Also known as: Silent Hill 2 (working title), Silent Hill: Revelation 3D (poster title) Release Date: October 25th, 2012 (Hong Kong, Russia, Ukraine) Directed by: Michael J. Bassett Written by: Michael J. Bassett Based on:Silent Hill 3 by Konami Music by: Jeff Danna, Akira Yamaoka Cast: Adelaide Clemens, Kit Harington, Deborah Kara Unger, Martin Donovan, Malcolm McDowell, Carrie-Anne Moss, Sean Bean, Radha Mitchell, Heather Marks
“The darkness is coming. It’s safer to be inside.” – Dahlia
That’s what this movie is.
I don’t know if the six year hiatus is what caused this to be such an atrocious follow-up to the first Silent Hill movie but man, this was fucking terrible.
It tries to naturally follow the plot of the first movie, which loosely adapted the first two Silent Hill video games, by loosely adapting the third game. However, it gets a hell of a lot wrong and apparently the writer/director didn’t pay close attention to the first movie, as several things contradict and retcon it.
The story is garbage and frankly, it makes little to no sense if it actually exists in the same universe as the previous movie. That first film’s rules no longer apply and this is a sequel that just makes shit up as it goes along and does whatever it wants for plot convenience. It’s lazily crafted in every way and it derailed this from becoming a film franchise built on top of the video game franchise.
This movie also stars very capable actors but in this, they all give their worst performances.
Additionally, the special effects are CGI heavy and the movie looks a lot cheaper than the successful first one. Usually, this means that a studio will spend more money. However, this looks like a mediocre fan film made by first year film students.
I don’t know what else to say. There’s not a single good thing about this movie and everything that could’ve gone wrong, apparently did.
I’m sorry your agent talked you into this, Mr. McDowell.
Fuck this movie.
Rating: 3/10 Pairs well with: it’s far superior predecessor. But more importantly, the video game series. Specifically, the first three games.
Also known as: Centralia (fake working title), Terror en Silent Hill (Argentina, Brazil, Colombia, Venezuela) Release Date: April 20th, 2006 (Hollywood premiere) Directed by: Christophe Gans Written by: Roger Avery, Christophe Gans, Nicolas Boukhrief Based on:Silent Hill by Konami Music by: Akira Yamaoka, Jeff Danna Cast: Radha Mitchell, Sean Bean, Laurie Holden, Deborah Kara Unger, Kim Coates, Tanya Allen, Alice Krige, Jodelle Ferland
“When you’re hurt and scared for so long, the fear and pain turn to hate and the hate starts to change the world.” – Dark Alessa
When this came out, it was the film that seemed like it bucked the trend of video game movies being shit, as far as adaptations and overall quality goes.
The Resident Evil films were their own thing and before them we had the Street Fighter movie, Super Mario Bros. and Double Dragon. I would say that the film that actually bucked the trend first, though, was 1995’s Mortal Kombat. However, Silent Hill is a much better film than that one and it works without having knowledge or appreciation of its video game series before seeing it.
In fact, I know several people that saw this film first, which then served as a gateway into the games due to the effect this movie had on them.
I used to watch this quite a bit after I bought it on DVD when it was first released that way. It’s probably been a dozen years since I’ve seen it but my fondness for it was still really strong and I wanted to revisit it. I also want to playthrough some of the earlier games too, which I might in the very near future.
Seeing this now was kind of cool because I was separated enough from it to see it with somewhat fresh eyes. I definitely see the flaws in it more than I did in 2006 but that could also be due to me not being as obsessed with the franchise as I was back then. Subpar sequels in both video games and film took the wind out of this once great property’s sails.
The film adapts elements of the stories from the first two games and sort of merges them while also doing its own thing. So it’s familiar enough for fans to immediately recognize but also takes some interesting turns that allow it to breathe and evolve in a different way.
I like the film’s story quite a lot, even if it does change some key things. Those things don’t break the film as its own body of work, though.
My biggest gripe about the film is the dialogue. It’s not terrible but there are some weird lines and some weird delivery, here and there. I’m not sure if that’s due to a language barrier due to the director, who also co-wrote the film, being French. I don’t know enough about him outside of his finished films that I’ve seen, which aren’t many.
However, the child actress delivers some lines with weird inflections on certain syllables that sound unnatural and a bit off. I don’t necessarily blame her, I blame the direction and the takes that were chosen to be used in the final film.
Overall, she did well essentially playing two different characters that were polar opposites of each other: one being good and innocent and the other being the absolute embodiment of evil. The requirements of her role aren’t easy for most adult actors and she did rather well considering her age and experience.
Moving on, some of the CGI effects look a little dated but for the most part, the film still looks great. There are just a few shots that look kind of weird.
The film as a whole looks incredible, however. Gans has a stupendous eye and from a visual standpoint, he captured the tone and aesthetic of the video game series phenomenally well. I am still really impressed by the scenes where the purgatory world dissolves into the Hell world.
Beyond that, I’m not a big fan of the ending but it fits well within the framework of what Silent Hill is. I guess there is a part of me that wanted something more optimistic but the ambiguous and strange ending leaves the viewer with more questions than answers. Also, that’s not a bad thing, some of my favorite movies do that but after the literal hell that the characters went through, it felt like more of a reward was needed.
I liked the cult aspect of the story and I definitely loved their end. As violent and incredibly fucked up as the climax was, it was also satisfying as hell after learning who these people really were. This movie doesn’t simply provide you with sympathy for the Devil, it makes you root for him… or in this case, her.
The last thing I want to mention is the music. The film recycles the score and iconic songs from the video game series. That might not work in the case of most film adaptations but it really amplified the effect of the film and its brooding, disturbing atmosphere. I think that I appreciated it even more now, as I kind of forgot how good the games’ music was.
Silent Hill is, hands down, one of the best horror movies in its decade, which was unfortunately a terrible decade for horror. But I think it would’ve been just as great in earlier decades, regardless of the higher quality of the genre.
Rating: 8/10 Pairs well with: it’s absolutely shitty sequel, I guess. But more importantly, the video game series. Specifically, the first three games.
I’ve read a lot of books this year about the days of the old school wrestling territories. While this one wasn’t by any means the best, it did have some of the most interesting stuff in it, especially considering the time in which it was written and published.
In a lot of ways, this reminded me of The Fall Guys, as it peeks behind the curtain and exposes certain secrets of the wrestling business.
The true story that is covered here, sees the author initially start out to write about a small wrestling promotion through the eyes of a fan. However, as he interviews more people and becomes familiar with them, he ends up working for the promotion.
What he didn’t know when he started writing this, is that he was chronicling the demise of a small local Canadian wrestling promotion, which eventually got swallowed up by a large corporation that was taking over the industry and becoming a multi-national company.
While just about every wrestling territory had the same demise as this one, it’s really interesting seeing it told from the perspective of the small company while it was happening.
Beyond that, this book also has several subplots due to the wacky things that weaved in and out of this company during its final days.
The most interesting and fucked up story in the book is about the company’s wrestling bear, a beloved living mascot, that killed the girlfriend of its trainer.
All in all, this wasn’t great but for those with an interest in the subject, it’s got a lot of meat to chew through, most of it pretty good.
Rating: 6.5/10 Pairs well with: other books on the history of the old school territory wrestling business, as well as biographies on the personalities who lived it.
Also known as: Teen Agent (UK, Denmark, Japanese English title) Release Date: March 9th, 1991 (Los Angeles premiere) Directed by: William Dear Written by: Darren Star, Fred Dekker Music by: David Foster Cast: Richard Grieco, Linda Hunt, Roger Rees, Robin Bartlett, Gabrielle Anwar, Roger Daltrey
Warner Bros., 88 Minutes
“I knew I should have taken Spanish.” – Michael Corben
I can understand why this film wasn’t a big hit in theaters but I never understood why it didn’t catch on once it came out on video. It’s one of those films that should’ve been a cult classic because it’s just a ton of fun and Richard Grieco was immensely talented, especially in this sort of production.
Sadly, this flopped hard and Richard Grieco didn’t become the superstar that many thought he was destined to become coming off of 21 Jump Street and his own spinoff series Booker. I liked both those shows, liked Grieco and was pretty stoked when this was coming out, as I also loved goofy teen comedies, loser rising to the occasion stories and spy flicks.
This seemed like a perfect formula for my twelve year-old self in 1991 and fuck it, it totally was! I loved it and copied the VHS tape that I rented. I’d then go on to watch it quite a bit but since then, it’s been lost to time and sort of just faded away and pretty quickly.
I found myself thinking about it, recently, so I looked to see if there was a DVD release and there was. When I looked some time ago, it hadn’t yet been released in that format. So I bought it and threw it in the DVD player the same day it arrived.
What I was most happy about was that this held up really well. I mean, it definitely feels like a product of its time but it wasn’t an awful movie that I simply liked because I was a twelve year-old idiot. The main reason is because Grieco has charisma, charm and he just comes across as cool, which is something lost in most modern films.
This is the epitome of mindless, fun escapism and it was a hell of a lot of fun escaping into it in 2020, a year that almost all of us would love to forget.
Beyond Grieco, I loved the women in this, especially Linda Hunt and Robin Bartlett. Both of them really got to ham it up and they appeared like they were having a real blast making this movie. Hell, Linda Hunt is an Academy Award winner and she still performed in this “low brow” comedy with gusto and real passion.
This also looked like it cost a pretty penny to make, as the special effects and stunts were top notch stuff, especially for the time. Now this wasn’t James Bond level but it obviously had a budget much higher than your typical teen comedy flick.
I also learned that this was written by Fred Dekker in the ’80s with the intention of it being a starring vehicle for Anthony Michael Hall, capitalizing off of his fame from multiple John Hughes movies. I’m sure that would’ve been a pretty awesome film too but I’m really happy with how this turned out, regardless.
It sucks that this wasn’t a big kickoff to Richard Grieco’s film career but he’s got nothing to be ashamed of, as this is a film I’ve loved for decades and was really happy revisiting nearly thirty years later.
Rating: 7.25/10 Pairs well with: other goofy teen movies from the late ’80s and early ’90s.
Also known as: Horror Party (Germany) Release Date: March 28th, 1986 Directed by: Fred Walton Written by: Danilo Bach Music by: Charles Bernstein Cast: Jay Baker, Deborah Foreman, Deborah Goodrich, Ken Olandt, Griffin O’Neal, Leah King Pinsent, Clayton Rohner, Amy Steel, Thomas F. Wilson
“[watching Kit and Rob through binoculars] Respectable young Quaker couple returning from a quiet afternoon of nonviolent sex.” – Chaz
I have never seen April Fool’s Day until now and that has a lot to do with the twist ending being spoiled for me at a young age by friends who were annoyed by it. While I have seen some clips and scenes over the years, this is my first time checking out the total package, as it was intended to be viewed.
Overall, this wasn’t bad but it’s really just a paint-by-numbers slasher flick with a unique ending.
If you’ve never seen the film and don’t want the ending spoiled, you might want to skip reading.
Anyway, the title sort of does give the ending away, as once we reach the climax of the film and the last two surviving teens are faced with the killer, it’s revealed that everything in the film was just a big, elaborate April Fool’s Day prank.
This upset a lot of people and others that weren’t as upset just wrote this off as dumb. I’m actually fine with it now that I’ve seen the movie, as it’s an original take on the genre, which was already exhausted to death by 1986, and because it was effective at being a decent slasher flick before the big reveal.
Plus, the ending makes it stand out in a sea of slasher clones and without it, no one would still talk about this film. While some said it killed the genre, that’s bullshit. Slashers kept being pumped out for years and in fact, they still exist today and often times have little resurgences even though Scream actually broke kayfabe on this subgenre of horror.
April Fool’s Day is a mediocre slasher movie but at least it tried something different. I get why altering the formula may be upsetting to some but it’s not like there aren’t about three-thousand other slasher pictures out there.
Rating: 6/10 Pairs well with: other ’80s slasher flicks.
Release Date: February 4th, 1983 Directed by: David Cronenberg Written by: David Cronenberg Music by: Howard Shore Cast: James Woods, Sonja Smits, Deborah Harry, Peter Dvorsky, Les Carlson, Jack Creley, Lynne Gorman
Filmplan International, Guardian Trust Company, Canadian Film Development Corporation, Universal Pictures, 87 Minutes, 89 Minutes (uncut)
“The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.” – Brian O’Blivion
Some movies can be batshit crazy but then there are a select few that go beyond that. Videodrome is one of these films, as it is a complete and absolute mindfuck.
This is also a David Cronenberg film from his early days, so intense, disturbing body horror should be expected and in that regard, this movie does not disappoint and it boasts some incredible special effects even though the film had a fairly scant budget.
Overall, this and The Fly are just about tied for being my favorite Cronenberg film. However, this one takes a slight edge, simply because its contents have stuck with me more over the years. At an early age, it penetrated my psyche and it’s roamed around in my head ever since. Maybe I have one of those Videodrome caused brain tumors and it’s just been growing very slowly for decades?
Anyway, the plot of the film follows a television producer who is always on the hunt for fucked up content to air on his cable channel. This was made during the early days of cable and like the early days of the Internet, shit was like the Wild West. This also takes place in Canada, so I’m not sure what restrictions they had, as they weren’t under the rule of the FCC like cable channels in the United States.
On his quest to find fucked up content, the exec is introduced to a show called Videodrome. The show is devoid of plot and doesn’t seem to have much purpose other than being torture porn for some sickos that want to watch captive people go through horrific physical pain.
We do find out that there is a big conspiracy afoot and that the creators behind the show have a sinister agenda. It is up to this exec to try and stop them but his exposure to the show creates strange changes in his mind and body. It’s hard to decipher what is real and what is a hallucination and ultimately, it is never really clear and it makes the movie one hell of a crazy ride.
The linchpin that holds all of this together is James Woods, who plays the exec. His performance is convincing, authentic and so believable that you don’t find yourself questioning the insane developments within the film. You just go along with him on his personal, unique trip through sensory hell.
Cronenberg did a stupendous job in creating a world that feels both foreign and familiar. But beyond that, the mastery of the special effects he employed and dreamed up is uncanny and impressive. The melting, morphing television scene is still one of the greatest effects sequences I’ve ever seen on film. Even knowing as much as I do about practical effects, it’s a moment that still baffles me and I almost don’t want to know the magic trick.
Videodrome is a classic and a real gem of its era. It achieved cult status and deservedly so. However, I feel like it’s now being lost to the sands of time, as younger generations don’t seem to care about anything predating the Marvel Cinematic Universe.
The world is currently in a sad state in regards to mainstream art and this film just reminds me of a time when filmmakers overcame challenges, didn’t give a fuck about the censors or the Hollywood system and just made whatever the fuck they wanted to make.
Videodrome makes me yearn for a long overdue filmmaking renaissance.
Rating: 9.25/10 Pairs well with: other David Cronenberg films of the ’70s and ’80s.
Also known as: Aries (fake working title), Mission: Impossible IV (working title), MI4, MiGP (informal titles) Release Date: December 7th, 2011 (Dubai International Film Festival) Directed by: Brad Bird Written by: Josh Applebaum, Andre Nemec Based on:Mission: Impossible by Bruce Geller Music by: Michael Giacchino Cast: Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist, Vladimir Mashkov, Josh Holloway, Anil Kapoor, Lea Seydoux, Tom Wilkinson (uncredited), Ving Rhames (uncredited cameo), Michelle Monaghan (uncredited cameo)
“The Secretary is dead. The President has invoked Ghost Protocol. We’re shut down. No satellite, safe house, support, or extraction. The four of us and the contents of this car are all that remains of the IMF.” – Ethan Hunt
Well, out of the four Mission: Impossible films that I’ve seen, this one is hands down the best. Now I still have to see the two after this but following the third movie and this one, the franchise seems to be on a great trajectory following the second film, which killed the series for me way back in 2000.
I loved this movie from top-to-bottom and it had a superb cast that had solid chemistry, allowing them, as a unit, to carry the picture and alleviate the big burden from just being on Tom Cruise’s shoulders. As great as Cruise is, this made for a better film where he was still the star but a part of a great ensemble that made this movie seem bigger, cooler and more important than any of the previous ones.
As far as the cast goes, I wish that Ving Rhames was more involved and didn’t just appear in a cameo at the end.
The story here was also the best of the series. Although, it is hard to top Philip Seymour Hoffman as the villain in the previous chapter. Still, the villains in this one are good and I was enthralled by their plot and how it effected the bigger picture of this franchise not just in this movie but moving forward beyond it.
The action sequences were stellar and the stunts were damn impressive. Each of these sequences sucked you right in, keeping your eyes glued to the screen. I loved the tower climb sequence, as well as the sandstorm chase.
All of the techie stuff was also very clever and while this dips its toe into the James Bond high-tech spy thriller pool, these films feel very much like their own thing and the tech is unique and fits the film’s style. It’s similar to Bond but our heroes here aren’t just using tiny gadgets with one function or suped up, weapon-loaded cars. The tech here is bigger and more interesting than just being one-off gags or easy solutions to an immediate problem.
I also loved the cinematography and the way the film was shot, as it had massive scope and just looked pristine and perfect. The locations contributed a lot to this but everything was masterfully crafted and captured on film.
Michael Giacchino’s score was really good and the more of I hear of his work, the more I like it. I think he has the ability to become one of the top composers in the game, which is refreshing as so much of the music made for films these days is forgettable and almost generic, paint-by-numbers compositions. Giacchino’s scores harken back to a time when film scores were iconic, memorable and would go on to stand the test of time by living on in people’s minds for decades. While I can’t call him a John Williams or an Ennio Morricone, I’ve greatly enjoyed his work and it exceeds what has become the norm.
Mission: Impossible – Ghost Protocol is an incredibly solid blockbuster picture. Everything in it just feels right and I was smiling ear-to-ear from start-to-finish. And honestly, that’s all I want from these sort of movies.
Rating: 9/10 Pairs well with: the other Mission: Impossible films.
Release Date: January 8th, 2005 (Las Vegas premiere) Directed by: Rob Bowman Written by: Zak Penn, Stuart Zicherman, Raven Metzner Based on:Elektra by Frank Miller Music by: Christophe Beck Cast: Jennifer Garner, Goran Visnjic, Will Yun Lee, Cary-Hiroyuki Tagawa, Terence Stamp, Bob Sapp, Jason Issacs (uncredited), Ben Affleck (cameo, scene cut)
“I like your bracelet, by the way. Do you know what those are? Here. They’re warrior beads. They’re from Indonesia. Centuries ago, you had to be the best fighter in your village to earn them.” – Elektra, “Wow. I bought’em off eBay.” – Abby Miller
I never wanted to see this because the trailer was a complete turnoff that made this film look like absolute schlock of the highest and worst caliber. Not good, cheesy schlock but the kind that’s so drab and pointless that it’s shocking it even got a theatrical release and wasn’t used to torture terrorists.
Having finally seen this, I wasn’t wrong. This is definitely a terrible movie, littered with atrocious special effects, generic and lifeless characters, as well as wasting the talents of the few good actors in it.
What’s even worse is that this doesn’t feel like it belongs in the same universe as 2003’s Daredevil, which was a pretty decent movie if you watch the Director’s Cut instead of the theatrical version. Hell, even Ben Affleck filmed a cameo scene to tie them together and for whatever reason, it was cut from the final version of this film.
What this does feel like is a made-for-TV SyFy movie of the week. It’s duller than a plastic knife left too close to an open flame with about as much personality and charm as a lobotomized sloth.
The only real silver lining in this is that Jennifer Garner looks absolutely stunning. But she’s always pretty stunning and one shouldn’t have to suffer through this deplorable production just to see her kick the shit out of people while being super hot.
Elektra is bad, really bad. I mean, I guess it’s better than 2004’s Catwoman but at least that film had some memorable moments. Everything in this film is completely forgettable.
Rating: 1.75/10 Pairs well with: the 2003 Daredevil movie, as well as other superhero films from the mid-’90s through mid-’00s.
Release Date: March 4th, 1983 Directed by: Richard Ciupka (as Jonathan Stryker), Peter R. Simpson (uncredited) Written by: Robert Guza Jr. Music by: Paul Zaza Cast: John Vernon, Linda Thorson, Samantha Eggar, Anne Ditchburn, Lynne Griffin, Lesleh Donaldson, Sandee Currie
A lot of people in the Twitterverse, as of late, have been talking up this slasher flick pretty heavily. I guess someone pointed out that it was a hidden gem and a bunch of people agreed.
While I’ve been aware of it for years, I’ve never seen it. But it was streaming on one of my services, so I figured I’d check this Canadian slasher movie out.
I liked it but I don’t think it’s a hidden gem. It’s fairly okay and the killer is creepy as fuck but it’s a slow moving film that’s kind of drab when the slasher isn’t actually slashing.
Granted, this did have some rather good sequences in it, like the dream with the doll in the road and the ice skating kill. But there was a lot of filler and drawn out moments surrounding a plot that I didn’t care about.
Now you need a plot to set these films up but let’s be honest, no one watches slasher movies for the story, as much as they watch them for the kills, tits, gore and general mayhem and young people orgies. Sure, I love my slashers to have great origin stories but that can usually be done in just a few minutes and we just need to see the potential victims arrive at the place where the danger waits.
Curtains was cool to check out but this would come nowhere near my top ten… or top twenty-five, even. Top fifty… maybe.
Rating: 6/10 Pairs well with: other ’80s slasher flicks.
Release Date: March 7th, 2020 (Toronto premiere) Directed by: Brett Kelly (as Scott Patrick) Written by: David A. Lloyd Cast: Christina Roman, Zoe Towne, Robin Hodge, John Migliore, Peter Whitaker
Wide Eye Releasing, 81 Minutes
“One of those movies you watch until the end because you’re convinced it must get better…. But it doesn’t…….This was by far one of the worst movies I have ever seen for a while!Do not bother….This Film is So-So-Very-Very-BAD!” – a user review from IMDb
The above user review from IMDb is pretty spot on, bad grammar and all because Ouija Shark doesn’t even deserve a grammatically correct response.
Man, this movie is shit. I only watched it because I was immensely bored and figured I’d watch this new, 2020 movie that was made by a director that deliberately makes bad movies.
That being said, I half expected it to have some sort of redeeming value, as self-aware bad movies tend to capitalize off of that self-awareness.
This absolute turd, however, doesn’t even try. Sure, it attempts to be hokey and funny in spots but it all falls flat and you’re left shaking your head wondering what you did in your life that brought you to the point were you actually rented a film like Ouija Shark.
This is atrociously acted with some of the worst special effects I’ve ever seen. And even if all that’s deliberate, nothing is really done to fine tune it with any sort of wink to the audience who are in on what’s supposed to be a joke.
Eh, whatever, fuck this movie. I need those 81 minutes back.
Rating: 1/10 Pairs well with: staring at asphalt while breathing in traffic exhaust.