Having watched The OA on Netflix a few weeks ago–check it out, it’s really intriguing and pretty clever at times–I’ve come to notice that Jason Issacs in the latter part of his career seems to be specializing in criminally-inclined medical professionals.
And I think it was his turn as a trauma surgeon in 1997’s Event Horizon that sent him over the edge.
So, in The OA he’s a doctor who’s seeking the secrets only those that have had near death experiences can reveal, while in the upcoming A Cure For Wellness he apparently has not only continued experimenting with people against their will, but is potentially connected to a much larger conspiracy.
Some people have mentioned that the trailer plays a lot like Shutter Island, and while there are similarities, it seems so much more similar to John Carpenter’s In The Mouth of Madness–with a dash of The Wicker Man–that another lawsuit might be in order though if I recall, Madness was written by Michael De Luca, not John Carpenter.
The trailer for “Luc Besson‘s Valerian And The City Of A Thousand Planets dropped earlier today, and visually speaking, it’s gorgeous.
Then again, Besson is the guy that directed The Fifth Element–another visually dazzling sci-fi epic–so that’s not really a surprise.
The only fly in the ointment (or spanner in the works or pig in the trough–I made that last one up) is that Besson isn’t a particularly strong–or original, in some instances–writer.
And he’s apparently a huge fan of John Carpenter because while Besson was successfully sued for Lockout, his 2004 adventure movie DistrictB13 is disconcertingly similar to another movie by John Carpenter, Escape From New York.
Hopefully Valerian And The City Of A Thousand Planets will follow in the footsteps of the French comic, written by Pierre Christin and drawn by Jean-Claude Mézières, that inspired it and not any of John Carpenter’s work.
Lucy Besson, while a visually sumptuous director, is not a terribly original writer–which may have a little to do with him settling with John Carpenter over his 2012 movie Lockout, which was essentially Escape From New York aboard a space station.
Lucy, directed by Besson in 2014, fared particularly well financially, though many considered the story (about a woman, played by Scarlett Johansson, who though a mysterious drug gains the ability to unlock the unused potential of the human mind and gain god-like powers) as particularly dopey.
He’s back in 2017 with Valerian And The City Of A Thousand Planets–a title that on its face doesn’t make sense–that’s based on a French comic series by Jean-Claude Méziéres.
I hope it does well mainly because many European comics don’t get nearly the recognition here that they do there, and it would be good for people to expand their knowledge of such things beyond what we see presented by Marvel Studios and DC Films.
As I have said time and again, I am not fond of remakes.
More often than not they don’t add anything to the original–did we really need to know about Michael Myers difficult upbringing in Rob Zombie’s Halloween reboot?–or they add details that seemingly are there just to differentiate them from the original.
The thing is, as far as remarks go, Rupert Wainwright’s remake of The Fog (it doesn’t help that John Carpenter directed the original) isn’t terrible.
It’s not particularly good, but it’s different enough that you don’t at least hate yourself for wasting an hour and a half that you will never get back.
What works is the whole leprosy subplot–in the original I don’t recall the movie going into huge detail about what William Blake was doing with the gold–but in the reboot the point was to get his people to a place where they could live in peace because they were suffering from leprosy.
He was building a leper colony! It’s a pretty clever idea that the movie unfortunately doesn’t take advantage of (there’s a scene where one of the ghosts comes in physical contact with a person, and she’s decays like she’s caught leprosy on steroids).
Unfortunately it’s an angle that they don’t deal with again.
They could have also done more innovative things with the fog itself, especially when you take into account that the bulk of it is CGI, but unfortunately they don’t.
It’s a movie full of wasted opportunities–especially compared to the original–but at least you don’t feel your time slipping away like digital fog.
With John Carpenter’s The Thing–based on Christian Nyby’s 1951 movie The Thing From Another World and the original John Campbell short novel, Who Goes There?–we got to see a director at the peak of his powers. Carpenter was able to combine Rob Bottin’s extraordinary creature effects with a taut story of an otherworldly threat that had the ability to mimic whomever it killed.
So you can imagine that when Universal Pictures decided to do a sequel in 2011–without Carpenter’s input–that fans would probably not be too keen on it.
And that’s a bit of an understatement, with many–myself included–hating the movie on general principal.
Having recently re-watched Matthijs van Heijningen’s prequel, it’s actually pretty good. And while I wished that it had more in the way of practical effects–though as far as I can tell the CGI is based on designs from Alec Gillis and Bob Woodruff (who are credited) and while it’s not as innovative as the practical special effects of Rob Bottin, They’re okay.
For my money William Friedkin is one of the most talented directors working today. Not everything he does clicks (with the public or box office-wise, for that matter) but as far as I am concerned he’s made one of the best crime thrillers in recent memory with 1985’s To Live And Die In L.A. Some might suggest that I am crazy, and bring up 1971’s The French Connection, but for my money To Live And Die In L.A., with its combination of a talented director, an outstanding cast and great musichit all the right notes.
Interestingly enough, Friedkin also directed one of the best horror movies, The Exorcist, ever put on celluloid.
And while the movies that Wes Craven created, particularly A Nightmare On Elm Street, managed to tap into The zeitgeist in a way few other films have done besides being visually interesting, though more often then not his movies were products of the time that they were made; which is another way of saying that they don’t age particularly well.
If in doubt check out Craven’s The Hills Have Eyes. While the idea of cannibalistic mutants preying on hapless tourists is always potentially interesting, the movie has not aged well (though Alexandre Aja’s 2006 remake…pretty good, almost brilliantly so).
Let’s contrast that with the The Exorcist. It’s not only one of the scariest horror movies ever made–I think that Craven’s The Snake And The Rainbow was probably his most effective movie as far as terror goes though it doesn’t have the single-mindedness of Friedkin’s classic.
I also had the feeling that Craven was a horror director less because he actually wanted to do it, that it was a niche that he happened to fall into (which isn’t an insult by any means. John Carpenter did some groundbreaking horror films, though recognized, and at times seem embittered by the fact, that it limited his ability to move into other types of filmmaking).
So, while Craven was known as a maker of horror films, it never really felt to me that he committed to the genre to the degree that other directors, such as Carpenter (or even Friedkin himself) have demonstrated.
So Wes Craven will always be known for the horrors that he helped to bring to grisly life, though I am not at all sure that that’s what he would have wanted.
“It Follows is a great idea in search of a better movie.”
Based on all the hype that accompanied It Follows theatrical release, you’d think that David Robert Mitchell was the heir apparent to John Carpenter.
And I’m here to tell you it’s just not the case because It Follows is an awesome idea surrounded by a decent movie. It’s not terrible by any stretch, though its not “One of the most striking American horror films in years” either.
Though that concept…Wow. The antagonist of the movie is essentially a curse, a sexually-transmitted demon. Once contracted, the only way to hold off death is to pass it on to someone else, who will have a limited amount of time to do the same.
If you fail to pass it on, it kills you, and works its way down the list of people who have slept with you.
I told you it’s an awesome concept. I also liked the idea that the movie wasn’t targeting anyone because of sexually promiscuity (in fact, it could be argued that the more people you sleep with, the better off you would be).
The movie takes place in the present day, though the effective soundtrack has a 70’s vibe to it that hightens suspense.
Though as I implied, the movie has problems, the biggest of which is that it too quickly abandons the mythology it’s built up whenever convenient (Quentin Tarantino was right).
For instance, the creature isn’t stupid, but it’s slow and has to walk to get around. This often serves to heighten suspense–like a zombie, there’s an inevitability to the creature that faster-moving terrors often lack–but there’s some oddness that accompanies the behavior that doesn’t serve the movie well.
For instance, the creature just appears in really odd places, and if it could just turn up anywhere it wanted to, it undermines the whole idea of it walking. For instance, there’s a moment when it turns up on the roof of a house. Did it climb the roof? And if so, why? And if it didn’t, that means it could pretty much appear wherever it wanted, which as I said, pretty much kills the suspense the movie spent valuable time building.
Having watched The OA on Netflix a few weeks ago–check it out, it’s really intriguing and pretty clever at times–I’ve come to notice that Jason Issacs in the latter part of his career seems to be specializing in criminally-inclined medical professionals. 
As I have said time and again, I am not fond of remakes.
