Author Archives: BloodCrypt Keeper

REVIEW: Carrie (2013)

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Carrie: F

Yes, Chloe Moretz is a good actress. There. I got that out of the way. Now you go ahead and tell me what else this movie has going for it because I am at a motherfucking loss.

I have never seen a more pointless remake. This is the same exact movie from 1976 with only very superficial “updates” for a modern audience.

For example, the scene where Carrie gets her period in the locker room: Totally the same; they even throw tampons and do that cunty chant. One of the Plug It Up Girls uses a smart phone to capture the incident and posts it to Youtube. Other than that the scene is an awkward facsimile of the original. Why even remake it if all you are adding to it is a fucking iphone?

Maybe some viewers were all “Wow! So clever! Video! It’s like Carrie, but for our generation, bro!” If that sort of scene is all it takes to impress you, someone might as well remake The Shining and be sure to include a scene where Wendy loses cell phone service. Or how about a Jaws remake where they try to track the shark with GPS?

“Aw man, it’s like they are trying to stop that shark, but it’s like, set in present day, bro!”

The whole movie is like this. It’s almost a scene-by-scene reconstruction of the original film with a lame product-placement-feeling layer of the 21st century superimposed on top. The car still gets destroyed, but it is a 2013 Challenger. They dump pig’s blood on Carrie, but they play humiliating HD video clips on a projection screen behind her. The wardrobes are updated (fucking name-brand central) and they work cell phones into a few scenes.

At least they had Carrie conduct her telekinesis research at the library with actual books instead of having a montage of her Bing searches.

I’m not upset to see a movie resurrected in modern times(even though my gripes may make it sound that way), but the movie didn’t seem to have much of a point otherwise. That’s what pisses me off. Maybe I’m undermining the idea that the cruelty and alienation of adolescence holds up across generations, but a Carrie reboot was not an effective vehicle for this message. I get that that is what the filmmakers were probably going for, but I couldn’t help saying (out loud) “so fucking what?! I’ve already seen this movie!”

The acting was clunky. Tons of unnatural and forced dialogue from the teenage characters. You could tell some adults in LA wrote the screenplay. Julianne Moore was not creepy as Carrie’s mom, but I just think she is funny as a person, so maybe you will think she is scary when she is holding scissors and laugh-crying.

 

 

REVIEW: Shivers (1975)

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Shivers: C+

Dr. Emil Hobbs thinks that humans have become too civilized and we need to embrace our inner brutality. I’m not sure, but this might be a reference to the philosopher Thomas Hobbes, who thought that deep down, humans were all ruthless animals.

Dr. Hobbs is conducting some medical experiments to make his philosophy a reality that some might consider unethical; he gets naked, strangles people, cuts them open vertically, and dumps potions on their guts. The potions make cool smoke like dry ice. Also, the potions make these slug-looking parasites grow in the dead bodies. These parasites leave the host body when they are big enough, moving on to infect the living. The infected become zombies who, instead of biting people, hug, kiss, and rape people. If you get raped by a raper-zombie, you become a raper-zombie too. And those are the bad guys in the movie: some sex-slugs and some raper-zombies. I’m not sure, but this could be a commentary on the residue of sexual paranoia left behind from generations of North American Puritanism. Could be.

Anyway, about those slugs. Here’s a breakdown of the holes they can/cannot get into:

  • Eye socket: No.
  • Ear: No.
  • Mouth: Yes!
  • Butthole: Yes!
  • Vagina: Yes!
  • Penis hole: Implied!
  • Belly button: No.

Maybe I’m looking into this a little too closely, but I think these sex slugs might be allegorical symbols for sexually transmitted diseases. Who knows.

Being a raper-zombie looks even worse than being a biter-zombie. Biter-zombies don’t bite other biter-zombies, but raper-zombies do rape other raper-zombies. How exhausting! Biter-zombies get to relax most of the time, only getting excited when there is a non-zombie around, but raper-zombies are constantly raping. I want you to think about that when you see all these good looking women in the movie who have sex-slugs in them. You might think “Oh, well, she can do her raper-zombie thing to me. I’m okay with that!” but just remember, that means you are signing up for a lifetime of grueling rape. I’m starting to think that this might be a thinly-veiled metaphor satirizing the temptation associated with the “Free Love” movement. I dunno. Just a thought.

In the movie, a bunch of people turn into raper-zombies and rape a bunch of other people into their zombie orgy. There is some trademark Cronenberg gore/terror and, this is just a theory, but I think there is also some social commentary in there somewhere.

 

http://www.youtube.com/watch?v=eK9Wal9Dvic

REVIEW: Leprechaun: Origins (2014)

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Leprechaun: Origins: UV – WORST MOVIE I SAW IN 2014

This is not a Leprechaun movie. It just isn’t; I don’t care what anyone says.

You sit down to watch a Leprechaun movie with certain expectations which are not to be radically fucked with. You definitely expect a wisecracking leprechaun, you expect some cartoonish kills, and you expect overly-obvious commentary on human greed. Leprechaun Origins ignores all of this. The movie doesn’t even make fun of the Irish. Disgusting. And I don’t want to watch the same movie over and over. I appreciate some innovation. But this is an insult.

Let’s start with the “leprechaun.” Instead of a charming troll-like psychopath, the “leprechaun” in this movie (who, according to the credits, is played by WWE’s Hornswaggle, but there is no way to be certain) is a feral animal incapable of human speech. He doesn’t wear any clothing and he doesn’t do any fucking magic. He sees in infrared like the Predator and he looks like a mixture of a goblin from Lord of the Rings and a baby gorilla. About 95% of the shots of him are shaky-cam jump-scares with some messed-up filter so you don’t even get to really see how fucking worthless he looks.

This drove me fucking berserk. I kept waiting for him to morph into the leprechaun, or for there to be some big reveal that he was the leprechaun’s pet or something. Never happens. You have to wait 38 minutes for him to even show up and then it’s just him chasing four vacationing teens, occasionally snagging one and mauling them.

How about the kills? Say what you want about the Leprechaun movies, but their kills are the epitome of creative splat-stick. Warrick Davis pogo-sticks a guy to death, magically inflates a woman’s breasts until she explodes, launches someone into outer space, impales someone with a bong, and does a bunch of other evil shit that seems dreamed up by a brain-damaged eight year-old. This “leprechaun” just bites and claws people.

What about gold? Remember, the Leprechaun’s murderous lust for gold is the MacGuffin in the old films. There are maybe a combined 20 seconds of gold in this movie. The leprechaun wants it. He sees in infrared, but the gold pops out.

I seriously think WWE was making a monster movie and they just bought the rights to the Leprechaun movies and slapped the Leprechaun name on this crap at the last minute, editing in some bullshit about gold after securing the rights.

To make you feel better, click here for a one minute clip of all the kills from the original Leprechaun movies.

REVIEW: Split Second (1992)

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Split Second: C+

London, 2008: Welcome to a future where Rutger Hauer is a motorcycle-riding, candy bar inhaling, chain smoking cop who plays by his own rules. He wasn’t always like this. Years ago, his partner was murdered and it pushed him over the edge to Lethal Weapon levels of maverick badass-ery. He chugs liters of coffee and the police chief gets pissed at him a lot. Yes, he wears sunglasses indoors and cracks one-liners while using gratuitous violence to subdue criminals. No, he doesn’t use the department-issue firearm; those things are for pussies.

The film has been criticized for it unoriginality since it blatantly tries to capitalize off of the popularity of other action/sci-fi movies of its time, most notably Blade Runner, Predator, and Lethal Weapon. The aforementioned maverick-cop clichés from Lethal Weapon are pretty clear. The movie looks just like Blade Runner; it’s set in London where rising sea levels and perpetual rain makes it look exactly like the grey, wet dystopia in which Harrison Ford hunted androids. The villain in Split Second is a hulking Predator-looking monster who obsesses over confronting Hauer in hand-to-hand combat, almost as if it adheres to the same code of honor as the Predators.

You could rename the movie “Lethal Predator Runner” and it would work.  

The movie is fun because it plagiarizes from other successful films and then turns the things it steals up to 11 all while (I think) being comically NOT self-aware of how transparent the theft is. Hauer has cartoonish levels of defiance and self-destruction. The weather is an unending monsoon that creates urban lakes and acres of obfuscating fog. The monster is a superhuman killing machine who looks like Venom and does shit like creep up and tap people on the shoulder before eviscerating them.

The carnage isn’t spectacular, but it’s there. The monster rips some dudes up and absorbs anything useful from their DNA. Gore-hounds, this is no splatter-fest. The monster (“ONE UGLY MOTHERFUCKER!”) almost suffers from a case of Mighty Morphin’ Power Rangers syndrome as there are a few shots of him lumbering around like an alcoholic in a rubber suit. He doesn’t look terrible but he doesn’t look scary.

This movie is the love-child of shitty action movies and shitty horror movies. If you like those two things, then see this movie. It combines the best parts of the two and executes them with an impressive air of shamelessness.

 

REVIEW: The Sacrament (2013)

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The Sacrament: B

This is a found footage film that follows a couple of journalists who make their way into an isolated Jonestown-like settlement, triggering its implosion, red Kool-Aid and all. There are some chilling moments of cult fervor and some scenes that capture what some parts of Jonestown life must have been like with a sociopathic “Father” watching your every move with Orwellian enthusiasm.

The movie is produced by Eli Roth, but it is different from his other movies. This film isn’t the torture porn of Hostel or the splat-stick of Cabin Fever; the fear in this movie is psychological and it really builds up to a fucked up ending.

The cult leader is played by the gas station owner from No Country for Old Men who, for this film, impressively transforms from a cowardly redneck into a part-evangelist faith-healer, part-Kim Jung Il terrifying idol. The guy kills it. He dresses like a Florida retiree and he wears tan aviators that magnify his eyes to an almost amphibian golem-level.

The monologues are mesmerizing. “Father” has this fucked up delivery that is a mixture of southern drawl and game show host while he peers though his shades and quotes psalms to justify the way of life in his compound. You feel like he could start drooling at any second but that he also has a 250 IQ. He does these great shifts in and out of creepiness; one sentence will sound like your kindly old grandpa telling you a joke, and the next sentence sounds like Chairman Mao ordering your execution.

My biggest beef with the film is that is takes a little too long to get moving and the end takes overly-elaborate pains to insist that what you just witnessed was a documentary and not manufactured fictional “found footage”. They really lay the exposition on thick to make sure that you know you are headed into a Jonestown situation with seriously brain-washed people. And the montage of “found photos” at the end is fucking lame. After it gets rolling though, you won’t be able to look away.

There are some cool found footage tricks in this one. People drop the camera or have the camera taken away from them. Sometimes, the protagonist is filming. Other times, you get footage from the bad guys’ point of view. Actors sometimes set the camera down and you get these long takes that are framed really well. Sometimes there is ambiguity about whether or not someone is filming at all.

It was a fun watch and the best found footage flick I’ve seen in months.

 

REVIEW: Oculus (2013)

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Oculus: C-

There’s this mirror that kills people. Ghosts also come out of the mirror and fuck with people. The mirror can also “possess” your reflection (which, I guess “possesses” your body too) and make you do bad things to yourself or others. It’s a lot like that movie Mirrors, which also focuses on mirrors that do the aforementioned mirror bullshit in almost the exact same manner.

The Oculus mirror can do a few tricks that the Mirrors mirrors can’t, including:

  • Inducing hallucinations
  • Playing stupid pranks on people
  • Fucking with space-time

Oculus switches between two stories and then squishes them together.

The past (10 years ago): One of the stoners from Dazed & Confused is married to Starbuck and their kids don’t like the new mirror in daddy’s office. There are ghosts and escalating scenes of confusion and terror culminating in the double murder of the parents.

The present: The kids are all grown up and have SOMEHOW tracked down the mirror, the supernatural potential of which they plan to assess. There are ghosts and escalating scenes of confusion and terror culminating in a predictable ending to a horror movie about a killer mirror.

The stories start overlapping and you see adult characters interacting with their child selves. Time and location become ambiguous. There are mirror ghosts everywhere.

The “research” one character does on the mirror is impressive. She single handedly traces the mirror’s ownership back centuries and manages to deduce all of its ghost-trick powers.

There’s this one scene where a character bites into an apple, which turns out to be a light bulb, which then turns out to actually be an apple. This sequence is the perfect embodiment of this movie; it’s one long dream within a dream within an “oh, it wasn’t a dream!” within a dream. And then someone wakes up. Within a dream. Times infinity. First there’s a ghost, then nope, it’s just a crazy person, BUT WAIT, a ghost that makes the person crazy, then a flashback, then characters displaced in time, then someone wakes up, then everyone is a ghost, then no one is… or are they? I swear this cluster-fuck was created by writers throwing darts at a board full of plot points.

Produced by WWE and yet there is not a single wrestler cameo. I was hoping Rowdy Roddy Piper would be a mirror salesman or Scott Hall would be someone’s stepdad or something. No one even gets hit with a folding chair. What a wasted opportunity.

 

REVIEW: Hannibal Rising (2007)

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Hannibal Rising: D-

This movie will totally scare the shit out of you if you think that a killer who looks like Geroge McFly (from Back to the Future) wearing too much hair mousse is scary.

The film is rotten with ineffective storytelling (I hope you like flashbacks), ineffective characters (flat characters galore), and ineffective scares (unless you are scared by ominous smirking). However, it does one thing effectively: it sucks the life out of the Hannibal Lecter series [grotesque sucking sound, fava beans]. No surprise that Hopkins stayed away from this one.

Once upon a time, Hannibal was an ordinary un-demented 8 year old, and he was subjected to all this gruesome trauma: his loving parents are killed, his adorable sister is killed, he is terrorized by Nazis. There is cannibalism. There are even explosions!

He is a sad orphan who gets pushed around a lot and you have to watch about 30 minutes worth of it. Just start the movie like half way in; you won’t miss a thing.

40 minutes later (yes, 40), Hannibal is a McFly-ish looking 20-something and he finally kills someone! It’s not even cool either. He cuts a guy’s head off with a sword. There is no harrowing psychoanalysis or cannibalism involved. Sorry.

The rest of the movie is him hunting down the Nazis who killed his family. The end.

I don’t really get the “Rising” part of the title. What is he, a fucking soufflé? The character doesn’t “transcend” in any way. He doesn’t “rise above” any obstacles. I do have some suggestions for alternate titles based on what he does do:

  • “Hannibal Crying”
  • “Hannibal Leering”
  • “Hannibal Whining”
  • “Hannibal Using Too Much Hair Gel”

What a mess. The cover art for the film is a close-up of Hannibal wearing his famous muzzle. I think this was partially to hide the identity of the actor playing Hannibal in the movie; it’s a pretty big let-down when you realize Hopkins isn’t showing up and you are stuck with some George McFly looking asshole.

 

REVIEW: Jack the Reaper (2011)

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Jack the Reaper: F

This film is insoluble excrement and the most snore-inducing thing I’ve watched in a while.

A group of about ten kids (who, just like the Breakfast Club, each represent a different sub-population of the school) go on a History class field trip only to wind up at an abandoned carnival in the desert. Well, almost abandoned…

There’s a guy named Railroad Jack at the carnival. He looks like Sloth from Goonies, has a pick-axe, and likes to kill teenagers. He wears, I don’t know… pajamas? Yawn. I’m trying to think of a more uncharismatic villain. Jason Voorhees with a sack over his head has more personality. Leatherface has more depth. Paul Bunyan even has a better back-story.  

The “teenagers” are pushing it too. A couple of them look like they could be thirty. With real drug habits.

You know how this goes: the kids are all uncomfortable and then they get picked off one by one. “But wait,” you may think to yourself. “They’re at a carnival! That opens the door for all sorts of low-budget, entertaining, carnival-themed kills! Maybe a witch in the haunted house shoots acid at the snooty rich girl, ironically disfiguring her prissy face! Or maybe the roller-coaster swings around and knocks the arrogant jock’s head off while he’s trying to show off! It could be like a 90 minute Insane Clown Posse song!” Nope. You’ll actually be BEGGING for the lyrical genius of Shaggy 2Dope. Every kill is just Railroad Jack with his fucking pick-axe.

Also, pretty much every kill is an off-screen implied one. Real fucking cheap. I can understand doing one of these in a movie, sometimes even two. But this movie does it like ten times. Ten times! Ten fucking times! Ten times there’s a close-up of his stupid grin followed by a splatter noise. You see the corpses later, which he has arranged on the carrousel. It spins around in slow motion so you can see their “head wounds,” which look like your standard 99-cent Spirit Halloween Store make-up.

Maybe the lack of on-screen murder was because they blew their budget hiring Tony Todd AKA Candyman to give the Wise Elder speech that foreshadows the teens’ doom. Candyman is an employee at a nearby train museum and he somehow knows all about Railroad Jack. Goddamn what has Tony Todd been up to? He likes to wear leopard-print scarves and other articles of clothing one might expect to see at a cabaret. He looks like a homeless pimp.

Also, there is an “ominous” female voice that delivers limericks in between several scenes. Not creepy at all. She sounds like the voice-over on a Life Alert commercial.

Oh, and don’t even get me started on the goddamn unresolved sub-plots. One kid has a grandma who behaves like a serial killer, another kid finds out he got his girlfriend pregnant, another kid is being chased by two mysterious thugs whom he ditches at the school bus, and one girl is obviously being molested by her dad. Literally no explanation/resolution for any of this bullshit!

Insufficient gore, cardboard acting, a vacuum of suspense, and an insistence on taking itself seriously are what really hurt this movie, the latter of which was the most insulting for me as a viewer. Seriously had to exert a lot of effort to not dump D-con in my beer.