Dagon walks the line between horror and comedy more deftly than did Re-Animator, which tended to give in with youthful exuberance to its more outlandish tendencies
And while making a claim for any film as the first giallo will only degenerate into an unresolvable debate akin to naming the first punk rock band, a lot of people tend to agree that it’s Mario Bava’s Blood and Black Lace — which I’ve never seen.
No matter how much I run Zombie Lake into the dirt, I can’t deny the enjoyment I got out of watching it. Its combination of schmaltzy sentimentality, surprisingly forthright sleaze, and apathetic horror movie pastiche really does add up to something fairly unique.
Let me be up front: the whole reason I wanted to watch this film in the first place was because the poster art featured a torch-wielding naked woman riding atop a tormented centaur. I knew it was probable nothing like that would ever occur in the actual movie (and I wasn’t disappointed in my pre-disappointment),…
I think the film was undone for most people by the things I liked most about it: misguided and moronic attempts at social conscience, and a bizarre marketing campaign that framed the movie as a Wolf Creek/Hills Have Eyes new style slasher film while doing everything it could to obscure the fact that this was, in fact, a movie about a giant crocodile.
The out-of-focus camera work, the terrible editing, the silent scenes of people standing around waiting for their queues…these things never would have happened with a real editor on the crew, and Manos would have been worse off because of it.
Really, Pinhead? Really? This is how you treat me? We’ve come so far, and I’ve given positive reviews to so many of your movies, and this is how you pay me back?
Any meeting of Kari Wuhrer and the Hellraiser franchise was going to get my attention. So I sat down for this seventh installment in the the long-running horror series with some degree of anticipation that, at the very least, it would offer me something more than a jackass having hallucinations while sitting in his office cubicle.
That only holds true if you operate under the assumption that the rest of the movie is filled with other weird stuff. Part five did that, giving us a gruesome serial killer movie with surreal Cenobites and oddness. Part six is basically that movie, but instead of a disillusioned cop and creepy Cenobite chicks, it’s a douchebag in an office cubicle.
If you can roll with the goofiness of a demon anti-hero who seems to be taking acting queues from Jimmy Walker, this movie is fun enough, stupid enough, and warped enough to be a pretty entertaining, dumb time.
I was set to into part five all ready to think the movie was total garbage. It seems to be a pretty polarizing film, and in my opinion, a fairly well misunderstood and misinterpreted film. I was taken by surprise when I ended up really liking this offbeat entry, both for what it accomplishes and for what it admirably tries to accomplish but fails.
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.