Anyone who’s a fan of J-Horror and/or Sion Sono’s filmmaking style and nihilistic worldview should check it out.
What would happen if you were “reborn” as your ideal self? Ahead of its time, John Frankenheimer’s SECONDS (1966) gives a frightening answer to this question.
Living Among Us (2018) is the second feature-length horror movie by indie writer/director/producer Brian A. Metcalf (The Lost Tree, 2016). It’s a competent production. The film boasts a cast that includes Esmé Bianco (Game of Thrones, 2011-3), James Russo (Donnie Brasco, 1997), William Sadler (The Shawshank Redemption, 1994), and the late John Heard (Home Alone, 1990). Yet, its story is familiar and weak, as is its POV video aesthetic. Its production design and acting also could have been better, even given the limitations of its low budget. The film’s negative aspects outweigh the positives, especially for the seasoned horror fan.
The source of evil in this film is as interesting as its personification in demonic form.
The first in a series of “coming attractions” in 2018, this post previews Lars von Trier’s next feature film, THE HOUSE THAT JACK BUILT.
The fourth installment of the “Insidious” series opened in US theaters today. For Loud Green Bird, it’s an opportunity to take a look back at the first three movies before seeing the fourth one.
Shot in black-and-white for the drive-in and grindhouse circuit, this surrealistic, low-budget, independently produced horror movie became a cult classic decades later through repeated late-night showings on television. Its director, Herk Harvey, an experienced and award-winning industrial filmmaker, came up with the basic concept for the story while driving past an abandoned lakeside pavilion in Utah — the one that figures prominently in the film — on a business trip. Imagining the danse macabre at the film’s close, he convinced co-worker John Clifford to write a screenplay based on it. The result was “Carnival of Souls” (1962), Harvey’s first and only completed narrative fiction feature. Although consigned to relative obscurity for many years, this movie is now recognized as a genre antecedent and a stylistic precursor for well-known, unconventional films like George A. Romero’s “Night of the Living Dead” (1968) and David Lynch’s “Eraserhead” (1977).
On one level, this “Netflix original” flick seems like that proverbial “film we’ve seen before” — several times, in fact. It’s a coming-of-age-through-trial-by-fire story that’s fittingly described by cliches. On another level, but related to this one, it’s a semi-clever horror comedy. How much you’ll enjoy it depends on at what level you receive it.
SHEITAN (Kim Chapiron, 2006) is a French take on the classic American hillbilly horror film, seasoned with themes and tropes from the New French Extremity.
Billed as a sci-fi/horror film, Life (2017, dir. Daniel Espinosa) is more accurately a semi-lame thriller based on the familiar sci-fi trope of contamination by an alien species.