During a routine case in L.A., NY private investigator Harry D'Amour stumbles over members of a fanatic cult, who are waiting for the resurrection of their leader Nix. 13 years ago, Nix was... See full summary »
Kevin J. O'Connor,
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Ireland will never be the same after Rawhead Rex, a particularly nasty demon, is released from his underground prison by an unwitting farmer. The film follows Rex's cross country rampage, while a man struggles to stop it.
A comedy TV series. Fitz & Slade are the lead investigators of a special anti-crime unit that handles the bizarre and dangerous. In this "anything goes" world, both cops and criminals play fast and loose with the rules of society.
A community of mutant outcasts of varying types and abilities attempts to escape the attention of a psychotic serial killer and redneck vigilantes with the help of a brooding young man who discovers them. Based on the novel "Cabal" by Clive Barker.Written by
Keith Loh <firstname.lastname@example.org>
For the 2014 release of the "Director's Cut" of the film, Doug Bradley re-recorded his dialogue as Lylesberg, as Morgan Creek originally had his lines dubbed over by a German actor for the theatrical release of the film in 1990, much to his and Director Clive Barker's dismay. The editors at Shout Factory missed an entire scene when restoring Bradley's voice for the new cut, and the unnamed second actor can still be heard. See more »
It is interesting to see what people think of this movie, since it is, in fact, quite unique (though it bears some of the trademarks of Clive Barker's writing). Even though it might seem a bit cynical to say so, the movie is just intricate enough to deflect those that need standard Hollywood plot hooks, and layered, so that if you expect to be fed, you will see a normal monster flick with lots of monsters and a disjointed plot.
Those who need a linear, specific and untangled plot line will hate this movie, because the story lies, like in the novella, partially between the lines, or in this case, partially off screen, in comments and the imagination.
Another possible hang-up is the ending, of which I can say, without spoiling it, that it is not entirely good and not entirely bad. It is, in fact, not very defined at all, which I know sends some people into raging tantrums about that they didn't get to know what happened, but to me, and to many others, I'm sure, just adds another dimension to the story - the dimension of speculation, and, in addition, the point that great disruption has a tendency to cause ripples that extend quite far.
There is definitely moral here, but of a rather different kind than the standard Hollywood in-your-face-at-the-end-of-the-movie sort of display. Summing that moral up is simple, even though it is not quite that simply displayed; prejudice and the human tendency to hate the different.
I love this movie, even though, as many of the reviewers have noted, the expressions of the actors (with the exception of David Cronenberg, who does a wonderful appearance) are rather tacky. I'm not sure they are entirely to blame for their rickety appearance and lack of depth, though, seeing that these are common problems in converting literature to screenplay.
All in all, this is a great movie, provided that you do not expect it to be a standard horror movie.
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