Tag Archives: Survival

I.S.S. (2024)

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Exclusively in theaters January 19th.

It’s the classic tale of humanity. When you dig deep and throw away all semblance of civility, we’re all savages that will do anything to survive. “I.S.S.” is a mean but thought provoking science fiction thriller that teeters on the edge of horror quite often. It’s that classic post apocalyptic tale about man kind resorting to desperate measures to stay alive; by the end of Gabriela Cowperthwaite’s film, the whole setting of science and technology are merely props meant to spread a cloak of the nastiness that humans are capable of. “I.S.S.” is one in a trend of post apocalyptic movies that don’t really fetishize the idea of the end of the world, but depict it as a waking nightmare.

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65 (2023)

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It’s such a shame that audiences just didn’t take to “65” because I had a blast from the minute one. Scott Beck and Bryan Woods’ science fiction survival film is a mix of “Enemy Mine” and “Aliens” to where two people with vastly different circumstances have to rely on one another. Adam Driver is the driving force that really propels “65” in to admirable excitement and some genuinely interesting action set pieces. While I wouldn’t have minded more dinosaurs, “65” gets its point across by embracing its inherently pulpy science fiction roots through and through.

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There’s Something In The Barn (2023)

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One of the aspects that hinders Magnus Marten’s “There’s Something in the Barn” from being a real home run of a movie is that it never quite decides what it wants to be. Sometimes it’s a horror movie, sometimes it is fantasy, sometimes it’s just downright comedy, and it builds up this intricate universe with not a lot of explanation or extrapolation. “There’s Something in the Barn” could be good. It could be “Krampus” good, but it leans so much toward this fish out of water comedy that it loses sight of the whole premise involving killer elves, and this weird pact that is never fully explored or fleshed out.

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Meg 2: The Trench (2023) [Blu-Ray/Digital]

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I liked “The Meg” enough to consider it a fun bit of James Cameron-lite entertainment, but I wasn’t exactly clamoring for a sequel. With “The Meg 2,” director Ben Wheatley leans heavily in to more unique elements allowing Jason Statham to be more physically active this time around, while also embracing the Asian influence. You just know Statham requested at least one action sequence of him fighting bad guys, hence the re-introduction of Jonas Taylor. Taylor is still a brainy scientist, but he’s also an ecological activist who skirts the law by breaking on to ships and stealing information from criminals. While “The Meg” was basically “The Abyss” meets “Deep Blue Sea,” this time around director Ben Wheatley opts more for “Jurassic World” meets “The Deep.”

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Margaux (2022)

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It is unbelievable how ridiculous “Margaux” is. When you approach a movie about a technologically advanced house that decides to off the residents, you can expect some level of absurdity but Steven C. Miller really goes for the throat, here. “Margaux” watches like a feature length approach of “The Ultrahouse 3000” sketch from “The Simpsons”; except it’s not as funny and ten times as idiotic. At least “The Ultrahouse 3000” was a satire and dark comedy, but “Margaux” plays everything deadpan. Director Miller plays so much of what unfolds with such a straight face, you have to eventually wonder if he’s just jerking the audience around.

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End Of The Line (2007)

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I’m frankly shocked that I’ve never seen or even heard of Maurice Devereaux’s “End of the Line” until this year. I typically have my ears perked to new horror titles, and “End of the Line” slipped right by me. I don’t know if I’d call it a masterpiece, but it sure is a damn good siege and survival horror movie in the tradition of “Assault on Precinct 13” and or “The Void.” It’s bleak, it’s dark, it’s gory and it has a climax that will likely keep the audience debating for days.

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Run, Sweetheart, Run (2020)

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Subtlety is not one of Shana Feste’s strong suits and that’s probably why I loved “Run Sweet heart Run.” It’s not subtle at all. It, in fact, clubs us over the head with its message about the dangers of being a woman in modern society. It’s a horror movie in every sense of the word that takes every probable situation that a woman can find herself in, and then amplifies it with a villain that is absolutely more human than human. It’s so blatant in fact with its message about the predatory society women are stuck in, that director Feste even breaks the fourth wall on multiple occasions.

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