Major studios currently have one rule when it comes to horror – remake, remake, and remake again. Slasher flicks are the norm, usually with a tired, post-Scream makeover for the ironic/not-ironic-but-don’t-actually-know-any-better audience. With this in mind, it may come as a surprise to find STS championing a remake, especially one that doesn’t even have the benefit of decent source material. Be under no illusions, She-Creature contains all the ingredients for a crap-fest of epic proportions.
Taking a bloody awful 1956 Samual Arkoff movie as source, She-Creature thankfully plays fast and loose with it, originally billing itself as ‘the mermaid chronicles part 1’ it seems they couldn’t be bothered to make any follow-ups. Either that or they had so much fun with this that they knew it couldn’t be topped.
Swedish director Tomas Alfredson’s version of John Ajvide Lindqvist’s novel, Let The Right One In, finally limps on to British and American screens…just in time for the DVD release. That said, this is definitely a film that deserves a big screen, and a night-walk home through the park afterwards.
This is stunning, catching the ethereal beauty of a Scandinavian winter and juxtaposing it with the modern, concrete grimness of the cold war. Despite being firmly rooted in the 80s, the film spends a lot of time building an atmosphere that is both timeless and ageless.
Despite rumours that this is his final acting gig, Clint manages to stay nicely understated in Gran Torino and it’s to his credit that despite Academy disdain, Gran Torino has gone on to become his most succesful film. Just as Unforgiven put The Man With No Name neatly to bed, this plays out like a resolution to the Dirty Harry films – and a far better one than The Dead Pool at that. Read More »
Going by title alone, you’d be forgiven for expecting a set-piece-filled video game spin off. In fact this is a slow burning and underplayed version of real life events, as Norwegian resistance member Max takes on dastardly invading Nazis, in a WWII film that’s a wobbly mix of two-fisted action and true-life consequence.
Sometimes you can be forgiven for suspecting the movie you’re about to sit through is going to be woeful claptrap. Cemetery Man seems, from the cover, to satisfy every criteria for this kind of low expectation. It stars Rupert Everett, for Christ’s sake. But then, through sheer insanity and stupidity, it three-sixties into one of the most wonderfully over-the-top showcases for madness you’re ever going to see. When a film goes so far out of its way to make you look at the screen aghast, it has to have something going for it. And it’s this kind of care-free idiocy that marks Cemetery Man as a cut above other overlooked zombie flicks. It simply doesn’t seem to care what you think of it. It’s a bloody-minded lunatic of a film.
