It’s always nice to see the beginning of a filmmaker’s career and if “Don’t Play with Ghosts” is any indication, Sydney Hord has a long road ahead of her filled with surprises. “Don’t Play with Ghosts” is a part of a 48 hour film competition with a three and a half minute length, and in that time Hord manages to paint a really spooky picture. It’s a simplistic premise, but one wrought with some interesting twist and turns.
While the rights for “Candyman” are currently tied up, Scream Factory instead offers fans up the chance to watch the brutally boring sequel by Bill Condon. “Farewell to the Flesh” features more of the tragic hooked horror character, who is a combination of Freddy Krueger and Beetlejuice. Once a slave who was lynched for having an affair with a white woman, he emerges for vengeance every time someone mutters his name five times in a mirror.
I’m not sure I understand Charles Band’s obsession with tiny terrors, other than they’re much more cost effective to film. I’m assuming. “Dolls” is a fun precursor to the “Puppet Master” movies that mixes fantasy, comedy, and horror altogether to compose some kind of twisted meta-horror film about a little girl whose daily monsters begin turning in to actual monsters without her realization. Director Stuart Gordon’s horror fantasy moves along at a brisk pacing, making the best out of its minuscule budget, and transforming its house of dolls in to a house of terrors. Continue reading
I don’t think we really needed to know the story of “Annabelle” nor did we need a movie about her. And if we had to have one, wouldn’t it have been better to expand on the events from the prologue of “The Conjuring”? What’s sad is that the first five minutes of “The Conjuring” involving Annabelle is more terrifying than the ninety minute bore that is “Annabelle.” It seems like often times the movie can reach the heights of pure terror if it wants to, but pulls back for some odd reason. Either director John R. Leonetti doesn’t know how to hit those highs that “The Conjuring” did, or just didn’t want to, for the sake of a sequel. “Annabelle” sets up the prologue by staging the first five minutes from “The Conjuring” to let audiences know this is a direct sequel, and spin off, and prequel. It’s all three.
It’s kind of sad that “Blood Wings” is about as good as the series ever got. Surely the first film is good just as it is, but “Blood Wings” is about the only good sequel the movie series ever received, and I’m surprised the studios never sought to deliver higher quality follow-ups. You could technically count this as the final film in the series, and one that doesn’t completely realize the concept or expand on the mythos of the pumpkinhead monster. “Blood Wings” garners a smaller scale and much less logical tale about a dad wreaking havoc on the killers of his child, and focuses more on a witch, more reckless teens, and really awful performances all around.
It’s hard enough to produce a decent anthology horror film, but director Brent Sims composes a trio of horror tales with a fourteen minute window. You wouldn’t think it were possible since a lot of anthology movies get ninety minutes and botch it big time (ahem—“Tales from the Hood”), but director Brent Sims’ horror anthology short isn’t just a success, it’s an impressive horror film altogether. Filled with imagination, excellent plot twists, and incredible special effects, “Grave Shivers” is a dark horror comedy that delights in offering audiences the unexpected.
One thing I never understood about Damien Thorne is his character as a whole. Is Damien pre-programmed to be evil? Did his disciples and handler have to brainwash him to believe his God is the only God? Did Damien believe this stuff? And why does he seem to fully embrace his role as the anti-Christ in the third film when in the second film, he was a young boy struggling with his urges for good and evil? What clicked in him to inspire him to continue his plan for world domination?
And once he dominated the world, what then? Is he the one who rules the world or does he hand the duties over to the dark lord of the underworld? In either case, “The Final Conflict” is the final leg of the “Omen” series, where Damien has finally risen to power. He now runs the Thorne Industries and has no one to defy him. He’s wealthy, and powerful, and now he’s making a play to campaign for ambassador. Over the course of his teens in to his adulthood, the one lone Damien is now a man with an army behind him.
Not only does he have a handler, but a league of believers, many of whom are willing to do Damien’s bidding with his flick of a brow and a smile. Sam Neill is adequate as Damien Thorne, presenting a smarmy and very smug quality to the character. I would have depicted Damien as something of an unassuming man, but Neill is able to salvage his miscasting by making Damien likable. He’s a clean cut young politician with youth on his side, and he begins taking a liking to the son of a journalist who he thinks has promise in the evil business of destroying mankind.
As the followers sight a sacred constellation, Damien realizes the second coming of Christ at hand, and now in order to prevent it, he must murder the first borns of every family in the world. Meanwhile, he persists in dodging the assassins that have made it their mission to murder Damien and end his reign of tyranny. He does this in the most bad ass methods imaginable, first posing as someone, which ends in a confusing murder of an innocent person, and then turning hunting dogs on their master, possessing them in to eating him alive. “The Final Conflict” was not the final conflict as we witnessed with “The Omen IV: The Awakening,” but for a last outing of the original trilogy, it’s a solid last adventure for Damien Thorne and his evil plan to rule the world.