Typically, a brutal murderer’s wardrobe in a horror film is chosen because it’s spooky or hides some kind of physical deformity. It’s no accident in Aik Karapetian’s cruelly vile and unpleasant The Man in the Orange Jacketthat the titular killer dresses that way, and no surprise that he quickly sheds himself of his uniform at the first opportunity.
To have a family someone has to have made a family, which brings the discussion of familial ties to the topic of procreation with, preferably, a loved one. Building a family is an accepted practice of most societies but that is not to say that everyone partakes in it. Some cannot whereas others choose not to. A select number of people do not feel themselves as deserving to be a parent or are simply uninterested in the prospect of raising children. For instance, they may not see the world as is as the place where they would like to offer a young home a home. The question of lineage therefore becomes a moot point for those people. While creating a new generation may not appeal to everyone, it is a commonly accepted practice in virtually all societies around the world. Among those who seeks pursue their genealogical tree? The devil himself, as depicted in Nicholas McCarthy’s latest effort, At the Devil’s Door.
There’s a lot of talk this week about being good, as in a decent person, and what that means. The writers lay it on thick with the scene between Jim and his wife, who has just been accepted into a cancer trial because of Jim’s deal with the devil. “Good things happen to good people, right?” she asks him. “Right?” It’s like she’s just rubbing salt in the wound of his already festering guilt.
Over the past weekend, Scream Factory announced ten new titles to their library that should get all genre fans very excited.
Like father like son is a popular expression used to describe how much the behavior and personality of the former influence and shape the latter. This proves true for a great number of father-son sets, irrespective of cultural or national heritage. Then again, a son can only intake so much philosophy handed down to him by the father. It comes as no surprise that with respect to some salient points and lifestyle choices the son diverges from the path treaded by the father. It’s what makes the son his own person as opposed to a clone of his immediate ancestor.Hwayi: A Monster Boy, the anticipated followup from director Jang-Joon-hwan after Save the Green Planet takes the concept of father-son dynamics to new extremes.
The essence of a confidence game is as follows: the con artist describes a terrific bargain in which the mark is offered a chance in which to invest. Due to the mark’s own greed, he hands over whatever personal assets he must to the confidence man, expecting a greater return that he never receives. Though, as Joe Mantegna’s hustler points in House of Games, it is called a confidence game because they are giving their confidence to you. Not the other way around. This is why, throughout history, people have been known to lose articles of clothing and even their houses.
Made in the tradition of the New York underground, Bag Boy Lover Boyis a portrait of contemporary frustration. Albert is a pitiful hot dog vendor who soon finds himself intertwined in the bizarre world of fetish photography. Albert’s aspirations are centered on his desire to win the affections of a frequent customer at his stall, and her apparent love for art. Raw, funny and twisted, the film rips through the perceived comfort of modern living by putting focus on one of society’s outcasts. Albert is not just a sad sack, he’s more than a little slow and more than a little different.
The live-action adaptation of manga properties in Japanese cinema is just as popular and frequent as Hollywood’ s thirst to translate comic book tales originating from DC, Marvel and lesser-known publishers in North America. Both come with their share of trials and tribulations, such as what to leave in, what to leave out, and what to change in order to smoothen the transition from the page to the silver screen. TheCrows series — which began with 2007’s Crows Zero, wasfollowed by 2009’s Crows Zero 2, and continues with this year’s Crows Explode – is in a special situation considering the change in directorial talent handling each entry. The first two were guided by the crazy genius that is Takashi Miike (which is completely normal considering the premise), whereas the latest entry is shepherded by Toshiaki Toyoda.
The irony of the penniless cult and mind-control expert is not lost on us. Ansel Roth’s got the tools to get your loved ones back within your grasp, he’s written them down for all to read, but here he is selling copies of his latest book one hotel conference room at a time, living out of an AMC Gremlin, fishing meal vouchers out of the trash, and shoveling ketchup in his mouth with a fork. He used to be a big shot with a bestselling book and a TV show, but that doesn’t stop him from getting beat senseless in front of a half-full room at a regional hotel. Nor will it stop The Wire and Toys R Me’s own Lance Reddick from showing up in the parking lot afterward, smilingly vicious as ever, asking for money his boss is owed.
Twenty years ago, if someone said that ‘zombie romantic comedy’ was going to become an actual cinematic sub-genre, they’d have been called a witch and burned at the stake. And yet, they would have been right, and Fantasia 2014 has seen the unveiling of yet another film in the rapidly expanding genre, Life After Beth. Starring Aubrey Plaza of Parks and Recreation and Dane DeHaan, recently of The Amazing Spider-Man 2,Life After Beth is best described as a zombie breakup comedy. It’s also best described as “decent, but not amazing”, a serviceable enough zom-rom-com kept afloat mostly by the supporting cast.
Last week, I said that The Strain would live or die based on how it balances the silliness with the seriousness. This week, it gave us no indication which direction it will be going in, instead giving us an incredibly boring episode of clichés, which is very disappointing.
“The Box” is an episode of our protagonists moving far slower than the audience, dulling the momentum almost entirely. We spend a little more time with our ensemble, including Gus and his stereotypical Hispanic family, in a scene full of clunky dialogue establishing backstory and characterization for people that are either unimportant or uninteresting. Gabriel, the rock star, hangs out with some naked women because he’s a rock star, and becomes the first of the plane’s survivors to find a taste for blood.