focusing on the frights of the lurking arachnids that are dominating this small town, and director Frank Marshall plays them up well, closing in on the predators as they steam roll through innocent individuals.

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I, Frankenstein (2014)

ifrankenstein“I Frankenstein” is so hopelessly convoluted that rather than watching the action unfold and allowing the audience to go along for the ride, the writers do nothing but explain. Characters walk from one room to another to explain things, and then explain the explanation. “We’re the Order of the Gargoyles and here’s why. You’ll be called Adam, and here’s why. These are our weapons that can defeat demons, we’ll explain why. Our ranks are falling but demons are more powerful than ever, and we’ll explain why.” Considering the heroes do nothing but talk, it’s a wonder they’re losing the battle of good and evil. And how original that Frankenstein is re-named Adam? I wish Hollywood would put that creaky cliché to bed.

It’s too bad the writers didn’t have the balls to re-name the monster Frank. Or Victor. Hell, Shelley would have been gutsy. After the usual events of the Mary Shelley novel, Frankenstein is attacked in a graveyard when he attempts to bury the body of his creator. Managing to barely survive, he’s taken in by the Order of the Gargoyle, a group of knights hired by the Queen to fight demons. For whatever reason, they’re gargoyles that can masquerade as human beings, and can revert to their beastial form to fight evil. On the other side, there’s a group of demons intent on capturing Frankenstein because he holds the key to immortality. No wait, he holds the key to building another Frankenstein body, as the demons plans to build an army of clones that can be possessed by demons.

Frankenstein is an anti-hero for the sake of being an anti-hero, torn between two fractions of the war. You know he’s an angry monster because he dons heavy eyeliner for a majority of the film, and despite his brute strength battles with swords like a horror version of “Crouching Tiger.” You figure a movie with gargoyles and demons and Frankenstein would be amazing, but in reality it’s unbearable. It’s droning, tedious, and incredibly boring, and not a single character is engaging. They bring in strong performers like Bill Nighy, Yvonne Strahovski and Miranda Otto, all of whom do nothing but look half asleep most of the time, while they drone on and on with clunky exposition.

In the first half there’s a massive battle between the demons and Gargoyles, and granted it would all be so amazing, if I knew who any of these characters were. We learn nothing about the heroes or villains in the film. Director and co-writer Stuart Beattie stuffs the screen with so many sub-plots and supporting characters all of whom have zero depth to them. They’re just cannon fodder we’re told to root for. “I Frankenstein” is much like the “Underworld” and “Resident Evil” movies. It’s all flash, explosions, and absolutely zero substance. “I Frankenstein” is an absolutely terrible attempt to turn a Gothic literary character in to a superhero, and here’s hoping there’s no follow-up to the amazingly dull adventures of Frankenstein’s Monster.

Murderdrome (2013) (DVD)

MURDERDROMEDVDI love the idea of a horror movie centering on heroines that also happen to be brawling roller derby babes. And I love the idea of a slasher film centered on the whole roller derby motif, but it seems that director Daniel Armstrong has a nugget of an idea for a horror movie centering on roller derby, and then really has nowhere to go with it. The DVD case describes “MurderDrome” as equal parts action, romance comedy, and slasher, and yet all three of those elements are never balanced out. Everything about “MurderDrome” feels painfully uneven, to where fans of either sub-genre will be anxious to see director Armstrong deliver. Truthfully the characters were so fun I wouldn’t have minded a romance comedy about roller derby squads, but “MurderDrome” desperately wants to be a horror movie. Even if the horror feels awkwardly tacked on.

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