The Latest Movie Reviews
Frame Of Mind
This week’s Cinema Fearité is going to be a little different. With Donald Trump sending warships to North Korea and their leader, Kim Jung-un, constantly developing and testing his country’s nuclear capabilities, the world hasn’t been this close to nuclear war since the Reagan era more than thirty years ago. It’s time to revisit the 1983 television movie The Day After.
There’s little doubt that Stanley Kubrick is one of the most influential directors in modern cinema. He revolutionized the science fiction genre with 2001: A Space Odyssey, the dystopian nightmare with A Clockwork Orange, the horror movie with The Shining, and the war film with Full Metal Jacket. He even invented the political satire with Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. But he wasn’t always so...Kubrickian. Like most filmmakers (see David Cronenberg’s Stereo), Kubrick started his career making cheap and simple films. His second feature, made way back in 1955, was the tidy little noir thriller Killer’s Kiss.
Following the success of Gremlins in 1984, the film industry decided that the next big thing would be tiny creature movies. The ghoulies in Ghoulies led to the troll in Cat’s Eye and the critters in Critters led to the demons in The Gate. But all of that was just prepping the world for 1988’s Hobgoblins.
The eighties were called the “Golden Age of the Slasher” for a reason; slasher movies were a dime a dozen. By the time the decade ended, audiences had pretty much seen it all. That didn’t stop the movies from trying, though. In 1989, a little-slasher-that-could recycled every trope into a movie that, well, seemed like a bunch of recycled tropes. That movie is Offerings.
Whether it’s because of the innovative architecture or the retro nostalgia is anyone’s guess, but horror movies set in malls are fun. Sometimes, they’re smart indictments of consumerism, like Dawn of the Dead. Other times, they’re just silly creature features about college co-eds, such as Sorority Babes in the Slimeball Bowl-O-Rama. And sometimes, they’re both, like the 1986 technological warning-meets-teenage party movie Chopping Mall.
Cinema Fearité Presents ‘Ravenous’ – Wrapping Up Women In Horror Month With Antonia Bird’s Wild Cannibalism Tale
Last month, Cinema Fearité paid tribute to female filmmakers for Women in Horror Month by diving into Mary Harron’s American Psycho, Mary Lambert’s Pet Sematary, and Ida Lupino’s The Hitch-hiker. Thanks to the untimely passing of Bill Paxton, we got a little sidetracked last week with our remembrance of Frailty. Well, better late than never; we’re back on track to wrap up Women in Horror Month by taking a look at Antonia Bird’s 1999 cannibalism movie Ravenous.
Cinema Fearité Pays Tribute To Bill Paxton With ‘Frailty’ - The Late Legend On Both Sides Of The Camera
Another blow was dealt to not only the horror scene, but to Hollywood in general this past weekend when versatile everyman actor Bill Paxton died from complications following heart surgery at the age of 61. Paxton was first noticed by most fans as a punk in The Terminator (“Your clothes. Give them to me.”) and as bully older brother Chet in Weird Science (“How about a nice greasy pork sandwich served in a dirty ashtray?”). He went on to play legendary roles in classic films like Aliens and Near Dark, and even had mainstream success in big studio movies such as Apollo 13 and Titanic. In 2001, Paxton pulled double duty, starring in and directing Frailty, one of the most psychologically disturbing movies of the twenty-first century.
Documentaries about subcultures are usually fun because they give the viewer a glimpse into a world that they might otherwise have never even known existed. The new film from Jon Manning, Burlesque: Heart of the Glitter Tribe does just that, and does it in a way that is both informative and entertaining.
Cinema Fearité Continues The Women In Horror Month Celebration With ‘The Hitch-Hiker’ – Ida Lupino’s Simply Suspenseful Noir Thriller
February is Women in Horror Month, and Cinema Fearité has been celebrating all month long. First, we took a look at Mary Harron’s American Psycho, then we checked out Mary Lambert’s Pet Sematary. This week, we’re taking it all the way back to 1953 with Ida Lupino’s noir thriller The Hitch-Hiker.
Cinema Fearité Continues Its Tribute To Women In Horror Month With ‘Pet Sematary’ - Mary Lambert’s Faithful Adaptation Of A Horrifying Stephen King Story
Last week, Cinema Fearité celebrated Women in Horror Month by taking a look at Mary Harron’s American Psycho. We’re continuing the party this week by featuring another classic fright flick directed by a member of the fairer sex – Mary Lambert’s 1989 Stephen King adaptation of Pet Sematary.
As both a black man and a homosexual, writer James Baldwin’s work usually dealt with social injustice and inequality on some level. When he died in 1987, he left behind an unfinished manuscript for a book called Remember This House that detailed his own memories of the civil rights struggle of the sixties. This manuscript is the framework for I Am Not Your Negro.
Cinema Fearité Celebrates Women In Horror Month With Mary Harron’s ‘American Psycho’ – A Mean-Spirited Slasher With A Feminine Gaze
In case you haven’t heard, February is Women in Horror Month. Although generally underrepresented, female filmmakers have made some of the most important (and most enjoyable) horror movies in history, from classics like Amy Holden Jones’ The Slumber Party Massacre and Kathryn Bigelow’s Near Dark to more modern masterpieces such as Jennifer Kent’s The Babadook and Karyn Kusama’s The Invitation. And then, there’s one of the greatest films, horror or not, of the 21st century – Mary Harron’s American Psycho.
Whether one considers him one of the freshest voices in modern cinema or just a hack Hitchcock imitator, there’s no doubt that Brian De Palma has made some of the most important movies of the last half century. Now, fellow directors Noah Baumbach (Mistress America) and Jake Paltrow (“NYPD Blue”) turn the camera around on the iconic filmmaker in the simply titled documentary De Palma.