For the sequel to the creative but utterly underwhelming “Urban Legends,” director John Ottman and the writers basically ape “Scream” by taking the premise and much of the film’s general concept to the world of filmmaking. This time around “Final Cut” centralizes its story on a film school where a bunch of wannabe directors and actors are being knocked off by a serial killer with a fencing mask. Granted, I’m not a fan of the “Scream” films, but often times “Final Cut” feels like a poor man’s version of the Wes Craven series. A bunch of glamorous young folks in their thirties play aspiring Hollywood artists/college students, all of whom are being offed one by one by a masked killer in some of the most grotesque and anti-climactic ways possible.
Tag Archives: Dark Comedy
The Battery (2012)
I wish more zombie movies could be like Jeremy Gardner’s “The Battery.” The problem with most modern zombie films is that the writers forget that the humans should be the centerpiece of the film, and not the zombies. Director Jeremy Gardner’s “The Battery” is the prime example of how to handle this kind of genre entertainment with a low budget. Rather than flood the screen with zombies, the monsters are used sparingly and for great moments of terror and memorable scenes, while Gardner focuses primarily on character, building two complex and unique people we can love and hate, in many ways.
From Dusk Till Dawn 2: Texas Blood Money (1999)
Let’s face it, someone took a shitty movie about vampire bank robbers and turned it in to a sequel to “From Dusk Till Dawn.” Except it’s nowhere near being a sequel. Even with an appearance from Danny Trejo as the vampire bartender Razor Eddie from the first film, this is a shitty vampire movie someone decided to make in to a sequel. It’s a goofy, campy, and ridiculous vampire movie filled with horrible performances, and a ridiculous premise that does nothing to reconcile itself with the first film. There’s not even a mention of Seth Gecko for crying out loud. Shit, at least re-cast Juliette Lewis’ role as Kate Fuller and follow her along on another vampire adventure, at least.
Curse of Chucky (2013)
One thing is certain after watching “Curse of Chucky.” While it is a lower budget reboot of the series that also works as a sequel, director Don Mancini loves the character. There are call backs to the previous movies, and director Mancini keeps the series focused on Chucky and Chucky alone, without the intervention of side characters. Brad Dourif returns to voice the character of Chucky, and has a good time reprising the monstrous killer doll that returns to wreak havoc on a dysfunctional wealthy family with many skeletons in their closet.
Small Soldiers (1998)
Director Joe Dante’s “Small Soldiers” is sadly a film without an actual audience. It’s tame for horror fans, and may possibly be much too menacing for kids. And while the film had real potential to burst out with merchandise and tie-ins, the premise never lasted beyond a single film. That’s a shame, too, since the idea of psychotic toys wreaking havoc almost never gets boring. As a hardcore fan of the “Puppet Master” movies, “Small Soldiers” feels like a high tech remake that really manages to work as dark comedy, and creepy fodder for young boys. War toys working toward their initiatives and becoming violent is just a great idea, even if the premise is far-fetched.
Dark Shadows (2012)
Were people actually clamoring for a big screen adaptation of a soapy daytime horror melodrama from the fifties that only hardcore horror fans know? Did we really have to have a big screen adaptation of a Gothic soap opera? It’s no wonder director Tim Burton approaches the adaptation of “Dark Shadows” with a tongue in cheek often derisive attitude. The show is obscure among the broader audiences, and even when he fine tunes the film with goofy humor and testicle jokes, it’s still so niche that not even hardcore Burton apologists will enjoy what he has to offer. Like most recent Burton productions, “Dark Shadow” is gaudy, busy, and feels like Burton going through the motions without an inch of heart injected in to the narrative.
Not in My Beans (2012)
I was kind of off put by the opening of director Grayson Whitehurst’s experimental thriller entitled “Not in My Beans,” but sticking with it really did pay off well. At only a little near five minutes long, “Not in My Beans” has a unique and very entertaining premise that’s dark, creepy, and surreal.






