Little Shop of Horrors (1986)

littleshopI really enjoy what director Frank Oz does with “Little Shop of Horrors.” Rather than simply ignoring the cheesiness and camp value of the original, he embraces it. He also injects a pulpy comic book atmosphere, along with sixties pop and soul that compliments the tale perfectly. While I’ve always had a weak spot for Roger Corman’s original, Frank Oz succeeds in giving “Little Shop of Horrors” the campy adaptation that it deserves with a brilliant cast, and great tunes. This is a movie that always played on local TV as a kid and I always ignored it for reasons I don’t quite remember. In either case it’s no masterpiece, but it’s a fine and fun horror comedy.

Star Rick Moranis plays Seymour Krelborn, the workaday loser in the slums of his city who works at a flower shop. After fawning over his co-worker Audrey, he decides to take some initiative after financial concerns from his boss and brings in a rare flower. The flower was hit by lightning during a solar eclipse, and Seymour immediately buys it for the sake of the novelty. After pricking his finger, he realizes the plant is alive and hungry for human blood. Soon enough the need for blood transforms in to hunger for human meat, and Seymour must either feed the plant, or lose it and his fame. Nicknamed Audrey II, the vicious plant that turns in to a villain for Seymour, is a wonderful monster. The puppetry matched with Levi Stubbs’ performance make it a menacing foe that is so much more dangerous than it initially looks. Moranis plays Seymour as a mentally unbalanced but very desperate loner who is in love with Audrey and finds she is incapable of being with anyone but her abusive boyfriend.

Steve Martin as Orin Scrivello pretty much steals the film for the screen time he’s given as an over the top biker who works as a dentist for the thrill of torturing patients. Martin is hysterical in the role of the heel, and he even shares a hilarious scene with Bill Murray as the masochistic patient anxious to be tortured. Along with Murray and Martin, there are some great cameos by John Candy, Jim Belushi, and Christopher Guest, all of whom lend a high comedy pedigree to Moranis’ already charming performance. Keeping the film ironic and somewhat meta is the excellent musical numbers, all of which serve as a means of forwarding the narrative, and occasionally challenging the motives of Seymour and his man eating plant. The trio of Tichina Arnold, Tisha Campbell and Michelle Weeks are impressive, delivering some excellent musical numbers of their own, including the opening title track. “Little Shop of Horrors” is a pulp pop twist on the original Roger Corman horror comedy that’s funny, fun, catchy, and well worth its reputation.

Mothman (2010)

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With a B movie like “Mothman,” you can only laugh it off. What keeps the film from really taking off as an effective horror entry is that it’s so painfully derivative of “I Know What You Did Last Summer.” Jewel Staite stars as Katharine, a young girl a part of a small group that goes camping. One night during a swim with her friends, they decide to pull a prank on the youngest in the group resulting in an accidental drowning. So frightened are they by this that they decide to cover it up, and pretend it was one big accident. Why?

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Kill (2011)

kill01Much as I hate to admit it, “Saw 2” pretty much aced the concept of the strangers waking up in mysterious circumstances scenario that’s become so prevalent in modern horror. Directors Chad Archibald, and Gabriel Carrer don’t even seem to try with “Kill,” which is just another variation on the premise from “Saw 2,” except “Kill” is filled with so much more inconsistencies. Not to mention the cast is filled with terrible actors portraying obnoxious characters that literally do nothing but bicker and argue from the first moment they wake up in a mysterious house.

A group of people wake up in a house that’s been boarded up and barred down. They soon realize they’re being terrorized by a mysterious entity watching them, and proclaims that in order to survive and make it home to their significant others, they have to kill each other. Nope, this isn’t “Battle Royale,” although I’d bet the parallels aren’t a mistake. The surviving member of the group gets to go home. I think. Why are the victims awoken in white clothing? Who knows? What is the relevance of the connection that inevitably rises to the surface in the middle of the terror? I wasn’t sure, and I immediately stopped trying to care. What do the tiki men signify? What’s with all the imagery of knights and medieval drapery? And what are the TV’s even for?

Details and plot devices are brought up and abruptly rendered invalid moments later, and there’s just no plot progression until the final twenty minutes. There are even stunning moments of sheer stupidity, like when one of the characters confirms one of the victims has a pulse, prompting another character to ask “Is he alive?” And you have to enjoy how the characters break free from the house while a character screams “Stop! This is someone’s house!” The production is pretty poor as well, with bad editing, and really dicey direction that never fulfills the intended illusion of claustrophobia and paranoia. One of the most distracting elements of “Kill” that tore me out of the narrative was the bad sound.

I don’t know if the rooms on the sets echoed, or if there was ambient sound dripping in to the movie set, but every piece of dialogue sounds canned. So much so that you could almost swear the movie was dubbed. There’s a lot of really ambiguous plot elements brought up and featured with no real clarification, and truthfully I never cared to ponder what I’d seen. I was just happy it ended. “Kill” is terrible because it feels incomplete, rushed, and incredibly half hearted. Almost as if the directors just made points up as they went along. I’m also assuming the directors thought they’d lay the ground work for a follow up. I don’t think there’s any kind of material available for another droning ninety minutes of pointless violence and a script that’s one note and with zero narrative.

Frailty (2001)

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It’s indicative of the kind of veteran Bill Paxton is that he would choose “Frailty” as his first directorial outing to bring to audiences in 2001. Paxton approaches Brent Hanley’s script with a brilliance and very low key delivery that keeps “Frailty” one of the best horror mysteries ever conceived and yet one constantly over looked. This is a film where even McConaughey manages to shine in his lead performance, and I’m rarely one to endorse his acting abilities. “Frailty” is one of those horror movies that sneak up on you, presuming to be one kind of animal, when it’s a whole other sinister animal entirely.

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Mosquito (1995)

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“You’re living science fact!”

An alien ship crash lands in a swamp in the wilderness. But that’s unimportant–giant mosquitoes! What about the aliens, you say? Who cares? Giant Mosquitoes! It’s too bad we never saw what happened when humans drank alien blood. Do they too become gigantic? I think we deserve an answer. Director Gary Jones’ “Mosquito” is pure mid-nineties STV junk, but damn is it a good time. If you’re going to name a movie “Mosquito” (and it’s not a metaphor) you’d better serve us some giant mosquitoes, and director Jones supplies the goods.

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Skeeter (1993)

I almost want to sue the producers of “Skeeter” for false advertising, but then, what’s the use? And why bother? “Skeeter” really is better off being a very obscure and god awful horror film. Why even name a movie “Skeeter” if you’re only going to include four very short attacks by giant mosquitoes, most of whom seem anxious to take off before we really get in to the chaos?

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Fire in the Sky (1993)

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Director Robert Lieberman’s horror drama has a lot going for it, one of which is the immense dread that drips from every minute of the film. We’re never quite sure what occurred to character Travis Walton in the woods, and why he was abducted by Extraterrestrials, but I was very interested in finding out how the various sub-plots would fare. Sure, “Fire in the Sky” is a very loose adaptation of the original abduction accounts, but it works as a horror film that side steps awe inducing UFO sighting. There’s not even much of a focus on the abduction of Travis Walton.

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