Yet another iteration of “Slaughter High,” director Brian C. Weed’s revenge horror film attempts to be a sanctimonious message about bullying all the while lulling its audience to sleep with an illogical and goofy film about revenge and the past coming back to haunt some classmates. My only fear is the memory of this movie coming back to haunt my nightmares.
Director and writer Matthew Saliba has managed to amass an interesting and unique body of films that delve in to the underbelly of sexuality. Sex, pain, and death always seem to go hand in hand. He usually has a keen eye for detail and provides wonderful statements about excess and revenge, but “Eroticide” really is a step down for the director.
The directing and writing team of DPYX manage to concoct “Nobody Can Cool,” a dramatic thriller that’s one half really damn good suspense ride, and one half forgettable fodder. “Nobody Can Cool” manages to pack in an interesting premise and one that definitely tries to cover all bases in terms of logic and excitement. At times I was very engrossed in what was happening, and while the film isn’t perfect, it’s saved by the tight direction and great performances.
I really enjoy the fact that director Peter Leon has access to these incredible special effects, and pretty much just stages a murder mystery aboard a space ship. This premise could have been set anywhere, and that’s why the movie is so fun and creative. The humor doesn’t always land, but when it does, it’s pretty good. The special effects for the most part are spectacular (including the green screen), and I enjoyed how the establishing shots in space put you in the atmosphere of this science fiction comedy.
I can appreciate what the director of “The Moleman…” is going for, but with his indie horror comedy, it often felt like a misfire in every sense. The DVD cover is quick to compare this to “Shaun of the Dead,” but while they were losers, they were at least likable. It’s really tough to empathize or root for two main characters who lure an old man to dinner to have him be eaten by the mole man, or are so stupid they leave a box of kittens in the trunk of their car and accidentally suffocate them all. I should be rooting for them, the script says, but in reality I just found them to be complete morons.
The tale of Little Red Riding Hood was always fraught with undertones that would be dissected and re-worked for decades. Director Tate Bunker takes the tale of Little Red Riding Hood and re-works it in to a wonderful and occasionally eerie coming of age road trip dramedy that works on many levels. It’s simple, but often times incredibly clever, realizing the symbolism of the story and integrating that in to the modern setting.
One of the main things director Mark Brown’s music documentary has going against it is that it’s a very niche film. Even fans most open to music will find watching this documentary very polarizing in that it chronicles a world that seems very exclusive to only a select few that understand the music form. “Bayo” is set on a young reggae artist that director Mark Brown finds oddly fascinating, and true to the documentary, Bayo is the center of many people’s fascinations, and is something of a celebrity within the music circuit he’s entrenched in. While I really have nothing against this musical form, “Bayo” doesn’t do much to appeal to a broader audience curious to the music’s appeal.