When news broke out Craven was producing a remake (yes, another fucking remake) to his classic “The Hills Have Eyes” I groaned. I’ll admit, I’m not a fan of the original film that’s still branded a classic. I saw it twice and it just didn’t resonate with me. The cannibals looked like cavemen/WWE wrestlers, the acting was horrible, the plot dragged, and I just wasn’t satisfied. While I can and do appreciate its importance in horror (hence the collective groan after the remake news) I just didn’t care for it. I was weary of this remake since about 95 percent of modern horror remakes are terrible (i.e. House of Wax, TCM), but two words instantly turned me in to someone really anxious to watch this. Alexandre Aja.
Tag Archives: Thriller
Harry Potter and the The Goblet of Fire (2005)
Closer then comes the formation of Harry Potter as the wizard, or sorcerer he’s bound to become one day, and closer do we watch the character progress if only slightly to not only accomplishing the art of magic, but also coming closer to his dark side. The question remains is, will he reach his dark side before he masters magic? That’s many of the questions posed during this fourth installment of the Potter series. I didn’t read the book, honestly, and personally I don’t aspire to. “Harry Potter” has always been an overblown facet in modern pop culture to me, especially after reading the bland first book, so I prefer to review the films to their own merit. Bias’ aside, I was interested in seeing the fourth installment especially since Alfonso Cuaron did such a good job with the previous film.
The Halfway House (2004)
Eddie: Who’s my sweet baby bitch?
Cherry Pie: I am.
Eddie: That’s right.
In the mood for a lesbian horror thriller? Well, who isn’t? And “The Halfway House” will surely cure what ails you. It’s a movie that is so awful, it’s actually quite entertaining, and “The Halfway House” rises to occasion in terms of garbage, but throughout the entire run time, I did enjoy some of it. About thirty percent of it, which would account for the generous rating. It’s cheesy and exploitative, but it’s also pretty fun, especially when the “screenwriter” rips lines from other films (in the climax, the heroine spouts “Smile, you son of a bitch” before killing the monster).
King Kong (2005)
Peter Jackson takes “King Kong” a timeless classic from 1933 and remakes it bigger, larger, and louder. And he’s very faithful to the original story (98 percent). Jackson goes back to the roots of the story, and what made it so damn good, and brings it to modern audiences. Though nothing can ever top the original film, and all of its novelty, Jackson’s remake is pretty damn good. What always intrigued me about the Kong story, is that Ann Darrow, whether she knew it or not, was the beginning of the end of King Kong. In the climax, as he falls from the Empire State Building, you have to wonder that perhaps he was better off being alone. As with all noir the female is always the end for the male.
Munich (2005)
A man once said, “If you want peace, prepare for war”, but it’s without a doubt, no one ever retorted with “At what price?” Often times, war is rationalized by those who continue it and those who support it. Collateral Damage, Friendly Fire, and the like are terms used to further downplay the futility of war. I am not a pacifist by any definition of the word. I do not adhere to the mindset of such an ideal, but when it applies to “Munich” and the films ultimate pacifist message, I tend to agree with him and Kushner. “Munich” has been one of the most controversial films of 2005, and in the long run, of all time, and will have you stepping back to re-think not only the 1972 Munich tragedy, but war in general. Spielberg and Kushner through the events of 1972 use that as a template to express their feelings toward the modern world at war. Do the ends justify the means? Does going after terrorists end the war, or does it subject us to even more war?
A History of Violence (2005)
I’m not–a fan of Cronenberg. Yes, I admit it, and no I will not turn in my lifetime membership card, I am a film buff through and through, bitch. As the saying goes, “those who don’t remember the past, are doomed to relive it”. The question is, can we ever leave behind a violent past, or are we doomed to relive it? And does violence in any form ever go away? I was not expecting anything in particular with this film, but I was expecting a bad film. Surprisingly though, this is not a bad film. In fact it’s a great film, and at many times an excellent examination of violence as a concept and as an everyday aspect of our lives. Cronenberg’s direction is on the mark. If you’re expecting an action thriller with gunfights, and fist fights, and sex, well–there’s some of that, but it’s rare, honestly. What you will get though is a thorough, engrossing, and tight explanation on violence, and the cyclical nature of it.
KatieBird *Certifiable Crazy Person (2005)
The road from troubled girl, to certifiable insane psychotic killer is not an easy one, and it’s a declaration Katie Bird can attest to. “Katie Bird” is not particularly a perfect film, but when it hits the mark it’s quite possibly one of the more steadily disturbing horror entries that really did entertain and fascinate me. After her father’s funeral, she and her psychiatrist, lovers and all, have a fight and eventually make up, but Bird then suddenly goes over the edge and ties him up. Through small interludes of torture, Bird finally gives her therapist the brunt of her love for killing and sadomasochism. Many times, a film can basically come off as contrived when exploring what leads to the inevitable birth of a serial killer, and Bird is not a sympathetic character who was pushed in to this.