“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.
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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.
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Who or what is God? Does he perform miracles here on Earth? What happens to us when we die? Is there true evil on this earth? How was the universe created? How will it all end? These are the kinds of questions for which there are no concrete answers to be found in the world around us. These are the subjects that require us to turn to our faith or belief systems. The answers might be found in our culture. You might even have had experiences that have brought you closer to the answers. This is meaning-of-life stuff, and the answer might just be 42.
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What do you know about the Stuxnet virus? It’s all right, you can be honest. If I’m being honest, before the documentary Zero Days, I hadn’t even known the name. After watching the film, my knowledge is stemmed more in speculation than fact. I hadn’t realized how many different ways there were to hear, “I can’t talk about that.” To this day, government officials refuse to answer any question regarding the computer virus that was supposedly designed to thwart Iran’s nuclear program. It is incredibly frustrating and has inspired in me a degree of curiosity that I hadn’t known possible beforehand. I can see why it the filmmakers were drawn to this subject matter.
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The 1960s were very important to the counterculture movement in the United States, most notably the artists of New York City. Whether it be future rock stars such as Iggy Pop and The Stooges and The Doors, or the enigmatic Phenom Andy Warhol, New York was at the crux of a lot of influential ideologies that have inspired us in the succeeding decades. However, there is only so much you can read about when it comes to discovering the cultural history of New York. That’s what makes documentaries like Brendan Toller’s Danny Says so fascinating: Sure, you know the history, but can you glean what the experience would be like? Danny Says takes you on a journey beyond the facts and delves into the personal experiences of one of the most significant music journalists New York has seen.
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Before there were The Hunger Games or even The Running Man, there was a tiny little B-Film called Death Race 2000.  Long before the remake occurred with Jason Statham as the lead I was a fan of the original, and for all the wrong reasons.  I thought it was great, the notion of having a point system for people you’d hit with your car, the kind of thing you’d joke with friends about, but would never actually go through with.  With David Carradine wearing the black mask as immortal Frankenstein behind the wheel of his death machine, he was fun to root for.  I’m pretty sure, though, it was a young Sylvester Stallone as the bloodthirsty Machine Gun Joe who got so many people to see the original.  I’ll be honest, it’s what got me to rent the VHS, hoping to see Rambo in action, but instead it just opened my eyes to a new kind of cinema cool I wasn’t expecting.
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If asked about my favorite genre of film, romantic comedies would not be close to the top of the list. However, I have seen enough rom-coms that I wouldn’t mind watching a second time. The Babymooners would be a film that I’d give a second watch, simply because of its charming energy. Most of this charm can be attributed to Shaina Feinberg and Chris Manley, who co-wrote and directed the film. Through explicitly stating in the synopsis that the film is “clearly influenced by old Woody Allen films,” the filmmaking duo alert audiences to exactly what they should be expecting, and they are not far off. So if you are a fan of Woody Allen, rejoice, as that is not an empty promise.
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The premise here was always dirt simple. They’ve taken the buddy cop idea and found a way to work in the forensics science fad and deliver a procedural with a few twists. The show is based on a series of mystery novels by Tess Gerritsen, who introduced us to Jane Rizzoli & Maura Isles in 2001. Tess makes a cameo appearance in this, the show’s final season. The season is shorter than the usual 18 shows. There are 13, and in all of them you can feel the weight of the characters and their situations counting down until the final episode of the series. You’ll be able to see where that’s going pretty much from the beginning. After seven years, you can look forward to a tearful goodbye as the show exits on its own terms.
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