Posted in: Disc Reviews by Michael Durr on October 29th, 2007
I admit I don't have the strongest faith. Sure I believe in God, but it pretty much ends at that like any other agnostic. So when I get a movie that is based on the idea of the Ten Plagues; let's say I'm not that familiar with the subject matter. I know there are locusts attacking and toads dropping involved along with the whole river of blood thing but outside of that I'm a little thin. However, not to say I wasn't interested. In fact I'm always intrigued by stories in the bible when they are used as methods of literature and peaks into the historical past.
The Reaping is the story of Katherine Winter (played by Hilary Swank), a LSU professor who has made a living off debunking miracles by explaining them away with science. We find out from her backstory that she was in fact an ordained minister who lost her faith when her husband and daughter were killed in Sudan on a mission. Her partner and fellow teacher, Ben (played by Idris Elba) helps her out. They are approached by Doug Blackwell (played by David Morrissey), a schoolteacher from Haven, LA about a new case. Haven, LA has seen a young 12-year old girl Loren (played by AnnaSophia Robb) murders her brother and turned the river to blood. The town also believes this is the start of the Ten Plagues of the Old Testament. Katherine & Ben go to investigate.
Posted in: Disc Reviews by Michael Durr on October 28th, 2007
What happens when the reviewer who did Dante's Cove decides to tackle its vampiresque cousin, The Lair? (Besides scheduling more sessions with his psychiatrist) You get somebody who starts understanding what makes up the Here! network. We're homies, we break bread together. Just don't expect me to wear my pants that low nor participate in your late night parties. I got an image to uphold. Season one of the Lair provides something that no other show on the Here! network has proved to this point. A show where there is actual dialog and something more than a cheap excuse to show lots and lots of male on male action. Welcome to the Fang Bang.
The Lair is the story of a journalist, Thom (played by David Moretti ) who is investigating the John Doe murders when he comes across a janitor, Frankie (played by Brian Nolan) who gives him information about a club called the Lair. The Lair as it turns out is a sex club with all gay male clientèle (expect gratuitous scenes of six or seven men at a time doing things that would make Ron Jeremy walk out of the room) who have much darker secrets than their lifestyle. They are vampires. The vampires are lead by Damian (played by Peter Stickles) and Colin (played by Dylan Vox). Colin looks like he should be the double for Billy Idol's next televised concert. Seriously, I expected him to bust out with White Wedding at any moment. The story starts to get interesting when Thom's jealous boyfriend Jonathan (played by Jessie Cutlip) goes to the Lair and finds himself in a deadly situation. This leads to Thom who must keep himself alive and in the process unravel the mystery of how the John Doe murders and the Lair are connected.
Posted in: Disc Reviews by David Annandale on October 26th, 2007
Mario Bianchi’s film is a 1982 remake of the recently reviewed Malabimba. The spirit of a newly deceased woman possesses her daughter, and proceeds to wreak havoc in the gothic castle that is the family’s domicile. Of course, given that the father is a murderous drug-addict, there isn’t that much for the possessed teen to do, as far as the plot itself is concerned. Curiously, this effort is less lurid than its predecessor (barring a couple of insanely OTT performances), with less nudity and taboo-busting, and also a rather less interesting deconstruction of respectable society. Plotting and motivation are haphazard at best. Still, it’s a not-unentertaining late-period Italian gothic, blessed with handsome sets.
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Posted in: Disc Reviews by David Annandale on October 25th, 2007
There are plenty of reasons to be grateful for public domain rules, as they make plenty of movies easily available that wouldn’t be otherwise. But there are pitfalls as well, and there is no clearer example of this than what has befallen George A. Romero’s classic film. The great man barely saw a dime from his work, but all and sundry can fiddle with Night of the Living Dead as they see fit, and here is a textbook case. The basic premise is intact: young woman and her brother visit cemetery, are attacked by zombies, and heroine winds up part of a besieged group. Sid Haig lends his presence to liven things up a bit, but he have any real role to play until the movie is almost half-over, by which point many viewers will be sunk in boredom. The zombie attacks are tediously realized, and this is easily the most gore-free version of the story. So what is more pointless than a flesh-eating zombie film with almost no flesh-eating? A zombie movie with a twist, that’s what. Talk about pointless. A twist is to zombie movies what bicycles are to fish, but here we are stuck with one, just to irritate us further. The 3D has novelty value, and will be discussed further below, but that’s about it.
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Posted in: Disc Reviews by David Annandale on October 19th, 2007
Connoisseurs of Eurosleaze will be pleased with this nasty little variation on the gothic. In an isolated castle, a fractious, failing aristocratic family has gathered. There is no more money in the family, except indirectly: one brother, now in a vegetative state, is married to a rather wanton woman, who now holds the purse strings. The matriarch suggests that her other son marry her, even though his brother is still alive. The man is properly horrified by the suggestion, and he is also still in mourning for his wife. But then something – the spirit of his wife? a demon? – invades his teenage daughter, who then starts acting out sexually and recreating scenes from The Exorcist.
Nothing hugely original here, and many scenes are SO blatant in copying The Exorcist that one might as well assume that Friedkin’s film was the last word on possession symptoms. What is interesting, though, is that, unlike Friedkin’s film, the connection between the possession and the hypocrisy of the upper class is made perfectly explicit (in every sense). In fact, much of the misbehaviour on display has nothing whatever to do with the demon – it serves primarily to force the characters into a realization of what they really are.
Posted in: Disc Reviews by Archive Authors on October 17th, 2007
Director Peter Bogdanovich has a theory that you can make almost any movie better by cutting the first 20-minutes off of it. Exposition is intended to set-up the background of the characters for the audience, but it usually just ends up slowing things down until the conflict eventually arises. After watching Bug, I would be willing to accept Bogdanovich's argument, and double it.
Bug is the story of a down-on-her-luck waitress (Ashley Judd, doing her best impression of Charlize Theron from Monster) who lives in a cheap motel and works as a waitress in a honky tonk bar in Oklahoma. Her only friend comes by one night to party, and leaves a drifter behind when she leaves for the evening. The drifter turns out to be a pretty interesting character, though clearly of mysterious origins. The two form a quick bond, and as the drifter's pre-existing mental illness starts to present itself, the waitress buys in to his delusions, with disastrous results.
Posted in: Disc Reviews by Archive Authors on October 14th, 2007
Quentin Tarantino's Deathproof need no longer be sad and alone on your DVD shelf. Robert Rodriguez's Planet Terror - Extended and Unrated (Two-Disc Special Edition) streets October 18, completing the one-two-punch release of the directors' Grindhouse double feature.
Separating these two schlock-fests begs the question, which one's better? Don't ask me. I didn't catch Grindhouse in theatres, and haven't gotten around to Deathproof on DVD. All I can tell you is Planet Terror throws down 105 minutes of mindless, campy and gory fun. So pop your lid, take out your brain and enjoy. But don't leave that brain unattended, 'cause there be zombies about.
Posted in: Disc Reviews by Archive Authors on October 13th, 2007
What is it with horror films today? They just seemingly lack all original wit and style. And let’s not even mention the remakes that Hollywood forces on us. Having just finally watched John Carpenter’s Halloween (yes I know!!), forcing myself to watch the drab Black Christmas almost made me cringe.
A group of sorority sisters, after getting snowed in after the holiday break, try desperately to survive the night. Surviving from the intense cold isn’t the game plan of the film, but rather trying to survive from a relentless killer. The killer, for some reason, wants to kill all the girls. We never quite learn why exactly that is, but apparently the killer use to live in that sorority house. I guess that’s just a fine reason to start killing people on Christmas Eve.
Posted in: Disc Reviews by David Annandale on October 12th, 2007
So here we have another double feature of episodes from Movie Macabre, with Elvira this time taking on Maneater of Hydra (1966) and The House That Screamed (1969). The former has the disconcerting spectacle of Cameron Mitchell appearing not only as a baron (ookaaayyy) but being dubbed. He’s experimenting with plants on his remote Greek island, and a group of tourists run afoul of one of his results. Given how long it takes for the titular plant to show up and relieve the dullness, one starts to wonder if the title doesn’t refer instead to one of the hot-to-trot tourists.
The House That Screamed, meanwhile, is a Spanish effort that is something of a period giallo. The setting is a private girls’ school where a series of brutal murders take place. The production is handsome enough, though its concept is no less sleazy for all that.
Posted in: Disc Reviews by Gino Sassani on October 11th, 2007
I grew up on a steady diet of horror hosts. In the
![Black Christmas (Unrated) [HD DVD] dvd cover art](https://upcomingdiscs.com/ecs_covers/black-christmas-unrated-hd-dvd-large.jpg)
