It’s 1999. 2 months before Deep Blue Sea hits american theathers, another TV movie about sharks is released, to fairly negative reviews. Not that this will stop Shark Attack 2 and Shark Attack 3: Megaladon to happen the following years.
Continua a leggere “Shark Attack (1999) [REVIEW] | Nu Sharks”
Since i couldn’t find a copy of Mississippi River Sharks NOT dubbed in hindi (not offense, but i don’t understand a lick of it), i’m doing this one.
Never heard of it before, just randomly happened upon it while browsing Amazon Prime Video, under one of its alternative titles, the imaginative “Killer Shark”.
Compared to the choking hazard sharks, i guess. Continua a leggere “Swamp Shark/Killer Shark (2011) [REVIEW] Bayou Boyah”
We’ll do Mississippi Shark Attack later (maybe), first we have to deal with sharks in the Ozarks region, because as we know damn well by now, the lack of oceans or seas won’t stop sharks (especially TV movies’ sharks) from appearing, as Dolph Lungren and Mackenzie Rosman (just to name a couple of random names) are well aware.
Also know as Summer Shark Attack, let’s be as specific as possible, it’s not like 99 % of these movies take place in the summer or in sunny places anyway. Then again, there are winter shark attack movies (more than they should), so the need to specify in what season it takes place is not completely useless. Continua a leggere “Summer Shark Attack/Ozark Sharks (2016) [REVIEW] | Fireworks Sharks”
How could i do a shark movie extravaganza without covering one of the most notorious pieces of “sharkxploitation”, especially if it comes from the motherland?
Italian exploitation cinema had always been very quick at tapping into trends (even inventing one, with the cannibal craze), but even without waiting for a resurgence of the shark movie (Jaws was released 20 years before, remember), many genre directors were quite happy to pump out monster movies like this regardless. And of course Bruno Mattei (credited as “William Snyder” here) wasn’t one to back down from anything. Continua a leggere “Cruel Jaws (1995) [REVIEW] | Editing Sharks”
Yeah, more shark movies from Christopher Douglas-Olen Ray, this one called simply Shark Week (like Discovery Channel’s popular series, because marketing), a title that cuts to the core but doesn’t really tell you what exactly you’re about to see (besides the fact it’s like 3 days, not a week, but i’m just being pedantic).
It’s basically a mixture of Saw and a shark movie, or the Asylum version of that. Continua a leggere “Shark Week (2012) [REVIEW] | Jigshark”
How you do follow up on a movie that actually had a proper ending, without any open subplots left by the end or random sequel bait? The right answer is “you don’t”, but i guess Warner Bros needed to milk some of his forgotten properties, so here we are.
There’s no other reason to make a Deep Blue Sea sequel 19 years apart from the first one, and i don’t know how it worked, since it’s released directly to home video without anyone either caring or knowing this even existed. I had to buy an UK dvd copy, since i guess not even Netflix or Amazon Video cared to have it streaming in my region.
And when i say “sequel”, i mean… that, usually, but this is a perfect, by-the-book academic example of “sequel in name only”, if we ever needed another one to prove any kind of point anymore. Continua a leggere “Deep Blue Sea 2 (2018) [REVIEW] | Sealab 2018”
So, yeah, for a change let’s watch a shark movie made in a pre-Sharkenado era, but also after everyone and her grandma was making Jaws rip-offs (like the italian Great White and Cruel Jaws), a shark flick that actually looks like a movie and not a college graduate attempt at a movie during a boring summer holidays, or an attempt to sell your shit movie as ironic “so bad it’s good” material.
Given the kind of shark movie i end up watching and reviewing here, i’m surprised by many things in Deep Blu Sea, as production values, company logo you don’t have to google, a cast with recognizable actors, cinematography that doesn’t remind of Weasels Rip My Flesh, set designs classifiable as such, special effects made with budget and expertise, i’m really feeling spoiled by this one! And a bit sad because of how the bar got embarassingly lower and lower for shark movies in time. Continua a leggere “Deep Blue Sea (1999) [REVIEW] | Shark Brainiacs”
(finally got another chance of seeing this in theathers)
Despite the mostly negative reception in the States and the frankly stupid idea of doing ANOTHER remake of Ju-On/The Grudge…. at least it had to just be better than the 2004 american remake, and that one had the same directors of the original. Then again i haven’t watched any of the sequels yet (american or japanese ones), but i can confirm this one is a “side-sequel” meant to connect with the 2004 american The Grudge.
And this is the main problem, as it wants to not disregard the previous american movies, but also doesn’t want to rework the premise to make sense in a completely different place and culture, or to make you forget that this a western remake of japanese movie. So there a willingly suicidal tendency to this one taking place in America with an american cast (plus John Cho), but still having to originate from Japan, with the curse basically using a character as a vessel to propagate itself in a small town, where a local sheriff investigates strange murders seemingly connected to a single house, all told in a non-linear fashion (as you’d expect) with the characters acting as “chapters-victims”.
It’s kinda tragic, because Nicolas Pesce manages to craft good characters and make you care about them, the drama is decent and the acting good, but when it comes to the horror parts, you’d wish the movie didn’t bother at all, even without throwing into the mix the trite j-horror movies cliches, or stuff that “has” to be here regardless, just because it’s The Grudge. The open ending doesn’t help.
Definitely a step up from the 2004 The Grudge, but please, let this type of “reboot/remakes of japanese movies” stay where it belongs. In the past.
“It’s like Aliens, but”… you probably have heard these words more times than you wish, and i remember a similar situation some years ago, when the sci-fi horror thriller Life (starring Jack Gyllenhaal) came out, a good movie, but also one that fully deserved that comparison for actually having a similar plot focused on a crew trying to survive a killer alien lifeform in space.
Viceversa, i understand why many made this comparison again for William Eubank’s new movie, Underwater, because despite the completely opposite setting, it fits the typical sci-fi horror- thriller formula like a glove, and you can effectively swap out “deep space” for “ocean’s abyssus abyssum” without having to change pretty much anything.
The plot sees a deep-sea mining facility being unexpectedly torn apart by an unknown force, with the few survivors in the structure uniting in order to find a way to another outpost, in the hope of finding escape pods before the main drill’s nuclear core erupts, but as they venture into the depths, they also find horrible and vicious creatures lying in wait and quite ready to pick them off, if faulty equipment and the dangerous living conditions didn’t already…
The director of The Signal (the one from 2014 with Lawrence Fishburne, not the other one) here didn’t feel like reinventing anything or playing around with the genre, but then again it becomes pretty clear the intention was just to make a fun sci-fi horror thriller (not that advertising was deceptive, quite the contrary), one i’m glad it’s set underwater instead of space after all.
And on this regard, the movie delivers, with good cinematography, decent atmosphere, good creature design, decent characters, and a satysfing finale. Story is sadly derivative as it gets, but despite this, i’d quite entertaining, and worth a watch.
After the tragic suicide of their mother, a couple of sibling is spending the weekend before Christmas in a mountain lodge with their new stepmother, whom they actively dislike (and kinda blame for their mother’s death, for reasons that are kinda spoiler). As thing between them seem to finally improve, strange events start affecting them, and the stepmother’s past as the only survivor of a cult mass suicide begins to surface…
Good atmosphere, good performances, but there’s also a reason if it felt similar to Goodnight Mommy, of course it does, it’s from the same directors, Veronica Franz and Severin Fiala, which in itself should be a glowing recommendation, but this simply isn’t as good, as – besides the slow pace – it feels more indecisive if to go the paranormal-possession or the paranoia-hallucination route, so it kinda takes time before unveiling the twist, which makes sense and brings some intense scenes, but it’s not particularly satisfying and can kinda be see coming.
Doesn’t help it’s edited in a way that i kinda expected the film to end a couple of times before the actual finale (not sure if good or kind of a cop-out), and the whole stepmother’s backstory about the religious cult doesn’t really make for original or particularly effective visuals (kinda cliched, actually), but it handles them better than regular movies about possessions and religious rituals. And still, it has its creepy and intense moments, the acting is quite good, it’s a more than decent horror thriller that it’s worth seeing, even if a better script would have been welcome.
And the – sadly – unfavorable comparison to Goodnight Mommy isn’t unfair, i fear it’s kinda unavoidable (for the previously mentioned reasons). Not exactly disappointing, but it’s a bit frustrating as you can see how it could have been better. 😦
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