Commissioner Maigret is called upon to elucidate the murder of a young woman found dead in a park, wearing an expensive evening dress that does not seem to fit with her situation.
In the age of COVID there’s a re-emergence of virus horror films (like it or lump it), and “Virus :32” is one of the many that’s unique. It’s unique in that it really wants to be considered a part of the “28 Days Later” canon, even lifting bars from the score track “In the House.” It’s not to say that “Virus :32” is a bad movie. It’s actually a very solid survival horror drama if you’re hungry for a good zombie picture and have nothing else at hand to watch.
Director Ti West has always been a master of building up his films and then diving in to a massive explosion. It can still be seen with his first film “The Roost,” his bang up cult gem “House of the Devil,” and he continues that tradition with “X.” Much of “X” was shrouded in mystery upon its release, and while it’s definitely wearing its obvious influences on its sleeve, make no mistake: everything you see here, everything that unfolds, all of it is definitely from Ti West.
“The Batman” is a sure bet for Warner Bros. Don’t get me wrong, it’s a very good movie, but with their development department scrambling on one single vision for their DCEU, rebooting Batman yet again, just makes sense. It rebuilds confidence (borrowed time) in their brand, and it guarantees moolah in the box office. It’s cynical but now we have three cinematic jokers, two live action Batmans, and a new movie fans are going to spend the next year wondering where it fits in to the timeline.
One thing is for sure, EPIX in America sure does love Stephen King. Even when they’re not airing shows based on his work, they’re offering up shows that feel very much inspired by his work. “From” is a series that thrives on being as mysterious and cryptic as possible. Compared left and right to “Lost,” the series from John Griffith and the Russo Brothers ends that analogy as a series about strangers stuck on a deserted plot of land that they have to survive in, and look for a way out of. Beyond that, a lot of “From” is a harrowing mystery that terrorizes its audience, while never quite explaining what it is unfolding around us.
I’ve been following Jeremiah Kipp’s indie film career for a while now and it was only a matter of time before he managed to explode. “Slapface” is the adaptation of his great 2017 short film that expands on the premise and circumstances involving our main characters. While the movie is primarily a horror film with a folklore bent, it’s also a very stark, grim, and richly developed analyses of grief, loss, toxic masculinity, and the fall out that can stem from psychological abuse. It’s very much in the wheelhouse of “The Babadook” and leaves just as much of a mark when the credits roll.
It was only a matter of time before someone explored the more advanced world of stalking on film. What with the technological advancements, stalking no longer requires following a person and sending letters, now it’s as easy as installing hidden cameras, and using easily affordable technology, all of it at your finger tips; and available at low prices. Director Eric Nicholas begins his film on a rather unsettling note, as our predator Doug, a rather awkward man, walks around the city with his camera in his bag, catching glimpses of women in their most candid.
After Spielberg’s “Jaws” took the world by storm, every studio took it upon themselves to create their own facsimile of the killer shark film. They hoped to cash in on the film’s momentum, and from that a whole sub-genre was created. And from “Alligator” there was the sub-sub-genre of Killer Croc and Alligator movies. For that you can attribute to the classic urban legend of sewers being a virtual haven for massive killer crocodiles, thanks to hapless tourists bringing home gators for pets. Writer John Sayles has no shortage of scenes involving the alligator lurking in the sewers and waiting for victims to enter its domain.