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At the turn of the millennium, horror fans were confronted with remakes of pretty much every franchise, from the expected (Rob Zombie’s  Halloween ) to the out-of-left-field ( Last House on the Left ).  2009’s reboot of  Friday the 13 th  was neither the best nor worst of the bunch, remaining faithful to its slasher simplicity but not adding much to the eccentric Jason mythology.  It did what it was  supposed  to do – nothing more, nothing less.  But 15 years down the line that’s actually kind of refreshing.   After his sister goes missing, Clay Miller (Jared Padalecki) focuses his search on her last known location:  the now defunct Camp Crystal Lake.  Which just so happens to be the vacation destination for some rowdy college kids staying at daddy’s luxury cabin.  The two parties eventually come together when Jason begins his body count, offing these annoying expendables in his singularly gruesome fashion.   There’s not much more to it than that.  And many fans are probably happy that

A kidnapping / home invasion thriller from director Kinji Fukasaku,  The Threat  (1966) isn’t a film that deserves to be singled out in a career that produced more than 70 features.  But neither is it a work that deserves to be ignored.  Rather it’s a Japanized take on a typically Western genre that included  The Desperate Hours  and  Cry Terror!  where masculinity is cruelly redefined for the modern man who has become too domesticated to defend himself and his family.    Misawa (Rentaro Mikuni) is a typical salaryman who’s only real physical struggle is climbing the corporate ladder.  So, when a pair of inmates break into his home carrying a baby and force him to participate in collecting the ransom, he takes the easy way out and cooperates. Frustrated by his wife and embarrassed in front of his son, Misawa is pushed to the limits of shame, dishonor and cowardice.  But a crisis of conscience eventually brings out the courage even his time as a soldier couldn’t inspire.   The Threat  i

There’s something fascinating about flawed science-fiction films; all that cinematic effort at world-building, even when gone awry, is always worth a second look.   Pitch Black  (2000) was a rousing horror-sci-fi hybrid with low expectations that writer/director David Twohy turned into a sleeper success and unleashed Vin Diesel upon the world as the next action star.  Its flaws were few because its ambitions were relatively small.  But with  The Chronicles of Riddick  (2004), both men took a deep dive into  Dune -style space operatics, stitching together a universe full of patchwork inspirations lifted from better material whose individual parts are still surprisingly captivating. Even though he has a price on his head, Riddick (Vin Diesel) is recruited to help prevent the Necromongers – a cult of Underverse-worshipping weirdos – from destroying the system of Helios Prime.  It seems there’s prophecy regarding a young Furyan destined to put an end to their Lord Marshal (Colm Feore), inf

For those unfamiliar with the  hopping vampire  (or Jiang Shi) of Chinese folklore here’s your two-cent history.  These reanimated corpses have multiple origins stories and powers: victims of a violent death or magical incantation, super strength, greenish skin, black robes and a signature method of locomotion…the aforementioned “hopping.” Sammo Hung’s  Encounters of the Spooky Kind  (1980) and the  Mr. Vampire  series are the most well-known cinematic adaptations.  But 1979’s  The Shadow Boxing  (aka  Spiritual Boxer 2 ) is a fun take on the legendary monsters from the equally legendary Shaw Brothers.   Working as a “corpse herder,” Fan Chun Yuen (Wang Yu) is responsible for leading the recently deceased back to their hometowns for a proper burial.  But on his first solo journey, he’s saddled with a skittish love interest and a bald-headed imposter (Gordon Liu) using a vampire disguise to extract vengeance against a pair of dirty politicians.  Along the way, they’re beset by mix-ups,

It’s easy to forget with all the attention lavished on the big screen that often our most impressionable experiences as children come from watching television.  Whether it’s learning opera from Looney Tunes or picking up our musical taste from  Miami Vice , the small screen can sometimes be more powerful – and more  personal  – simply because it’s piped directly into those suburban homes.  Horror has been a mainstay since the early episodes of  Twilight Zone  but things really took off in the ‘70s with classics like   Don’t Be Afraid of the Dark  and  Salem’s Lot .  And coming in right under the wire, before home video changed the media landscape, was 1981’s  Dark Night of the Scarecrow , pure pre-teen nightmare fuel that seems to age better every year.   Bubba (Larry Drake) and Marylee have a special relationship built on the sort of innocence only children can share.  The trouble is, Bubba is a mentally-handicapped 36-year-old man…a fact that doesn’t sit well with some of the locals,

By the time director Sergio Martino got around to dismembering bodies with a hack saw courtesy of a faceless black-gloved killer,  giallo  progenitor Dario Argento had already given up on the genre after three successful entries:  the groundbreaking  Bird with the Crystal Plumage , its lesser follow-up,  Cat ‘O Nine Tails,  and   Four Flies on Grey Velvet .  But Martino never had illusions that he was actually making art.  A journeyman director who jumped from action to comedy to smut and back again, Martino always seemed to work wonders with the few crumbs other filmmakers left behind. And that’s exactly what he does with  Torso , recasting  Bird ’s Suzy Kendall as one of a gaggle of barely-clothed girls vacationing at a Cliffside villa who find themselves tormented by a killer with emotional scars and a penchant for fashionable neckwear.  The Argento influence is unmistakable, with a combination of plot elements lifted directly from the previous films, including childhood trauma and

No matter which particular "Bond" is your favorite, a good villain is essential.  Ernst Blofeld and Auric Goldfinger are just as responsible for making their respective films memorable as 007...while duds like Hugo Drax and Eliot Carver don't even merit a mention.  So, producer Harry Alan Towers was on the right track when he elevated Sumuru to leading lady status in a pair of Bond rip-offs based instead on the writing of Sax Rohmer, better known for creating the now-politically incorrect master criminal Fu Manchu.   A classic case of feminism run wild, Sumuru (played by Shirley Eaton, Goldfinger's first painted victim) has assembled an army of sexy sleeper agents at her command.     This commando unit of femme fatales commit acts of terrorism with the goal of conquering the known world in the name of women everywhere!     Rohmer crafted five books in the Sumuru series; Towers managed to eke out two films -   The Million Eyes of Sumuru   and   The Girl From Rio   - wh

There’s nothing more enjoyable than falling down the rabbit hole of a director’s previous work, especially one as accomplished as Damiano Damiani.  Labeled the most “American” of Italian directors, his films were ironically steeped in political and social commentary hidden under a façade of genre trappings.  1979’s  A Man on His Knees  again delivers the best of both, telling the story of a mafia miscarriage of justice that sets its sights on the wrong man.      Nino Peralta (Giuliano Gemma) is a former car thief turned café owner still ashamed of his past.  So, when a kidnapping goes bad and one of his cups are found in the hideout, he’s blindsided to find out his name is one of eight on a mafia hit list.  Desperate to prove his innocence, Peralta reaches out to the man assigned to kill him, Antonio Platamonte (Michele Placido), hoping they can make a deal.  But the further up the chain of command they go, the more tangled the web becomes, forcing these two enemies to become unlikely

When it comes to music, movies and literature, just delivering  more of the same  tends to get a bad rap.  We applaud the heavy metal band that hits it big with a power ballad, the horror author who writes a children’s book or a director who takes on a project outside his or her comfort zone.  Put, to be honest, there’s something to be said for perfecting a formula and doing it well.  Take Shaw Brothers Studio, for example, who managed a decade long streak of kung-fu success by creating an artistic assembly line without equal.  But all streaks must come to an end and the two latest titles from 88 Films find the studio tweaking their formula, balancing traditional fare with new erotic trends to keep audiences’ attention. Based on the notorious but influential erotic Chinese novel,   The Golden Lotus  (1974) looks to combine the gilded elegance of the studio’s mannered visual approach and set design with raunchy exploits on par with foreign imports like   Emmanuelle .     And director Li