Halloween III: Season of the Witch
The modern age of sequels, spin-offs, and all other franchise extensions has amplified complaints about how derivative follow-ups can be. As a result, sequels have garnered a bad reputation, and it’s not unearned. Continue Reading →
Halloween Ends
SimilarBasic Instinct (1992), Ocean's Twelve (2004), Pi (1998), Saw (2004), Saw III (2006),
Where do we even begin? Continue Reading →
Everything Everywhere All at Once
SimilarBatman Begins (2005), Kill Bill: Vol. 2 (2004), Zatoichi (2003),
Watch afterThe Whale (2022),
StarringKe Huy Quan,
StudioA24,
Everything Everywhere All at Once is glorious. Continue Reading →
Halloween Kills
Similar28 Days Later (2002), Minority Report (2002), Ocean's Twelve (2004), Saw (2004), The Dark Knight (2008), The Interpreter (2005),
StudioBlumhouse Productions, Miramax,
With the release of The Rise of Skywalker and the upcoming Ghostbusters: Afterlife, the term “fan service” has come to mean going to extremes in order to please fickle audiences of a TV series or film franchise. Though framed as an acknowledgment and appreciation of fan support, it feels forced and phony, an Easter egg hunt where a plot should be. While David Gordon Green and Danny McBride’s 2018 reboot of Halloween was far from a perfect film, they were determined to make it their own, rather than continuing the same interminable, by then thoroughly ridiculous storyline. Its sequel, Halloween Kills, however, feels like whatever Green and McBride were originally trying to do was shoved aside in favor of winks and nods at the “true” fans of the series. The body count is much, much bigger, and almost laughably gory, but if you’re looking for any kind of coherent plot and characters not doing anything but the stupidest things imaginable, look elsewhere. Continue Reading →
Escape from New York
Man, Escape from New York. What a picture. It's one of the standouts of director/co-writer John Carpenter's damn-near-unmatched 1976-1988 run of stupendous filmmaking, a man-on-a-mission film with a driving sense of urgency that still makes time to breathe in its mood and world. Dean Cundey’s widescreen cinematography captures the ruined prison island of New York in deep blacks and dense color and gorgeous widescreen framing. Carpenter and Alan Howarth’s score is cool and moody. The main theme alone is best described as “indelible.”The ensemble is a murderer's row of great actors with fantastic faces: Adrienne Barbeau, Isaac Hayes, Donald Pleasance, Lee Van Cleef, Ernest Borgnine, and the one-and-only Harry Dean Stanton. Each does unforgettable work. Continue Reading →
Borderlands
SimilarHitman (2007), Resident Evil: Apocalypse (2004),
StudioLionsgate,
Samarth Mahajan’s documentary about life on India's borders is engaging, involving, and dense.
Too often, filmmakers think they can make a documentary simply by picking a good subject. But the mark of a good documentary is not the importance or controversy of its subject, but the way that its filmmaker convinces their audience that the subject is worth exploring. Samarth Mahajan’s Borderlands accomplishes just this, and does so by pulling off the difficult task of spinning what could be disjointed or arbitrary subjects into a compelling thread that speaks to the history and dynamics of a region.
Borderlands focuses on the communities of people who live near the different national borders of India. India is currently bordered by seven different countries – Pakistan, Nepal, Bhutan, Myanmar, China, Sri Lanka, and Bangladesh. The history of these borders is vast and dense, consisting of major wars, invasions, imperialist conquest, and political turmoil. Continue Reading →
The Fog
John Carpenter’s tribute to campfire tales, initially a critical flop, is now a gold standard of tightly paced, bone-chilling horror.
I was probably ten or so the first time I heard a genuine, told around a campfire ghost story. As it turned out, I had read the story before, but it sounded more effective being told out loud, with all the appropriate pauses and the comfortable beat of silence before the final jump scare. The story was so simple, told in under ten minutes, and it left a bunch of middle schoolers flinching at every snapped twig and cricket chirp for the rest of the night.
John Carpenter’s The Fog, released forty years ago today, perfectly follows the campfire story structure: setup, slow but steady growing sense of dread and menace, misleading moment of all is well again, and then one last BOO! to ensure that the audience leaves the movie with the worst case of goosebumps they’ve ever had. Co-written with Carpenter’s frequent collaborator Debra Hill, while The Fog isn’t quite as effective as its predecessor Halloween, it shares the earlier film’s tight pacing and a villain (or, in this case, multiple villains) that always seems to be right behind you no matter how fast you run.
The movie actually opens with a campfire story, told by John Houseman, in a tone that’s perhaps more serious than a movie about vengeful leper ghosts deserves, but works to its benefit. The scene was added in by Carpenter in post-production, after he was dissatisfied with his original cut. Houseman essentially explains the entire plot of the movie in less than three minutes, and the fact that The Fog makes valuable use of every frame of its ninety minute run time is a minor miracle. There’s not an extra ounce of fat on it, and it doesn’t need any. Continue Reading →