But King, who famously disapproved of Stanley Kubrick’s adaptation of The Shining, tells EW he still has a soft spot for Brian De Palma’s original film: “I’ve heard rumblings about a Carrie remake, as I have about The Stand and It. Who knows if it will happen? The real question is why, when the original was so good?
Blood: The Last Vampire (2009)
It is clear to see that Blood: The Last Vampire sticks true to its gory genre. In many of the scenes, Saya is surrounded by a group of demons. The creativity of their deaths is the winning factor here, for example in one scene she decapitates a demon by throwing a metal grate at it, and slices another in half to create an upward blood fountain,
We've got the entire week broken down by category so that you can catch up on anything you might've missed. It was an opinioned-filled week with blogs, event reports, and plenty of reviews including more Fall Frights - and the news continued to flow about the biggest event in Fango history - the Fangoria Trinity Of Terrors, which invades Las Vegas on Halloween Weekend!
Get caught up below the jump!
Fangoria Trinity Of Terrors: Palms Casino Resort, Las Vegas, Nv - 10/30-11/01/2009
Tickets are now available online through http://www.trinityofterrors.com and through Vegas.com. You may also order tickets from Vegas.com by phone - 1-888-las-vegas (527-8342) 24 hours a day.
Latest Trinity Updates:
Bruce Campbell comes to the Trinity Of Terrors!
He starts by complimenting J.K. Rowling on her Harry Potter books, and then slates Meyer.
He says, "Both Rowling and Meyer, they’re speaking directly to young people... The real difference is that Jo Rowling is a terrific writer and Stephenie Meyer can’t write worth a darn. She’s not very good.
"It’s very clear that she’s writing to a whole generation of girls and opening up kind of a safe joining of love and sex in those books. It’s exciting and it’s thrilling and it’s not particularly threatening because it’s not overtly sexual.
"A lot of the physical side of it is conveyed in things like the vampire will touch her forearm or run a hand over skin, and she just flushes all hot and cold. And for girls, that’s a shorthand for all the feelings that they’re not ready to deal with yet."
But while playing to a PG-13 rating can have its virtues, Prom Night, a reworking of the 1980 original, needed to substitute the excised graphic stuff with some genuine jolts and creepy scares, along the lines of John Carpenter's first Halloween.
Alas, the awfully bland 2008 version, serving as the feature directorial debut of Nelson McCormick (CSI, Prison Break) and written by J.S. Cardone (The Covenant), offers no such thrills, proving to be about as spine-tingling as an algebra exam.
Obviously targeting a young female demographic, the benign Screen Gems release should handily scare off the young male audience that usually makes or breaks a horror film.
Where the very first Prom Night, itself a shameless Carrie knockoff, presented a mystery killer with a method to his madness -- he was avenging the death of a little girl at the hands of the group of teens he was terrorizing -- not to mention a disco-dancing Jamie Lee Curtis back in her scream queen days, the "reimagined" edition dispenses with ulterior motives.
Here we have senior student Donna Keppel ("Hairspray's" Brittany Snow), who lost her entire family three years earlier at the blood-stained hands of Richard Fenton (Johnathon Schaech) an obsessed teacher who wanted her all to himself.
Now living with her aunt and uncle, Donna is trying not to let her tragic past ruin Prom Night, but, Mr. Fenton has other ideas, having just escaped from his maximum security asylum.
After significantly toning down the usual shock/camp value, Prom Night cries out for the sort of lurking dread and prevailing off-kilter mood that are hallmarks of the more effective psychological thrillers.
There's the obligatory body count, but minus anything resembling originality or resourcefulness, sometimes it's hard to tell if the remarkably demure marks left by the resident psychopath are from fatal stabbings or smudged lip gloss.
Given that the title event has to be one of the dullest prom nights ever recorded on film, chances are good that some of Fenton's presumed victims actually died of boredom.
Screen Gems presents an Original Film/Newmarket Films production in association with Alliance Films
Credits: Director: Nelson McCormick
Writer: J.S. Cardone
Producers: Neal H. Moritz, Toby Jaffe
Executive producers: Glenn S. Gainor, Marc Forby, J.S. Cardone, Bruce Mellon, William Tyrer, Chris J. Ball
Director of photography: Checco Varese
Production designer: Jon Gary Steele
Music: Paul Haslinger
Editor: Jason Ballantine
Donna Keppel: Brittany Snow
Bobby: Scott Porter
Claire: Jessica Stroup
Lisa Hines: Dana Davis
Ronnie Heflin: Collins Pennie
Richard Fenton: Johnathon Schaech
Detective Winn: Idris Elba
Running time -- 85 minutes
MPAA rating: PG-13
PARK CITY -- After highly imaginative explorations of man's natural instincts (Human Nature) and the interplay of memory, dreams and personal relationships ("Eternal Sunshine of the Spotless Mind" and The Science of Sleep), Michel Gondry has turned his playful gaze to film itself.
Be Kind Rewind wants to probe the interplay among films, their audience and the people who make them. It's an exuberant, fanciful fable set amid the scruffy outskirts of American society, where people's need for escapism coincides with their desire to participate in its creation.
For all of Gondry's undeniable talent, it would be hard to imagine him pulling off this delicate and even cornball conceit without his star, Jack Black. With irrepressible exuberance and going-in-five-directions energy, Black is the embodiment of Gondry's whimsical notion that a small-town Ed Wood could infect an entire downtrodden neighborhood with the filmmaking fever.
As with most Gondry films, Rewind is not for all tastes. Its good-natured sweetness will appeal to many; others may shun the fractured fairy tale altogether. Yet this French filmmaker has developed enough of an international fan base for his fanciful films to fully support this modestly budgeted effort. New Line releases the film Feb. 22.
Certain that microwaves from the power plant he lives near are killing him, Jerry (Black), a mechanic in the struggling New Jersey town of Passaic, tries to sabotage the plant. Only he gets caught in an electromagnetic field that leaves him dazed, confused and magnetized. He thus inadvertently erases every videotape in a rental store run by his childhood pal Mike (Mos Def) while its owner, Mr. Fletcher (Danny Glover), is away.
When customer Miss Falewicz (Mia Farrow) wants to check out Ghostbusters, Jerry and Mike stall her until the end of the day. They spend that time making their own version of that film using a video camera, homemade props and playing all the roles themselves. Miss Falewicz, who has never seen the film, actually likes their version. So the two continue the ruse by making crude versions of Rush Hour, Robocop, Boyz N the Hood and The Lion King for loyal customers. Jerry calls the process of re-enacting these popular movies "sweding," though the reason for that term is a bit hazy.
Soon the customers themselves are participating in these "swedes." Productions get a bit more lavish for King Kong, 2001: A Space Odyssey and Carrie through the use of "special effects" and camera tricks. Then a Hollywood lawyer (a nicely imperious Sigourney Weaver) shows up with charges of intellectual property theft. She demands the tapes' destruction.
Gondry, who also wrote the script, keeps the focus on pop cinema. No one swedes a Bergman movie or Citizen Kane. (Which might have taken the humor in a very different yet interesting direction.) Consequently, the film doesn't go very far in its examination of film culture. Rewind can be read as a lampoon of indie filmmaking or the preposterousness of much of popular cinema or simply a gentle fable about the YouTube/MySpace generation's fascination with ego-centric creativity.
The climax -- in which the store's dilapidated building is threatened with demolition and everyone including Mr. Fletcher makes one final film supporting Fletcher's long-held claim that jazz legend Fats Waller was born in the location of the video store -- pretty much squeezes all the comic action that's left in this whimsy about sweding. The film may overstay its welcome by a good 10 minutes. But everyone has been such good company, it feels churlish to say so.
The real film crew, in this film about bad filmmaking, performs very well indeed.
BE KIND REWIND
Screenwriter-director: Michel Gondry
Producers: Georges Bermann, Michel Gondry, Julie Fong
Executive producers: Toby Emmerich, Guy Stodel
Director of photography: Ellen Kuras
Production designer: Dan Leigh
Music: Jean-Michel Bernard
Co-producer: Ann Ruark
Costume designers: Rachel Afiley, Kishu Chand
Editor: Jeff Buchanan
Jerry: Jack Black
Mike: Mos Def
Mr. Fletcher: Danny Glover
Miss Falewicz: Mia Farrow
Alma: Melonie Diaz
Running time -- 100 minutes
MPAA rating: PG-13
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