April Fool's Day (2008)

An interesting oddity recently occurred. The day after the "re-imagining" of April Fool's Day was released, I added it to my Netflix list. I was in no great hurry to see the film, as I was never a big fan of the original, and I'd heard some truly atrocious things about this new take; besides, every time I add a brand new release to my queue, I get the "Very Long Wait" notice. But here's the odd part: April Fool's Day had no wait at all. Two days after its release, I had the movie in my apartment.

The inference I drew was obvious: Nobody-- and I mean NOBODY-- wanted to see this movie. In the age of the horror remake, where the critically reviled Prom Night redux just finished #1 at the box office, fans had turned their backs on April Fool's Day. Hell, even the studio responsible for its distribution didn't seem to care; Sony dumped it straight to DVD, without any extras of note. Considering the general apathy for the movie, I pondered for a moment whether I should even put it into my player. But morbid curiosity got the best of me, and so I watched. And not surprisingly, I joined the throng and didn't really care much about April Fool's Day.

I'll spare you all the arguments against the current remake craze in horror. You've read them all, and suffice it to say I agree with every one. But the new April Fool's Day is so appallingly bland on its own, you don't even need to apply said arguments to be bored with it. For those who are fans of the original, however, let me say this. I always thought it was a one trick pony; once I got to the end, I wasn't so taken by the twist. But at least that version tried to generate some scares, even if those were cheap ones.

The new version bypasses scares altogether In fact, watching the first forty minutes or so, I would never have suspected I was watching a horror film at all. The tone is all wrong. Scary music, tension through acting, a terrifying plot, all these have been replaced with a the overall mood of a soap opera. As the end credits rolled, I seriously wondered if the powers that be had aimed to create a CW episode of One Tree House on Haunted Hill.

Adding to the soap opera feel are the characters. Or more accurately, the one dimensional caricatures. There's the bitchy debutante , only concerned with her social status and bank account; her brother, the philandering playboy; a senator who's way too young to be the RA in a college dorm; his aging wife, who must be all of 20; Scout Compton Taylor (have a fun career on the Sci Fi channel, Scout!); and some dude with a camera who wants to document events (Wes Bentley, you were much creepier). The only role not churned out of the Generic Stereotype Generator is the gay rich kid who can't swim (I can't even make this stuff up, folks). These characters meet to induct Scout into some social clique. Another character, the easily drugged "hot" blonde, arrives. Some of the characters dope her so they can film her in bed as a hateful April Fool's joke. When she plummets off the balcony, they find themselves in a whole heap of trouble, especially a year later when it looks as if she's returned to knock them all off.

This movie takes an even worse turn here. Having established the bitchy debutante as just that, the film asks the audience to sympathize with her, as all her friends are dying violently around her. I'm sorry, but this is a girl who drugged someone for her own amusement and caused her death. If this were an EC comic, she'd get her just desserts as the dead girl rose from the grave, a zombie stalking her. Alas, this is just a really bland movie, so I didn't even get my zombie fix. Instead, I get a lame plot twist at the end, one which would have driven me to hate all these characters, if only I'd cared about them to begin with.

Extras, you ask? No, folks, it would have taken some exertion to cull them for the disc. This is a lazy effort throughout, so all you get is about a dozen trailers that don't include one for this movie, and French subtitles. Yes, French subtitles. Apparently, Sony's apathy for this project ran so deep that they didn't even bother to include them in English.

As I removed the disc from my player, it occurred to me again that nobody-- and I mean NOBODY-- cared about this film. Not the directors, not the writers, not the studio, and most certainly not me. I'd say you'd do best to avoid this flick, but then, you already have. Because you don't care either.

--Phil Fasso

Posted by Phil at 11:05 PM | Permalink | Comments (1)

DON’T GO IN THE HOUSE

A moderate attempt at psychological horror that just misses the mark in terms of it’s excellence. The focus of the story is Donny Kohler, a man who we know isn’t all there from the start after he witnesses a co-worker accidentally set ablaze. Instead of helping the guy he just watches with a cold stare as if in a trance. When he returns home that night he finds his overbearing, abusive mother dead. After the initial shock wears off he does what anyone would do in this situation. He blasts some disco, jumps on a chair and smokes a cigarette. The purpose of these moments is to showcase the freedom he feels once the constraints of his demanding mother are lifted. But not all is well for Donny. The death of his mother awakens a hatred within him that has been suppressed for years. Socially awkward and lacking communication skills he goes out looking for women he tricks into coming over to his house. Once there, they are stripped, hung up by their wrists, doused with gasoline and burned alive with a flamethrower. The success of Don’t Go In The House lies heavily on the shoulders of Dan Grimaldi who plays Donny. He’s virtually in every scene and the movie doesn’t focus deeply on any other characters. They’re just there for Donny to play off of. I found Dan Grimaldi’s performance a bit schizophrenic. Sometimes playing it straight, other times over the top and at times underplaying the role I think helped convey how unstable this character is.. Whether that was intentional or not is another matter. Although the character is responsible for some grotesque acts, you kind of have some sympathy for him. I also liked how his MO was established with him offering help, usually in the form of transportation, to women in need of such assistance and then bringing them to his house. The house itself, which a large portion of the film takes place in, is the perfect choice. Some of the house is clean and immaculate while the rest is dilapidated and run down. Of course, being a horror movie, we are given a few thrilling moments. One in the form of a dream, another in a disco, and the creepy ending. Also, the image of a woman being roasted is disturbing, but that should go without saying. While other films of this nature have been better developed, Don’t Go In The House is still an interesting take of a man whose mind is deteriorating as he struggles to make his way in society.

Special Features: Audio Commentary with Dan Grimaldi/ Interview With Dan Grimaldi/ Hidden Behind The Matte - Selected Revealing Scenes Un-matted/ Shriek Show Trailers

Posted by Neil A. at 11:00 PM | Permalink | Comments (0)

TOURIST TRAP

Wow. Tourist Trap is one freaky movie. It follows a group of friends who are left stranded in the middle of nowhere after their car breaks down. Luckily for them a kind old man named Mr. Slausen happens to come by and offer his assistance. After bringing the group back to his place, a museum filled with mannequins, he takes off to repair their car. In need of a phone, one of the girls decides to check out a mansion behind the museum obviously unaware of the nightmare she is about to walk into. The mansion is inhabited by Mr. Slausen’s deranged brother Davey along with mannequins that come to life. As the night goes on and people grow suspicious, they one by one enter the twisted nightmare and it isn’t long before the truth about Mr. Slausen and his brother Davey is revealed. Tourist Trap is one hell of a trip. It’s genuinely frightening with it’s eerie, surreal atmosphere and it’s healthy number of scares. As if the mannequins weren’t horrifying enough (some with shifting eyes and others that lunge out at you and some completely animated,) we also have Slausen’s crazy brother. The character of Davey is truly disturbed. He wears a plaster mask, sometimes slightly resembling Leatherface. His behavior is child-like in the way talks and the way he antagonizes his victims. Chuck Connor gives a superb performance as Mr. Slausen, sweet and unassuming, yet there is always a hint of something more than meets the eye. The rest of the cast is good as well. Jocelyn Jones gives an excellent performance as Molly. Unlike most of the characters, she has more to work with in her role beyond just being scared which is a task in itself. Pino Donaggio handles the score and as usual comes through with something brilliant. The main score is kind of kooky, mischievous and playful just like the character of Davey. Elsewhere, he comes through with amazing string laden music that keeps a tight grip on the horror and suspense. The simple use of female voices singing "aah" when the mannequins’ mouths drop open is highly effective at sending shivers down your spine and maybe even causing a slight chuckle at the same time. There are also a few memorable death scenes. The stunning Tanya Roberts as Becky has an interesting scene for her demise as does the character of Woody. From the very start of the movie up to it’s nicely wrapped up ending, Tourist Trap is a demented ride with plenty of thrills and chills along the way. Definitely worthwhile viewing.

Special Features: Commentary with Director David Schmoeller/ Theatrical Trailer/ Cast Filmographies/ Short interview with David Schmoeller/ Trailers for other Full Moon releases.

Posted by Neil A. at 10:58 PM | Permalink | Comments (1)

HE KNOWS YOU’RE ALONE

A highly entertaining thriller about a killer who stalks brides-to-be, that owes a lot to Halloween. Not only is the movie in the same vein as Halloween, but there are a number of similar scenes which I will point out later. The movie follows soon to be married Amy (Caitlin O’Heaney) who is targeted as the next victim as she prepares for her wedding day. Amidst creepy sightings of a man who is following her, she spends time with her girlfriends Joyce and Nancy (Patsy Pease and Elizabeth Kemp) and shooting down advances of her former boyfriend Marvin (Don Scardino) who she might still have feelings for. There is also a cop by the name of Gamble (Lewis Arlt) who is desperate to catch the maniac because of a vendetta against him. Oh, and because it’s his job. The movie opens strong in a suspenseful movie theater scene and keeps it’s momentum up til the final frame. The movie has a nice even flow and never lags. The tense atmosphere is nicely accentuated in the right places with lighter moments which usually don’t last too long as the killer’s foreboding presence is never lurking too far away. It’s because of this that you never feel safe because he could turn up at any moment. There are nicely laid out suspenseful moments with plenty of genuine scares. Like Halloween, there is relatively no gore and hardly any blood. It’s a classic example of letting the audience fill in what isn’t there. The movie is both brilliantly shot and edited for maximum effect. The cinematography is also stellar with the darker scenes giving a sense that danger is right around the corner contrasting with the daylight scenes filled with rich, vibrant colors. The overall cast is exceptional and likeable as are their characters. They all have great chemistry with one another, particularly Amy and Marvin. The killer in the movie is a very simple, ordinary man. No mask or excessive strength. Yet, it’s his simplicity and calm demeanor that makes him so effective. He never utters a word, but seems to say everything on his wide-eyed, stoic faced expression. Of course, we can’t talk about the cast and not mention Tom Hanks in his first film role. His screen time is limited, but he manages to make a small part memorable. It is noted in the commentary that his part was initially bigger. Another strong point of the movie is the amazing score by Alexander and Mark Peskanov. It certainly does it’s trick in lifting the suspenseful moments and conveying the softer moments in the film with a gentler, quieter mood. Nothing like the overblown, bombastic scores crowding most films today. All in all, I’d say He Knows You’re Alone is definitely an underappreciated classic and is well worth you’re time.

Now for the aforementioned scenes that seem to mimic those of Halloween:

1. Like Laurie in Halloween, Amy repeatedly sees the killer. Laurie sees Michael outside her school. Amy sees her stalker outside of an ice cream parlor. Laurie sees Michael behind a bush when he seems to vanish before Annie sees him and then sees him again from her bedroom window in the backyard. Amy sees the killer behind a bush when she looks out her kitchen window, but he’s gone before Marvin catches a glimpse of him.

2. The scene in HKYA when the killer is on top of Amy’s car and breaks the window with his hand and reaches in to grab her is similar to Michael’s escape scene in Halloween.

3. A scene in HKYA showing Amy walking away towards her house when the killer steps in from the side of the frame and there is a jolting music cue is similar to the scene in Halloween when Laurie drops the key of at the Myers house.

4. The characters of Loomis and Gamble are similar in that they have previous experience and knowledge of the killer and feel the responsibility to capture him.

5. The characters of Lynda and Joyce have similar death scenes. Both are killed in a bedroom, one before and one after, having sex after their boyfriends leave the room.

6. The scene in HKYA where Amy is in her car panicking for her keys is similar to a scene in Halloween where Laurie is panicking for the keys to the house.

To be fair, He Knows You’re Alone seems to have inspired other horror movies as well. The killer in Slumber Party Massacre is very similar to the one in HKYA in not only demeanor, but appearance as well. And the similarities to Halloween are not mentioned to detract from the movie’s greatness, but to just express similarities from one fan to another.

Special Features: Commentary with Director Armand Mastroianni and Screenwriter Scott Parker/ Theatrical Trailer

Posted by Neil A. at 10:55 PM | Permalink | Comments (0)

BASKET CASE

One of the all-time best, goriest and campiest cult classics of the 80s. Duane Bradley and his deformed brother Belial are siamese twins. At a young age they are forced to undergo surgery to separate them. Years later the telepathically linked brothers head to New York City, Duane carrying Belial around in a wicker basket, hellbent on seeking revenge on the doctors who separated them. With everything going as planned, Duane unexpectedly falls in love with a receptionist named Sharon which sets Belial into a jealous rage. Not willing to let anyone come between him and his brother, Belial decides to take matters into his own mutated hands. Basket Case is without a doubt in a league of it’s own. It’s bizarre and twisted, horrific yet hilarious, completely outrageous and it works on all levels. Even the amateurish acting lends itself to the film’s greatness by adding to the camp factor. Despite it’s superfluous nature, Basket Case has many shocking moments including the disturbing scene where Belial, shall we say, confronts Sharon. There is also some impressive stop animation sequences. So if you’re looking for a grotesque and gory, good time then your search ends here. Basket Case more than delivers. Followed by two sequels.

Special Features: Commentary by writer/director Frank Henenlotter, Producer Edgar Ievins & actress Beverly Bonner, 2 Theatrical Trailers, TV Spot, Outtakes & Behind-The-Scenes Footage taken from the Director’s Personal Collection, Special Video Short: In Search Of The Hotel Broslin, Gallery of Basket Case Exploitation Art & Never-Before-Seen Behind-The-Scenes Photos, 2 Rare Basket Case Radio Spots, 2 Radio Interviews with actress Terry Susan Smith, Clips from Beverly Bonner’s Comedy Cable TV Show, "Beverly Bonner’s Laugh Track."

Posted by Neil A. at 10:55 PM | Permalink | Comments (0)

FRIGHT NIGHT PART 2

A worthy sequel to the classic Fright Night, one of my personal favorite movies of all time. Three years after the events of the original, Charley Brewster, through extensive therapy, has convinced himself that vampires don’t exist and that his initial belief in them was something he created to cope with having a serial killer live next door to him as well as the death of his best friend. Now in college and dating a new girl, Alex, everything seems to be back to normal. That is until Regine, a beautiful, seductive woman, moves into Charley’s old pal Peter Vincent’s building along with three others. After having a vivid dream about Regine in which she feeds on him and later seeing her feast on his friend Richie, Charley is convinced that the vampires have returned. He enlists the help of Peter Vincent, the fearless vampire killer, and his girlfriend Alex to stop the vampires before he himself becomes one. While definitely a few steps down from it’s perfect predecessor, Fright Night 2 is still a way above average sequel. Roddy McDowell and William Ragsdale return to reprise their roles. New additions to the cast include the beautiful Traci Lin(d) as Alex, the gorgeous Julie Carmen as the alluring Regine, and Jonathan Gries as Louie. Brad Fiedel also returns to helm the music score, the score from the original is one of my favorite film scores ever. Like the original there is some comedy and while it does work, it isn’t quite as clever as the original. The special effects and make-up effects are amazing. There are a lot of exciting and scary moments throughout. The scene where the vampire Belle kills the art student scared me every time I watched this movie as a kid. Anyway, Fright Night 2 is an amazing follow-up to the original. As long as you go in knowing not to expect a retreat of the original’s perfection, you will have a hell of a time. Hopefully, there will be a better quality dvd release one day with special features.

Special Features: None

Posted by Neil A. at 10:52 PM | Permalink | Comments (0)

ALONE IN THE DARK (1982)

Excellent horror movie that didn’t quite get the attention it deserved upon it’s release. It takes the cliched escaped mental patient formula, but manages to create something original. The mental institution in the film is called the Haven and is run by the eccentric Dr. Leo Bain (Donald Pleasance.) After one of it’s doctors is transferred, Dr. Dan Potter (Dwight Schultz) is hired as a replacement. Believing that the new doctor murdered their original doctor and took his place, four patients become dead set on revenge. On the night of a huge blackout, the four patients manage to escape and head for Dr. Potter’s house where a night of terrorization and insanity ensues. As basic as the premise may be, Alone In The Dark is actually an intelligent and rather intricate movie with something for everyone. Even though it is regarded as a slasher movie, Alone In The Dark is also appealing to both horror fans and the more highbrow, self righteous movie audiences who usually frown on horror films. One of the highlights of the movie is the characterizations and performances. I had wanted to take a moment to discuss all the standout performances, but if I did that I would wind up doing a role call of the entire cast. It is worth noting the appearance of Jack Palance and Martin Landau as two of the escapees. The atmosphere when the family is being terrorized is tense and really grabs a hold of you. There is also a cool twist near the end that was later ripped off in the movie Valentine years later. Logistically, if you really think about it, the twist involves extreme coincidence and comes off as inconsistent for one of the characters it involves. Seeing as the rest of the movie is brilliant and works so well, this is all easily accepted and overlooked. Alone In The Dark is one the best underappreciated gems of 80s horror and I strongly urge all horror fans to give it a go.

Special Features: Commentary With Writer/Director Jack Sholder/ Interview With Actress Carol Levy/ Interview With Punk Band The Sic F*cks/ Theatrical Trailer/ Photo Gallery/ Liner Notes By Fangoria’s Michael Gingold.

Posted by Neil A. at 10:50 PM | Permalink | Comments (0)

THE FUNHOUSE

Classic horror director Tobe Hooper delivers another great horror movie that for awhile was mistakenly placed on the video nasties list in confusion with another movie with a similar title. Four teenagers on a double date head for the carnival passing through town although one of them was warned not to because of an incident some time before where two girls were found murdered nearby. While at the carnival one of them has the bright idea to spend the entire night inside the funhouse. They manage to get inside the funhouse and hide until closing. After a little fooling around, they witness the murder of the carnival fortune teller by the owner’s son. When it is realized there are witnesses to the murder both the owner and his son set out to find and kill them. Unfortunately for the four friends they are trapped inside the funhouse and can’t find a way out. Mayhem ensues. The Funhouse is another one of those underappreciated horror films from the early 80s. It’s much more tame than Tobe Hooper’s previous films in that it’s not so intense. It’s not as terrifying as those earlier films either. There are a few good scares, and a lot of creepy moments. The look of "the monster" in the movie is fantastic and sure to freak out a good number of people. The cast does a fine job, particularly Elizabeth Berridge as Amy and Kevin Conway as Funhouse/Conrad Straker. The movie has a fun opening scene obviously inspired by Halloween and Psycho and for the most part remains fun until the end. Once the four teens begin trying to find an escape there were a few moments that dragged, but nothing too boring or sleep inducing. Although not quite up to par with Hooper’s classic Texas Chain Saw Massacre, The Funhouse is a welcome addition to any movie library.

Special Features: Theatrical Trailer

Posted by Neil A. at 10:48 PM | Permalink | Comments (0)

CUTTING CLASS

Let me say first that I like this movie and that I am probably in the minority of people that do. Those who know me might say I’m being biased because Jill Schoelen is in it. Maybe I am. I seriously don’t know. I try to imagine this movie with someone else in her role and I think I would still like it only not as much. So yeah, there is a little bias in my opinion of this movie, but not entirely. The basic premise of the movie is high school teachers and students being murdered by a number of possible suspects. Even though the movie tries to have this who-done-it mystery, it doesn’t succeed. It’s rather apparent who the killer is from the start. It’s also supposed to be a horror/comedy, but most of the laughs are unintentional and the horror is rather vague. The cast is probably the biggest highlight even if some, but not all, of the performances are rather lacking. The lovely Jill Schoelen plays Paula, a beautiful, studious and frigid cheerleader. Brad Pitt, in one of his earliest roles, plays Dwight, Paula’s bad boy, jock boyfriend who can’t seem to get Paula to cooperate in some sexual activity. Donovan Leitch plays Brian, an ex-childhood friend of Dwight with an infatuation for Dwight’s girlfriend Paula. Brian has also just been released from a mental institution where he was placed after the murder of his father. The legendary Roddy McDowall plays Mr. Dante, the school principal with a perversion for his young female students. Martin Mull plays Paula’s lawyer father who is leaving for an outdoors vacation. I’d also like to point out Brenda Lynn Klemme, recently seen in Slither, who gives a very likeable performance as Paula’s best friend Colleen. Although you may find yourself rolling your eyes repeatedly while viewing this film, I’d say this movie does have it’s appeal to certain audiences. Mainly Jill Schoelen fans and Brad Pitt fans, but I’d say this movie is perfect for those of you who might like viewing movies with a group of friends in a Mystery Science Theater kind of way. Apparently, Lion’s Gate is working the Brad Pitt angle seeing that he’s the only person on the cover although credited third. A good word to describe this movie is cute, if it possible to describe a horror movie as such. But, then again this isn’t straightforward horror. It’s kind of like a catchy bubble gum pop song that you’re ashamed to admit you like even though you know all the words and maybe even the choreography from the video.

Special Features: Previews of other Lion’s Gate releases.

Posted by Neil A. at 10:46 PM | Permalink | Comments (0)

First off I would like to point out that all these remakes of classic horror films are unnecessary and for the most part they all suck. Doing a remake is like a double edged sword. On one hand, if you follow the original movie scene for scene than it’s completely pointless. On the other hand if you deviate too far from the original than you’re not being loyal to the material. It’s hard to find the right balance and meet somewhere in the middle. Somehow Black Christmas ‘06 finds that balance, but remains unsatisfactory. I do not consider the original Black Christmas as a slasher movie, but that is what the remake is 110%. While the original’s approach was more subtle and suspenseful, the remake is in your face and over the top. At first I thought that the remake had missed the mark in it’s approach by being the polar opposite of the original. After thinking it over I realized that was best thing to do. Keep the basic elements of the original, but twist it in a whole different direction. The remake is basically the blood splattered version with the high body count. Black Christmas meets Friday The 13th. This film fleshes out a story for Billy and Agnus who in the original were just names mentioned in the phone calls. Their back story is somewhat original, interesting and almost completely ridiculous. As previously mentioned there are a lot more girls in this movie than before. The cast is full of people already familiar to horror fans. It stars Michelle Trachtenberg (Buffy The Vampire Slayer), Mary Elizabeth Winstead and Crystal Lowe (Final Destination 3), Kristen Kloke (Final Destination) and Andrea Martin who starred in the original as Phyllis. Lacey Chabert, Katie Cassidy and Oliver Hudson also star. Those looking for nothing more than a gory good time need look to further. Almost every kill delivers in that department, although it does get kind of repetitive with everyone dying from some kind of head trauma. It must be said that the rest of the movie has not much else to offer. The overall look of the film is good. It genuinely feels like a cold Christmas night. The music is also very effective. So if you are interested in a movie with Christmas cookies made out of human flesh, eyeball eating, icicles through the head, death by candy cane, and pretty girls (who pretty much remain clothed except for one brief moment) than this may be what you are looking for. It is inevitable that you will compare this to the original as you should do with any remake. In doing so you will be severely disappointed. However, if you are able to look at this movie on it’s own merit (which I usually find impossible to do with remakes of beloved classics) you might have a slightly better response to it. Frankly, in comparison to the original this movie, which is a perfect 10, the remake is a 2/10. On it’s own I would give Black Christmas ‘06 a 4/10.

Special Features: What Have You Done: The Remaking Of Black Christmas, May all your Christmases Be Black: A Filmmaker’s Journey, Deleted Scenes, 3 Alternate Endings.

Posted by Neil A. at 10:40 PM | Permalink | Comments (0)

Every couple of years I get a little disheartened and jaded about the genre. The movies aren't good enough, I'll try to reason. Sometimes an even more depressing notion comes to mind. Maybe I've just seen too many of these damn things. Maybe a movie just can't scare me anymore. This past year I've been almost happy to concede that the enjoyment I'll take out of the genre from now on will come from campy, self-referential splatter flicks with little to offer in the way of a good scare. My reviews are peppered with phrases like, “but at least it's fun”. Yes, that's what we all want from a horror film. Fun. Fun-funny-fundy-fun-fun-fun. Wait a minute...

Enter “Them”. This is a horror film. This is not a horror film because it's funny and gory and energetic. This is not a horror film because it's so-bad-its-entertaining. It's a horror film because it's scary. Real scary. Cover-your-eyes-I-can't-look scary.

“Them” starts on a dark country road with a mother and daughter driving home. Something runs into the road, they crash. There's something in the dark around them. Something making a clicking noise, something in the shadows. Several extremely tense moments later...something gets them. The next day Clementine, a local schoolteacher, heads home to her boyfriend, Lucas. They live not far from that same road in an old, large house in the woods. They share dinner, watch some TV, and head to bed. Then in the middle of the night something outside wakes them up and the real tension begins.

It's so simple from here on in. The house is dark and whatever it was that got to that mother and daughter last night is trying get Clementine and Lucas. What or who is it? Why is it attacking them? Why is it chasing them through their own house? While the movie eventually gives you a chilling answer, you're not getting one from me. It's almost incidental, anyway. The real scares in “Them” comes from what you think you see and hear in the dark of the house, and in the woods at night when Clem and Lucas eventually try to make their escape. The filmmakers achieve a remarkable amount of tension and terror using simple, tried and true horror methods. “Them” is all about darkness, noise, and pitch perfect timing. It's fascinating how terrifying and effective this back-to-basics approach to horror really.

And just how effective? Here I am, an few hours later, in the darkness of my bedroom, writing this review. My closet door is slightly ajar, but I just don't trust it enough to get up and close it. Next I find myself reacting nervously to the headlights and noise from a car that's passing my house. God, it feels good to be afraid of the dark again!

-Mike C.

Posted by Mike-ons of Fright at 02:57 AM | Permalink | Comments (2)