Films join the category of “cult classics” for a reason: they inspire a fanatical following. Whether you find yourself at a cinematic theme party, a midnight viewing, or just want to get dressed up for the heck of it, here are a few cult film-inspired costume ideas to help you show off your movie knowledge!
Have you been invited to a comic theme party? You could choose to wear the usual Spiderman costume, or you could get a bit funkier. One of the cheesiest yet most entertaining comic book movies ever, “Barbarella” stars Jane Fonda as a spy who seems to get herself tangled up in all sorts of intergalactic trouble. When she’s dressed, she’s typically in knee-high go-go boots and plenty of metallic. Her hair seems to get bigger and bigger throughout the film, so don’t forget the hairspray.
Do you want to go all out with glam hair and makeup? Dress as Jareth the Goblin King from cult favourite “Labyrinth.” Jareth, played of course by David Bowie, wears clothing very similar to a pirate costume, mixed with plenty of makeup and a spiked mullet. Capture his style with a rocker wig, pirate costume, silvery makeup and lip gloss. If you browse the funny fancy dress at Funidelia, you’ll probably be able to put the pieces together for this classic cult look.
Shaun of the Dead
Zombies are always popular costume ideas, but you can give it a cult film twist by dressing up as a character from “Shaun of the Dead.” Shaun is an easy enough costume to put together. You just need a blood-spattered white dress shirt, red tie, and cricket bat as an accessory.
Going to a party in a group? Some of the best cult film-inspired costumes come from “The Warriors,” which features all of the gangs in New York dressed in easily identifiable costumes. Perhaps the most sinister are the Baseball Furies, but all of the gangs are great costume fodder.
Characters from David Lynch productions are always top choices for film-based costumes. If you don’t want to go the usual Twin Peaks route you could opt to use the surreal looks of “Eraserhead” as the basis for your outfit.
One cult classic that’s had an undeniable influence is “Easy Rider,” starring Peter Fonda, Jack Nicholson, and Dennis Hopper as a gang of stoned bikers. Get out your paisley, leather, and fringe to embrace the psychedelic style.
The Big Lebowski
An instant classic when it was released, “The Big Lebowski” is only growing in popularity and its fans host a number of theme nights, typically at bowling alleys. Dress up as The Dude and you’ll be able to attend your theme party in both comfort and style. You’ll need a white V-neck shirt, sunglasses, bathrobe, plaid shorts, and leather sandals. Don’t forget the White Russian in hand.
You could dress up like the witches from “Hocus Pocus,” or you could look a little cooler by going out with your friends dressed as the ladies from “The Craft.” Both are winning ideas, but the Craft teenage witches are easier looks to put together at the last minute. These ladies rock basic school girl outfits, mixed with 90’s flair like spiked chokers, witchy boots, and dark lipstick.
To celebrate Friday the 13th by watching Friday the 13th, I wanted to take a look back at my favorite Friday, “Friday the 13th Part III.” It’s like watching “Die Hard” at Christmas at my house.
Part III, how do I love thee? Lemme count. Number one, there’s the sweet 80’s main theme that I like to call Disco Jason. Such a party track. Number two, Part III is in 3D, and many copies you can buy even come with old school 3D glasses. (And, mercifully, the option to watch in 2D.) But number three and most importantly, this is the first Friday where Jason is the Jason we know, love, and make action figures of, the man in the mask Alice Cooper belted about in part VI. I mean, everyone knows Mrs. Voorhees is the killer in part one, and in II, Jason’s rocking a flour sack and not truly at full Jason – although, in fairness, he is mourning his crazy mama. Part III is Jason moving on, out of the shack with mama’s severed head, out of the camp setting entirely, and while he’s still pretty human looking around the edges, we do get the hockey masked, immortal/undead/zombie/whatever the hell he is killing machine of legend and box art in this movie.
Part III opens with the end of part II, just in case you were afraid you’d be lost in the mythology. Ginny, the Final Girl of II, pretends to be Jason’s mama and then machetes him real good in the shoulder. When the coast is clear though, we see wounded Jason scoot away into the darkness. Then we rock out with Disco Jason and 3D movie credits invade our personal space.
But the movie really starts with a bickering couple, presumably middle-aged, although I think the wife is actually pretty young and they put her in a bathrobe and curlers to make her insta-45. Bickering couple are just chilling out at their combination crappy home/crappy rural grocery, when the wife listens to local news recount the aftermath of part II, so of course, Jason’s ears are burning. It’s OK; bickering couple were just the appetizer.
After we’ve established that Jason’s on the loose and his stabbing arm is all warmed up, we get to meet our crew of nubile young victims. And they’re in a van. They even have a pair of stoners in the van. I’m just glad they didn’t have a dog, because I cannot stand violence against animals.
OK, so roll call: we’ve got Chris, the Final Girl – we know this because she’s a pretty, but serious girl, kinda turned off of sex, and she both owns the van and has a boy’s name. We have Shelly, who attempts to make up for his lack of traditional good looks with gory practical jokes and pouting about how no one likes him; the stoner couple; Deb the pregnant girl and her innocuous boyfriend Andy; and finally, Vera, a cool Latina who was conned into being Shelly’s date. Pretty good selection for Jason to run through. Despite happening upon a crazy old man who warns them, um…pretty much just to be warned, he’s not very specific, the kids continue to Chris’s family farm, which is also convenient to Camp Blood.
When they arrive, Chris meets up with Rick, an old boyfriend, and she starts to get emo and ominous about not being back to the place for two years. I would like to take a moment and point out that despite not seeing each other for an undefined amount of time or being in a current relationship, Rick instantly begins pressuring Chris to get snuggly and never, ever stops. I realize inviting a guy to spend a weekend with you strongly implies receptivity to snuggling, but let her finish a sentence, you horndog. Rick’s painted as a good guy, driving a VW Beetle and everything, but really, he’s a jerk. Jason will make it better, I’m sure.
Back to the plot. I need to introduce a few more victims. Our other variety of jerk (bigus fatus jerkus), Shelly, goes with Vera to a local grocery for supplies. This grocery, however, is being menaced by a three-person biker gang. They don’t do much though besides threaten the kids a little bit, and you have to wonder exactly how much tough biker ganging there is to be done in a brightly-lit country store too small to even have aisles. Shelly manages to back over one of their bikes as they leave though, and in so doing unwittingly adds three more to Jason’s kill list, because you know the gang’s going to have to follow them and try to get revenge.
All the dominoes are now set up, and it’s fun to see how Jason knocks them down. 3D filming techniques will assist where possible. He’s less creative than he will be in the future, of course, but I believe he does innovate the fuse box kill here, and while there are some callbacks – Kevin Bacon’s death in the first “Friday the 13th” is a good one – they’re well repurposed.
It all comes down to Jason and Chris though, and we learn through torturous, onion peeling dialogue scenes that this is not her first rodeo with a deformed psycho killer. In fact…it was at this very place on the lake… Sigh. Chris, you’re an idiot, aren’t you?
I will give Chris credit for being a pretty effective Final Girl, using things in her environment as diverse and innocuous as hay bales and manual car windows to her advantage and executing traps with minimal whimpering. I wouldn’t be able to go close enough to Jason to loop a noose around his neck, uh-uh, no way. She may not be Kirsty Cotton or Laurie Strode, but she’s pretty tough stuff. Not as tough as Jason, but hey, who is? Jason’s basically jerky to start with.
Brand-new crazy old man to warn the kids about Jason
Jason finds his signature look
Central casting stoners
Central casting bikers
Not practicing speargun safety
Not practicing hammock safety
Red-hot poker action
The Boy Who Cried Psycho Killer
I am crushing your head
A little dated and heavy on the eyeballs for my taste, but Jason shows real enthusiasm for this kind of work.
Fleeting exposure in a pretty self-conscious shower scene.
BEASTS Jason will get hulkier, maggotier, and more inventive in later sequels, but there wouldn’t have been a Jason X without Disco Jason.
8 OVERALL There’s a purity to Part III I enjoy. The formula is solid by this point without being overdone, and it’s happy to just be what it is: a big dumb fun slasher movie for Reagan’s America.
Welcome to another review, folks! It seems the world can’t get enough of zombies: TV shows, movies, dolls, video games, books, it doesn’t matter. So film studios depend upon the word “zombie” to get attention, or some kind of segue into the more mainstream focus. Sometimes it works, sometimes it doesn’t, and sometimes it should. “Extinction” is one that should get some recognition. Now, before you get your pretenses in place, let’s get a good look at this little movie that could.
This movie began with so much camera shake, I tried to put my seat belt on. Note to directors: Shaky cam is bad. And if the movie DOES call for it: Less is more! A man, his wife, their infant daughter and his best friend are trying to get away from the oncoming zombie apocalypse, that started well before the movie did. They’re on a bus with a large amount of people, and two army guys, all just as terrified as the next person, for good reason: The zombies have caught up! Now the bus is just a meal in a box, as they wait for the inevitable. The first military guy exits the bus, gets eaten, and the second one doesn’t fair any better. One of the gentlemen (who will be a main character later on) takes the lead, and tries to retrieve weapons from the land of jump scares. The first part of this movie is filled with jump scares, so get ready for that, along with neck-breaking shaky cam. For those with a weak stomach, skip this part altogether.
More tragedy strikes! The main characters are in all sorts of trouble; the wife is injured, the baby is covered in blood. Whose blood is it? Tune in next time to find out! Same undead time! Same undead channel! And now that the pulse-pounding beginning is over, prepare for something truly intense: FAMILY BONDING. Here’s where things grind to a halt, changing the pace so hard an airbag would deploy. One minute there’s running zombies, army guys firing guns everywhere, screaming, blood, and violence, and the next it’s father-daughter bonding time in a winter wonderland. While none of this is explained outright, hints are dropped. Get used to this domestic scene, because it lasts longer than most sequels do.
After cycling through survival set-ups, how they’re surviving, and what they’re doing to stay sane, we finally delve into the characters, themselves. It seems the family plus one have made themselves a little outpost: Two houses in a northern climate. across the street from the other, sharing resources, but that’s about it. We see few interactions between the men, as the environment paints the relationship between the two as less than hospitable. The ex-best friend has let all hygiene go, as he’s transformed into Rob Zombie’s crazier and dirtier cousin: Scruffy McCrazyDude, who spends his evenings broadcasting to any survivors out in the frozen wasteland, and getting blind, stinking drunk. Meanwhile, Angry McHostileDad spends hours with his daughter, and all seems right with the end of the world.
But, hey, this is a zombie movie! Where are the zombies? This question is the one I pondered, about the same time everyone else does at this point. The director must have foreseen that, and decided to give us a reminder that it is, indeed, a zombie movie. Scruffy McCrazyDude goes on a supply run to an old haunt, to not only get the little girl a birthday present, but to top off on end of the world stuff. A local piece of wildlife alerts him that things can still live. Then the same piece of wildlife gets eaten like a piece of cake at a two-year-old’s birthday party. Scruffy follows the shadowy creature back to their homestead, where Angry McHostileDad is showing his daughter how to shoot a gun, which attracts the beast.
The zombies at the beginning of the film are typical runners who chase their prey and eat them. The zombies at the second half are completely new: white skin, blank eyes, nude, and they hunt by sound. I like this change, making the creatures evolve with their natural environment, changing the way they hunt. I’m impressed by the switch from Play Doh-caked faces to this new super zombie. But you can’t have zombies without making them a threat. Scruffy defends the little girl from the first attack on the homestead, but gets bitten while Angry leaves him to fate to save his daughter. The three prepare for the worst: Scruffy becomes part of the legion of the undead. But days go by, and nothing happens. It seems these zombies have a glitch: their bite doesn’t turn you. This fortunate, or unfortunate, event leads Angry and Scruffy to make up and be friends, even to the point of going on a supply run together, daughter included.
During their little family trip to the grocery store, we begin to learn about what went down between all the adults in the movie, giving some background to the drama. It’s kind of hard to follow if you haven’t been paying attention, but the gist is there. While the family is shopping, they find a young woman, frozen in terror and ice. They take her back to the honeycomb hideout to find out her story, while discovering that Scruffy didn’t finish off the new zombie. Instead he took a note from “The Walking Dead’s” Michonne and disabled it, chaining it to his house for research. This decision doesn’t sit well with Angry, and things really go downhill. But, as always, no spoilers here, folks. But I will end with this: There’s a hell of an ending.
With the pace a lot slower than most modern horror movies, “Extinction” may be harder for younger audiences to grind through, but old schoolers enjoy the massive character development. There are typical “Why would you do that?!?” moments that every horror movie suffers from, but, show me one that doesn’t. There’s plenty I left out of this review, and for good reason: I want you guys to check this one out. Top-notch gore, acting, creatures, and setup, but it’s a shame it suffers from such a generic name. I recommend this movie, available on Netflix, with a big bucket of popcorn and the lights out. Thanks for reading, folks! And, as always, Stay Tuned!
What did you think would happen?
Did you forget how doors work?
Run! Run! You can stay still.
Winterwonderland of Death
Who wrote that?
THAT had to hurt!
The blood flows, the body parts rain down, it is awesome!
Look, no one loves the “Halloween” series more than I do, at least until Busta Rhymes gets involved. The first film is an unimpeachable classic that defined a subgenre and entirely makes up for “Ghosts of Mars” and “John Carpenter’s Vampires” in the same way that the Beatles catalogue means Paul McCartney still gets to be a legend even though there’s that terrible Christmas song and “Kisses on the Bottom.”
But there’s one movie nestled among the chapters of Michael Myers’ seasonal quest to kill his sister/niece/sister again that does not belong – 1982’s “Halloween III: the Season of the Witch,” or The One Where He Didn’t Come Home. Nope, “Halloween III” doesn’t have Michael. It doesn’t have Michael’s final girl blood relations fleeing into narrow dead ends. It doesn’t have Donald Pleasance earning every bit of his paycheck and all the residuals in the universe as Dr. Loomis, foremost authority in the field of abnormal EVIL child psychology.
John Carpenter and Debra Hill, who created ”Halloween,” its sequel, and produced III, envisioned the series going in an anthology direction after “Halloween II,” like a theatrical “American Horror Story.” But audiences hated “Halloween III” for not being more “Halloween III.” For years, even after I’d memorized Halloweens I, II, IV, and V, I still hadn’t even tried hate-watching III because everyone I knew spat on its clamshell. But you know what? Once I did give it a shot, it instantly became a favorite. Among the Halloween series – which, again, I have memorized, 4srs — I’d put it second in quality only to the first one, although I still watch it far more often. Let me tell you about it!
The movie starts out with an old guy running pell mell to escape what appear to be tax preparers or junior executives, maybe Mormon missionaries, a pretty sweet jack-o-lantern mask stuffed in his waistband. Seeking refuge in a junk yard, old guy manages to commit vehicular manslaughter on them, escapes, later to ruin the shift of a night watchman at a garage who’s just trying to watch a news report about Stonehenge. (Plot point! Plot point!)
Enough of that exciting stuff. We are transported to meet our real hero. Tom Atkins’ Dr. Dan Challis is instantly relatable, although partly because we meet him while he’s being sneered at by his killer shrew ex-wife and disappointing his kids by bringing them less awesome Halloween masks than mom got. (“They’re Silver Shamrock!” the children exclaim, singing along to the commercial for the very same masks at eye-ruining distance from the Magnavox. Get used to that hectoring singsong; it’s going to be a motif.)
Dan is your basic good guy caught up in terrible events; he’s a doctor, sure, but there’s definitely more Sears catalogs and Playboys in his place than medical journals. He drinks when he’s on call, has implied alcoholism, endures a bitter ex-wife with custody of their two kids, and pats the night nurse’s bottom with no fear of repercussion ‘cause he’s too OK to harass anybody. He is an 80s main character in search of a Stephen King novel. He’s a good — not perfect! — but good guy. And he has a sweet mustache.
By the way, bitter ex-wife Linda is played by Nancy Loomis, the same actress who played Annie, one of Laurie Strode’s less fortunate babysitter friends in “Halloween.” (Also her staring corpse in “Halloween II!”) Foul-mouthed and half-naked in “Halloween,” 5 years later, she accessorizes a grey wig with a dowdy shawl and 80% of her lines are yelled over the phone at Challis. Hollywood really is terrible for the aging actress.
Challis gets paged, and the scene can’t jump cut hard enough away from that domestic bliss. The garage night watchman has delivered the old guy to the hospital, still clutching that Halloween mask. (Yes, Silver Shamrock! How did you know?) As Challis asks what happened, old guy is summoned to consciousness by that obnoxious commercial for Silver Shamrock Halloween masks, gasping, “They’re coming to kill…ALL OF US.” Challis prescribes Thorazine, because death threats always look better after a good drug-induced snooze.
While Challis is sleeping something else off in the doctor’s lounge, another Botany 500 suit model stalks into the hospital like so much Michael Myers. This is, in fact, an even less populated and policed hospital than the one in “Halloween II.” He arrows in on the old guy and takes another page from the Michael Myers playbook with a brisk head crushing. The night nurse walks in on the end of it, but luckily for her, the killer doesn’t care, and like a bee that’s spent its one sting, proceeds directly out to the parking lot, douses himself with accelerant, and goes up in a suicidal pyre.
Challis gets to see the conflagration and is on hand the next morning when police reveal the body to a young woman, the old guy’s daughter, Ellie Grimbridge. She identifies the body, horrified and grieving, but also cute. Later, she tracks Challis down in a bar and asks whether her father said anything the night he died. Challis tries a comforting lie, but when that fizzles, he expresses an urgent desire to find out what’s going on. And an amateur sleuthing team is born! Cue the upbeat opening.
Challis and Ellie check out her father’s shop, where he has a conspicuous inventory of those Silver Shamrock Halloween masks, and decide to take a day trip to the mask factory, his last known whereabouts before what we saw in the first 15 minutes of the movie. Challis also asks a friend in the coroner’s office to do the autopsy on the old man’s murderer and pass Challis any fun, plot-advancing tidbits.
The Silver Shamrock factory is located in a Southern California company town called Santa Mira, populated by…Irish immigrants. OK, sure. Realizing it’s too small a town to snoop without a cover story, Challis and Ellie decide to pretend to be a couple, buyers from the factory like Ellie’s dad was, and book a room at the local motel. Luckily, Ellie also packed lingerie for her day trip to track her father’s last movements with the nice, strange doctor.
We also meet an angry woman staying at the motel, in town to pick up her mask order, and another buyer, Buddy, with his wife and truly obnoxious brat, who are so National Lampoon, guys, I’m not kidding. So a lot of the snooping comes to Ellie and Challis at the motel, and that’s convenient. We learn that the factory (and thus the town) is run by Conal Cochran, a famous maker of novelty gags, toys, and masks, and Challis risks all kinds of fun backwash sharing his brown bag o’ booze with a local deadbeat, who points out the video cameras monitoring the whole town and complains bitterly that the factory is staffed entirely with outside people, not local talent like himself.
The night wears on. Ellie’s lingerie goes on, and maybe off, but we don’t see that. This is pretty PG-13 here. The deadbeat is double head crushed by more tax preparers of the night. And angry lady toys with one of the Silver Shamrock masks, unleashing a beam that fries her face off and generates worms and bugs from the gaping face holes. Face obliteration is a pretty ironic thing for a mask to do, and it’s still a fairly good practical effect, trading blood for broken teeth and exposed sinews.
The next day, best Halloween mask salesman evar Buddy and his family are taking a tour of the factory, which Ellie and Challis manage to glom onto. Cochran tours them personally though the place, and we get a closer look at his legacy of successful clockwork toys (Plot point! Plot point!) as well as the mask making process – less the tantalizing “final processing,” which Cochran explains has to do with trade secrets and volatile chemicals. He doesn’t want anyone to get hurt.
Speaking of getting hurt, Challis spots some more of the menswear models of doom and recognizes their eerie resemblance to the killer what bonfired himself in the hospital parking lot. Ellie also spots her dad’s car, partially hidden under a tarp, although she’s prevented from getting close by more members of the Silver Shamrock Kraftwerk tribute band.
And then our heroes, with the proof that Ellie’s dad was there (which wasn’t really at issue, was it?) and the serious heebie jeebies, hear what the audience is yelling at them and decide to get the hell out of Halloweentown. But FIRST, Challis wants to call the cops. Dumb, dumb, stupid man. While Ellie packs her one tiny overnight bag, he goes to the motel office and finds all lines are routed to a wrong number recording. By the time he gets back to the room, Ellie’s gone, and the room is surrounded by blank-faced, sharp-dressed men. So Challis is off to the races.
For a while, he manages to kill rather than be killed, and soon realizes that the suited baddies in pursuit are automatons, super realistic killbot versions of the clockwork toys that helped make Cochran so successful. So are most of the people in Santa Mira. But if Challis were successful in escaping, we wouldn’t get a villain speech, and we do get one from Cochran, a splendid speech not just about his evil plan, but about Halloween itself and, unlike Dr. Loomis, he pronounces Samhain correctly.
Challis isn’t down for the count though. There’s more movie left, a big scary child sacrificing plot to avert, and a cute girl to save, too. I’m leaving out a lot of good stuff actually, like what happens to Challis’ coroner friend and Cochran’s demonstration of his evil plan for Halloween night. You should watch and see. …Probably not while wearing a Halloween mask though.
Killer Clockworks from Killarney
Honey mustard blood
“Halloween” Easter eggs
I’m crushing your head (x2)
Willy Wonka level cruelty to children
A cult following
Not a bloodbath. More of an acid bath with snakes and worms playing pinochle in dissolved skulls.
.3 Glancing nip slip. Be ready to hit pause.
BEASTS Once again, the real monster is man and army of his killer robots.
8 OVERALL Maybe they should have called it All Hallows Eve or Samhain or The Night Celtic Witches Sacrifice All Y’All’s Children.” “Halloween III” both deserves the Halloween name and doesn’t deserve the short shrift it’s gotten because of the “Halloween” name. On its own merits, you get a great cast, a fairly original story in the vein of 70s, early 80s conspiracy horror with both witchy and technological components, a spooky Kraftwerky soundtrack, and plenty of memorable practical effects that still ook out effectively decades later.
Watch the trailer to “Halloween III: Season of the Witch”
I’ve been doing a lot of reviews of recent films, but there’s a reason, and I promise to return to the vintage side of things soon. But, for now, let’s talk about a remake. A tried and true tale of time: The haunted house. Now, I see many reviewers that have panned this movie, but the way I see it is this: A remake is only as good as the way it’s received. You gotta take off the nostalgia goggles, forget the original movie, and enjoy the ride. So let’s ride, folks!
This movie begins like all haunted house stories does: Family moves into a new place, explores it, bad stuff happens. I’m going to try and not make a lot of comparisons to the original, folks, but some must be made. This time around the family is consisted of a middle class family down on their luck. The father is unemployed, the mother is a stay at home mom with hopes of becoming a writer, a bratty teenager, a young son, and an even younger daughter. Now, usually the first mistake that most remakes make is failing to update the material, and I’m happy to say that this movie does that very well. They have modern technology and modern day problems.
The house of haunt that they move in to is wired to the core for high speed internet and security systems galore. The only reason I mention this is because a good writer just gave us a whole lot of background with a quick and simple fact. But, for the family it just means one less expense, and for the viewer it means less montages of unpacking. Shortly after arriving and getting somewhat settled in the new couple is invited to a dinner party with some local folks that spend their time laughing at the poor, it seems. I’m not one to throw stones, but c’mon, the last time I saw this many wasps I was being chased by them because of a water-hose incident. Don’t ask. But, they do reveal that the land is built upon an old graveyard, but the graveyard was moved. Plus we get one of the best lines in the movie regarding an ancient burial ground.
While the parents are away the ghosts will play. Back at casa de haunt bad stuff starts to happen. We got a tree that is very grabby, clawing at the young boys window, wifi that goes haywire and leads the teenage daughter into a garage, and the youngest little girl gets visits from her “imaginary” friends. Unlike other movies, that spend a whole lot of time getting built up, creepy stuff starts happening from the get-go. This first night is just the tip of the proverbial iceberg. Then it hits the fan. The boy is assaulted by a creepy clown doll, the teenager is grabbed by muddy zombie ghost fingers, and the little girl stares into a vortex that would make Doctor Who jealous. Usually these types of scenes are ones that employ jump scares, but this movie does it with atmosphere, music, and a good buildup.
Another thing I like about this remake is the relate-ability of the characters. The father begins to drink, the wife begs him not to, and FOR ONCE IN HORROR MOVIES he listens, dumping the devil juice down the sink. The teenager is just as bratty as any real one is, and the two younger children are actually tolerable! Why do I mention this? Because they make you want to care about them. So, after a night of debauchery and hauntings, the worst happens: The little girl get sucked into the world of the dead. Or as some people call it: Florida. Just like the original the family decides that going head to head with the specters is a bad idea, so they call in help. First up on the list of characters whose names we aren’t going to remember: Paranormal Investigation Team College Edition.
Short chick, tall guy, and their leader The Librarian go to the house and start to probe, poke, and doubt. There’s even an exchange between tall guy and the young boy where the accusation of the search of fame is the motivation behind the entire thing, inferring it’s a hoax. I know my own choice of words would’ve been much more colorful, but the young man still shuts him down. What’s that, on the horizon? Is it a bird? Is it a plane? Is it five time WCW World Champion Booker T? No! It’s….It’s….KARMA! Oh, sweet, sweet, and cruel karma! Following his callous accusation tall guy is tasked with mounting some piece of tech, whose relevance is inconsequential, in the nightmare closet with a drill. It’s at this point the spooks decide to let him know that they are, indeed, real. He gets up close and personal with a drill bit, inching towards his skull.
Needless to say, the small college team is not enough to deal with our haunters, so they call in the big guns. No, not some “medium” whose voice is so high pitched only certain breeds of dogs and four rodents can hear it, but a sturdy, Irish gentleman with his own ghost show. The kicker, of course, is his catch phrase: “This house is clean!” With no shame, whatsoever, I can admit that I chuckled. With no cameras in tow we find out that he is, as a matter of fact, a real medium. What I love about this character is the way he’s written, not like a superhero, or some paranormal badass, but a man with a gift, and very human. In fact, he and The Librarian are ex husband and wife, leading to some very well written dialogue between the two.
An earlier, irresponsible, purchase has left the young man with a drone camera. So they decide to send that in, after some setup, to try and find the young girl in the world of the dead. This is where the movie takes a cool turn, showing us what’s on the other side of the veil, and let me tell you: It ain’t pretty. Lightning! Chanting! Tables! Ectoplasm! And the final show down between the alive and the dead commences! But. No spoilers, folks.
With all seriousness I can say that this movie is actually really good. Putting aside all forms of nostalgia and preformed criticism, this is a hell of a ride, even giving me the willies once or twice. The material has been successfully updated, the characters and their interactions with the ghosts are much more believable this time around. Though CGI was heavily used, I still wholly approve of this movie. There are still some horror tropes woven in, but it adds to the fact that the filmmakers have not forgotten where they came from. Give this movie a watch, ASAP. And if you end up at the gates of the ooey-gooey, just tell them Deadman sent you. Stay tuned, folks!
Finances are tight but they bought a house.
Never trust the realtor.
Count the clowns.
Doll eyes. Stuffed animal doll eyes.
Stop counting clowns!
Don’t do that.
That’s a dirty drink.
There’s no gore, but plenty of gooeyness.
None to be shown, but there’s that one shot.
Trees, clowns, dolls, deadfolk. We got a smorgasbord, here!