I really enjoy one aspect of “Mischief Night,” and it’s the two scene walk on role by Malcolm McDowell. I mean seriously, who walks around various neighborhoods to quiz people about Halloween and warn them about not opening their doors? Who in the world has that much time? For all intents and purposes, director Travis Baker makes damn good use of the extra money he spent on McDowell’s appearance. Sure the man has nothing to do in the movie, but he’s in there, come hell or high water.
David Buchert and Chris St. Croix’s “In the Dark” is definitely one of the most tonally inconsistent anthology horror films I’ve seen in a long time. While it’s not a terrible trio of horror stories, it shifting tones and mediocre scares won’t elicit a huge fan base. That’s a shame, since “In the Dark” sports a really good opening introduction and wrap around sub-plot. In the wave of anthologies hitting VOD, I’d place this in the mediocre category. Set during a night time robbery, two sisters, who also happen to be maniacal killers, hide out in a hotel awaiting a rendezvous with their boss. While they wait, they sit around and partake in three mysterious horror movies on VHS that they stole from their victims.
The first time I ever watched “Mosquito” was on late night cable on the USA Network when cable channels were fun. Right around the nineties when horror was kind of a killjoy with overly serious horror movies, “Mosquito” is that hard shot that really goes down well. It has gratuitous nudity, giant monsters, stop motion, and even Gunnar Hansen brandishing a chainsaw a few times. How can you bash something that genuinely tries to make the most out of very little? Director Gary Jones comprises a fun little science fiction horror fest in where an alien crash landing turns the local mosquito population in to truck sized predators that get off on feeding on people in the worst ways. Apparently mosquitoes just aren’t biased when it comes to feeding off of living things, so when the ship crash lands, the mosquitoes begin feeding on the blood of its dead alien pilot.
If there’s one complaint I can lobby at “Under the Dark Wing” is that I really would have loved ten more minutes for exposition. Director Christopher DiNunzio unfolds an interesting story with considerable ambiguity that audiences might enjoy, but I think ten minutes more would have lent the film more dread. In either case, “Under the Dark Wing” is still an eerie and fascinating horror drama that focuses on dread placing it front and center.
There’s always been something about me and underdogs. I love rooting for the underdogs. Even as a kid who loved comic books, while my friends were buying Punisher, Wolverine, and Batman, I was spending my time on Darkhawk, War Machine, Night Thrasher and Superman. The last character is iconic and a household name, sure, but he wasn’t in regular circulation in my circle of friends that collected comic books. It’s been hell being a fan of “Daredevil” for many years without proper justice paid to him. Surely, Frank Miller did an amazing job with him for a few years, but watching other characters get big screen treatments while Daredevil literally got short handed was irritating.
Matt is literally running on borrowed time. After a morning spent completely dismissing his wife who craves intimacy, he’s confronted by a local internal affairs worker Stephanie Miles (Regina King). Said worker is insistent on interviewing Matt about an incident he had with a perpetrator at a bar one night. Matt is very cryptic about what went down that night, despite eyewitness reports, and that’s when things begin to unravel. Ms. Miles has pictures and concrete reports of what occurred between Matt and the drunk, and this resulted in a violent confrontation that may have involved an exchange of bodily fluids. The problem is the suspect is infected with HIV and it may have been transmitted to Matt.
I’m a little exhausted with indie filmmakers setting every horror film in the eighties based on some hope that if it’s set in a nostalgic decade, the film will in effect be a gem. It’s not enough to show characters playing classic Nintendo, and walking around with neon colors. “Run, Hide, Die” garners a lot of inexplicable elements, from the eighties setting that adds nothing to the overall narrative, right down to the title that in no way reflects the film at al. It adds up to a pretty miserable dramatic thriller that poses as a horror film, and fails to deliver on every aspect. It spends too much time on characterization, offers no interesting villain, and just delights in being melodramatic when it should be terrifying.