There seems to be a new resurgence in Stephen King stories being adapted to the big screen. There were not one, but two trailers for King novels-turned-movies showing at the theater last I was there: one of which is drawn from a book over 1,000 pages, the other is a re-imaginging of a series eight novels long, clocking in at well over 4,000 pages. I’ve been on a little bit of a Stephen King kick recently, myself. I’m currently grinding my way through It (the aforementioned thousand-pager) and a while ago I decided to rain on my own sun-soaked vacation by tearing through The Mist while lying on the beach slaying Yuenglings. I was interested in checking out a feature length film adaptation of a relatively short story, since usually books-turned-movies have to speed through or omit material so they aren’t five hours long. Now, I am a firm believer in distancing movie adaptations from their source material, looking at those movies as standalone works, but more often than not adaptations often do suffer because they try to cram too much in to be clear and concise stories in their own rights. I figured a film based on a 100-and-some-odd page novella would work better.
The Mist is one of the million stories King cranked out during the ’80s while he was, well, cranked out of his fucking mind. While the average person usually confuses it with John Carpenter’s The Fog, most people know it as “the one where people get trapped in a supermarket” or “The only Stephen King movie that Stephen King actually likes”. As the story goes, a massive storm tears through Maine, leaving an impossibly thick mist in its wake. Our protagonist David Drayton (Thomas Jane) and his son Billy are at the local small town supermarket gathering supplies to repair their house when the mist rolls into the plaza. Rather abruptly revealed to us and our characters, spooky scary
skeletons monsters stalk through the mist, capable of tearing through the flesh and bone of anyone foolish enough to to leave the safety of a building. Despite the chaos and terror outside, tensions rise and factions develop inside the store. Rational thinkers and doomsayers split up and being antagonizing each other, because fuck it if a group of people can’t be trapped in a location without devolving into squads of knuckle-dragging deplorables at each others’ throats 24/7.
Martyrs has ascended to an almost legendary status in the horror community. It’s widely considered one of the most violent, brutal, and depraved movies of all time. If horror fans are known for anything, it’s for having full blown dick measuring contests over who can watch the most despicable shit and not be fazed. And every time someone mentions “extreme cinema” or “most disturbing movies” in any corner of the internet, these horror fans all rush in jerking themselves off over how little they feel when watching sickening stuff. This to me defeats the purpose of horror movies, which is to make you feel. Sure, the feelings are usually dread, hopelessness, or disgust, but they all have their place when you allow yourself to open yourself up in a controlled environment such as a when watching a film.
Speaking of opening yourself up, let’s talk about Martyrs.
Martyrs is the infamous 2008 horror film and top dog entry into the New French Extremity scene. Written and directed by Pascal Laugier (who is really not known for anything else of note), this film is burdened with the unending hype of a thousand thrillseekers, gorehounds, and horror fanatics across the globe. It’s been given somewhat of a new boost in popularity since the American remake was released a few years ago to complete critical panning, driving viewers to seek out the original, unbutchered version.
This movie starts with a hard, cold open of a very young girl, Lucie, escaping an abandoned factory. She’s bloodied and broken, limping through the streets. Once she is rescued and brought to a home for traumatized children, she begins seeing a mutilated humanoid creature that regularly stalks her and occasionally hurts her. After fifteen(!) years, Lucie deduces that she must get revenge on the people who scarred her when she was a child in order to appease the creature that has been haunting and hurting her for over a decade. Armed with a double barreled shotgun, she forcibly enters a family’s house and massacres them in one of the most vicious home invasion scenes ever put to film.
And that is all you get as a synopsis before I enter heavy spoiler territory.
Unbreakable is a thriller and drama that was written, produced, and directed my M. Night Shyamalan. Now, before you click away, I want you to look at the year this movie was released. This was hot on the heels of The Sixth Sense and naturally, Shyamalan wanted a more ambitious project to work on. He already killed it in the supernatural thriller genre once, and I guess he wanted to solidify himself as a thriller powerhouse while everybody’s eyes were still on him.
Unbreakable is the story of David Dunn (Bruce Willis), a family man and security guard who’s marriage is tumultuous at best. He’s just chugging along his dreary life until on his way back from a job interview in New York, he gets in a massive train accident. Hundreds are killed, and not only is he the only survivor, but he emerges completely unharmed. This garners the attention of Elijah Price (Samuel L. Jackson), a comic book obsessed art gallery owner, who believes that Dunn is completely impervious to harm. Dunn obviously doesn’t believe him at first, but after slowly learning more and more about himself and revealing and honing his natural abilities, he then has to try and reconcile the idea of having the potential to be a superhero while navigating his broken family life. (more…)
I’m going to preemptively defend myself here: I love trash films most of the time. I watched The Bye Bye Man, for Christ’s sake. It was atrocious, but honestly, I kind of love that I hate it so much. It’s a weird feeling. But you’re not here to read about my gross, icky feelings, you’re here to read about my gross, icky feelings about movies.
Hackers might just be the most ’90s movie I’ve ever seen. I cannot stress this enough: Hackers might just be steeped in it’s own decade more than any other movie in existence. Everything about the ’90s shows up in Hackers, and even the plot itself couldn’t have been conceived in any other decade.
Dade “Crash Override” Murphy (Jonny Lee Miller) has just moved to New York City with his mom and has enrolled in a new high school in his senior year. He’s excited, not just for a new start but because he’s been banned by law from interacting with any computers or touchtone phones since he was eleven years old, and now the ban has been lifted. How was young Dade banned from using computers? Well, he hacked with them. He hacked so good that he caused a stock market crash in 1988 and crashed over fifteen hundred computers. Dade makes friends with Kate “Acid Burn” Libby (Angelina Jolie!), Ramon “The Phantom Phreak” Sanchez, Emmanuel “Cereal Killer” Goldstein, and Paul “Lord Nikon” Cook, all young students who are also a part of the local hacking scene. Why the crazy alias, you might ask? Because on the internet you need a sick, radical username when you’re surfing the net and fighting the good fight, man. The the hacker gang gets framed by Eugene “The Plague” Belford (who always insists on being called by his online alias), another hacker who happens to work for the FBI and who is framing innocent hackers for a virus that is causing oil ships to capsize and pollute the ocean.
I want you to make sure you understand the gravity of the situation here. The bad guy has hacked a bunch of boats so hard they flipped over and caused an environmental crisis. Bogus! It’s up to our ragtag group of hackers to take down the man and clear their names once and for all so they can continue to do their illegal
The worst facet of any artist, is their fans. I don’t know who said it originally but I can say, tongue fully removed from cheek that I believe that statement to be true. Maybe more now than I ever thought possible.
Misery is one of many Stephen King novels to be turned into films, Made in the 1990 (although written in ’87), the novel was written at the height of King’s party hard phase. While I have not read the book, I firmly believe that the film imparts some of the source material’s author’s wild side with it. Paul Sheldon (James Caan) is a prolific author, much like Stephen King himself. However, unlike King he’s painted himself into a corner writing sappy historical romance novels for longer than he cares to admit. The novels focus around a woman named Misery and follow her trials and tribulations, and have garnered him great success and wealth. Sheldon is tired of Misery, though. He yearns for something new, something that will solidify him as a serious tour de force in the world of fiction literature. When he finally finishes his first draft of the final novel in the Misery series, he gets into a terrible car accident on his way to his editor. Rescued and being cared for by his self-proclaimed number one fan, Annie Wilkes (Kathy Bates), Paul Sheldon finds himself learning that fandom is a deep, deep rabbit hole and those who live in its furthest depths can be warped and perverted by it’s pressures. (more…)
For those out of the loop on my self-imposed suffering: Hellraiser (1987), Hellbound: Hellraiser II (1988), Hellraiser III: Hell On Earth (1992), Hellraiser IV: Bloodline (1996), Hellraiser V: Inferno (2000), and Hellraiser VI: Hellseeker (2002). Let’s get down to business.
Hellraiser: Deader is the seventh and worst titled sequel in the Hellraiser franchise. At this point, the franchise is past dead (you could say it’s deader?), with both this and its successor Hellraiser: Hellworld being released straight to TV in the same year. Rick Bota, often credited with singlehandedly destroying the Hellraiser name was directing this entry, as he did with the sixth and was going to do with the eighth. Again, this is a movie made from an unrelated horror script that Miramax and Dimension Films had laying around where they shoehorned Pinhead in and sprinkled the Hellraiser mythos over top.
This time, we follow Amy Klein (Kari Wuhrer, Anaconda), a hardened guerrilla journalist for a British paper who often goes deep undercover to get her story. We’re introduced to her pretending to be a hard drug addict in a crack house, taking pictures and doing journalist stuff, not that the story she’s working on is ever explained, but whatever. When she returns to the paper that she writes for, her boss gives her a grisly new assignment: investigate the alleged suicides and resurrections that have been happening in an underground scene in Bucharest, Romania. The people who kill themselves are brought back to life by a cult leader type figure named Winter where they are new referred to as “Deaders”. I hope somebody got fired for writing that in the script. There’s been a leaked VHS tape of one of the necromantic rituals, and going off of only the return address on the package, Amy needs to track down this cult to expose them to the world.
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