Halloween 4: The Return of Michael Myers

"Halloween 4: The Return of Michael Myers" (1988, Dwight H. Little, Trancas International) is the fourth instalment in the Halloween franchise and a direct sequel to Halloween 2.

Michael Myers (George P. Wilbur, Tom Morga & Erik Preston) wakes from a coma and discovers that his sister Laurie has been reported dead, but had a daughter called Jamie (Danielle Harris) who is living in Haddonfield with a foster family. He makes a murderous bee-line towards Haddonfield to find her, whilst being tailed by Dr. Loomis (Donald Pleasence).

The film is a pretty by-the-book slasher movie and pales, of course, in comparison to the original. Donald Pleasence, as ever, manages to deliver a dedicated performance, and Danielle Harris gives a strong performance as the young Jamie, however overall Michael is just slashing over familiar ground and it lacks the tension of its predecessors. Despite that, it remains an entertaining film and is still worth visiting for some old fashioned slasher movie nonsense.

[Image: Trancas International]

Hani

Halloween (2018)

"Halloween" (2018, David Gordon Green, Miramax, Blumhouse Productions, Trancas International Films, Rough House Pictures, Universal Pictures) is a direct sequel to John Carpenter's original 1978 classic slasher, "Halloween". The film is set in present day and ignores all other sequels existing in the series.

We catch back up with Laurie Strode (Jamie Lee Curtis) who has lived a life of seclusion and paranoia with PTSD after the events of Halloween night 40 years previously in Haddonfield. She is estranged from her daughter, Karen (Judy Greer) and her family, but her granddaughter, Allyson (Andi Matichak) is keen to reconnect with her.

Concurrently, we learn of the fate of Michael Myers (Nick Castle and James Jude Courtney) through the investigations of Aaron (Jefferson Hall) and Dana (Rhian Rees) who are researching him for their true-crime podcast. He has spent the last 4 decades in a high security sanitarium. When being transferred to a high security prison, however, Michael manages to escape and heads for home to celebrate Halloween in the only way he knows how: by murdering a bunch of innocent bystanders...

Seeing the film on opening night was definitely a good experience. The crowd were good fun, but not rowdy enough to ruin the tense scenes in the film. The film plays out a little more like an action movie than a horror, but pays good homage to the original in so many ways without feeling like it's treading old ground. Where the original is a study in tense pacing, this film packs in a lot of action and some very effective gore. There are also bursts of humour that I felt added to the plot (I particularly loved the scenes with sassy kid, Julian (Jibrail Nantambu), who seemed to be the most sensible person in the movie).

Jamie Lee Curtis gives us an emotionally charged, but feisty return performance as Laurie; a woman who has been through a lot and not been able to move on. And both Karen's and Allyson's actions and feelings are understandable. The women are all strong characters but are not infallible. Their humanity is in great contrast to the Shape's lack of it.

A strange turn of events reminiscent to Halloween 6: The Curse of Michael Myers does present itself, but does not derail the overall plot. All in all, I really enjoyed this sequel and, while it's certainly not perfect, I felt that it both slotted in as a continuation and updated the franchise effectively; bringing back Michael Myers once again to his ominous glory.

[Image: Blumhouse Productions, et al]

Hani

Summer of '84

"Summer of '84" (2018, François Simard, Anouk Whissell, Yoann-Karl Whissell, Brightlight Pictures, Gunpowder & Sky) is an homage to the '80s.

Following on from the nostalgia laden genius of "Stranger Things", "Summer of '84" brings in elements of many of the 80s' genre greats including: "The Goonies", "The Monster Squad", "Fright Night", "Stand By Me" and "The 'Burbs". And while it doesn't quite match up to Stranger Things' fine crafted blend of nostalgia and pacing, it was far from a bad film.

We meet teenager, Davey Armstrong (Graham Verchere), and his friends, Dale "Woody" Woodworth (Caleb Emery), Tommy "Eats" Eaton (Judah Lewis) and Curtis Farraday (Cory Gruter-Andrew). They decide to follow their own investigation into a local kidnapping spree and their suspicions lead them to Davey's neighbour; police officer Wayne Mackey (Rich Sommer).

The boys begin hunting for evidence that the jovial Mackey is actually harbouring a deep, dark secret. But they'll face challenges on the way... and possibly some serious repercussions.

A fun film that suffers from a few pacing issues but enjoys some serious jolts, a gripping ending and a believable recreation of the era. The characters have enough quirks and backstory to keep them feeling rounded, and the plot keeps a good sense of mystery where one minute we think the lads are right on track and the next we think they may be making a huge mistake.

Pleasant viewing with a bit of darkness around the edges.

[Image: Gunpowder & Sky, et al]

Hani 

The Greasy Strangler

"The Greasy Strangler" (2016, Jim Hosking, Drafthouse Films, Rook Films, SpectreVision, Timpson Films, Filmrise) is a surreal dark comedy horror film about a killer who strangles victims to death while wearing nothing but a layer of grease... It's also a film about love, betrayal, weirdos, nakedness and disco... Kind of.

Big Ronnie (Michael St. Michaels) is a strange man who runs a disco walking tour with his son, Big Brayden (Sky Elobar). The tour offers little in the way of facts, disco or free refreshments; much to the chagrin of the customers. The father and son also live together, hang out a lot in their underwear and eat a lot of excessively greasy food; just the way that Big Ronnie likes it. Big Ronnie also enjoys moonlighting as a greased up murderer in the buff, washing himself off at the end of his escapades at a car wash run by his blind disco friend, Big Paul (Gil Gex).

Big Brayden meets Janet (Elizabeth De Razzo) on one of his father's walking tours, and the pair fall in weird love, much to the distaste of Big Ronnie. The perturbed Ronnie begins a campaign immediately to win Janet over from his son.

A very marmite movie that will either have you rolling your eyes and laughing or completely repulsed. Maybe both. The characters are outlandish and dirty and the dialogue is purposefully stilted. If you're up for watching some fully frontal nudity with a lot of swinging prosthesis' and a fair amount of cartoonish gore then this is the movie for you.

This is a film that will stay with you forever and have you wondering why you watched it for weeks, possibly years, to come. And yet, like me, the experience has probably taught you nothing and you will definitely watch more like it in the future.

[Image: Drafthouse Films, et al]

What a pair of bullshit artists!

Hani

Creep 2

"Creep 2" (2017, Patrick Brice, Blumhouse Productions, The Orchard) is the sequel to 2014's "Creep".

Following on from the previous film, our murderous weirdo (Mark Duplass) is now going by the name Aaron (which is the name of his victim in the original film). He seeks the desperate help of aspiring (and failing) YouTuber, Sara (Desiree Akhavan), having lost his thrill for the kill during his most recent stalking of a guy called Dave (Karan Soni).

Sara's experience with seeking out weirdos online to film for her YouTube show make her a stalling subject for Aaron, as she is more than willing to take his weirdness face-on and doesn't seem phased by his antics whatsoever.

The two spend some time trying to scare one-another before Aaron unleashes his full weirdness upon Sara in an attempt to 'end' his film.

Although it lacks some of the mystery that the original thrived on, I enjoyed Sara's character not falling into a 'damsel' role and maintaining a strong, if flawed, protagonist character. She puts herself into a terrible situation and does not escape when it's smart to in her desperation to succeed in making her video. But she handles Aaron's behaviour and comes across as an equally weird, yet determined character.

Duplass maintains his usual wackiness as the titular creep and, although the film is fairly meandering and awkward, it keeps its strange charm that makes you want to stick with it to the end and see where it's going.

[Image: Blumhouse Productions]

Hani

Most Likely To Die

"Most Likely To Die" (2015, Anthony DiBlasi, Snowfall Films, Marvista Entertainment) is a slasher movie about a high school reunion gone wrong.

A group of friends arrange a party the night before their 10-year high school reunion. They soon realise that they're being picked off one by one by a slasher-killer wearing a graduation outfit. Each of them meets their fate in a way related to what they were voted "most likely to..." in their high school year book. The friends begin to suspect that the killer may be a guy who they played a terrible prank on in senior year, resulting in ruining his life... But, how could it be, when they were sure he was dead?

The film has a very 90s feel to it, despite being made in 2015. However, its predictable nature and style wears a bit thin after a while and it become less charming and more formulaic. The characters are very disposable and 2-dimensional, so there's very little emotion invested in their untimely deaths.

All in all, it has a made-for-tv quality that puts it firmly into the teenage-sleepover-party movie box.

[Image: Snowfall Films, Marvista Entertainment]

Hani

The Cell

"The Cell" (2000, Tarsem Singh, RadicalMedia, New Line Cinema) is a psychological horror about the mind of a serial killer.

Catherine (Jennifer Lopez) is a child psychologist who is on a team leading the way in a new, experimental treatment for coma patients using virtual reality and mind-connecting. She is brought in on a case with a deranged serial killer (Vincent D'Onofrio) when he goes into a coma before the FBI could find out the location of his most recent victim. Catherine and FBI agent, Peter Novak (Vince Vaughn), are in a race against time to save the girl before it's too late. But can Catherine survive being inside the mind of the killer?

I did not know what to expect going into this film but I have to say it actually performs quite well. Lopez gives a relatively good performance as the concerned dr and as the kick ass virtual lady. And it was strange to see Vince Vaughn in a serious role, but his obsessive, desperate FBI agent character came across quite well.

The effects are beginning to look a little too over-processed in comparison to today's effects, but still give a good virtual impact. The makeup and costumes are really spectacular as well. The virtual reality dreamscapes really do look very freaky too, but it's the subject matter that really make this film interesting. D'Onofrio really gives an excellent portrayal of the killer. His sexual perversions and fetishes are disturbing, but it's the cold, calculating and yet nervous nature of the character that are truly scary. He knows he's a monster, but he can't help himself, and worse, he thinks he's entitled to be considering his past...

An intriguing, surrealist sci-fi with music video-esque aesthetics.

[Image: RadicalMedia]

Hani

Psycho

"Psycho" (1960, Alfred Hitchcock, Paramount Pictures) is a famous psychological thriller based on a novel by Robert Bloch. It's probably one of the most iconic in the horror film genre.

We follow Marion Crane (Janet Leigh), a desperate secretary who decides to skip town with a large sum of money belonging to her employer. She sells her car, buys some new wheels and checks into the roadside "Bates Motel", ran by the peculiar and awkward owner-manager, Norman Bates (Anthony Perkins). Norman makes polite, on-edge conversation with Marion and offers to make her something to eat.

While he's off making sandwiches, Marion overhears him having an argument with his mother from the house. Later, he and Marion eat in the office where Marion accidentally touches a nerve that sends the unassuming Norman into a shocking fury. Marion excuses herself and retires to her room, where she is later attacked by someone wearing elderly woman's clothing with a knife, in what is easily one of the most recognisable scenes in cinema.

A truly stunning film to watch, "Psycho" remains a firm favourite. From its careful scripting, excellent acting, murderous scenes and shocking reveal, "Psycho" truly changed the face of horror cinema for the better and paved the way for a new generation of violent and shocking films.

Norman Bates is such an interesting character and portrayed so excellently by Anthony Perkins that the viewer cannot help but be enthralled. His explosive temper and unnerving performance truly draws you in.

Janet Leigh portrays a strong female lead who, despite her untimely demise, cut a determined and striking figure which was (and still largely is) absent from the horror genre.

A classy film which provides chills and screams without becoming gross, "Psycho" was not only a game changer, but remains chilling to this day.

[Image: Paramount Pictures]

Hani

Body Bags

"Body Bags" (1993, John Carpenter, Tobe Hooper, 187 Corp., Showtime Networks) is a made for TV horror anthology set in a morgue. The film was initially meant to become a weekly show similar to "Tales from the Crypt" but was axed, and so the completed pieces were pieced together into an anthology.

A creepy coroner (John Carpenter) sets us up for each segment, inspired by the bodies he uncovers from the bags. There are three tales all-in:

The Gas Station
Anne (Alex Datcher) is a student starting her new part time job as the overnight petrol station attendant. As if that job is not just creepy enough, she has to deal with knowing that a dangerous lunatic has escaped the asylum (she was kindly warned by her new colleague, Bill (Robert Carradine)). Soon all of her customers appear to be a little strange and Anne is frantic, not knowing who could be the killer! Horror hero cameos include Wes Craven, Sam Raimi, David Naughton, George Buck Flower and Molly Cheek).

The short is a bit of a lark with so many horror favourites gracing the screen with their nutty characters and a fair bit of bludgeoning. While it's your typical 'lone woman being stalked by a serial killer' plot, it's fun in its familiarity and really kicks off the film.

Hair
Richard (Stacy Keach) is hitting middle age. His girlfriend, Megan (Sheena Easton), is getting exasperated by Richard's obsession with his looks and his quickly thinning locks. In his desperation, Richard signs up for a hair transplant operation which appears successful. Maybe a little too successful...

A bit of a laugh with some effects that aged a little, but add to the charm of the film. I thought I knew where this one was going but after a point it changes tack slightly which pleased me. Yes, it's hardly 'scary' but I don't watch old anthologies for scare factor, they're purely for comedy. Cameos include Debbie Harry and David Warner as the mad doctor and his nurse.

Eye
Brent Matthews (Mark Hamill) is a baseball player. He is involved in a car accident where his eye is gouged out. Brent opts for some experimental surgery that is not considered so sci-fi these days, and receives an eye transplant in the hopes that he can return to his beloved game. But, similarly to the later 2002 and 2008 Singaporean and American blockbusters both called "The Eye", he begins to see things that are not there through the new eye: horrible things. Brent becomes suspicious that his new eye belonged to a killer and goes back to the doctor to investigate. Brent realises that there is only one way to end this problem... Cameos include Twiggy and Roger Corman.

A few gruesome bits make this one entertaining but it was admittedly my least favourite short of the three. In retrospect this one seems very tropey, but it's not its fault; it came first afterall!

We end back in the morgue where our creepy coroner reveals he is more than at first appears.

The film comes off as surprisingly low budget, but this may just be a sign of ageing SFX. While it's nothing new in terms of plot or set up, it's a playful horror anthology and is funny, self aware and even a little gruesome at times. Team this one with Creepshow 1 and you're onto a bloody good night in!

[Image: 187 Corp.]

Hani

The Pact

"The Pact" (2012, Nicholas McCarthy, Entertainment One, IFC Midnight, ContentFilm International) is an American haunted house horror.

Nicole (Agnes Bruckner) and Annie (Caity Lotz) are sisters. Their mother has died and they are reluctantly (and seperately) cleaning out the old house. They both had unhappy childhoods and do not want to be there.

When Nicole disappears whilst in the house, Annie goes to investigate, and look after Nicole's young daughter. It isn't long before Annie, Nicole's babysitter and a cop are all investigating the strange happenings of the house.

They seek the help of Stevie (Haley Hudson), a strange girl who can see things... Mainly dead people.... and she helps them to uncover a whole heap of creep.

It's a typical modern horror film. Bumps, jumps and dodgy camera angles. One thing I'll say is that the director does keep us watching, and often does not give all of the jumps when they're expected. I like that. I don't want it to be too predictable.

The gore and effects are good and there's a fair few jumps that aren't as cheapy thrilly as we've seen with other modern horrors recently.

However, the plot is just too tropey and dumb. I didn't love the reveal so much, and have to say that it's a pretty basic modern horror that's geared more to the non-horror fan who may be up for a horror for a change rather than anyone actually interested in being scared.

Tame, but not the worst.

[Image: Entertainment One]

 

Hani

You're Next

"You're Next" (2011 - released 2013, Adam Wingard, Lionsgate, Icon Pictures) is a 'home invasion' slasher film.

The advertising for this film was very promising. From the creepy masks, secluded setting and traditional stalk-and-slash genre, it seemed like a winner.

I'm sure from the tone of this post, however, that you have guessed that I did not find this film to be much of a winner...

The kick off is fast and bloody. It almost has a 70s slasher feel to it, too, which is then carried on into the next scene where we are introduced to some of our main characters Crispian (A.J. Bowen) and his fiancée Erin (Sharni Vinson), who are on their way to visit Crispian's wealthy parents in their new luxury holiday home. It seems that all of Crispian's brothers are also visiting for the weekend with their girlfriends/spouses and fiancées too.

Unfortunately, the family reunion is to be spoiled when a small band of animal-masked killers target the family with a range of weapons in an organised assault.

An odd film, it couldn't decide if it was going for the feeling of an older film or trying to be modern.

The characters also lacked a lot of development, resulting in them becoming, to me, very disposable. I found myself rooting for the killers just to see what imaginative killing devices they had cooked up next!

Where the backstory was provided it seemed forced and patchy, and acted as nothing more than an excuse to create a kick-ass female character. Now, I'm not complaining. I'm a Whedon fan. A kick-ass female lead is always fun, but maybe a bit more thought could have went into the character set up there.

The twist, because let's face it there was always going to be one or two... or three..., is intriguing but not clever. And the plot is painfully slow, allowing me to begin thinking about other things while our boring collection of characters did some stuff.

Also, the mother looked younger than her 'sons'. A bun hair do is not sufficient as 'older person' make-up!

Of course, I do have nice things to say about this film too.

The action, when it gets around to it, is impeccable. The gore is fun and shocking, the killing techniques are interesting and believable. The scary bits are indeed scary. The masks are an excellent touch and the blender kill is pure genius!

While I would hasten to add that I think gore hounds and horror fans should definitely all see this film just to appreciate its ups, I found its downs to outweigh the fun and horror and leave me feeling mostly unimpressed.

 

 

[Image: Lionsgate & Icon Pictures]

Hani

Santa's Slay

"Santa's Slay" (2005, David Steiman, VIP Medienfonds 1, Media 8 Entertainment) is the horror comedy starring Bill Goldberg of WWE wrestling as Santa; the illegitimate son of Satan.

It seems Santa lost a bet and all this present-giving lark has been his punishment for the past few hundred years. But in 2005 it ended. So good ol' Saint Nick goes on a murder spree. Unfortunately for him, NicolasYuleson (Douglas Smith), Mary (Emilie de Ravin) and Nick's grandpa (Robert Culp) are out to put an end to his reign of terror...

A film that is precisely as bad as it sounds. It feels like it's purposefully trying to be bad as a nod to B-movies in general, but unfortunately just comes off as actually bad.

Some of the scenes are funny in their comic gore (the opener for instance, with James Caan is entertaining), and to give Goldberg his due, he is the best part of the film as psychotic Santa, but the thrill wears off quickly and the film is too long, too drawn out and too stupid without enough fun to save it from bargain bin badness.

Just another hammy holiday themed slaughter.

[Image: Media 8 Entertainment]

 

Hani

Stage Fright

"Stage Fright" aka "Stage Fright: Aquarius" aka "Deliria" (1987, Michele Soavi, DMV Distribuzione Filmirage) is an Italian/American slasher film set in a theatre.

 A troupe of actors are rehearsing a crappy, artsy musical about a masked killer called the Night Owl, when some real killings are discovered to have taken place. Could it be that a real Night Owl has returned to roost, claimed his mask and is on the hunt for more prey? Too many bird of prey jokes? Yes? Who will survive now that they are all locked inside with the killer?

A fun film, Soavi enjoys tricking his audience with misleading and cleverly panned shots. The characters are surprisingly well rounded despite a lack of deep back story. And this was Soavi's debut as a director, so I think he did rather well.

Our killer is wonderfully menacing with an extravagant mask and a dancer's style. He's also willing to use different tools from drills to axes. You've got to respect a man who can adapt to a situation.

Not the most technically advanced film in the world, but definitely fun, and with a distinctive feeling of Italian horror cinema, even when it was beginning to wane as a genre.

It's full of plot holes, some bad dubbing and some extremely B-movie acting, too.

 

 

[Image: DMV Distribuzione Filmirage]

 

Hani

Bloody Cuts : Lock Up

"Lock Up" (2013, www.bloodycuts.co.uk, Ben Kent, Ben Franklin, Jonny Franklin) is the first episode of the British online horror anthology, Bloody Cuts.

A man is the last at work and has to lock up the offices on his way out, but when the lights go out he begins to feel he may not be the only one there...!

Short, effective and straight to the point, "Lock Up" uses the simplicity of solitude and darkness to make the viewer feel the dread slowly build up. Very organic and nicely put together. An excellent hook for an altogether enjoyable collection!

[Image: www.bloodycuts.co.uk]

Hani

Jack Frost

"Jack Frost" (1996, Michael Cooney, Moonstone Entertainment) is a festive horror comedy from America.

Surprisingly entertaining and laugh-out-loud cheesy this film has fast moved up my shelf and may not live with the other 'Christmas only' films.

Low budget, tacky and with some hilarious flaws (the main one being the severe lack of real snow! And also being able to catch glimpses of the actor under the costume during one particular scene), this film hits all the right notes with me for a Christmas slasher:

• It's short (only 84 minutes)
• It's got a lot of cheesy kill scenes
• It's chalk full of bad puns and wooden acting 
• Quite a lot of good low budget gore
• It has a bloody ludicrous storyline
• The killer is a snowman in a brilliantly bad snowman costume!

On his way to execution, serial killer Jack Frost (Scott MacDonald) suffers a freak accident and is contaminated with some questionable hazardous material. He then, of course, turns into an abominable snowman and quickly resumes his killing spree.

Jack brutally goes around town killing, maiming and raping - yes, there's some snowman rape - the locals of Snowmanton (And yes, that is the name of the town). Who can stop this chilly madman?

It's a good thing local sheriff Tiler (Christopher Allport) and FBI Agents Manners (Stephen Mendell) and Stone (Rob LaBelle) are on the case . Watch for Manners' hilariously unconvincing beard stubble!

So, all in all, this film is pretty good in that wonderfully cheesy low budget way. With everything from Shannon Elizabeth's winter strip-tease to the tune of "The Twelve Days of Christmas", to the disturbing snowman guts this film hits the button in an entertaining way. Not worth a lot of your money, however, I managed to score a copy from a charity shop for £1.50. Bargain!

Also, I enjoyed the random statements and quotes laced through the credits :)

[Image: Moonstone Entertainment]

Hani

IT

"IT" (1990, Lorimar Productions, DawnField Entertainment, Warner Bros. Television, Tommy Lee Wallace) is one of the classic Stephen King adaptations. It's one of the few King books turned films that have actually been done well! If not completely accurately, but when has that ever happened? This is the made for TV version, which is the superior version in my book.

The fabulous Tim Curry (Dr. Frank-N-Furter himself!) stars as the child-eating-fear-demon (well really, he's more of an interdimensional-being, but whatever!), who often takes the form of Pennywise the 'dancing' (read 'insane') clown. Pennywise plays with his victims, either luring them to their death like a Kelpie, or by simply scaring them to death by transforming into their worst fear. We see him lure a small girl to her death at the start of the film.

When Mike (Tim Reid, who is the dad from 'Sister, Sister') is at the scene of the crime, he spots an old photo lying on the grass. The photo is of a small boy, who he recognises as the deceased younger brother of one of his old school friends, Bill. Bill's baby brother, Georgie (Tony Dakota) was one of Pennywise's victims in the 60s, when Mike and his pals were all children. It was Georgie's death which started the group's adventurous involvement with crazy clown man.

Mike calls up all his old friends, who have since moved away from the small Maine town of Derry, and have forgotten most of their childhoods and all about Pennywise, thanks to the creature's magical defences. The gang make their way back to Derry at the pleading of Mike, and slowly begin to remember what had happened there.

The film is really following one storyline, the group vanquishing 'IT'. But the film shows two stories, the group battling IT as children, and then again as adults when the creature rises again.

As children, the group were: African-American Mike (Marlon Taylor) who is facing the still very racist bullies at school, talented writer Bill (Jonathan Brandis) who blames himself for the death of his young brother at the hands of the demented Clown, lone girl in the group Beverly (Emily Perkins) who has an abusive father, funny guy Richie (a young, but remarkably completely recognisable Seth Green), hypochondriac asthmatic Eddie (Adam Faraizl), competent and intelligent Ben (Brandon Crane) who is bullied for being fat, but by today's standards, he's pretty normal and Stan (Ben Heller), who is introduced as a Jewish boyscout and a birdwatcher.

As adults, the group are: still-in-Derry, Mike (Tim Reid), horror writer (who's totally based on Stephen King himself) Bill (Richard Thomas), fashion designer in an abusive relationship, Beverly (Annette O'Toole), TV comedian Richie (Harry Anderson), virgin limo business owner Eddie (Dennis Christopher), famous, and no longer fat, architect Ben (John Ritter) and real estate broker Stan (Richard Masur).

The film is quite long at 195minutes, and the DVD is one of those ones where you have to flip it over half way through to see the rest of the film. This is because the film was shown as a two parter on TV.

Despite the length, the film isn't boring and the special effects are excellent. There's a lot of blood, but it's not gory, usually coming from sinks, balloons and other odd places. The film and characters are very 80s. Since it came out in 1990, this isn't a criticism. Most of the characters, except the main characters, are unlikable and cruel. But this is on purpose, to build up group dynamic and emphasize the group's status as losers.

Pennywise is the epitome of creepy and really a complete and utter nightmare monster. A real modern classic in that respect. Tim Curry is one of the masters at creating demented characters, and really brings the fear guzzling creature to life, probably fuelling quite a few people's fear of clowns over the years, too!

The dialogue isn't always the smartest, but that isn't the most important part of the film. And the end left me a little non-plussed. The undertheme, as common to King books, is about being the oddball, beating the odds and bullying (whether it be by greaser teens, or by monsters).

A classic and an excellent film all round, I recommend "IT" as a must see!

[Picture: Lorimar Productions, DawnField Entertainment, Warner Bros. Television]

Hani

Rubber

"Rubber" (2010, Quentin Dupieux, UFO Distribution) is a French film. In essence and appearance, the film is about Robert, a car tyre who becomes sentient and begins rolling along destroying things and people in its wake with its psychokinetic powers.

In reality, the film is a clever, but none too subtle, comment on modern film making, modern audiences and the industry as a whole.

Put it this way, everyone who's ever watched this movie, has went in to see a living, lunatic car tyre kill people. And Dupieux has successfully made every single person instead watch his comments on life and film. If that doesn't make you respect the man, nothing will!

It is based in the American desert where a group of strangers are gathered to watch the events of the film in real time. We are meant to just accept that they can see everything as clearly as we, through their binoculars. And you will accept that fact, and that's the point.

A long and dead-pan introduction from Lieutenant Chad (Stephen Spinella) pretty much summarises this film's point. He explains that every film has something happen in it for "no reason" and that life contains infinite elements of "no reason". And for that reason, audiences will accept absurd things happening for "no reason". His very arrival to the scene already proves this fact (watch it, it's weird) as does the binoculars as stated above.

I won't give too much away, but don't be put off by this film's interesting story telling technique. It's very quiet and slow paced, but is not a long movie, so the pace only feels slow. The film is intriguing and there's some good gore.

Also, Robert the tyre finds a love interest in the form of Sheila (Roxane Mesquida), an odd young French woman travelling across America in her snazzy red convertible. Although, being a psychopath, Robert instead decides to stalk her while he kills everyone else.

What I think Dupieux is saying in this film is that modern movies, and especially B-movies, try too hard to be 'out there'. The very end scene of this as we roll towards Hollywood not only sets up a possible sequel (something almost every film does these days) but also gives us the impression that Robert is taking his anger to the home of film.

The entire movie was filmed with digital camera, and all of the special effects were the good old fashioned kind; remote control, puppeteering, fake blood, explosions, clever filming techniques and editing.

I enjoyed the randomness of this film and the sheer WTF moments. This film will intrigue and confuse you and on some basic level you will 'get it'. I think what I like about "Rubber", other than all the exploding heads and random events, is that you can really take out of this film whatever you want! If you want to go away thinking it was a deep message about society accepting whatever's put in front of them, you can. If you want to go away thinking it's about a psychopathic tyre, you can! And if you want to go away thinking it was a meaningful message about men in wheelchairs having some kind of second stomach, then you can indeed do that!

A strange and entertaining film. The actors gave a convincing performance as either confused or confusing characters. The bland and sparse setting also really added to the feel of the film.

I loved the reference to 'pirating films' and also the brilliant scene with the maid finding the tyre in the shower; an excellent homage to every bathroom-centred horror ever.

Also, when Robert is learning how to roll, the bottle of water he crushes is a brand I actually recognise (I feel special because you don't often get things like that happen in movies filmed in America, when you're British).

Not an obvious comedy, this film could be seen as an arty kind of movie. But the sheer volume in which my friend and I errupted into laughter at the clever and random scenes, is a comment on how masterful this seemingly simple, very absurd and extremely deadpan film really is. So many different levels to watch, this film doesn't just knock on the fourth wall, it batters it down and jumps into your livingroom!

A film within a film within a film. Something any Grindhouse fan would enjoy, too. Totally worth £1.50 on Amazon!

[Picture: UFO Distribution]

Hani

Seven

"Seven" or "Se7en" (1995, David Fincher, New Line Cinema) is a modern detective story about a methodic serial killer who carefully kills his victims in vicious and inventive ways to depict their own personal 'Deadly Sin'.

Now, I presume I don't have to list the 7 deadly sins for you, but just in case and for consistency: gluttony, greed, sloth, wrath, pride, lust and envy.

Detective David Mills (Brad Pitt) has recently transferred to a city in America (it doesn't say which, but wherever it is, it rains more than Glasgow!) to work with, and then replace, the retiring and jaded Detective William Somerset (Morgan Freeman). The city is depressing, suffering from urban decay, social decay and general unhappiness. There's a lot of violent crime, homelessness and drugs. Even the flat which Mills and his wife Tracey (Gwyneth Paltrow) - and their two dogs - have moved into is depressing. The camera lens has a brownish hue which captures the decaying essence of the place. Plus, they live above the subway so every 10 or so minutes, *rattle, shake, rattle*.

Mills and Somerset are brought into the unusual death of a morbidly obese man, who has been sadistically forced to feed himself until he died. This scene is dark and creepy. The body in the dingy apartment and the sheer neglect of everything is very sad. There is the word 'Gluttony' written in grease behind the fridge. This is where the discovery of the murders begins, but for John Doe (Kevin Spacey); our friendly neighbourhood psychopath acting out 'god's will' in his masterpiece of gruesome and horrific 'justice'; the wheels were set in motion long ago. It becomes apparent early into the detectives' investigation that Doe is letting them find the murders when he is ready. He basically points them in the direction once he's finished. He is methodical, disturbed and determined. Everything that is scary about psychopaths.

The deaths build up day upon day, with some alarming scenes. The bodies are gruesome and lots is shown without showing much, if you understand my meaning. The scenes are haunting because the camera work shows some gorey close ups in flashes, giving you the jist of the scene, before coming back to the investigation. It's very artfully done, and keeps you watching.

Each death is related to the sin the victim was most guilty of, the cruel but beautiful woman who chose death over being disfigured, the greedy lawyer who had to give up a literal 'pound of flesh'... and so on.

The film is very dark, and very quiet. Pitt's character begins as the keen, bright-eyed detective, fresh on the scene and ready to fight for justice. Mills is an uncomfortable man, in a new location with new colleagues. His wife is lonely and unhappy. His career is not what he thought it would be. His attempts to win over his new partner are fruitless, and he is easily affected by the murders and the injustice of the whole situation. By the end of the film, he is not the same man.

Somerset has already been jaded by life and working in the city. His hope for humanity is gone, and he hates that about himself. He is ready to retire, but has nothing left to live for; no family, no love life, no happy thoughts (no fairy dust...). He is a 'straight to the point' man, and knows his job well. Freeman plays the character as both disappointed in life, and yet still hanging on in there for something good to happen. You can see that he's still trying to keep a hold of some hope for humanity.

The killer, John Doe (excellently and accurately portrayed by Spacey) finally gives himself up to the cops, but is this just all part of his plan?

An intelligent film with enough gore to please and some good one-liners from Pitt "Excuse me, sir, but do you happen to be a serial killer?".

The end scenes can be a bit of a shock for those not expecting the twist, I remember being completely dismayed as a teenager when I saw this film for the first time! Not completely a horror film, but a good film worth watching.

Oh, and look out for Dr. Cox from "Scrubs" (John C. McGinley) playing a recurring minor character!

[Image: New Line Cinema]

Hani