What happens when you have a film franchise that’s lacking in almost everything required of a good film? You use a different approach. The “Mimic” series has been nothing but abysmal, and it was only a matter of time before we had a film in the series that tried it from a different perspective. Anyone who sees this will know this is a pure rip off of “Sisters,” front and back. The attempted psychoses, the plot twists, our nosy neighbor and his inevitable discovery. Petty rips shamelessly from the film, and while I came to accept it, it also works against the film’s quality in which the film’s attempted complexities come off as pure conceit and desperate. The film lacks anything nearing an esoteric framework, especially since it involves a giant bug.
Tag Archives: M
Maniac (1980)
“Maniac” is a different kind of slasher film, one so incredibly vile and utterly wretched that you’ll be forced to decide if you enjoyed this or not. I experienced the same conflict of decision. Did I enjoy this or not? I’m not entirely sure, but a good part of me says “yes.” At a time when the Son of Sam was still fresh on everyone’s minds, “Maniac” is the closest depiction of a madman on the streets that we’ll ever get again. We don’t just watch this madman destroy folks, we learn about him, and we get into his mind.
Mirrormask (2005)
“Dreams only get you so far. And then you need cash.”
When “Pan’s Labyrinth” was released last year, it was shortly compared to “Mirrormask” the basic story of a dreamy young girl who is pulled into a fantasy world. Gaiman’s fantasy masterpiece sadly only experienced a limited release in the US with a quick DVD release that fooled many in to thinking it was another ho-hum fantasy installment vying for classic status, but if you look for it it’s a basically incredible and understated bit of cinematic fantasy fare only Gaiman could have delivered. But thankfully that comparison to Del Toro’s film was very short lived. In the end, I prefer “Pan’s Labyrinth” but that’s not to say “Mirrormask” isn’t without its sheer strengths.
Stan Lee Presents Mosaic (2006)
“Mosaic” lured me because, well, anything these days that doesn’t look like quasi-anime made just gets a pass with me, and “Mosaic” gets a pass for looking like honest to goodness animation. “Mosaic” is made up to look like a moving comic book. Wherein the recent Marvel cheap-o cash-ins, “Mosaic,” from Stan Lee’s Company “Pow” entertainment, seeks to be unique, while also possessing the same novelty of a comic, fonts and all. But don’t let the animation fool you, it’s not something I’d suggest for anyone under fifteen, basically because watching the villain break a guard’s neck, was something that drew a furrow of the brow. But hey, the writing by Scott Lobdell paired with Anna Paquin’s name really drew me to this fantasy actioner, I must say.
Masters of Horror: Right to Die
I’ll buy that Superman can not be recognized as Clark Kent once he flips his S Curl, I’ll buy that Peter Parker can reveal himself to a crowded train and not be sold out by someone interested in making money, and hell, I’ll even buy that there’s some appeal in MTV, but I admittedly had a hard time buying that our character would trade his utterly gorgeous wife in for a run of the mill redheaded nurse who only sought out to cash in on him. But alas, “Right to Die” is a very good episode in spite of that lapse in logic. Martin Donovan (who you may remember from “Weeds”), is a man who has just witnessed his wife be burned alive after a horrible car accident and now is forced to face the consequences of such an incident. Burned from head toe, and comatose, Cliff struggles to fight off his mother in law who is attempting to keep him from pulling the plug on his wife, and after horrible dreams of her burned body coming to wreak havoc on him, he’s beginning to think his in-laws are not the only people he’ll have to battle.
Mission: Impossible III (2006)
You just have to appreciate Paramount’s willingness to continue the “Mission: Impossible” franchise in the face of lackluster stories, with very good directors who fix the series to their own styles, yet keep the spirit. There was Brian DePalma’s overrated and cerebral original installment, then John Woo’s brainless, nonsensical but fun sequel, and now, as a last ditch effort, we have J.J. Abrams, creator of one of the most popular spy shows of all time, “Alias.” They have the right idea in mind. Spy movie, recruit spy show director. Voila. Instant magic. Instant magic? Not particularly.
Masters of Horror: Screwfly Solution
What the hell is going on here? Did all the directors from season one meet up in a room and decide that they would turn up the heat this time around? Because season two of “Masters of Horror” has been one big punch in the gut, and I’m surprised. Dante, who came at us with my favorite episode “Homecoming,” repeats his one-two punch with “Screwfly Solution” an utterly violent and original picture of the apocalypse. I have a soft spot for films or television that paints the apocalypse or post-apocalypse, and “Screwfly Solution” is a fascinating story about the line between sexual aggression and aggression thinning into a gory result. How does this happen?