All posts by David DeMoss

Green Lantern: First Flight (2009)

Yeah, Hal...you should be scared.
Hey, Jordan…Clark Kent wants his cowlick back.

I’ve always liked Green Lantern in theory, but I’m one of those annoying bastards who only started paying attention to the title after annoying bastard de jure Kyle Rayner began leaving a trail of dead and depowered girlfriends across the DC Universe. For the longest time I only knew Hal Jordan, the Silver Age Green Lantern of the 1960s and still (apparently) a fan favorite to this day, in his Darth Vader persona, Parallax.

Then Hal died and came back to life again, as popular characters are so wont to do, and by 2005 he’d returned to his former role and his own book with nary a “Sorry about that little attempted genocide.” Gotta love those Cosmic Reset Buttons. Couldn’t have happened at a better time. Back in 1994, when Hal first went power-mad, superhero movies were a punch line…especially if they stared Alec Baldwin. The year after Hal died (that first time) Joel Schumacher killed Hope itself with a little atrocity called Batman and Robin. Ah…but today… Continue reading Green Lantern: First Flight (2009)

Friday the 13th: The Final Chapter (1984)

At least the ax wound is well-done.
At least the ax wound's a nice touch.

The presumptively-named Final Chapter opens with a highlights reel, reminding you (by which I mean me) of an editor’s power to twist truth into previously unthinkable of geometries. Intercutting Paul’s campfire recap of series’ mythology from Part 2 with shots from Jason Voorhees’ Greatest Murders might give the uninitiated a false impression of this series’ quality.

That could be dangerous, so let me state plain: Quality has to scrape Friday the 13th off its shoes every time it visits its aging parents. Don’t want to track things across the “family” room carpet, now do we? Continue reading Friday the 13th: The Final Chapter (1984)

Iron Man 2 (2010)

Rhode Island Red
Tony, sporting the Rhode Island Red

Given that Iron Man 2‘s already a Designated Hit of the Year, nothing I can say will make the least bit of impact on the film’s bottom line. I find that rather freeing, because I don’t have to pretend the film is some amazing stand-out example of its genre. It’s not bad, but it’s still a fuzzy-headed rehash of tropes that should be familiar to anyone who’s watched a superhero sequel. The Villain Hypertrophy, the mawkish sentiment, the origin of A Sidekick, the Hero striving against his Fate, trying to shore up his Legacy against Death’s inevitable encroachment while simultaneously learning how to play well with others – it’s all here. And it’s all so mind-numbingly safe I had to slap myself with a Netflix envelope just to recall why I was here. Continue reading Iron Man 2 (2010)

Halloween II (2009)

Werewolves of Illinois.
Werewolves of Illinois.

I get what Rob Zombie’s going for. No, no, I really do. I even appreciate it. He’s trying to inject the iconography of real-world serial murderers into mainstream Slasher movies, and my hat’s off to his efforts. I, too, once harbored the delusion that the two had anything to do with each other. But both our efforts are hampered by the inconvenient fact that Slasher villains are are not serial killers.

If they are anything, they’re spree killers. Think Charles Starkweather instead of Edward Gein. I know everyone’s had Edward on the brain since the police first hauled out his human-skin living room set, but you know what? It’s been done. At least Zombie avoids going down the tried and oh-so-true Silence of the Lambs route, since by now even that‘s degenerated into Jerry Brukheimer’s boring, CGI-assisted propaganda for the coming police state, CSI. Continue reading Halloween II (2009)

Halloween III: Season of the Witch (1982)

Boo!
Boo!

Everyone ignores this Halloween sequel, and why shouldn’t they? I’m guilty of it myself. Why should we waste our time on something called Halloween that’s not centered around one Michael Myers? Besides, it’s written and directed by the man who’s puerile “mind” vomited up Amityville II: The Possession: Tommy Lee Wallace.

Not that I hold that against him. Sure, Tommy participated in a classic Dino De Laurentiis land grab, writing the screenplay for a film the De Laurentiis Group had no right to make. Sure, Tommy began his screenwriting career by slandering real-life murder victims, telling a story that absolved their killer of any responsibility by straight-up ripping-off The Exorcist. Sure, all that is horrible human (and, more important for me, writerly) behavior…but does being a horrible person mean you have good horror movie in you? We’ll find out tonight, won’t we? Yes. Continue reading Halloween III: Season of the Witch (1982)

Videodrome (1983)

VCR
12:00...12:00...12:00...

Conventional wisdom goes something like this: “David Cronenberg’s films are so damn grotesque because of hisĀ  personal distaste for the flesh.” I used to agree. But watching Shivers helped me realize I had it all backwards. If anything, The Flesh is David Cronenberg’s not-so-secret hero. That’s why he continually returns to stories that center around the Flesh’s victories over barriers human society has erected against it. I submit Videodrome as my evidence. Continue reading Videodrome (1983)

Sharktopus (2010)

"Slowly twisting...in the wind..."
"Slowly twisting...in the wind..."

Now here’s something we haven’t seen in awhile: a Roger Corman movie. And goddamn, the man’s still in fine form, making films that are nothing if not honest. “Hello,” they say, “I’m crap. And honestly unashamed. At least I came in on time and under budget. I’ll make money, and keep my Master in food and clothes for the foreseeable future. What more do you want?” For some, that would probably be enough. But around here we like to shoehorn the films we see into some greater narrative or another. What better narrative than the decline of Roger Corman, not as a man, but as a Bad Movie institution?

Was a time when the Sci-fi channel didn’t bother making its own crap. There were far, far, far too many pre-existing, crappy syndicated sci-fi shows one could buy up on the cheap and use to plug holes in the schedule, like a frantic bricklayer working overtime to build a mafia front, knowing that the Don is not as forgiving as, say, Darth Vader. Then the Dark Times came upon us all and the Channel sold out to USA…and thus to NBC, and thus to General Electric. Awash with this new, corporate cash, the channel began regularly premiering its own films. To an outsider, the process resembles a feces fight inside a monkey cage. The channel flings monetary poo at primates lower on the social pecking order, who quickly respond in kind by lobbing back handfuls of cinematic excrement. Unfortunately, these often pass straight through their intended targets, escape the bars, and hit the “SyFy” channel’s dwindling audience in the face. Continue reading Sharktopus (2010)

Halloween II (1981)

Excuse me...can I borrow a cup of blood?
"Um...line...? HA! Had you going, didn't I?"

And here we have a film never should’ve seen the light but, like that three-car pile-up on your way to work, resolutely sits right in the middle of the road refusing to be ignored. The same way most critics ignore John Carpenter’s made-for-TV movies.

Awkward segues aside, there’s two very good reasons to focus on the man’s studio pieces. For (1) they’re better, and for (2) they’re easier to find. Yet in their blindness, critics miss essential facets of Carpenter’s story, which is in many ways the story of genre cinema in the 1980s. That’s sad because it’s a great story in itself…often much more interesting than the films it created. A story littered with greed, betrayal, and compromised aesthetic principals that will probably go on to make a great bio-pic once everyone forgets who Orson Welles was…or, if they remember him at all, remember him only as “the voice of Unicron.” Continue reading Halloween II (1981)

Shivers (1975)

Stop! In the name of blood!
Stop! In the name of blood!

David Cronenberg’s put the “ewww” in “auteur…ewww, gross!” since his college days in the late 1960s, only breaking into the wider world of Canadian commercial films after he wrangled money out of the National Film Board of Canada to help make this. As partially taxpayer-funded horror movies go, I think Canada got more than it bargained for, and you’ll certainly get more than your money’s worth. Shivers is Cronenberg’s ET, the Rosetta Stone to his entire subsequent career, resounding with the themes and issues Croneneberg continues to return to, by which I mean, “Shoehorn into every goddamn thing he does, whether it belongs there or not.” (See also, Naked Lunch).

Thankfully, Cronenberg’s early films have a rough and tumble quality that’s gritty in the old cowboy sense of “ready to move at a moment’s notice.” As opposed to the poncy, hipster sense of “My video games come in twelve shades of brown.” Continue reading Shivers (1975)

Halloween (2007)

This pretty much speaks for itself.
This pretty much speaks for itself.

Two thousand seven was a black year all around. Spider-man jumped the shark, the Fantastic Four died, and Michael Bay sodomized the Transformers amidst a shower of derision and money…mostly money. As if that weren’t depressing enough, in the midst of it all some brain-damaged soul looked both ways and said: “I know! We’ll remake Halloween!” He was promptly run through by the heretofore-unseen masked killer standing directly behind him. In accordance with his last will and testament, the remake was greenlit, with Rob Zombie set to write and direct. The result is a 2007 version of the 1978 film that’s probably been ripped-off, re-imagined, re-purposed, retconned and reanimated more than any other film ever. I might as well start wearily sighing now. Continue reading Halloween (2007)