Tag Archives: Survival

The Final Girls (2015)

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Todd Strauss-Schulson‘s “The Final Girls” is probably the best coming of age film of the year. Hiding beneath the veneer of a slasher horror comedy beats a touching and heartbreaking dramedy about letting go, and accepting that sometimes nature has to take its course. Taissa Farmiga is wonderful as young Max, the daughter of Amanda, a once popular actress who has unfortunately been typecast for her role as Nancy in a famous slasher movie named “Camp Bloodbath.” Max keeps the hope in her mom alive, despite Amanda completely losing faith in herself, and in the hope of becoming a popular actress once again. Tragically the pair gets in to a horrible car crash killing Amanda and leaving Max orphaned. Three years later, Max is still clinging to memories, and is convinced by friend Duncan to attend a double screening of mom Amanda’s “Camp Bloodbath” movies, in hopes of indulging hardcore fans of the movie series.

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The Green Inferno (2015)

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You’d assume ten years in to one’s career that a filmmaker would begin to mature as a storyteller. But here we are in 2015, and Eli Roth is still telling the same story. A bunch of inept Americans go in to a foreign country and get brutally massacred. It’s the same xenophobic, sophomoric, silly slop that Roth’s been feeding audiences since “Hostel,” and he doesn’t seem intent on changing the formula any time soon. Roth at heart is still a fan boy stealing from his favorite horror movies, while directing tonally uneven and ridiculous schlock with the intent to shock first and foremost. Really, the intent is to shock and nothing else.

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The Final Girls (2015)

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After her mother’s death, Max has difficulty re-adjusting to life without her. As she grieves, she’s invited to a screening of 80s slasher Camp Bloodbath in which her mother starred. Against what might be her better judgment, she decides to go with her friends. Once there, an incident pushes the group into the film itself, Last Action Hero style, where they face off with its masked baddie Billy Murphy and try to save themselves, the cast, and Max’s mother.

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Gravy (2015) [Blu-Ray]

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I really wanted to love “Gravy.” In fact during some rare moments it manages to win me over, especially with the way it uses its array of character actors to great effect. “Gravy” sadly falls under the weight of its own self satisfaction, eliciting a ton of flat improv, lame ad libbing, unresolved sub-plots, and a climax that goes nowhere very fast. We follow our heroine for ninety minutes all for absolutely zero pay off. Did Roday and co. run out of money or did they run out of ideas?

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Celebrating Neil Marshall’s “The Descent”

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I don’t consider it a far off notion to call Neil Marshall this generation’s John Carpenter. The man has delivered his own twisted and original visions of various genres that have ended in some of the most riveting movie experiences I’ve ever had. I first discovered Marshall with “Dog Soldiers,” which successfully combines the werewolf sub-genre with a war movie, resulting in a quite obvious homage to “Assault on Precinct 13.” I’m also a humongous fan of his post apocalyptic tale “Doomsday,” which is his loving ode to the post apocalypse sub-genre and zeroing in on a heroine that’s basically Snake Plissken, even missing one eye, to boot.

Marshall at his best is a raw and relentlessly brilliant filmmaker who can muster up some unique emotions and arouse hot debates among the horror and science fiction community. Marshall’s masterpiece is his odd form of “The Thing,” in where he casts a predominantly female cast, all of whom are confined to one location, forced to fight off delirium, and mistrust, and becoming victim to their landscape, which is harrowing and dangerous no matter where one turns.

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Waterborne (2014)

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This is how the world ends. Not with a bang, but a zombie kangaroo. Ryan Coonan’s short horror film is the prologue of a bonafide zombie apocalypse (and feature film currently in development), all thanks to a contaminated water hole in the outback. Set in Australia, a local park ranger proceeds to take samples from a water hole, despite the resistance of a local who insists that he’s creating an unnecessary hysteria with his testing.

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Slashers (2001)

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Maurice Devereaux’s “Slashers” is that satire that is right up there with “Dawn of the Dead” and “Battle Royale” in how is explores an element of our society that warrants a poking. “Slashers” is an often absurd commentary on the extremes our society is willing to go for entertainment, and how television continues evolving to new extremes to whet the appetites of a society gradually warped by violence. First and foremost, “Slashers” is a horror slasher comedy, but it has a good time mocking the reality show trend of the early aughts. “Slashers” is set in a universe where Japan has produced its highest rated game show of all time. Said game show is called “Slashers” where a group of people volunteer to run through an obstacle course and be hunted down by knife wielding maniacs that brutally murder them on air.

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