Final Destination 5 (2011)
★★ / ★★★★
A group of co-workers were on their way to a retreat that would supposedly help them become a better team. But when Sam (Nicholas D’Agosto) was somehow able to see the future involving the collapse of the suspension bridge their bus was on as well as the deaths of his colleagues, he grabbed his girlfriend, Molly (Emma Bell), got off the vehicle in a panic, and a walked away from the impending disaster. Gymnast Candice (Ellen Wroe), lubricious Isaac (P.J. Byrne), myopic Olivia (Jacqueline MacInnes Wood), patient Nathan (Arien Escarpeta), whistleblower Dennis (David Koechner), and mercurial Peter (Miles Fisher) followed paranoid Sam to safety. Sure enough, the survivors, dubbed “Lucky 8” by the news, started to die in the order in which they were supposed to on that bridge. Written by Eric Heisserer and Jeffrey Reddick, “Final Destination 5” was like its other sequels with one scintillating detail. Bludworth (Tony Todd), a recurring character in the series as a mysterious coroner, informed Sam and his friends on how to quench Death’s thirst. With this knowledge in mind, we got to observe, at least in the latter half of the film, how the characters turned against each other, as well as possibly forcing strangers into the mix, because they wanted to live. Yet even when we were presented with a solution, the execution wasn’t strong enough. This could be partly attributed to a weakly established protagonist with a motivation as shallow as a dog’s. After each death scene, the picture relegated to the hackneyed romance between Sam and Molly. During the first scene, the Molly broke up with Sam. Naturally, the latter was very confused because, at least from his point of view, everything seemed to be going well. Later, we came to discover that she felt she needed to break the relationship for Sam. It turned out that her ex-boyfriend was offered an internship as a chef in Paris, but he wouldn’t accept it if Molly was to remain in America. The romance was not only a sophomoric attempt to get us to care, such scenes slowed down the picture’s momentum immensely. They were good at pouting and giving each other puppy dog eyes but none of these qualities contributed to the horror and the suspense. Why must there always be a couple fighting for their love in just about every other horror movie? If it’s not necessary, it’s an easy way to fill up the minutes with junk. What I wanted to see were more scenes that built up to one character inevitably meeting his or her grizzly demise. There was a dark sense of humor in the deaths. I especially liked the massage parlor with the acupuncture needles and the LASIK surgery scenes. They got under my skin, in a good way, because I have a fear of allowing someone else, like a masseuse or an eye surgeon, to be in charge of my body. Range was also present. Some deaths were quick and painless (only appearing to be painful with all that blood on the floor) while some were slow and almost unimaginable. Directed by Steven Quale, “Final Destination 5” was forebodingly formulaic but the deaths contained enough imagination. If the romance was completely excised in place of the main character actually doing something relevant to stay alive, it would have been more exciting.
Scream 3 (2000)
★★ / ★★★★
Post-college life was tough for Sidney (Neve Campbell) as she moved away from her friends and family to live in a house deep in the woods with her dog. Who could blame her for being traumatized after a masked killer, or killers, exhibited a fixation for murdering those she was closest to? “Stab 3: Return to Woodsboro,” a successful horror franchise, was in production in Los Angeles but the actors were attacked and killed by Ghost Face. It seemed like the killer’s plan was to murder the actors in which they died in the movie in order to attract Sidney’s attention and come out of hiding. The two obviously had issues to resolve. There was only one problem: Sidney, Gale (Courteney Cox), and Dewey (David Arquette) had no idea which script Ghostface had in hand because three versions were written. It meant there were three different order of kills and three different endings. Still directed by Wes Craven but the screenplay helmed by Ehren Kruger instead of Kevin Williamson, “Scream 3” had potential for excellence but the execution was too weak to generate enough tension to keep me interested. What I enjoyed was Sidney, Gale, and Dewey’s doubles (Emily Mortimer, Parker Posey and Matt Keeslar, respectively) because they were exaggerated versions of the real ones. What I didn’t enjoy as much was they weren’t given very much to do other than waiting to die in a gruesome fashion. And while the material played upon the actors’ self-centeredness despite being second- or third-rate celebrities, it didn’t tell us anything we didn’t already know. What made the first two movies so enjoyable was the fact that the comedy and horror were connected in a smart way. In here, the material relied on spoiled celebrities as a source of comedy and Ghostface’s hunt for Sidney as a source of horror. Since the two failed to connect, the script felt painfully stagnant. I wondered where the story was ultimately heading. Furthermore, the chase-and-stab formula became less exciting over time. It was awkward how the film would stop in the middle of the suspense and cut into a less exciting scene. In doing so, the scares lost considerable amount of momentum. And when it finally decided to return to the murder scene, it just looked silly and gruesome. It began to feel like a standard slasher flick. “Scream 3” still winked at itself, like the villain in a trilogy becoming seemingly superhuman, but it lacked the edginess combined with other necessary elements to bring the movie to the next level. It just didn’t feel fresh anymore. When the unmasking arrived, I just felt apathetic. It’s not a good sign when you’re looking at the clock every other scene to check the remaining minutes you have to sit through.
A Nightmare on Elm Street (2010)
★★★ / ★★★★
Five teenagers (Kyle Gallner, Rooney Mara, Thomas Dekker, Katie Cassidy and Kellan Lutz) with a mysterious past tried the best they could to not fall asleep because a killer named Freddy Krueger (Jackie Earle Haley) wanted to murder them in their dreams causing the teenagers to die in actuality. Being a big fan of the original, I’m happy with this reimagining (falsely labeled as a remake) of 1984’s “A Nightmare on Elm Street.” What I liked about it was the fact that it was more story-driven but the jump-out-of-your-seats scares were still there. While the acting from the teenagers was nothing special (and I am a fan of Gallner and Dekker), I did enjoy Haley’s interpretation of the infamous dream killer. The playful personality was still there but I felt like this version of Freddy had more darkness in him. I thought it was creepy how he would let a teenager escape for kicks only to kill the person without remorse once he had this fun. Out of the series, I think this installment had the best visual effects and such were used in an interesting way. (Although I also very much enjoyed Wes Craven’s “New Nightmare.”) For instance, when a character was in a dream and he or she was on the verge of waking up, the images of the dream world and reality would mix. So in a way, the visual effects weren’t just used for kicks. They were used to enhance the experience. However, I did wish that the writers would have had more fun with the characters in terms of finding ways to stay awake. Other than taking stimulating drugs or slapping themselves silly, I wish that a character decided to watch happy movies to get rid of his bad thoughts, hoping that if negative feelings are out of his system, he wouldn’t have nightmares. I’m sure we all know people who take that approach and it would have been nice if that movie acknowledged those people and scared them a bit (or even more). Another issue I had with the film was its use of laughably bad one-liners especially from Freddy. Without the silly lines, I think I would have taken him more seriously. I’m aware that this version wants to pay some sort of homage to its predecessors but the movie could have done it by simply taking all the positive things from them and taking it to the next level. They should have left the bad qualities out the door. Maybe the silly one-liners worked back then because there were a plethora of horror movies coming out at the time but they just don’t work nowadays because we are currently experiencing a drought of exemplary horror pictures. Nevertheless, “A Nightmare on Elm Street,” directed by Samuel Bayer, managed to hit some high points especially with its creative ways of killing. I was very happy with the body bag scene (my favorite scene in the original–every time I think about it, I get goosebumps) but it could have been scarier without the corny lines.
The Crazies (2010)
★★★ / ★★★★
A remake of George A. Romero’s 1973 original of the same name, “The Crazies” was about a man (Timothy Olyphant) and his wife’s (Radha Mitchell) struggle for survival when a strange chemical started affecting their friends and neighbors. At first, the infected would have a fever but after two days, they would exhibit strange behaviors which ranged from catatonia to full-on violence like killing their families or random strangers. I was surprised with how good this movie was because most of the reviews I read expressed disappointment. I really liked that this film, directed by Breck Eisner, knew how to build suspense and had a pay-off every ten to fifteen minutes so I was engaged with what would happen next. I loved the way it used tight spaces to its advantage, such as the horrifyingly terrific scenes in the morgue and the car wash. When at its best, it reminded me of the relentless scenes in “28 Days Later” and “28 Weeks Later.” Unfortunately, the film had its drawbacks thirty minutes into it when the military started taking over the small town. Prior to that, I thought the movie was fantastic because it felt personal. The main characters had no idea what was going on and slowly but surely, the safe life they were so used to living was broken by very strange and creepy happenings which started during a baseball game. With the military in the picture, it became cold and impersonal. Having said that, since this was a remake, I knew that it still had to remain loyal to its original source. However, I felt as though the movie could have minimized the military scenes, which they did during the last twenty or so minutes. But maybe this version minimized the politics as much as they could. I’m not sure because I haven’t seen the original. The movie was at its best when the lead characters who were easy to root for were placed in paranoid situations in which they either had to hide from an infected or think that a friend had the virus and it was only a matter of time until they wouldn’t be on the same side anymore. “The Crazies” was fun to watch because when it’s serious, it gets pretty scary, but it had unintentionally funny lines. It reminded me of a hybrid among the zombie pictures mentioned earlier, “The Happening” and the highly underrated “The Texas Chainsaw Massacre” back in 2003. It could have used a little more brain and character development but those elements were the furthest things in my mind when the characters were being attacked from left and right in the most gruesome ways possible.
Halloween II (2009)
★ / ★★★★
Written and directed by Rob Zombie, “Halloween II” is a complete waste of time. What I really liked with Zombie’s 2007 interpretation of the 1978 classic was that it really tried to tell a story. The 2007 film spent a third of its time explaining Michael Myers’ psychology as a child–something that other “Halloween” movies that came before did not do. With this 2009 sequel, we’re back again on the level of wait-and-kill without any sort of plot to drive the story forward. Basically, Michael Myers (Tyler Mane) wanted to hunt down Laurie Strode (Scout Taylor-Compton) a year after they had a showdown in Haddonfield. Meanwhile, Dr. Samuel Loomis (Malcolm McDowell), Michael’s ex-psychiatrist, wrote a book about the killings and tried to wrestle with the media’s barrage of questions and his conscience (or lack thereof). In my opinion, Dr. Loomis’ storyline should totally not have gone in that direction. Instead, we should have followed Dr. Loomis’ mission (or downright obsession) to hunt down Michael and protect Laurie from him. That’s much more interesting (and relevant) than scenes of him signing books and being interviewed on some television shows. As for Michael’s rampage, although I still thought that the stalking and violent scenes were very gruesome, none of it was particularly scary. Well, except for that scene in the hospital which occured during the first twenty minutes (the only effective scene in the whole movie). I also hated the fact that Zombie decided to inject Deborah Myers’ ghost (Sheri Moon Zombie as Michael’s mother) into the storyline. Not only was such a decision poorly executed, the scenes were downright laughable. If I wanted to see a ghost story with a psychological aspect to it, I’d watch “The Others” because that one was actually chilling to the bone (not to mention clever). Slasher fans simply do not pay ten bucks or so to watch a slasher flick with ghosts roaming about and supposedly instigating the broken mind of a killer. I went into this movie with an above average expectations because the 2007 version was very enjoyable. But after watching this movie, I think Zombie should just stop. He doesn’t quite grasp the idea of the brilliance that comes with simplicity and a truly terrifying soundtrack, which defined John Carpenter’s 1978 “Halloween” classic.
★★★ / ★★★★
Having seen and being impressed with the remake called “Quarantine,” I just had to see the original. I think both are very effective even though they pretty much had the same scenes. In “[REC],” astutely directed by Jaume Balagueró and Paco Plaza, it had less exposition but the audiences quickly cared about the reporter (Manuela Velasco) and her cameraman. The reporter had a certain spunk and enthusiasm and what the cameraman saw, we saw so there was an automatic connection there. Everything starts off pretty light as the reporter interviewed the firemen about their every day happenings. Things quickly went for a darker turn when the firefighters got a call from an old apartment complex. At first, they thought it was just an old woman that fell and needed help. But when she started attacking and biting people, everyone pretty much knew that something more sinister was going on. People started dying in gruesome ways in the hands of zombie-like infected people and they get quarantined by city officials without an ounce of explanation. What I love about this film was its natural ability to build tension after each scene. There were moments when I thought that if I was stuck in the building with them, the exact same thing could happen so I was definitely more than engaged. “The Blair Witch Project” was undoubtedly this picture’s biggest inspiration but it managed to tilt just enough to have an identity of its own. The best part of the movie for me was the last fifteen to twenty minutes when they finally made it inside the apartment on the top floor. Such scenes revealed to us that it had more to it than “28 Days Later”-like zombies. The disease had a history and I wanted to know more about it. (Maybe a sequel?) But, of course, the scares did not end there. I felt like I was in that dark room with them as they tried to use the night vision option on the camera. I tried not to blink because I was expecting those “shock”/”jumpy” moments. But even then I was surprised and things popped out of nowhere. If one is a horror film fan, this is a must-see. However, this is definitely not for those who dislike shaky cameras in order to add some type of realism to its craft.
The Last House on the Left (2009)
★★ / ★★★★
I’m not going to say that this was predictable because I saw the 1972 version directed by the legendary Wes Craven. Garret Dillahunt, Riki Lindhome and Aaron Paul star as the three criminals running from the law who eventually come upon Sara Paxton and Martha MaxIsaac. After a series of numbing humiliations and assaults, with the help of Dillahunt’s son (Spencer Treat Clark), Paxton’s parents (Tony Goldwyn and Monica Potter) find out what happened to their daughter and they crave bloody vengeance. I must say that this was more thrilling the 1972 version. It was smart enough to tweak some of the details from the original to keep those who’ve seen the classic guessing. I also liked the fact that Dennis Iliadis, the director, provided some sort of backstory of Paxton’s character so the audiences will be able to sympathize with her more during the more gruesome scenes she has to go through. It has a different feel than most slasher movies coming out in 2009 because the camera tends to linger on the characters’ faces in silence to fully get the picture on how a particular character is feeling after or while going through a trial. However, what I didn’t like about it was that it’s a bit lighter than the original. Some of the implications are gone because this modern version feels like it wants to garner a wider audience. In other words, it’s more commercial in its storytelling, use of music and violence. When the credits started rolling, I asked myself whether I liked the film. The answer would be a “Yes.” But I also asked myself whether this modern interpretation of the original was necessary in the overall scope of horror cinema. The answer would be a resounding “No.” Yes, the classic may be dated but an upgrade is far from necessary. For a horror picture, this “House” has the thrills, blood and suspense but watching that gruesome rape scene again made me sick to my stomach. (But then again maybe that’s the point: To place shame on the audiences due to their willingness to pay ten bucks to see something brutal.)