New Year’s Evil is a better-than-average slasher flick if you ask me. I featured it in July of 2016, which really doesn’t seem that long ago, but here we are: on the brink of 2018. Happy birthday, world.
I was surprised to find Take Shelter on Shudder because I wasn’t under the impression it was a horror movie. Thankfully, it fits in quite well because it’s more unsettling than a lot of the catalog there. You could call it “psychological horror,” but that’s misleading as well.
It’s hard to talk about Take Shelter without diluting it. I’d advise you to stay clear of online discussions and marketing material until you’ve had a chance to see it for yourself. I’ll tread lightly in regards to the plot. I always do, but I’ll be especially careful here.
Michael Shannon, who walks a fine line between everyman and “hey, it’s that crazy guy,” is just about the only person who could play this role: an everyman who might be going crazy. Shannon has increasingly vivid visions of impeding doom, which he tries to keep a secret from his wife (Jessica Chastain) and his deaf daughter. Global doom is scary, sure, but the film also plays with a host of other fears including debt, job instability, health care, and the inability to protect and provide for your family.
This may seem like quaint subject matter, but the movie is potent because it’s so grounded. The best movies about global events (Romero’s Dead films, the Mad Max series, Children of Men, etc.) are great because they’re not really about the superficial apocalypse stuff at all. Indirectly, they’re about what’s going on beneath the surface, particularly the fear of the future and the unknown. Take Shelter does the same thing, but in an entirely different way. The apocalypse may or not be real, but it’s coming either way.
Had the end of this film been in almost any other movie, I would have rejected it as pretentious nonsense. I’ve read plenty of differing opinions on the matter, and while none of ’em have fully swayed me, I appreciate so many people get something different out of it.
As for Shannon, I’m beginning to think it’s worth while to check out everything he’s ever done. Even in the movies I didn’t like, he was worth watching. And I’ve been on the fence in regards to Jessica Chastain, probably because I haven’t seen many of her movies, but I grew fond of her warmness in Take Shelter almost immediately. Supporting actor Shea Whigham, too, is pretty spot-on; I regret that in my Splinter post I reduced him to “a guy who kind of looks like Robert Carlyle.”
Seriously, don’t mess around with trailers or reviews or any of that shit. Just give the movie five minutes and see if it doesn’t hook ya.
As usual I’m behind schedule. The holiday madness, ridiculousness at work, and the blog move aren’t helping one bit. I’m still spinning my wheels in part three (I like how I expected to have this section done by “the middle of the week”). The three parts in the middle of Corpus Evil are tightly woven, which means changes in one section cause ripples across the others, but I expect to have them done around the same time. By “done” I mean ready for the girlfriend inspection, at which point it’s going to be ready for other pre-release readers.
Amazon pre-orders for Corpus Evil will probably begin in January. I wasn’t aware you couldn’t list Amazon pre-orders more than 90 days in advance of the release date, which doesn’t feel like enough time to gain steam there. Frankly—and this is coming from someone who uses Amazon regularly—it’s troubling that the retailer has so much of the market under its thumb. There are certainly a lot of benefits, but how long will it be before they impose the same level of idiotic censorship on indie books as they do indie movies?
To be clear, Corpus Evil is far from the “extreme” variety of indie books in my opinion, but it hardly feels like my opinion would matter to the bastards whose guidelines made Samurai Cop 2 unwatchable on their VOD service. Not that I’m certain that movie would have been very watchable to begin with (I’m not a big fan of self-aware B-movies), but that’s beside the point.
During a game of hide-and-seek, four school children accidentally push a little girl from the top floor of an abandoned building, killing her instantly. The bitchy ring leader of the gang makes the other three survivors swear they’ll never tell anyone what really went down. Fast forward six years and the children are now teenagers, gearing up for prom night. They’ve managed to keep their dark secret and it doesn’t really seem to affect any of them. This is odd to say the least.
Jamie Lee Curtis, who looks a little too old to be a high school student, is the sister of the victim. Her father is Leslie Nielsen, who isn’t nearly as fun as he was in Creepshow, and Sledge Hammer’s Anne-Marie Martin plays Curtis’s hot, Corvette-driving rival. The instigating moment of the film, mentioned in the paragraph above, happens in the first five minutes. Then nothing interesting whatsoever happens until the final act, at which point the masked killer will chase the characters through scenes that go on for far too long.
I’m not sure why Prom Night is sometimes considered a classic. It’s about 90% filler and it’s immediately clear the killer is one of three people while, at most, only around four people will die. The infrequent kill scenes are so tame the film probably could have gotten away with a PG-13 rating if not for a handful of shots containing brief nudity. Unlike most slasher films, it’s not poorly made on a technical level (it’s actually pretty decent), but it really isn’t very interesting content-wise, either.
Some minor issues showed up after the transfer to WordPress. If you check out older posts, you’ll notice some paragraphs got squished together. I’ll be working on that, and making the blog look nice, in the coming weeks/months.