Near Dark (1987)

NearDark

What I love about Kathryn Bigelow’s “Near Dark” is that it doesn’t glamorize vampires. It doesn’t paint them as pop stars, millionaires, or aristocrats. In reality the group of vampires that roam the South here could be mistaken for dangerous transients. Their lives are a series of contradictions that paint them as despicable but somewhat empathetic villains. They have immortality, but burst in to flames in natural sun light. They have fantastic powers, but they have literally no choice but to roam the world looking for new prey. “Near Dark” is very much an eighties relic like its lighter counterpart “The Lost Boys,” and still hasn’t shown its wrinkles. Draped in glorious shades of blue and gray and given a haunting score from Tangerine Dream, “Near Dark” is a vicious vampire film about a young man trying to maintain his soul and keep his humanity in tact.

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Nothing Left to Fear (2013)

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“Nothing Left to Fear” is the prime example of a horror movie that has nothing to offer, and tries to cover it up with fancy special effects and clunky metaphor. The problem is that even those gimmicks don’t work to conceal what is an amateur, tedious, and pointless remake of “The Wicker Man” where another group of people or persons become the sacrificial lambs to religious fanaticism. We know they’re the sacrificial lambs because when our characters The Bramfords arrive in their new town, they see a lamb being sacrificed. Get it? Foreshadowing! Symbolism!

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Riding the Bullet (2004)

ridingthebulletYou can’t even really call “Riding the Bullet” a horror film, when all is said and done. Like most of Stephen King’s semi-autobiographical tales, Mick Garris’ adaptation is a contemplation on mortality and nostalgia from a more innocent time. “Riding the Bullet” is less about scaring, and is more focused on a selfish stoner, with an Oedipus complex and a fixation on death. And King conveys his fear of death by trying to dig in to the audience’s fear of death. I imagine the character in “Riding the Bullet” is closer to King than any other story he’s ever written, but that’s merely an assumption on my part. “Riding the Bullet” has interesting intent and good performances, but it’s more a tragedy bereft of scares.

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Dead Within (2014)

dead-within-kim

It’s always nice when a director is bold enough to take the zombie genre and try to transform it in to something completely unique. While “Dead Within” doesn’t re-invent the wheel, it’s definitely a gripping view of the aftermath of the zombie apocalypse. And I don’t speak particularly of the walking dead, so much as what happens when survivors have to live with one another and with the guilt and shock of the lengths they’ve gone through to survive. Is it worth surviving the end of the world if you aren’t really living? Can you really trust anyone once the world has resorted to the survival of the fittest? Can you justify murdering potential infected to your conscience? How do you outrun your fading sanity and crushing guilt when you’re stuck in a small room in dead silence?

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Legend (1985)

legend

I would really only suggest “Legend” to the hardcore fantasy aficionados. It might even be a little too heavy for “Lord of the Rings” fans. As a kid I loved watching what Ridley Scott gave movie fans, but I never quite understood it until years later. Scott touches on some heavy concepts both philosophical and spiritual, and he does so with a palette of monsters and unicorns. Director Ridley Scott composes a rather brilliant and dark fantasy epic about the concepts of light and dark, and good and evil. In truth, “Legend” is a twist on the tale of Adam and Eve, except with more fantasy, magic, and monsters.

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247°F (2011)

247FMan, is “247°F” ever a rough experience. And not just because directors Levan Bakhia, and Beqa Jguburia pay homage to Rob Zombie’s “Halloween” movies by casting Scout Taylor Compton and Tyler Mane in one movie. But mainly because what should have been a disturbing, claustrophobic and suffocating horror thriller really is just a mediocre movie where once again stupid people turn on each other rather than think rationally and try to think of a solution. For reasons I still can’t figure out, writers Levan Bakhia, and Beqa Jguburia start the film off with a prologue giving us only one crucial bit of information we need to know about Compton’s character Jenna. She’s claustrophobic.

After a vicious car crash took the life of her boyfriend, she was pinned in her car for a long time, giving her claustrophobia. Remember that. She’s claustrophobic, the writers have to insist we remember. Truthfully, a lot of what occurs is made even worse by sheer human stupidity and failure to grasp any kind of common sense. When the story fast forwards, Jenna tries to move on by going on a vacation with her three long time friends in order to re-charge. After a lot of clunky exposition, the writers place great emphasis on the sauna that Tyler Mane’s character Wade has in his basement. Seriously, he has a hot box capable of frying someone alive in the basement. And the doors are made of wood, which initially made me theorize the door would swell shut locking the poor saps in.

Mane’s character Wade is one of the stupider of the bunch, feeding his residents moon shine, and allowing them to roam free without checking up on them. So in the midst of one of their spats, character Michael drunkenly stumbles out of the sauna, and his three friends are trapped inside, left to fend for themselves. Oddly enough, the sauna is given significant screen time in an effort to give it an ominous presence. Really you’re just left wondering why the group keeps going in to the lake, and running back in to the sauna about four or five times. What’s the point of this repetitive montage? In either case, three of the friends are left in the sauna to roast as Jenna really does nothing but moan, whine, and whimper in a corner, as friend Renee instantly begins freaking out, and the only intelligent character Ian does nothing but instill fear in the other victims.

Really? Should you describe what heat stroke is like to two girls hyperventilating in a sauna? And would it have been so tough to just sit and wait for Michael or Wade to come down and check the sauna? It’s made perfectly clear the group loves the sauna, so eventually Michael would have gone down to steam for a bit. Surprisingly, what should have been the anti-“Frozen” really doesn’t accomplish its sense of turmoil and horrific suffocation, and that’s mainly because of the terrible writing. The characters are despicable so there’s zero empathy, and the directors don’t really indicate visually how much these people are suffering.

Besides, knowing they’d eventually be discovered ruins any suspense. There’s also a really awkward focus on character Wade as the directors seem to be padding out Tyler Mane’s role for more prominent screen time. You think it’s leading somewhere, but it’s just a clumsily staged plot device to add an obstacle to the characters’ fight for survival. The only competent performances are by Travis Van Winkle and Tyler Mane, both of whom are likable and interesting in their performances. Compton still is a terrible actress, so her “tragic” character just feels whiny. The directors try to become metaphoric injecting some hallucinations and attempts to signify Jenna’s torment, but it’s just one big misstep after another. If you have to see “247°F,” see it for Christina Ulloa. You can skip everything else.

Machine Head (2014)

machinehead

Jim Valdez’s “Machine Head” is a triple threat. The acting is abysmal, the directing is bush league, and the writing is incoherent nonsense. And what’s worse is the movie seems to be competing with itself to see which aspect is worse than the others. This results in a nearly unwatchable and putrid horror film that has no idea what it wants to be. Sometimes it’s a thriller, sometimes a slasher, and sometimes a road horror film in the vein of “Duel.” Truly, when you see the final scene that book ends this tripe, you’ll laugh, roll your eyes, and move on to something worth your time.

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