DREW'S TOP 25 FILMS TO LOOK FORWARD TO IN 2014

I'll still be catching up to all the films I missed this year, but there will be just as many (if not more!) coming up in 2014 that I will feel compelled to see. Here's the top 25 that have piqued my interest. I've arranged them by release date, since trying to rank movies that I haven't yet seen feels kind of pointless. Also, I try not to get too hyped up for certain films, since it's very rare that they live up to the film I've imagined in my head (blame Prometheus). These are all films that, according to IMDb, are scheduled for release in 2014. If something pushes them back or they end up just fading into the ether, don't blame me. And if you think I've missed something, please sound off in the comments! I'd love to hear a really strong argument as to why you actually think Transformers 4 or Night at the Museum 3 could end up not being cinematic cancer. ...Okay, I'll stop being mean now.

DREW'S TOP TEN OF 2013

2013 was a great year for film. Unfortunately, I missed out on a whole lot of those films. Between personal and financial issues, I just didn't get out to the theater as much as I would have liked. To be honest, I could easily write a list of the top ten (probably even fifteen) movies I missed out on this year, and there are some big ones that would have probably made this list. Gravity, 12 Years A Slave, Elysium, Upstream Color and a whole bunch of others. And why am I posting this with twenty-one days left in the month? Because I'm probably not going to get a chance to go to the movies again until after the new year. Otherwise, I have a feeling that American Hustle, The Wolf of Wall Street, Out of the Furnace and Anchorman 2 would be vying for spots on this list as well. But, you have to play the cards you've been dealt, so while my top ten list might not be as excitingly diverse as others, it's the best I've got. I'll go ahead and rank them (people like ranked things, I guess) even though it feels pretty arbitrary for most entries. I'd say the top five are the only ones that really have a whole lot of calculated thought behind them. ...That sounds awful. Let's just get started.

Apologies, Promises and Other Stuff That Isn't Fun to Read

Sooooo, I kind of dropped the ball, didn't I?

If there are any regular readers (specifically those who were keeping up with my Halloween recommendations), I owe you an immense apology for bailing on my "31 Days of Drew" series. There's a lot of things I could blame it on (I was the best man in a wedding, I took an out-of-state trip that I didn't plan on, I had a semi-flirtation with sleeping pills etc.), but in the end, it really is my own unpreparedness and lack of follow through that muffed the whole thing up. So, I'm sorry.

There's a lot of personal reasons I haven't written anything, but that's better saved for some other blog. Instead, I want to rededicate myself to some things I've been meaning to get on here. Most importantly, the sequel to my article about sequels, "The Terrible Twos." That's the first and favorite thing I've written for this blog, and I have a whole list of films I want to cover. That's the most important thing for me.

Secondly, I want to branch out beyond film and write about some other forms of entertainment I enjoy, but I don't consider myself quite as well-versed in. These will also include just random opinions about... well, anything really. Life, the universe and everything. I'll be labeling these as "Drew's Views", and once I finish my first playthrough of Grand Theft Auto V, I should have one up.

I can't promise a certain level of consistency when it comes to the frequency of posts, but I do promise to be as prompt as possible (I'm writing this from my full-time job computer, so if things remain slow, yay!) and not to put out an article or series that I don't know if I'll finish, or haven't already written.

Thank you for reading this blog. It seems a small thing, but it means a lot to me.

31 DAYS OF DREW - DAY 27: BEETLEJUICE

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Beetlejuice (1998)

Before getting swallowed into remakes and pre-packaged properties like Alice in Wonderland, Tim Burton was a very special voice when it came to ghoulish filmmaking. And besides his crowning artistic achievement (that'd be Ed Wood), I don't think there's any argument that Beetlejuice is his best film (Edward Scissorhands takes a very respectable third place). It showcases his signature style while not becoming overpoweringly distracting, and the material seems tailor-made for Burton's childish love of the macabre.

31 DAYS OF DREW - DAY 25: THE ADDAMS FAMILY and ADDAMS FAMILY VALUES

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: The Addams Family (1991) & Addams Family Values (1993)

Because I am incapable of making decisions, I couldn't choose between one of the two original Addams Family films for this spot on the list, so I decided to include them both? Why? Because both of them exhibit a wonderful sense of gallows humor and morbid fun that deserves to be seen. Is one better than the other? Maybe. But, these are still two movies that make for great companion pieces, and should be viewed as such.

31 DAYS OF DREW - DAY 24: INTRUDER

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Intruder (1989)

So, here's what some might consider the more straightforward version of yesterday's pick. It's a slasher with a small cast of characters, a mysterious villain and some very memorable kills. But, there's a lot that separates Intruder from most of its peers. Not only is it from the same group of artists who brought the world the most ferociously original horror movie of its time, The Evil Dead, but it also features the very first gore effects by the now established masters of the craft, Robert Kurtzman, Greg Nicotero and Howard Berger, better known as K.N.B. EFX.

31 DAYS OF DREW - DAY 23: CLUB DREAD

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Club Dread (2004)

Now, I know what some of you must be thinking right now: "The guys that made Super Troopers and Beerfest never made a horror movie!" Well, you'd be half-right. While Club Dread is never really going for the scares, it still follows the slasher template extremely closely, but decides to play the material for laughs instead of screams. While some would jump at the chance to call it a "spoof", it really isn't. It's actually one of the better slasher films made in the last few years and it just happens to be incredibly funny as well.

31 DAYS OF DREW - DAY 22: THE MONSTER SQUAD

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: The Monster Squad (1987)

It's always hard to consider how to get kids into horror films. On one hand, you don't want to sugarcoat things and have them watch some milquetoast kiddie fodder (I'm looking at you, Halloweentown), but you don't want to traumatize them right out of the gate with The Exorcist or anything. The Monster Squad manages to land perfectly in the middle of being kid-friendly but not in a demeaning way. There's still blood and bad words, but not in such a degree that kids probably aren't already aware of by the time they see the film. It doesn't hurt that the movie is lots of fun, but never at the expense of the monsters (except for one classic moment).

31 DAYS OF DREW - DAY 21: JEEPERS CREEPERS

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Jeepers Creepers (2001)

At one point in cinematic history, the monster movie was America's number one horror export. The legacy of the Universal monsters is undeniable, but as our sensibilities changed, so did our monsters. Dracula and The Wolf Man gave way to giant insects and invaders from space, who gave way to the supernatural horrors of The Omen, The Exorcist and Rosemary's Baby. Eventually, we'd reached a point in our culture where real human monsters (like Hannibal Lecter or Michael Rooker's Henry) began to captivate and repulse us. That's why Jeepers Creepers feels so special. It was an original idea that sought to create a brand new creature for us to ponder over, and really felt like a return to the monster movies of yesteryear.

31 DAYS OF DREW - DAY 20: WAXWORK

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Waxwork (1988)

Each decade of American cinema has a fairly overarching tone that can be ascribed to it, and if I had to boil the 1980's down to one, it would be "kooky." There's a bubbly goofiness that infects most of the films from that era, and none may be kookier than Waxwork, a melting pot of monster mayhem that feels like it's trying to inject madcap silliness into every aspect of itself.

31 DAYS OF DREW - DAY 19: THEATRE OF BLOOD

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Theatre of Blood (1973)

As horror genre laureate Brian Collins has said on his Horror Movie A Day blog, "If you go all October without watching a Vincent Price movie, you're doing something wrong." The man is an absolute legend, but more importantly, he's an icon that seems to relish any bit of ghoulish fun he can inject into a project, making the majority of his filmography perfect for the Halloween season. Picking just one of his films was tough, but I think I was able to do it. Theatre of Blood manages to mesh together lots of elements that make a Price film great: a gleefully macabre sensibility, theatrical brilliance and, in the end, a genuinely poignant story and character.

31 DAYS OF DREW - DAY 18: CARRIE

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Carrie (1976)

As of this writing, I haven't seen the new version of Carrie (out today!), directed by the truly talented Kimberly Peirce. I can't speak of its merits or faults, but even if it does wind up being a good or even great film, I can assure you that it will never reach the kind of status that the original 1976 adaptation by Brian DePalma has. Not only is DePalma's film one of the best American horror films ever made, it's also one of the best films to come out of the last great Hollywood renaissance of the 1970's. While Carrie 2013 might be a great film, it won't be a true classic like the initial version.

31 DAYS OF DREW - DAY 17: THE CABIN IN THE WOODS

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: The Cabin in the Woods (2012)

Continuing the trend of meta movies from yesterday's pick, I felt compelled to include this modern classic in my list of recommendations. Full of fanatic emotion and a kitchen sink approach, The Cabin in the Woods manages to both extol and castigate the horror genre in the same breath. But, more importantly, it reinforces the necessity of scary tales in our culture and gives their importance the heaviest weight possible.

31 DAYS OF DREW - DAY 16: BEHIND THE MASK: THE RISE OF LESLIE VERNON

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Behind the Mask: The Rise of Leslie Vernon (2006)

As the years go by, I find myself disliking Wes Craven's Scream more and more. It's a decent slasher/whodunit picture, but its lasting legacy has been its commentary on the genre it inhabits. It's that commentary that has grown sour for me. While it acknowledges and parodies the conventions of the horror film, it never bothers to delve into the "why" of the conventions. They exist because they are supposed to exist and that's all there is to it. It doesn't help that there's a snobby attitude to the way the film dissects all the trappings of horror movies. Behind the Mask is the film Scream ought to be: a charmingly funny but completely earnest examination of slasher films and why they follow the formulas they do.

31 DAYS OF DREW - DAY 15: GHOSTWATCH

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Ghostwatch (1992)

Thanks to being a cable-free household, I avoid being inundated with so-called "reality" television every day. I despise the format, as it offers nothing truly compelling while trying to pass itself off as documenting real events and real emotions. The level of fiction that goes into modern "reality" television muddies the creative enjoyment I wish to experience. However, that deceptive reality is exactly what made Ghostwatch such a memorable and effective experience when it originally aired on the BBC back in 1992. People thought it was a real program, and that made the events that took place far more terrifying.

31 DAYS OF DREW - DAY 14: HOUSE

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: House (1977)

I love the Japanese. Their brazen weirdness has given birth to a culture that is deeply entrenched in bizarre artistic expression. But, sometimes even the Japanese exceed the boundaries of their own strangeness and create something so otherworldly that it nearly defies description. Such is Nobuhiko Obayashi's House (or Hausu to help differentiate it from the 1986 horror/comedy of the same name), a fever dream horror/fantasy that has to be one of the closest attempts at actually capturing the cartoonish and hallucinatory nature of a child's nightmares. That's probably helped by the fact that Obayashi's pre-teen daughter has a story credit on the film. I'll say it again: I love the Japanese.

31 DAYS OF DREW - DAY 13: JASON LIVES: FRIDAY THE 13TH PART VI

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Jason Lives: Friday the 13th Part VI (1986)

Even though it's not a Friday, I felt compelled to dedicate the 13th day of 31 Days of Drew to the man who made hockey masks synonymous with slaughtered teenagers: Jason Voorhees. For a while, I debated using this space to make my argument for Friday the 13 Part V: A New Beginning (ignore the fake Jason aspect and it's a great sequel and a good entry in the franchise!), but then I realized that if you're going to watch only one Jason movie this month, Part VI is the only contender.

31 DAYS OF DREW - DAY 12: HOLLOW MAN

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Hollow Man (2000)

When the seventies hit, there was a great industry-wide shift happening in the movie business: take B-movie premises and treat them like A-list prestige pictures. It's exactly what happened at Universal during the thirties, and that gave us the first big wave of monster classics. This led to a whole bevy of cinematic treasures, including The Exorcist, Jaws, and Alien. The downside to this was that excellent B-movies began to look shoddy by comparison. That's why I can't help but love Hollow Man. It's not only an inventive "remake" of Universal's own The Invisible Man, it's also a film that's totally aware of its B-movie pedigree and doesn't even try to class itself up. Instead, it just attempts to be the best B-movie it can be, and it works like gangbusters.

31 DAYS OF DREW - DAY 11: NIGHTBREED

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Nightbreed (1990)

Horror and fantasy are some of the hardest genres to sell to the public, especially if the property isn't an established entity. Blending the genres together makes things even harder, but that's what visionary writer/director Clive Barker attempted to do with Nightbreed, an adaptation of his own novella, "Cabal." It's too bad that the people in charge of marketing Nightbreed didn't know what to do with it, because there's a very unique and artistic flare to this film that is fairly uncommon in the horror genre.

31 DAYS OF DREW - DAY 10: CREEPSHOW

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Creepshow (1982)

Before Batman, Dick Tracy, Sin City, Scott Pilgrim vs. the World and other attempts at cinematically capturing the comic book aesthetic existed, there was Creepshow: a masterful interpretation of the classic EC horror comics that ran during the 1950's. Not only did they attempt (and succeed) to bring the tone of the comics to the screen, but also the vivid visual component that was a hallmark of the publication. The best part about this adaptation was that it was being handled by three titans of the genre who all were raised on the comics themselves: George Romero would be directing, Stephen King would be writing the script, and Tom Savini would handle the effects. It's the kind of rare alignment of talent and timing that can only produce a masterpiece, and Creepshow is definitely that.

31 DAYS OF DREW - DAY 9: TOURIST TRAP

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Tourist Trap (1979)

The 1970's was a fantastic era for American cinema all around, and the horror genre was no exception. The B-movie went A-list with Steven Spielberg's Jaws, our religious fears were mined with both The Exorcist and The Omen, and another mythical figure took his place in the hall of hallowed monsters in... well, we'll save that for another entry. But, hiding underneath all these mainstream successes are lots of mini-masterpieces waiting to be appreciated by a new generation. One of those happens to be Tourist Trap, an exercise in atmosphere and outright creepiness.

31 DAYS OF DREW - DAY 8: THE FRIGHTENERS

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: The Frighteners (1996)

Before defining the fantasy film forever with his interpretation of J.R.R. Tolkien's Lord of the Rings trilogy, Peter Jackson was a pioneer in the horror-comedy genre, crafting trashy classics such as Bad Taste and Dead Alive a.k.a. Braindead. When his chance to hit the States came, he gave us a movie that perfectly captured the feeling of walking through a haunted house attraction: a bit of unease mixed with moments of shock, but all in the name of good fun and lots of laughter. That film is The Frighteners, and I adore every ectoplasmic second of it.

31 DAYS OF DREW - DAY 7: SOCIETY

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Society (1989)

If there's one thing I unabashedly love about genre films from the 80's, it's the abundance of off-the-wall practical effects that became so commonplace that you expected them in almost every horror film. Some films could even get away with being terrible but remain watchable as long as they splurged on the effects budget (a perfect example of this would be 1986's Spookies). Society certainly isn't terrible, but it also isn't spectacular when it comes to its narrative. However, its effects are so insane and extravagant that they more than make up for any other flaws the film has.

31 DAYS OF DREW - DAY 6: PHANTOM OF THE PARADISE

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Phantom of the Paradise (1974)

Horror movies and music seem to make good companions when they (rarely) join forces. Everybody is aware of the cult infamy The Rocky Horror Picture Show, but while the music, performances and B-movie homages in that film are great, the actual story and plotting of the film is noticeably lackluster. Luckily, there's a fantastic alternative to be had in Brian DePalma's secret masterpiece, Phantom of the Paradise, which not only features all the positives I listed for Rocky Horror, but has an excellent story that draws inspiration from two of horror's most classic tales: The Phantom of the Opera and Faust.

31 DAYS OF DREW - DAY 5: TREMORS

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Tremors (1990)

Everybody loves a good monster movie, especially when the tone of the film is fun and light-hearted. Tremors might just be one of the pinnacles of this particular sub-genre. It's got a great cast, a simple set-up and features one of cinema's most inventive and plain ol' awesome creatures.

31 DAYS OF DREW - DAY 4: RESOLUTION

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Resolution (2012)

If there is a common criticism a majority of horror movies suffer from, it's that the characters often take a backseat to the plot or concept. Some horror movies can support themselves this way (see yesterday's pick), but most don't have the imagination, momentum or sheer insanity to do so. Resolution recognizes this and turns the expectation around 180 degrees. It's a movie that is solely about the characters, and it utilizes the idea of stories as something far more mysterious and ultimately terrifying.

31 DAYS OF DREW - DAY 3: LAID TO REST

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: Laid to Rest (2009)

Being a horror fan means learning to manage your expectations. The majority of horror cinema is either derivative, shoddily made, or worst of all, boring. However, horror fans are able to accept certain flaws in a film if other aspects strongly shine through. Laid to Rest is a textbook example of this. The movie is nowhere near perfect, but the things it does right are so right that it makes up for most of its weaker elements. And if there's one thing it deftly succeeds at, it's feeding the viewer's juvenile bloodlust.

31 DAYS OF DREW - DAY 2: NIGHT OF THE HUNTER

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: The Night of the Hunter (1955)

The Halloween season is the perfect time for a fresh audience to glance back into the yesteryears of cinema and discover some classic chillers. While the Universal monster cycle of the 30's, 40's and even into the 50's should be mandatory viewing, there is a subsection of older horror films (usually given the shame-distancing sub-genre title of "psychological thriller") dealing with human monsters that shouldn't be ignored. Some great examples would be 1962's Cape Fear (remade in better-than-average fashion by Martin Scorsese in 1991), 1959's variation on the famous Leopold-Loeb murder case, Compulsion, or Alfred Hitchcock's golden standard, Psycho. One of the best of this breed has to be The Night of the Hunter, the solo directing effort of Charles Laughton, who played one of fiction's greatest monsters, Quasimodo, in the stellar 1939 production of The Hunchback of Notre Dame.

31 DAYS OF DREW - DAY 1: HIGH PLAINS DRIFTER

Every horrorhound's favorite month is upon us, and to celebrate, I'll be dishing out a personal pick from the genre for every day in October. Some will be obvious and rather unoriginal (sorry that I like movies other people like), while some will be a little more oddball and off-the-wall. Some may even challenge your idea of what constitutes a "horror" movie. Regardless, I hope you enjoy the month with some good movies, even if they aren't ones I recommend!

Today's Pick: High Plains Drifter (1973)

To start this (hopefully) annual series off, I thought I had to come out of the gate swinging, in regards to a film that seems a bit out there in its relation to the Halloween season. High Plains Drifter seemed perfect because no one would suspect a seemingly stereotypical Clint Eastwood western of being one of the most eerie flicks out there. Don't believe me? Let's do some convincing.

MOVIE REVIEW: YOU'RE NEXT Might Be Simple, But It's Still Superb

Simplicity is an element that most modern horror films seem to forego in favor of an attempt to create a larger-than-life menace. This grandiose thinking often comes at the cost of character development, plot structure and sometimes even the most crucial factor, being scary. You're Next takes a much-appreciated streamlined approach to its premise, and that's probably what makes the film so excellent and enjoyable to watch.

MOVIE REVIEW: GRABBERS Is Classic Creature Feature Goodness

I have an unabashed love of the creature feature sub-genre of horror. Gremlins and Tremors are legitimate classics, and Critters and Ghoulies are wicked bits of guilty fun. Sadly, the genre seems to have peaked almost two decades ago, and thanks to an influx of deplorable SyFy (pronounced Sif-ee in my house) movies and direct-to-video garbage, it looked like no one would ever treat the sub-genre with the respect and sincere levity it deserves. And then, along comes Grabbers (always pluralize your title) to prove me wonderfully wrong. It manages to hit all the high points you'd expect while still creating it's own unique twists, and most importantly, it's a hell of a good time.

MOVIE REVIEW: THE WOLVERINE Works, But Never Quite Well Enough

It's kind of strange to me that Hugh Jackman's incarnation of everyone's favorite mutant has become what most people see as the definitive interpretation of the character. In truth, the filmic Logan is much slicker and subdued than the brutish berserker of the comics. That attitude could easily describe The Wolverine: a streamlined effort that functions well, but is missing the rage and intensity that the character needs, especially for his solo outing (like the rest of the world, let's just ignore that last Wolverine film).

MOVIE REVIEW: THE CONJURING Is A Classically Minded and Expertly Crafted Creepfest

I feel bad for The Conjuring, simply because it's arrived at what is hopefully the tail-end of the current "haunting" cycle that the horror genre has been wallowing in ever since the first two Paranormal Activity films did ungodly amounts of business. The over-saturation of these films can unfortunately detract you from all the ways The Conjuring does the genre extremely well. It doesn't help that director James Wan's previous effort, Insidious, shares enough story elements with The Conjuring that it's easy to call the film derivative. However, if the comparison must be made, Insidious is the dark fantasy version of the tale and The Conjuring is the more classical and "real" take on the material. That probably has a lot to do with the film's basis on a purportedly true event from the case files of notable paranormal investigators Ed and Lorraine Warren. And while Insidious might be more fun in an "amusement park haunted house" sort of way, The Conjuring is definitely the creepier and more effective of the two, for the most part.

MOVIE REVIEW: ONLY GOD FORGIVES Is (Naturally) Unforgivingly Dark, Vicious and Hauntingly Brilliant

If Nicolas Winding Refn's previous collaboration with Ryan Gosling, Drive, was a Hans Christian Andersen fairy tale about escaping an unwanted life, then their spiritual sequel, Only God Forgives, is a Grimm brothers fable about the slim differences between justice and revenge and the inescapable consequences of both. It's difficult to talk about Only God Forgives without discussing Drive and the qualities that seem purposefully mirrored. Where Drive had a pulpy heroism, Only God Forgives is rife with bleak nihilism. There are no heroes to be found in this film. Where Drive had a dreamy hypnotism, Only God Forgives has nightmarish menace pulsing beneath each frame. It's a calculated response to a film many people seemed to enjoy (for mostly surface reasons) and that's probably why a lot of people are intensely disliking this film. It's unfortunate, because Only God Forgives is just as good as Drive and in a few ways, it's better.

MOVIE REVIEW: PACIFIC RIM Will Make You Feel Like A Kid Again

Something that has been in shockingly short supply at the multiplex of late is some old fashioned blockbuster fun. Even films that I've enjoyed, like Man of Steel, have had an unrelenting grimness permeating into their very core. Pacific Rim is a rocket-powered punch to this new norm's gut by not just being expertly crafted, but also overflowing with a childish abandon I didn't know I'd been missing in my movie-going life.

Guillermo del Toro's sure-handed direction anchors down the deceivingly simple premise of a world where giant monsters (called Kaiju) threaten all of humanity, forcing the nations of Earth to band together and create giant robots (called Jaegers) in order to combat this otherworldly menace. While there's more to the story than just that, del Toro understands that that's why you came to see the movie, and he delivers on that promise a hundred fold. The action in this movie is nothing short of landmark. Unlike Michael Bay's Transformers films, the fight scenes are painstakingly choreographed to ensure you know exactly what's going on. The film never falls victim to the ever popular "chaos cinema" school of editing. No shaky cams or jumbled edits here. Everything is presented clearly, giving the entire experience a feeling of being completely planned out.

And that's the biggest trophy Pacific Rim has on its shelf: every aspect of the movie is ripe with conscious forethought. Nothing feels extraneous or underdeveloped. Although the major character arcs seem two-dimensional and stereotypical, they are keenly aware of this and make sure to hit all the right beats, so even if they aren't original (and they aren't), they still come off as wholly satisfying. And while the characters as written aren't anything extraordinary, the actors portraying them bring more than enough soul along with them. Charlie Hunnam is brimming with leading man charisma, selling the tortured ace pilot schtick perfectly. Rinko Kikuchi is a delight, able to shift between reserved shyness and badassery in the matter of a scene. Idris Elba deserves special mention as the head military figure, barking orders and giving inspiring speeches just when everyone needs them. His character actually has the most depth, and the conclusion of his arc is immensely gratifying. You also have Charlie Day, Burn Gorman and Ron Perlman providing their own unique bits of comic relief, but instead of just being there for laughs, the script makes sure that their characters are just as integral to the plot as the Jaeger pilots themselves. And all across the board, everyone is giving their all, never stopping to wink into the camera or phone it in. The sincerity on display only enhances the overall enjoyment of the picture.

That sincerity is present not only in the acting, but in the creation of the film's world as well. Everything is treated with weight and meaning, especially the monstrous Kaiju. The designs of the monsters are all unique, but keep with a running visual theme that ties all the creatures together. Each Kaiju has a surprise up its sleeve, which keeps the uncertainty of the battles at a constant high.

There's also this endearing sense of hope that the film exudes. The idea that all of the world's nations are able to put aside every single one of their differences in order to stop an all-powerful adversary is unexpectedly profound. The movie doesn't resort to some shoehorned love plot or a bunch of militaristic chest beating to drive this hopefulness home. It does that by having all of humanity work together so that they can use giant robots to punch giant monsters in their stupid faces. That's. Beautiful.

But, out of all the praise I've laid on Pacific Rim, nothing can compete with the purely juvenile joy of seeing Godzilla, Power Rangers, Mobile Suit Gundam, Neon Genesis Evangelion and an almost endless plethora of other "giant" influences get thrown into a blender, meshed together and splashed all over my face. The unabashed love of the genre(s) Pacific Rim is culling from oozes out of every frame. Del Toro works his own personal quirks in as well (you will see objects floating in jars of liquid and Lovecraftian beings), but it all coalesces together into an experience that feels brand new yet wonderfully familiar.

Pacific Rim is what would happen if Michael Bay and Roland Emmerich had a baby, but through a freak genetic accident (or alien intervention), that baby actually ended up being smart, handsome, well-spoken and fun to be around, instead of the misshapen explosion abortion it should have been. Even though Pacific Rim's story might be old hat, it wears that hat proudly and ends up making it look damn good. This is what a summer at the movies should be. When I walked out of the theater, a young boy made his dad wait for him while he crouched down on the steps leading to the parking lot, "powered up" (his words) and launched upwards like a Jaeger. I'll never forget that moment. As long as movies like Pacific Rim and the kids who love it exist, I can feel a little more hopeful about the future. A robots vs. monsters movie did that. Sometimes, life is pretty damn awesome.

TV REVIEW: HANNIBAL SEASON 1

Note: I apologize to any regular readers (if I have those, please comment and let me know!) who were reading my episode-specific reviews and wondered what happened. My real-life job has been taking it's toll on me, but now that I've temporarily rejoined the ranks of the unemployed, I have much more time for blog posts! Instead of covering the last few episodes in separate posts, I figured I'd condense them into this general overview of the first season.

If you would have told me that an NBC show about Hannibal Lecter would be one of the best interpretations of the character and his universe since Thomas Harris' original novels, I can guarantee my reaction would have been nothing short of utter disbelief. I am always thrilled when my preconceived notions get dashed on the rocks however, and this is one of those moments. Hannibal is a fresh and jarringly unique perspective on a tired franchise that was in danger of becoming woefully antiquated.

It's kind of astonishing how many facets of Hannibal are superbly executed. The most talked about has to be the hallucinatory component of the visuals. This decision alone helps set the show apart from previous interpretations of the tale, and gives viewers an immediate hook, even if they are simply channel surfing. Seeing a person with their head on fire or a midnight black elk-man is certainly a reason to stop and check out what's going on. But, the visuals aren't gimmicks. They help shape the narrative and relationship to our main character, Will Graham, and his particular perspective of the world. I'm sure it will be the most memorable aspect of the show once it's gone off the airwaves.

But, there's plenty more worth praising. Specifically, the casting is stellar across the board. The two leads (Hugh Dancy and Mads Mikkelsen) are eerily captivating, giving us two very opposed looks into the minds of monsters. There is a calm rapport between the two that fits well with the cold and almost medical tone that looms over the entire series. It's very easy to watch these two characters sit and talk for forty-five minutes. The supporting cast are all top notch, especially a steely and stern Laurence Fishburne. This is the kind of "crime scene investigation" show a man of his talent deserves to be on.

Possibly my favorite element of the show is the pacing. There is a methodical and deliberate flow felt throughout the entire series, even in the one-off "killer of the week" episodes. There's definitely a sense that showrunner Bryan Fuller knows the story he wants to tell and isn't worried about taking time to build that story from the ground up. It's the kind of pacing you'd expect from an AMC or HBO show, but it's on NBC! That still blows my mind.Let's hope they don't mishandle this show like most of their other decent programming. *cough*Community*cough*

If the show does end up spanning the entirety of the Hannibal Lecter mythos (as showrunner Bryan Fuller has indicated he would like), I am beyond excited. This series has shown the potential to be the most engaging portrayal of the world's most famous cannibal ever attempted. It's smart, slick and well aware of its horror roots. There's no winking into the camera or needless fanservice going on. Everything feels purposefully constructed and well thought out. Break out the chianti and celebrate, because this a show worth devouring.

MOVIE REVIEW: MANIAC Is A Masterful Plunge Into Utter Madness

Not all films should be enjoyable. Some should be unnerving, disturbing, and should force the viewer to stare directly into the most abysmal corners of the human condition. Maniac (a remake of the 1980 cult favorite of the same name) is most certainly this kind of film: a character study of one man and his murderous compulsion, told from his own perspective. And I don't mean narrated by him in some cheesy voice-over, but rather filmed from his point of view. Almost 90% of the movie has us looking at the world through the eyes of Frank (Elijah Wood) as he stalks and scalps helpless young women on the city streets.

Immediately (and I mean that literally, from the very first scene during the credits), this film is going to turn a lot of people off, and in a way, that's a very good thing. The idea to shoot the film from Frank's perspective may seem gimmicky to some, but what it does is turn the audience into the killer, and I'm sure there are plenty of people out there who will be heavily put-off by this. It's extremely difficult for most people to step into the head of a deranged person, and this movie makes it a mandatory aspect of the experience. I almost envy those who have the kind of moral fortitude that makes them incapable of feeling empathy for a truly demented character, but those people would be missing out on a captivating (in the darkest way possible) and even tragic performance by Elijah Wood as Frank. This isn't a character who enjoys killing, but is driven to it by his heavily fractured psyche. We get hallucinogenic glimpses into Frank's past that show how his relationship with his mother helped turn him into the monster he is. While these bits of backstory do help us to sympathize with Frank somewhat, they aren't making excuses or forgiving his murderous acts. They are simply presenting things as they are, and leaving it to the viewer to be either repelled or pulled in.

Repulsion is a perfectly natural response to this movie, and that's why I'm so captivated by it. It's putting you into the mind and body of a deeply disturbing character and daring you to walk a mile in his shoes. The original film (a great piece of work in its own right) was also based around this conceit, but thanks to the traditional camera work, you were still an outside observer. With this new iteration of the story, director Franck Khalfoun crafts an even more morbid intimacy with the POV tactic. While this is the central concept that the movie rests on, it's certainly not the only thing the film has going for it. Elijah Wood's performance is astounding, managing to shift from sad to creepy to downright terrifying all in the span of a few minutes. We mostly see Frank in mirrors and reflections, but we do get a look at him a few times outside of his own purview, and it helps to reinforce the boyish innocence of Wood's looks. This only makes his dark nature much more perfect, and really hammers home the idea of a wolf in a sheep's skin. Wood's voice is what his performance hangs on, and it has this cool cadence that keeps you eerily mesmerized. It's my favorite Elijah Wood performance since his silent turn in Frank Miller's Sin City.

The cinematography has this wonderful polish about it, which also helps to differentiate it from the grungy aesthetic of the original film. It also makes the violence standout in a starker way, and the violence in this movie is brutal. With the exception of one brief moment near the end (and it's actually the only sliver of levity in the film, and it's still twisted and violent), nothing is played for laughs or "look at this special effect!" exploitation. The murders are visceral and harsh, making the film all that more insatiably difficult to endure. I've never enjoyed feeling this awful during a cinematic experience before.

I'm also a fan of the score (credited to the monosyllabic Rob) which has this 80's synth heavy vibe, and it probably wasn't an intended effect, but it gave the film a kind of video game feel for me. The proliferation of first person shooter games has made a large generation numb to experiencing violence from a point of view position, and this film almost feels like a mean-spirited comment on that phenomena. It certainly adds another layer to the film, and makes for an interesting debate on the relationship between the viewer (or gamer) and the acts being committed on screen.

If there is one weak link in the chain, it would have to be the performance by Nora Arnezder as Anna, the girl Frank is infatuated with. She's not entirely bad, but there's a stilted quality to some of her delivery, which is an unfortunate side effect from her accent. Still, she does have moments of genuine tenderness that actually give you a small bit of hope for Frank's future. But, this is the bleakest of tales and only has one real ending. And the ending (almost exactly like the original) is phantasmagoric and haunting as hell.

Maniac is a modern horror masterpiece, and I'm not exaggerating that. The places that it forces you to go are some of the darkest imaginable, but the ways in which it makes that journey are expertly crafted and viciously unique. Held aloft by a landmark performance by Elijah Wood and an aura filled with tension, Maniac is the rare horror film that actually induces that very emotion: horror. For many, it will be far beyond what they can handle. But, if you have the stomach for it, enjoy staring into the abyss and seeing what stares back.

MOVIE REVIEW: MAN OF STEEL Is the Greatest Achievement in All of Superhero Film

For the time being, I'm afraid I won't be able to look at Man of Steel from a point of complete objectivity, because what it accomplishes in the arena of "superhero film" is so monumental that any criticisms I have about it (and I do have a few) get washed away by the spectacular grandiosity on display. While I'll do my best to pick things apart later on, I am unable to avoid talking about the one perfectly executed aspect of Man of Steel that makes it the most important and influential superhero movie ever made: the idea of the superhero as a mythic figure.

Superheroes are the American equivalent to the Greek pantheon of gods. Everyone in our culture knows enough about the origins of popular superheroes that they've achieved a deity-like status in our society. While this idea has been successfully realized in various other storytelling mediums, film has always struggled to completely capture the godlike element of a superhero tale. There have been bits and pieces scattered throughout some movies (even previous Superman efforts), but never an entire piece devoted to fully realizing the legendary component inherent in all superhero fiction. Until Man of Steel, which is beyond appropriate considering the status Superman holds as the progenitor of all superheroes, making him the most reverential figure in the entire genre.

Some may argue that this idea was already explored in Christopher Nolan's series of Batman films, with Bruce Wayne's creation of a crime-fighter symbolized by a bat. While that is somewhat true, Batman's nature as a non-superpowered being means that his mythic qualities have to be built over the course of time (in Nolan's case, it takes three films for the myth of Batman to become cemented in the eyes of the world). Superman is a mythical figure from the moment he is born, and this is given even more weight in Man of Steel by making him the first natural birth on Krypton in centuries (in this iteration of the story, Kryptonians are genetically engineered and produced to fulfill specific roles in society). This sort of divine nature, coupled together with his myriad superpowers, puts Superman in the realm of a religious figure, which is something the filmmakers are keenly aware of. It's no coincidence that Kal-El (Superman's Kryptonian name) is thirty-three years old (the age when Christ was crucified) when the majority of the film takes place. There's also plenty of imagery (some of it painfully overt) reinforcing these theological overtones, my favorite being an illustrated history of Krypton told through a series of tableaus that look like marble etchings from the Roman era. All these elements combine together to create a film that treats the superhero genre with sacrosanct admiration, like a worshiper preaching his gospel to the masses. This factor alone makes Man of Steel stand out from its peers in such an important way that it's impossible to dismiss it.

But, that's not the only thing the film has going for it. Another incredibly strong factor is director Zack Snyder, who may have constructed his visual masterpiece with this movie. Yes, I'm saying this film is more of a visual success than 300 or Watchmen (both films I highly enjoy) and the reason for that is because Snyder finds a way to reel in the more outlandish aspects of his style without sacrificing his unique eye. It's a level of perfect compromise that makes the movie look far more streamlined than his other garish efforts. He also proves that he is one of the greatest high-concept action directors working today, with every fight scene and set-piece doing its best to top the last. The level of inventiveness on display during these moments is incredible, with brilliant camera moves that somehow manage to capture the weightlessness of a being that is free from the shackles of Earth's gravity. The action in Man of Steel is stellar and certainly a selling point for the film. Zack Snyder's direction easily claims second place next to the mythic quality of the film.

Coming in at a strong third place is Hans Zimmer's score. While it has his trademark drums, there is a choral bit to some of the tracks that helps to strengthen the church-like aura that surrounds the entire picture. Although I am a tried-and-true Batman fan, I have to argue that Zimmer's music for Man of Steel far outshines his work on the Dark Knight trilogy, if for the simple reason that it feels so much larger. His Batman scores did their job well, but never quite imbued the character with the kind of ostentation necessary for a superhero. Man of Steel's score is overflowing with splendor and majesty, and does what all good pieces of film music aspire to.

Now we come to the honorable mentions, which is where the casting ends up. Henry Cavill does a wonderful job playing Clark Kent/Kal-El/Superman as one inseparable persona. I also really enjoyed his more understated performance, giving Superman a kind of forced relaxness, which seems perfect for a character who has to constantly keep himself in check. He's certainly a worthy successor to the line of prestigious actors who have worn the 'S' shield. Russell Crowe has an unfortunate lackadaisical quality to his acting style which doesn't quite gel right with the character of Jor-El, Superman's birth father. He's not bad but certainly not noteworthy. The villainous General Zod, played by Michael Shannon, is much more suited to a low-key performance, and Shannon does gangbusters with it. He exudes authoritative menace in every scene he's in, and like all good villains, there's an element of his character that you can't help but sympathize with. His right hand officer, Faora (Antje Traue), is also a delight and gets almost as much action time as Zod. She isn't just relegated to sidekick status, and gets some of my favorite little bits from the movie. Kevin Costner and Diane Lane as Johnathan and Martha Kent both adequately fulfill their necessary roles, but do nothing to make them standout. Diane Lane does get one pretty badass and fun line though. Although he doesn't get quite enough screen-time to make a solid impact, Laurence Fishburne infuses his natural likability into his gruff interpretation of Perry White, the editor of the Daily Planet. I'm really hoping we get some more face-time with him when the sequel comes around, because it'd be a shame to waste him. The last member of the cast that deserves mention is Amy Adams as Lois Lane. I don't really have a complaint about her performance, but I don't have anything to extol either. She has charm and tenacity, but the real issues with her stem not from her acting but from how her character is written.

And now we reach those few complaints, and the primary one is the script. David Goyer is not as great as his reputation makes him out to be, and Man of Steel more than proves that. Some of the dialogue in this film is either groan-inducing or laughable. To be fair, it's not a lot of it, but it crops up in enough key moments to leave a souring impact on the whole experience. The biggest script issue is Lois, who doesn't have the kind of strength that is a benchmark of the character. She also just gets shuttled around for the entire running time, not really feeling as important as the film makes her out to be. The third act also feels like typical Goyer, with a ticking time bomb scenario in effect yet again (just like every one of his Bat-flicks). There's also a huge moment at the end that feels like a very important and distinct departure from the character of Superman that gets seemingly forgotten once the scene cuts away. This moment seems like it would be the emotional setup for Superman's character in the sequel, but as quickly as it happens, it is dismissed. That is the worst kind of storytelling there is, and while it's an admittedly powerful moment, its power is robbed away by its immediate dismissal. I'm sure Goyer won't be getting a co-writer for the next film, but I really wish for nothing else. He needs someone to help whittle away some of his bad dialogue and cliche plotting.

This may seem like a strange complaint, but Man of Steel's pacing feels relentless. While the first act has the requisite "getting to know you" stuff, the rest of the movie is so unyielding that it borders on exhausting. When the film finally finished, I almost felt out of breath. For some, that may actually be a plus, and I can't really argue that, but for me, I like it when the pacing follows more a wave-like pattern than a steep and unstoppable incline. For a summer blockbuster though, it seems appropriate, so that's a much more personal gripe.

Man of Steel is in no way a perfect film, but it is a profoundly great one. More than that though, its tone is what elevates it above its slight missteps and above all other superhero films. The magnificent awe that is stamped on every frame of this film is undeniable, and even if there are legitimate issues with the film, what it succeeds at more than makes up for them. If this film really is the foundation for a DC shared universe, they couldn't have built it better. In this world, superheroes aren't just pulpy action heroes, but beings possessing a godhood making them just as influential as any religious figure. The struggle between humanity and divinity is the basis for some of the greatest stories ever told, and if it's handled like it is in Man of Steel, we could be in store from some equally great stories.

MOVIE REVIEW: V/H/S 2 Outshines the Original in Almost Every Department

Considering that my only foray into film was an anthology horror movie, I have something of a soft spot for the sub-genre. I like the campfire stories vibe you get from watching a bunch of disparate stories congeal into a single cohesive bit of ghoulish fun. So, when I heard about a new anthology horror film called V/H/S, I was eager to give it a viewing. The problem was the amount of hype people put behind it, with many proclaiming it to be the great return of the sub-genre. While I did enjoy the first film, I was not as impressed as others seemed to be. I'm not particularly fond of the "found footage" gimmickry that has swallowed the horror genre whole, but the original film managed to find ways to justify itself. My biggest problems with V/H/S were the pacing and the wraparound story. Luckily, V/H/S 2 (I much prefer the more clever original title, S-VHS) completely solves the first issue and tweaks the second issue just enough so that it's marginally better.

The only way to review anthology films is to dissect each individual segment, so I'll do that below, but as far as an overall impression, V/H/S 2 is triumphantly enjoyable. The slow pacing of the original gets thrown out pretty quickly and the segments start happening almost instantly. There's a good balance as far as genre types go, and each entry is skillfully handled by its respective director. By the very nature of anthology stories, some segments will be more to your liking than others, but from an objective viewpoint, all the entries succeed in telling a story in a compelling and well thought out way.

Note: I will be listing the titles for each segment, and the only one that some may consider spoiler-y is the final entry, so I will white it out. Just highlight if you'd like to read it.

Segment 1 - "Tape 49": This is our wraparound story, and compared to the first film's wraparound, it's certainly better, but that's not saying much. It's about two private detectives who are looking for a lost college student, and stumble upon a collection of VHS tapes that the kid was collecting. It has a few moments of standard creepiness, but they are all pretty telegraphed. My main complaint about the wraparounds in both films is that they don't seem to serve much meaning other than to jump into the stories. While it obviously has to serve that function, it can also try to do something unique itself. Look at Creepshow or Tales from the Darkside to see what I'm talking about. Still, this is way more streamlined and easy to understand than the original's wraparound, and it's a lot more conclusive narratively. And to me, the final shot is actually really funny, so that's a plus. These movies need a little bit of humor, in my opinion. The first one was almost too serious, and with this one's ending, there seems to be a slightly lighter and fun spirit going on behind the camera.

Segment 2 - "Phase I Clinical Trials": For our first segment, we have a classic concept (a body part that has ties to the supernatural) done in a fairly inventive fashion. The lead character has an experimental cybernetic eye implant, so the whole thing is from his point of view (the company giving him the eye is recording everything for research purposes). Well, he starts seeing things that shouldn't be there and everything gets real spooky fast. While this story doesn't do anything too new, it's still executed in a highly focused and precise manner. It's a good lead in for the movie, and the way it ends is pretty fantastic and eerie.

Segment 3 - "A Ride in the Park": I really liked this one. It's about a biker out in the woods who runs into a bloodied woman who is being pursued by zombies. I guess this next sentence could be considered spoiler territory, but whatever, it's the premise of the piece. The biker is bitten and turns into a zombie, and since he has a camera mounted on his helmet, we get to experience some first person zombie action. There are a few small bits of humor in this bit, and that's something this series desperately needs. When they get everyone together for V/H/S 3: The Revenge of Betamax, I sincerely hope there is an entire segment that is more horror-comedy, because the one or two moments in this segment are a welcome relief. And the ending to this bit does something I don't think I've ever seen in a zombie film, and it actually moved me. While this segment isn't the best of the film, it was certainly my favorite.

Segment 4 - "Safe Haven": This will be the one that everyone will be talking about, and rightfully so. A documentary group interviews the leader of a bizarre cult and gains access onto his compound, and it just so happens to be when their strange prophecy is being fulfilled. The level of outright insanity in this piece is commendable, and the way it's handled gives it an all too realistic feel, even though this segment is easily the most outlandish. You get flashes of Jonestown, the Westboro Baptist Church and any other terrifying cult you can think of. The effects work in this piece steal the show from the entire film, and gorehounds will find much to like. I can't even get into how awesome this bit is without spoiling the madness on display. This is the highlight of the movie, no doubt.

Segment 5 - "Slumber Party Alien Abduction": For an ending segment, this one is kind of disappointing, but even so, it's still handled extremely well and has a few effective moments. I won't even get into what the premise is, so if you want to know, just highlight the title. It sums it up pretty nicely. The kid actors in this do a damn good job of seeming like real kids, probably because they are allowed to swear and act stupid. The creatures in this are pretty standard as far as design goes, but they still manage to look decently scary.

All in all, V/H/S 2 is a huge improvement from its predecessor, mostly because the pacing issues from the original have been completely eradicated. Even though some segments are stronger than others, it's undeniable that each one has a sure hand behind the camera, and good writers as well. My only hope is that the creators find an interesting and satisfying way to connect all three movies (they've already announced a third film), since there is one moment during the wraparound that proves these movies take place in the same universe. For someone who is bored to death of the "found footage" gimmick, V/H/S 2 makes me a believer that the format can be used in an innovative and compelling way, as long as you have a good story and an interesting visual talent.