Posts Tagged ‘Serial Killer’

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Bozo breaks bad: “Clown”

July 3, 2016

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Check out my video review of 2016’s (or 2014’s…or 2010’s) Clown directed by Jon Watts, who I refer to as Joe Watts, because I’m a moron).

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Really? It’s come to this? “The Midnight Meat Train”

October 21, 2013

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Is this happening? Am I really reviewing a movie called Midnight Meat Train? Really? How can this possibly end any other way than the expected one? Dear reader, do you honestly expect me to say “Midnight Meat Train is a triumph of American filmmaking that will make you forget The Godfather?”  Why am I even forced to watch, let alone review, a movie called Midnight Meat Train? What horrible choices did I make in life to bring me to this place? I’m serious. You don’t really see the darkness of the road you’ve chosen until you see the words Midnight Meat Train appear on an iPPad screen and you realize, “Holy shit, there’s a movie attached to this!”

And so there is. Lucky us. Oh, happy day. All right, let’s get this over with.
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He cometh and he killeth, too: “The Iceman”

October 10, 2013

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Richard Kuklinski, the titular Iceman of Ariel Vromen’s film, is a stone cold killer in a way that pushes that description as close to the literal as is humanly possible. He was a loving husband and father, but also a mainline psychopath who is believed to have killed over 100 people, and felt not a thing about it—not remorse, excitement, or even satisfaction. He killed people the way one flicks a light switch when they enter a room: just an act without any meaning attached to it. Suffice it to say, there’ll never be an FX series featuring this guy as another sympathetic/repulsive anti-hero. To his credit, Vromen—who co-wrote and directed this film—does the only logical thing you can do with a character like Kuklinski: he treats him like the monster from a horror movie.
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The house is a little murder-happy: “The Amityville Haunting”

October 24, 2012

Okay, let’s get this out of the way upfront: The Amityville Horror story is a crock. There’s really little doubt about this, as one of the dudes involved in the story admitted that they concocted the tale. That house still exists. It’s been bought and sold, and no one’s been eaten by flies or eaten by Burt Young or whatever-the-fuck else has supposedly happened there. Still, it’s the most famous haunted house we got, so naturally The Asylum would make a movie about it. Crap. And there’s no cheaper way to make a movie than with found-footage. Double crap. Okay, let’s all assume the position and get through this…
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Ethan Hawke has the worst home movies ever: “Sinister”

October 12, 2012

Movies are in love with themselves, and that leads to a lot of navel-gazing, but one trope that does have some power beyond the silver screen is our relationship with pictures. Still images capture the tiniest piece of a moment and then invite us to build our own narrative (read Errol Morris’ series in The New York Times for more of this), while moving pictures invite us into the story in a way that was impossible in the days when the written word was the predominant storytelling vehicle. So, yeah, it makes sense that movies would turn on their own medium. And the grainier the better, so it’s kinda surprising that it took this long to recognize that Super 8mm films are just the evilest fucking thing out there. Which is more or less what the new movie Sinister posits.
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Be kind, rewind: “V/H/S”

October 4, 2012

Okay, this will be a short one, since V/H/S hasn’t properly opened yet, and I don’t want to spoil anything. If you hadn’t heard the buzz coming out of Sundance, V/H/S is a horror anthology movie, which is kind of cool, since that’s not done all that often. Although, when it has been done, the movies have usually  sunk faster than a Russian submarine, but V/H/S hedges its bets by comprising the film and its vignettes solely of found-footage, so the production values are pretty low. Like all anthologies, it’s a mixed bag, but what the hell. So is a sack of Halloween candy, right? Okay, let’s check ‘em out.
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Mad as hell and carrying a lot of ammo: “God Bless America”

July 14, 2012

Like a screeching-voiced U-Boat (the Nazis had them, look it up), Bobcat Goldthwait has spent the past decade or so unleashing broadsides at contemporary America in a series of low-profile, but well-meaning and sincerely-made black comedies. Sleeping Dogs Lie was a thorny exploration of the role of honesty in a relationship, while World’s Greatest Dad was an unflinching look at a father who capitalizes on the pat hypocrisy that meets his son’s death to realize his own dreams. With God Bless America, he unleashes his angriest film ever, creating an avenging avatar who challenges a culture Goldthwait sees as being giddily and irrevocably debased. It’s a little like Idiocracy, only with a lot more violent deaths and that dude from Mad Men.
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