Okay, who’s ready to take another trip into the Marvel Cinematic Universe (like I have to ask)? Whoa there true believer, hold up, this isn’t a review of BLACK PANTHER: WAKANDA FOREVER. That’s still four or five weeks away. No, consider this an appetizer, a tasty ‘nosh if you will since it’s not quite a feature and it’s too long to really be considered a “short subject’ at a brisk 52 minutes. Oh, and it’s not coming to your multiplex as it will be streaming into your home. This is being called a “Marvel Studios Special Presentation”. I’ll agree with the second word as it explores an “outer region” of the MCU, though it’s not set on one of the alternate dimensions that we saw bits of in Doctor’s Strange’s last adventure. You see this harkens back to a time at Marvel Comics when the self-censoring group the Comic Code Authority loosened some of its rules and allowed monsters (in the classic style, the CCC insisted) to roam once more. And close to the start of this era, now fifty years ago, we met the tragic hero who became a WEREWOLF BY NIGHT.
Hey Marvel monsters, here’s Jack Russell’s first appearance as drawn by the late very great Neal Adams
And it is a dark and stormy (well, windy) night as a group gathers at the country estate of the famed monster hunter the late Ulysses Bloodstone. His widow Verusa (Harriet Sansom Harris) has assembled a group of notorious monster hunters including an unarmed (the rest have their devices) Jack Russell (Gael Garcia Bernal). Oh, and Verusa’s stepdaughter Elsa Bloodstone (Laura Donnelly) has reluctantly returned. But this is no ordinary wake or memorial. Verusa tells them that the glowing red gem that aided Ulysses, the “Bloodstone” will be awarded, per his will, to the victor of a contest. The coveted jewel will be attached to a captured monster and whoever slays the beast will own it. And if the hunters start hunting each other, well… it’s allowed. A roar from the creature sends the group into a maze-like structure outside the dining hall. As if the evening wasn’t already fraught with deadly danger, one of the hunters has a deadly secret that may be more horrific than anything that blood-red ruby harbors. Who will win and possibly survive this night of fright?
Bernal utilizes the full force of his brooding stare as the haunted (those dark eyes) Jack, Although many of the hunters tower over him, he projects an inner strength and ferocity that commands our attention. And surprisingly, he lets his guard down and shares his affable humor when dealing with an old pal (I’m not saying). Donnelly is another smoldering beauty who will not hide her contempt for the family legacy but will risk it all to gain what she believes is rightfully hers (that gem). And most entertaining is the always compelling (really, she should’ve gotten a Supporting Actress Oscar nom for LICORICE PIZZA) Harris who is a raging, venom-spitting queen of this castle (and she’ll make sure you won’t forget it) as the most wicked widow with a most deadly sting.
And the big surprise Oscar-winning talent behind the camera is none other than master film score composer Michael Giacchino (he took the gold guy for UP). He has directed a couple of shorts ( I highly recommend the animated jewel from “Star Trek: Short Treks”, “Ephraim and Dot”), but here he has a real flair for telling a longer story, so let’s hope a full-fledged feature (over an hour) is in the works. Of course, he also offers a superb score with a thriller riff on the Marvel Studios theme, which dissolves into a nifty woodcut illo of Earth’s mightiest heroes. Actually, the whole film looks fabulous in beautiful black and white, eliciting comparisons to those classic Universal monsters of the Golden Age, although the tone may be closer to Britain’s Hammer color horror romps, with even a nod to one of their rivals Amicus Studios. They did a “who’s the lycanthrope” chiller in 1974 called THE BEAST MUST DIE, which in turn was a riff on all those “reading of the will in a spooky house” late show staples. Now although the “black cat’s been out of the bag”, I will only mention that I was delighted by the appearance of another comics icon of that era. So, how about a follow-up “monster buddies” theatrical? Or another entry from the scary side streets of the MCU (I’ll “scream” for “The Tomb of Dracula” or “The Monster of Frankenstein”. We’ll be very lucky if they’re as creepy and as much fun as a visit from the WEREWOLF BY NIGHT. It’s a real howl!
3.5 Out of 4
WEREWOLF BY NIGHT screams…er…streams exclusively on Disney+ beginning on October 7, 2022
Dracula (Brian Hull) with Mavis (Selena Gomez) in Columbia Pictures and Sony Pictures Animation’s HOTEL TRANSYLVANIA: TRANSFORMANIA.
So, we’re barely two weeks into the new year and you’re ready for a quick getaway? Well, we’ve got the perfect spot, the place you visited three times before. Remember you had lots of fun because it was filled with lots of familiar faces (and voices)? Yes, it’s the place where all the coolest animated monsters go to chill out after being chased by those pesky villagers with pitchforks. Now, the route to this little hot spot is a tad different this time, but the ole’ gruesome gang has a goofy new adventure ready to be enjoyed in HOTEL TRANSYLVANIA: TRANSFORMANIA (okay, might not be a word, but go with it).
And it just so happens that there’s a big anniversary celebration going on at that familiar “vacay” spot. Plus, the whole monster gang is there to toast Drac (voice of Brian Hull) and his “fair lady” Ericka (Kathryn Hahn), Unfortunately, daughter Mavis (Selena Gomez) has left the event in the hands of her clumsy human hubby Jonathan (Andy Samberg). In a lull in the chaos Drac and Ericka discuss his retiring from managing the place and handing it over to Mavis, who overhears this and passes the info on to Jonathan. Unable to control his excitement, he blurts out his thanks to Drac, who panics and tells a tiny “white lie”: he can only give the place to a monster, not a human. A distraught Jonathan runs off to Ericka’s papa, Dr. Van Helsing (Jim Gaffigan), who actually has a solution. His ruby-powered scepter can shoot out a “Monsterfication Ray” that turns humans into monsters, and vice-versa. With one well-aimed blast, Jonathan becomes a massive lumbering dragon. He then meets with a horrified Drac, who grabs the device, but instead of “normalizing ” his son-in-law. he and many of his pals become (gasp) human beings (well Blobby becomes a plate of lime gelatin dessert). Oh-oh, now the ruby’s run out of juice, and the only replacements are deep in the jungles of South America. It’s then a race against the clock (Jonathan is becoming more, well, monstrous to the “point of no return”) to find a new gem, zap everybody, get back to their ole horrific selves.
So, the different route I mentioned earlier is streaming, not in movie theatres as with the previous three entries in the franchise. Oh, and there’s a big vocal cast change in that Adam Sandler’s not speaking for Drac (ditto with Kevin James as Frankie), not that the wee ones will notice as Hull gives the same bouncy Bela-like lilt to his line (same for Brad Abrell as big bolted Frankie). Plus the folks at the helm have changed. Yes, it’s an “s” since artists Derek Dryman and Jennifer Kluska have been handed the reins from Gendy Tartakovsky, who did co-write the screenplay with Amos Vernon and Nunzio Randazzo. To be honest I couldn’t tell the difference from the now ten-year-old original. And yes I skipped two, three, and a stand-alone short, but I’ve always said that a flick should work on its own, as though you’re entering the series “fresh”. Sure the vocal performances are still strong especially Samberg’s big excited doofus “normal” and Gaffingan’s cranky riff on all the late-shot horror scholars as Van Helsing, though Gomez and Hahn are woefully underused. The script tries to strike a balance between the quest of Drac and Jonathan intercut with the monster gang trying to cope with their new human forms. Frankly, the Hotel hubbub has little energy, as the same gags are reused (Frank’s now a vain “poser”, werewolf Wayne can’t cope with his litter of pups, much as with the piglets in SING 2, and the now visible Griffin can’t cover his “modesty”). Luckily the colorful designs and backdrops really pop (the jungle settings are so vibrant), and the characters are “rubbery” without losing their “weight”, though the constant frantic movements can get exhausting. It all comes down to your affection for the franchise, so if you liked them you’ll probably enjoy this. But for those “newbies”, it may feel like another “inter-changeable” celeb-voice-driven CGI fluff that won’t entice you to check in again, despite the capable artisans behind HOTEL TRANSYLVANIA: TRANSFORMANIA.
2 Out of 4
HOTEL TRANSYLVANIA: TRANSFORMANIA streams exclusively on Amazon Prime Video beginning on Friday, January 14, 2022
Scary films and monster movies are not only meant for the month of October, and this summer’s selection is proof – IT, ANNABELLE: CREATION, IT COMES AT NIGHT and THE MUMMY.
The evolution of creature technology and the fundamental role technology have played a huge part in shaping monster movies.
From the evolution of creature technology beginning with KING KONG (1933), BRIDE OF FRANKENSTEIN (1935), CREATURE FROM THE BLACK LAGOON (1954), HORROR OF DRACULA (1958), ONE MILLION YEARS B.C. (1966), PLANET OF THE APES (1968), THE EXORCIST (1973), AN AMERICAN WEREWOLF IN LONDON (1981) and ALIENS (1986) through the digital age of JURASSIC PARK (1993), ZATHURA: A SPACE ADVENTURE (2005) and KING KONG (2005), audiences love the monsters that grace the silver screen.
In honor of Universal’s THE MUMMY, opening in theaters this Friday June 9th, we decided to look back at one of our lists of those creepy, loveable characters that fill our dreams and create those nightmares during that 3am block when every creak in the house can be heard.
By Travis Keune
I grew up watching Godzilla, the Universal Monsters, the Harryhausen creations and a whole slew of b-movie creations. I have spent hours at a time, and still could, staring wide-eyed into the television at these creatures of the imagination. Those were the days, but these days we have a different standard of what’s cool and scary in the monster world. Here is my list of the top ten movie monsters, from 1980 to the present.
The Thing (1982) was director John Carpenter’s remake of the 1951 classic The Thing from Another World. While definitely falling comfortably into the scarce category of superior remakes, the fact is that this movie was an incredible horror thrill-ride. Kurt Russell plays MacReady, a researcher leading a group of scientists on an Antarctic expedition, when they are confronted by a mysterious alien presence that can shift its shape to that of who or what it just killed. The search is on to discover who is really the alien before they’re all dead. The Thing is full of nail-biting jump-outta your seat suspense, has a well-structured plot and the special effects are convincingly scary as hell. I would even go so far as to say the special effects were ground-breaking for their time.
Hellraiser (1987) was written and directed by Clive Barker, based on his own novel. Hellraiser introduced audiences to a new type of monsters. The story centers on a man and his wife who move into an old house, but soon discover the house holds an evil. This evil being turns out to be the woman’s former lover who has lost his earthly form to a group of torturous demons. Hellraiser brings a new style of demonic terror to the screen in the form of Pinhead and his masochistic Cenobites. The film would spawn a hugely popular franchise with several sequels, each of them introducing new Cenobites and altogether new and more gruesome ways to torture their victims.
Wes Craven’s A Nightmare on Elm Street (1984) created one of the most fun and original movie monsters of all-time in Freddy Krueger. The story introduces the character after having been killed by the small town’s residents for being a child killer. Freddy Krueger, played by Robert Englund, returns in the town’s teens dreams to terrify and kill them one by one. Krueger turns his reign of terror on the town’s teens into a vivid, creative and often humorous carnival of absurdity while still maintaining its frightening nature. The film’s massive success would spawn a franchise with eight sequels and a television series. Englund would return to portray his trademark character in each and every sequel, including the television series.
An American Werewolf in London (1981) was directed by John Landis. Considered by most fans of the genre to be the greatest werewolf movie ever made [I agree], Landis perfectly combined shocking horror, dark comedy and some truly awesome special effects to create a literal horror masterpiece. The story follows two American tourists who are backpacking through England when they’re attacked by a werewolf. One of the two tourists escapes, but his friend Jack, played by Griffin Dunne, does not and is brutally mauled and killed … sort of. His friend Jack returns in the movie as an undead entity, taunting his living friend and warning him of what has and will happen. The movie is lots of fun and the creature effects, especially during the transformation from human to werewolf, were revolutionary in design.
Ridley Scott’s Alien (1979) introduced the audience to the concept of these nomadic alien killing machines to audiences world-wide. However, Scott’s initial film was much more of a psychological horror film, whereas the concept of the alien threat and danger it presented was much more the antagonist than that of the alien itself. It wasn’t until James Cameron’s Aliens (1986) that H.R. Giger’s legendary alien design took hold with movie audiences as the popular movie monster we know it to be. Predator (1987) actually would not have made the top ten, but I paired it with Aliens due to its connected history and fan-base. While the predators are very cool, I never thought of them as scary monsters.
Ringu / The Ring & The Ring (2002), referring to the American remake by Gore Verbinski, may have you wondering why it made my top ten list. The truth is, I actually enjoyed both the original Japanese film Ringu (1998) and the American version. The Korean remake, The Ring Virus (1999) wasn’t bad, but it didn’t do anything new for me. The reason I’ve included The Ring in my top ten is due to its influence on the genre in America.
Since its success, we’ve been inundated with Hollywood remakes of Japanese and Korean horror films, which are usually far creepier than their American counterparts. Daveigh Chase was great as Samara Morgan, a young girl who returns as an evil spirit through the video tape. I only hope I never have a daughter capable of being that freakin’ scary, even as an actress.
Director Danny Boyle made waves with 28 Days Later (2002), a wholly new take on the zombie genre that bucks the boat on the traditional concept of zombies being lumbering, mindless masses that suck brains. Instead, Boyle’s film recreates them as hyper-aggressive, almost super-human killing machines, rampaging as though they’ve all gotten into some really strong PCP. In turn, it made for a much more exciting zombie film and also delivers it’s central message with a much more powerful punch. The film speaks to what the human race could ultimately face if we continue on our paths of selfish technological and intellectual progress, despite the clear and inevitable circumstances. How far do we go to achieve ‘perfection’ if by doing so we risk our own health and happiness?
Personally, Guillermo del Toro’s Blade II (2002) is the best of the three blade movies. His direction invoked a dark and mysterious atmosphere, the story carried some great supporting roles including Ron Perlman (one of my favorite character actors) as Reinhardt, and del Toro developed the coolest vampire interpretation I have ever had the pleasure of enjoying. The reapers are a mutated species of vampire that feed on other vampires, thus leading Blade to reluctantly team-up with the vampire council to eradicate their mutual threat. The reaper’s creature design, combined with the action and dialogue, make for one helluva fun vampire killing spree, loaded with great fight choreography and some cool vampire-killing weapons. Yes, I am a huge fan of del Toro, but can you blame me?
Guess who? That’s right … my boy del Toro makes the list again. Hellboy (2004) is based on a comic book about a child demon that is adopted by a human, who raises it with Christian morals to become a soldier against evil. Actually, Hellboy is technically the least qualified movie to make my list, but it does for two reasons: Sammael, the hound of resurrection that simply wouldn’t die and Karl Ruprecht Kroenen, the invincible animated sand-filled puppet assassin. This movie is so much fun and so dark and creepy at the same time. Well, I have to I I
I admit that Hellboy also made this list with the help of its sequel due out in 2008, which looks to be an even bigger monster-fest than the original. I suppose Hellboy cheated a little in making this list, but that’s alright with me.
The two most recent qualifiers for my list, these films share the final spot for another reason; they are both a return to the giant monster genre that we’ve lacked for so long. Sure, we had Godzilla (1998) but does that really count? The especially nifty thing is that they’re both original works and they are both super cool. The Host (2006) is a Korean film that speaks to humans polluting the Earth through occupying American scientists discarding massive amounts of formaldehyde down the drain, resulting in a giant amphibian creature with a taste for humans. The Host is stylish and fun, with great action and special effects, often humorous and occasionally poking fun at itself. As for Cloverfield (2008), refer to my review of the film.
* Honorable mention is given to the following: Candyman, the Tall Guy and his spheres from Phantasm, Pumpkinhead, Cronenberg’s The Fly and Ghostbusters’ Stay Puft marshmallow man.
Welcome to a New World of Gods and Monsters – THE MUMMY arrives in theaters, RealD 3D and IMAX 3D on June 9.
FLOYD NORMAN: AN ANIMATED LIFE Screens at Webster University Saturday April 22nd at 7:30pm at Winifred Moore Auditorium (470 East Lockwood) . This event is free. It’s part of KINEMATIFEST 10! Floyd Norman himself will conduct a master class in animation that afternoon at 2pm. This will take place at Webster University’s Sverdrup Complex (8300 Big Bend Boulevard, 63119) in room 123. Space is limited for the class so please RSVP by email to: emilyimmer03@webster.edu
KINEMATIFEST 10 is Webster University’s International Animation and Interactive Media festival. The mission is to showcase student work and foster a worldwide interest in animation and interactive media striving to give students an opportunity to have their work critiqued by industry professionals, facilitate networking opportunities and advocate learning through workshops and seminars. For more details on all of the events, visit the site HERE
When Jim Batts reviewed FLOYD NORMAN: AN ANIMATED LIFE here at We Are Movie Geeks, he wrote “FLOYD NORMAN: AN ANIMATED LIFE, (is) a film not only for cartoon fanatics, it’s a soul-stirring, inspiring tale for the artist in all of us.” Read all of Jim’s review HERE
Floyd Norman presents his life and work as part of Kinematifest 10. Back in the mid-1950s, Mr. Norman was the first black animator ever to be hired by Disney. His cartooning career spans 60 years… and counting. He’s still working today, at age 81. He will share a lifetime of stories. Floyd has worked on SLEEPING BEAUTY, MARY POPPINS, JUNGLE BOOK, 101 DALMATIONS, SESEME STREET, SCOOBY-DOO, TOY STORY 2, MONSTERS, INC., ROBOT CHICKEN, and many other important animated films and television shows.
What was your relationship to monsters as a child? Were they the boogeymen under your bed, or were they the things of wonder that fueled your imagination? My experience growing up follows the latter, filling my young mind with freakish fascinations. Clearly, the same goes for Tim Burton, who has taken his popular 1984 short film of the same name and expanded it into his newest feature film. FRANKENWEENIE (2012) is still a stop-motion animated film, in 3D this go ’round, adding even more of Burton’s uniquely dark charm to the semi-autobiographical story of a strange loner of a boy and his undead pooch.
FRANKENWEENIE is shot in glorious black and white, capturing the moody universe of Burton’s imagination. Much like the original short, the story begins by painting a picture of young Victor’s daily life, his time at school, his personality. Victor, voiced by Charlie Tahan (CHARLIE ST. CLOUD), is an intelligent loner with a knack for science. His best, and only friend, is his dog Sparky. Mr. Rzykruski, voiced by Martin Landau (ED WOOD), is the new science teacher whom has the town of New Holland’s parents and Mayor up in arms, proves to be a major influence on young Victor.
Victor’s father encourages him to get outside and try sports, but in doing so results in a tragedy that will forever change Victor’s life. Poor little Sparky meets his unexpected demise, but after Mr. Rzykruski demonstrates an experiment with electricity, Victor’s focus immediately becomes applying this new knowledge to bringing his beloved Sparky back from the dead. His success sparks a chain of events amidst his schoolmates and neighbors that slowly spirals out of control and provides a hilariously enjoyable, nostalgic adventure through multiple eras of monster movies classics.
As always, the animation in Burton’s film is awe-inspiring. The pace of FRANKENWEENIE is charged with energy and kept my eyes fixed on the action and the antics of the loyal Sparky. Combined with Danny Elfman‘s quirky trademark style of composing, the film resembles a fun house amusement ride of Gothic proportions. Seeing Burton’s creativity and love of monster films take shape in this film is a real gem. Inspirations varies widely, but I can say that it spans from the gargantuan in 1954 to the reptilian mischief of 1984, and beyond.
FRANKENWEENIE comes full circle in a fairly conventional fashion, lacking any significantly jaw-dropping moments, but the film as a whole is a marvelous experience for fans of the horror genre of all ages. Backed by Disney, Burton provides another film to the pool of monster films suitable as introductory fare to the youngest of blossoming fans. While the story is obviously most connected to that of FRANKENSTEIN, and Mr. Rzykruski is clearly inspired by Vincent Price, be prepared to pick out all the other winks and nods to genre classics.
In addition to Landau, FRANKENWEENIE also features Burton regulars Wynona Ryder as the voice of Elsa van Helsing, and Catherine O’Hara voicing Victor’s mother as well as two other characters. Having failed to keep Sparky’s return a secret, Victor must overcome the Mayor’s hatred for his dog and the bigger danger of classmate Edgar E. Gor’s irresponsibly fiendish plot to win the science fair by employing Victor’s experiment for selfish purposes. In the process, Victor learns a valuable lesson.
FRANKENWEENIE is being presented in IMAX 3D — as well as in 2D — but the 3D provides an added dimension to the film that is welcome, blending in rather than popping out as merely a gimmick. The short running time of 87 minutes also lends itself well to younger viewers.
FRANKENWEENIE opens nationwide on Friday, October 5th, 2012.
Check out the new one-sheet for MONSTERS, INC. 3D!
Also, the brand-new trailer will be debuting tomorrow with iTunes Trailers, but in the meantime watch the teaser we showed you over the summer.
“Monsters, Inc.,” one of Disney•Pixar’s most beloved and visually imaginative feature films ever, returns to the big screen to delight a whole new generation of audiences and fans alike, this time in stunning 3D. The now-classic Academy Award®-winning animated comedy adventure “Monsters, Inc.” is set in Monstropolis, a thriving company town where monsters of all shapes and sizes reside. Lovable Sulley (voiced by John Goodman) and his wisecracking best friend Mike Wazowski (voiced by Billy Crystal) are the top scare team at Monsters, Inc., the largest scream-processing factory. The main power source in the monster world is the collected screams of human children—and at Monsters, Inc., an elite team of scarers is responsible for gathering those precious natural resources. Believed by monsters to be toxic, children are strictly forbidden from entering Monstropolis. But when a little girl named Boo (voiced by Mary Gibbs) accidentally follows Sulley back into his world, he finds his career in jeopardy and his life in utter chaos. So pals Mike and Sulley plot to rectify the mistake and return Boo to her home. But when the trio encounters an unexpected series of complications, they become embroiled in a cover-up catapulting them into a mystery beyond their wildest dreams. Directed by Oscar®-winner Pete Docter (“Up”) and produced by Oscar nominee Darla K. Anderson (“Toy Story 3”), “Monsters, Inc.” features a screenplay by Andrew Stanton and Daniel Gerson and music by Randy Newman. Rated G by the MPAA, the film is in theaters—again—January 18, 2013, and will be presented in Disney Digital 3D® in select theaters.
Monsters, Inc. Fun Facts:
“Monsters, Inc.,” originally released on November 2, 2001, was the highest grossing animated film at the global box office in 2001.
After 15 previous Academy Award® nominations, Randy Newman finally won his first Oscar® for the “Monsters, Inc.” original song “If I Didn’t Have You.”
“Monsters, Inc.” and director Pete Docter were nominated for the Academy Award for Best Animated Feature in the first year that category was established. The film was also Oscar nominated for Best Original Score and Best Sound Editing.
Director Pete Docter went on to win an Oscar for Best Animated Feature for “Up” in 2009 and has also been nominated for Best Original Screenplay three times: “Up” (2009), “WALL•E” (2008) and “Toy Story” (1995).
Co-Director Lee Unkrich made his solo directorial debut with “Toy Story 3,” for which he won the Academy Award for Best Animated Feature in 2011.
Producer Darla K. Anderson also produced “A Bug’s Life,” “Cars” and “Toy Story 3,” for which she was nominated for an Oscar for Best Picture in 2010.
On June 21, 2013, Disney•Pixar will unlock the door to a prequel, “Monsters University,” that tells the story of how Mike and Sulley met in college, overcame their differences and became the best of friends.
“You think you know the story…” so true are those words, it makes writing this review a critical hell, a nightmare of favorably frustrating proportions. The reason for this being, THE CABIN IN THE WOODS is one of those films that requires I not slip up and divulge any of it’s many wonderful details that would spoil the geektastically all-encompassing awesomeness of the film. If you are thinking, “Wow, this guy is selling the film rather hard,” you would be partially correct. Partially, because I’m not trying to “sell” the film at all, but on that rare occasion that a film has such a massive impact on my “happy” endorphins on this level, well… I just simply can’t help myself.
The basic story: Five college friends decide to take a break from their studies and spend a weekend in a, yes, you got it… a cabin in the woods. Curt (Chris Hemsworth, THOR) is the jock, but an unconventionally smart one. Jules (Anna Hutchison) is Curt’s “girl next door” girlfriend and her best friend Dana (Kristen Connelly, REVOLUTIONARY ROAD) is a book smart, semi-virginal good girl reluctantly along for the ride. Jules surprises Dana by inviting yet another — single — intellectual jock named Holden (Jesse Williams, BROOKLYN’S FINEST) with the hopes the two will hook up during their cabin retreat. Finally, Marty (Fran Kranz, THE VILLAGE) is the wise, but paranoid stoner and fifth-wheel on this wilderness trip. These five young men and women willingly enter into a seemingly harmless cabin in the woods, unsuspecting of the true and necessary horrors that await them… all for 105 perfectly pleasurable minutes of thrills, frights and laughs.
THE CABIN IN THE WOODS comes from the mind(s) of a genius — to some, many — co-written by Joss Whedon (SERENITY) and Drew Goddard (CLOVERFIELD) whom, with this film, also makes his directorial debut. Many fans obviously know of Joss Whedon from popular TV series including Firefly, Dollhouse, and Buffy. Perhaps less known, but equally talented is Drew Goddard, whom also has had his writing hands in the popular TV series cookie jar with Buffy, as well as Angel, Lost, and Alias. Putting these two minds together was shear brilliance, but unfortunately the recent troubles which befell the house of MGM held this film on the shelf, a film completed way back in 2011. With that said, we now get to enjoy not only this film, but THE AVENGERS, also directed by Joss Whedon, both opening this summer. (I may giggle like a school girl now. Don’t judge me.)
What is the secret of THE CABIN IN THE WOODS? You know I can’t tell you that, or else… I’d have to kill you. Seriously. If I told you that, someone would surely kill me as well. What I can tell you is that all the beautifully cheeky, sarcastic humor Joss Whedon is so well known for is alive and well. Whedon and Goddard mostly give Fran Kranz free reign over comic relief, serving up a hilariously witty performance as Marty, stoned nearly the entire film, constantly the ignored voice of reason. Marty is sort of a combination of SCREAM’s Randy, but with the personality of Alan Tudyk. I love Alan Tudyk, but that’s irrelevant.
The film opens with anything but the most logical, predictable scene for a horror film set in a cabin… in the woods. We meet two middle-aged men — Sitterson and Hadley — dressed in white, short-sleeve dress shirts and pocket protectors. No, these aren’t an updated, live-action, nerdy version of The Muppets’ Statler and Waldorf… actually, in a way I guess they could be. Sitterson (Richard Jenkins, THE VISITOR) and Hadley (Bradley Whitford, BOTTLE SHOCK) run a mysterious laboratory in a large, sterile facility staffed with equally laboratory-esque types. The opening scene, a quirky quick-witted exchange between Sitterson and Hadley, could quite possibly be one of the funniest moments in the film, setting the tone and calibrating the audience laugh-o-meter for heavy usage.
Following this scientifically silly exchange, we’re introduced to our five college friends and the journey begins. You’ll laugh, you’ll cry (from all the laughter) and then — in due time — you’ll shriek at the craziness of the building carnage that Whedon and Goddard conjure up as they slowly unveil the truth of THE CABIN IN THE WOODS. Now, while I cannot divulge any specific details, I can say with relative safety that the general gist of the “big” secret will become apparent somewhere around the halfway point, or at the very least, you should begin the suspect. However, as they say… “the devil’s in the details.” In other words, PAY ATTENTION! I believe it’s literally impossible for anyone to fall asleep during this film, unless shot with a tranquilizer, but watch closely to catch all the finer, even subtle little Easter eggs planted within the film, including film homages, insider gags, familiar knock-off characters, and even, perhaps… maybe… a secret cameo, or two? Hmm… I’m not saying anymore.
THE CABIN IN THE WOODS is smart, witty, fast-paced, comedic, horrific fun… the most refreshing, perfectly executed horror movie experience I’ve seen since James Gunn’s SLITHER (2006). The special effects are splendidly rendered, CGI done well — sparingly (well, till the end when the proverbial sh*t hits the fan) but effective — and monster fans may or may not be in for one helluva treat as well. There’s action, there’s romance (loosley defined) and tragedy, there’s conservatively utilized bloody and gory violence, suspense, of course there’s mystery, and even a touch of science-fiction mixed with a dash of folklore. (Oh, no. I’ve said too much. I’ve said enough. — Michael Stipe)
My Promise: Go, run to see CABIN IN THE WOODS! You will not see another horror film this good all year, well… not until sometime (maybe) in October, but that’s not confirmed yet. If you don’t enjoy this film, you’re demented.
Welcome to the 2011 Holiday Movie Geek Gift Guide! What is this? No, it’s not my personal gift wish list made public in hopes that readers will bury me in their affection — although, I wouldn’t be disgusted if you did — no, this is guide to finding that perfect, special gift for the Movie Geek in your life. You know who I mean. We all have at least one friend who obsesses about movies, someone who spouts a movie quote or a director factoid every other breath. What does one buy a person so firmly entrenched in the culture of movies? I hope this guide helps you with your shopping ideas, but don’t expect to find the typical, no brainer ideas — such as gift cards — on this list. Continue reading Top Ten Tuesday: 2011 Holiday Movie Geek Gift Guide
There’s a lot of evil out there! Disposing of the nasty creatures, monsters, zombies, witches, vampires and the like is a dirty job, but somebody’s gotta do it. Remakes of FRIGHT NIGHT and CONAN THE BARBARIAN will splatter evil blood all over screens this week when they open in theaters on Friday, August 19th, so here’s a look at our favorite monster killers from the movies.
Now, before we get started… a list like this really needs to be defined, so here are those pesky rules that govern who makes the cut and who gets cut:
You must have multiple kills! One and done is not enough.
You must be a full-time monster hunter. None of this part-time, moonlighting crap!
You must actually “kill” the monsters. Sorry, but The Ghostbusters don’t make the cut.
Your Weekly Source for the Newest Releases to Blu-Ray
The late, great Blake Edwards’ 10 — starring Dudley Moore and Bo Derek — gets immortalized on Blu-Ray. Two films go from silver screen to Blu-Ray… Cary Grant and Deborah Kerr star in AN AFFAIR TO REMEMBER; and Bette Davis stars in ALL ABOUT EVE, just in time for it’s 60th anniversary. Disney’s animated classic ALICE IN WONDERLAND comes out of the vault for a special 60th anniversary treatment. Sticking with the anniversary trend, HIGHLANDER reaches it’s 25th (tentatively) with a special gift set, boxed with HIGHLANDER 2. LET ME IN fills the role as this week’s primary horror release, with HATCHET 2 showing up to the party a day late. My indie Blu-Ray pick of the week goes to the indie sci-fi/drama MONSTERS, a low-budget film which made huge waves on the festival circuit, is being released as a special edition.
Blu-Ray for Tuesday, Feb. 1st, 2011
Blake Edwards’ 10 (1979)
AN AFFAIR TO REMEMBER (1957)
Walt Disney’s ALICE IN WONDERLAND: 60th Anniversary Edition
ALL ABOUT EVE: 60th Anniversary Edition (1950)
BEVERLY HILLS CHIHUAHUA 2 (2010)
BIG MAMA’S HOUSE 1 & 2
BOYS DON’T CRY (1999)
CHAIN LETTER (2010)
CONVICTION (2010)
HIGHLANDER: 25th Anniversary Gift Set
LET ME IN (2010)
MONSTERS: Special Edition (2010)
NEVER LET ME GO (2010)
NIGHT CATCHES US (2010)
PLEASANTVILLE (1998)
THE TILLMAN STORY (2010)
WELCOME TO THE RILEYS (2010)
A WOMAN, A GUN AND A NOODLE SHOP (2010)
YOU’VE GOT MAIL (1998)
Blu-Ray for Wednesday, Feb. 2nd, 2011:
HATCHET 2 (2010)
On the DVD platter this week is an eclectic mix spanning genres and eras. 11 HARROWHOUSE is a crime-comedy starring Charles Grodin, Candice Bergan and James Mason; BULLSHOT is a comedy set during WWI starring Alan Shearman and Billy Connolly; being re-released in the British gangster film THE LONG GOOD FRIDAY, starring Bob Hoskins and Helen Mirren; and Stanley Donen’s LUCKY LADY is a comedy about rum-running in the 1930’s, starring Gene Hackman, Liza Minnelli and Burt Reynolds. Going further back is a film noir called THE PROWLER and a pair of pre-code 30’s-era films. (For ya young’uns, that’s before men and women were required to sleep in separate beds on the big screen.) Three smaller films to consider are NEVER LET ME GO, a sci-fi/drama starring Carey Mulligan, Andrew Garfield and Keira Knightley; NIGHT CATCHES US, a drama set during the Black Panther movement of the 70’s starring Kerry Washington and Anthony Mackie; and WELCOME TO THE RILEYS, a drama about an older man who befriends a younger woman, starring James Gandolfini, Kristen Stewart and Melissa Leo. Finally, my indie DVD pick of the week is RHINELAND, a WWII drama by Chris Grega shot in the Saint Louis area.
DVD for Tuesday, Feb. 1st, 2011
11 HARROWHOUSE (1974)
BEVERLY HILLS CHIHUAHUA 2 (2010)
BONDED BY BLOOD (2010)
BULLSHOT (1983)
CHAIN LETTER (2010)
THE CLIENT LIST (2010)
CONVICTION (2010)
GIULIA DOESN’T DATE AT NIGHT (2009)
LET ME IN (2010)
THE LONG GOOD FRIDAY (1980)
LUCKY LADY (1975)
MEAN GIRLS 2 (2011)
MONA LISA (1986)
MONSTERS (2010)
NEVER LET ME GO (2010)
NIGHT CATCHES US (2010)
Pre-Code Hollywood Double Feature: HELL HARBOR and JUNGLE BRIDE (1930/1933)
