Here’s another You’re Next review for you! We’ve actually seen the movie (as of last night) and will be putting up our own review (short version: Horror Boom gives it a B+) but this is another one we agree with. Sadly, the movie isn’t doing quite as well in the theaters as expected, so if it’s playing locally and you want to see it, try to get that done soon. Plus, the fun factor goes up if you have a crowd… though, at our showing, it was one other couple and a dude by himself, and we all still had a great time. Jump moments? Nothing that made me (the screamer in the group) scream or yelp, though a few times my hands kind of flew up jerkily in surprise. We didn’t see it for big jump scares, anyway.
Shot in 2010 and released to the festival circuit in 2011, You’re Next the first feature film from Adam Wingward and Simon Barrett who collaborated for a vignette included in horror anthology V/H/S, has been a long time coming, though it feels as though I have been waiting much longer to find a horror film like this, it feels as though I’ve been waiting all my life – You’re Next is as scary as it is funny and as exciting as it is disturbing, it’s a smart wild ride of a horror movie that ticked all the boxes it needed to, to succeed. In short if I had met this film in a club I would have gone home with it.
OK then! Well, this IS good news! Horror Boom SO cannot wait to see this one; lets hope we don’t have to wait till 2014. Reviews should start trickling in after the film premieres at TIFF’s Midnight Madness in early September, so keep your fingers crossed. Oh, and believe it or not, the ‘featured image’ above is not official promotional material from the press kit for Green Inferno (we do want a poster of it for our office, though).
In perhaps the best news of the day, the MPAA has officially delivered an expected R rating to Eli Roth’s The Green Inferno. The best part? Here’s the description they gave on the rating, “aberrant violence and torture, grisly disturbing images, brief graphic nudity, sexual content, language and some drug use”. With Roth finally returning to a spot behind the camera of a feature film, you had to know he was going to come out swinging. Inspired by Cannibal Holocaust, The Green Inferno appears to be Roth’s most violent and disturbing film yet, which is saying a lot considering his body of work.
As brilliant and thrilling as this reviewer found Alfonso Cuaron‘s Gravity (and all the other reviews we’ve read so far are equally enthusiastic; we’re pretty confident this movie’s got the goods), we’re honestly not sure if our nerves could take seeing the film. The trailer and clips we posted had us teetering on the verge of a fucking panic attack. On the other hand, there are quotes from Justin Chang’s review here like the following:
The outstanding post-production 3D conversion enhances our sense of immersion in this foreign environment at every turn. Images of outer space give new meaning to the term “deep focus,” while the scenes set in enclosed environs provide a pleasing visual balance and contrast, with floating objects supplying a natural depth of field. As visual an experience as the film is, it would be far less effective without the exceptional sound work by production mixer Chris Munro and sound designer Glenn Freemantle, which makes especially potent use of silence in accordance with the laws of outer-space physics. Helping to vary the soundscape is Steven Price’s richly ominous score, playing like an extension of the jolts and tremors that accompany the action onscreen.
OK. Maybe if we had a glass of wine before the showing, we could chill out enough to take in the thrilling experience, and–
…all joking ceases when Houston (voiced by Ed Harris, in a nice nod to “Apollo 13″) suddenly reports that a cloud of debris, triggered by the self-destruction of a nearby Russian satellite, is headed their way. The camera, having gracefully bobbed and weaved around the astronauts without a single cut so far, continues to observe with unblinking concentration as the ship is pelted with shrapnel, killing the third astronaut, causing widespread damage and severing all communications with Houston. Amid the chaos, Stone comes untethered and finds herself spinning, alone and helpless, in the vast emptiness of space, an experience the audience will soon share to a deeply unnerving degree.
Ooooor maybe a bottle. Damn! Read on for more about the film from Justin Chang’s Variety review.Gravity will open October 4, 2013!
Honestly, I wasn’t head-over-heels with the original. Every single review I’d read before seeing it raved about it, so maybe my expectations were high. I usually also get REALLY pissed off when foreign horror movies are remade and then fucked up nine out of ten times. This, though, THIS looks like a different story. Be sure to check out the trailer, the article, AND the great poster!
Stake Land director Jim Mickle’s next turn to horror sees his remake of the 2010 Mexican film of the same name, We Are What We Are, hit select theaters on September 27th and has now released its first trailer. I’m unfamiliar with the original film but based on this fantastically dark trailer I get the vibe that it’s going to have a slow-burn style of horror. In-your-face horror films are fun but we rarely get a solid tale of terror that boils slowly until finally unleashing its terrifying secret, so I’m really hoping the entire film has the same pacing as this trailer. So far, We Are What We Are looks like one to keep a close eye on.
Daddy, we found a hidden door to a creepy dark cellar.
Okay, get me our flashlight.
Wait, get me some matches instead. A flashlight might set my hands or the house on fire and won’t provide nearly as much light as good strong matches.
Hee hee! I remember actually blurting out, “No, you idiot!“ under my breath (well, mostly) when that moment came up in the theater. So, the bad news is I get the feeling that Ian S., the writer of the Abridged Script for The Conjuring not only doesn’t really care for horror movies, but got bored during this one and took a snooze or two in the middle. The good news is that it’s hard to be irritated at a script this funny.
We loved Goldthwait’s previous directorial effort, “God Bless American” (it’s not for the easily offended–the cold open makes sure those who might be offended know what they’re getting and gives them a chance to get the hell out fast), and we’re willing to give this one a shot… we’ll wait for DVD or VOD, though. He also can do wonders with low budgets.