On June 16, 1959, George Reeves committed suicide; which was then later thought to be and is still heavily debated as a murder. This death was important to many people for the simple fact that it was the end of a beloved icon, and one of the earliest people to bring Superman to life. Reeves is also one of the earliest to help fuel the alleged Superman Curse, a series of coincidences later touted and tagged as a black mark on the folks who played Superman, for the sake of selling books. Is it a curse that brought about such bad ends to these men who played Superman? I say no. It was merely a bunch of coincidences that lent credence to the term “Shit happens.”
Tag Archives: H
RL Stine's The Haunting Hour: Don't Think About It (2007)
Sure, by today’s standards, and with my current age, R.L. Stine isn’t so scary anymore. But in case many of you don’t know the name, R.L. Stine is very recognizable to the folks like me who grew up around the time Stine resided in book shelves all over the country. For horror geeks like me, Stine was a gateway drug, he was that first introduction into the horror genre before you came into the hard stuff, and I loved it all. For the teens that could get away with it, he brought us “Fear Street,” a creepier, mature, and violent series of books that had actual stories to them.
Hatchet (2006)
How many slashers movies have there been in the last few years that were worth a damn? Beyond “Leslie Vernon,” I can’t think of a single great slasher film that has made this slasher freak drool with sheer glee. “Hatchet” comes close to inspiring some foaming at the mouth, and I’m glad. As a horror nut that basically scours horror sites far and wide, I’ve heard about “Hatchet” almost non-stop. And thankfully, it’s lived up to its hype somewhat. “Hatchet” is a slasher comedy that really does admirably aspire to become a classic, and it succeeds in garner the horror comedy status from minute one. Not only is it a damn good and gory little slasher flick with a mean bastard of an axe killer, but it’s also pretty sharp and funny.
Rob Zombie's Halloween (2007)
“Halloween” will be and must be compared to the original, because it’s a pale imitation, it’s a botched job on every meaning of the word. At the end of the day, while “Halloween” is still one of my all time favorite horror films, “Black Christmas” is by far the better and creepier picture. But the remakes are basically the same. They’re just so bad they’re embarrassing and Zombie fails to inspire an influence and creates what can simply be known as “The Devil’s Rejects: Haddonfield.” Zombie continues with his demonizing of the poor and lower class, while also treading over the same crap we were given in “The Devil’s Rejects.” Is this better than “Halloween: Resurrection”? Sure, but so is smashing your head into a wall.
Hairspray (1988)
Though it’s true I’ve never been much of a John Waters fan, the prospect of the upcoming remake has entertained me some. Not only is the prospect of seeing John Travolta in drag a hilarious option for movie viewing, but, yes, I think it looks entertaining in spite of the serious possibility it will be completely watered down, and void of any of the civil rights commentary posed. Before that, though, I thought I’d see “Hairspray” for the first time to see what the big deal is. Like all of Waters’ films, it’s a cult classic, and one that’s an acquired taste.
Horror Business (2005)
I love horror movies. I love them so much that it hurts me. I love them so much I feel an ache in the pit of my stomach whenever I just think about coming upon a brand new horror film waiting to be watched. And Garetano loves them, too. But he also has a cynical sense of humor about making horror films. Being a film critic for almost ten years now has educated me. Every film I’ve been sent from aspiring filmmakers who make a horror film and fail to entertain, I hold a deep sense of sympathy for them. Because making films and making horror films aren’t easy. “Horror Business” is a great horror movie documentary about making horror movies.
And it’s about how making horror movies can suck the life out of you. Garetano spotlights some of the most relentless independent horror filmmakers, including the director of one of my personal favorites, “Zombie Honeymoon.” What Garetano conveys is that horror filmmaking, while being essentially filmmaking, is a completely different art form. It’s difficult to scare people, and be a unique voice in the genre, and Garetano explores the feelings and frustrations of these filmmakers as they try to make a film that they believe will be great. And these men have a lot of insight to shed for the audience, as they discuss their thoughts on why we love horror films, and why horror films are so popular these days.
Filmmaking, like writing, is a way of life for these individuals who seek to release all aggression and express themselves, and it’s easy to connect to their desires to want to be seen and heard. And even appreciated. Hell, Garetano even touches upon these filmmakers basic frustrations that horror fans have been singing for years. Why remake a movie when you have thousands of great filmmakers waiting to express their own unique voice? Remakes are for money purposes, and the directors here talk of their inability to be pleased by anything new in the modern film era. The feeling is well expressed among many horror fans these days.
The best way to gain a perspective of film, talk to the actual struggling filmmakers and Garetano really shows how many people will die for their love of horror films, and filmmaking. Film, like any artistic medium can ruin its creator, and “Horror Business” explores that statement perfectly. Garetano really exemplifies the filmmaker’s struggles in film, and creates what is one of the best horror documentaries I’ve ever seen. You can’t receive proper insight about filmmaking unless you talk to actual struggling filmmakers, and Garetano gets it right; “Horror Business” is a film you have to see if you’re a horror buff, or someone thinking about making a serious horror movie.
Hot Rods to Hell (1967)
“Hot Rods to Hell” is a youth gone wild, sixties morality tale about damn juvenile delinquents raising pure hell on Mr. and Mrs. Americana of the traditional Nuclear family. Before the real free revolution, “Hot Rods to Hell” was another glance at the youth tearing down good old fashioned America, and it was deemed much too risqué to play for television. Made for television, ironically, the studios shipped it out into theaters, and drive-ins and it’s quite a messy little clunker with an utterly simplistic plot. A mixture of “Beach Blanket Bingo,” “Last House on the Left,” and “Leave it to Beaver,” John Brahm’s “Hot Rods to Hell” sets down on a family called the Hills who go on a road trip to move to the desert. On the way there they come across a group of sadistic hot rodders who really want to make their lives a living hell from now on.