TV Series Review: Creepshow Season 3 Episode 1 Mums and Queen Bee Director/s: Rusty Cunieff (Mums), Greg Nicotero (Queen Bee) Cast: Ethan Embry, Brayden Benson, Erin Beute, Malone Thomas, Lowrey Brown, Kaelyn Gobert-Harris, Monica Louwerens, Hannah Kepple, Olivia Hawthorne, Nico Gomez, Bruce Anthony Shepperson Writer/s: Erik Sandoval, Michael Rousselet, Joe Hill Genre: Horror | Comedy Running Time: 46 minutes
Creepshow opens up the season in a true Creepshow fashion and for those who are new to the show it is a modern adaption of the 1982 Creepshow series. It has a nice blend of 1980s style comic story lines, cheesy monsters, and modern cinematography. The first story revolves around the son of a father who is a separatist survivalist. The mother attempts to take the son away but is quickly removed from her son by the dad who dispenses her. Later the son plants some special seeds in the garden and soon after justice is served by the mother. A bond between a mother and her son can never be broken even from beyond the grave. The second story revolves around three teenagers and their pop star idol “Regina”. They learn that she is about to have a baby in a local hospital, so they set off to meet their idol to be the first to see her baby. The encounter with their idol soon takes a strange turn as they then become part of Regina’s new family. This series brings back memories and If you like old fashioned horror comedy short stories with 80’s style monsters to chill out to then this series is good for light viewing.
Years ago, the critical darlings of cinema were challenged by a movement spearheaded by Roger Corman who endeavoured to give b-movies – and movies all the way down the scale to z – a bigger audience by filling them with schlock, action, barely believable stunts and all the other things critics hate. Voyage to the Prehistoric Planet (1965) The Wild Angels (1966) Women in Cages (1972) and Battle Beyond the Stars (1981) are loved and respected to this day for the cheerful way they subverted the Hollywood Elite’s ideas of “quality” by giving the audience the gore, sex, and crummy set pieces they secretly wanted but previous sought for in high art.
Brian Trenchard-Smith took up the mantle in Australia and produced a string of movies that were to become synonymous with the Golden Age of Australian Cinema – pictures like The Man from Hong Kong (1975) Turkey Shoot (1982) and BMX Bandits (1983) and follow-ups by apprentices such as Russell Mulcahy with Razorback (1984) and Doctor George Miller with Mad Max (1979) are respected by the Corman crowd as well as Hollywood’s auteurs.
The difference between these films which Scorsese called “art but in another way”, and Wych Kaosayananda’s Zero Tolerance is that people like Corman, Trenchard-Smith, Mulcahy, and Miller still strove for quality in some form. Early performances by Pam Grier, Jack Nicholson, and Dennis Hopper can be found in Corman’s films, while Trenchard-Smith discovered the likes of Nicole Kidman, Mulcahy David Argue, and Miller Mel Gibson. The writing was carefully exercised to be so-bad-it’s-good. As Kurt Cobain said, it takes a lot of work to sound raw and edgy. Art doesn’t just happen.
Sharknado is a good example of schlock done artfully well. If the actors suck, don’t give them too much dialogue. How much talking is in Sharknado? These films reach for the absurd and deliver. Kaosayananda fails because he reaches for traditional quality – Scott Adkins and Dustin Nguyen have way too much dialogue for their abilities. There are loooong scenes of talking featuring Nguyen, who actually looks as bored as the audience. Looong scenes where Adkins sips his drink aggressively and broods at the horizon so you know he’s the bad guy. Tender scenes of family with Nguyen even though he clearly just met this woman and those kids so you know he’s the good guy.
By the fifty-minute mark you’ll be wondering where all the sex and action promised by the opening montage is. I’ll tell you – it’s with Corman. Go where the fun is.
Aside from the nerd-gasm of seeing William Shatner and Christopher Lloyd reunited for the first time since Kirk kicked that pesky Klingon into a volcanic ravine at the end of Star Trek III: Search for Spock, A Senior Moment offers nothing new. Shatner plays William Shatner… uh… sorry… Victor Martin, an old has-been who still chases 20-something year-old-women around LA and somehow inexplicably scores now and then due to his previous career as… a pilot. Because all pilots become local celebrities when they retire, right? It’s not like Los Angeles has any other people of note living in the area… You know for certain a woman didn’t come within a hundred miles of the script while it was being developed in the first few minutes. However, after Shatner… no… Martin loses his driver’s license (because that’s somehow connected to the pilot thing, see) the 90-year-old starts to appreciate the simpler things in life while on his journey to regaining his vehicular freedom. One such pleasure is the love of Jean Smart’s Caroline, a woman still twenty years too young for the role or for Shatner… no, Martin, and who learns to appreciate gas-guzzling ozone destroyers despite her pesky, silly love of nature and turtle conservation. Women, right? If Wild Hogs excited you and Last Vegas tickled your fancy, then A Senior Moment will give you more of the same. Have fun.
COMING HOME IN THE DARK website review by Vellu Khanna
Coming Home In The Dark
Rare indeed are those artistic renditions that truly inspire the darkness within us, with its intent on clawing its way to the surface. 'Coming Home In The Dark' is one such work of art, hailing from the serene airs of New Zealand - and one could only applaud the creativity of its director, James Ashcroft. It is also apparent that the skills of the antagonists (i.e. Daniel Gillies and Erik Thomson) are top-notch.
The movie begins with a family of four (parents with two teenage sons) on a road trip. Within the first ten minutes, a downward spiral ensues, whereby two unruly characters take them hostage. We are then propelled to experience a surreal moment on the screen, definitely drawing out a sense of horror and disgust. And all of these within the first ten minutes of the flick...
Over the course of the movie, renditions and visits to past events unfold, and the audience is cast into a world of circumstances and choices that were made by all of the characters in the past. Ultimately, however, the effects are set to inspire the darkness within themselves - particularly of those deeds which they have hoped to have been left buried in the distant past.
'Coming Home In The Dark' is truly a riveting experience, and one for the horror-slash-thriller seekers.
Film Review: Disclosure Writer/Director: Michael Bentham Producer: Donna Lyon Cast: Mark Leonard Winter, Geraldine Hakewill, Tom Wren, Matilda Ridgway Running Time: 84 minutes Trigger Warning: The film contains references about rape and has sexual scenes
Disclosure is an Australian Psychological drama which portrays the destruction of a friendship of two families when the four-year-old daughter of the Bowmans makes allegations against son of the Chalmers.
The film begins with the Bowmans in a moment of intimacy which they record and soon cuts to scenes of calm, happy and carefree country township with children playing, parents walking children to school, a fire warning sign which is in the green portraying a sense of safety and showing a mother with children walking past a sign of Joel Chalmers running as the local member of parliament. You get a sense that this is a wholesome family orientated country town.
You soon hear screams, and the daughter yells out “Stop” whilst staying at the Chalmers house. Six weeks pass and the Chalmers visit the Bowmans with the intent of getting their sons name off the allegations which are not yet public, this was an open disclosure by the Bowmans of the incident that was privately made to the Chalmers. The Bowmans appear to just want the son of the Chalmers to get help and for them to acknowledge that their may be an issue with their son’s behaviour, however the Chalmers are in denial and defensive, so the situation soon deteriorates, and cracks start to open up between the two families.
The actors portrayed their roles well and you can clearly see and feel their concern, anguish, deceit, and manipulation. With one side trying to get the truth and support their daughter whilst the other family will do anything to protect their careers and to a lesser extent their child. You get to see how each of them see the truth through their individual lenses and experiences. The imagery is well framed and the nearly the entire film is based at the Bowmans property. The scenes support the story well as well as giving an insight into the personalities of each character. You get to glimpse a little bit of the past of both Emily and Bek through their dialog which helps build a picture of what makes them today and their behaviours.
Overall, this is a well written and produced film that highlights how generational trauma, aspirational behaviour and denial can twist the truth without concern for the wellbeing of others.