The Spooktacular Eight #2: The Slayer (1982)

I did promise i would cover more Arrow Video releases.

I didn’t specify or pointed out that they also re-released a lot of slasher flicks, so we’re not talking about the works of Park Chan-wook, Miike or Buttgereit, not today.

Today we’re talking about one of the many cult slashers from the 80s (really, what slasher from that era ISN’T a cult sensation today?), The Slayer, the debut feature from genre director J.S. Cardone, and yet another one for the “video nasty” list, which in retrospect helped these movies gain more notoriety than they ever could wish for, so yeah, good one Thatcher and co.

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American McGee’s Alice PS3 [REVIEW] | The vorpal blade went snicker-snack!

Oh yes, American Mc Gee’s most well known work, his take on Lewis Carrol’s Alice.

The story is not really that original in retrospect, it’s the usual “let’s give fairy tales an edgy reinterpretation with a grim, depressing tone” applied to Alice In Wonderland, so here Alice is Alice Lindell, a british orphan that by chance survived the house fire that took away her family at the age of 10 (or something), and was basically raised in an asylum, mostly likely treated to a Richard O’ Brian-less brand shock therapy as well.

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Bone Eater (2007) [REVIEW] | So, as i pray

Yes, there’s more. There’s always more TV movie monster movies for me to dig up… often just picked to kill off some time on a sleepy saturday morning from my Amazon Prime Video watchlist (when the frigging service decides to keep or relist them without charging more for it, despite being obvious fodder, always were, always will). And there’s a 40 % chance Jym Wynorski directed them.

Jym Wynorski direct this as well, why even doubt he didn’t direct them all at this point?

And as you might have guessed from the year it was released (and my other reviews of similar TV movies), it’s another SyFy commissioned crapfest produced via CineTel films, who also brought us movies like Lavalantula, the Ghoulies franchise, Super Shark, Indipendence Daysaster, even the new strand of I Spit On Your Grave sequels (following the 2010 remake). Just to name a few.

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Mega Snake (2007) [REVIEW] | Snake Of The Father

Things lead to things, and so i accidentally started out a Tibor Takacs mini-retrospective of sorts. It just kinda happened, i guess.

And sadly, no, he never made a TV movie about killer frogs or slugs to complete the “asian rock-paper-scissors” trifecta or the “Aesop fables’ bingo”, but he did direct this for SyFy the same year as Ice Spiders, and that would the last creature feature from him until Spiders 3D, as he preferred to do more disaster movies about tornadoes (regular ones) and christmas-family movies, which is – in a way – quite usual for older genre directors to end up doing in the later years.

But today is snakes, or at least one singular Mega Snake, and it’s a bit more interesting than Ice Spiders, more ridiculous but also less by the numbers, even if it’s another Nu Image joint shot in the Bulgarian capital for the same reasons already discussed in previous reviews, as it’s quite cheap.

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Talking bout that new dang Nintendo Direct

So, as it’s customary and cyclical event by now, a new Nintendo Direct dropped at midnight today, and i have something to blabber on about without planning much.

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Reflecting a bit on the new Shaman King anime for Netflix

So, a month or something ago the new anime adaptation of Shaman King dropped as a Netflix exclusive, and after watching the first 8 episodes, i think there is something to be said (in a non-elaborated, just “vomiting my thoughts without much editing or revision” way) about Shaman King and its legacy, and how this new adaptation is indeed trying to propose a very old shonen series to modern audiences, but staying as loyal as it can to the source material, which is nice but it also shows how old and fairly ancillary feels this series today, with many others Jump series that came out at the same time, later or before and still left a bigger, longer lasting mark on the genre.

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[EXPRESSO] Shang-Chi: The Legend Of The Ten Rings (2021) | Wuxia To The West

So, this is Marvel first attempt at doing more asian style action movie, introducing a new protagonist, the titular Shang Chi, forced to face his past as he was raised from infancy to be a perfect assassin by the criminal organization known as the Ten Rings, commanded by The Mandarin (connecting it to the Iron Man movies), and we also have Benedict Wong – as one would expect – is playing… well, the character of the mystic Wong, seen before in Doctor Strange.

YEAH, if it feels quite generic from the premise, and the idea of having Marvel “manufacture” a wuxia fantasy film while also doing a superhero movie and keeping their style of doing it.,…it’s not exactly that alluring, especially with the plot sounding really cliched as hell: the “face the master-father that’s also the boss of a criminal assassin ring so you can be free” thing, etcetera, etcetera

And while it a good step in terms of representation, it also just like the bare minimum by today’ standards.

It’s not a bad movie, but in a way it’s exactly what you would expect from a Marvel movie cramming asian martial arts, wuxia style fights and fantasy-mystical elements usually seen in Chinese (and chinese-related) cinema into their usual superhero mold, and while the action scenes are fun, it’s hard to care much about the story or the characters (aside from the sympathetic villain played very well by Tony Leung, outacting Simu Liu as the main character a lot), they’re mostly ok, but their arcs are brashly executed or not really interesting, given how token pretty much everything is here.

It’s a bit frustrating, as it could have been EASILY so much worse, but also isn’t quite decent, not helped by boring, cliched flashbacks and feeling a bit too long.

[EXPRESSO] Candyman (2021) | The Writing On The Wall

Almost went into this one completely “blind”, as while i was aware of the Candyman series, i never experienced it. I thought it was gonna be a reboot since it was discussed as such, but i caught wind of it now being a direct sequel to the original 1992 Candyman.

So i watched that one (didn’t have time for the sequels) for the sake of a better review just before going to see this new film, as i wanna know what i’m talking about, you know.

Still, the premise feels like this could be a reboot, as it’s about a visual artist, Anthony, that learns of the urban legend of Candyman (a 19^th centhury slave brutally tortured and then murdered with bees) from the brother of his fiancee Brianna, an art gallery director, and together with her decides to do an exhibit on the subject. But things go awry as people that attend the exhibit start dying. Not ideal.

Make no mistake, though, this is NOT a reboot or a “spiritual sequel”, this is indeed a direct sequel to the first Candyman, and many plot points from that also come back into this one, so one wonders why also just call it “Candyman”, but i guess it’s for marketing’s sake, and the Halloween series already did this stunt before, so…

While it can be seen on its own and they explain most of the important stuff, you’d do yourself a bit of a disservice going to watch this without having seen the 1992 Candyman, as this sequel does play around with the mythos of the Candyman and elaborates on the themes in a modern and ambitious way that honestly feels quite a fitting, natural progression for the concept.

And i’d say the result it’s quite good and pays off indeed.

Senran Kagura Burst Re:Newal PS4 [REVIEW] | Godfrey Hoppai

Expect to see more Senran Kagura reviews in the future, for now we’ll talk about the remake-port of the first game in the series, arriving in the west on 3DS alongside the extra campaign added in the “Burst” version, and later remade for PS4 and PC. I choose the PS4 version, but it’s also on Steam.

Having played the 3DS version throughly, i wasn’t opposed to a remake like this, unlike many fans that didn’t want to accept the fact the game was crap. It was. It had something to it, but like most of the Oneechanbara games (and overall a lot of Tamsoft’s output), too many flaws and a lot of repetition harmed the experience, and in the case of the first SK game, it didn’t help it tried to pull off a 3D style beat em up while having the set-up of a 2D beat em up. And being really long just to be long, without any variation and the 5/6 stages backdrops re-used again and again.

One thing that didn’t change is the story or it’s presentation, they just upscaled and used better polished assets, models and sprite from the more recent main Senran Kagura games, but even so most of the visual novel segments and illustrations are preserved, alongside the anime opening. Which is fine.

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[EXPRESSO] 32 Malasana Street (2020) | The Madrid Haunting

A Spanish-French coproduction, going by the international title of 32 Malasana Street, which is nearly identical to the original spanish title.

So of course it arrives in italian theathers titled “Possession – L’Appartamento Del Diavolo” (which translates to “Possession: The Devil’s Apartment”). Of course.

Originally i was planning to see it last Halloween, but i didn’t manage to because another lockdown hit cinemas here the day after this came out, and turns out it has been delayed to now. I was gonna see it due to “starvation”, since i don’t really care about the “possession-demons” subgenre, it’s definitely not my favourite type of horror movie, but i’ll give it a fair shake regardless.

The story has a nice backdrop, as in it’s set in 1976’s Madrid, just after the fall of Franco’s regime, and follows the Olmedo family moving to the capital in search of a better life. They get lucky and somehow find an apartment in the city center for a bargain. Things start getting better, but strange, unexplicable events keep happening in the house, until the youngest child, Rafael, just disappears.

Ah, yes, the old horror movie tradition of estate listings being too good to be true.

I’ll be honest, 32 Malasana Street isn’t original in any way, it uses a lot of familiar clichès (especially for “possession/haunting”flicks), and i mean a lot, the premise is as stock as it comes, but there’s some gusto and a lot of confidence to the execution that it helps the movie in rising above being the usual rubbish.

It definitely helps that the entity is quite aggressive from the get go, things happen at a good pace, the character are quite decent, quite relatable, the audio design is pretty good and there’s an expectedly “sensitive” good twist to boot.

Surprisingly decent.