Evil Dead (2013)
It has been a slow few months in Blu-ray release land, but I’ve finally got one that I think is collection worthy, especially for you horror fiends out there. If you are any kind of a horror fan, you rushed right out in April to dry heave over all the nastiness in Fede Alvarez’s rusted Evil Dead reboot. While it wasn’t particularly scary, the film was a boomstick blast of brutality that had to be seen to be believed. Evil Dead also turned out to be one of the better horror remakes that I’ve ever seen, and trust me, they very rarely get my approval (to date, the only ones that I really like are Dawn of the Dead (2004), The Hills Have Eyes (2006), Halloween (2007), and The Crazies (2010)). Visually striking and hugely entertaining, Evil Dead will most certainly look amazing on your 1080p television and makes for a wicked little alternative for when you’ve worn yourself out on Sam Raimi’s 1981 original. If you’ve got a Target nearby, make sure you head there to get your claws on the Target Exclusive Steelbook Edition, which has some killer box art. Some of the special features include a number of documentaries, a commentary with the cast, and even an interview with none other than Bruce Campbell.
So, if you wish to read Anti-Film School’s review of Evil Dead, click here. Otherwise, grab those credit cards and head over to Target so you can add this beast to your horror collection. It is one of the few remakes that deserves to be there.
-Theater Management (Steve)
by Steve Habrat
After some of last year’s massive releases (The Hunger Games, The Avengers, The Amazing Spider-Man, Prometheus, The Dark Knight Rises, The Hobbit), you had to wonder if 2013 could even hold a candle to what blockbusters blasted their way through the local Regal Cinemas in 2012. It turns out that 2013 looks to be packing some seriously entertaining movies that will be luring us in droves to the theater throughout the year. So, without further ado, here are ten movies I just cannot wait to see this year. I’ll see ya at the theater.
10.) Monster’s University
Let’s be honest, in the past two years, Pixar has sort of been tanking. Absolutely no one but a rabid bunch of seven year olds was asking for a sequel to Cars and Brave had its heart in the right place but it fell short of being a true classic. Enter those lovable spooks Mike and Sully from Monsters, Inc, who may just be able to shake Pixar out of their frustrating funk. If you haven’t seen the trailer for the movie, do make sure you check it out. It’s absolutely hilarious. Acting as a prequel to Monsters, Inc, Monster’s University shows us all how Mike and Sully met in college and how they formed their friendship. There is a lot riding on this, Pixar, so don’t screw it up.
9.) Pacific Rim
Since 2008, visionary director Guillermo del Toro has been busy playing the role of producer to some middle of the road horror movies and some lackluster animated features. This summer, the director of Hellboy and Pan’s Labyrinth returns to the director’s chair with Pacific Rim, an apocalyptic science-fiction epic about giant monsters emerging from a portal under the sea and ripping humans to shreds. Well, it just so happens that the humans have developed giant robots that are capable of kicking monster ass. The trailer looks like the coolest B-movie you will ever see and the action looks like it will shake down the walls of the theater. Count me in, Mr. del Toro. I’ll be there wearing a pair of 3D glasses and a smile from ear to ear.
8.) World War Z
Everywhere you look these days, it is all about zombies, which isn’t a bad thing. Naturally, Hollywood is taking notice (again) and bringing World War Z, the zombie epic from Max Brooks, to the big screen. Yes, the trailer isn’t a complete knockout and it is directed by Marc Foster, the director of the forgettable Bond movie Quantum of Solace, but it did appear to have some MASSIVE zombie action. If you’re looking for another plus, look no further than Brad Pitt, who is starring as a terrified family man in this epic adventure of the undead. While I don’t expect it to match the quality of the book, it has been a while since there has been a really great zombie movie in theaters. It’s about time we got another zombie fix!
7.) Evil Dead
Initially, I wasn’t sold on this spiffed up remake of Sam Raimi’s horror classic but then I laid eyes on the gore-drenched trailer. My jaw was on the floor and I considered jumping onto Fandango to grab an advanced ticket right then and there. Produced by Raimi, original star Bruce Campbell, original producer Robert G. Tapert, and directed by Fede Alvarez, Evil Dead looks like it will be THE horror movie to see this year. The trailer has it all, the boomstick, arms being sawed off, showers of pus, firehose blasts of blood, tongues being cut in half, and, yes, those frisky trees. If you are a fan of horror or Raimi’s terrifying original, you’re probably already in line. I’m going to call it now and say this movie is going to rock.
6.) The Great Gatsby
Originally supposed to be in theaters on Christmas day 2012, this lavish interpretation of F. Scott Fitzgerald’s classic story looks like it is going to pack enough eye candy to fuel a dozen blockbusters. It’s directed by Baz Lurhmann (Romeo & Juliet, Moulin Rouge), so you know it will be hip and stylish, and it stars none other than Leonardo DiCaprio in the lead role, which automatically makes it a must see (Did you see him in Django Unchained?!). Certainly an odd release for summer 2013 (and in 3D?), it should be interesting to see how the film lands with critics, especially since it is never a good sign when a release date is tinkered with, and how the film stacks up against its superhero (Iron Man 3, The Wolverine, Man of Steel) and science fiction (Star Trek) competition.
5.) Kick Ass 2
I’m a superhero nut. If you haven’t figured it out by now then there may be something wrong with you. I absolutely LOVED 2010’s Kick Ass, a film that ended up making my ten best of that year. It was bizarre, controversial, funny, smart, exciting, and just plain unique. With director Jeff Wadlow (Cry Wolf, Never Back Down) taking over original director Matthew Vaughn (X-Men: First Class, Layer Cake), I fear the film may not hit you across the face like the first film did, but with Jim Carrey signing on as ex-mobster-turned-superhero Colonel Stars and Stripes and even more of Chloe Grace Mortez’s foul-mouthed Hit Girl, how could you not be intrigued?
4.) The Lone Ranger
Many people are already trashing Gore Verbinski’s The Lone Ranger, labeling it a dud before it even hits theaters. Give it a chance, people! I understand that Cowboys vs. Aliens left a bad taste in your mouth but this should be infinitely more fun than that piece of trash. With the very talented Armie Hammer (The Social Network) behind that famous mask, Johnny Depp bringing heaping amounts of weird to Tonto, and plenty of smashing and crashing trains, this should be a big, loud, and rollicking adventure across the west. Plus, the first Pirates of the Caribbean movie was really good and Rango proved that Verbinski is up-and-up on his westerns. So, can we stop judging this before we see it?
3.) Star Trek: Into Darkness
If you are one of the people who has yet to see J.J. Abrams’ first Star Trek movie, you may want to just run out and pick up the Blu-ray now. It’s THAT good and I’m not even a Star Trek buff. After a lengthy wait, we FINALLY get a follow-up that looks like it will smash the first film to smithereens. Cities are leveled, Pine’s Captain Kirk looks like he has finally met his match, Zachary Quinto’s Spock looks like he is finally getting with Zoe Saldana’s Uhura, and Benedict Cumberbatch looks like he is going to make your skin crawl as Khan. Who’s up for the midnight showing?
2.) Iron Man 3/Thor: The Dark World
A tie at number 2?! Come on, guys, we can kinda lump these two together. The Avengers kicked major ass and you know full well these two films will be working hard to both set up The Avengers sequel and sort of tie in with each other. Plus, the first Thor was a pleasant surprise and Iron Man 3 looks like it will have some rip-roaring action that will have you jumping back in line for seconds. I mean, did you SEE the Super Bowl trailer for Iron Man 3? I thought so. We have yet to see a trailer for Thor: The Dark World but I’m confident it will be just as impressive. Keep up the good work, Marvel. Don’t let us down now.
1.) Man of Steel
Being a massive DC comics fan (my favorite superhero is Batman), I’m always rooting for their movies but I think we can all agree that they have produced some major duds over the years. The last time we saw Superman, he was hovering around Metropolis in Superman Returns, sulking over Lois Lane, fighting Lex Luthor (again), and creepily watching a kid he believed to be his son. It was a huge disappointment and also the cure for insomnia. Thankfully, Brandon Routh and Bryan Singer are out and Zack Snyder and Christopher Nolan are in for Man of Steel. Yes, I know Snyder has directed a few questionable films (300, Sucker Punch) but he did a bang up job with Watchmen (I’m sure many will disagree with me there), and Nolan managed to produce the greatest superhero trilogy of all time (The Dark Knight Trilogy). Together, it appears that they may have successfully reinvented Supes and made him exciting again. The two trailers we have seen so far have suggested a darker atmosphere and a brooding tone, but boy, does this movie look exciting. With an all-star cast in place and General Zod being the villain (excuse me while I nerd out for a minute), Man of Steel is shaping up to be the must-see film of the summer.
Didn’t see the movie you’re looking forward to on this list? Leave a comment and tell me which movie you can’t wait to see. I love hearing from you!
by Steve Habrat
Director Ti West’s The House of the Devil, a fussy tribute to 1980’s horror films, would have seemed right at home in Robert Rodriguez and Quentin Tarantino’s Grindhouse. Perhaps Grindhouse was supposed to be a triple feature and this is a long lost entry?! From the retro opening credits to the coarse camerawork, all the film needed was some digital scratches added in and this could have been a long lost film from the 1980s. For a good majority of its runtime, The House of the Devil is all superb build up. West mounts tension like a pro and leaves the viewer wondering where the film is going to go. Those who have no prior knowledge about the film are in for a shock when the finale roars onto the screen. The climax is both a blessing and a curse for The House of the Devil, satisfying the monster movie crowd while also driving the film into excessively bloody territory. It is the go-for-broke finale that also makes the film seem like it was the forgotten addition to Grindhouse.
Levelheaded college student named Samantha (Played by Jocelin Donahue) is desperate to get out of her dorm where she shacks up with her messy and inconsiderate roommate. Samantha finds the perfect apartment but she is unable to afford the pricey security deposit. The sympathetic landlady agrees to let her have the apartment for just the first month’s rent, which is still slightly a problem for Samantha because she has very little money in her checking account. Samantha soon discovers an odd babysitting job for the vague Mr. Ulman (Played by Tom Noonan), which promises to pay a large sum of money for one night of work. Much to the protests of her best friend Megan (Played by Greta Gerwig), Samantha agrees to take the job, even though the description is slightly suspicious. The babysitting job also happens to line up with a rare lunar eclipse, which has the whole college town buzzing. As the night goes on, Samantha begins to suspect that there is more to the babysitting job than she has been lead to believe.
Director West refuses to hold our hand through much of The House of the Devil, leaving us stranded alone with the protagonist Samantha. West understands that by limiting the amount of characters, it ups the horror ante. We aren’t given the reassurance that multiple characters bring to the table, allowing us to take shelter in the thought that at least a few of these people will make it through the horror. Oh no, Samantha endures a night of terror alone with basically no hope for help, a touch that I really loved. It harkened back to the first time I watched Evil Dead, and the agonizing experience of watching Ash fight to see the morning all by himself. But West also refuses to spoon feed the many plot points to the audience, an approach that both aids in the horror of The House of the Devil but also hurts the payoff. One character’s identity is largely unknown to the audience (although you should be able to pinpoint who he is rather quickly if you are pay attention) and the bloody ending is a bit incoherent and left up for debate with what was actually happening. The incoherent ending does have a plus side, mostly because our lack of information at the end does add to the spookiness of the events that we witness.
West also deserves credit for what he does with set direction and accomplishing the task of transporting us back to the eighties with just a few costumes, a car, an old television set, and a dated pizza shop. It’s obvious that the budget was tight on The House of the Devil, something that always is beneficial because when horror gets a lot of money, valid scares and atmosphere are replaced with CGI monsters. Yet with some high-rise jeans, a Walkman, some clever song usage, and the actual appliance of make-up of the climax’s monster, West achieves a lot with very little. It genuinely feels like it is from the heyday of horror, when things were a lot more restrained and we were a much more patient audience. West allows the style to almost work as a third character, allowing it to grow on screen as the film moves along. I was almost anxious to see what little touch he would throw in next. It culminated in a horror movie special on the local channel that plays George Romero’s Night of the Living Dead. Very cool, West! I call the style in The House of the Devil a character because it is something that older viewers who lived through and clearly remember this era can relate to, have fun with, and reminisce over. West clearly isn’t doing it just because he thinks its hip.
The acting in The House of the Devil is also top notch, always serious and never hammy. The credit falls on the shoulders of Donahue, who does much of her acting alone. She’s a bit geeky but in a cute way. She is studious, driven, and organized, aspects of her personality that we gather both visually (from her dorm room) and verbally (she is kind of a worrywart). I found myself genuinely fearing for because I found her to be such a sweet girl. I also loved her interaction with her pal Megan. Gerwig gives Megan a feisty side, laying on the opposites attract device rather thick. It’s all in a friendship way in this film. Megan seems more interested in going out and having a good time where Samantha seems like more of a shut in. Tom Noonan as Mr. Ulman is heavily suspicious from his first appearance, playing a tense and faintly sympathetic bad guy. Mary Woronov shows up briefly as Mrs. Ulman, who seems like more of a threat than Mr. Ulman. AJ Bowen shows up as a mysterious bearded man who stalks the home that Samantha is watching.
The House of the Devil is for the diehard fans of the horror genre. Those seeking a fast paced thrill ride will be severely disappointed with what West serves up. The resourcefulness is focused and regimented and the build up is the work of someone who knows how to generate dread in anticipation, something largely missing in mainstream gorefests. When researching the film, I found out that the film was released in VHS form for the promotional side of the film, something that adds to the character of the style and adding to the forgotten gem from the early eighties feel. West did a great job making me feel like I found the movie on the dusty shelves of a run down video store. I wish that West had tweaked the final twenty minutes of the film and toned down some of the absurdity of it. The House of the Devil is scary; that I promise you (one scene near the end really freaked me out and all that you see is a hand coming out of a cracked door) and it is perfect to watch late at night with all the lights out (which I did). Despite its flaws, it’s the perfect sleepover movie or midnight flick for those who long for a time when horror actually had some balls.
The House of the Devil is now available on Blu-ray and DVD.
by Steve Habrat
Before the unnecessary 1998 remake of Psycho, a film that certainly was not begging to be remade, the 90’s saw the altar of George Romero desecrated by make-up artist turned director Tom Savini’s utterly pointless carbon copy of Night of the Living Dead. To this day, every time I sit through it, I can’t help but ask “why?” To be fair, I suppose we are still asking that very question today, as we’ve seen every classic remade or re-envisioned. Astonishingly, Romero is listed as an executive producer here, further making this finely tuned machine even more enigmatic especially today due to his outward disapproval of the 2004 remake of Dawn of the Dead. Tom Savini’s Night of the Living Dead slips up from its perfect execution, maddening tweaks to the story, and, well, the use of color. The film is vacant of any real terror and it seems touched by Hollywood, especially the electric guitar and synthesizer score that distractingly bellows over the arguing between the iconic characters. What made the 1968 Romero classic such a landmark was it’s rough around the edges presentation, never shying away from what it really was: an unapologetic horror film with attitude. Savini misunderstands that the film itself posses the anger and the characters were there simply to guide it along its path. Here, Savini makes every character angry, while the studio grabs the film by the hand and leads it along, leaving it’s furious independent sensibilities behind to be eaten by the make-up heavy undead.
Night of the Living Dead ’90 has no place in the era that it was made. It wasn’t a time that was gripped by panic, fear, violence, and uncertainty. Stripped off all its political and social relevance, there is no reason for the dead to walk other than for Hollywood to showcase their latest special effects. The storyline for Savini’s contribution is basically the same, a dysfunctional brother and sister, Johnnie (Played by Bill Moseley) and Barbara (Played by Patricia Tallman), take a road trip to visit their deceased mother’s grave. Upon arrival, several ghouls instantly attack them and the irritating Johnnie imitation bites the dust. Barbara frantically makes her escape to an remote farmhouse where she bumps into zombie killing juggernaut Ben (Played by Tony Todd), testy Harry Cooper (Played by Tom Towles), Harry’s cooperative wife Helen Cooper (Played by Mckee Anderson), and the young Tom (Played by William Butler), and his frizzy haired girlfriend Judy (Played by Katie Finneran). The bickering group attempts to board up and defend the farmhouse from the restless corpses who lurk outside. The group soon falls victim to their own unwillingness to work together, forcing them to make a desperate final effort to survive until morning.
About the only contribution this film makes to the annals of the horror genre is a profession approach to the source material versus what Romero, then a novice filmmaker, produced in 1968. Everything here is a notch more ornate, which makes the events seem preposterous and inane. Some of the zombies border on demonically possessed human beings much like what was found in Sam Raimi’s Evil Dead. They wear cloudy eye contacts and have yellowed skin. Some have their stomachs sewn up while other animated corpses loose their garments due to the slits cut into the back of the clothing so they could be easily dressed. It looses the “they are us” echoes that resonated through the original. The film attempts to drive the “they are us” idea home, giving the line to Barbara who slips it in at climax. Romero’s zombies were never this intricate, making the ghouls assaults all the more unfathomable. What has happened to these individuals? These are our families, friends, neighbors, coworkers, etc. Here, they seem like filler background characters. They are the furthest things from “us”. The ghouls resemble Halloween decorations you toss out into your front yard.
If the fact that you are sitting through the remake of Night of the Living Dead is maddening enough, the acting will send you through the roof. No one in this film brushes a subpar performance, with characters that find themselves frenzied who shouldn’t be and characters making drastic turns in their personality. Barbara, who in the original film was sent to a state of shock and never fully returns, snaps out of her catatonic state and becomes a pistol packing sex symbol. It’s awkward. Ben is all melodramatics, shrieking to the heavens when he dispatches a contorted zombie heap. Why would he be kneeling out in the front yard shouting at the sky? You’re going to attract more zombies, you dumb ass. Ben also appears to be looking for a fight in this version. I preferred him as the calm and collected individual who pushed back only when he was pushed far enough. Helen Cooper remains largely the same given she is only a minor character and Harry is still his difficult self. He insists everyone stay in the cellar and refuses to help board up the windows. Judy and Tom, the confused youths caught in the middle of the warring pairs, act like dimwitted hillbillies. Judy is always blubbering yet somehow she pulls it together to drive the getaway truck to the gas pump on the property. Don’t get me started on the alteration made to how the truck is engulfed in flames. In 1968, it’s an accident. In 1990, it’s just plain stupidity.
Night of the Living Dead 90 is amusing for all of the references to the 1968 original. The alterations still make reference to the original film, the most obvious is the scene where Harry and Helen’s daughter Sarah (Played here by Heather Mazur but made famous by Kara Schon) rips her mothers throat out with her teeth opposed to dispatching her dear old mum with a cement trowel. As she eats at her mother’s neck, blood splatters across the cellar wall where a cement trowel hangs. It doesn’t help that Sarah resembles as large colonial doll done up like a vampire. It’s not nearly as traumatic as the original death scene. The film also relies on more gore to keep the horror fans glued to the action. There are more infected wounds on the zombies, more gunshots to the head that end with a shower of brains leaking down their foreheads, and charred bodies are munched on. The original only showed brief glimpses of the savagery, mostly leaving the truly vile stuff to the imagination. Savini, who was a photographer in Vitenam and did gore effects for Romero’s Dawn of the Dead and Day of the Dead opts the sadism to be up close and personal.
This film is largely forgotten for a reason. I’d bet money on the fact that many do not know a remake of the Romero classic exists. This film lacks any attention-grabbing camera work, every shot remaining immobile. Romero may have been a new kid on the block in the filmmaking neighborhood, but he filled his work with artistic camerawork and some fairly bizarre Dutch tilts at inimitable times. Romero knew how to creep us out and make his film an atypical nightmare. There is none of that here and it’s as if Savini was reading from a “How To” book on filmmaking. It’s a simple wide shot, medium shot, close-up, repeat. He never takes a risk and the only brush with risk is the nod to Dawn of the Dead at the end, in which Barbara joins a merry gang of hillbillies hunting the ghouls and making a party out of it. The film is also sluggishly edited together, another departure from Romero’s classic. He applied frantic, pithy editing that bordered on visual nails on a chalkboard. It honestly made me squirm the first time I saw the original. It added another layer of intensity. This film wouldn’t know intensity if it bit it on the ass. Night of the Living Dead ‘90 is flat, artless, and minimal, banished to the murky depths of horror for good reason. Hopefully, it never rises up like on of its undead protagonists to see the light of day or the black of night again. Grade: D-