After the disastrous and god awful “The Tribe,” which was just a remake of the original film, “Thirst” takes every chance to link to the original film convincing audiences that it really is an honest to goodness sequel and not just a wannabe of the “Lost Boys” variety. In its essence though it’s still just nostalgiasploitation, as it takes every precaution to connect to the original movie trying to create a fluid sense of continuity. We hear the classic theme song played in the opening, there’s a re-make of the vampire train track diving scene in the original, Edgar has flashbacks (i.e. clips) of his fighting days with Sam and Alan, Edgar and his brother take the time to explain to one another what happened to the rest of the characters (Corey Haim who died before the film, is told to have suffered a slight case of vampirism and staking), and Alan re-appears as a supporting character now in vampiric form.
Tag Archives: Suspense
Psycho Shark (2009)
At only a little over an hour long, “Psycho Shark” (or as it’s being called in some circles “Jaws in Japan”) is probably one of the zaniest most deliriously bad movies I’ve ever come across mainly for its wacky directing style. Not much in this movie makes sense and director Hijiri John is such a fan of holding takes, that some shots are awkward. Any competent director will cringe at his knack for shooting people only below the waist and at one point holds a shot in the sand for over a minute after his actresses have left the frame. But take my advice, wait a while, be patient because I guarantee you by the second half… absolutely nothing will have happened. Don’t get me wrong, I love movies about frolicking Japanese girls, but if it’s a horror movie only a little bit over an hour, then you have to have some sense of forward progression in plot and this has none of it.
Halloweentown II: Kalabar's Revenge (2001)
While 1998’s “Halloweentown” was a very cute and entertaining little Halloween movie, the sequel “Kalabar’s Revenge” is much darker and slightly more adult in tone and atmosphere this time around. What’s interesting is you can sense the seeds for “The Witches of Waverly Place” within this sequel, and it’s not a far off prospect that what with Kimberly J. Brown getting older with each movie, Disney wanted to pass the wand over with a new franchise about magic and wizards.
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Much like Tim Burton’s most recent films, “Sweeney Todd” looks brilliant, but beyond that you’d be hard pressed to find any material here worth taking home with you. Like Burton’s previous films, there’s not much beyond the gorgeous coating of colors and tones, it’s all hollow inside filled with one-dimensional characterization and actors so out of their element it’s astounding. While Depp is gritty as Sweeney Todd he can’t carry a single tune to save his life, so Burton and co. rely on him talking as he sings to mask the fact that he can’t truly vocalize. The same can be said for Helena Bonham Carter who is just average as a singer and nonetheless very forgettable as a character.
Laid to Rest (2009)
If you’re in the mood to watch a He-Man villain chase three buffoonish horror characters around deserted locales, eternal night, and a dull as day old bread funeral home, armed with a camera that seemingly never runs out of tape or battery power, then step right up to “Laid to Rest.” I can’t believe I waited anxiously for my chance to see this movie and wanted to welcome the new horror character to the slasher fold while enjoying the creative hook all to be welcomed with nothing but endless bickering among characters, a killer who doesn’t do much of anything unless the plot conveniently calls for some scares to keep audiences awake, and fifteen minutes involving three people trying to find the password to a cell phone to call police.
A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985)
“He’s inside me and he wants to take me again!”
Ever since the remake of “A Nightmare on Elm Street” rather than looking back at the original film, many movie buffs around the web have been examining the infamous follow-up to Wes Craven’s sequel entitled “Freddy’s Revenge.” And after seeing it in its entirety for the first time ever, I’ll just say what everyone has examined from the get go: “Freddy’s Revenge” is one big metaphor for repressed homosexuality and its main hero’s confrontation with his demonizing and acceptance of his true sexuality.
A Nightmare on Elm Street (1984)
“A Nightmare on Elm Street” remains Wes Craven’s master opus, a film that is his most creative and most visually appealing. There aren’t many horror films that dabble in the iconology and symbolism of dreams and end up being truly horrifying, but Wes Craven’s film continues to be something of a crowd pleaser to this day. While it hasn’t aged too well since its initial release (which is the case with all of Craven’s films, I’ve found), it remains one of the most influential films of all time considering its primary character is a dream demon who plays more of a supporting role than taking center stage.