If you had $1,000,000 and could recruit any director to make a horror film who would you pick? I would go with James Wan (Saw, Insidious, The Conjuring). Ever since Saw exploded in 2004, Wan has constantly reinvented himself and found a way to make horror films that unite mainstream audiences, critics and horror hounds. His world building (or borrowing in the case of the Conjuring films) is second to none, and he and his co-writer Leigh Whannell have found a way to make movies featuring nice people doing what they can to rid the world of evil. Most importantly, his movies are scary and introduce the world to pure nightmare creations (check out Collider’s breakdown of his scariest moments).
The lipstick demon jump scare is perfect in Insidious. It is one of the best moments of 21st century horror.
Starting with Saw, Wan’s films have grossed close to $900,000,000 million worldwide (excluding Furious 7) on budgets that range from $1,500,000 (Insidious) to $40,000,000 (Conjuring 2). There have been some missteps (Dead Silence, Death Warrant), and profitable sidesteps (Furious 7) but since 2011’s Insidious, Wan has been on a horror tear of epic proportions that pushed Blumhouse productions (Sinister, The Purge, Unfriended, Creep) into the stratosphere and opened the door for many horror films. Proof of his great run is evident in the three 21st century horror posts I unleashed last year. I collected audience/critic data from Rotten Tomatoes, IMDb and Metacritic and compiled a list of the horror films with the highest combined critic/audience averages. Then, I took two polls that readers were able to vote on. What I found out is critics, mainstream moviegoers and horror lovers appreciate James Wan.
- Saw and The Conjuring were #2o and #21 according to Rotten Tomatoes, IMDb and Metacritic users. The Conjuring placed at #22 with combined audience/critic scores.
- The Conjuring was voted the 12th best horror film of the 21st century.
- Insidious was voted the #1 21st century horror film that doesn’t appear on “best of” lists
James Wan is interested in having fun, creating likable characters (with help from writers Leigh Whannell, Chad Hayes and Carey Hayes) and scaring audiences. There is a sense of humor to the jump scares and you can tell Wan relishes in absurd moments, cheeky vibes and great cardigans.
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He understands horror, and audiences have flocked to his films because he gives them what they want. The fact that they’ve made so much money is not a fluke. Wan has a winning formula (small budget + good script + solid actors = quality) and that is why his films make money. A great example of giving the audiences what they want while creating a superb scare is in The Conjuring. The “clap” scene works on many levels because it familiarizes you with the house and has fun with the audience. Chad and Carey Hayes wrote a fantastic set piece and Wan directed it expertly.
The success of Wan’s micro-budget movies (Saw, Insidious) got me thinking about the lack of audience support for some of the recent horror hybrids that received theatrical releases (The Witch, It Follows). The horror hybrids have all been solid films but they’ve failed to attract larger audiences because they are a sensitive lot that put emphasis on dreamy moods and realistic settings.They build towards slow burn endings that can alienate the masses while thrilling critics and genre fans (read this great article by Jason Coffman). Mark Harris started the indie horror boom discussion in 2015 when he wrote “Scared Senseless: The Indie Horror Boom and What Frightens Us Now.“ In the article he talks about the lack of scares in recent indie horror films and had this to say about It Follows:
It Follows sometimes becomes an extremely clever glossary of horror, which is not the same thing as being scary.
The main difference between Wan’s films and the critically loved recent horror films are the usage of likable characters, jump scares and set pieces. It Follows fills you with a constant state of dread while The Conjuring and Insidious films feel like a roller coaster ride built on top of an active volcano. Wan makes good films that also appeal to people looking to be scared. I liked The Witch, but I feel terrible for the random first daters who casually strolled into it. I can only imagine the people’s faces as that poor baby is smooshed into goo and used as a moisturizer. Wan’s films have a warmth to the terror whereas art-house horror keeps you in the cold.
Recent horror films have kept you at a distance and you haven’t been able to connect with the characters. When looking at the The Witch, The Babadook or It Follows you don’t bond with the characters and that is why they won’t be considered classics (please don’t go crazy, I like these movies a lot). When looking back at horror classics like Frankenstein, Rosemary’s Baby, Alien, Dawn of the Dead, The Thing and Silence of the Lambs the story was built around the characters and not vice versa. In many horror films the characters are moot points and simply created so they can die (Final Destination) or be a pawn in the story (Unfriended). In an interview with Den of Geek, Wan discussed his world building and characters.
Well, I mean you know you kind of fantasize about building a world and having the opportunity to expand down the line, if the first movie works but you know, I try not to think about stuff like that too much because it’s almost like saying to the universe to screw things up for you! But I definitely always plan and think hopefully that we’ll have the opportunity that we could expand on it more and it gives us, gives me as a film maker, places to grow and, like the characters, grow and expand and just leave more stories and places to take it. I always say, what is cool for me with The Conjuring, is it’s not just another scary set piece, or another scary case, it’s more about what I can do with the characters of Ed and Lorraine Warren
In The Conjuring and Insidious you begin to genuinely like the characters because the films are built around them. There are copious scares, but they revolve around good people doing what they can to help others. Audiences have somebody to root for and that makes the scares exciting. I love Elise in the Insidious series because she is so kind, brave and different (listen to our podcast. We love her).
I always say, bottom line, the most important thing for me is the script. If it’s a good script, it doesn’t matter what genre it is. James Wan to Indiewire.
James Wan has conquered the horror genre because he knows and respects it. He creates likable characters and bases worlds (or their true stories) around them. Thus, there are endless possibilities because the world’s are rife with stories to tell.
If you liked this post make sure to check out our podcast where we wax poetic about a whole lot of horror.
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The Conjuring 2 is a fantastic sequel and very good film. Director James Wan knows how to manipulate audiences like none other and his gliding camera and funhouse vibe will stress you out while putting a smile on your face. The film is overly long (134 minutes) but it is miles ahead of all other mainstream horror. If you are looking for likable characters, truly evil villains and scary set-pieces you will love The Conjuring 2.
What I love about James Wan’s horror films are his characters are always in over their heads. They are smart people who makes wise decisions (they run away from the house!), but they cannot escape their hauntings. Normally, these people would fall prey to the evil, but they are aided by good people who go out of their way to put themselves in danger. Whether it be Elise, Tucker and Specs in the Insidious films or the Warrens in The Conjuring, you know that the plagued families will be in good hands. What really gets me is that Elise and the Warrens don’t have to hunt ghosts. They were given extraordinary powers and every time they help somebody they endanger themselves. They are true heroes who give the horror films heart.
The Conjuring 2 revolves around the much publicized Hodgson haunting in London, England. A poor family was terrorized by a massive jerk of a demon and and their story was collaborated by neighbors, cops and priests. Due to housing regulations and lack of money they couldn’t move and the single mother and four children were plagued by constant hauntings and sleepless nights. The story became so big the Catholic church asked the Warren’s (Patrick Wilson, Vera Farmiga) to head over the England to search for proof. The problem is worse than expected (of course) and it leads to a lot whole of jump scares and fingers over the eyes.
James Wan (Insidious. The Conjuring) uses space perfectly and understands the logistics of scaring the shit out of people. The camera constantly moves, and because of this the space is well-defined and you know every inch of the infested house. Thus, when all hell breaks loose you know where the action is headed and the scenes never become jumbled or confusing. A neat example of Wan familiarizing you with the surrounding is during the clapping scene in The Conjuring.
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James Wan is the biggest name in horror right now because he found a way to unite the critics, horror hounds and mainstream audiences. When we had our big 21st century horror vote and critic/audience breakdown Insidious and The Conjuring appeared in every list (list links are below). This isn’t surprising because James Wan can work an audience like none other and I think he always has us in mind. Also, he brings in fantastic talent that like their characters and sell every moment of the insanity. In a perfect world I’d love for the Insidious and Conjuring worlds to meet and spawn an Elise/Tucker/Specs/Warren movie.
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The Conjuring 2 is proof that James Wan is the best 21st century horror movie director. Did you like The Conjuring 2?
Here are the links:
The top 21 horror films of the 21st century.
The best 21st century horror films that don’t appear on “best of” lists.
The highest critic/audience rated horror films of the 21st century.
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I love the idea of Kindergarten Cop 2 because it came out of nowhere. It is a much delayed/unnecessary sequel that swaps Dolph Lundgren for Arnold Schwarzenegger and has about 1/10 of the budget. If done right, Kindergarten Cop 2 could’ve been a springboard for Lundgren’s career and boosted him to mainstream fare (in my dreams). However, it is a underwritten mess that will certainly disappoint Lundgren fans and anybody else looking for something fun.
The biggest problem with Kindergarten Cop 2 is that it doesn’t try to rise above the direct-to-DVD shlock. The score is bad, and the banter feels written by somebody who only watches DTDVD films. If there was a bad sequel conveyor belt this film would’ve rolled off the assembly line. I understand that expectations shouldn’t be high, and I’ve been burnt before by promising Lundgren films (Shark Lake, In the Name of the King 2) but I was really excited for the weird sequel.
The film revolves around laid-back FBI Agent Dolph Lundgren (always wearing henley shirts) and his partner Bill Bellamy going undercover in a progressive elementary school to find a flash drive. The difference between the two KC films is Dolph has to teach at an extremely liberal school that teaches the benefits of no gluten and liberal values. Thus, you have a large Swedish man teaching young kids while being annoyed that he can’t eat peanut butter and jelly sandwiches.
This is what happens when you feed little children loads of cookies.
I kept hoping that Dolph would freak out and actually have some fun with the kids. This never happens and he is pretty much always laid-back and nonplussed about the whole process. It doesn’t help that KC2 gets bogged down by a lame crime story and a stock relationship involving a much younger teacher. I’d love to see a film where Dolph loses his shit and lets little kindergartners shake him to the core. What I appreciated about the original Kindergarten Cop is how Arnold would absolutely freak out. The dude was out of his league and resorted to shouting “shut up” to tiny children.
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Kindergarten Cop 2 isn’t good enough to be enjoyable and isn’t bad enough to be fun. The movie is a wasted opportunity that could’ve been a fun romp involving a large Swedish man teaching children. If you are looking for other direct-to-DVD Dolph Lundgren films I recommend Command Performance and Universal Soldier: Regeneration.
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If you get a chance please make sure to review, rate and share. You are awesome!
The MFF podcast is back, and we are talking about random buddy cop pairings. In anticipation of the intergalactic buddy film Thor: Ragnarok, we put together some weird duos that rival the pairing of Hulk and Thor. In this pod, we pair off Joe Dirt, James Bond, Alonzo Harris, Captain Ron and Zoolander’s Hansel. A lot of these people may not be cops, but your jaw will drop as we skillfully pair off random people and give them movies that are most likely better than Zoolander 2.
Who will Ron team up with?
As always, we answer listener questions and learn that host Lasavath loves Captain America: Civil War. Enjoy the pod!
You can stream the pod on Blog Talk Radio or download it from Itunes. If you get a chance please rate and review the pod. You are awesome!
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Do you want to become a lean, mean, cinematic loving machine? These 13 exercises will get you 100% ripped, 100% of the time (based on zero instances of this happening). These moments of exercise worked for fictional heroes so they must be perfect for everybody else.
MFF is not responsible for any injuries that are the result of this workout system. Be smart people!
If you aren’t into working out check out the cinematic walking piece I wrote. There are many great examples of walking.
1. Exaggeration Curls – Anchorman
Do you not want to workout because you are afraid what people will think? If you answered “yes” you should pull a Ron Burgundy and confuse everybody by doing exaggeration curls. The trick is to exaggerate your numbers every time people walk by. People will know you are lying, but they won’t know you only did four curls.
You can use this system for all the workouts below.
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2. Corona Curls – The Fast and the Furious films
Everybody in the Fast movies are ripped. How do they stay so svelte? The short answer is Corona curls. Basically, drink Corona bottles constantly and fling them at your face like you’ve never drank corona before. The trick is to ignore all drinking logic and invent new ways to make beer explode in your face.
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3. Wear a Knee Brace – The Dark Knight Rises
Have you been out of action for a while and need to get back in shape quickly? Wear a knee brace. It worked in The Dark Knight Rises. I have no idea how the knee brace cured all of Batman’s physical woes but movies never lie.
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4. Master the Ben Affleck Gratuitous Pull-Up – The Town & Batman v. Superman: Dawn of Justice
Ben Affleck loves to show off his pull-up skills. In The Town and BvS he had no problem lifting himself up on metal bars. If you have a door frame or bat cave, I recommend you put up a pull-up bar and get to work. An added bonus is all the gratuitous pull-ups you can do at parties you host.
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5. Become an Actor and Get Cast as Wolverine – Way too Many X-Men Movies
Hugh Jackman has been ripped for a long time. The guy always has a Wolverine movie around the corner so he needs to be in fighting shape 24/7. Start acting now!
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6. Have Somebody Forcefully Make You Do the Splits – Bloodsport
JCVD is always doing the splits. They’ve aided him in many films and gotten him out of trouble on several occasions. If you watch JCVD movies you know the splits make you invincible.
The splits happen at 3:33 in the video.
Disclaimer: work your way up slowly. Don’t jump into tree branch splits immediately.
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7. Master Movie Trailer Yoga – Edge of Tomorrow
Rita Vrataski was absolutely shredded in Edge of Tomorrow. Her major workout was movie trailer yoga. What is movie trailer yoga? It features moves that look really cool and show off all the muscles. There is no need to learn anything intricate, just do what looks cool.
Here is a great example and clip.
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A close runner up is in Roadhouse. I call it “creepy Tai Chi”
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8. Carry Logs Around – Commando & Rocky IV
You don’t need to buy weights when you have tree trucks and logs lying around. They are nature’s bar bells and you can do anything with them. Whether you want to improve endurance or show off your biceps these dead trees are perfect for you. An added bonus is you can use them for fire’s later on.
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When done with the log you can become like Captain America in Avengers: Age of Ultron and break them apart!
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9. Run in Sand, Mud or Snow – Rocky IV, Rocky III, Chariots of Fire, 10, Best of the Best and Naked Gun
The trick is to run on surfaces that aren’t concrete. Movies have taught me that beach/snow/mud running is the greatest exercises of all. Get outside and run on the beach or tundra.
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10. Master the one-arm pushup – G.I. Jane
It worked for Demi Moore in G.I. Jane and it can work for you. I don’t recommend you do the majority of these exercises in this video because you will 100% hurt yourself (chair pushups?). Start with regular pushups and work your way up to being a one-arm pushup master. It will take some time but if you’ve been doing the above exercises they will be easy.
Sidenote: You don’t have to shave your head.
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11. Carry around a little Jedi or broken android on your back – The Empire Strikes Back
If you are planning on hiking the Appalachian trail or being pretentious on a mountain in Nepal I recommend you train for it by carrying something on your back. In The Empire Strikes Back, Chewbacca and Luke Skywalker both have the opportunity to carry things on their back. It worked out well for them!
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12. Sprint like you just robbed a bank or grocery store – Run Lola Run
Lola runs a lot in Run Lola Run. If you planning on getting into Spartan Races you will need to learn the art of interval training. Simple jogging won’t cut it. You will need to be able to sprint, jump, dodge, duck and dip. When you sprint like you just robbed a bank everything becomes a hurdle.
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13. When your neighbors are out of town, break into their house and pretend that it is being attacked by zombies – Night of the Living Dead
Keeping zombies out of an unprepared home is a lot of work. You need to board up everything and think two steps ahead. I guarantee you will be exhausted by the time you zombie-proof the home.
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Ericcson Core the director of the Point Break remake made a big time mistake when choosing the direction of the film. He confines the action to a bunch of GoPro scenes that put helmets on the actors and suck all the life out of the proceedings. Thus, we are watching people we barely know, do things we don’t care about. Very few of the extreme stunts further the plot and they look like the videos you see at a GoPro booth. The original Point Break was about the characters and embraced machismo and smart stupidity. This new remake is all about the stunts and the characters are barely allowed to crack a smile. Thus, the “extreme” action becomes boring and nobody high fives whilst skydiving.
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What made the original Point Break such an action classic was the human element. Director Kathryn Bigelow realized action doesn’t matter if you don’t like the people doing the insane stunts. Whether they were playing football or jumping out of planes the danger seemed real and the actors looked legitimately pumped. Patrick Swayze’s character Bodhi was a force of nature who spouted Zen rhetoric and robbed banks. He was a walking contradiction that 100% believed in himself. I love the original film. and I believe it is one of the best action films of the 1990s because it balanced absurdity with memorable characters.
This Point Break remake sets up our main character as a brash poly-athlete whose poor decisions hurt others around him. So, our “hero” is a massive turd who takes others down with him. Seven years later, he is in the FBI and he gets assigned to hunting down some extreme thieves who love doing insane stunts. Eventually, he bonds with the thieves over surfing, fighting, skiing and more extreme sports. Then, he meets the readily available Samsara (Teresa Palmer) and the two start a budding relationship that goes nowhere.
There are some truly beautiful vistas but none of them matter because the humans are blank slates. I am a big fan of Edgar Ramirez (Che, Zero Dark Thirty) but his Bodhi character is basically all hair and lame one-liners. Core should’ve let the dude speak, because he is a solid actor that could pull off the art of Zen and motorcycle maintenance. I don’t remember a single line of Bodhi dialogue, and that is a problem when the character is supposed to be iconic.
If Core would’ve added some more character moments the movie would’ve been a perfectly fine HBO movie. The characters don’t matter and when somebody dies you could care less. I didn’t even know the names of the majority of the side characters. The only time I got excited is when when surfing legend Laird Hamilton popped up during a surfing scene. I am a big fan of Laird, and become invested in the moment because the dude is awesome and his appearance in the surfing documentary Riding Giants was epic. However, he soon left and I was stuck with some people I didn’t care about. The surfing was cool though.
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Point Break is a cacophony of lame dialogue, terrible tattoos and fantastic vistas. It has zero personality and that is a shame because I like most of the people involved. Hopefully, this forces studios to think twice before revamping beloved properties and recreating iconic characters.
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We Are Still Here: Horror Done Right
We Are Still Here is a fantastic horror film and a great calling card for director/writer Ted Geoghegan. It is a treat for educated horror fans because it celebrates the work of director Lucio Fulci while telling a brilliant new tale of lots of death. It quickly introduces us to the “villains” while featuring one of the best slow burn endings I’ve seen in a long time. It is rare when a film gets to the action swiftly but still manages to take its time before the ending insanity (you’ll see). Any time a person won’t perform a seance because “the darkness is everywhere” you know you are in for something good.
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We Are Still Here centers around a married couple moving to rural New England after the death of their son. Anne (Barbara Crampton) has fallen into an understandable depression while Paul (Andrew Sensenig) has taken to drinking and ignoring his wife’s pleas that the house is haunted. The “very old house” used to be a funeral parlor and the family who lived in it were run out of the area after the townsfolk accused them of selling bodies instead of burying them. The threat becomes real quickly, so, Anne calls up her physic friend May (Lisa Marie) and her husband Jacob (Larry Fessenden) to come check out the house. From there, things go insane and I appreciated every second of the mayhem.
What I love most about We Are Still Here is how it uses jump scares to perfection. I can’t remember the last time I had a smile on my face because of a well-timed evil ghost passing through the background. It was refreshing to see that a horror director actually put some thought into freaking out the audience and didn’t just throw in a random cat or sneaky family member. When done properly the jump scare can further the plot and introduce some truly terrible villains (think Insidious).
We Are Still Here adopts a retro vibe, and the 1970s setting helps build the suspense because of the lack of cell phones and modern technology. An added dose of paranoia is applied because you never know how much the townsfolk actually know about the haunted house. I like that the mystery of the house is slowly unfolded layer by layer while still not telling you everything. You will never guess where the movie is headed because it goes to crazy- bonkers town.
We Are Still Here is a fantastic throwback horror film that expertly balances blood, horror and likable characters. You will love it.
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The biggest problem with The Witch is the insane visuals can never be unseen. It is a sensory-blasting experience that is confidently directed and skillfully filmed. The Witch is a realistic and patient horror film that rewards people with attention spans and will certainly annoy those who are looking for slasher violence. It joins the ranks of recent horror films like It Follows, The Babadook, Spring, Creep, Honeymoon, Under the Skin, Cheap Thrills and The Guest because of their adherence to telling a good story that fits in the “horror” realm.
The Witch tells the story of a 17th-century Puritan family dealing with an absolute jerk of a witch. The family moved away from their Puritan settlement because of threat of banishment, and they’ve alienated themselves in the New England woods in order to practice their interpretation of the bible. The father William (Ralph Ineson) is a gruff man who wants to “conquer the woods” and his family suffers from the isolation and oppression. The four kids do the best they can, but living in the harsh conditions makes them stir-crazy and bored (never a good thing for kids).
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Things start going south when during an innocent game of peekaboo between teenage daughter Thomasin (Anya Taylor-Joy) and her baby brother goes awry. When Thomasin opens her eyes the baby is missing and we are unlucky enough to view a shocking montage of terrible witch/baby activity. From there, paranoia and shifting blame takes place, and the family has to endure things that would make the Blair Witch cringe.
The Witch is a tough watch, but director Robert Eggers confident direction gives the viewer a truly unique and meticulously researched vision. As a fan of film I appreciated that a rookie director was able to create such a unique and singular film. I was also surprised to learn that director Chris Columbus (Home Alone, Harry Potter and the Sorcerer’s Stone) rescued the film in post-production and helped get it a wide release. I appreciate that such a tiny film has made such a splash.
Thank you Chris Columbus!
The gap between critics and audiences when it comes to The Witch is pretty wild. The Rotten Tomatoes critical average is currently 91% while audiences scored it at 55%. The gap is understandable because this is an art-house horror film that doesn’t pander to the gore hounds. Jason Coffman of Cinenation wrote a great piece entitled “This is why we can’t have nice things: “The Witch” and horror fandoms gatekeepers.” Coffman laments the fact that supposed horror lovers hate the film and went of their way to bash it in the online forums. I loved the piece and it motivated me to write about horror films that could actually unite the masses because I am very interested in the gap between horror fans. The Witch was marketed as “the scariest horror film in years.” I can somewhat agree with the statement but that statement doomed the film to mass complaints. This is not a “wham bam” horror film that kills co-eds and features a horror menace who needs sequels.
The Witch is not for the faint of heart. It is a tough watch that will linger in your memory and make you uncomfortable when building a settlement in the woods. If you are a big time cinephile check it out!
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The Movies, Films and Flix Podcast #60: Shane Black and Daniel Plainview’s Bowling Shoes
You can download the pod on iTunes or LISTEN TO THE POD ON BLOG TALK RADIO.
If you get a chance please make sure to review, rate and share. You are awesome!
The MFF podcast is back, and we are talking about director/writer Shane Black’s career. Black burst onto the scene in 1987 with the script for Lethal Weapon and has since become a Hollywood mainstay who has brought us Kiss Kiss Bang Bang, Iron Man 3 and The Nice Guys. The dude’s career has been incredibly influential, and we just had to talk about how a guy who is only responsible for a handful of films has had such an impact.
I love Lethal Weapon.
As always, we answer listener questions and ponder if Daniel Plainview from There Will Be Blood rents bowling shoes. Enjoy the pod!
You can stream the pod on Blog Talk Radio or download it from Itunes. If you get a chance please rate and review the pod. You are awesome!
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The streaming landscape is so vast it becomes difficult to single out one film to watch. In an effort to save you time and energy I’ve scoured the streaming services and started offering film/television recommendations that you might appreciate. These five horror films are incredibly eclectic, but they all offer something different for the viewer. If you are looking for something to watch you can’t go wrong with these five films. Enjoy!
1. Scream 2
Scream 2 is so good it defies all sequel logic. Scream hit the theaters in 1996 and exploded into a cultural phenomenon. A sequel was ordered and it was to be released in 357 days. Thus, in one year a script needed to be written, actors had to be cast, locations had to be scouted, filming had to commence, editing was required and marketing needed to do its thing. In the world of sequels a one year turn around is tantamount to disaster. No other sequel that has been released a year after the original has been as critically beloved and audience appreciated. It was a perfect blend of craftsmanship, talent and synergy.
Scream 2 is the best horror sequel ever made. Make sure to check out the piece I wrote about it and our podcast on all things Wes Craven.
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2. Hush
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Hush is the best horror film of 2016 (so far) and Netflix was smart to snatch it up. Hush tells the story of cat-and -mouse game between a resourceful woman and a deadly killer. You will love how practical, smart and efficient it is. Director Mike Flanagan (Oculus) is turning out to be a fantastic horror director and I can’t wait to see what he doesn next. An added bonus is Stephen King loves it!
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3. Dead Snow: Red vs. Dead
Dead Snow 2: Red vs. Dead is gloriously violent and all kinds of fun. Director Tommy Wirkola (Dead Snow, Hansel and Gretel) is a maestro of mayhem who turns the violence and humor up to 11. He has found a way to make head smooshes, decapitation and blood eruptions palatable via his offbeat humor. The antics never seem mean-spirited because Wirkola infuses his films with a glee filled imagination that incorporates blood-letting very well.
Dead Snow 2 is so full of life and ludicrous characters that you can’t help but enjoy the ride. We are blessed with likable characters, cheeky one-liners and a zombie sidekick who routinely gets killed and brought back to life (Martin’s hand revives dead zombies). Just when you think the gore can’t get any crazier we get a massive Russian zombie vs. Nazi zombie battle. It is excessive (miles of intestines are pulled), inventive and ends on a tank fist fight.
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4. The Hallow
The Hallow is a neat little Irish horror film that excels at creating likable characters and gooey practical effects. What I love about the film is how it plays with conventions while subverting them. You never know where it is going and despite the familiar elements it all feels fresh. If you like the movie make sure to check out our podcast where we go in-depth into all things gooey and evil.
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5. Devil
I am a big fan of Devil (even the toast bit). It is an under appreciated horror film that starts strong and doesn’t overstay its welcome. The opening shot of Philly upside down does a fine job of establishing dread and proving that the world is upside down. It has a refreshing lack of pretense and it simply wants to tell the world a new story. Shakespeare it ain’t but it was never intended to be the next Exorcist, Omenor Sixth Sense. The horror landscape has a dearth of original ideas so it pains me when something trying to be original gets dismissed before it ever hits the movie screens (people laughed out loud when they saw “produced by M. Night Shyamalan”).
The lack of interest and preconceived notions is a shame because Devil is a neat little one-off film that features a claustrophobic vibe and singular story. The 52% Rotten Tomatoes rating is better than the standard horror film rating and it is light years ahead of the 25% average of Shyamalan’s prior three films. Devil features one of the coolest openings of recent memory and I loved the grey and off-kilter vibe it established. Also, I have no problem with toast being used a devil detector.
Movies, Films & Flix 
