Mel Brooks’ horror comedy classic completely and utterly challenged any and all norms and perceptions of formula comedy that I had when I was a kid. It was a black and white movie that was a comedy and though the film bordered on absolutely insane in the comedy meter, the cast in the film played everything with a straight face. Particularly Gene Wilder whose entire performance is deadpan and dramatic in spite of the fact he’s probably the funniest character in the film.
Director Patrick Rea and writer Michelle Davidson offer audiences a complex and deep narrative that only spans a little under ten minutes. In such a short time, director Patrick Rea is able to convey so many emotions by sheer body language alone. He films intricate moments involving human contact and gestures that often times manage to speak waves about these characters without suffering through clunky exposition.
Fear of the unknown is perhaps one of the greatest elements of horror. It’s one of the greatest tools we have in the arena of the genre, but it’s rarely ever used. And when it is, it’s squandered in a sea of over explanation and tedious exposition. It’s rare we’re ever given horror movies these days that rely on what we don’t see and don’t know.
If you want a pure unadulterated ride in to the middle of the eighties, “The Goonies” is an inadvertent trip in to the complete mindset of the decade. Cyndi Lauper, adventure, escapism, work out obsession, coming of age, nostalgia for the sixties, a humongous Steven Spielberg influenced narrative, Corey Feldman, Richard Donner, Jonathan Ke Quan, if it was in the eighties, it’s likely here. That doesn’t act as a caveat, thankfully, as “The Goonies” is a very decade relevant film that still manages to work as an excellent child oriented fantasy adventure in the vein of “The Hardy Boys.”
I think one of the reasons why the DCOM “Phantom of the Megaplex” has now gone on to basic obscurity is that it’s one of the weirder movies the Disney Channel ever produced. It’s not just an ode to the love of movies, but it’s a call back to “The Phantom of the Opera.” Not only does the film draw heavily from the original story, sans the violence and murder, but it actually influences its audience to check out the Lon Chaney masterpiece. “Phantom of the Megaplex” is a busy and often messy horror fantasy, but one that works, mainly because the writers of the film clearly love movies as much as we do.
I wish I had a nanny like Jennifer Stone when I was a kid. Not just because she’s hot, but also because she’s prone to delivering some scary stories for her charges before bed time. “Deadtime Stories” is the latest efforts by Nick (formerly Nickelodeon) to offer fans a horror show. While it’s no competitor for “Are you Afraid of the Dark?” the newest anthology does a good job of delivering “Goosebumps” level scares, and interesting stories. Sticking to the small budget, gone are the narrators of the undead or demonic variety and now most of the stories are told by Stone’s character, a devilish and somewhat enigmatic babysitter.
It’s a remake! It’s a sequel! It’s a remake! It’s a sequel! No, it’s an homage! Who knows what “The Rage: Carrie 2” is. Like most “sequels” in the late nineties and early aughts, I imagine this was originally just called “The Rage,” and the studios decided to plug in a lot of continuity from Brian DePalma’s “Carrie.” A few quick fixes, and voila! We have a sequel to “Carrie” that no one wanted. “Carrie 2” is actually a solid dramatic thriller when all is said and done, the problem is it’s really not necessary. We don’t need to know what happened once Carrie White destroyed her entire student body.