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Once upon a time, there were barely any superhero movies. But Sam Raimi wanted to make his own, so he made Darkman.Flush...
10/12/2025

Once upon a time, there were barely any superhero movies. But Sam Raimi wanted to make his own, so he made Darkman.

Flush off the cult success of Evil Dead and Evil Dead 2: Dead by Dawn, young independent director Sam Raimi set his sights on making a superhero movie…of sorts. The result was Darkman, a twisted horror/action hybrid that featured a young Liam Neeson and ended up plumbing much darker psychological depths than even Tim Burton’s Batman — the only big superhero blockbuster around at the time — while giving Raimi’s bizarre sense of madcap humor a bigger playground to romp around in.

Raimi made Darkman because, as a relatively unknown filmmaker, no one would give him the rights to make The Shadow or Batman even though he pursued both. In Bruce Campbell‘s memoir If Chins Could Kill, Raimi told his longtime collaborator, “I really wanted to make The Shadow. But Universal Studios wouldn’t give me the rights to that. I met with them, but they didn’t like my views at all, so I went, ‘I’m just gonna write my own superhero.'”

In a 23-minute vintage interview included on the Blu-ray, Raimi explains that the source of the film was a short story he wrote and later expanded into a film treatment about a man who is robbed of his face and must therefore wear the faces of others. If he couldn’t adapt an existing superhero to film, he would simply make one up on his own.

After 16 movies, Godzilla 1985 stomped a fine line between sequel, remake, and reboot. In that regard, it was ahead of i...
10/12/2025

After 16 movies, Godzilla 1985 stomped a fine line between sequel, remake, and reboot. In that regard, it was ahead of its time.

It's a great-looking film, with lively cinematography and rich colors replacing the sparse, washed-out look of the ‘70s. It represented a clean break and a new start for the series, a huge step forward that set the tone and visual style for the next ten years. It may not capture the spirit of the original, but it was a different time, and the film reflected the era with full consciousness of its own past. That was the important thing.

When Jared Leto rides his light cycle into the world this weekend, he rides it into a cinematic landscape that’s very di...
10/12/2025

When Jared Leto rides his light cycle into the world this weekend, he rides it into a cinematic landscape that’s very different from the one that introduced his predecessor.

Today, Disney is synonymous with safe, formulaic entries. It’s Marvel movies earn millions by following a simple, tried and true formula, one that they cannot shake even when box office earnings point to signs of fatigue. The studio makes easy money by recycling animated movies such as Beauty and the Beast and Lilo & Stitch into CGI animated films with live actors. Critics may hate these retreads, but they never fail to do business.

In short, Disney today is bland, safe, and successful. None of those words applied to the Disney of 1982, when writer and director Steven Lisberger created Tron with Bonnie MacBird.

In 1984, the studio was still in a period of decline, having lost its way after the death of founder Walt Disney and then of his son Roy. Intercompany squabbling and a rotating group of executives meant that Disney put out some of its strangest projects—projects that aren’t good, exactly, but are far more interesting than most of their current offerings.

Today, it’s hard to imagine Disney as anything other than the behemoth it’s become, a studio that churns out familiar products filled with plays to the past–products that include Tron: Ares. Surely, Disney’s box office fortunes will turn and it will have to get desperate again, resulting in a new wave of oddities.

Until then, we have Tron, The Black Hole, and Something Wicked This Way Comes, movies that aren’t good, but are interesting and are worth remembering.

We have a brand-new look at the long-awaited Masters of the Universe movie this week, courtesy of Mattel and Amazon MGM’...
10/12/2025

We have a brand-new look at the long-awaited Masters of the Universe movie this week, courtesy of Mattel and Amazon MGM’s presentation at Brand Licensing Europe 2025 and via He-Mania!

Skeletor’s villainous stronghold, Snake Mountain, is looking wonderfully jagged and sinister in official concept art revealed by execs Greg Coleman and Ruth Henriquez at the event, proving that Eternia is ready to rise again on the big screen.

The BLE presentation also teased some details about the Masters of the Universe story. Travis Knight’s epic film will apparently opt for the origin story route, focusing on Adam’s (Nicholas Galitzine) transformation from a regular guy into a hero capable of going toe-to-toe with Skeletor (Jared Leto). This is quite a vintage blend of the Mattel brand’s classic myths and storytelling, which hopefully allows both older fans and newcomers to enjoy the movie.

“To build a film of the scale and scope, it takes a lot of effort, and it’s not easy to pull off,” Coleman told those in attendance. “Audiences are really discerning.”

At the end of Escape from L.A. (1996), Kurt Russell’s Snake Plissken fingers a device which can shut down all technology...
10/12/2025

At the end of Escape from L.A. (1996), Kurt Russell’s Snake Plissken fingers a device which can shut down all technology across the planet. Luckily, Paramount Home Entertainment will have the sequel to John Carpenter’s Escape from New York available on 4K Ultra HD before he can punch the 666-access code into the keypad.

Made for $50 million in the year Jurassic Park was budgeted at $65 million, the cult epic follow-up turned up the volume, action, FX, and nihilistic cynicism of its predecessor for an over-the-top high-tide hang glide.

Escape from L.A. is a dystopian satire where the U.S. government nationalized Christianity into a theocracy called the New Moral America, and elected Cliff Robertson’s President Adam as Chief Executive Officer for life. His first executive action is to deport the morally guilty – atheists, teenage runaways, drug dealers, abortion doctors, and other offenders – to the newly isolated island of Los Angeles. Riots, mudslides, fires, and earthquakes splintered the valley from the hills, and the only person who knows his way around town is “Map to The Stars Eddie,” played by Steve Buscemi.

Carpenter’s best films reflect their time in shattered glass. Escape from New York (1981) was conceived during the paranoia of Watergate, and introduced Snake like a Sergio Leone-spaghetti-western-style gunslinger thrown under a city bus to rescue an unpopular president in hostile territory. Driven by iconic tough guy actors like Ernest Borgnine and Lee Van Cleef, with Isaac Hayes as the Duke of New York, it shrouded savage social commentary in violent overkill, with devastatingly underplayed deliveries. Carpenter would further distort political distrust through the dark glasses of the sci-fi satire They Live! (1988).

Just when you thought Snake Plissken was dead, Escape from L.A., which also stars Stacy Keach, Bruce Campbell, and Pam Grier, pushes back against new imprisonments. The film skewered the false promises of Reaganomics, the fake affronts of the moral majority, and the phony checks issued for collateral damage. The only sequel Carpenter ever directed, it pulled out all the stops, and ended with a devastatingly dark conclusion.

Few production companies and studios have enjoyed as outsized an impact on modern horror as A24. Despite the indie label...
10/12/2025

Few production companies and studios have enjoyed as outsized an impact on modern horror as A24.

Despite the indie label producing and acquiring cinema from across an entire spectrum of genres—as opposed to being a speciality production house or streamer who focuses exclusively on horror—A24 has become synonymous among cinephiles for a certain type of chill: it’s often slow-boiling, frequently ambiguous, and forever a culmination of its director and collaborators’ distinct visions of what qualifies as spooky.

Over the little more than a decade A24 has existed, the New York-based studio has been at the forefront of defining tastes in the horror realm, especially with younger moviegoers, and cultivating the image (for better or worse) of the so-called “elevated horror movie.”

We might argue a better description would be that they were one of several key players who reminded the industry and audiences that horror movies can be original, innovative, and truly terrifying when you let warped minds run rampant and off formula. Here’s where they’ve taken us over the last 11 years…

Points were made. (via FB/Everyman Cinema Stratford upon Avon)
10/12/2025

Points were made.

(via FB/Everyman Cinema Stratford upon Avon)

An American Werewolf in London remains the most modern take on grisly gothic horror and one of the best werewolf movies ...
10/11/2025

An American Werewolf in London remains the most modern take on grisly gothic horror and one of the best werewolf movies ever.

Welcomed by a rather mixed critical reception upon its release (Roger Ebert called it “weird” and “unfinished” while Janet Maslin asserted that it backfires because of Landis’ “callow’ tone), this cinematic hellhound has nonetheless stomped forward through the decades, remaining not only the pinnacle for the werewolf subgenre, but also a generational touchstone for the countless horror-comedies that followed.

It is easy to note that as one of the first movies that mixed laughs and screams as plentifully as Rick Baker’s gooey effects mingled with the mud behind Windsor Castle, An American Werewolf in London paved the way for a whole new style of thrills seen in the likes of Lost Boys, Fright Night, Scream, Shaun of the Dead, and Cabin in the Woods, among others. It also remains the most visceral experience in prosthetic horror to date, handily winning Rick Baker the first Oscar for makeup effects, as well as inspiring the Michael Jackson “Thriller” video (which Landis also directed).

But for all of its influential importance, American Werewolf is still feels both exceedingly modern a throwback, causing it to stand as a benchmark in a style that studios have desperately and consistently failed to emulate in our post-R-rating world. Universal Pictures recently failed to reboot its “Universal Monsters” label, this time as modern action movies with a shared universe. But An American Werewolf in London almost effortlessly showed how to marry the gothic with the modern over three decades ago, and it’s still the best horror reimagining ever made.

Remarkably, An American Werewolf in London has aged little over the years. It barely reflects the temperament of ‘80s horror or the contemporary comedies that Landis had helped to define with movies like Animal House (1978) and Blues Brothers (1980). Admittedly, his supernatural chiller had plenty of laughs that would never have occurred in the gothic genre just 10 years prior to Werewolf’s release, but less than the inclusion of self-aware snark, this is a shrewd choice to cosmetically update a classical approach for the late 20th century. Similarly, it also was made in a pre-digital world where young men never had heard the phrase “social media,” and London’s Piccadilly Circus was still decidedly as seedy as Times Square, letting the final experience exist on a plain where its own influences feel fresh, yet oddly timeless.

All in all The Legend of Zelda: The Animated Series falls squarely into the category of guilty pleasure. Even the most f...
10/11/2025

All in all The Legend of Zelda: The Animated Series falls squarely into the category of guilty pleasure. Even the most forgiving critical analysis can’t deny that on an artistic level it’s not very good, but that doesn’t stop it from being eminently enjoyable. It’s quality nostalgia and, at a total running time of just over three hours, not a bad way to kill an afternoon. And if you disagree, well then excu–

Kidding.

"You're so cool, Brewster!" More than 30 years later, Fright Night still has power over us.The movie was a hit when it c...
10/11/2025

"You're so cool, Brewster!" More than 30 years later, Fright Night still has power over us.

The movie was a hit when it came out, earning just under $25 million at the box office (in 1985 dollars) and becoming the second highest grossing horror film of that year after A Nightmare on Elm Street 2: Freddy’s Revenge. It spawned a sequel, Fright Night 2, a 27-issue comic book series, a video game, and of course the inevitable remake, released in 2011 (which itself led to a loosely-connected direct-to-video sequel in 2013). The original movie was released as a limited edition Blu-ray in 2015, with all 3,000 copies selling out quickly and some fetching three-digit prices via resale. You can probably still find the far inferior DVD around.

Now that all those basic facts and figures are out of the way, let’s get to the heart (so to speak) of the matter: why was Fright Night so popular in its day, and what makes it an enduring classic three decades later?

For one, Fright Night came along at a perfect time. The horror genre had been inundated with slasher films for the first half of the ‘80s, thanks to the impact of Halloween (1978) and Friday the 13th (1980) and even though there were still movies released that dealt with supernatural horrors, the classic archetypes of the genre had been replaced by psychopathic masked killers and horror itself almost solely associated with that particular subset of films. Monsters like vampires and werewolves were not out of the picture entirely (thanks to films like An American Werewolf in London) but the slasher was the dominant figure of that period.

So here came this film that not only was about a vampire, but a traditional, very Dracula-like vampire making his way in the modern world. The TV version of Stephen King’s ‘Salem’s Lot, broadcast six years earlier, was set in the present but in rural Maine, where you could believably imagine a vampire infestation taking root. Fright Night put the bloodsucker right in the suburbs, right in the heart of Reagan’s America, and made him into the homeowner next door (a convincing case could be made that Jerry Dandridge was a stand-in for s*xual predators, but that’s another article).

But Fright Night represented another far more interesting crossover: the fusion of the old-school horror film with the contemporary teen thriller — and with an added layer of self-awareness to boot. Predating the post-modern Scream by more than a decade, Fright Night takes place in a world where our protagonists — Charley and Evil Ed — are fully aware of the conventions and clichés of vampire movies and lore. That gives the movie an opportunity to indulge in some genuinely clever humor, making it also one of the first and best of the modern horror/comedy hybrids.

Diane Keaton has passed away at the age of 79, People reports.The Oscar winner's legendary career included ‘Annie Hall,’...
10/11/2025

Diane Keaton has passed away at the age of 79, People reports.

The Oscar winner's legendary career included ‘Annie Hall,’ ‘First Wives Club,’ ‘Father of the Bride,’ ‘The Godfather,’ and more.

No further details are available at this time.

One might say that Howard the Duck is one of the most (unfairly) maligned films of the 1980s. As something of a Duckolog...
10/11/2025

One might say that Howard the Duck is one of the most (unfairly) maligned films of the 1980s. As something of a Duckologist myself, I’d like to point out that the film is definitely stranger and funnier than you probably remember.

So why was it such a bomb?

Well, its flirtation with be*******ty aside, I think one of the main reasons Howard the Duck flopped when it was released back on August 1, 1986, was that the marketing campaign was terrible.

Let’s take a look…

The first look audiences were given of the film is this bizarre teaser in which Lea Thompson’s Beverly Switzler character coos about wanting to fornicate with a waterfowl. By judging the movie on this footage alone, you’d be forgiven if you thought that Howard the Duck was an especially kinky teen comedy. As they proved with their previous script for Indiana Jones and the Temple of Doom, director Williard Hyuck and producer Gloria Katz were huge fans of wild tonal shifts in their work. For the second Indy adventure, the levity worked given that the film featured hearts being forcibly extracted from chests.

But seeing how Howard the Duck is, above all else, a comedy, it is especially jarring when things get bleak (i.e. the Dark Overlord brutally executes a state trooper). Couple this with the almost s*x scene between Beverly and Howard, and you’ve got a marketing nightmare on your hands. And so Universal tried to pitch the flick as a wild comedic adventure for the whole family with the full trailer.

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