Burton out. Keaton out. Score out. And apparently, Bruce Wayne, out. “Batman Forever” is where the series started to eventually fall off the fails and Joel Schumacher’s approach toward these movies are completely different and absolutely radical from what Burton originally envisioned. Burton depicted Gotham as a sprawling endless canyon of darkness and shadows while Batman was mostly polarized and closed off outcast from the world. In Schumacher’s eyes, Gotham is now a bright and neon wonderland and Schumacher’s handling of Batman and many other key characters of the mythos make “Batman Forever” in to a veritable gay burlesque show.
The third entry in the “Puppet Master” series is by far my favorite. It’s my strongest memory of Full Moon in the nineties, and it made me a Full Moon fan boy for life. Back in the mid-eighties to late nineties, Full Moon was a bold studio. While their titles were hit or miss, even when they missed they were still very courageous in delivering some truly off the wall and creative genre pictures. “Toulon’s Revenge” is my favorite of the “Puppet Master” series and one I truly love to watch again and again.
Flying Piranhas! Flying fucking piranhas! How does one mess up a film about flying piranhas?! I would love to view “Piranha II” as a film experience that’s so bad it’s good, but in reality it’s so bad that it’s actually just bad. It’s no wonder James Cameron tries to pretend he had nothing to do with this film and disowns it like a stepchild. It’s a bad movie and one that poorly takes off from the concept the 1978 film laid down. It’s a shame that a movie that completely reworks the concept of killer piranhas in to something even cheesier basically doesn’t have a clue on how to handle the creatures.
Admittedly up until this year I hadn’t actually seen Joe Dante’s “Piranha” before. And for folks who still haven’t seen it to this day in spite of its apparent cult status, Dante’s horror picture might be a little jarring. Tonally “Piranha” is unusual and quite surreal. The first half of the film is almost like a B dark comedy featuring drawn out bouts of exposition and a small stop motion bipedal fish walking around a secret lab for some inexplicable reason. The next half then suddenly becomes a stern straight faced horror film with the atmosphere amped up to eleven. It’s such an oddity on film that I couldn’t help but enjoy it from start to finish.
Don’t be fooled by the hullabaloo, “Fright Night” 2011 is a mess. And not just a mess but a pretty crummy remake of a movie that is deserving of its classic status. As a remake it switches elements up plot wise and distorts much of the themes of the original film’s narrative, but at the end of the day it’s all just so horribly put together that it’s all just so poorly conceived and eventually becomes incredibly monotonous. Like most modern remakes of classic horror films, this completely misses the point of the original film. But then that’s the point, many will argue. The point of the film is that it misses the point of the original film.