As a man who had absolutely no faith in the remake of William Lustig’s grindhouse classic, it’s quite telling that the opening of the film inspired a gasp out of me, followed by a “Holy crap.” Director Franck Khalfoun also wisely sidesteps the grit of New York (New York now no longer the wasteland is was in the eighties) entirely in favor of the more menacing and vast Los Angeles, all the while injecting an artistic gloss that makes the madness seem more surreal. “Maniac” is a gruesome and disturbing re-working of the classic horror film, that pays respect to the original, while also challenging its gore and violence, in the process. Elijah Wood’s performance is surprisingly unsettling and occasionally horrifying, since his character Frank Zito is a victim of his own madness.
Tag Archives: Thriller
RoboCop (2014)
Truthfully, how much further can Hollywood damage Robocop? I think the hoopla surrounding the Robocop remake was very over the top, if only because Hollywood neutered Robocop years ago. “Robocop” was about a man brutally shot to death whose corpse was resurrected in a metallic casing that allowed him to shoot rapists in the nuts. By the time “Robocop 3” ended, he was a mascot with a cartoon, appearing on lunch boxes, and a PG-13 television series. So truth be told, José Padilha‘s remake doesn’t damage the character any further. The best thing I can say about it is that it’s better than “Robocop 3.”
Haunter (2014) [Blu-Ray]
Director Vincenzo Natali’s “Haunter” is a major departure from his 2010 hyper sexual science fiction monster movie “Splice.” It’s in many ways much more tame, and occasionally can feel like a PG-13 outing. It’s still a pretty grim and occasionally creepy horror film, but it can also be an interesting fantasy film that works in twisting the conventions of the ghost tale to, for once, make the victim of the movie monster the heroine.
The Walking Dead Season 4 Episode 9: After
As much as I adore “The Walking Dead,” it’s always so much better when it focuses on silence and quiet dread. Scenes of Carl walking through a deserted suburb, or Michonne walking camouflaged within a herd are some of the most uneasy moments of the new episode. Much to my surprise, the series has been veering much closer to the comic books than it has been for the last four years, and it’s borrowed some of the best and most compelling story lines involving the aftermath of the prison invasion. There are a lot of callbacks to the first season. There’s a mention of Shane teaching Carl to tie knots, there’s a top down zoom in of a military tank like the final scene of the pilot, and now Rick and Carl have holed up in a house together exactly like Morgan and Duane did in the pilot.
Nurse 3D (2013)
If there’s anything really good I can say about “Nurse 3D” is that you certainly won’t be bored. Will you be entertained? Well, that’s debatable, but bored? Likely not. I certainly wasn’t bored through “Nurse 3D.” Granted, it’s one of those so bad it’s good exploitation horror movies, but it’s definitely a good time, and kept me watching from minute one. It also has its fair share of gorgeous women including Paz De La Huerta, and Katrina Bowden. Broken down objectively, director Douglas Aarniokoski’s “Nurse 3D” is simply just another obsession horror film, but takes the formula and completely drops it on its head. Director Douglas Aarniokoski films the story in a pulpy glossy lens, that makes the film feel like a neo-noir horror comedy very detracted from reality.
Rudyard Kipling’s Mark of the Beast (2012)
It’s a testament to the talents of directors Jon Gorman and Thomas Edward Seymour that they can transplant a Rudyard Kipling horror tale in to contemporary America, and still derive a creep or two. Though “Mark of the Beast” seems like another cabin in the woods horror tale on the surface, deep down it strives to break any conventions, and brings about a unique disgusting monster among a small group of friends.
Gravity (2013)
Many audiences have compared Alfonso Cuaron’s “Gravity” to the indie horror film “Open Water.” And in many ways that comparison is perfectly apt. Much in the way the aforementioned film sought out to provide audiences with a feeling of aimlessness, sea sickness, and a futile fight for survival, “Gravity” strips away any feeling of equilibrium or safety from the very second it begins. The safety being, of course, gravity. The characters within the scope of the film are engaging in a space walk and have nothing but a tether to keep them tied to their ship. When that option is gone, there’s nothing we can do but submit to the void of space and let fate take hold.



