Cast: Dennis Quaid, Ben Foster, Cam Gigandet, Antje Traue, Cung Le, Eddie Rouse, Andre Hennicke, Norman Reedus

Now, onto the flaws… I think one of the only characters I found flawed was the masked man himself. Am I the only one who found it sad and inappropriate that Jason suddenly was running after his victims? Never in any of the previous 11 Friday the 13th movies did Jason ever have to run to catch up to his “prey”. It was a neat and spooky effect that all he ever had to do was create his menacing walk and no matter how fast and how long the victim ran, Jason was always, always there, with no effort. It added to the strength of his character. Now, all of the sudden, he has to charge after them with full speed, and his arm strength seems to take more effort. In the older movies, he could snap a neck or throw an ax or other sharp object, or push a face thru a wall with just the flick of the wrist. Now it seems like he has to put a lot more force into it. They made him seem too human, and less like the undead, menacing creature that he really is. Lastly, his clothes are all wrong. In the old movies, he had work pants, huge work boots, and flannel shirts that may not have been worn out, but that were not new and that matched his scary physic. In this movie, we find him wearing what look to be a new pair of jeans, a less faded flannel shirt, and yes, sneakers. What? These clothes did nothing to help his image. And to top it off, they picked a scrawny looking actor to play him. Jason never had chicken legs until now.

I did enjoy the movie very much, and can’t wait for it to come to DVD. I can overlook some of the unusual events in the movie, such as the tunnels and Jason capturing the girl for no reason, but it’s very hard to ignore the inconsistencies with the main character.

Cast: Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, CCH Pounder, Lorry Ayers, Jimmy Bennett

Cast: Gianna Jun, Masiela Lusha, Allison Miller, Liam Cunningham, JJ Feild, Koyuki, Colin Salmon, Michael Byrne, Andrew Pleavin

Cast: Natalie Bassingthwaighte, Jesse Johnson, Natalie Walker, Ben Kermode, Christian Clark, Nicholas Bell, Pamela Shaw, Kristin Sargent

When a team of young convicts (mostly low-level crimes, including a cute female animal rights activist arrested for liberating a passel of lab animals; plus a couple of really unlikable nastier criminals) are sent, along with correctional officer chaperones, to the old building to clean it up as part of work release rehabilitation, the building’s tenant has a fresh supply of targets. Also in the mix is the cop who nearly brought Goodnight down a couple of years previous.

A bare-bones story is helped along towards the end by flashbacks starting to detail the origins of the Goodnight character, and by some abrupt, and surprisingly effective, swerves in the character’s psyche. There are certainly a few problems with the story. For starters, only a few of the characters are at all likable, and nobody really seems like they should pose much of a challenge for Jacob. That’s occasionally been a problem in other, similar movies (a couple of the Elm Streets, for example) and they’ve sometimes gotten around the conundrum of having normal humans stand a chance against an extremely powerful antagonist through a key weakness in the character or through an extremely well-timed convergence of events that opens up an opportunity to level the playing field. Though a few have been a little too convenient, they’ve often at least made it plausible that well, yes, if the other guys Did manage to have such a stroke of luck befall them, they really might stand a decent chance. (And without suddenly making the antagonist look weaker than in the earlier going) Here though, nothing really adds up with how Goodnight decimates everybody in the first three quarters of the film, and then suddenly he runs into a lot more trouble taking out his victims.

Also, a couple of moments that I think were intended to be humorous fall squarely on their face. Overall though, “See No Evil” delivers a fine movie with an adequately distinctive – and visually memorable – villain, some very visually memorable female cast members (even though the characterization in some cases could have used work), good special effects, and a good working of angles in the last fifteen minutes or so that, while not a twist ending, suddenly adds a more interesting and tragic aspect to Jacob. I wouldn’t at all mind seeing this story continue on with a sequel or too. For those who only dip into horror occasionally, See No Evil isn’t really the best choice. But those who love horror movies – especially if that includes ones like Friday The 13th, Nightmare On Elm Street and Texas Chainsaw Massacre – are likely to really enjoy See No Evil despite a couple of shortcomings.

Night falls, and the vampires come out to play. They’re ugly, deadly, and very thirsty. These are real vampires, evil and blood-driven, not the obscene domesticated vampire who wants to help humanity or the romanticized vampires of Rice and Hamilton’s silly erotica novels. Their gory invasion is swift and thorough, leaving behind very few survivors. Those left must huddle together, hidden in various houses around the town as they wait for the far off dawn. The gore level escalates as the survivors discover that those bitten must be beheaded in order to keep them dead. Survival seems doubtful as the long night wears on, and the vampires just keep coming.

The best part of this movie is the vampires. I must say that they’re pretty sloppy eaters, leaving lots of blood strewn about in the wake of their feasting, their mouths and clothing dripping with blood, and still gushing meals abandoned. You got to love those inky black eyes, though, and the way they keep the gore level up to entertaining levels. The survivors, however, seemed a bit wooden. Their dialogue was weak, and the characters not fully developed. This made it harder to identify with their plight. The scenes of the desolate town were adequate, but the soundtrack was also weak, not helping to build any suspense around the predicament of the survivors.

Over all, I was gratified enough by the vampires to make this an enjoyable horror flick. Recommended for fans of the old-fashioned horror-vampires, the human-cattle herders of old. Rent first before buying. Enjoy!

Zombie films were not an unknown thing during the decades preceding Night of the Living Dead. There’s always been zombie movies though they were more of the traditional Haitian voodoo variety where the zombies themselves were heavily-drugged victims forced to become slave labor for their unfeeling and sadistic masters. George Romero changed all that in 1968. Filmed at a measly budget even at that time, Romero and a company of his friends and colleagues decided to make themselves a horror movie. The premise of the film was simple. Radiation from a returning Venus probe (though later films in the series will have discounted this reason) have, for some unexplained reason, brought the recently deceased back to a semblance of life with only the most basic of motor skills. This in itself was a terrifying enough plot, but Romero ups things abit by giving these zombies a new motivation: they have an unending hunger for the flesh of the living. Night of the Living Dead marked the beginning of horror at its most extreme.

The story was heavily influenced by Richard Matheson’s seminal apocalyptic vampire novel, I Am Legend, and Herschel Gordon Lewis’ Blood Freaks and Two Thousand Maniacs. The former lending the theme of an impending and encroaching horror with a siege by a legion of undead being the heaviest influence. The latter influences from Lewis’ work being the overt and unflinching look at exploitative violence and gore. Lewis’ Blood Freaks and Two Thousand Maniacs didn’t skimp in showing gore, but Romero’s Night of the Living Dead was the first to actually put a decent story behind all the carnage and violence.

The film begins pleasant enough with a brother and sister on their way to a countryside cemetery to visit their dead mother. Right from the beginning the film already takes on a disturbing note. As both siblings soon come under attack from what seems like a transient. Barbara (played by Judith O’Dea), the sister, soon is fleeing for her life as their attacker continues to chase her and with her brother, Johnny, already down. The breakneck and tension-filled sequence of the first ten minutes of the film still makes my pulse pound everytime I watch it. The story soon introduces the strongest character in the film. But as strong-willed and level-headed Ben (Duane Jones in a career signature performance) seem to be he still shares the fatal flaw which would lead to fatal mistakes later on in the film. The rest of the cast soon follow Ben’s appearance. There’s Harry Cooper (Karl Hardman), his wife Helen (Marilyn Eastman) and their injured daughter Karen (Kyra Schon). The rest of the cast in the farmhouse is rounded out by local couple Tom (Keith Wayne) and Judy (Judith Ridley). With the farmhouse gradually being surrounded by a growing horde of undead attracted by the noise of their work to secure the building, one would think the group would work together and hand in hand to try and survive the encroaching night until help arrives. But group dynamics within the group begins in conflict and slowly escalates into open conflict and self-preservation without any regard for their fellows.

That infighting and the inability for the group to work together in concert and harmony became Night of the Living Dead’s strongest message and observation about the human condition in times of great stress and upheaval. The characters were all fully realized and full of complexity that’s rare in horror films of its generation. It’s that attention to realism in how the characters were written which gives the conflict between the survivors such impact on viewer. As much as one would say, after seeing the group disintegrate, that they’re stupid and idiotic it’s difficult to admit that given the same situation others wouldn’t fall to the same infighting, backstabbing and counter-productive behavior as the people did in the farmhouse. Romero’s damning commentary on humanity’s inability to work together has led to strife and conflict throughout the ages, and Night of the Living Dead points this out as brutal, blunt and matter-factly as possible.

The horrific nature of Romero’s film became even more horrific because of a decision based primarily on the economics of making a film. Color film stock was already available in the 1960’s but was still considered quite expensive to use. Only the major studios and those independent filmmakers with a large financial backing could afford to use color film stock. So, Romero decided to fall back on the abundant supply of black and white film which was still in heavy use in the film industry. It helped that Romero’s work as a documentary filmmaker in the past made it easier for him to procure film for his project. This decision also gave NOTLD its signature, cinema-verite look at horror of the mundane. The grainy look of the film footage gave the film an immediacy only seen and realized with the 8mm home movies of that generation. Add to that the economical and flawless editing by Romero with the minimalist, bass and re verb heavy soundtrack and the film took on a life of its own. Night of the Living Dead’s creeping dread and horror became so heavy that I’m surprised there weren’t more complaints of people walking our of this film when it was first released. The horror in this film was palpable to the point one could feel it days after one has finished watching the film.

There really wasn’t much to complain about this film. Horror aficionados now had a film that went beyond the exploitative nature of the genre. The film also helped usher in the next generation of filmmakers who saw that film didn’t just have to be all about entertainment, but could also be used as a platform to express one’s beliefs about the social, political and economical nature of the world at that moment. Night of the Living Dead had it all. It spoke to film goers young and old that the age of fun and silly, fantastical horror was over and that a new wave of horror in all its realistic glory was about to descend on the populace. Night of the Living Dead didn’t look away once the violence began. Flesh was shown being ripped off the limbs of their victims. Long ropes of intestines and quivering mass of organs were seen being handled and devoured. This was unheard of at that time and it were kids as young as 11-12 years old who first saw this on the big screen since the film was released initially as part of Saturday matinees.

1968 has gone down as the flash point for the beginning of a new era in film making. Night of the Living Dead didn’t just influence horror filmmakers, but filmmakers in general. Its not a surprise that Romero’s night of the Living Dead has been found its way into the Smithsonian National Film Registry as a film which heavily influenced the art of filmmaking. It’s been almost years since the film first shocked audience worldwide and four decades removed it still shocks audiences seeing it for the first time and still delights devotees of the film. Night of the Living Dead marks the arrival of not just a new era in film making and horror, but the arrival of a genuine, guerrilla film auteur seen by fans and critics alike as a master of his craft.