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Dredd (2012)

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Dredd (2012)Starring Karl Urban, Lena Headey, Olivia Thirlby

Directed by Pete Travis


During Preview Night at the 2012 San Diego Comic-Con, Lionsgate kicked things off right for fans by hosting a raucous screening of its upcoming gritty reboot Dredd 3D, which has Karl Urban picking up the iconic comic book character’s mantle from Sylvester Stallone. It manages to successfully wash away the residual effects of the 1995 schlockfest and delivers the film that Judge Dredd fans have been waiting almost 18 years for.

We learn in Dredd 3D that in the future criminals run rampant around the various Mega-Cities across the globe, and in response a new law enforcement unit has been created: the Judges, an elite and brutal group of police who have the authority to act as “judge, jury and executioner” in an effort to reclaim the dangerous streets which have become overrun by dangerous thugs, gangs, drug dealers- you name it.

Over in Mega-City One, our titular character has been long fighting the good fight against the seedy underbelly of his metropolis; at the start of the flick Dredd has been paired up with a rookie trainee named Anderson (Thirlby), whom he’s been instructed to evaluate for the Judges program.

Dredd and Anderson set out to find out what they can about a deadly new drug that has just hit the streets of Mega-City One called Slo-Mo, which causes time for the user to slow down to a sluggish crawl, making 60 seconds feel more like 60 minutes. The drug lord behind Slo-Mo is none other than the ruthless and brutal former prostitute Ma-Ma (Lena Headey), who has taken over a 200-story project called Peach Trees; as it so happens, Dredd and Anderson are called to Peach Trees to investigate Slo-Mo, and sure enough all hell breaks loose once the Judge and his trainee show up to mess up Ma-Ma’s operation.

As a whole, Dredd 3D works infinitely better on all levels than the cheesetastic 90’s version of the story; this time around John Wagner worked with screenwriter Alex Garland, and his involvement is certainly the difference maker here. Travis approaches Dredd’s story straight on with a slight undertone of dry humor running throughout, which feels far more in line with the original comics, and for those who have been wondering- our hero never once takes the iconic helmet off. Not once. And that rules.

Urban, an actor who is no stranger to the world of blockbuster filmmaking after appearing in projects like J.J. Abrams’ Star Trek reboot, The Chronicles of Riddick (two franchises the actor has also returned to this year for their respective upcoming sequels), The Bourne Supremacy and two thirds of the Lord of the Rings trilogy- The Two Towers and The Return of the King; and he appears quite comfortable here taking the lead in Dredd 3D.

Performances from behind a mask are always challenging, especially when the audience can’t even connect with the actor’s eyes, so that is certainly the biggest hurdle Urban faced for this movie- being able to connect with both his co-stars and viewers while hidden behind the obtrusive Judge helmet. But Urban rises to the challenge and really makes the role his own in Dredd 3D. We get a sense of his unflinching dedication to justice, his unwavering desire to make Mega-City One a safer place for its residents and maybe even a sense of Dredd’s world-weariness, without ever once seeing Urban at all. The actor’s body language really sells the performance.

Sure, as a whole Judge Dredd is known for being an ass-kicker, and Urban absolutely delivers on that front in Dredd 3D. But it’s definitely cool that in this adaptation there’s just a bit more to the character than his ability to inflict some brutal and bloody justice to those who deserve it, and that’s due to Urban’s great performance that successfully nails the spirit of the iconic character overall.

In a very testosterone-heavy flick (and rightly so), both Headey and Thirlby knock it out of the park and show that women can kick just as much ass as the guys can in Dredd 3D. Headey, an actress who already has a well-earned reputation as a badass due to her work on shows like “Game of Thrones” and “Terminator: The Sarah Connor Chronicles” and in the film 300, steals the show as the ruthless and savage gang boss Ma-Ma who isn’t above biting someone’s junk off or killing off hundreds upon hundreds of innocent people just to get to what she wants. Headey’s slyly vicious work in the flick makes for a great “big bad” for Dredd to go up against with her fearless performance. Great stuff.

Thirlby, an actress who has mostly stuck to the indie comedy/drama world throughout her career, does a great job, too, as a mutant rookie Judge who has a few tricks up her sleeves for criminals beyond the guns she’s packing. It’s a character that we’ve all seen many times before- the naive rookie with no field experience who second-guesses “the system” when they’re finally put to the test (hell, it’s a device even used in my favorite action flick Point Break)- which starts off a bit flat and unassuming (if only because the chemistry between Anderson and Dredd hadn’t really been established yet); thankfully, though, we see the character of Anderson evolve beyond the stereotypical rookie and become a lethal force herself in the second and third acts of the movie, which allows Thirlby to have a little fun with the character and make it her own by the film’s end and proves she’s more than ready to continue to take on bigger films down the line.

Dredd 3D does suffer from a bloated mid-section as the story begins to lag and wander off-track around the halfway point; we get a few subplots introduced that takes the focus off of Dredd and Ma-Ma which feel a bit needless and forced, but as they resolve themselves going into the final act, the pacing picks back up and the flick manages to finish just as strongly as it kicks off. There are a few-groan inducing lines as well (mostly due to the very comic-esque nature of the character’s dialogue), but they’re completely forgivable considering the amount of bloodshed and inventive kills fans get treated to along the way in Dredd.

Travis, the director behind the largely underwhelming thrillers Vantage Point and Endgame, kicks things up a notch in his career and not only does a great job with the material he’s given to work with in Dredd 3D but also delivers a stylish and stunning flick to boot. When the drug Slo-Mo is in use, Travis’ slows things down for the viewers as well, which makes for some really cool moments that become a feast for the eyes, especially in 3D.

And speaking of 3D, Dredd has a crisp and immersive look to it, mostly due to Travis shooting the flick in 3D and not post-converting the project. It’s not a movie whose success solely lies on the format being used so Dredd shouldn’t disappoint in 2D either for those of you out there who have given up on seeing 3D movies. But with Travis’ use of slow-motion throughout the film, Dredd 3D ends up being a visual feast when experienced in all its three-dimensional glory, and this writer definitely recommends seeing the movie in 3D if you’re willing to pony up a few extra bucks.

As a whole, longtime Judge Dredd fans can now breathe a sigh of relief; someone has finally gotten it right, and Dredd 3D makes for the perfect reintroduction of the iconic character to a new generation of cinema-going audiences. Sure, there are bound to be countless comparisons of Dredd to the recent indie action flick The Raid, but that’s pretty unfair since Travis’ film certainly stands on its own two feet (besides, Assault on Precinct 13 did it first back in 1976).

While not exactly a revolutionary story, it’s Urban’s stellar turn as the no-nonsense law enforcer and Travis’ somber and brutal approach to the world of Judge Dredd that should make for a brutally fun time at the theater for both the longtime fans and the uninitiated as well.

4 out of 5

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Through the Cracks – Trick or Treat (1986) Review

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Starring Marc Price, Tony Fields, Lisa Orgolini, Glen Morgan, Gene Simmons, and Ozzy Osbourne

Directed by Charles Martin Smith


I have been a horror fan for more than half of my life at this point. Meaning I have seen most of the quality horror offerings under the sun. But that said, every once in awhile a classic sneaks past so we wanted to create this “Through the Cracks” review section for such films.

Case in point, I had never seen the Halloween horror flick Trick or Treat until last night. I know, right? How the hell did that happen? But these things do happen and so for everyone that has seen the flick a million times, this will be a review of the movie from a super horror fan that – at the age of 33 – is seeing Trick or Treat for the very first time.

Now let’s get to it.

First off you have to love the movie’s plot. Mixing horror and heavy metal seems like a given, yet preciously few films Frankenstein these two great tastes together.

Like many of you out there, I am a big metal fan as well as a big horror fan. The two seem to go together like chocolate and peanut butter. Or Jason and horny campers.

I dig bands like Black Sabbath, Judas Priest, and even those hair metal bands (Dokken forever!) and I’m well aware of the legends surrounding playing these records backward.

Off the top of my head, the only other flick that combines the two to this degree is the (relatively) recent horror-comedy Deathgasm. I say more horror-metal flicks! Or should we call it Metal-Horror? Yeah, that’s a much more metal title.

It only makes sense that someone, somewhere would take the idea of “What if Ozzy Osbourne really was evil and came back from the dead (you know, if he had passed away during his heyday) to torment a loner fan?” Great premise for a movie!

And Trick or Treat delivers on the promise of this premise in spades. Sammi Curr is an epic hybrid of the best of the best metal frontmen and his resurrection via speaker is one of the great horror birthing scenes I have seen in all my years.

Add to that the film feels like a lost entry in the Nightmare on Elm Street franchise. More specifically the film feels like it would fit snugly in between two of my favorite entries in that series, Dream Warriors and The Dream Master.

This movie is 80’s as all f*ck and I loved every minute of it.

And speaking of how this film brought other minor classics to the forefront of my brain, let’s talk about the film’s central villain, Sammi Curr. This guy looks like he could share an epic horror band with the likes of Mary Lou from Hello Mary Lou: Prom Night II and the Drill Killer rocker from Slumber Party Massacre Part II.

Picture that band for a moment and tell me they aren’t currently playing the most epic set in Hell as we speak. I say let’s see an Avengers-style series of films based on these minor horror icons sharing the stage and touring the country’s high school proms!

In the end Trick or Treat has more than it’s fair share of issues. Sammi Curr doesn’t enter the film until much too late and is dispatched way too easily. Water? Really? That’s it?

That said, the film is still a blast as director Charles Martin Smith keeps the movie rocking like an 80’s music video with highlights being Sammi’s rock show massacre at the prom and his final assault on our hero teens in the family bathroom.

Rockstar lighting for days.

Even though the film has issues (zero blood, a rushed ending) none of that mattered much to this horror hound as the film was filled to the brim with striking horror/metal imagery and a killer soundtrack via Fastway and composer Christopher Young.

Plus you’ve got to love the cameos by Gene Simmons (boy, his character just dropped right out of the movie, huh?) and Ozzy Osbourne as a mad-as-hell Preacher that isn’t going to take any more of this devil music. P.S. Watch for the post-credits tag.

More than a few of my closest horror buddies have this film placed high on their annual Halloween must-watch lists. And after (finally) viewing the film for myself, I think I just may have to add the film to mine as well. Preferably on VHS.

Trick or Treat is an 80’s horror classic. If you dig films like Popcornand if you put the film off like I did, remedy that tonight and slap a copy in the old VHS/DVD player.

Just don’t play it backward… God knows what could happen.

All said and done, I enjoyed the hell out of my first viewing of Trick or Treat. But what do YOU think of the film? Make sure to hit us up and let us know below or on social media!

Now bring on Trick or Treat 2: The Prom Band from Hell, featuring Sammi Curr, Mary Lou Maloney, and Atanas Ilitch’s Driller Killer from Slumber Party Massacre Part II!

  • Trick or Treat (1986) 3.5
3.5

Summary

Charles Martin Smith’s Trick or Treat is a sure-fire Halloween treat for fans of 80’s horror flicks, as well as fans of heavy metal music.

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User Rating 3.59 (22 votes)
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AHS: Cult Review – Clowns, Cults, Politics, and Peters

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Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


** NO SPOILERS **

It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)
3.5

Summary

The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

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User Rating 4.13 (23 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror

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Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods


The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.

ADDITIONAL THOUGHTS:

  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom
4.0

Summary

In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

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User Rating 3.95 (20 votes)
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