The strong negative reaction to Walter Hill’s most recent directorial effort has more to do with disappointed expectations than controversial material.
When repetition is the name of the game – and your film isn’t Run Lola Run – it’s not an encouraging sign.
While the inevitable comparisons between Blair’s directorial debut and the Saulnier pictures in which he appears might find Blair’s film lacking, it’s really a case of ‘apples and oranges.’
Innocuously tragicomic at first, this indie film escalates first to the darkly comic and finally to the abjectly horrific.
The implication of its title is that the movie SCHERZO DIABOLICO is a diabolical prank. But who is its devil and what is the joke?
Sometimes, lowered expectations win out over loftier ideals.
Hellhole is a glorious mess, albeit one rich in the currency of absurdity.
The Neighbor never really ventures into exploitation for its own sake, and its socioeconomic subtext makes it more ambitious than anything else Dunstan and Melton have contributed to horror.
Since Mickey Keating’s debut as a writer-director with Ultra Violence (2011), his films have become more stylized and postmodern. This trend is general and not a relentless march with each new release. Still, his most recent effort, Carnage Park (2016), is arguably his most self-conscious bricolage of genres and styles, combining elements of the Western (a la Peckinpah), unconventional storytelling (in the vein of Tarantino’s work), and horror tropes. But does it work (and if so, for whom)?