James Wan
Saw
Saw was about as original as a genre film gets these days. A gory affair with some life lessons tucked into the creases, it was a jarring creation that left an indelible mark on viewers, plain and simple. And when you think about that finale, well, if that finale didn’t catch you off guard, you’re one awfully savvy bastard. The beauty of Saw was – at the time, unknowingly – only the brief beginning of something profoundly large, and it served as the perfect springboard for James Wan, who continues to hone his craft with every picture he shoots; nearly all of them top notch efforts.
Dead Silence
Dead Silence caught an awful lot of unnecessary hatred. Having recently returned to the film it’s hard to understand precisely why everyone hated it so much. It’s not a perfect film, admittedly, and there’s some sketchy dialogue to get past, to say the least, but it’s such a dark, creepy atmospheric production with an absolutely awesome twist to bring it all to an end, it seems an absurdity to miss the awkwardly problematic charm of it all. Dead Silence, for those who have forgotten, or skipped it entirely, it fits into the killer doll subgenre extremely comfortably. Dead Silence is an underrated and often panned piece, but it’s also a blast!
Insidious
It’s been called this generation’s Poltergeist, and while it is a radically different piece of work than Poltergeist, the core of Insidious’ structure and ideology definitely mirrors Poltergeist to noticeable lengths. Insidious makes for a perfect blend of drawn out terror and effective jump scares, and there’s no denying the insanity that is the final act. Some love it, some hate it, some love to hate it, and some love to hate everyone, so what the hell do they matter? At the end of the day, Insidious is a very successful and chilling paranormal piece that left fans and pundits alike realizing that James Wan was fast on his way to becoming something extraordinarily special.
Insidious: Chapter 2
There can be no doubt whatsoever that Insidious: Chapter 2 was an inferior film to its predecessor. Most of us anticipated that, as it can be just about impossible to create a sequel every bit as jarring as a true, high caliber franchise starter. The good news, however, is that there are still a number of extremely unsettling scenes, and we get a few hidden Easter Eggs throughout the movie, which is guaranteed to tickle the super nerds of the world. The level of dread in Chapter 2 can’t duplicate that of the first film, but this is still a damn far cry from a shitty movie.
What James Wan has already done is prove he’s entirely capable of making unsettling sequels. While Insidious Chapter 2 is arguably one of Wan’s weaker features, it’s still a rewarding follow up that keeps the same tone, and holds a few random WTF moments in those sleeves. Oh, and yes, Wan once more goes big on the finale. It’s basically a familiar version of the first film, the scares just a hair less disturbing the second time around.
The Conjuring
Don’t be too shocked to hear uninformed viewers claim that The Conjuring is just Insidious with a new name. Yes, both flicks deal with the paranormal, but they’re entirely different films, with entirely different vibes and conclusions that don’t stand as carbon copies of one another. The first Conjuring flick also gives us a couple of images that are basically impossible to evict from the memory bank. An excellent film, and what feels like the very moment that James Wan likely understood precisely where he fit in the horror puzzle, The Conjuring proved a pivotal moment for Wan’s career. Hopefully James can manage to avoid the Shyamalan spiral (I still love ya, buddy) and continue to stick to what he knows best as opposed to attempting something radically different with each pic made.
The Conjuring 2
Given the fact that this sequel hasn’t been out all too long, I’m feeling some reservations and hoping to avoid any serious spoilers for those waiting to catch this on disc. So, what I’ll say is, like Insidious: Chapter 2, the second Conjuring film, though different in a number of ways, still has that same ominous gloom just hanging over the production, ready to climb into your mind and spirit and leave you making terrifying choices that are driven more by personal invasion than anything else. It’s creepy, and it never seems to squeeze fully out of frame. There are a few minor things that could be picked at, but there isn’t much point in that. This is one of the finer sequels ever made.
Up Next: Aquaman
Rob Zombie
House of 1000 Corpses
House of 1000 Corpses was really one lengthy tribute to vintage terror and the old school directors that Rob Zombie grew up idolizing. You can see that plain as day, unless you’ve got a stick up your ass and can’t find happiness until everything is 2,000-percent original (not gonna happen), tidied up and in its perfect place. Zombie’s a grimy dude, he always has been and he always will be. That’s why the film looks the way it does, like something that crawled right out of the 70s, a murky transfer from damaged film. And that just bellows charm. Keep an eye out for plenty of Easter Eggs in this one, but don’t forget to have fun with it for what it is designed to be: a brainless but fun journey sending a constant message of love to the men and women who inspired Zombie.
The Devil’s Rejects
You want to talk about bat-shit crazy flicks? This is a good place to start. You remember the maniacal lifestyle the Firefly clan lived in House of 1000 Corpses? Well, we basically get that lifestyle, on the road. This picture showcases a lot of growth in the dialogue department and that makes for stronger chemistry between the focal (and totally insane) players. Packed with some sporadic insanity, and jaw-dropping punchlines, The Devil’s Rejects is an entertaining piece of work, to put it mildly.
Halloween
I give it up to Rob Zombie for trying to do something radically different with his remake. He attempted to give Michael Myers a little bit of a personality (never happening, Rob – he’s a silent killer living inside his own imagination and nowhere else!) by spending a large portion of time studying the man in Smith’s Grove Sanitarium. It makes for an extremely interest experience, and although the film drags as the final sequel gets underway, it doesn’t take away from the inventiveness that Rob carried to the table. Halloween isn’t his finest feature, but it’s pretty damn good.
The Lords of Salem
Lords of Salem, like most other Rob Zombie films, was met with mixed reviews, typically leaning in the direction of negativity. Some did most certainly adore it, but plenty of genre freaks loathed it. Personally, I think The Lord’s of Salem is the man’s finest work. The autumnal color scheme Zombie utilizes throughout the entire flick is not only dazzlingly magnetic, it’s genius. But that’s not the only strength of the feature, as there are a small handful of truly grandiose spectacles to take in and a group of personalities that gel extremely well. The cast, again, work very well together and the hole in the wall radio station is a loving nod to vintage fare. Excellent film.
Up Next: 31
Mike Flanagan
Absentia
Absentia looks like little more than a shoestring film. It also feels like a shoestring film, with a few wooden performances and some very limited sets. But it’s also a wildly creepy affair that boasts some imagery you’re not likely to forget. The final 15 minutes are utterly mind blowing. Pumping out a movie like this so early in his career, it seemed inevitable that Flanagan would go on to much bigger and better things, which he absolutely has. He’s arguably the hottest name in the game today.
Hush
Home invasion tales are becoming harder to get right as the market gradually becomes flooded by mediocre subgenre efforts. But Flanagan’s Hush is no mediocre piece of work, it’s a paralyzing project that needs to be seen to be believed. There’s a surprise or two in waiting, but those surprises hardly feel necessary. Watching a deaf woman battle for her life as a masked lunatic lurks outside is more than enough to give viewers the willies. Top notch home invasion films like Ils, Funny Games, Strangers</>, Wait Until Dark (which is actually quite similar to Hush), When a Stranger Calls and You’re Next now have a new film to join their sublime ranks.
Oculus
A scary movie about mirrors? Really? Well, yes… and no. This is far more a psychological picture than a supernatural piece, though Flanagan blends the two concepts perfectly, often leaving viewers wondering what is real and what isn’t real. The commercially successful Oculus proves that Mike Flanagan isn’t just a talented filmmaker, he’s also got a great imagination with a wide array of ideas floating about in that noggin.
Up Next: Before I Wake and Ouija: Origin of Evil
Adam Wingard
A Horrible Way to Die
A Horrible Way to Die seems to fly under the radar quite a bit. It shouldn’t. It’s a certified ass-kicking production that serves not only as a mesmeric introduction of Wingard, it’s also a very smooth tale that could be likened to a taut game of cat and mouse. It’s very dark and the screenwriting is quite crisp. The locale also makes for a chilling sensation as two worlds that should by all means be completely separate, ultimately collide. This one isn’t quite as refined as some of Wingard’s more recent works, but it’s a strong film that deserves more attention than it gets.
You’re Next
This home invasion tale works extremely well for two primary reasons. One, there’s never a lull in the action. As soon as the film’s focal family is introduced and getting settled, people start dying, in horrific ways. The second reason it works so well is because there’s a believable revelation that awaits viewers with a strong enough stomach to make it through the final act. Speaking of final, did we mention the film features an amazing final girl?
The Guest
Another fast-paced pic, The Guest isn’t what most would consider a horror film, technically speaking. That said, it is a true mind-bender with plenty of twists in turns in the narrative. It’s very dark in tone and it does have a few total WTF moments and a hint of a throwback vibe. The performances are exceptional, and if you really want to know what masterful manipulation looks like, you’ve absolutely got to look into Wingard’s (who no doubt now positions himself as one of the finest in the business) unconventional thriller.
Up Next: Blair Witch
Darren Lynn Bousman
Saw II
There aren’t many Saw installments that warrant extreme praise. In fact, beyond the first three films (I still can’t watch the third film, as that torture rack scene just disgusts me beyond belief) in the franchise things head south in a hurry. However, the first two films in particular are exceptional works that successfully gross us out while holding our attention, leaving our eyes glued to the screen in a trance like state. Darren Lynn Bousman is the man who delivered Saw II, and he did a remarkable job of creating a tangible continuity and believable follow up to James Wan’s franchise starter. Expect plenty of wicked death scenes, but you can also bet on a solid story, which can’t be said for the second half of the franchise.
Repo! The Genetic Opera
Having never been a fan of musicals it was shocking to see a musical that tapped all the right nerves. Bousman is extraordinary at offering us some amazing set designs, stellar cinematography and a fine story. He also manages to siphon a few riveting performances from the cast. Repo! The Genetic Opera is one of those rare beauties that feels more like an experience than a movie. Not an easy feat, but definitely a mandatory view!
Mother’s Day
It’s rare to see a remake that far surpasses the quality of the source in which it’s based, but Bousman made it happen with Mother’s Day, an ambitious picture that turns the intensity up from 5 to 15. Not only is Bousman’s Mother’s Day overwhelmingly superior to Charles Kaufman’s original 1980 pic, it borders on technical mastery. The story is infinitely more engaging, rooted in much cleaner logic and we’ve actually got a series of characters we’re pulling for here. Rebecca De Mornay makes for the picture-perfect casting call as she channels her work in The Hand That Rocks the Cradle, creating a vile yet sad and sympathetic mother caught in a criminal whirlwind. It’s seldom recognized as one of the greater remakes, but it no doubt qualifies as just that.
The Devil’s Carnival
Everything mentioned about Repo! The Genetic Opera, pretty much applies to The Devil’s Carnival. But in the eyes of this humble little writer, The Devil’s Carnival is a noticeably stronger production. The set pieces are absolutely gorgeous, lavish designs that pull viewers in like the dark vortex that yanked Ash Williams from the good old U-S-of-A to the barren, war torn regions of No Man’s Land, 1300 AD. It’s an amazing ride, loaded with insane makeup and a faithfulness to the outward appearance of a classic carnival… up to the point in which the darkest secrets of The Devil’s Carnival come to light. Creative, original, beautifully dark and thoroughly entertaining, The Devil’s Carnival is yet another musical that totally and completely works.
The Barrens
Full disclosure: even as a dedicated fan of Bousman’s work, I felt some trepidation heading into this pic. Could Bousman do the Jersey Devil justice? Could he give us a creature that terrified? What will the perimeters of a film like this look like, and could the fabled Jersey Devil work its way within those perimeters without feeling absolutely preposterous? Bousman answered all of those questions, passing a stiff test with high scores.
For some reason or another many critics panned the film, but I’d firmly argue with anyone who attempts to discredit this feature. The true beauty of this one isn’t even the Jersey Devil itself, it’s the psychological break that lead man, Richard Vineyard (played by Stephen Moyer) undergoes. His descent into madness is a true thing of beauty, and between Moyer and Bousman, it quickly becomes clear that this is exactly the kind of film Bousman should be focusing on.
If you read any negative reviews and subsequently steered clear, I’d highly recommend giving the picture a chance. You just might be surprised!
Up Next: Abattoir