Rubber: Rolling Into Our Hearts, Blowing Up Our Heads

Rubber (2010)
Written and Directed by Quentin Dupieux

When I'd casually bring up the film Rubber to express my excitement for checking it out, one of two things usually happened: Either that person chuckled uncomfortably before politely excusing him or herself from the room. Or, he or she got in a tizzy about how a concept like that can't possibly ever work and that the filmmakers must be brain dead for even thinking it might and that people should just stop making movies altogether and isn't this undeniable proof that the human race should just die out already. Jeez, I know the premise sounds silly, but it's just one drop of a movie idea in an endless ocean of movies. I think it's ok to explore this one little subject no matter how preposterous it might seem. It might even be more than ok to enjoy it. One thing's for sure: There isn't anything out there like Rubber.

(A tire's awakening)

Yes, Rubber is a film about a psychotic sentient tire with the psychokinetic ability to blow things up. Let's get that out of the way. If you could, for a moment, imagine Monty Python tweaking the script to David Cronenberg's Scanners after having watched the beach ball alien scene from Dark Star, you might be close to understanding just what Rubber is all about. Surreal, hilarious, and daring, Rubber does everything you expect it to while adding so much more. While it's not perfect, it certainly goes above and beyond what you might expect out of a killer tire movie.

(Rolling from the law)

Waking up in the desert, we follow Robert (yes, the tire has a name) as he copes with newfound consciousness and breaks in his new wings. Like a toddler he's a little shaky on his new legs, but is soon galavanting about town. He bounds through the landscape discovering new abilities and a penchant for cruelty. In an accident wrought from frustration, he also discovers an ability to blow things up with his mind. Adopting interest in NASCAR, televised aerobics programs, and developing an obsession with a pretty dark hair lady, Robert sets off on a murder spree pursued by the local police. Robert thwarts the authorities who are ill-equipped to deal with a tire that's always one step ahead, and Robert racks up a high body count. Still, there is something innocent about him. He's almost child-like in temperment, killing more out of tantrum than mean spiritedness.

Ah, but Rubber isn't quite that simple. From the beginning it's made clear to the audience that Rubber intends to break the rules of how we perceive films. As the film deconstructs itself, it also pokes fun at movies and pop culture in general. After a hilarious WTF intro, we're treated to a monologue by Lieutenant Chad (wonderfully portrayed by Stephen Spinella) explaining to us that so many inexplicable moments in film are due to "no reason". Why is E.T. Brown? No Reason. Why don't people go to the bathroom in The Texas Chain Saw Massacre? No reason. Why does an inanimate tire suddenly come alive and kill people? Absolutely no reason except possibly to entertain us. After breaking the taboo fourth wall, Rubber proceeds to break a number of others. It's probably the first movie that has running color commentary provided by its own characters. While this "movie within a movie" aspect can get slightly annoying at times, it's also peppered with moments of brilliance. 

For those people who think Rubber may have been better as a short, well you may be partially correct. At times it does feel padded with some excessive tire rolling. However, those scenes are shot so beautifully, you can still enjoy them as art. I'd also like to note the spectacular soundtrack by Mr. Oizo and Gaspard Auge. It perfectly complimented the head scratching stuff unfolding on the screen.   Rubber doesn't completely work, but it succeeds in being an entertaining, self-aware, and absolutely absurd satire. There are some true inspired outrageous moments and a heaping of the gory aftermath of a Tire scorned. There's just too much to love to discount this movie. Trust me!

Rubber Trailer

IFFB Brings Stake Land and The Troll Hunter to Boston

Boston area horror fans will be treated to two of the most acclaimed horror films of the year when the Independent Film Festival of Boston brings Jim Mickle's apocalyptic vampire film Stake Land, and Andre Ovredal's hand-held, giant monster film The Troll Hunter to area theaters this weekend. By now most everyone should be aware of these two independent films making waves on the festival circuit. Again, we implore you to please show your support for independent horror films, festivals, and theaters. The IFFB also screens superb documentaries, shorts, and narrative features, so make sure you check their listing. Better yet, buy a pass and make the fest your temporary home for a few days!

The Troll Hunter will be screening on Friday, April 29 at the Brattle Theater

Stake Land will be screening on Saturday, April 30 at the Somerville Theater

The Troll Hunter Trailer

 

Stake Land Trailer

Tourist Trap: The Perfect Spring Tonic

I'm having a really good day today. I'm not 100% sure of the reason, but something's in the air. It could be the combination of finally getting some warm sun on my face and this yummy carrot juice I'm sipping. No? Maybe it's because the NBA playoffs are in full swing, and my Boston Celtics are making another run for the title. Hmmm...maybe? Actually, I think it might partially be a gleeful viewing of old favorite Tourist Trap. Twice. In a row. It's a film sure to bring a smile to any discerning horror fan's face. I'm pretty sure that's a money back guarantee I made right there.

Tourist Trap was one of those semi-obscure horror films (at least before the internet) I'd catch on late night cable and maybe only see bits and pieces as I drifted in and out of sleep. The images in Tourist Trap became part of my dreamscape, and made for some damn sleepless nights. Even if you haven't made it through the entire thing, you'd recognize it immediately if it popped up on your TV. That's because Tourist Trap is so distinctly its own thing, there's no mistaking it. Part slasher with a Carrie-inspired telekinetic killer set in the aesthetic no man's land of The Texas Chain Saw Massacre, Tourist Trap is a film that never should have worked. The beauty is that it succeeds despite itself. Totally goofy, and overwhelmingly CREEPY, Tourist Trap has earned its reputation as a favorite among horror fans, including Stephen King who gave it high praise in Danse Macabre.





Directed by David Schmoeller (Puppetmaster, Netherworld), Tourist Trap capitalizes on the template of countless horror films. A group of young adults (including Tanya Roberts in tiny clothes) on a road trip become stranded with auto problems. Good ol' boy Mr. Slausen (a fully committed Chuck Connors) attempts to help them out of the jam with his mechanical skills. Of course the crucial part he needs will have to come from town miles away, so he sends one of them to retrieve it. That means the rest of the gang will need to kill some time, perhaps with some skinny dipping at his dilapidated resort/wax museum, the Oasis. Surrounded by the museum's bizarre exhibits, the kids get antsy and decide to explore a nearby house. They soon find themselves menaced by a maniac who can control objects with his mind. That's right! He controls things with his mind!. Namely some extremely creeptastic mannequins and assorted flying impaling items. The madman, Mr. Slausen's unhinged brother, hopes to make the kids a part of his permanent museum collection.

Why, do you ask, does such a preposterous premise work? There are many reasons, most of which have to do with combining a few choice ingredients to elevate Tourist Trap above the usual trappings of low budget filmmaking:

Outstanding Score by Pino Donnagio: Best recognized for his work with Brian De Palma, Joe Dante, and numerous Italian films, Donnagio takes his work very seriously in creating an atmospheric and haunting soundtrack that grounds the ridiculousness occuring onscreen. The theme song is playful, but sets the tone for the rest of the film quite nicely.

Tourist Trap Theme by Pino Donnagio

The Innocent Face of Knockout Tanya Roberts: I never once thought the multiple times she wanted to wander off alone was a dumb decision. Her expressive eyes convinced me it was the right thing to do. I'm not sure if being attacked by mannequins is worse than That 70's Show, though.

Those Damn Creepy Mannequins: There's little rivalry for this movie in terms of shudder inducing atmosphere. The props and sets are perfectly suited to raising goosebumps. Some scenes I would think inspired the zaniness of the possessed furniture scene in Evil Dead II.

Telekineses Makes Everything a Murder Weapon: It's really an unfair advantage, no? The killer already dons some of the most disturbing masks I've ever seen in a horror film, but he can also open and close windows and doors at a whim. I guess turning your victims into wax figures might curtail the boredom of having so much damn control over flying tools and mannequin legs

Tourist Trap is one of those perfect summer afternoon time-wasters when you just want to munch on some snacks in the air conditioning. While there's a lot to poke fun at due to the low budget constraints, it still gets relentlessly under your skin. A word of warning: You may never be able to visit another department store again without hyperventilating. Not convinced? Check out the Trailer.

German Zombie Film Rammbock: The Berlin Undead Coming to Boston on May 4

AMC Theaters in conjunction with Bloody Disgusting are experimenting with bringing independent and foreign horror films to certain markets across the U.S. Boston area fans will get their first taste when AMC Theaters at Boston Common screens the German horror film Rammbock: The Berlin Undead beginning on Wednesday, May 4. Here's the perfect opportunity for horror fans to shout in the only way big corporations can hear - with their wallets. If the current run of films handpicked by Bloody Disgusting is a success, we may see more quality films in stadium theaters rather than wait for the inferior experience on DVD. If the current run is any indication (YellowBrickRoad, Cold Fish, and Rammbock), then we are in for a treat.



Touted as the German answer to 28 Days Later, Rammbock opts for mood over gore. For its efforts, it's gotten pretty good press, as well as some awards. It's a survivalist horror film with a twist on the typical rules of the apocalyptic zombie movies of which we're so familiar. Glancing at the trailer, the film looks to be tense and reflective, two of my own personal requirements for a potent zombie tale. Just when I thought I've had enough of the zombie apocalypse, films like Rammbock come around to remind me otherwise. What I'm really tired of is the endless parade of insulting, unimaginative dreck that passes for horror these days.

Look, AMC knows these movies aren't going to compete with the latest sparkly Robert Pattinson makeout fest or horrid Dreamworks CG animal movies. However, if they can see a few butts in the seats, maybe sell a little popcorn, we just may be able to see more thoughtful, creative, and entertaining horror films where they were meant to be seen. Don't squander this opportunity to show AMC that horror fans are a rabidly supportive force not to be taken lightly.

Rambbock Trailer

Kick off Zombie Jesus Day with the Sunday DIEgest

Here's to wishing you and yours a Happy Zombie Jesus Day. While you're kicking back this morning, hopefully plowing through a pile of Marshmellow  Peeps and an enormous solid chocolate bunny, we've put together links to the best reads on the web these past two weeks. So put those rabbit fur encased slippers up on the easy chair, snag another mouthful of jelly beans and get to it.

FanGirlTastic: Interview With Lucky McKee
FanGirlTastic: Interview With Pollyanna McIntosh
The Woman is the most thought provoking and controversial horror films to come down the pike in a long while. Whether taken from the point of view of woman's suffering at the hands of men or a stand off between two unmoving alpha personalities, it's a movie that sticks with the viewer days after exiting the theater. Andre Dumas of Fangirltastic penned two engaging interviews with director Lucky McKee and star Pollyanna McIntosh. Simply put, these are two of the best items of horror journalism you're going to come across this month.

Day of the Woman: Woman of the Week-Neve Campbell
A look back at Ms. Campbell's lofty standing in the horror pantheon. This post also contains what may be the hottest picture of Neve Campell ever.

Dinner With Max Jenke: New Decade, New Rules
Dinner With Max Jenke: The Town That Dreaded Sundown 
For all intents and purposes, I could simply rename this weekly series: links to DWMJ. I love the writing just that much. "New Decade" finds Jeff reflecting back on Halloween Resurrection after coming out of Scream 4. Looking back on the final nail in the original Halloween franchise isn't a fate I'd wish on anyone. "Town" looks back at the original Scream with an in depth look at just how accurate (or in most cases, off base) Randy was when spouting the rules of horror movies.

Planet of Terror: Last Breath review
Cortez the Killer looks at this Saw inspired indie film and reminds me that I've got to get to this one myself in the near future.

From Midnight With Love: Lost in the 2000's (November)
The Mike looks at this little seen and mostly forgotten Courtney Cox dramatic thriller vehicle. I remember catching this when it came out and being the only patron in a theater that wants to charge me $600 for a 2 hour Monday night rental. How bullshit is that?

Horror Movie A Day: The Troll Hunter
HMAD reviews a Norwegian film I'm dying to see.

The October Country: Scream 4
Love the franchise or hate it, this review is a real labor of love that covers all the bases.

It's Zombie Jesus Weekend at Brutal As Hell

Our good friends over at Brutal as Hell are celebrating the Savior's triumph over death and saving of our heathen souls with a very special event this weekend. Join their regular band of merry makers along with a litany of guests for a very special tribute to Zombie Jesus.

For the next few days, it's All Things Zombie as everyone's favorite undead brain eaters get their own special spt light. you might even see a guest post from yours truly.  

Cinema Salem & All Things Horror Join Forces For MIDNIGHT MADNESS MOVIES

I’m incredibly excited to announce big news for Massachusetts horror fans.  All Things Horror is partnering with Cinema Salem for a new Midnight Madness movie series, beginning on May 14^th. Each month we’re going to bring the best in independent horror, thriller, exploitation and psycho cinema to the North Shore of Massachusetts. I can’t wait for the first fired up, boozy and raucous crowd next month.

Since the creation of this site, Chris and I have strived to expose our readers and Boston area horror fans the best in new and independent horror films. It’s our sincere belief that the most creative, out there risk-taking films are coming from the underground. Films like Dawning, The Commune, Satan Hates You and Morris County and our debut feature stand out head and shoulders in terms of quality and content and sheer mayhem when compared to the bulk of what passes for genre films in the mainstream today.

We’re doubly excited over our first lineup. For one night only, we’re bringing exploitation favorite DEAD HOOKER IN A TRUNK back to Boston’s big screen.  The debut feature from Twisted Twins Jen and Sylvia Soska has won multiple awards and platitudes across the festival circuit; earned rave reviews in the press; and made its way to the top half of many a “Best Of” list of releases for the year.  The Soska twins will be voices we hear from for a long time and have proved themselves to be two of the most engaging young voices in modern horror. With “Dead Hooker”, the sisters have written, directed and starred in a modern grind house classic, filled with mayhem, violence, biting humor and over the top action and bloodshed centered around ass kicking ladies. 

Along with our feature, we’re screening two of our favorite short films: Matthew Silba’s Amy in the Attic and Bill Palmer’s The Living Want Me Dead. Attic depicts kinky parlor games taken a step too far while Living is a fantastic horror comedy where a men’s body spray turns anyone that catches a whiff into bloodthirsty ravenous zombies.  

Voted “Best Cinema on the North Shore” is a four screen independent theater with a focus on first run films, art house movies and indie fare. They’ve been the ONLY place in MASS to screen recent rave fare such as Black Death and over the next few months are bringing in Hobo With A Shotgun, Rubber and Troll Hunters amongst other genre standouts. As the birthplace of the Witch Hysteria of 1692, Salem represents the unofficial horror capitol of the United States. Personally, I can’t think of a better area to bring our merry brand of mayhem to the big screen.

If you’re a director, producer or distributor that would like your feature or short film considered for part of the program, please email us at allthingshorroronline@yahoo.com

High Lane: High Altitude French Horror

High Lane (Vertige) (2009)
Directed by Abel Ferry
Written by Johanne Bernard and Louis-Paul Desanges

Since the release of Alex Aja's High Tension back in the 2003, horror fans have been lapping up the new wave of horror films coming out of France. With good reason, too. French filmmakers have consistently put out some of the most potent horror films over the past decade. Often set against the volatile backdrop of French social struggles, the films offer much more than simple scares. Bleak, inventive, and brutal, the French have injected some much needed thrill and depth into a stagnant genre.


On the tail end of the wave is High Lane. If Cliffhanger had been mixed with a little Rituals, you might get something like this part adventure, part slasher film. Not unlike The Descent, or more similarly Cold Prey, the film starts off as an edge of the seat thriller set against unforgiving nature. For the first 45 minutes or so, we are treated to a breathtaking display of dangerous mountain climbing before descending into a fairly standard survivalist slasher in the second half. For me, the melding worked ok, but I was much more enthralled when it was scrictly a bunch of hot 20 somethings hanging off the side of a mountain. Props go to the actors and director of photography who either captured some death-defying stunts, or pulled off the most convincing green screen action I've ever seen. I really couldn't tell at all, and I was constantly wondering if the actors were all professional  climbers.

The story is simple and something we've seen times over. In this case, a group of friends are on a doomed mountain climbing/hiking excursion in Croatia. Everyone gets along fairly well except Fred (Nicholas Giraud) and Guillame (Raphael Lenglet) who are rivals for the affection of Chloe (stunning Fanny Velete). Reckless Loic (Johan Libereau) is the climbing pro, and along with his girlfriend Karine (Maude Wyler), leads the group on the ill-fated adventure. Driven by ego and adrenaline, Loic makes a fatal decision to keep the group moving before they lose light. After some harrowing climbing events and an accident with a rickey foot bridge, the group find themselves stranded at the mountain's top with no way down. Worse, they encounter signs of a sinister human foe.

As you might guess, the remainder of the film has the group fleeing from a psycho cannibalistic mountain man. Not only do they need to navigate the dense woods and find a way back down, but they must also avoid traps set by the madman who uses bear traps and a crossbow with aplomb. Fortunately, the filmmakers decided to go with a more animalistic killer, so we do get a sense of real savagery when he stalks and attacks. Anton, the killer in question, is an intimidating presence, and hints at his back story give him an interesting complexity that is thankfully not explained.


Typical of most survivalist horror, dumb decisions are part of the landscape. However, the whiny Fred in particular will infuriate you with his stupid and selfish actions. He does things that can be chalked up to jealousy, but in this situation, it seems like survival would be the first instinct, and not ruthless pettiness over a little love competition. For me, it threw all believability over the cliff. There's really no reason why there always has to be that annoying guy in these types of flicks, but I guess you have to keep things moving somehow.

High Lane was a pretty solid effort from Ferry, and I may have enjoyed it a touch more had I seen it on the big screen. The nature scenes are quite spectacular. There's an incredible amount of tension in that first half that tapers off toward the climax. I wonder if the reverse could have worked better having the set up be a group of people fleeing the killer by taking to the mountains? Hmmm...

Final note: I was confused because High Lane wasn't presented in French with subtitles. Instead, it was dubbed in English which usually annoys the hell out of me. Luckily, it was fairly well done and didn't come across as distracting. I checked it out on netflix watch instant, and just wasn't given the option, so be forewarned if you're picky like me. I'm sure the option is available on the DVD.

High Lane Trailer

THE DISCO EXORCIST: Boogey Down With The Boogey Man

Within the first five minutes of The Disco Exorcist, viewers are treated to a topless dancer sashaying her hips for a seedy group of perverts; a truckload of cocaine that blankets the screen like the winter’s first snow, satanic imagery and a voodoo spell that leaves one of the strip club patrons twisted in half until he’s ultimately split in two and disemboweled. This is all within the first scene, and offers just a taste of the sex, gore and mayhem that viewers have lined up for the next hour and change.

Rex Romanski (Michael Reed) is our prototypical seventies swinging male. With his blonde Leif Garrett inspired hair, lithe dancer’s body and easy going manner, Rex holds sway as king of the disco and casual sex scene in town. So when he meets Rita Marie (Ruth Sullivan) on the dance floor, there’s no reason for him to think he’s in for anything different than the usual: a night of bumping and grinding on the floor followed up by a night of bumping uglies back at his pad. After a night of having her mind blown and her lady parts scorched, Rita has other ideas in mind. She believes she’s found her one and only soul mate. Therefore it comes as a crushing blow when Rex ditches her on the dance floor for Amoreena Jones (Sarah Nicklin), local porn star of films such as “The Devil Is Still In Miss Jones”. Jones has what every man desires: the girl next door beauty and charm that makes you want to introduce her to mom to go along with an insatiable sexual appetite complete with skills in the boudoir  to match.   

We have a good idea where those fingers have just been, right?

After an all too brief catfight on the dance floor leaves Rita with a fistful of Amoreena’s hair, Rex escorts his new lady friend back to his pad where the two clasp hands and pledge a vow of chastity to one another until they get married.

Just kidding. We’re treated to an extended scene of Rex and Amoreena humping like bunnies hopped up on Red Bull. Apparently Rex has skills Amoreena has been looking for, because it evolves into more than a one night stand, and like most blossoming relationships; it involves the lady bringing her new beau to her porn set, where they engage in a four way with her two fellow actresses while wearing roller skates.

Of course, getting cast aside fails to sit well with Rita. Our ginger haired beauty takes matters into her own hands. Where the average crazy chick may simply slash her ex’s tires or make threatening calls to his place of employment, Rita has the dark arts at her disposal. Soon Amoreena finds her body taken over by vengeful spirits of the damned force to commit acts of mayhem, murder and cannibalism by their invisible hand.  With the help of his friends, Rex finds it’s harder to expel a demon from his new girlfriend’s body than it is to cure gonorrhea. If he’s going to save Amoreena before she pulls the junk off every dude at a local orgy(what does it say about my taste in film that this is the fourth movie I’ve watched this year where no man’s dick is safe, yet I’ve loved them all) Rex needs to become…THE DISCO EXORICST.

A night of scented candles and a voodoo doll? I'm all in. 

If you can’t tell by the above synopsis, Disco is a horror comedy with a heavy emphasis on the funny. Actually, The Disco Exorcist veers more towards seventies adult films rather than horror for much of its runtime. I can’t emphasize this point enough: there is a shit ton of fucking in this film. As Romanski, Reed gets to do more plowing than the city of Boston municipal services between the months of December and March. Griffin demonstrates a knack for recreating deviant exploitation films from the days of yore. Going through the IMDB for the cast, a lot of familiar faces pop up from Griffin’s other films. This helps out the cause, as familiarity breeds comfort, and as the cast spends the bulk of the runtime very much naked and simulating a litany of stimulating acts, one gets the impression everyone involved is in on the joke. Reed gives a breezy performance as Rick.  To modern sensibilities, he should come of like a pig, but there’s something likeable about the guy, and you can’t help but root for him.  Nicklin also comes off as immensely likeable in her role as the sex bomb girl next door. At time the horror element seems forgotten about-the climatic exorcist scene seems rushed. I-and I can’t believe I’m saying this-might have trimmed out the titillating scenes bit and beefed up the carnage count. The supporting characters, by way of an over protective ex-boyfriend, a blue balled club DJ and an excommunicated priest that botched an earlier exorcist make for some terrific cornball humor as well. 

However the real praise goes to Ruth Sullivan and her fantastic performance as Rita, the woman scorned. Sullivan possesses a natural beauty akin to Chloe Sevigny on her absolute best day. In the early goings, during her club hopping temptress phase, Sullivan is simply scorching hot. So hot that you just want to take her back to your place, feed her an industrial sized tin of Beefaroni, plant her on your face and pass out from the combination of noxious gas and sexual delirium. Yet Sullivan raises her game when she ratchets up the crazy meter. Spewing bile into the camera, she contorts her face in to an angry ball of hate that would make even the toughest of characters cross the street if the saw her heading in their direction. Her best scene finds Sullivan tracking through a graveyard, getting ready to raise the dead. Her true motivations come to light: she she’s herself as representing every woman that’s been spurned by a lover, treated as a sexual toy, been slighted or passed over on the job or suffered abuse at the hands of a man. It gives her character a sympathetic air that had been lacking. You understand why she’s taking the actions she does, even if you find them misguided.

This is the second film I’ve seen from genre director Richard Griffin in a month, and like Atomic Brain Invasion, Griffin displays a remarkable knack for recreating the era of movie making he’s paying homage to here. That said, the two films are wildly different in tone, with Brain Invasion playing out as family friendly fare for those of us that got bitten by the horror bug while glued to the boob tube watching Creature Double Feature, and The Disco Exorcist recreates the seedy, cum-filled low budget gore fests that would fit nicely on a triple bill on 42^nd street.

Considering the micro budgets Griffin puts his films together with, it’s pretty remarkable how Disco replicates the look and feel of the late seventies disco scene. From the unfortunate fashions and set dressings, to the washed out and scratchy film appearance, the film stock appears filtered through old Polaroids from that era.  It’s no small feat, as I’m constantly sent period films where modern trappings from smart phones to laptops to late model cars find their way on screen.  

Going through my Netflix queue, I noticed a second disco themed movie from Griffin, the 2007 film Splatter Disco (featuring George’s Intervention’s Lynn Lowry. I love this woman).  I’m going to have to bump that film up in my queue and cross my fingers that Griffin’s got a third “Disco” themed film up his sleeve.  In the meantime, Disco Exorcist is a sleazy good time, even if you want to make sure the disc is far far far away from the DVD drawer before the kids get home from school.

Please note: Scorpio films is hosting a presale on a limited number of The Disco Exorcist DVD's. One hundred autographed copies are on sale for $25 until April 25th. Follow this link for your copy 

 

Scream 4: Scream is Dead, Long Live Scream

Mike posted a great review of Scream 4 yesterday, and even though his was number 1,000,000 in the blogosphere, I figured being 1,000,001 can't hurt anything. Anytime a Scream movie rolls around, it can be considered an event. At the time of the original's release, it united jaded horror fiends with casual filmgoers who didn't even realize they liked horror movies. More importantly, it made big release horror exciting again. It took Wes Craven and Kevin Williamson some clever restructuring of a tired genre to re-ignite the box office for horror films, and Scream went on to become one of the most lucrative horror series in film history. It should have been no surprise that in the current state of sterile remakes and lifeless reboots, Scream 4 in some manifestation was inevitable. Some may have rolled their eyes at word of a new sequel, but there was an undeniable buzz for the new film leading up to opening weekend.

Unlike a lot of fans, I opted not to revisit the original series beforehand. I didn't even re-watch the first Scream because I wanted to have that distance in order to view part 4 through fresh eyes. The good news is that Scream 4 delivered on many of my admittedly low expectations, and even left me highly entertained. Some annoyances aside, it has a lot going for it. Despite tales of scripting implosion (Williamson having left to continue work on The Vampire Diaries) as well as Craven's odd distance from the film prior to release, it doesn't feel phoned in. I wouldn't say it's a return to form for Craven, but Scream 4 contained more energy than we've seen from Craven in a really long time.

Now let me ruminate on my post title: The original Scream was a satire that became a parody of itself. While Scream 1-3 was a collection of films increasingly more aware of themselves, part 4 is hyperaware. Immediately it begins with an intro designed to poke fun, then destroy our notions of a Scream intro scene.  From the get go the filmmakers are conveying that they're still pushing the envelope. In a way, they've given their own movie a stab. It's not yet the deathblow, but the wound is deep. Things are about to change.

In fact, this becomes a running theme throughout the movie. In response to changing times, Scream 4 is all about passing the torch. It lines up several showdowns between characters and concepts allowing us to ponder old school vs. new jacks, rapid changes in trends and technology, fame vs. infamy, the has beens vs. the up and comers. It even pits its own self against the myriad of torture flicks, Japanese remakes, and other assorted trends in horror over the past decade or so. In the horror battle royale, Scream 4 plans to be the last film standing.

Scream 4 is presented with a number of challenges. First of all, would a new generation of desensitised horror fans give a shit about characters from a movie that popped up while they were still in diapers? Had long time fans outgrown the original series in search of bleaker and gorier fare? Could Craven channel the Craven of old and give audiences another bite? Since over a decade has passed since we last watched Woodsboro's finest, Scream 4 must also address new forms of media. Ghostface now texts and posts to facebook just like we all do. Can that really be scary or just silly?

Reprising her role as Sidney Prescott, Neve Campbell once again proves the most sympathetic of characters. Returning to Woodsboro to promote a new self-empowerment book, Sidney finds herself once again enmeshed in horrible killings by a new ghostface. Also returning are Gale Weathers (always riotous Courtney Cox) and Dewey Riley (a very subdued David Arquette), now in a rocky marriage. Complacent Gale longs for her old life of sensationalist journalism and jumps at the chance to assist her protesting husband, now the sheriff, in solving the new murders. We are also introduced to a new crop of players including Sidney's cousin Jill (Emma Roberts), her best friend Kirby (Hayden Panetierre), and horror geeks Charlie (Rory Culkin) and Robbie (Erik Knudsen). The newbies play off the veterans providing distinctive subplots and introducing the trademark red herrings. Also back is a new and much more brutal ghostface.

The introduction of new characters sets the stage for entirely new suspects, victims, and most of all, new rules. Sidney is acquainting herself with family she barely knows, one which has its own agenda. Gale finds herself at odds with Sidney's press agent, played with zest by Allison Brie. Ghostface must even contend with the latest style of horror filmmaking - the handheld shaky cam. The events play out amidst some of the more brutal killings in the series. Craven and Co. upped the gore and frenzy of attacks making for a bona fide blood bath.

Performance-wise, the original trio of Campbell, Cox, and Arquette are solid and committed to their characters's new roles and challenges. Campbell keeps us invested with her trademark nose crinkles and narrowing eyes. Unfortunately, Roberts, except for one brilliant scene, is not up to task. As Mike pointed out in his review, she appears to think she's above all this horror movie nonsense, and I agree with his assessment. The rest of the new cast isn't much better, although the two bright spots are Pantierre and Culkin who may have possibly fit in as 90's versions of themselves in the original.

All in all, Scream 4 is a solid effort, and while it may not have the staying power of the original, it's a worthy entry and quite possibly the second best in the series. It succeeds as a whodunit (I never guessed the killer), and as a slasher. Although I'm not sure I'd be interested in further sequels, I'm glad I ventured out to see this one. Although it appears to be a finale by its climax, we know better from the previous films that a new ghostface can show up out of nowhere.

Scream 4 Trailer

As SCREAM 4 Review #1,000,000 Do We Win A Prize?

A decade removed from the original Woodsboro murders, Sidney Prescott (Neve Campbell) returns to her home town to promote her memoir and self help book.  However sleeping ghostfaces can't lie as her return sparks a new wave off movie inspired killings. Once more Sidney finds herself the center of violent attacks and those around her are ruthlessly butchered. Gather round folks, it's time for Scream 4. 

Fair warning, spoilers abound once you scroll past the poster though inn fairness, unlike Roger Ebert, we’re not spoiling the ending in the first paragraph. 

The good news is Writer Kevin Williamson and director Wes Craven restore the elements that made the first film work so well. The missteps of Scream 3, where the series attempted to combine horror with Get Shorty style digs at the inner workings of Hollywood are nowhere to be found. A new cast of teens join up with series regulars Sidney and the now married Sheriff Dewey (former WCW champion David Arquette) and ex-celebrity journalist turned bored housewife Gail Weathers (Courtney Cox) for a whodunit murder mystery. That sense that anyone could be the killer, an element missing in the latter two installments, returns in Scream 4 as there’s no shortage of suspects. 

I’m not joking about the long list of suspects: There’s Sidney’s perky PR assistant (Alison Brie) that seems like she’s game for a little murder to drum up book sales. There’s the blonde new deputy that seems to harbor a crush on Dewey and a thing for former classmate Sid. There’s a pair of movie obsessed high school students that run the Cinema Club and host a year Stab-A-Thon which are the movies within the movie that get referenced throughout. There's Sidney's cousin's stalker ex-boyfriend and second runner up in the Robert Pattinson look-a-like contest Trevor (aka “New Billy”). There’s Sidney’s aunt (Mary McDonnell) who always seems to leave the room moments before the killer calls. I think there’s even a fishy looking pizza delivery guy or two in the mix. For good measure, add in Sidney’s cousin Jill (Emma Roberts) and her friends: the horror film buff Kirby (Hayden Panettiere) and Mari (no idea who this is but she’s the token ‘way too old and hot to be playing a high school student, so she’ll be disposed of soon’ girl). Craven plants a ton of red herrings as to the killers’ identity, and the series trademark habit of having characters pop in to the scene mere moments after Ghostface makes an exit returns.

Fans best know Scream for its attempts to deconstruct the horror film. That’s back as well, for as the tagline says: New decade, new rules.  This is where the film falters a bit. Outside of a clever gag where Panettiere runs down just about every horror remake this decade, the attempts to lampoon modern horror fall flat. Scream 4 boils it down to: “Okay, we’re all tired of torture porn, creepy Asian girls with stringy black hair and remakes, right? Cool, moving on then.” The found footage oeuvre finds its way into the mix as Ghostface now films the murders, but when it’s explained, it feels shoehorned in. Characters bring up rules to modern horror, but nothing going happening on screen seems to correspond with them. The opening gambit pulls the rug out from the audience a couple times and makes its point with how forced and lazy most current horror movies with regards to setup and character development. They also have some nice anvil to the head digs at the Saw franchise as well. 

There’s also clunky attempts to incorporate social media, which consists of mentioning Facebook, You Tube and Twitter exist.  Considering the pervasiveness of these mediums in our lives, it feels under utilized here. Rather than have a classroom learn about the deaths of fellow students via mass simultaneous text, how about a status update with a profile picture of the carnage? 

Deleted scene from Scary Movie 12 or the opening scene from Scream 4?

When Scream 4’s not trying to shoehorn the above commentary to the film, it actually works as a decent horror movie. It’s the best entry in the franchise since the first film. The new cast mostly work (one big exception, we’ll get to that soon) with Panettiere standing out as the movie obsessed best friend. The old stalwarts and new cast integrates well. It’s also has some funny bits. I enjoyed Anthony Anderson and Adam Brody as the two cops waxing rhapsodic over what kind of law enforcement bite it in movies. After four installments with little deviation from the tried and true, there’s not much to be afraid of. The new has a lot of call backs to the first, in both actions and visual cues. There’s a moment where one duct taped character is pulled from the pantry a la Sidney’s dad, and another where Caulkin’s film nerd is tied to a chair outside in a way that’s a perfect mimicry of the first film’s Steve. The film manages to feel like a reboot while continuing the original narrative. 

 The only real negative I found to the film was Emma Robert’s wooden performance as Jill. She’s been set up as the new Sidney, but displays none of the warmth or strength of character that Campbell brought to her role. Roberts gives the disaffected performance of someone who believes she’s above the material, and is solely acting on the advice of an agent that the box office from the franchise’s built in base will lead to bigger things.  She has a two minute stretch where she goes all Ash that is commendable, but aside from that she’s pretty terrible.

One also gets the sense that Dewey and Gail’s interaction was rewritten on set in order to play off the troubles of the then married couple. The two barely interact in the film, and when they do, it’s almost always adversarial. Neve Campbell makes up for it by acting more invested in the proceedings this go round than the barely-there Scream 3. She actually gets to kick a little ass this time around rather than play the victim on the run that gets the upper hand in the finale.

So what about the Ghostface reveal? It’s….okay? It’s definitely not as stupid as Roman in Scream 3-which, okay, you can say that about any aspect of this film-but a step down from the first film. The motivation actually mirrors that of the second film-the killer wants to be famous. Though it was delivered in a “oh look at me I’ve gone suddenly crazy after acting normal all this time way” fashion, the idea that someone wants to be famous “just because” fits well into an era where the casts of The Jersey Shores and Real Housewives of Des Moines are household names.

Perhaps I'm viewing Scream 4 from the rosy colored glasses of nostalgia or my lowered expectations heading in, but I enjoyed the film far more than I anticipated. I was on record thinking there was little more to Scream 4 than a desperate grab for cash on the financially strapped Weinstein brothers part, and while that may be true, at least we got a decent film out of the proceedings. Your experience will vary depending on how much you enjoy the first film. If you were in the anti-Scream camp from day one, save your money or go see Insidious again because you won't like this film.  If you're a fan like me, then Scream 4 makes for a decent bit of closure for the series. Craven's on record saying he smells another trilogy, but with the body count in this film I don't see who would be left to bring back. 

The Indie Corner: The Corridor

If there's one potential aspect of the future that scares the living bejesus of me, it's the idea that the rapid development of technology will lead to a singularity. Admittedly, I am not as up to speed on this concept as most of the folks reading this, but as I understand it, we're heading full tilt towards a future where Skynet has one, and there's a merging of the human mind and technology in to one large collective conscience where all knowledge and thought resides.

Speaking with The Corridor's writer Josh Macdonald after its screening, he got to talking about how Event Horizon influenced the film. While the settings are obviously different (the vast outer reaches of space versus an isolated cabin in the woods) the comparison is an apt one. Like EV, The Corridor involves a group that stumbles upon something unexplainable, and its influence drives each of them mad before ultimately destroying them.

The Corridor kicks off with a death and a breakdown. Three lifelong friends break into their friend Tyler’s (Stephen Chambers) home and find his mother facedown and dead on the floor, and Tyler cowering in the closet. They try to coax a rational explanation from him, but are met with his nonsensical ravings about being unable to keep the noise out. The situation ends in violence, as he slashes one friend cheek and stabs his best friend through the hand, the wound damaging enough to end his career as a sign instructor.

Months later, Tyler has been let out of the institution, and his friends have gathered with him at their childhood vacation home in order to give the mother’s ashes a proper send off. Thus begins the slow burn phase of The Corridor, as we learn about the friends and see how the dynamics of boyhood friendships and rivalries affect the group as adults. Initially the men see the retreat as a way to kick back and blow off steam, but the fragile mental health of quickly turns the events somber. When the friends stumble upon a mysterious opaque construct in the middle of the woods, their initial joy at their discovery soon takes a turn for the worse.

The film wisely avoids any explanation of what the corridor is or where it came from. Trying to define this thing rationally would most likely end up travelling to Ridiculousville. The “what” isn’t important-it’s simply a plot device that puts the group under its allure.  The corridor has the effect of unlocking the unused parts of the brain of anyone that enters it. In doing so it also “connects” the minds of group that enter it together, creating a semi hive mentality and psychic bond amongst the group. Since the human mind is wholly unprepared for this event, the brain essentially unravels. Think of the effect of a guitar string being wound too tight before it snaps and you have an idea of the effect of this construct. The end game of this device is to connect all living things under its wing.

It’s a cool concept if you don’t think too hard about things like why Tyler’s medication blocked its effects. I found it difficult to buy in to the idea that something a bit stronger than Tylenol could overpower an extra terrestrial entity hell-bent on melding the human minds in to one uber clan.

The aftermath of the friends’ trip to the woods play out back in the cabin in terrifying fashion. The Corridor provides jolting moments of terror. It’s not that the violence presented on screen is far above and beyond the norm in this type of film. Rather, it’s the casual, almost relaxed way a group of lifelong friends tear in to one another that makes it riveting. Also, while it would usually be a kiss of death to say any part of a movie reminds one of The Fourth Kind, there’s an unnerving scene involving a videotaped message from the mother that provides a startling moment.

The disintegration of the group works because of the breezy interaction of the cast in the first two acts. The performances make it easy to buy in to the idea that they’re lifelong friends that have one another’s back, but also know what buttons to push to piss one another off. There’s an obvious tension as the group always has it in the back of their heads that Tyler might snap again. The film takes its time allowing these tensions and decades old grievances to boil over, making for a satisfying payoff. 

 Overall The Corridor is a solid entry in to the Sci Fi horror genre. It wears its influences on its sleeve (the aforementioned Event Horizon and the all male ensemble is reminiscent of The Thing) without feeling like its lifting directly from the source material. Strong performances across the board and a tension filled bloody third act make this an easy recommend. It’s currently making the festival rounds. Stay on the alert for a release date in the near future. 

Cool Scream Tribute Poster by Alex Pardee

I don't know if we're having an official "Scream Week" to prepare for the release of Scream 4 on April 15, but I thought I'd follow up Mike's wonderful revisit of the original with this cool poster created by artist Alex Pardee.

Alex does some great work in print and t-shirt design, and this ode to Ghostface is incredible.

To see more of Alex's work, visit the following sites:

Alex's blog Eye Suck Ink
Zero Friends