Classic Movie Review Hello Mary Lou: Prom Night 2

Hello Mary Lou: Prom Night 2 (1987) 

Directed by Bruce Pittmann 

Written by Ron Oliver 

Starring Michael Ironside, Wendy Lyon, Justin Louis 

Release Date October 16th, 1987 

Published October 18th, 2023 

Hollywood is often accused these days of being obsessed with existing I.P or intellectual property. Sequels, remakes, re-imaginings, these are movies that are derived from existing I.P. It's true, Hollywood is obsessed with existing I.P, uncovering old products that can be made new again, it's familiarity wielded as a marketing campaign. Indiana Jones and the Dial of Destiny is an I.P, Marvel movies, Star Wars, the Fast and Furious movies, and any number of horror franchises are existing I.P and Hollywood loves to recycle to save a little money. 

It's tempting to say that this isn't a new practice and it really isn't a new practice. But, things like Disney turning their legendary cartoons into live action movies or even creating a franchise out of something used to be at least a little bit frowned upon. Remakes, re-imaginings and loosely related sequels were once the realm of hucksters and shysters not prestigious movie studios with decades of credibility, awards, and blockbusters. Why, there was once a time when Superman got sold to a couple of con-artists who used Superman 4 as a money laundering scheme, ALLEGEDLY. Could you imagine a studio willingly giving away Superman today? 

The best example of the disreputable nature of I.P plays back in the day came from the horror genre. Hucksters and con artists of all stripes were in the business of capitalizing on I.P and, even if they didn't know it, they laid the groundwork for where we are today with the out of control obsession with I.P plays. Take for instance, Troll 2, often viewed as the best worst movie of all time. That film has nothing whatsoever to do with the modestly successful low budget 80s horror movie, Troll. The producers simply managed to become the owner of the Troll I.P and felt that slapping a number 2 on a movie was a clever marketing gimmick. 

Full length review at Horror.Media

Classic Movie Review Silence of the Lambs

Silence of the Lambs (1991) 

Directed by Jonathan Demme 

Written by Ted Tally 

Starring Jodie Foster, Anthony Hopkins, Scott Glenn 

Release Date February 14th, 1991 

Box Office $272 million dollars 

In many respects, Silence of the Lambs is the most successful horror movie of the 1990s. The film is the second highest grossing horror movie of the decade, behind only David Fincher's Seven, but it also swept the Academy Awards, winning Best Actress for Jodie Foster, Best Actor for Anthony Hopkins and Best Picture among other awards. Oddly enough, it's this remarkable level of success and respectability that causes many to dismiss the idea that Silence of the Lambs is a horror movie. Horror movies are supposed to be shown in drive ins or on late night cable television. Horror Movies do not sweep the Oscars and, in fact, aren't allowed in the hallowed halls of respectable Hollywood. 

And yet, there should be no question that we are watching and adoring a horror movie. Clarice Starling, for all of her respectable traits and awards pedigree, is a terrific example of the Final Girl archetype. Yes, she's dressed up with a terrific actor in Jodie Foster and built with a respect for women that the horror genre typically lacks, but nevertheless, the final moments of Clarice's search for the big bad of Silence of the Lambs casts Clarice as a tremendous example of the Final Girl, the survivor who lives to tell the tale of what happened with the killer. 

A lot of people who claim they don't like horror movies want to knock down the notion that Silence of the Lambs is a horror movie out of their stubborn belief that they don't find such films entertaining. On the other side, there are hardcore horror fans who don't want to accept Silence of the Lambs as a horror movie because it is too respectable, too beloved. It's a horror film for the normies who wouldn't last but a few minutes watching a 'real' horror movie. Silence of the Lambs also lacks in the kinds of transgressive bad taste that is also a hallmark of 'real' horror movies. 

Silence of the Lambs opens on FBI Trainee Clarice Starling (Jodie Foster) running through the woods, alone. It might seem like nothing but there is a heft to this image. A woman running alone through the woods a classic horror movie scenario. Whether you are talking about Friday the 13th or The Texas Chainsaw Massacre, when you place a woman in the context of being alone running through the woods, the echoes of horror movies of the past are evoked. I am going to take the image a little further however, and speculate a little bit about something a little esoteric. 

Find my full length review at Horror.Media

Movie Review Butcher's Crossing

Butcher's Crossing (2023) 

Directed by Gabe Polsky 

Written by Gabe Polsky, Liam Satre Meloy 

Starring Nicolas Cage, Fred Hechinger, Xander Berkley 

Release Date October 20th, 2023 

Published ? 

I think, to be as fair as possible to Butcher's Crossing, this movie isn't for me. Butcher's Crossing is a slow, agonizingly dry piece of historical fiction. It's an interesting story, how a few people managed to savage an entire species to near extinction while nearly getting themselves killed but you have to be willing to go on this rather dreary journey. It does have its temptations, this journey. The main temptation being star Nicholas Cage with a fully shaved dome and a touch of the crazy eyes. Beyond that though, the appeal of Butcher's Crossing is limited to obsessive fans of the history of the American west. 

A naïve and ill-prepared Harvard drop out arrives at a fort in the west in early 1800s. Will Andrews (Fred Hechinger) is a rich kid with a little of dad's money and a desire to see what the American west looks like. He's traveled to this place to meet a man who worked for his father years ago. Will hopes that this man will allow him to join one of his buffalo hunting parties as a sort of hunting tourist. The man turns him down and sends him on his way. Not one for giving up, Will seeks out a man in a saloon with a big reputation. 

Miller (Nicolas Cage) is a well known buffalo hunter with a taste for blood and a gleam in his eye. Miller can see this wimp coming a mile away and he smells the kids money. Miller just happens to harbor a desire to no longer work for the hunting companies in this town, he wants to branch out on his own and all he needs is a bank roll. Miller also claims to know where he can find a seemingly endless supply of Buffalo that could be harvested, skinned and provide more money than any local hunter could possibly dream of. 

Naturally, the dimwitted Harvard drop out is won over by the charismatic hunter. Once they hire a skinner, (Jeremy Bobb), they are on their way to a valley no one but Miller believes exists. After seeming to get lost, they actually find the valley and indeed, they find a herd of buffalo unlike any that's been harvested before. It's large and for some reason, despite Miller picking them off repeatedly with a rifle, most of the herd doesn't try to leave the valley, making them easy to hunt to an almost ludicrous degree. The hunters will harvest more buffalo than they could possible skin and return to their outpost and Miller's mania for killing buffalo will eventually risk all of their lives in the harsh conditions of the Colorado territory. 

Find my full length review at Geeks.Media 

Classic Movie Review Judgment Night

Judgment Night (1993) 

Directed by Stephen Hopkins 

Written by Lewis Colick 

Starring Emilio Estevez, Cuba Gooding Jr., Jeremy Piven, Stephen Dorff, Denis Leary 

Release Date October 15th, 1993

Published October 16th, 2023 

The most interesting aspect of 1993's action flick, Judgment Night is how star Emilio Estevez held the producers over a barrel. Estevez is rumored to have been very low on the list of actors that the producers wanted for the lead role of Frank in Judgment Day. Naturally, they were chasing a big star, Tom Cruise. That didn't work so they went to Christian Slater who also passed on the role. The role was then passed on by John Travolta and Ray Liotta before landing at the feet of Emilio Estevez. The production had a small window to actually shoot and complete the film and with that, the studio offered Estevez the role because he was available and so many others said no. And then Estevez asked for $4 million dollars for the role and he got it. 

That's way more interesting than what happens in this dopey urban action drama which posits a mostly empty downtown Chicago a fully dystopian Chicago that is desperately violent but also a ghost town. Four buddies are traveling to the big city from the suburbs in order to attend a boxing event. Frank (Estevez) is joining his best friend Mike (Cuba Gooding Jr), Frank's brother, John (Stephen Dorff), and their obnoxious, pushy, irritating pal Ray (Jeremy Piven) for the trip to the city. 

Because his personality apparently isn't obnoxious enough, Ray decides to scam his way to borrowing a gigantic motor home to take the four friends to the city for the fight. Unfortunately, the group fails to account for Chicago traffic on a night when there is a giant sporting event and they wind up missing the start of the event while trapped on an expressway. With time slipping away, Ray makes an illegal turn and uses an off-ramp to try and sneak around traffic. The group ends up in the dystopian future set of Chicago, unrecognizable to suburban yokels like themselves. 

As the group bickers about being lost, Ray hits a pedestrian with the motor home. Forced to stop by his friends, Ray frets about going to jail as his buddies tend to the injured pedestrian. To say this pedestrian is having a rough night would be an understatement. Not only was hit just hit by a motor home, he'd been shot in the gut just before the accident. Clutching a bag full of ill-gotten cash, the man begs for help and the friends force Ray to try and find a hospital, despite his desire to abandon the injured man and try to avoid going to jail. 

Mike takes over driving and the group is on the run, choosing to try and chase a police car on its way to call. That's when the motor home is struck by a car and forced off the road. The motor home finally comes to rest trapped between two buildings. The men in the car that hit them turn out to be gangsters led by Fallon (Denis Leary). They break open the back of the motor home to snatch the injured man and they kill him. They then want to kill the witnesses to that killing and set off after our suburban commandos who rush off into those famously empty Chicago streets. 

Find my full length review at Geeks.Media 

Classic Movie Review The Exorcist

The Exorcist (1973)

Directed by William Friedkin 

Written by William Peter Blatty 

Starring Ellen Burstyn, Max Von Sydow, Lee J. Cobb, Jason Miller 

Release Date December 26th, 1973

Published October 10th, 2023 

The first image you see in William Friedkin's The Exorcist is the sun, bright, orange, dawning a new day. This is followed by an image of a sweltering desert in Northern Iraq. On the soundtrack is Arabic music. What does any of this tell us about the rest of the movie we are about to watch? I would argue, it tell us nothing. The sun doesn't have any meaning related to the rest of the movie. Nor does a sweltering desert. Perhaps if I reach beyond logic, I could argue that the sun and the desert reflect the heat of Hell? Maybe? But that is a very big stretch. 

An archaeological dig is occurring in this northern Iraqi desert. Numerous men swing pickaxes and other implements intended to break rock and remove dirt. Why? We can assume it has something to do with ancient religion, an attempt to uncover something lost to time. Here, William Friedkin lingers over the images of Iraqi men with their tools, the dirt, the heat, is this a representation of what hell is like? What does it mean that Friedkin's stand in for Hell is located in a Muslim country? What does this have to do in any way with a child who later stab herself in the crotch with a crucifix? 

An elderly white archaeologist is called to come to a place where some small items have been found. The old man goes and when he reaches into the cave where these small items have been found, he finds one more, a small idol with what appears to be the face of a dog or a dragon or something. We don't know who this old man is at this point, but we stay with him as he goes to a café and has some tea. He's shaky, he takes pills for what I assume is a heart condition. He appears shaky though whether that is due to having found this idol thing or because he's very old and has been working in the hot sun all day, is unclear. 

The shaky old dude leaves the café. He walks around the corner and sees three blacksmiths hard at work, rhythmically pounding away at a piece of hot metal. One of the men turns to the old man and reveals a cloudy eye. The old man, our seeming protagonist wheezes, and the scene ends. Cut to a ticking clock. The old man mumbles 'Evil against Evil.' Finally, we learn that the old man is a priest as the other man in the room refers to him as 'Father.' The clock on the wall stops and the man says he is sorry to see the old man leave. Father tells the man that he has something he must do. The old man goes back to the archaeological dig site, he locates a statue, one that resembles the small idol he found earlier. A man kicks some rocks, dogs fight, Father stares at the statue, we fade to the sun which ends the scene and takes us to Georgetown, Virginia, USA, the setting for our story. 

Why does William Friedkin's The Exorcist begin with this prologue? What have we learned? Father Merrin (Max Von Sydow) was in Iraq. He found an idol and stared at a statue. The idol and the statue are related. By the rules of storytelling then, this demonic figure that Father Merrin found must be related to the possession of young Regan O'Neill (Linda Blair). There is one, relatively inane visual scene that links Iraq and the idol to Regan and Georgetown. Following the offscreen death of a filmmaker who was directing a movie Regan's mom was working on, a Police Detective (Lee J. Cobb) finds what looks like an idol just like the one Father Merrin found in Iraq. 

Find my full length review at Horror.Media 

Movie Review The Exorcist Believer

The Exorcist Believer (2023)

Directed by David Gordon Green 

Written by David Gordon Green, Peter Sattier

Starring Leslie Odom Jr, Ann Dowd, Ellen Burstyn, Jennifer Nettles

Release Date Friday, October 6th 

Published October 9th, 2023 

The Exorcist Believer stars Leslie Odom Jr. as Victor Fielding, a single father and photographer. Victor's wife died in child birth while the couple were traveling in Haiti some 13 years ago. Angela (Lidya Jewett) appears to be a relatively good student, follows the rules, rarely finds trouble. Then, one day after school, Angela doesn't come home. What we know, that Victor doesn't know, is that Angela and her best friend, Katherine (Olivia Marcum) have decided to go into the woods to see if they can contact Angela's late mother. Then, the girls vanished. 

After three agonizing days for Victor and for Katherine's parents, Miranda (Jennifer Nettles) and Tony (Nortbert Leo Butz), the girls are found hiding in a farmhouse not far from their school. The girls believe that they have only been gone for a few hours and they cannot account for three days. Nothing appears to be physically out of sorts with the girls but they are slowly descending into madness. Angela starts convulsing and cursing at her father and Katherine soon after follows suit. 

Both girls soon end up back in the hospital where they had been treated and released in the immediate aftermath of their disappearance. This time however, no one knows what could be wrong with either girl. They have the same symptoms and they present the exact way. Both girls appear to be possessed by demons and Victor, not being religious, has no idea what to do. Luckily, Victor's neighbor is a nurse, and when she sees the state of Angela going to the hospital, she leaps into action. 

Through Ann, we are reintroduced to Kris O'Neil (Ellen Burstyn). Luckily for Victor, she lives in driving distance of his home. In the years since she witnessed the aftermath of her daughter's exorcism, Kris O'Neill dedicated her life to hiding her child from the world. This works for a little while, but when she joins this story, Kris and her daughter haven't spoken in several years. Kris has written more than one book about her daughter's possession. She has unique insight into the rituals and she may be the person who knows how to rescue the children. 

And then, she gets stabbed in both eyes and is out of the movie. Honestly, it's as if Ellen Burstyn were simply padding her retirement years with the biggest paycheck she can get her hands on. A woman of her age and dignity should not have to waste her time playing a character who exists solely for name value and nebulous familiar references to things from previous versions of The Exorcist franchise. It would be pathetic if it were not for how dignified Burstyn is, even as she's rushing out of the door of the movie as soon as she can. 

Find my full length review at Horror.Media

The Return of I Hate Critics

The Everyone's a Critic Podcast is going back in time. Back to the time we were known as I Hate Critics. Yes, we are bringing back our original name. Why? Because it just feels right. We want to refresh the brand and with our new additions, Jeff, Amy, and M.J all working to freshen up what Bob and Sean have been doing for more than a decade now, it feels right to revisit the origins of the podcast. We began the show based on the idea of film fans, Bob and Josh, getting the chance to question, quarrel and converse with a person who had earned the title of professional film critic. 

We began the I Hate Critics Podcast based on the premise that I got into film criticism out of a genuine love for writing about movies and the belief that I would be cool if I was a film critic. I was never cool growing up, I thought that having a cool job would make me cool by association. I was wrong. What I experienced in earning my professional title and membership in the then Broadcast Film Critics Association, now the Critics Choice Association, was proudly telling people I met that I was a film critic and being met with more hostility and derisiveness than I was fully prepared for. 

"I never agree with critics." "I don't listen to the critics." Or "Critics hate everything." These are the statements that met me every time I introduced myself and was asked about my chosen profession. I genuinely thought I was going to be cool if I told people I was a film critic. Instead, I found most people eager to tell me I was wrong and that they hated the critics. Thus, I Hate Critics was born. It's a chance for film fans to confront a film critic and force him to defend his position. However, it evolved quickly as Bob, Josh, and myself became close friends. It became less about challenging me as a critic and more about sharing a mutual love of movies. 

That was at the heart of changing the name to Everyone's a Critic. We wanted to create a community that was safe for all opinions. We wanted to be inclusive and that was great for a long time. We enjoyed a place of positivity and inclusion. Lately however, the tide has turned and once again, film criticism is in the crosshairs. Film Critics have been trying to defend the profession against the encroachment of so called 'influencer culture.' There is a tide of opinion that rages against Critics and is forcing critics to defend their positions. That's a good thing in many ways, critics should be challenged. 

Find my full length article at Geeks.Media