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We wrote a preview awhile back of an early peek at Clive Barker's latest film Dread which was, looking back on it, only a thinly disguised, and largely positive, review. In celebration of the film's debut at this year's Fantastic Fest, take a look back at our thoughts on Dread below:
A mind as eloquent and twisted and grand and poetic as Clive Barker's was never really meant for the movies.
Fast & Furious
Fast & Furious reunites the stars of the first installment in the high-octane franchise -- Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster -- in a sequel directed by The Fast and the Furious: Tokyo Drift's Justin Lin.
The story finds federal agent Brian O'Conner (Walker) tracking down a drug dealer whose operation involves the use of street racers to ship his narcotics across the border from Mexico into the U.S. A murder that's tied to Brian's ongoing case reunites him with his fugitive ex-pal Dom Toretto (Diesel) as well as his ex-flame and Dom's sister Mia (Brewster), both of whom still harbor anger and pain over their betrayal by undercover cop Brian at the end of the first film.
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The Hills Run Red
With the wayward torture genre slowly, but surely, starting to die off – paving the way for slashers to regain their lost stride, The Hills Run Red is a lively reinvention of the genre.
The film, in a way, is similar to Wes Craven's Scream in that it cleverly pokes fun at the conventions and cliches of the genre. Here, our heroes get perfect cell phone reception out in the woods. One character comes prepared – stocked with flares, camping gear and a gun. Our villain doesn't just check a room and trample off to the next. And our heroes make decisions that seem less boneheaded. These are just a few of clever nods to the torture genre, often derogatorily referred to as torture porn. I personally prefer the less-nasty term shock horror, as this is exactly what the filmmakers set out to do – shock you with intense gore and torture.
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When it comes to movies, I am not a crusader. Rarely do I find the content of a motion picture objectionable on ethical grounds. Then again, films as morally repugnant as Captivity don't come along too often (thankfully). There is no requirement that a feature leave a viewer feeling good about himself, the world, or anything else. Cinematic endeavors should not, however, send audiences home in search of a shower to skim away a slimy, degraded feel. I can't state with certainty that watching Captivity represents the most horrific experience I have ever had in a movie theater - but next to it, Freddy Got Fingered is starting to look better by the minute.
Red Eye belongs to the genre in which a director attempts to sustain a heightened level of suspense for long enough that the audience will not notice how incredibly stupid the screenplay is. Alfred Hitchcock was a master at this - although some of the scripts he worked with were masterpieces, one could argue that his true skill as a filmmaker was evident with those that weren't. More recently, Phone Booth and Cellular achieved success by doing as much as possible with a thin and implausible premise. Wes Craven's Red Eye is more of a mixed bag. There are stretches during the course of this 85-minute long motion picture when the director elevates the tension to an acceptable plateau, but there are also occasions when too much of the narrative seeps through and we see the seams in the storytelling.
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Legend of Zorro
Some sequels are made too soon, while others are made too late. The Legend of Zorro, Martin Campbell's follow-up to his well-received 1998 feature, The Mask of Zorro, falls into the latter category. It's difficult to say whether the film would have been better had it gone before cameras three or four years ago but, by 2005, it feels creaky and out-of-date. The production is suffused by an almost desperate attempt to recapture the mood of its predecessor, but the tone is forced rather than natural, and the resultant production is bloated, contrived, and not very entertaining. The Mask of Zorro worked because of its engaging mix of action, romance, and comedy. The Legend of Zorro goes 0-for-3, striking out as it tries (and fails) to recapture the pleasure offered by the earlier story of the swashbuckling superhero.
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Two Weeks Notice
What can I write about Two Weeks Notice that I haven't written about every mediocre romantic comedy to come down Hollywood's pipeline? There's the cotton candy comparison – the movie is sweet (sometimes too sweet) and airy, with so little substance that it teases without sustaining or satisfying, and is instantly forgotten the moment it is gone. Or the city snowfall metaphor – fresh and full of promise to start, then growing progressively less appealing as the fluff turns to slush. Both are apt when it comes to Two Weeks Notice, a movie that is relentlessly inoffensive and completely unoriginal – two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.
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Teenage Mutant Ninja Turtles 2
Based on the popular comic book series, Teenage Mutant Ninja Turtles follows the title characters (Josh Pais' Raphael, Robbie Rist's Michaelangelo, Corey Feldman's Donatello, and Brian Tochi's Leonardo) as they team up with a tenacious reporter (Judith Hoag's April O'Neil) and a scrappy vigilante (Elias Koteas' Casey Jones) after their master (Kevin Clash's Splinter) is kidnapped by a vicious crime lord known as The Shredder (James Saito).
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Middle school student Roy A. Eberhardt (Logan Lerman) has just moved to Florida from Montana. He is mercilessly teased and bullied. He is exasperated, but then he makes the acquaintance of Beatrice "The Bear" Leep (Brie Larson), and her stepbrother, "Mullet Fingers" (Cody Linley). Meanwhile, the corrupt and ruthless CEO of a pancake company is attempting to construct a new pancake house on a nearby vacant lot.
The future seems bright for Kevin Burke, a security expert for the large multi-national company Jorgensen Financial. Hes just been promoted and is about to propose marriage to his girlfriend Rosalind. But that all changes when Rosalind is murdered before his eyes by a professional hitman. While tracking down her killers Kevin finds himself chased by mob hit-woman Tessa, his co-workers Junior and Mr Ficks and the police. Burkes mentor and employer Karl Jorgensen, enigmatic though supportive, seems to hold the key to the mystery.
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Screenwriter Larry Golin made his directorial debut with this coming-of-age story set in New York. Four friends move in together in a ramshackle apartment in the Bronx as they try to figure out their next move while they finish up their senior year in high school.
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In the film, Karen Davis (Sarah Michelle Gellar) travels to Tokyo, Japan with her boyfriend Doug (Jason Behr) as a foreign exchange student. With Matthew and Susan Williams finding their mother Emma Williams a home, Matthew and his wife Jennifer move in. Days later strange occurrences happen. One afternoon the family's housemaid Yoko mysteriously disappears in the house. Karen is sent to work at the house but is exposed to Kayako's curse. With Jennifer, Matthew, and Susan Williams also mysteriously disappearing, Karen investigates the occurrences that lead her to unveil the truth behind the house and of the Saeki Family massacre years earlier. With learning the revelation Karen informs the authorities and prevents anyone from re-entering the house. As Karen tried to stop her boyfriend Doug from entering the house, Karen encounters Kayako who reveals more background information leading to the massacre.
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The Curiosity of Chance
In Europe in the 1980s, flamboyant and gay 16-year-old Chance Marquis (Tad Hilgenbrink) shows up at an international high school in a top hat and tails, immediately attracting the attention of the "queer-hating" resident bully, among others. Through his involvement in the school newspaper, he meets an introverted photographer with a mysterious briefcase, and while practicing tennis, he befriends a catty fashionista, both of whom act as his wingmen in his new high school. He also meets the jock-next-door, with whom he forms a tentative friendship, despite the jock's cacophonous group of friends. The film follows Chance through a year of high school, with its attendant drama, successes, and hijinks—including sneaking into a drag bar, where Chance begins to explore his true self.
Themes underscored throughout the movie include facing your fears as you grow into adulthood, and the barriers that people put up in order to cope with life. Chance claims to be strong with his nonchalant attitude, but when photos of him in drag show up all over school, Chance must face his own preachings of staying true to yourself.
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Invasion of the Pod People
After a meteor shower in California, Melissa feels that her co-workers and her boss Samantha that work in the agency owned by Vickland are acting differently after receiving a weird plant. She shares her fears with her colleague Billie and with Detective Alexander that are the only persons that she can trust.
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Rayford Steele is an airline pilot whose relationship with his wife has gone sourhe ponders having an affair with an attractive flight attendant, Hattie Durham. In the midst of a flight to London, a number of their passengers mysteriously disappear, and chaos takes hold as a number of vehicles on the ground and in the air are suddenly unmanned. Meanwhile, Buck Williams, a television journalist, is pondering the rash of sudden disappearances as he works on a report about Dr. Chaim Rosenzweig, an Israeli scientist who has devised a formula that would make any soil on earth easy to cultivate. However, Buck wonders if theres more to Rosenzweig than he first imagined when he discovers the doctor is in cahoots with two multi-millionaires who plan to broker the invention to promote their own agenda of international domination.
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MindFlesh is a psycho-sexual horrorthriller about obsession. Chris Jackson is a taxi driver with a childhood trauma. The trauma has made him a portal for obsessions to pass from the mind to the physical world and hence disrupt the worlds multiple planes of reality. Extraterrestrials that police the universe threaten to kill Chris friends unless he conquers his past...