Make no mistake: Breeders is bad, but it’s the type of Troll 2-styled idiocy that is informed by a distinct (albeit consistently misguided) vision, and is therefore impossible to look away from.
And isn’t this what Rosemary’s Baby ultimately teaches us? That even in a city as sprawling as New York, evil is present behind the faces of those we thought we could trust?
There is a strange, perverse, serendipitous feeling watching Rosemary’s Baby. This first of Roman Polanski’s American films opens with a New York City urban landscape outstretched and panned across, as if what we see is some malevolent box metal toy, wound up and played on the tune of some woman humming an intently sweet and ambiguous lullaby. But instead of some creepy jack-in-the-box, we get something much different in the end. Much more sinister. And utterly human, regardless of its supernatural parentage.
Although Freeman Lowell (Bruce Dern) seems like a “retro” persona from a bygone era, he and the film (“Silent Running,” 1972) in which he appears are still relevant in the 2010s.
I wrote about John Carpenter’s cult horror classic The Fog (1980) as a cinematic example of the fury of Nature for my contribution to Barry P.’s “Nature’s… Read more “Nature’s Fury in John Carpenter’s “The Fog” (1980)”
After watching thousands of movies, it’s easy to surmise that making a terrible movie is the direct result of a lack of skill; cynicism or delusion can… Read more “Tim Kincaid Focus: “Bad Girls Dormitory” (1986)”
Warning: If you have not seen the original Martyrs, do not read this article. Instead, scroll to the bottom of the page, watch Bleeding Critic’s video review, then… Read more “Extreme Horror: Pascal Laugier’s “Martyrs” (2008)”
The label “extreme horror” means not only shocking content, a plausible story, and good acting. It also involves a contemporary feel that allows a horror film to bypass audiences’ disbelief and target their primitive fears. The Hills Have Eyes and its remake are good examples of how horror needs to challenge the moving targets of norms and boundaries to remain relevant and effective.
If “Nina Forever” is, at least in part, about the dangers of wanting to be “dark” (as I argue in my review), then “May” (2002) addresses the downside of being “weird.”
Despite its genre status as a science-fiction film, “Solaris” is as much about the present as it is about the future.