Mad Max was really the opening salvo in the Reagan era post-apocalypse boom, even though it’s more outrageous sequel became the template. It’s debatable whether or not Neon City is the last film in the trend, but regardless, it’s fitting that it would be among the last and is, in spirit so much more similar to Mad Max than it is Road Warrior.
It seems like the middle story is always the crappy one, and while I understand that dropping the bad story in the middle means you can start and end strong, it also kills momentum
I actually find the idea of Hellraiser expanding out into space to be a fairly promising, if under-realized in this film, premise that lends the series a bit of Lovecraftian cosmic scope. Potential aside, however, Bloodlines fails to hit the mark, though it turns out it’s not nearly as bad a film as I originally assumed it would be.
I, like many people, loved the first two Hellraiser films, and as they garner some modicum of respect, I decided it was best to skip over them and go directly to the one featuring a wisecracking Cenobite with a video camera embedded in his head.
The action may indeed be bad, but there’s a lot of it. Like Melissa Moore and Cat Sassoon, all this movie wants to do is entertain you. And like its stars, the results are pretty feeble even if the effort is enthusiastic.
That it never received a theatrical release in America is a no-brainer; distributors would undoubtedly have hit a mental logjam trying to market a movie that looks on the surface like a family film but plays out like an angst-ridden version of The Aristocats as imagined by Eli Roth.
Merrick and Marina betray Hauer’s Wade and shoot him dead, presumably over the lack of judgment he demonstrates in choosing his outfit from the Glenn Fry ‘Smuggler’s Blues’ collection.
Event Horizon is an almost great movie that loses its way and relies on too many scenes from other movies and too many cheap jolts.
Many of Tahalka’s exteriors and larger scale action sequences are accomplished by means of some particularly dodgy model work, which means that portions of Tahalka look like an especially half-assed episode of Thunderbirds.
This is one of those DVDs that has been sitting around on my shelves for years, and it’s always on that list of “things I should just sit down and watch this week but then they never get watched.” Well, now that I’ve finally gotten around to it, my initial impression is that I shouldn’t…
It’s a mess. I wouldn’t call it terrible, but I would stop well short of calling it good. However, these subjective judgments ultimately mean nothing, because the film endears itself to me simply because it’s so willing to go so overboard in almost every aspect. It’s brash, supremely operatic, terribly overwrought, and easy to get absorbed into.
The horror boom in Japan didn’t have any one cause, but it did have one big ingredient that made it a success: young girls. Under normal circumstances, saying that young girls were a key to the success of anything horror related would mean that young girls, possibly in wet white shirts, were prominently featured in…