SAW III (2006)
A bit of marketing sleight-of-hand and (perhaps intentional) misdirection in the trailers notwithstanding, Saw III is the serrated series' equiavalent of Return Of The Jedi; we've been here before and we know the decor and the decay, but some old loose ends are cleverly tied up, and the new revelations are remarkably fresh. That is, if you've managed to ignore the damn internet spoilers.
By now the cat is long out of the bag, and we know that the enigmatic manipulator Jigsaw is in actuality a dying man named John Kramer (Tobin Bell), whose disdain for those who don't value life has unhinged him and engendered a bit of self-made judge and jury. As revealed at the end of the previous film, his accomplice Amanda (Shawnee Smith) is a would-be previous...
Having cut my horror teeth on slasher films, I constantly want more. Actually, it's was more of a need than a want. It was like a drug. I had been given a taste and I liked it. I was in need of a fix. The natural conclusion was to find the ultimate slasher film. After watching Adam Green's Hatchet, I had a sudden craving for a a smoke. Needless to say, I was very satisfied.
In Hatchet, a group of tourists on a New Orleans haunted swamp tour find themselves stranded in the woods, their evening of fun turns into a horrific nightmare. Hunted by a madman in the swamps.
Adam Green doesnít stray too far from formula, but he really didnít have to. The stage had already been set many years ago...
THE TEXAS CHAINSAW MASSACRE: THE BEGINNING
The Texas Chainsaw Massacre: The Beginning explores Americaís obsession with serial killers, and the closest comparison I can think of in terms of the quality of the movieís dark mood, riveting suspense, and gripping action is the original Chainsaw film. Director Jonathan Liebesman achieved an excellent blend of sheer brutality, psychological thrills, and dramatic horror.
It's 1969. Brothers Dean and Eric (Taylor Handley and Matthew Bomer), their respective girlfriends, Bailey and Chrissie (Diora Baird and Jordana Brewster), head across Texas for a final fling of serious fun before going to Vietnam. Soon after their journey begins, the foursome are involved in a serious accident...
With Panís Labyrinth, Guillermo del Toro merges both fantasy, fairy tales, and one of the most touching human stories ever committed to celluloid. Itís beyond anything ever attempted before and the feat is stunning. Moreover there's a real eccentric, oddball charm to the conceptualization of the film's fabulous menagerie of creatures, which include fairies, and the faun played by del Toro regular, Doug (Hellboy) Jones.
The sets are an eye-catching array of optical illusions, especially the labyrinth itself, dark forests and awry angles, all concluding at the centre of the labyrinth. There's a dazzling and extraordinary breadth to the film's creations that really is going to need a second viewing to take it all in. There's also an exquisitely beautiful opening and ending to match.
John Gulagerís Feast is a juggling act of non-film school antics and genuinely evocative creepiness; it is full-on gore slapstick, more Tex Avery than Dario Argento. For the most part, Feast places its heroes fairly goofy to Gulagerís delirious camerawork, with no prankish stone left unturnedówinking setups, disorientating tricks, forced perspectives, and no shortage on blood. The batch of victims includes Navi Rawat, Jason Mewes, Balthazar Getty, Henry Rollins, and horror legend Clu Gulager.
In Feast, a group of strangers gather in a bar where they're attacked and systematically killed by monsters. The film was a product of "Project Greenlight", the program created by Matt Damon, Ben Affleck and Chris Moore to showcase new talent...