Director Dick Jane is really succeeding in distinguishing himself from other indie filmmakers, and slowly he’s turning in to a filmmaker I’m looking for most times. While he’s not always a home run cinematically, he does opt for daring. And it comes through. With “Kiddy Kiddy Bang Bang” that was a film guaranteed to turn heads and even incense some people. His first short film “0, 1, 2, 3, 1, 0” is a short Bergman-esque meditation on a woman struggling with suicide.
Like many of director Patrick Rea’s horror shorts and feature films, “Wrong Number” is a genre gem that takes us by the hand and guides in to a world that looks normal on the surface, but really is nothing but a mad and demented reality that Rea orchestrates with a sardonic sense of humor. “Wrong Number” features a young woman who has accidentally dialed the home phone of an elderly woman who is at home knitting and going about her business.
“Why don’t you just kill me?”
“Is that what you think I want?”
Though described as a “thriller,” this is a horror movie in the purest sense, and an emotionally draining one at that. A man engages in a horrible crime, thinks he’s gotten away with it and discovers he’s being outwitted, outsmarted, and tortured by a vindictive little bitch about half his size.
The irony being that the character Jeff is a good looking man with the ability to pick up any woman he wants and he chooses young children, and yet he’s not above spouting the same crap excuses we hear from all pedophiles, too.
Slade’s film is indeed a horror movie. And then I had to see “Hostel Part II” to review, and it was pretty much the same experience as the first time.
In 1988, Empire Pictures sought to create an anthology of films that would act as sequels to their big hits. There was a planned “Trancers 1.5,” a sequel to “The Dungeonmaster,” and the HP Lovecraft short film “The Evil Clergyman.” Re-uniting the legendary Jeffery Combs, and the gorgeous Barbara Crampton, the film was never released, and for many years it was thought to have been lost. After being discovered on a low quality VHS, the print of “The Evil Clergyman” was restored as best as possible by Full Moon and given a new opening title and brand new music to accompany a fairly twisted story.
After watching the incredibly over the top performances in “I Know What You Did Last Summer,” I’m suddenly not so shocked that subsequent this film, the four stars of this slasher never actually amounted to much cinematically. Not to be cruel or anything, but where as most slashers suffer from an abundance of bad acting, this film attempts to sap melodramatic performances from its four stars. That means a lot of shouting, and screaming, and attempted self-aware jabs at the horror genre. Ryan Phillippe in particular sounds like he’s auditioning for drama class as the testosterone laced Barry who runs around screeching at every character for the first fifteen minutes of the film. The incredibly loose almost pointless adaptation of the Lois Duncan novel “I Know What You Did Last Summer” stars a cadre of nineties stars trying their best to mine the gold left behind by Kevin Williamson’s “Scream.”
It’s common knowledge among movie buffs that Stanley Kubrick’s much lauded adaptation of “The Shining” is a film that author Stephen King did not like. At all. He openly expresses his disgust for it and his annoyance at director Kubrick’s insistence on taking the story in his own direction and away from the original novel. So in response to his long publicized criticism of what is arguably a horror classic, director Mick Garris obliged with a two part television mini-series that painted “The Shining” as we saw in the novel. Sadly, while it is very entertaining as a novelty horror film it lacks the oompf and visceral atmosphere of the Kubrick classic.
That’s Hollywood for you. They love you. They love your book. They buy your book. They adapt it in to a big budget feature, and in the end only really bring bits and pieces of your story to the big screen for audiences to see. In this instance it’s “The Shining,” an acclaimed horror film adapted by director Stanley Kubrick that author Stephen King has always hated. But then King is only one in almost a hundred authors whom absolutely detested the big screen versions of their novels. Director Kubrick’s idea of planning a film that respected the source material of King’s novel but not completely following the story is a bit of Hollywood rogue filmmaking that ended up angering King but simultaneously created one of the most beloved horror movies of all time.