Skip to main content

Movie Review: Saw 6


By Todd Gilchrist

Sorry to break it to fans of the Saw film series, but Jigsaw, a/k/a John Kramer is a self-righteous dick. In comparison to the Jason Voorhees and Michael Myers of the horror world, whose raison d'être is causing carnage mercifully bereft of deeper moral or instructional value, Jigsaw devotes a ridiculous amount of time thinking about what other people do with themselves, and effectively (if ironically) conceives his traps as object lessons in humility, compassion, and self-awareness. Personally, I find this high-handed moralizing far more painful than any evil device he could possibly design, but then again, that's why I'm not a fan of the series; that said, the latest installment in the Saw franchise appears to fulfill all of the demands of its audience and then some, making it a worthy and faithful entry in a franchise which at this point seems essentially designed to document people dying in increasingly inventive ways.

After a cold-open sequence where two loan officers compete to dismember themselves as an alternative to being literally screwed to death, Saw VI opens as Detective Hoffman (Costas Mandylor) investigates Jigsaw's (Tobin Bell) latest crime – which, coincidentally, he helped execute. As he narrowly eludes discovery by his colleagues, across town a claims adjuster named William (Peter Outerbridge) becomes the victim of Jigsaw's next deadly game, while the long-deceased killer's widow Jill (Betsy Russell) carries out her late husband's final wishes. Soon, the paths of these various players intersect, but despite their various efforts to take control of their lives - and in some cases those of the others, it's Jigsaw himself who comfortably presides over all of them, even from beyond the grave. This time, though, his goal seems to be to drive his deadly game towards its ultimate conclusion.

Read the rest at Cinematical! (There's a twist at the end!)

'The Crow' Remake Continues Moving Forward ... Slowly

By Elisabeth Rappe

Last December, many Goths wept and fans of the late Brandon Lee took to message boards all over our great Internet to protest Stephen Norrington's remake of The Crow. News on the project has been so scarce that you've probably forgotten all about it, or even assumed it was dead and buried. But like its supernatural character, Norrington's Crow is alive and flying and Comics2Film is reporting that Norrington's script has been "very well received" by Relativity Media, and the film is set to go forward with casting. Cue the angry rants.

While the news sparked a lot of angry comments, there were a few fans of James O'Barr's graphic novel who wanted to see a new adaptation that might stay truer to the book. But earlier this summer, Comics2Film ran a rumor that Norrington wasn't going to use the character of Eric Draven, but was inventing a completely new character and storyline for his remake / reboot. Let me stress that little item hasn't been confirmed, but if it's true, it certainly raises the question of "Why bother?" O'Barr fans want their guiding crow and self-mutilation back.

At this point, all we know is that Norrington is aiming to make it "realistic, hard-edged and mysterious, almost documentary-style." Now that I've seen more of the graphic novel (thanks, Google Images), I can't think of a poorer approach to something so deliberately introspective. But who knows? If it's truly a whole new character who just happens to have a crow as a pal, the shaky-cam approach might work just fine.

[via Bloody-Disgusting]

Will 'Scream 4' Have Wes Craven Behind the Camera?

By Jessica Barnes

If you were one of the people who thought that another Scream movie was a bad idea (and who could blame you after the train wreck that was Scream 3), there might be a ray of hope...but I have to stress might. Over at Cinema Blend, their 'reliable source' is telling them that the man himself, Wes Craven, will return to direct the latest installment in the horror franchise.

It had been reported that Craven would be involved in some capacity with the film back when the project was first green lit, but you have to wonder what might have convinced him to get behind the camera. Maybe it was all down to nostalgia and he wanted to get together with the old gang, or maybe it was Kevin Williamson's spec script. One thing is for sure, the big empty spot in his schedule since finishing 25/8 probably wouldn't hurt either. (By the way, 25/8 was just re-named My Soul to Take.)

More at Cinematical! Read

Blu Moon! 'An American Werewolf in London' Still Shines

By Todd Gilchrist

If Hollywood's vast abundance of remakes, spinoffs and sequels weren't enough to kill your appetite for spending money on "new" entertainment, it seems like almost every one of these releases finds its way onto home video in multiple forms. Sometimes the studios issue different iterations of a film all at the same time, in a thankful moment of honesty that at least allows consumers the option which version they want. More often, though, the studios will re-release, expand and double-dip their top earners time and time again in order to wring out a few more dollars from the less dull entries in their back catalogue. And especially now, during the still-early days of Blu-ray, there's even more new and different editions being released in stores, some of which are honest-to-Jah improvements on the presentation and packaging, while others are merely the next generation of mediocrity.

As such, welcome to the third installment of "Making The (Up) Grade," a comparison of some of the more high-profile (or maybe just personally-preferred) Blu-ray releases with their previous home-video iterations. This week, we're taking a look at An American Werewolf in London, which Universal Studios Home Entertainment released late last month in a "Full Moon" edition.
Continue Reading

Truly Horrible Movie Families!



By Jenni Miller

Scientists and psychologists have long debated the nature vs. nurture theory. Are we the way we are because of our genes, our IQ, our parents, the toxins in our tap water? Certainly, some diseases like cancer, diabetes, alcoholism, and depression can be passed on genetically, but it's up for grabs how much environment plays into fully developing something that was lurking in one's gene pool.

But really, all that BS doesn't matter in the end when it comes to these families who share an interest in human flesh, chainsaws, torture, rape, and occasionally each other, if you know what I mean. All that matters is getting the hell away from them as fast as you can.

It's really hard to say which of these disgusting groups of related and/or inbred freaks is the worst, so this is in no particular order. Enjoy!
Continue Reading

What Are the Creepiest Movie Soundtracks?

HellraiserBy Jenni Miller

"Listen to this!" A friend pressed the ringer on his BlackBerry, and it played the theme to The Omen, "Ave Satani" by Jerry Goldsmith, which he'd assigned to a particularly heinous client of his. Another friend had, for a time, assigned a relative the unforgettable score from Halloween as composed by writer/director John Carpenter himself. And I'm sure somewhere there is someone with the theme from The Exorcist, which was written by Mike Oldfield.

Ringtones aside, there's no denying that a deft soundtrack or score can ratchet up the tension in any movie, especially one that uses droning noises and other disturbing, almost subliminal effects that can slip past the viewer and straight into our brain. Some of my favorite spooky soundtracks sure to make the hairs on the back of my neck stand on end include the above, naturally, but there are a few that need some love as well.

Continue Reading

Here's Why Zombies Are Cooler Than Vampires



By Jessica Barnes

The battle of the undead on the big screen has been under way for some time now, and after months of hearing that vampires are taking over pop culture, it seems like we shouldn't quite put our friends the zombies (no, not those ones) down for the count. Over at Newsweek, Sarah Ball put together a few reasons as to why zombies will never beat vampires in a pop-culture zeitgeist-off thanks to our long-standing love-affair with the pale tortured types. But just this weekend, audiences proved that when it comes to the walking dead, the zombies still have what it takes to bring in the crowds.

Everybody has their personal preferences (and man I love those bloodsuckers), so even though I've watched more vampire content than I care to remember (I even sat through the pilot of The Vampire Diaries), and I'll always be a dedicated 'fan of the fang', I think that sometimes those drooling bumbling walking corpses might be better suited (at least these days) to the world of horror. Here's why:

Are zombies cooler than vampires? Speak up at Cinematical!
Advertisement

From Our Partners