Friday the 13th: The Final Chapter (1984)

Posted on June 13, 2014 by Felix Vasquez

Joseph Zito’s 1984 treatment of “Friday the 13th” really should have been the final film in the series. While I do love the “Friday the 13th” movie series dearly, there’s a considerable drop off in quality after “The Final Chapter” as you can sense the writers trying to bring Jason back with as little absurdity as possible. “The Final Chapter” is one of the last really excellent horror romps that focus on character dynamic and family, and surely enough it’s still a very strong horror film where Jason Voorhees is an unstoppable killing machine.

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Fallout (2011)

Posted on April 10, 2014 by Felix Vasquez

I’m not entirely sure what “Fall Out” was aiming for from minute one. All I know is that director Derek Dubois keeps the audience in the dark, providing a narrative that’s about eighty percent ambiguous. And I was okay with that. If you can’t really offer a larger exploration of the world you’ve built, especially considering when it’s set during the apocalypse, the best thing to do is focus on getting us to know the characters in this situation, and director Dubois accomplishes that in spades.

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Fargo (1996)

Posted on April 3, 2014 by Felix Vasquez

Leave it to the Coen Brothers to provide movie audiences with a crime heroine that we’d never really see coming at some of the worst criminals around. Marge Gunderson is not your typical gumshoe and probably never really desired to be one growing up. She’s a small town simple woman who is about to give birth to a baby, and only really works until she is able to head off to the hospital. But things go from mundane to extraordinary when what seems like a random series of homicides on a snowy road side turns in to a very disastrous plot to extort and embezzle money out of a car dealership.

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The Fly (1986)

Posted on October 28, 2013 by Felix Vasquez

While 1958’s Universal horror film “The Fly” was in fact a truly creepy and bleak horror drama with little to no story elements that signaled a clear cut resolution for anyone that would ensure a life of sanity, it almost seemed like a film that held unrealized potential. The story itself was much too ahead of its time for the fifties and could have given us something more. It’s a classic, but not one that gives a hundred percent. Cue David Cronenberg who had the foresight to realize the almost Lovecraftian potential of the story and transformed a creature feature in to a rather brilliant and incredibly iconic horror drama that mixed elements of Lovecraft, Giger, his own surreal craftsmanship, along with a hint of Frankenstein for good measure.

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Freaks (1932)

Posted on October 28, 2013 by Felix Vasquez

For a very long time I avidly avoided Tod Browning’s “Freaks” simply because it was one of those films that I was intimidated by. While very few films leave me tainted, “Freaks” is a film I was afraid would be cheap, exploitative, and nauseating. “Freaks” is by all accounts one of the most downbeat horror classics ever made. Especially in the face of director Browning’s horror classic “Dracula.”

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Fright Night (1985)

Posted on October 24, 2013 by Felix Vasquez

If you’re going to be a derivative movie, don’t hide it. Flaunt it, own it, and be able to take the premise you’re deriving from and twist in to something excellent. “Fright Night” does the very thing. What if, instead of a murderer, the next door neighbor was a vampire? And what if, instead of a disabled man, we featured a young high school boy with a bad habit for snooping? And what if, instead of a photographer, this character was a horror fan whose imagination may or may not be playing tricks on him?

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Fright Night Part 2 (1988)

Posted on October 24, 2013 by Felix Vasquez

Apparently Jerry Dandridge from “Fright Night” had a sister. And she’s pissed that Charlie Brewster killed him. She plans to get revenge on him by tracking him down, taking residence in the same building he resides in, and staging one of the most convoluted revenge plans ever written. She wants to turn Charlie in to a vampire, but then she also wants him to believe that he’s going crazy. She shows him that she’s a vampire quite often, but also wants him to think that she’s merely just a stage performer and Charlie is going nuts because–well–going crazy makes the blood sweeter?

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