There comes a time when relationships come to a crossroads and the couple either make up or break up. If it is the former, the relationship moves forward, if it is the latter, the relationship comes to an end. When the relationship ends, more often than not, there is anger and pain between the two parties but, through time, they both find a way to heal and move on with their lives. This is not the case with the short film Common Decency.
Who doesn’t like streaming a movie from the comfort of their home? While that may seem like a good thing, director Thomas Edward Seymour’s documentary VHS Massacre Too explores the decline of the exploitation film and physical media in the Netflix era and the impact that is having on film preservation. The doc is one of the best defenses of physical media and independent film that you’re likely to encounter
How well do we really know our friends? Amelia Moses puts that concept to the test in Bleed with Me, a horror film rooted in the psychological with a slow-burn pace. At times, the story is a mind game, and some scenes are completely ambiguous, but overall, it works. The film stands a cut above other thrillers and was a real highlight of the recent Charlotte Film Festival. The film speaks to a deep-rooted fear that those closest to us may not be who we think they are.
The zombie genre has become as tired as a groaning corpse. Even the megahit "The Walking Dead" will end with its 11th season. Yet, 2020 and all it's unleashed upon the world should make the zombie genre relevant again. Director Il Cho’s #Alive feels incredibly timely at moments, especially in its portrayal of isolation and a global crisis. The film’s main flaw, and it’s a big one, is its deus ex machina ending. The conclusion mars an otherwise solid zombie flick.
Any film director that didn’t start off making horror films or have roots in horror rarely jumps into the genre. Why is that? The answer could be a multitude of reasons, but quite possibly the primary reason is because horror is not exactly their cup of tea so to speak. But we can dream, can’t we? I’ve compiled a list of three directors that I would love to see delve into the horror genre. Even though some of these directors might have had horror elements in some of their films, none have directed a straight-up horror film.
In a quest to absorb all things 90s nostalgia, I knew I would feel right at home inside the world of writer-director Jon Stevenson’s Rent-A-Pal. A gritty and neon look at isolation, acceptance, and the errant paths the mind wanders when teetering between fantasy and reality.
When it comes to foreign films, most of us will get turned off having to read subtitles. In the case of the French Horror/Drama Raw by director Julia Ducournau, the visuals capture us early on and won't let go. Now I had heard about this movie many times since its release in 2016, but never gave it a chance. Well, now that we have all been stuck inside from this pandemic I figured now is as good a time as any. Let me tell you, I was not prepared for this journey.
Let me just start this review with the obligatory notice. This review is not me encouraging or dissuading anyone from going to the theater at this time. This is merely my take on a movie itself that is only available in a theater setting at the moment.
Film critic Samm Deighan mused on the Evil Eye podcast, "Why isn't there any Western horror movies? It seems like the perfect combination." I have wondered this myself. Some of the films that have been classified in the subgenre of “Horror Westerns” include Kathryn Bigelow’s vampire inspired Near Dark to S. Craig Zahler’s gory, violent landscape of Bone Tomahawk to name a few. But rarely do you find Western and the supernatural merge together. The Pale Door is one of those films that merge these two elements effectively.
It’s been a long time coming for me to discuss Roger Corman, who I am comfortable calling the Stan Lee of the film industry. Corman is the original rebel who went against the film industry, right as it was falling apart in the 1950’s, and inadvertently rebuilt Hollywood. In his lifetime, he has produced over 400 features, chasing trends and giving a new generation of filmmakers their debuts. So, without Corman, there may not have been Coppola, Scorsese, or any of the “New Hollywood” kids. Corman’s exploitation films made Hollywood take notes on what was profitable. Within those features, Corman directed a little over 50 films, primarily between 1955 and 1971 before taking an almost 20-year hiatus. This could have been it, but in 1990, Corman surprised the world with his last film to date, Frankenstein Unbound, based on the sci-fi novel by Brian Aldiss.