I’ve always wanted to like the Puppet Master movies more than I actually do.
Unlike Chucky and Gizmo the antagonists/protagonists of the Puppet Master films not only can’t talk, but also aren’t particularly expressive physically so it makes relating to them–beyond being interesting practical effects–a little difficult.
And while a lot of that may be due to the relatively cheap production budget of each movie (Box Office Mojo doesn’t even list them, never mind their costs), it goes without saying that starting with a relatively small pie means even less when you divvy things up.
And that’s a problem because weak characters can maintain viewer interest for a movie or two–there have been twelve movies in the Puppet Master series and about five Transformers movies so what do I know?–though they’ve never reached the popularity of a Child’s Play or Gremlins.
Which is why Puppet Master: The Littlest Reich interests me. Charles Band–the producer of all the prior movies–seems to be taking a backset to a different creative team.
Then there’s the particularly gory direction of the new film. A definitive voice is a good thing, even if one doesn’t particularly want to hear it.
Netflix’s Extinction is one of the better alien invasion thrillers that’s come down the pike in quite awhile, mainly because the ‘invasion’ is actually the least important aspect of the story.
It’s more a commentary on what it means to be human, and what we’ll do to protect what we believe to be ours.
Michael Peña plays Peter, our proxy in this strange, new world (that looks a lot like our own).
He acquits himself well, which is important because if we don’t buy his performance the whole movie may not fall apart, but it would certainly be less stable.
Extinction continues a trend began in Tau–though on a significantly larger scale–about the effect of AI (artificial intelligence) on humanity.
Well, that was a…trailer?
Not to sound underwhelmed by Sylvain White’s (The Losers) upcoming Slender Man but what the stylized horror movie has apparently missed is that someone has actually been killed in the Internet meme’s name.
Why not take that incident–in the vein (pardon the pun) of The Blair Witch II: Book of Shadows and build a movie around that as opposed to what looks like a highly stylized take on the Slender Man legend?
And sure, accusations of bad taste and taking advantage of a very real tragedy would be thrown about but truth be told that’s likely to happen anyway.
That being said, I’d essentially mimic the real life case, then gradually introduce elements of the Slender Man ‘legend,’ asking viewers to judge whether or not what unfolded on screen was ‘real’ or all in the characters’ minds.
And it would be absolutely terrifying and not so reliant on FX, as this movie appears to be.
Great poster though.
I’ve considered Adolph Hitler and the rise of Nazism fascinating for quite awhile now, though not for what I believe are typical reasons. What interests me is that there was literally no way Hitler could have done what he did without the defacto acquiescence of the German people (at least initially, before his mad enterprise built a momentum all it’s own).
After all, military force can only go so far when someone has to make government function so by default you’re dealing with lots of ordinary people, doing whatever it is that they do, perhaps only distantly realizing they’re–in ways both big and small– in league with a monster.
And that’s of course assuming they didn’t agree with his ‘final solution.’
Vincenzo Natali’s Cube is one of the better examples of a movie where people are placed in a situation where they–literally and figuratively–have to deal with a situation, a process doing whatever it is designed to do seemingly without oversight or accountability.
This brings me to J.J. Abrams’ Overlord which appears to fit firmly in the ‘Germans Are Bad Department,’ but appears to play with Heinrich Himmler‘s fascination with the occult.
And…it feels like something we’ve all seen before. In fact, what separates it from more other examples of Nazi-based horror is what looks like a relatively healthy special effects budget (in fact it virtually a gorier version of Guillermo del Toro’s Hellboy).
And I’d be the last person to criticize horror movies in general though I wish this one had aimed for something more than what appears to be fairly obvious.
The trailer for Robert Rodriguez’s Battle Angel Alita opens with: ‘You told me a story of the way, when the ground shook and the sky burned.’
Which is an interesting choice of words because combined with the visuals it fits pretty well within the Terminator universe which was–disputably–created by James Cameron, who also produced Battle Angel Alita and wrote the screenplay with Laeta Kalogridis).
At this point I’m just glad we’re (apparently) getting a Godzilla movie that actually features Godzilla for more than a combined fifteen or twenty minutes.
And I know that that’s selfish of me but when I go see a movie titled ‘Godzilla’ I don’t think it’s asking too much to see the damn huge lizard pretty regularly.
And while I’m on the the topic of ‘not seeing,’ where the hell is Bradley Whitford? His name is displayed prominently on the poster, yet he’s nowhere to be seen in the trailer.
I’m also not sure the entire environmental thrust of the trailer is going to go over particularly well with those Americans inclined to support President Trump because the idea that we’re at all responsible for the problems the world faces (like climate change) are apparently anathema to them.
When I heard that Netflix was releasing a new horror movie I went a little psycho (in the best possible way).
Then I learned it was called Ghoul I dared to think that maybe something wicked this way would come and touch me with some horror movie goodness.
Then I learned it was Indian–not Native American, who though underrepresented have some really good entries in the horror genre (Creepshow 2, Bone Tomahawk, etc)–but instead as in India the country (where apparently no movie is complete unless at some point someone is singing and dancing).
Now I’m probably generalizing more than a little bit though the thing is I’ve seen enough examples of it that I’m turned off by Indian-made horror films.
Which is a bit of a problem because at first glance it sounds like I’m asking for Indian movies to be the same as American ones, except in an Indian milleu and I’m not (not exactly, at any rate).
What I’m asking is less than a sanitized version of an American movie than an Indian one that touches upon the things that keep them up at night.
And hopefully don’t involve either dancing or singing.
And the Ghoul trailer? Not a dance to be seen.