Set at the turn of the century, this is the tale of Ellen Rimbauer who just received this mysterious mansion as a wedding gift from her new husband. Her husband is a Seattle oil tycoon who ... See full summary »
Carrie White is a lonely and painfully shy teenage girl with telekinetic powers who is slowly pushed to the edge of insanity by frequent bullying from both classmates at her school, and her own religious, but abusive, mother.
Norman Bates returns for this "prequel", once more having mommy trouble. This time around he is invited to share memories of mom with a radio talk show host, but the PYSCHO fears that he ... See full summary »
Ben Mears, a writer returns to the small Maine town of Jerusalem's Lot (also known as Salem's Lot), where he spent the first few years of his life, to write a book. Little does he or the townfolk realize that a couple of other new residents are coming...Straker, a antiques dealer, and his partner and master Barlow, a ancient and malevolent vampire bent on making Salem's Lot his new home. Written by
Approximately 300 extras were used during the production. See more »
When Ben, Mark, Father Callahan, and Dr. Cody find Mike Ryerson in the basement of the Marsden house, Ben asks Mark to hand him a stake. He takes the stake with his left hand and is facing Fr. Callahan. In the next shot we see Dr. Cody checking Mike's pulse and behind him Ben is holding a flashlight in his left hand, with nothing in his right, and he is turned toward the doctor. The scene then cuts back onto Ben, who again has the stake. See more »
When did people forget how to make watchable, visually interesting movies? I'm guessing it started around the time Michael Bay became popular. You look at a movie like this worthless remake, made by people who seem to have no idea about how to tell a story through visuals, how to set a mood or establish a cohesive narrative and how to stage individual scenes to enhance audience involvement, suspense, emotional impact, etc, and all you can think of is Armageddon, another spazzy, hyper-edited, visually obnoxious, in your face mess that eschews any attempt at careful storytelling in favor of the now-popular psychotic "SHOVE EVERYTHING IN THE AUDIENCE'S FACE AS FAST AS YOU CAN SO THEY DON'T HAVE TIME TO THINK" approach to film-making.
For all the apparent attempts to inject some kind of contemporary "style" into this woeful update of Tobe Hooper's very decent TV movie, this ends up as just another bland, forgettable Michael Bay-clone. Pointless close-ups and excess cutting dominate proceedings, killing any possibility of establishing atmosphere and setting. Every shot is so static, so badly set up, so tight and cramped, the actors virtually have to be crushed together or overlapped over each other to remain visible in the frame, leaving no room for any kind of interesting visual detail. The result is a movie, like far too many new movies these days, that seems to take its visual cues from TV soap opera-style direction, rather than a style of direction and visual storytelling appropriate to widescreen cinema.
Throw in some really goofy CGI effects, over-reliance on a crappy soundtrack, an awful, confusing, sepia-tinged slo-mo flashback sequence that makes no sense whatsoever and isn't the slightest bit scary, poor performances, totally miscast actors, and some of the most godawful dialog and narration ever voiced in a TV movie... and the best thing you'll be able to say about this movie is that it's completely forgettable.
Well, you might remember how BAD it was, but besides that...
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