The reboot of Joel Schumacher’s 1990 thriller Flatliners (directed by Niels Arden Oplev) premieres later this month, and is likely to have an uneventful–and short–run in theaters.
Reason being, IT has shown remarkable strength for an R-rated horror movie (and so far is making all the monies) but when you figure in Darren Aronofsky’s mother! (starring Jennifer Lawrence and Javier Bardem) being released two weeks later, it will take more than a shot of adrenaline to save the thriller.
And looking at the second trailer, you’ll likely get an idea why.
It’s not only hard to tell what’s going on and why it’s happening though worse of all there doesn’t seem a particularly–based on the trailer–compelling reason to see it.
Despite being a fan of horror cinema, I have only seen two features by Takashi Miike (Ichi the Killer and Imprint, an episode of Masters Of Horror) which is only interesting because the man is remarkably prolific.
And while I have no intention of commiting seppuku (which I am reasonably sure a few people will do in the movie) I will have to catch up on my Miike.
Darren Aronofsky is nothing if not a director who appears resistant to pigeonholing due to the variety of genres he tends to work with (though that he’s not exactly a prolific director may have something to do with it. His last film, Noah, was three years ago; Black Swan was seven)
From Requiem To A Dream to The Fountain, he seems to seek to push boundaries (and if Noah is any indicator, buttons as well).
Mother! (Yes, it comes complete with it’s own exclamation point) appears to be some sort of horror movie–I’m reasonably certain a that that’s a mannikin of Jennifer Lawrence on the movie poster–which the director has not yet tackled (Black Swan was close, though that was more of a psychological thriller).
It’s hard to tell what the movie is about exactly–a couple appears to be moving into a new house, some people encroach on the space (they seem to have some sort of link to the husband) and suddenly everyone seems to turn against her, perhaps even the house itself.
Which reminds me of another horror movie I am very fond of.
I was originally going to write a post revolving around the fate of Mike Flanagan’s (Oculus, Hush, Oujia: Origin of Evil) Before I Wake, which was caught up in the failure of Relativity when I found this link on YouTube:
Apparently, when Relativity was solvent rights to the movie were sold for release in other territories, which means it may have been in theaters internationally, which was the beginning of the journey to YouTube.
The link I’ve provided isn’t in English, but an English version is available, in case you were wondering.
Now THIS is the type of activity YouTube needs to police, not people using snippets of trailers or videos (which likely falls under Fair Use) in their own videos.
The latest trailer for Stephen King’s IT dropped a few hours ago, and the first thing I wondered when I saw if was if IT was also a part of the Stranger Things universe.
Both feature Finn Wolfhard, both revolve around a group of young people on the cusp of the adult world–and the secrets that it holds–facing bullies and their demons (both real and imagined).
And perhaps most importantly, both revolve around either the supernatural or things than can be easily interpreted as such (the Upsidedown from Stranger Things is approached in a more overtly scientific fashion than the terrors of IT but that’s less a question of the former not being supernatural than the approach to it being based in science).
Though the more likely explanation for the similarities is that Stranger Things is very much based on the work of Stephen King and movies of Steven Spielberg and John Carpenter (particularly Carpenter, as far as the music and whole esthetic goes), so that it resembles a Stephen King movie is hardly a coincidence.
Always jonsing for a new horror movie, the trailer for Lars Klevberg’s Polaroid turned up a few days ago, and it looks pretty much like it’s cribbing from virtually every horror movie from the the past ten years or so.
Which doesn’t that it won’t be an enjoyable–horror is known for its recycling ethos–but what it does mean is that visually (and more importantly, thematically) it sounds like A LOT of other movies.
Though what’s perhaps more interesting is that the movie comes from Dimension Films, who it could be argued created the ‘Blumhouse model’ before Blumhouse (though without that company’s singleminded dedication to the concept).
Here’s the trailer and as usual, let me know what you think.
When I went to catch Alien: Covenant last Sunday (review coming soon!) I saw a poster for a movie called Polaroid.
Polaroid cameras in general would be an interesting way for evil to spread after all there’s something mildly disturbing about watching an image appear–almost ghostlike–when there had prior been nothing.
One of the original trailers for Lars Klevberg’s short was released and it looks plenty atmospheric, though by no means unique.
And while this trailer isn’t for the remake, it will likely look very similar (despite the inevitable Americanization).
Hopefully what made the original short so acclaimed will not be lost.
It also genuinely surprises me that there haven’t been more movies revolving around instant cameras like the Polaroid (though I think there was a Stephen King story based on the iconic camera called The Sun Dog).