One thing you can’t accuse Sung Kang’s horror comedy of being is boring. It might not re-invent the wheel in the realm of horror comedies, but it never is actually boring. Sung Kang manages to concoct what is basically a comedy about two best friends tested to their limits when one of the friends is wholly convinced that she might turn in to a werewolf very soon. Along the way there are so many hilarious incidents as well as events that seem to indicate director Kang was intent on throwing everything in their movie but the kitchen sink in its ninety minute run time.
I think when it’s time for distribution that audiences (especially long time fans) might just connect with what director Larry Fessenden puts down here. As for me, it lost me after the blood soaked prologue. Like most film outputs from Fessenden, “Blackout” suffers from a lot of sub-plots that are either left dangling or abruptly closed, all while never quite deciding on a tone. Is “Blackout” a horror drama, just a drama, or a drama comedy that happens to have a werewolf?
The review I did for RISE OF SKYWALKER was a bit serious and gloomy. So I’m going to lighten things up a bit and talk about something fun this time. Today’s review is for a movie called DEADTIME STORIES, a horror anthology from 1986 that retells twisted versions of old fairy tales. Well, kinda. They do Little Red Riding Hood, and they do Goldilocks and The Three Bears, but the first story about witches isn’t really based on anything specific. That’s okay though, there’s enough nudity and gore in all three of these stories to make up for any disappointment that we’re not going to be getting a story about Humpty Dumpty as a serial killer or something. The film stars Scott Valentine as Peter, Nicole Picard as Rachel, Matt Mitler as Willie, Cathryn de Prume as Goldi Lox, and Melissa Leo as Judith “MaMa” Baer. It was directed by Jeffrey Delman. It was written by Delman, and J. Edward Kiernan, and Charles F. Shelton.
A young singer who has hit the jackpot with her first album feels the pressure of getting that second album out strong. As she prepares to work on this with a new producer, she starts having hallucinations like she did in the past and doesn’t really want to be fully medicated. As things evolve, these hallucinations are revealed to be much more than.
There’s a ghoul in school! And “Werewolf in a Girls’ Dormitory” is one of the weirdest and darkest werewolf movies I’ve ever seen. It’s tough to believe a movie from the early sixties is filled with such dread, violence, and sexual implications that becomes the backdrop for the narrative. Despite being a werewolf movie, Paolo Heusch’s movie carries with it a lot of giallo vibes, focusing on a mostly obscured villain that stalks and strangles their victims. Although there is the stalk and chase of the sub-genre, Heusch relies on a whodunit mystery that feels much in the vein of Argento.
I admittedly have a long relationship with “Silver Bullet” as it’s a bonafide childhood favorite horror movie that I’ve seen at least a thousand times. Years later, it’s managed to hold up very well, and that’s thanks to the fact that it embodies what often can break or make a Stephen King tale. There’s a strong sense of folklore and urban legend mythology behind the tale of “Silver Bullet” and King manages to combine so much from a murder mystery, a whodunit, a family movie, and a creepy werewolf picture in to a horror gem that earns its place in the pantheon of great King adaptations.
John Landis’ werewolf thriller is a hard film to pigeon hole. It’s not exactly a horror movie, not exactly a comedy, and not entirely a drama. It is in fact a unique beast and amalgam of various genres that’s managed to remain absolutely timeless since its initial release. The fact that Landis breaks so many of the tropes of the werewolf film while also embracing the classic mythos of the monster is what makes “An American Werewolf in London” such a masterpiece.