While “Halloweentown High” really isn’t the most subtle of films with monsters and knights acting as symbolism for civil rights, it does excel in fully realizing the character of Marnie who is no longer a student and now just a matriarch of other students looking to make their way in to the human world. Kimberly J. Brown is as good and charming as ever in the role of heroine Marnie who takes it upon herself to play civil rights leader by insisting some of the monsters from Halloweentown should be allowed to go to human school for the sake of diversity and equality. The catch is by Halloween if she hasn’t made progress, her powers will be stripped away. This allows for a more open forum for new characters, all of whom have their own likable traits and quirks. One if a goblin, another is a werewolf, another a wood nymph, and so on. Marnie plays more of a protector this time watching over the new exchange students, and falling for a new guy named Cody.
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Halloweentown II: Kalabar's Revenge (2001)
While 1998’s “Halloweentown” was a very cute and entertaining little Halloween movie, the sequel “Kalabar’s Revenge” is much darker and slightly more adult in tone and atmosphere this time around. What’s interesting is you can sense the seeds for “The Witches of Waverly Place” within this sequel, and it’s not a far off prospect that what with Kimberly J. Brown getting older with each movie, Disney wanted to pass the wand over with a new franchise about magic and wizards.
Halloweentown (1998)
Sure, this is a Halloween oriented film that isn’t scary, or creepy, or violent, or even remotely menacing and sure it’s a premise we’ve seen trotted out in “Sabrina The Teenage Witch,” “Twitches,” and “Buffy,” but deep down it’s a true Halloween movie and one you can watch be you a child or an adult looking for a good time, and I manage to come back to it every year because it’s such a fun time to be had for all.
The Hangover (2009)
Todd Philips’ road trip comedy is something of a mystery that manages to possess much more of a complex plot than we’re led to believe by the trailers originally. In its heart it’s about four friends re-connecting for one wild weekend before the wedding of their friend Doug, all the while exploring four friends who are also getting in touch with a part of themselves they lost or will eventually lose when they get back home to domestic monotony. The four characters here are much more representations of the male such as Stu who is a delusional male whipped by his domineering wife anxious to break out of his confines. Alan is something of an erratic monster who isn’t a bad guy even if he’s done some truly perverted things. Doug is a man facing a big change in his life about to marry a wealthy woman who is also the girl of his dreams and presenting a life as a married man and possible father, while Phil is a man who refuses to let himself be toned down even though he’s a father and a husband.
Hellraiser III: Hell on Earth (1992)
What with Clive Barker’s gothic romance garnering immense popularity among his fans and horror buffs, it was only a matter of time until the Cenobites took control of the overall premise of Barker’s mythos and headlined the franchise. After the second part, the entire series basically missed the whole point of “Hellraiser” and soon enough Pinhead took center stage evolving in to nothing more than another movie monster prone to Shakespearean diatribes. For better or for worse, Pinhead became the star of the “Hellraiser” films and here he’s reduced to little more than an interactive head on a totem pole. Bye bye Tiffany, you had so much to offer, but it’s off to movie purgatory with you.
Hellbound: Hellraiser II (1988)
Yes much like the original Barker film, I’ve yet to ever really see “Hellbound,” as it’s managed to elude me for many years. I can recall seeing bits of it on a local cable station in America and never quite being able to experience it in its entirety. Tragically the only remotely interesting character in the entirety of “Hellbound” is Tiffany. Introduced as one of the more gifted and confounding of the patients within the mental institution, the character is a labyrinth within a labyrinth, a taskmaster disguised as mentally ill whose own personality and identity is about as enigmatic as the demonic puzzlebox. Imogen Boorman gives a rather striking performance as this walking riddle who consumes most of her time solving puzzles and tricks that doctor Channard gives her.
Hard Ride to Hell (2010)
A slew of young Canadian actors (all of whom I recognize for the wrong reasons) star in a cheap throwback to the seventies satanic horror exploitation films that has the potential to be a very excellent horror flick but is instead cheap C grade hokum worthy of the dregs of the SyFy Channel here in America. In fact I can predict its initial run on DVD to end with an edited commercial interrupted premiere on said cable channel. “Hard Ride to Hell” is a movie with a great idea but an all too convoluted plot that begins with hapless young travelers on a road to nowhere who find themselves in a world of over-complicated and rather dull trouble involving Satan, bikers, satanic bikers, and a sprig of Robert Rodriguez just to tap the familiarity of horror fans.