I love a sequel that not only ups the ante regarding the original film but decides to be as extreme as possible and really ‘go for it’.
In this film theres a new family who move into Amityville. You know that any family that includes Burt Young and Rutanya Alda as members is going to be dysfunctional. And, by Christ, I mean VERY dysfunctional. Any film that deals with incest is going to be special. Theres also a domestic violence subplot which is just as shocking.
Add to that some of the grossest special effects as the teenage son is possessed and transformed into an utter beast of a nightmarish character and you have a great, twisted and truly messed up (in a good way) sequel.
I remember this having one of the most disturbing sleeves of any horror video in my local video stores which instantly made me want to investigate this further.
There is also a scene involving a Sony Walkman which freaked me out so much that it made me question using mine for days after seeing this filth classic.
I knew this would be a great film when I saw it was written by Brian Clemens who wrote, amongst other things, the amazing series called Thriller. I wasn’t wrong. This is a cracking movie.
Mia Farrow plays Sarah, a girl who is returning home after being in hospital after a fall from a horse has made her go blind.
She is greeted by her mother and father. She goes for a nap and doesn’t realise that when she wakes up her entire family have been murdered. There is a VERY unsettling sequence in which she doesn’t realise this and goes about her business with the dead bodies of her nearest and dearest around her. When she enters the kitchen we are shocked to discover that as she makes a cup of coffee the killer is actually sat at the kitchen table watching her every move while she is completely oblivious.
She soon discovers everyone is dead. And thats when things start to become really tense.
The killer is kept secret from the audience but it identifiable only because of a distinctive pair of boots he wears, each with a star on them. The killer’s walk from the cinema at the very start of the film is an incredible sequence.
Theres stars from stage and screen in this film. Norman Eshley (Tristran’s dad from George and Mildred), Michael ‘Boon’ Elphick, Paul ‘Just Good Friends’ Nicholas and Lila Kaye, the landlady from The Slaughtered Lamb in An American Werewolf in London all appear.
Mia Farrow is totally believable in the lead role and coupled with some excellent direction and we have some truly tense, edge of the seat moments. Check out the scene where she moves around and through the arches in the huge house she lives in so that the killer won’t see her. Outstanding acting and camerawork.
I watched Indicator’s Blu ray for this review and it is exceptional. Theres even another cut of the film that went by the title ‘Blind Terror’ on the disc. Indicator are fast becoming a Blu ray label to rival the very best Blu ray companies out there.
A wife fakes her own death to escape from her rich abusive husband. She then flees to the mid-west to try to rebuild her life under a different name so that he can’t trace her. Will she succeed?
This is a Julia Roberts movie. If there isn’t a big enough warning to stay away I don’t know what is (although The Mexican is a great film but that’s an exception in her oeuvre).
Everything from the scenes where she gets a beating (she’s like Bambi in these scenes- innocent and a pure victim) through to the scenes where she is predictably ‘learning to live again’ in her new locale (there is one scene where her and her new boyfriend have great fun trying on different hats. I kid you not. It’s as vomit-inducing as it sounds) to the final scenes where her hubby who has now traced her and seems to have morphed into a really rubbish version of Michael Myers, is big dumb Hollywood crud on every level.
I hate films that don’t warrant their audience with one iota of intelligence. This is one of those films. It took in megabucks at the box-office. In fact how this was made as a film to be shown in cinemas is beyond me. This feels like a Hallmark TV movie.
If you want to see a great, intelligent film about abuse and stalker-esque behaviour in a relationship, please watch Play Misty For Me instead. If you want to see a film about an abused woman who isn’t a victim seek out Ms.45.
A girl goes missing. Or has she been abducted? Her father digs deeper to try and find his daughter.
A film that takes place either through words, pictures and footage on instant messenger, FaceTime or social media. The telling of the story through these mediums feels innovative to begin with but grates by the end of the movie.
Great performances all round, an ending that feels a bit forced and rushed though.
But I’m not going to criticise a horror movie that strives for innovation and originality. Even though this movie doesn’t hit all of it’s targets it deserves applause.
Theres ‘good bad’ and theres ‘bad bad’. This is definitely ‘bad bad’.
The Megalodon was a huge shark thought to be extinct. A research expedition into deeper levels of the ocean finds that ol’ Meg is still alive. Megsy then decides to move away from these deeper ocean depths and invade the shallower depths of the sea which the expedition came from in search of human chow.
This film contains the worst CGI since Escape From LA which just reinforces to me that this was made to make money and for no other reason. John Carpenter’s film at least had the excuse of being made when CGI as we know it was in it’s infancy.
The CGI in The Meg was so bad that a scene that should have contained a huge jump scare looked so fake and artificial just before said scare that you just knew something was going to happen. And it did. And zero forks were given.
This film also contains some of the worst most stereotypical and generic characters that I’ve ever seen- the cutesy little girl (far too irritating for her own good and deserves to become shark fodder), the edgy female scientist (tattoos, Lara Croft hair, probably a lesbian) the comedic black character (he makes Jovial Jemima look restrained. Time to send back your NAACP membership card, Page Kennedy).
Rainn Wilson has a face for radio, not for film. ”Why has he been cast in such a role?” I thought whilst watching this cinematic abortion. Then it hit me. His brash billionaire character who is in part responsible for bringing The Meg into our waters seems to be based on Elon Musk- someone else with a face for radio and a personality just as rancid.
Jason Statham is a great action hero. That is until he opens his mouth and undoes all of his good work. I have a theory- the more dialogue Statham has to deliver in a film, the worse the film is.
We get the obligatory scene of Jason just out of the shower and only wearing a towel. So what. A Google search for such fare is cheaper and more painfree than watching this movie.
There are also some of the most awkward ‘comedy’ moments that I’ve ever seen. Lines that aren’t funny and have never been funny being delivered completely ineptly.
The film also changes gear and intent about two thirds of the way through. From being a suspense filled horror film (which it utterly fails at) the film then thinks it can master the ‘Sharknado’ sub-genre of ‘oh so camp, tongue in cheek’ horror movies (it can’t even master this- some feat).
The Meg feels like a really anaemic, formulaic and boring straight to video movie from the early 90’s that has had millions thrown at it and given a theatrical release. It’s out of time and out of place. A bit like the megalodon really.
This is such a great documentary about Ozploitation films (exploitation films made in Australia).
All the great films and sub-genres are here- the bawdy Ocker comedies, the slasher movies, the films for petrolheads.
The main players are all interviewed and show that making these insane films was just as insane in real life.
I’m so glad that so much attention was devoted to Brian Trenchard-Smith. I think Turkey Shoot is the greatest Aussie film ever (take that Picnic at Hanging Rock).
But it’s not just Aussies who are interviewed. Jamie Lee Curtis and others are interviewed as they starred in prominent Ozploitation movies. Quentin Tarantino features as he’s a massive fan of the genre.
This doc is great for beginners and the already initiated alike. Theres so many films named that I hadn’t heard of that I’ll now be hunting down. Job done.
On 8th November 2013 John Waters performed his one-man show at Liverpool Philharmonic and was on top form. I attended this show and had a whale of a time. There was a signing session after the show and the line to get stuff signed was HUGE.
But not many people knew that there was to be a very special event the next day. Mr Waters was to teach the Film Studies class at John Moores University. There would be a screening of one of his favourite films, Boom! and then he would talk about it. This event was private and not open to the public- but I managed to blag tickets.
As soon as I saw Waters walk in I thought I was dreaming- I was sharing the same oxygen as The Filth Elder.
We then watched the movie Boom! And I can see why it’s one of Waters’ favourites. It’s fucking insane. Midget guards, Noel Coward and some of the best lines of dialogue in any film (An example- Liz Taylor’s character at one point says to no one in particular- ‘Hot sun, cool breeze, white horse on the sea, and a big shot of vitamin B in me!’)
After the film Waters spoke about the making of the film, why he likes it and how it has influenced his own work. He then opened up the discussion to us so that we could all talk about it.
We then talked about film in general and specifically his films. It was amazing. We could ask him anything. I’d be here all day if I tried to recall all of the anecdotes but I’ll tell you one. Waters was asked about the song he wrote for Serial Mom that L7 (called ‘Camel Lips’ in the film) called Strait Jacket. He said that he still received sizeable royalties from PRS because he wrote the song. He then said that if that was the case imagine what it must be like to be Madonna and the royalties she must receive!
This was such an amazing event and I felt so privileged to be there.