Hmm I don’t know, Zombies just seen a bit cliché nowadays. Well How about Nazi Zombies? Well now you’re Talking!
It’s kind of surprising that nobody had thought of combining the two most deadly of history's enemies, the Nazi’s, and Zombies (...wait a minute?) before Dead Snow came along in 2009 - but everything has got to start somewhere right?
Source Code is an excellent fast passed yet intelligent tale which will leave you thinking way after its 93 minute running time; well worth watching (if you can still find it in the cinema)
Director Duncan Jones last effort (and debut?), Moon, was downright amazing; probably one of the best Sci-Fi films of recent years, at least for me. Hence, you can understand why I was so excited to see his new effort Source Code, (and wondering why it took me so long to see it – watching it possibly on one of the smallest cinema screens ever), which promised more sci-fi intrigue; it doesn’t disappoint.
So I’ve been gone for a while, getting all that university business out of the way. But now I’m back! (Waits for applause)...to review more great (...) films!
The Devil’s Tomb is an alright ride, but is almost instantly forgettable – remembered only for average acting and sometimes laughably bad special and physical effects.
I don’t watch too many straight-to-DVD releases, and you can probably guess why: they normally always suck (if they were any good they would come out in the cinema...right?). Coming into Devil’s Tomb I had no idea about its direct to DVD origins, but by the end I had my suspicions, which tells you a little of what you are going to get if you get round to watching this ‘action horror’ flick.
Like Owls? Like Owls In Helmets? Like Australian Owls in Helmets? No? Well that's probably for the best.
Legends of the Guardians has one serious problem, it’s trying to do way too much at once. Imagine if Peter Jackson had attempted to cram all three Lord of the Rings books into one film and the mess that would have been the result. Well that’s pretty much what has been attempted in Legends of the Guardians, The Owls of Ga’Hoole, and it certainly shows.
I didn’t really know what to expect from Submarine. The writer-director, Richard Ayoade, is best know for his roll as Moss in the IT Crowd, and I had my doubts about his abilities in a role behind the camera. Perhaps I was expecting the IT crowd, along with all its silliness, but in a different setting; well this isn’t that at all, but for all the right reasons.
Scream 4, simply put, is Meta out the arse, but once you get past this perfect storm of self-referential madness, there isn’t all that much to write home about.
It’s strange to see scream 4 in 2011, or should I say SCRE4M (its always cool when they do that right?…). It’s been over fourteen years since the original and that is a lot of time to leave between a sequel, especially one that is so referential to the genre within which it is couched, and one that has gone through somewhat of a metamorphosis in the intervening decade. Gone are the days of the Slasher flick that characterised horror genre back in the days of Scream 1. Replacing it are other forms of horror, the torture porn genre (probably the worst name you could give anything ever) with films like SAW and Hostel , though even that has probably seen its end. As well as that you have the videotaped, home-made style of horror; starting with Blair Witch in 1999, but more recently seen in the Paranormal Activity films. Alongside these two ‘bastions’ of horror film making you have the rise of the remake, Nightmare on Elm’s street, Texas Chainsaw Massacre, The Amityville Horror and Dawn of the Dead to name but a few. Scream 4 then, attempts, like its predecessors, to de-construct the slasher flick, while also attempting to de-construct these newer horror genre quirks, most notably the idea of a remake.
