Last Saturday night, I spent over 160 minutes watching short horror films at Bleedingham V. Many of the films (my film included) were found footage/mockumentaries. If this taught me anything, it’s how many different ways a filmmaker can approach any given style. I enjoyed these films for their willingness to go against convention. The Taking of Deborah Logan is the exact opposite.
I suppose one clear hallmark of the horror genre has always been it’s ability to do a lot with a little. Some of the genres most highly revered films were made by independently-minded filmmakers with not much in the way of budget, but with plenty in the way of their desire to shock and excite audiences. And it’s something that’s still been remarkable of the genre into the 21st century, as a movie like Paranormal Activity could be made for a mere $15,000, and somehow spin itself into a blockbuster franchise generating hundreds of millions of dollars. Clearly, a film like Creep didn’t quite have the legs to turn itself into a major cash cow, since I don’t know if I’d even heard of it prior to volunteering to write about it, but it’s hard to think of a better example of a film making the most of its super-micro budget. Continue reading
All monsters have their makers. Wes Craven made Freddy Krueger, John Carpenter, and Debra Hill made Michael Myers, Tobe Hooper, and Kim Henkel made Leatherface. Though many of these writers/directors move on to other projects. Most of which never return to the characters that made them famous. Don Mancini is different. To date, there have been six Chucky movies, and Don Mancini has written every single one. The series has seen its definite highs and lows, but I’m happy to say Curse of Chucky is an all time high. Unlike that terrible band All Time Low.
Originally, I was going to review a completely different movie for Day 20, but it was bad. In fact, it was so bad I quit watching it a quarter of the way through. That movie was The ABCs of Death, a 26-part anthology film mostly made by criminally insane filmmakers I have never heard of.
Gareth Edwards did visual effects on some TV shows, the one I recognize is Nova, that nerd show on PBS. In 2008, he entered a 48-hour film festival and won, which paved the way for him to write and direct his first feature, Monsters. Relying on his expertise, he made the movie on a slim budget with a small cast and an even tinier crew. This got him enough exposure in Hollywood that a year later he was tasked with reviving the Godzilla franchise in the west. A modest critical and box office success, that reboot nonetheless got Edwards his next job: the first Star Wars spin-off. In like six years, he went from a contest to the biggest franchise in movies… And I don’t know why.
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Tucker & Dale vs. Evil is a film I can recommend to anyone. Sure, it caters mostly to horror fans, poking fun at familiar tropes, but it has a wider appeal as well. Tucker & Dale is a laugh-out-loud comedy with over-the-top violence and no shortage of sight gags, but it still has heart. Tucker & Dale are backwoods bumpkins, but they are backwoods bumpkins with hearts of gold… and chainsaws.
Though I doubt few outside the world of horror have heard the name “Jim Mickle” this NYU educated writer-director has in ten years already carved out an impressive filmography. Breaking out with the low budget Mulberry Street in 2006, Mickle has since made three films; Stake Land, We Are What We Are and Cold in July, all of which have been well reviewed. I think it’s time some of us take note not only of the quality of Mickle’s films but the content. I can’t remember the last time I watched films from a horror director who spent so much time on character development. Mickie’s characters are never props to the actions or monster bait with targets pinned to their backs. They are living, breathing people with defined motivations and fleshed out personalities. Perhaps one of Mickle’s best examples of this is the 2010 film Stake Land. Although it may sound like a gory vampire romp (and it is occasionally) the film flashes a few moments of brilliance.
