Dead and Buried

From Dan O'Bannon, the legendary screenwriter behind the first two Alien movies, Lifeforce, Total Recall, and The Return of the Living Dead, comes Dead and Buried (1981), a creepy lost horror classic. To get a better idea of D&B, imagine Death Becomes Her meets Invasion of the Body Snatchers meets a Scooby-Doo mystery meets Night of the Living Dead. Yeah, that's pretty much what you'll get from D&B. The film oozes atmosphere, from the dark score interspersed with cheery big band tunes, to the foggy New England setting, to the abandoned Victorian houses dotting the landscape.

The sleepy coastal town of Potters Bluff holds a horrifying secret, and Sheriff Dan Gillis is about to get caught up in it during the investigation of a recent string of grisly accidents, murders, and disappearances. When murdered tourists begin to come back to life, the Sheriff's wife is implicated as a practitioner of witchcraft, voodoo, and the dark arts. Is she behind the recent outbreak of the undead? Or is she hiding an even bigger secret?

The late great Stan Winston headed up the creature effects for D&B, and it really shows, particularly in contrast to a scene added late in production. The scene in question, completely superfluous, was added near the end of post-production, and Stan Winston's team was unavailable to create the effects. The result, a man's head being pumped full of acid and melted from the inside out, looks like a 3-year old working with playdough next to Winston's masterful zombies. This incongruity is a low point in an otherwise pretty sweet film.

There are a few other rough spots, including some clunky dialogue here and there, although its hard to say if the awkwardness is the fault of the screenplay or the actors. Also, filming constraints forced a re-dubbing of the audio for a scene in one of the aforementioned creepy Victorian homes. This resulted in problems with audio/visual synch, but these are limited to only one scene, and it's really only a minor annoyance.

The bottom line: despite some awkward writing here and there and a regrettable non-Winston scene, this is a really awesome and fucking creepy film, with some inventive and cool-looking death scenes. A must see for fans of the macabre.

Storyline & plot: 7/10
Cinematography & effects: 8/10
Music & mood: 7/10
Performances: 6/10

The Reverend says: 7/10

Let Sleeping Corpses Lie

Jorge Grau's Let Sleeping Corpses Lie (1974) is easily one of the best zombie movies I've ever seen, and I've seen a whole damn bunch. Sleeping Corpses combines the technical mastery of George Romero and the mood and gore of such Italian greats as Lucio Fulci and Lamberto Bava.

When a string of mysterious murders rocks the idyllic English countryside, the police suspect a cult of Satanists, and turn their investigations to newcomers George and Edna. Now the two Londoners must race to prove the real cause: reanimated corpses brought back by an experimental alternative to pesticides.

This film is pretty solid. It has a fair amount of zombie gore, but is by no means over-the-top. Screenwriter Sandro Continenza has put a unique (and environmentally-conscious) twist on Romero's zombie origins mythos. The effects, of course, were standard for the time, which is to say that they are organic and make-up based, rather than digital.

The film starts at a leisurely pace, but by the end, the tension and action are at a fever pitch, culminating in a blood bath at the creepy local hospital/insane asylum. Most of the film is shot at night or around dusk, the twilight melding with the eerie sets to create a deep sense of dread and foreboding.

One of the truly great aspects of Sleeping Corpses is the scale of the zombie outbreak. So many zombie movies, particularly those of the last 10 years or so, feature an apocalyptic pandemic-style outbreak, wherein zombiehood is pathogenic and highly communicable. Because of the constraints of the zombie origin in Sleeping Corpses, the outbreak is actually quite minor, confined to a few miles of the English back country. And zombiehood is only communicable under very specific circumstances.

George Romero's Night of the Living Dead (1968) was rumored to be a commentary on the Vietnam War. Similarly, there is a very strong counterculture subtext in Jorge Grau's Sleeping Corpses. The zombies represent hippies in the eyes of the mainstream: mysterious, cultish, and dangerous. The zombie outbreak is created and unwittingly propagated by the "establishment," the authorities, so to speak. And the only people who know the truth are the misfits, the outsiders, the dirty hippies.

All in all, a very enjoyable film, although I was fairly disappointed with the ending, which is beyond all common sense and logic (even for a zombie movie), and basically feels like Grau giving in to what he thinks his audience would need for a satisfying conclusion.

Storyline & plot: 8/10
Cinematography & effects: 7/10
Music & mood: 7/10
Performances: 5/10

The Reverend says: 7/10

The Car

Remember when you were a kid and you played with your Hot Wheels cars all afternoon, creating imaginary car chases and awesome explosions? Remember how your favorite car was basically invincible and could survive any of these imaginary crashes and could do the car equivalent of Matrix-style wire-fu moves? The Car (1977) is pretty much a movie version of that.

Honestly, there's really not much plot to sum up here. A demonic car goes on the rampage in a Southwestern town. It's up to James Brolin as Sheriff Wade Parent to kick that car's ass. As usual, Brolin's emoting runs the gamut from really cool and macho to slightly pained and really cool and macho. The film is a glorious schlockfest. It's bad. There's no denying that. But it's also hilarious (unintentionally, of course) and fun, so it's well worth it.

The effects are laughable. The sound used for the car's horn is quite noticeably that of a fucking big rig truck. An interesting aside: the exact same sound was used for the killer's truck in Jeepers Creepers (2001). Let's see, what else.... oh yeah, the cop cars in this town seem to explode at the drop of a hat, and the explosions inexplicably start somewhere in the front seat rather that at the gas tank or engine. Throughout the film, to create the illusion of speed during the car chases, the film has quite obviously been sped up, resulting in hilarious '20s-style silent movie footage.

But all these things pale in comparison to the utmost height of absurdity in this movie: the car literally goes through a house to kill someone. Straight through. Flies into the air, goes through the front wall, smashes into somebody, sails right on through the back wall of the house and continues on its merry way. I nearly pissed my pants from laughing so hard on that one. Classic.

There's not much else to say about The Car, besides mentioning obvious influences to later films such as Christine (1983), Maximum Overdrive (1986), and The Wraith (1986). It is what it is: a fun cheesy film with lots of car chases, explosions, and grisly murder.

Storyline & plot: 5/10

Cinematography & effects: 4/10

Music & mood: 7/10

Performances: 6/10

The Reverend says: 6/10

Dead Like Me: Life After Death

Back in 2004, Showtime's "Dead Like Me" joined an infamous list of great shows cut down in their prime, snuffed out way too soon for no discernible reason. I suppose the show's death was bitterly ironic, given its portrayal of sudden death, of life cut short for no discernible reason. But we fans still grieved. Given the deepening storylines surrounding head reaper Rube Sofer's mysterious past and George Lass's ongoing struggle to keep her life and her afterlife separate, it was unfathomable why "DLM" got the axe at the end of its second season amid critical and popular acclaim. Such is life, I suppose.

Then, in 2006, rumors started stirring about a possible DLM movie. As these things usually go, things were mulled over for awhile. Interest in the project, both internal and external, was gauged. Funds, schedules, and shooting locations were procured. And in 2008, the dream became a reality. Principle filming for Dead Like Me: Life After Death (2009) began. But there were already many disappointing hurdles. Mandy Patinkin declined to reprise his role as Rube Sofer, the lead reaper considered by many to be the heart of the show. Sofer was written out of DLM:LAD and replaced by Henry Ian Cusick as the slick and business-savy Cameron Kane (more on him later). Additionally, Laura Harris declined to return as Daisy Adair, the shallow-yet-deep reaper counterpart to Callum Blue's just plain shallow Mason. Instead of write Daisy's character out of the movie, producers chose another actress, the much less attractive and much less talented Sarah Wynter. On top of all this, it was announced that DLM:LAD would not have a theatrical run, but go straight to DVD. Not uncommon for a TV show movie spin-off, but many fans were disappointed just the same.

LAD picks up 5 years after events in season 2 of the series. Comics-style story boards and George Lass's (Ellen Muth) typically deadpan voice-over quickly catch us up on events. Little has changed in the intervening 5 years. Much like in life, death for undead reapers is filled with the quotidian trappings of a routine existence. The day's reaps are coordinated with earthly careers. After all, their physical bodies still require nutritional maintanence, and that requires money. But the team's routine is about to be shattered when they learn that Rube has received "his lights" and moved on to the next plane of existence. Cameron, Rube's replacement, is a fast-talking businessman looking to streamline the reaping team and working towards his own mysterious goals. Without Rube's stern influence, the team struggles to behave under the guidelines of the undead, which are admittedly fairly ambiguous. While attempting to fix a reap gone horribly wrong, George finds herself caught up in the lives of her mother and sister (Cynthia Stevenson & a grown-up and disturbingly hot Britt McKillip), whom she's been expressly forbidden to see.

This film suffers tremendously from a really terrible script. One of the great things about the series was the dynamic ensemble cast. George was always our narrator, but it would be untrue to call her the main character. For LAD, this convention is left by the wayside. The rest of the cast fades into the background, and Muth and McKillip are left to carry much of the film. Not that they are unworthy. Both are great actresses. But the film feels a little lifeless without the team dynamic. 

Moving on. The character of Cameron Kane is a mess. He is vastly underdeveloped, his motives are unfathomable, and at the end of the film, you've really gotta ask yourself if his character was completely superfluous. I'm thinking yes. The film's running time is pretty short (86 minutes), and you've gotta wonder if it should have been fleshed out to make some of the glaring plot holes a little less glaring. Once again, I'm thinking yes. And you know what, I think there's maybe 2 or 3 reaps in the movie. What the hell? The creative and elaborate deaths were yet another hallmark of the show that got lost along the way. Thank goodness that Muth can still deftly work with the existential poignancy of a wasted life, because that's one of the few things this film has going for it.

Aside from the writing disaster, this film is sorely missing the tremendous acting talents of Patinkin and Harris. Their replacements are boring, shallow, and quite obviously disadvantaged in the arena of acting talent. The music and effects are roughly comparable to the show, which is to say, good but not great.

The end of the film, of course, leaves the door wide open for a sequel. And yes, I would still welcome another film, because the show was that good and its legacy is strong, and also because there are still a lot of storylines to play out. But I would suggest that the next film's creators really sit down and think about where they want the next film to go. Oh, and getting down on your knees and begging Mandy Patinkin and Laura Harris to come back probably wouldn't hurt.

Storyline & plot: 4/10

Cinematography & effects: 6/10

Music & mood: 7/10

Performances: 5/10

The Reverend says: 5/10

Waxwork

Waxwork (1988) is a fairly obscure horror gem from the late 80s. I first saw this movie at the tender age of 7. Yeah, I know; maybe my parents were a little lax in letting a 7-year-old watch gory horror movies. But my older brother was 5 years my senior, making him 12 at the time. Since we did pretty much everything together back then, and my parents allowed him to watch these movies, they knew it would've been futile to try to stop me from watching them as well. For better or for worse, I was viewing fairly graphic movies at a young age. I'm fairly certain that Waxwork represented not only my first exposure to horror, but also to many subgenres of horror (I'll get to that in a minute), and for that, it will always hold a special place in my heart as a piece of nostalgic win.

In Waxwork, 6 teenagers are invited to a private midnight viewing at a mysterious wax museum. Despite the proprietor (David Warner) looking like an insane circus pedophile, resplendant in a purple and yellow big-top tuxedo, the kids find this to be an agreeable proposal. Dressed to the nines, and looking like nothing so much as a group of 80s douchebags and cheap hookers, the high-schoolers arrive at the museum. Things are a little off from the get-go, as the kids are greeted by a dwarf butler (Mihaly Meszaros) with Eastern European accents so thick as to be unintelligible. And Mr. Purple-and-Yellow is nowhere to be found. Undeterred, the kids blithely venture into the museum, where dioramas depict grisly scenes of terror featuring such greats as the Wolfman, Dracula, the Marquis de Sade, zombies, and mummies. The kids soon discover that each diorama is a portal into a realm of terror, where souls are collected in a ritual to summon a demon apocalypse. Can Mark (Zach Galligan) and Sarah (Deborah Foreman) stop the ritual before it's too late?

The genius of Waxwork lies in the script from first-time screenwriter and director Anthony Hickox. By utilizing the idea of the diorama portals, Hickox transforms Waxwork into a series of horror vignettes, tapping into and paying homage to some of horror's greatest traditions, movies, and subgenres. The creature costume and make-up effects are incredibly detailed, reportedly requiring 8 solid weeks of 18 hour days from effects artist Bob Keen. But this film was not built on effects alone. Each vignette not only features a different aspect of horror tradition, but it is steeped in that tradition as well. Camerawork, lighting, and music are all altered for each diorama scene to really bring these worlds to life.

Waxwork is fun and unique while still being awesomely 80s. Before Netflix, I had despaired of ever again seeing this obscure movie that had influenced me so much. Thanks Netflix! Waxwork stands the test of time.

Storyline & plot: 9/10

Cinematography & effects: 9/10

Music & mood: 9/10

Performances: 5/10

The Reverend says: 8/10

The Matador

The Matador (2005) was better than I expected, considering the two leads. From what I've seen, Greg Kinnear pretty much plays the same character in every movie he's in, and I expected Pierce Brosnan to be stuck in an acting box after enduring several years as James Bond. Granted, Kinnear was still fairly blah in this movie, but Brosnan was outstanding. He was outstanding because he was perfect playing a character-type that everybody knows in their real life, so everybody can relate to. I'm talking about that type of guy who is outwardly gregarious and fun, but who actually has no friends to speak of. That guy who gets drunk publicly, makes lewd comments and advances, and generally makes an ass out of himself. Yet, in his own way, he's very likeable, and people find it difficult to turn him away when he turns on his hang-dog charm. Oh yeah, and in The Matador, that guy is also a hitman.

Travelling pitchman Danny (Kinnear), recovering from personal tragedy and facing financial ruin, meets aging hitman and ex-cool guy Julian (Brosnan) in a Mexico City bar. Despite Julian's profession and his asshole demeanor, the two men become tentative friends. Fast forward six months. Danny's life has taken a turn for the better. His business is successful and he leads a comfortable life with his wife in Denver. Things have not gone so well for Julian. Years of booze and a transient existence have taken their toll on Julian's psyche, and a couple of botched jobs have made him a marked man. His bosses have given him one more chance, on more hit, to make good and erase the price on his head. There's just one catch: Julian needs an accomplice. With no colleagues or friends to call on, Julian makes his way to Denver to beg Danny to help him.

This film is remarkably funny, mostly propelled by sharp comedic writing and Brosnan's hilarious one-liners. Also, a speedo, some cowboy boots, and a hotel lobby. But when the writing and acting turn to more serious and "touching" moments, it all falls apart. The lines are clunky, the actors are melodramatic, and the music hits on hackneyed swells of strings. It's all a little too saccharine for me. While The Matador's score is only so-so, the soundtrack, including some great transition tracks from The Jam, Tom Jones, and Asia, is pretty good. The film also feels a little short. The intro drags on a little too long, and then suddenly, we're setting up for the climactic final reel. The film would benefit from a little more beef in the middle section. Some fleshing out of the story, maybe some more detail/flashbacks. I don't know. It just needs..... something.

All in all, worth a watch. Wish the writers/director would have stuck to the comedy gold rather than veering into corny emotional content now and again. Wish the middle of the film had some more to it. But very funny, nonetheless.

Storyline & plot: 6/10

Cinematography & effects: 7/10

Music & mood: 6/10

Performances: 7/10

The Reverend says: 7/10

The Andromeda Strain

The Andromeda Strain (1971) was adapted from Michael Crichton's groundbreaking first novel of the same name, inspired by a conversation between Crichton and a professor about the possibility of a crytalline lifeform. The novel and the film have served as a model for numerous films and novels since, ranging from Outbreak (1995) to Stephen King's The Stand to 12 Monkeys (1995). Given Crichton's educational background and attention to detail, Andromeda is undoubtedly among the most realistic and scientifically accurate of these epidemic movies. But far from being a boring scientific exploration, Andromeda is in turns thrilling, chilling, and harrowing.

The action follows the Wildfire team, an infection-containment group assembled at a remote government installation in Nevada. Up until a government sattelite crash-landed in a New Mexico town and an unidentified pathogen decimated the population, the Wildfire team's existence and protocol were purely theoretical. Now, the team must assemble for the first time and race against the clock to discover the nature of the alien pathogen, dubbed the Andromeda Strain. Their only clues are a delirious old man and a baby who miraculously survived the initial outbreak. Can the team solve the mystery before a nuclear blast obliterates the Wildfire facility and potentially spreads the Andromeda Strain across the globe?

The Andromeda Strain comes from the screenwriter/director team that also gave life to The Haunting (1963), arguably one of the eeriest, most frightening movies ever committed to film. Additionally, director Robert Wise had quite a resume under his belt at this point, ranging from horror (The Haunting) to scifi (The Day the Earth Stood Still) to musicals (West Side Story). The film is a seamless blending: one part space scifi, one part technological thriller, one part procedural (including a lengthy decontamination sequence at the Wildfire facility). The acting in the film is not outstanding, but quite sufficient in a film where the true stars are technology and the Andromeda Strain itself. The film's score is quite subdued, with many stretches going completely without music. When sounds do come into play, it's often in the form of a technological hybrid, incorporating the boops and beeps of 70s-era computer technology.

The worth of this subdued techno-thriller is even greater, considering that today's filmmakers would be hard pressed to make such a film without the aid of gratuitous explosions, car chases, and probably some sort of romantic tension/sex scene. Sometimes, they just don't make 'em like they used to.

Plot & storyline: 8/10

Cinematography & effects: 7/10

Music & mood: 7/10

Performances: 6/10

The Reverend says: 7/10

Botched

Oh boy. My experience with Botched (2007) is the model for the pitfalls of an "awarded film." The film's blurb on Netflix sounded promising: a botched heist, a muderous psycho, gorefest. Plus, the kicker: it won Best Feature at the NYC Horror Film Festival in 2007. Well, I figured, New Yorkers know good film. Or at least fun film. Or so I thought. That's the last time I let a populist award sway my renting decision.

Well, one thing is for certain. They picked the perfect word to describe this film. Botched is right. This thing is an utter disaster. The producers, directors, and writers obviously had no idea what they wanted this film to be. Is it a heist-gone-wrong film? Is it atmospheric horror? Is it horror-comedy? Is it slapstick? God help me, but I think the film's creators were striving for slapstick horror on this one. Yes, that kind of movie can be pulled off. For examples, see the Evil Dead movies and Peter Jackson's Dead Alive, among others. But it's not a genre to be attempted without at least an iota of acting talent and pretty kick-ass writing crew. Or else you end up with a trainwreck like Botched.

The action follows our protagonist, Ritchie (Steven Dorff) as he attempts to pull of a heist in Moscow with a couple of Russian brothers, Peter and Yuri. But the heist is botched from the get-go, as Peter unloads his itchy trigger finger on an innocent woman. During their escape, the trio end up with elevator trouble and find themselves trapped on the 13th floor (how original) with a group of hostages, including a couple of computer nerds, an attractive Russian businesswoman, an ex-military security guard, and a trio of religious fanatics. Soon enough, a mysterious killer slowly (wayyyyy toooooo slowly) starts offing people and dragging their bodies off to his lair. Now the heist-men and the hostages are going to have to work together to get off the 13th floor alive.

Let's just start with the litany of atrociousness in this movie, shall we? Aside from Geoff Bell as Boris the security guard, there is not an ounce of acting ability in this cast. They're abysmal. You'd think that sometime in the course of his long career that Steven Dorff wold have learned how to act. Alas, no. He takes his place alongside Keanu Reeves as the "generic placeholder" actors of our generation.

The writing and directing, also terrible. The pacing sucks. It's so freakin slow! The characters spend way more time talking about what they're going to do, or just aimlessly milling around, than actually doing anything. And the lines these poor actors have to deliver! They're terrible. Nobody talks like that. Each character isn't really a person, they're an overblown charicature. But the biggest sin enacted against this movie was not actually hiring any RUSSIANS. The cast is American. The movie is set in, let's see, where was it again? Oh yeah, MOSCOW! American actors, speaking English. With really terrible Russian accents. It's hideous.

Oh yeah, and let's not forget the crazy psychotic killer. At first glance, he's kinda like the Kurgan from Highlander. Hey, not bad, right? Oh wait, no. On second glance, he's kinda like the Kurgan..... if the Kurgan were an incompetent disco-loving ballerina, that is.

And the "twist" at the end? It's not exciting, and it's hardly even relevant to the story. Twist? Who gives a shit? Just please, roll the fucking credits and let us get on with our lives.

Storyline & plot: 0/10

Cinematography & effects: 4/10

Music & mood: 2/10

Performances: 1/10

The Reverend says: 1/10

Lifeforce

Lifeforce (1985) has a lot going for it. Insanely hot space vampires. A zombie epidemic. Patrick Stewart (was that guy ever not bald?). What more could you ask for? In my book, not a whole lot. This film is fun, scary, and epic, and I have no idea why it bombed at the box-office.

The film opens on an international space crew about to board an alien vessel that they've found among the asteroids and space debris of the tail of Halley's Comet. Amid the dessicated corpses of a bat-like alien species, the astronauts discover 3 nude humanoid lifeforms in suspended animation. Once back on earth, the aliens revive, escape, and begin draining the lifeforce from Londoners, turning their victims into dessicated zombies, and sparking an epidemic on the the streets of London. The city's only hope may be Colonel Carlsen (Steve Railsback), lone surviving member of the space shuttle crew, who apparently has a mysterious link to the space vampires. Carlsen and Colonel Caine (Peter Firth) from the British SAS frantically track the lead vampire as her essence hops from body to body, hoping to trap her in a body long enough to dispose of her.

Oh, and did I mention that the lead vampire (Mathilda May) is insanely hot? Did I also mention that she spends almost every single second of her screentime completely nude? Seriously, how did this movie not do well??

What Lifeforce has going on the surface is quite enough to make it a good fun movie, but it's the subtle undercurrents that make it great. The film examines issues as diverse as identity, gender, destiny, the soul, the afterlife, and world folklore and legends. And it's scary? And there's zombies? And there's an extremely gorgeous, extremely naked woman? This movie was seriously underrated in its own time, and although it has gathered a small cult following in the 25 years since its release, it is still woefully ignored.

I mean, come on! Lifeforce was helmed by a legendary director in Tobe Hooper (The Texas Chainsaw Massacre, Poltergeist) The score for the film, which is gloriously bombastic and epic, was composed by the legendary Henry Mancini. The film includes a relatively early big-screen performance from Patrick Stewart, who has since gone on to become a legend in his own right. How many times do I have to say legendary??

The acting is awesomely classicly British, the score is phenomenal, the story draws on lots of horror and folklore tropes while still being unique. True, by today's standards, some of the effects are slightly hokey (but only slightly), but in terms of 1985, these were top-of-the-line effects.

My recommendation: definitely check this one out. It's got a lot going on, and you're bound to find something you can get behind.

Storyline & plot: 9/10

Cinematography & effects: 8/10

Music & mood: 10/10

Performances: 6/10

The Reverend says: 8/10

Scooby-Doo in Arabian Nights

Head, meet wall. Repeat. That's what I feel like doing after watching a third Hannah-Barbera crapfest masquerading as a Scooby-Doo movie. To be fair, Scooby-Doo in Arabian Nights (1994) seems light-years ahead of its predecessors The Ghoul School and The Reluctant Werewolf, but it's still pretty terrible.

In fact, calling this a Scooby Doo movie is a pretty good hand of false advertising. The movie starts out with Scooby and Shaggy (no Scrappy this time, thank god, but no Fred, Daphne, or Velma, either) arriving at the Caliph's palace to apply for the job of royal food tasters. Of course, instead of just tasting the Caliph's lunch, they eat the whole thing and wind up on the run from the palace guards. They end up (of course!) in the harem, where the Caliph has come to choose his bride. And, surprise surprise, the Caliph chooses a disguised Shaggy as his bride-to-be. To stall for time while Scooby thinks of an escape, Shaggy decides to tell the Caliph a few stories from the Arabian Nights.

Shag and Scoob are on screen for about ten minutes when the "real" movie starts, featuring a few other Hannah-Barbera classic characters, such as Yogi, Boo-Boo, and Magilla Gorilla in two Arabian Nights tales. Wait, what? How can you have the audacity to even call this a Scooby Doo movie? Scooby and Shaggy are merely a plot device to set up the real movie, which doesn't even feature them! What the hell is Hannah-Barbera thinking??

Well, I guess they were thinking they needed to do anything but follow the same tired slapstick comedy routine they used for Ghoul School and Reluctant Werewolf. It was a full five years between the release of Reluctant Werewolf and Arabian Nights, and one must imagine that H-B was thinking long and hard about the next step for Scooby Doo movies. The slapstick format was horrendous, DOA. It had alienated older fans, and it was so bad that even kids weren't watching it. So, what was H-B's bright idea? Let's make a Scooby Doo movie that's not really a Scooby Doo movie! Yeah.... sure.

Sure, the stories within this movie actually have a plot, and steer well away from horrific puns and tired sight gags. There's actually a twinkling of clever writing, particularly in the Golden Toothbrush segment of the Magilla Gorilla/Sinbad tale. True, this movie is infinitely more watchable than the previous two, which were painfully boring. But an audience actually looking for a movie about Shaggy and Scooby is gonna feel a little shafted.

For this film, the animation quality is a bit crisper than previously, but honestly, I hate it. It feels flat. The colors are super crisp and bright. This animation is lacking the darkness and depth that was always a hallmark of the original Scooby Doo series.

The bottom line: Arabian Nights is better than its two predecessors, but it's still pretty sad and it's not even really a Scooby Doo movie. I recommend skipping this one as well.

Storyline & plot: 6/10

Cinematography & effects: 3/10

Music & mood: 2/10

Performances: 4/10

The Reverend says: 4/10

Twin Peaks, season 1

I never caught "Twin Peaks" (1990) on TV its first time around, mostly because I was 7 years old and much more interested in watching "The Real Ghostbusters" cartoon. But over the years since "Twin Peaks" had its legendary 2 seasons in the early 90s, I've caught bits and pieces of its far-flung influences. I met a few people who talked about "Twin Peaks" here and there, and I came to see that the show was a love it or hate it phenomenon. The shows fans are not quite like any other fans, and they are quite passionate about "Twin Peaks." Of course, now I understand. Now, I'm one of those fans.

In the simplest terms possible, "Peaks" is about the titular town in Washington state, where Laura Palmer, a high school prom queen, has just been raped and murdered, and a very quirky FBI agent has been called in to solve the crime. Agent Cooper (Kyle MacLachlan) soon discovers that Twin Peaks' tranquil exterior belies a dark and complex underbelly of drugs, prostitution, murder, and shady business deals.

Watching "Peaks" now, I'm absolutely flabbergasted that it was aired on the ABC network. Honestly, I've never seen anything like this show, and it most definitely does not feel like a major network drama. A show like "Peaks" would never find an audience or even a chance on a major network today. It feels like an HBO or Showtime original series, minus the swearing, ultraviolence, and nudity. But it has plenty of adult themes, including rape, murder, torture, gambling, and whoring, among others.

The show's structure is different from what you'd see in a primetime drama nowadays. Other than the pilot episode, there's no traditional set-up, action, and resolution. "Peaks" is much more akin to soap operas in that each show leads directly into the next like you've simply paused a movie and have unpaused it. This limited the show's audience in its broadcast run, because if you missed any episodes, you might find yourself extremely confused as to what's going on.

The show's resemblance to a soap opera goes beyond structure and into content. Like a daytime drama, in "Twin Peaks," everyone seems to be double-crossing everyone, there are huge complicated interrelationships to untangle, and everybody seems to be sleeping with at least a couple different people at a time.

Normally, I wouldn't be a fan of this kind of content and structure, but with creator/director David Lynch's strange and surreal touch, everything is so weird and intriguingly sinister that you can't help but watch. I think that is Lynch's greatest attribute: finding the sinister side to everything. Ordinary events and circumstances are suddenly heavy with dread and potential meaning. The audience is not allowed to ignore anything, because everything means something. This makes for a very engaging and fun viewing experience.

Angelo Badalamenti's score for the show relies on variations on a few simple themes. Part romance, part suspense, Badalamenti draws on slow and steady crooner guitar licks and a dark bass beat to flesh out the sound of Twin Peaks.

The obvious and deserving star of "Peaks" season one is Kyle MacLachlan as the keen and quirky Special Agent Cooper. MacLachlan is phenomenal as Cooper, a man who can simultaneously relish in the simple joy of a fine cup of coffee, and ferret out the complex machinations of a deeply corrupt town. MacLachlan's work here is so good, it's practically indescribable. He makes Cooper one of the most memorable characters in television history. And MacLachlan is really just a stand-out in a superb ensemble cast.

To sum it up, in "Twin Peaks," David Lynch has created a unique and singular television experience, and I, for one, am a huge fan. Looking forward to the 22 episodes of the 2nd and final season of the show.

Storyline & plot: 10/10

Cinematography & effects: 7/10

Music & mood: 8/10

Performances: 10/10

The Reverend says: 9/10

In Bruges

Ever since I first saw TV spots for In Bruges (2008) early last year, I knew I had to see it. A darkly existential hitman buddy comedy? Oh hell yeah, that sounds like my type of movie. I was even willing to completely overlook the fact that the lead was Colin Farrell, who I'd only actually seen in one movie (Minority Report) because his entire corpus of films looked like boring crime or war action/dramas. Yawn. Plus, he just seems like kinda a dick in real life. Anyway, my personal problems with Colin Farrell aside, this movie looked fantastic from the get-go, though such an early theatrical release (Feb. 8, 2008) is usually not a good sign for this type of movie. Usually, producers would look for a summer release date to tap into the film's action side, or a late-year release to harness the possible awards power. A February release usually means the film is DOA. The release date is still puzzling, considering In Bruges has since garnered rave reviews, both critically and publicly, and seems destined to join such greats as Office Space and The Big Lebowski in the annals of mediocre box-office/DVD smash hit lore. But anyway, I'm getting ahead of myself.....

As the film starts, we join our protagonists, hitmen Ray (Farrell) and Ken (Brendan Gleeson), exiled to Bruges, Belgium after a London hit goes horribly wrong. Ray and Ken have been ordered to Bruges by Harry (Ralph Fiennes), their ganster boss, to lay low until further orders. From the first, tensions mount between Ken, who views their time in idyllicly medieval Bruges as a much needed historically-themed vacation, and the younger Ray, who soon grows bored of Bruges and turns inward to his guilt over the death of a small boy in the botched London hit. It soon becomes clear that Harry wants Ray dead as cosmic retribution for the murdered boy, and Ray struggles with the decision to accept his fate and die or flee Bruges and live. Joining Ray in his own personal purgatory are fat Americans, snobbish Canadians, a wimpy skinhead, a beautiful Brugian drug-runner, and a drugged-out racist American dwarf actor.

The image conjured by writer/director Martin McDonagh of Bruges as a purgatorial allegory is obvious, yet beautifully and artfully presented. The cinematography is exquisite, rendering Bruges a fairy-tale city (a comparison not lost on the director and used in dialogue between Harry and Ken), and a silent extra character that stands in judgment of Ray alongside his own guilty conscience. Adding to the atmosphere is the score by Carter Burwell, a strange Faustian romp that sounds like the brain-child of a deranged carnival organist.

All of the performances were top-notch (yes, even Colin Farrell), so it's hard to single one out. Instead they all fuse together to join Bruges itself in a stange and wondrous tableau that reminds us that the world is never black-and-white. Likeable people commit heinous acts. Heinous people sometimes live by strict and honorable moral codes. In Bruges asks us to examine these contradictions, and to ask tough questions. Is a monstrous crime committed by accident truly monstrous? Do we tend to overlook serious character flaws in those who've been historically disadvantaged? Should we? Does a final admirable act in any way make up for a life otherwise spent in douchebaggery? Can people truly ever change? Can this reviewer forgive an otherwise great script for one truly unbelievable death scene?

In Bruges is hilarious, thoughtful, and dark. It made me actually care about a Colin Farrell character, and that is probably its highest achievement.

Storyline & plot: 9/10

Cinematography & effects: 8/10

Music & mood: 10/10

Performances: 9/10

The Reverend says: 9/10

Hellsing series

The "Hellsing" series (2001) is comprised of 13 episodes following the Hellsing Organization, a top-secret British taskforce whose mission is to protect Britain and the Crown from the legions of the undead, primarily vampires, freaks, and ghouls. Hellsing keeps the demons at bay with specially-trained top notch soldiers, an array of holy weapons, and their own enslaved vampires, Alucard and the recently-turned Seras Victoria.

The Organization has recently faced an upsurge in the freak population, a race of man-made, bio-engineered vampires that threaten the safety of the nation. More insidious is the implication that a powerful human foe is orchestrating this surge in freak attacks. Are the freaks somehow related to the Vatican's attempts to supplant the Hellsing Organization with their own force, the Iscariot Organization? Alucard's recent run-ins with Iscariot's genetically-engineered super vampire hunter, Paladin Anderson, suggest there may be a link.

But soon, Alucard and Seras run afoul of Incognito, a mysterious vampire amassing forces of freaks and ghouls, zombies created and controlled by vampires. Since Iscariot's policy prevents them from employing the talents of vampires, Hellsing surmises that their enemy is closer to home, perhaps seeking to discredit Hellsing's leader Sir Integra (don't let the "Sir" fool you; she's a woman) and seize the Hellsing Organization from her.

The series builds slowly at first. The first few episodes appear disjointed, but soon a pattern emerges. The audience is slowly brought up to speed with the political climate surrounding the Hellsing Organization, and the threat poseds by the freaks and their creator becomes clearer. The audience is also kept somewhat in the dark as to the complexities of the relationship between Hellsing and its pet vampire, whose continued existence is technically contrary to Hellsing's sacred mission. And that's not even to mention the nature of the relationship between Alucard and Sir Integra. Ostensibly, Integra controls Alucard, exercising the rights of an arcane contract between the vampire and Integra's ancestors. Yet, Alucard often operates by his own mysterious rules, and the "controls" over him seem tenuous at best. Puzzling over Alucard's motives and motivations is just one of many subtleties employed in this surprisingly complex series.

"Hellsing"'s animation quality is not bad. Not great, but not bad. It's a step down from the clips I've seen of "Hellsing Ultimate", whose animation is brighter, gorier, and hyperreal. And the prodigious use of blurring and haloing effects in Hellsing's animation is not only distracting, but kinda gives you a headache after awhile. The music, mostly done by Yasushi Ishii, is usually good, including the awesome jangly piano pop opening theme. Unfortunately, there are the occasional regrettable lapses into sickly sweet Japanese pop, and the truly unfortunate choice of end-credit music, Mr. Big's power ballad crapfest "Shine."

As a foreign-language film purist, I initially tried to watch the series in the original Japanese with English subtitles, but halfway through the first episode, I couldn't take it anymore. The English subtitles on the DVD were awkward and inaccurate. I figured that voice synch wasn't extremely relevant in an anime, so I took the chance and switched over to the English dub. MUCH better! This is no hastily-cobbled together dub. The voice-acting here is pretty superb, complete with appropriate British accents, except for Alucard and Icognito, who, as vampires, I suppose are immune to accents. Crispin Freeman is great as Alucard, veering from solemn and hollow to ragingly maniacal, all while maintaining Alucard's trademark smirking, sarcastic humor.

"Hellsing" is a complex, fun, and engaging anime series with fairly good music and an excellent English dub. I am not familiar with the corresponding manga, but I understand that it is much more complex, and I wish that the anime had more episodes so it could properly represent the manga source. I'm looking forward to the "Hellsing Ultimate" OVA so I can compare it with this series.

Storyline & plot: 8/10

Cinematography & effects: 6/10

Music & mood: 6/10

Performances: 9/10

The Reverend says: 7/10

Reeker

Reeker (2005) is a fun B-horror flick set at an abandoned motel in the middle of the desert. Five college kids (who, oddly, only vaguely know each other) head off to a massive rave in the middle of the desert. But when their car runs out of gas, they're forced to a stop at a deserted diner/motel. But something's not quite right. The diner hasn't been abandoned for long. There's food still on the tables and a cigarette still smoldering in an ashtray. The highway is eerily empty, even for the middle of nowhere. Cell phones find no signal. Scanning the radio dial and the CB waves reveals little more than staticky fragments. Now the kids are left to puzzle out this unsettling mystery as night falls and a foul-smelling killer stalks and kills them one by one.

This film from writer/director/composer Dave Payne really excels in many aspects but falls flat in a few others. Payne obviously put the most effort into the movie's score, which is a great mix of traditional and quirky contemporary. However, writing is obviously not his strong suit. Some of the film's dialogue is so bad as to be down-right cringe-inducing, the characters resemble horror movie archtypes a little too much, and the pacing in the middle of the film slows to a snoozing crawl. There are some serious duh moments in this film. You'll want to bang your head against the wall every time the group decides to split up and leave the blind guy all alone. Let me repeat that: they leave their BLIND friend all alone at a spooky motel in the middle of nowhere while a killer is on the loose. WTF?? And the mood swings violently from time to time. The action and dialogue goes from campy and goofy to deep and maudlin in a heartbeat, and these transitions are very distracting.

The movie starts off with a bang and great promise, featuring some shocking gore, and some pretty good makeup and effects. But everything slows way down in the middle, as the Reeker knocks off his victims at the leisurely pace of a Sunday picnic. The pacing is not all bad, though. It gives the director the time and space to insert the subtly creepy details that the audience can only fully appreciate in light of the movie's ending.

The killer's identity, motives, and appearance are kept shrouded in mystery until the end, and this really rachets the tension up. The audience is right there with the characters, completely fucking clueless as to what is going on and who or what may be stalking them. Even the killer's weapons aren't revealed until the middle of the film, but this is hardly helpful in figuring out the mystery. More than ever, you're left scratching your head and wondering what in the hell is going on. When the Reeker's physical appearance is revealed with about 20 minutes to go (but not his identity, they wisely save that til the very end), the disappointment is palpable. Not only are the effects used for the Reeker not the match of those used at the beginning of the film, but the revealed killer hardly lives up to the mysterious dread he previously inspired.

On the whole, I was pretty satisfied with this flick. The ending is not completely original (I know of two other films with a similar twist), but in this age of remakes, reboots, and rampant copying, Reeker is still pretty fresh. The effects were above average, the music was good, the atmosphere was chilling, and the attention to detail was applaudable. Had this film had a solid cast and some decent writing, it would've been great. As it stands, it's still pretty good and definitely entertaining.

Storyline & plot: 8/10

Cinematography & effects: 7/10

Music & mood: 8/10

Performances: 5/10

The Reverend says: 7/10