Disc Type

"It is the unknown that defines our existence. We are constantly searching, not just for answers to our questions, but for new questions. We are explorers. We explore our lives day by day, and we explore the galaxy trying to expand the boundaries of our knowledge. And that is why I am here: not to conquer you with weapons or ideas, but to coexist and learn." 

No Star Trek series has divided Trek fans as much as the 1993 release of Star Trek: Deep Space Nine.

Have no fear, Michael Jai White is here, in a role that is outside the norm that has been established for him in recent years. You know the one, kicking ass and taking names, usually without a shirt on. However, in The Crooked Man, a horror film, he is doing quite the opposite, and also unlike him, he is not the focal point, as the story focuses on a young girl named Olivia, who finds herself not only framed for her friend’s death at the hands of the Crooked Man, but institutionalized when no one believes her story. An intriguing premise, but a bit long in the tooth, if you know what I mean. That said, it does earn the title of best television movie of 2017 for me, but we shall see how long its reign lasts, as we are only two months into the year.

Exploitation film has reached a point where there are just too many subgenres to count, or to care about for that matter. This film combines three of the subgenres into one incoherent amalgamation of boredom: Blaxploitation, Kung Fu flicks, and “Brucesploitation.” While the two former concepts should be familiar outside of the realm of cinephilia, Brucesploitation may be a little more difficult to grasp. Basically, after the death of Bruce Lee, filmmakers began to capitalize on Lee’s image posthumously, by using barely passable lookalikes such as Bruce Le or Bruce Li as lead martial artists.

When it comes to having a serial killer being used as the main character or used as the anti-hero, it’s nothing we haven’t seen before.  Henry: Portrait of a Serial Killer and of course Dexter are titles that first come to mind.  The difference between these two titles is that we understand their code, or see the lack of code, when it comes to whom they choose to kill.  It’s escapist entertainment, and I appreciate the morbidity of rooting for such deplorable characters, but that’s what cinema and television do; they take us along for a ride that reality cannot.  When it comes to Dead West, we’re on board for a cross-country trip with a serial killer, but sadly this is a trip that had me reaching for the door handle before arriving at our destination.

"It killed 102 people, brutally mauling its human prey. Its victims are all women and children. The worst attack by an unknown beast in history, and the basis for the legend of the werewolf. Two investigators set out to solve the mystery. Applying modern day forensics, they hunt to uncover the real wolfman."

With the Universal remake of one of its classic monsters, you can expect to see a lot of related material come out of the woodwork to capitalize on the buzz.

If you have any love for Italian horror films, then you know the names Dario Argento and Lucio Fulci are the ones that cause the most excitement. Both directors have made a name for themselves in horror cinema, each providing their own authorship within their own interests. Much like debate concerning The Beatles or The Stones, cinephiles typically side with one over the other. Yes, Argento has conjured dreamlike, character-driven horror that has haunted our minds over the decades (Suspiria, Phenomena), but the late Lucio Fulci has a seemingly innate ability to create landscapes of terror that consistently push the envelope of realistic gore (Zombi, The Beyond). While I do tend to favor Fulci, I am well aware of both of their contributions and influence to horror cinema as a whole. Even though they have notable differences, The Wax Mask offers a collaboration between the two greats prior to Fulci’s death in 1996.