MR BRANSON: “The gothic genre is all over TV right now. American Horror Story, Hannibal, Bates Motel…”
JAKE: “What about Texas Chainsaw or Halloween?”
NOAH: “Those are slasher movies. You can’t do a slasher movie as a TV series.”
The recent tragic passing of the legendary Wes Craven led to an outpouring of support on social media as dedicated and lapsed fans alike took to Twitter to namecheck their favourite Craven movies.
The vast majority of them didn’t realise just how fitting their tributes were, as Craven died just before the airing of the final episode of Scream, a TV series based on his genre-redefining horror film and airing on MTV.
You see, whereas the original Scream, released in 1996, had the killer mostly contacting his victims via phone calls, this time the reimagined Ghostface uses all manner of techniques – yes, including social media – to stalk potential future corpses. Continue reading “Scream: The TV Series (2015) review”→
Starring: Maren Jensen, Sharon Stone, Ernest Borgnine, Michael Berryman
“If thine eye offends thee, pluck it out. If thine own hand offends thee… then in God’s name, cut it off.” (Isaiah, Deadly Blessing)
There’s an interesting story told by screenwriter Glenn Benest in Arrow Video’s upcoming DVD release of Deadly Blessing (this review is based on a review copy of said DVD).
The story goes that a young Sharon Stone, in her first big role, had just come from a modelling career and had no idea how to act or what to do.
Like a deer in headlights, Stone kept asking director Wes Craven for guidance and help her with her acting.
The cast and crewmembers looked at each other and Craven explained that he didn’t do that sort of thing, he was more about setting up shots and the like. “GOD DAMN IT,” Stone then screamed at the top of her voice, “WOULD YOU DIRECT ME?” Continue reading “Deadly Blessing (1981) review”→
Starring: Matthew Laborteaux, Kristy Swanson, Michael Sharrett, Anne Ramsey, Anne Twomey
“Wait, she’s dead? Hey, what the hell are you doing? You didn’t say anything about a dead body, we were supposed to save her life.” (Tom, Deadly Friend)
I never get tired of saying this, but God bless the 1980s. No other decade could give you a film with a plot that begins with “a boy, his mum and his robot move into a new house” and not have that be the oddest thing about it by the time the credits roll.