(l-r Miley Cyrus; Ronda Rousey; Amanda Bynes) white girl twerks; white girl attitude; white girl crazy: these were bad but not as bad as the 10 worst horror film |
The Masters of Horror could have
returned for at least one last film. The second generation of new Masters1
should have released their magna opera. Neophyte directors would have premiered
their bloody offerings. It would have been Horror’s greatest year. It would
have lasted a hundred years.
Alas no one noticed. 2013 has come and
will soon be gone. Only one movie released this year is worthy of nomination
into Thrill Fiction’s Top 100 Horror Films. As such this ‘worst’ list should be
able to write itself but au contraire; it’s like dredging a cesspool looking
for material that hasn’t dissolved.
10 SOLO CAN
In October this year Shock Till You Drop
became film distributors. Solo, a camper-in-peril
story, is their first effort. It’s also their worst effort. Lead actress Annie
Clark hints at future possibilities but she cannot lift up Olympus. The camera
focuses on her for too long. It reveals a plain Jane made to look somewhat
pretty being asked to distract the audience from the farce of this hollow
shell. Julia Roberts in her magic youth didn’t try this at home.
9 THE COLONY
US
There is a certain type of
distinguished thespian who consistently brings gravitas to the motion picture.
The British call him Michael Caine. The Americans call him Morgan Freeman.
Christopher Nolan calls them whenever he wants to. In horror films they are
called Robert Englund and Tony Todd. There are others. For example Laurence
Fishburne is an actor of gravitas.
At the first sight of snow the viewer
is alerted that this is a The Thing
1982 rip off. As soon as
Fishburne dies (in act 2) the audience is advised to ask for their money back (the
producers should to take the writers to small claims court).
Overnight 2003 chronicles the
events from script to first screening of The
Boondock Saints 1999. The documentary shows how Harvey Weinstein can destroy
careers – and by extension lives. Mandy
Lane
had an international release in 2006 but a US limited release last September. Harvey
can waste dump his genre films as and when he pleases but the true story of Mandy Lane is waiting to be
made into another documentary. In the
meantime the cinema release has a reveal that could have been horror’s answer
to Planet of the Apes 1968. Alas it was
botched. Further Amber Heard plays the titular character.
Right again Harvey.
7 TEXAS CHAINSAW 3D US
The
Texas Chainsaw Massacre 1974 stunned the world.
It still stuns. What’s equally stunning is Lionsgate’s capacity for
exploitation. Tobe Hooper’s fable could have been written by Aesop. It is a
self contained complete story. There is no narrative latitude for sequels or
prequels. Post 9/11 there is no cultural rational for a remake.
Addendum: This isn’t a remake; this is
3D.
6 EVIL DEAD
US
Here is a perfect display of fandom.
The original trilogy soared from no-budget to low-budget to wide release. 20
years later and the franchise never really went away (unlike the Candyman and Jeepers Creepers series). The fans
demanded a reboot. They deserved more than a remake (of a film about demons)
that has no soul.
5 DARK SKIES US
It’s always good news when a studio
announces a horror film. It’s usually bad news when the studio releases that horror
film. However there is precedent for greatness: Rosemary’s
Baby 1968; The
Exorcist 1973; Scream 1996. There is precedent for
good films eg Final Destination 2000. There is no excuse for Dark
Skies
- and how on earth did it make a profit?2
The Weinstein Company should rename
itself Weinstein & Son the way they make money from junk.
4 BLACK ROCK
US
It’s a bad day for horror when the Political
Correct faction wants to see our papers. In this film three white women (on
their way to domestic-soccer-mom-bliss) play the leads. This is not The Craft 1996 or even The Descent 2005. This is
gaggle-babble feminazi white-victim fantasy with the expected dose of civil
rights contradictory racist appropriations.
Vile.
3 FRANKENSTEIN’S ARMY US
This found-footage feature is set
during World War 2 and is about a Captain America type program gone wrong. The
concept isn’t terrible but how much footage can be found in a 1940s era camera?
The ‘terrible’ comes with the budget:
Attention aspiring filmmakers! If you’ve
got no money – make a film noir.
2 THE DEMENTED US
This is no name/no talent camcorder
teen cinema. It is indicative of the genre’s current torpor. The mere idea that
one human being would charge another to watch this is proof there is evil. Civilians
use condoms; the Hollywood system uses a filter to guard against STDs
(Straight-to-DVD).
1
INSIDIOUS CHAPTER 2 US
There is a new generation of horror
film fans. They elevated the mediocre Insidious 2011 to a smash hit hence
this sequel. They watched The
Purge 2013 and The
Conjuring 2013 the way their parents watch American Idol. There is only craft. There is no art.
Congratulations James (Wan). You
crafty bastard. You sold out. Now you can cash in. Why don't you direct a mainstream action flick? They'll give you $160million to play with - but they'll want their pound of flesh James. You sold out. You will pay up. They demand it. Should anyone ever nominate you for
a Master of Horror1 I will remind
them of Insidious Chapter 2.
For unrelated reasons I
stopped watching soccer in 2012. It was a lifelong habit. Friends didn’t
believe me. They do now. This year in horror was as bad as last year and next
year doesn’t look scary at all. I don’t know how much longer I can watch
camcorder cinema and corporate horror but at some point I’m going to have to detox.
Gonzo porn is better than this (and I don’t watch that anymore). What will
happen to the industry if Thrill Fiction withdraws its support? You’ll be left
with punters who think Idle
Hands 1999 is classic cinema.
That’s a threat.
Read more Thrill Fiction: Attack the Block
1 Masters of Horror (Origin) Wikipedia
2
Dark Skies BoxOffice Mojo
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