Allegedly Michael Miner’s “Deadly Weapon” was supposed to be a sequel to Charles Band’s notoriously awful cult riot “Laserblast.” But when Empire pictures fell, Band basically turned the sequel in to its own film. Really, “Deadly Weapon” feels so much like a remake of “Laser Blast,” and an unnecessary one at that. Like its predecessor it’s hilariously bad and filled with so much horrible editing and acting, it’s more funny than it is entertaining.
Tag Archives: Romance
Aladdin (1992)
Back in 1992, my family and I went to see “Aladdin” when it premiered in theaters. Many years ago, it was one of the best movie going experiences of my life, simply because as an experience, “Aladdin” succeeds in entertaining. As a movie it’s one of the sleekest and most memorable entries in the animated Disney library thanks to its wonderful voice acting and snappy musical numbers. Before “The Lion King” introduced us to Hakuna Matata, it was hard to think of an ear bug more memorable than “Friend Like Me” as sung by the Genie. Many years passed, “Aladdin” is still one of the more top notch efforts from Disney Animated studios, even if it does manage to show its wrinkles two decades later.
An American Werewolf in London (1981)
“An American Werewolf in London” is almost the perfect horror comedy and romance that never quite relies on either genre to move its story and deliver its horror. That’s pretty shocking considering John Landis was often a director known for comedies. Occasionally dark and almost always adult, Landis was once a man known for rich and iconic comedy films. “Animal House” and “The Kentucky Fried Movie.” Need I say more? With “An American Werewolf in London,” the stark comedy can often incite laughter, but it’s so dark it almost feels like awkward laughter most of the time. It’s just uncomfortable laughter because when there’s a laugh to be had, it’s at the expense of someone or something gruesome. When something is horrific it has a true sense of humanity behind it and there isn’t a cheap play for gross out sequences.
An American Werewolf in Paris (1997)
This movie proves without a doubt that just because you have a snazzy set of computers and artists, doesn’t mean you can replicate good old fashioned special effects. Sometimes the actual material and human actors can be much more effective than dapper computer animation that, even in 1997, looked like cut scenes from a Playstation video game. Of course it’s not like studios ever really learned their lesson after “An American Werewolf in Paris” landed with a thud in 1997. They just tried and tried until they succeeded. Supposedly in development for six years, “An American Werewolf in Paris” feels as if someone had the bright idea to remake the John Landis eighties classic “An American Werewolf in London,” backed out, and then kicked up production again once computer technology advanced. And then somewhere along the line a remake of a classic horror comedy became a stale and brutally underwhelming horror comedy that failed to amount to even an ounce of the charisma and brilliance that the first film did.
Ten Underrated Horror Heroines
Yes, we spent all October objectifying women in many articles concerning women in horror and what we’d do during sexual encounters and the final girls we love to ogle while cheering for. Now in the final Friday of October, we spotlight the strong women. They’re bold, courageous, pushed in to a corner, and battle their way out. They have brains, brawn, instinct, and often times are smarter than they men they’re battling alongside. They display amazing resilience in horrible situations, endure dark corners, sub zero temperatures, and maintain their sanity. They meet a challenge head on and fight to the death. These are ten underrated horror heroines we adore, these are ten underrated horror heroines we’d love to have beside us during confrontations with demons, zombies, vampires, or ghosts.
Tales from the Darkside: The Movie (1990)
So “Tales from the Darkside: The Movie” is based on the television show, but in the movie, “Tales from the Darkside” is actually a book filled with various horror stories. Does that mean the television show is actually a book? Is the narrator at the opening credits the one telling us the various stories? How did the witch in the film get a hold of the book? And is the witch Debbie Harry plays in the film the same one she plays in the episode “The Moth” where she portrays a devious teenage witch outwitting her mother? It’s never quite indicated. At all. I assume the film is attempting to be meta with the wrap around story, but it never quite works. However we do get a slight instance of the theme song to the television series playing during a scene in the opening.
May (2002)
May Dove Canady’s upbringing is eerily very similar to Michael Myers. While there isn’t a hint of abuse or neglect in the opening shots that chronicle life as a child in her family house hold, we get the sense that the somewhat grating goal for perfection is the key to May’s abundant madness and psychosis. When we meet May, she’s a fairly normal and meek child who has been inflicted with a lazy eye that gives her poor sight. Though it’s a small imperfection that can be adjusted over time, her mother spends a majority of the time focusing on the imperfection to notice May is a very beautiful young girl. Though she doesn’t entirely experience unusual cruelty for her small affliction, the abundant idealizing of her mother, as well as the fawning over a china doll that is clearly the manifestation of what her mother originally pictures would be May, causes her to grow in to an isolated and mal adjusted young woman.