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.
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.
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.
…though not quite as good as the original.
I realized two things when listening to Marilyn Manson’s cover of Gerald McMann’s ‘Cry Little Sister’ from the 2010 Joel Schumacher horror/homosexuality allegory The Lost Boys namely Manson sings a lot better than I gave him credit for.
His voice holds up really well. That being said, the song is trying too hard to be haunting/scary, something the original pulled off more effortlessly.
The second is while the remake is by no means terrible, it’s does feel a bit pointless, since it feels different than the original in ways that seem to shout ‘I’m different!’ as opposed to having any valid reasons to actually be different.
It goes without saying I didn’t particularly like the firsr trailer for Shane Black’s The Predator.
It played a bit too much like AVP: Requiem (which is insult enough) but for some reason felt the need to imply some kid somehow gained the ability to control a Predator space craft, which one-upped the former movie as far as really bad ideas go.
Which is weird because this most recent entry in the franchise was directed by Shane Black and written by him and Fred Dekker (Night of the Creeps, Monster Squad, Robocop 3), so at the very least we could have expected a clever story.
‘…ultimate Predator!?’ Wasn’t this terrain covered in 2010’s Predators (though to be fair it wasn’t done particularly well so I wouldn’t mind another visit to that particular space)?
I was particularly unimpressed with the teaser trailer for Halloween (2018). Then again, they call them ‘teasers’ for a reason.
The full trailer is better but not by a lot. Reason being, if you were in the water with a shark, would you wave a bloody steak in front of it?
Probably not, yet there’s a scene in the trailer where some guy visits the asylum (sanitarium?) where Michael Myers is being held, and waves his mask–the same mask he wore to kill a whole bunch of people in the original movie (though I don’t recall it having hair. I always assumed that that was Myers’ which doesn’t make sense since I recalled hat it covered his entire head)–at him as if he were taunting him.
It does without saying that this will likely not go well.
What I particularly liked, in the same scene, was the crane/drone shot. It reminded me a bit of a chessboard, with Michael at the center (or thereabouts).