October 25 - Horror Feature: Dawn of the Dead (1978)

George A. Romero may have gotten his start in the zombie subgenre with Night of the Living Dead, but he carved his legacy with Dawn of the Dead. The writer/director continued his thematic and morally-conscious series of living dead films with an eye on American commercialism and excessive violence. Dawn does not directly connect to Night with characters or settings, but the dead still rise and in a much larger scale. Dawn of the Dead took more time to analyze the way the living dead represent humans in a primal and stripped-away fashion. The seemingly mindless zombies shuffle and shamble their way to the mall because their basic instincts are taking over. They only know that it is a place they want to be in their otherwise two-dimensional lives. The surviving humans in most cases show the greed and lack of empathy for others that people experience in a pressure situation where its all about themselves. When given an opportunity to blow something's brain out, they lunge at it. Most of this example is present during the beginning with the police raid on the apartment. Other hunting parties make a game of a very serious crisis that shouldn't be taken lightly, but they don't understand because nothing bad has happened to them yet.

Dawn of the Dead was graced by newcomer special effects and make-up creator Tom Savini who went on to work on films like Friday the 13th, The Burning, Day of the Dead and others. Dawn holds some of the most iconic kills and character make-up in his career such as the infamous headshot, some of the more lengthy screen-time zombies and the machete kill, not to mention the countless feeding scenes like the one in the apartment basement. Savini's time during the Vietnam War inspired his work and influenced much of his approach to the effects. Not everything looked super realistic, but, as it has been said to me before, it increased the gross-factor.

It is nice to see a Romero film with heavy gore receive critical acclaim and high box office numbers. Dawn of the Dead has been considered by many to be the greatest horror film of its time. I'd only argue in favour of Halloween in that case, but they are not necessarily comparable given their differing subject matter and themes.

When there's no more room in Hell, the dead will walk the Earth. So, before that happens, check out Romero's 1978 classic Dawn of the Dead!

Thoughts on the Paranormal Activity Franchise and a Review of the Final Film

I'm a big fan of paranormal and supernatural horror films, even if they're of a poor quality (just not too poor). Demonic possession, hauntings, poltergeists, ghosts, whatever. I'm usually in. I even endured a few seasons of the A&E show Paranormal State despite knowing many of the cases were falsified and the personalities were a bunch of fakes. So, when Paranormal Activity came around in 2009, I couldn't get enough of it. There are so many things that movie got right, from writing all the way down to marketing. I didn't know about its release until it carried through word-of-mouth, which is a really fun way to discover things in the age of the internet and constant information. The film was made independently, but when Paramount picked it up audiences had to "Demand It" in order to see it in their local theatres. It hyped up the movie and gained help from ad campaigns displaying frightened audiences in night-vision reaction videos. It was a genuinely exciting and scary movie and reintroduced the found-footage fad. Now people are tired of the gimmick and often groan through the screenings.

Paranormal Activity was great because you didn't know what was out there. You couldn't see anything, and when you did it was a strange image or trace of the entity that haunted Katie and Micah in their home. Many things were left to the imagination and it never held your hand. The second film opened up the wider story, allows viewers to get a glimpse into the family's connection to the entity, all while furthering the plot. The third took us back to the 80s to explain why the family was impacted by the demonic presence. The fourth (no, it wasn't very good either, but still) focuses on the neighbours of a new family across the street who are possessed by the demonic entity. The fifth, however a spinoff, is an interesting take on the demon and its abilities while keeping the story fresh and new. But off the deep end we go.

The sixth and final film in the franchise, Paranormal Activity: The Ghost Dimension, is bad. I said it. Many have said it about the other movies, and yes they are not cinematic marvels but at least they maintain the rules established in the first couple entries. With each new instalment, a new camera gimmick was added to the mix to keep things new. The Ghost Dimension's way of improving the experience tore away at the very core of the franchise. The tagline reads: "For the first time you will see the activity." That is exactly what I do not want to see. Darkness, loud sounds and possession are what I want, not amateurish Adobe After Effects CGI tricks that look better on a kid's YouTube video than in weak 3D at the theatre. Seeing a large cheaply produced shadowy figure isn't scary and you can't survive on repetitive jump scares brought on by a black entity shooting across the screen. The only redeeming quality in the film is the link to Katie and Kristi from the third movie, and even still, where are the older versions? Where is Hunter? I get that they want to show new and unsuspecting characters watch as crazy demon worshippers open bloody time portals in their kid's wall, but it just doesn't cut it. There is no soul left in this franchise, if there was one to begin with. At least the original films didn't resort on spooky 3D spots, bubbles and waves in the air.

Paranormal Activity: The Ghost Dimension folds on the franchise like a cheap suit or a really dumb tent in a kid's bedroom. It relates to the rest of the movies in the same way V/H/S: Viral did to the previous two films in that series. For those who don't know, the third in that franchise veered so far off course from the theme and intentions of the originals that it resembled them in name only. There have been some independent films made since 2009 that used relatively weak but suitable effects like REC, The Devil Inside (I had such high hopes for that one), The Tunnel and many more, but I have come to expect more from Paranormal Activity. It still blows my mind that a film as good as Paranormal Activity could have a $15,000 budget and one as bad as Paranormal Activity: The Ghost Dimension a whopping $10 million.

Some may say they aren't surprised Paranormal Activity has ended in a bad note, but I am disappointed. I enjoyed the previous films, the fourth notwithstanding, and I wish Oren Peli had stuck to the original formula rather than farming it out Paramount's executives and its many writers and directors. But such is the life of horror film franchises.

A Review of, and Thoughts on, "Lock In" by John Scalzi

Have you ever found an author you enjoy for reasons besides their traditionally published works? Maybe you heard them speak or they have written non-fiction pieces on topics with which you are familiar. Maybe they're funny on Twitter or they represent a particular political or social position that you associate with in your own way. Maybe all of the above. But, of course, it helps that they're an excellent writer to boot, right?

John Scalzi fits this criteria for my reading interests, as well as my personal opinions on topics of social and political relevance. I feel lucky, because I get a lot of good reading out of it. So maybe I read his work with the awareness of his voice and general perspective on the subject matter that he sometimes touches on in his writing. I don't mean to say that I know the guy in any personal way, but in an age of increased exposure to the lives of others that wish to share it, it is hard not to gather even a slight understanding of how someone operates. Scalzi isn't shy, in fact he is quite the opposite. I like that. When the time calls for it, he expresses the necessary no-nonsense stance mixed with the all-important sarcastic humour that I have been drawn to all my life. So, yeah, I have developed somewhat of an awareness. Some would suggest that I enter this article with a bias towards his work. That is understandable because I genuinely like him as an author and a voice for his outward beliefs. However, I would argue that rather than being slanted to promote his work, I suggest that you, too, read his blog, Twitter and other works because it makes his novels that much more enjoyable. You feel like you are a part of something. An inside joke, a secret reference, or perhaps something akin to friendship. You're on the inside. Of course, not everyone agrees with Scalzi, so maybe you won't see eye to eye. Nevertheless, I urge you to pick up one of his books, be it Old Man's War, Android's Dream, (the Hugo Award winning) Redshirts, Lock In or anything else. If you have any interest in science fiction, I'm sure there is something to peak your interest. Even if you're new, there are jumping-on points.

But right now, I would like to move focus to John Scalzi's 2014 book Lock In. It's been over a year since its release, so I'm really revisiting the topic. Scalzi is most famous for the Old Man's War series, which is military science fiction in a future where Humanity has expanded far beyond the reaches of Earth. Many associate Scalzi with this sub-genre, making Lock In a departure from the norm. Lock In is a near-future crime novel, but does not stray from science fiction. In fact, I would hesitate to dismiss the level of science involved in the world created by Scalzi as it relies heavily on the existence of advanced computer technology to the point of merging organic and synthetic brains for the purpose of putting a person's mind in a mechanical body or the body of another human. In addition, Scalzi has employed his knowledge of computer technology and the business of such a field to engulf the reader in a believably realistic future Earth that has become dependent on this market.

To familiarize you a bit, a powerful influenza spread across Earth, developing into a second stage of meningitis, and a third stage of complete paralysis of the nervous system. Not all victims suffered the three stages, 400 million people died and those who survived either maintained control of their body or suffered "lock in" for the remainder of their lives. The disease, later known as Haden's syndrome in the name of Margaret Haden the former First Lady of the United States of America, infected 2.75 billion people. The "Hadens" locked in their own bodies were able to have a computer put into their brains that allowed them to experience the physical world through a mechanical body affectionately known as a "threep" in reference to C-3PO, as well as a virtual space known as the Agora exclusive to those affected. The people that contracted Hadens and were not locked in also suffered changes to their brains, which allowed them to interface with locked in Hadens. They are known as Integrators and they can act as a human body for the locked in to transfer their minds in order to experience the formerly traditional human life.

I am afraid to go into much more detail for fear of butchering the precise details so carefully doled out by Scalzi throughout the novel. The world is laid out very precisely for the reader and certain pieces of information are timed with relevance to the plot. This is something Scalzi does quite well in his more mysterious novels such The Human Division and the one in question. I do not wish to spoil the story because it is one of the most interesting mysteries I have ever read. The intricacies of the world make it feel alive and experiencing their reveal alongside the narrative is a rewarding feeling. I cannot say that there are any instances where a plot point did not pay off.

I would like to make a few comment on the main characters in Lock In because their introduction and growth is somewhat of a test of the reader's perspective and imagination. Agent Chris Shane, who shares their first-person narrative throughout the novel is entirely gender ambiguous. From beginning to end you cannot possibly identify Shane's gender, and simply put, it does not matter in the slightest. It is clear that Scalzi's intentions were to maintain a gender neutral central character and using a first-person narrative was the best possible route to take in achieving this atmosphere. A typical person does not refer to themselves as he or she in first person, or at least I don't. It also helps that Shane uses a neutral threep throughout the story, preventing any gender identification or the need to make a point of their appearance. It is interesting to speak to people who have read the book to see if they assigned a gender to Shane or maintained the ambiguity. I have heard the argument that Shane must be a man because he came to the defence of a woman being harassed by a group of men, but I don't think it matters what gender you are when making the decision to help someone in need. Knowing Scalzi's general opinion of diversity in science fiction in both text and industry, I think it would be imperative to note that the narrow-minded traditional gender roles can be tossed out the window. See what I mean about the benefits of knowing an author beyond their immediate publications? This can also stand to the point that Chris Shane's ethnicity is not made a topic until their father's is identified later in the book. Yes, he is African American, but it is not lingered on nor made a point of because it just doesn't matter. These things are a part of the world we live in, so why not in a near-future science fiction narrative?

I think the opening chapters establish this sense of unknown identify and appearance through Chris Shane's threep. We do not know Shane's gender, race or sexual orientation, but we assume that this person in a realistic future is a human being. However, when more information is piecemealed our way we understand that something is different about Shane in the way of physical presence. Rigid facial features, strange looks from passerbys, physical make-up, inability to eat or drink. Without having to be stated outright to make it initially clear, we can figure out that Chris Shane's public appearance is that of an android, robot or mechanical body-vehicle, which have you. This development paves the way for other characters to be introduced and subsequently neutral in their human existence. They don't need their physical or mental traits to define them aside from their unique personalities. This is intentional and it is executed with precision. At least, that's what I took from it.

John Scalzi's time before becoming a published author was spent with computers, business, finance and notably AOL. His knowledge of the relevant industry has played well in growing a believable future and computer technology field with realistic development. As a result, he combined the Haden's syndrome world with layers of technological-relevant mystery to deliver a sound narrative. There are no instances where Scalzi loses control of his story, nor does he have to backtrack or make leaps in logic in order to meet his plot goals. On top of all that, in regular Scalzi fashion, Lock In is just a breeze to read.

I hope you take the time to check out Lock In as well as any other works by John Scalzi. If you're not into paying for something like that on blind faith, take the inexpensive route by reading his blog, Whatever, and Twitter page. Maybe that will change your mind. Or it won't. I think it's safe to say that he's not short on readers. Just keep in mind, he's no stranger to the internet. If you have an opinion of him and you wish to make a comment on it, he knows how to field it. Please don't contribute to the internet's already overflowing bin of obnoxious individuals.

I appreciate your time. Take care.

Star Wars: The Force Awakens Trailer and Ticket News

Star Wars: The Force Awakens is two months away to the day and to mark the occasion Lucasfilm and Disney have debuted a brand new poster along with four teasers for the upcoming trailer.  The final set of footage will be featured during halftime on ESPN's Monday Night Football (and TSN in Canada). Immediately following the trailer's airing tickets will go on sale worldwide, so jump on yours quick. I know I will be gearing up for the first possible IMAX 3D screening near me.

So about that poster. It's got some new faces, some old faces, some promotional character art, oh and a BRAND NEW DEATH STAR. Perhaps this is Starkiller Base? It would be difficult to understand how it could snow on a superstructure, but hey this is Star Wars. Suspend your disbelief for a moment. We also see Leia and her new hair. It's loud. I expected nothing less. Finn is carrying the lightsaber seen in the brief teaser from the summer that appears to be Luke Skywalker's former weapon. It interests me to note that all of the notably good characters face the right, except for Rey who is looking left like Kylo Ren does in the top left corner (but yeah, Poe Dameron is looking left too). But I'm probably reading too far into that. It's just a poster, right? Right?

The poster continues the pattern of mystery and secrecy surrounding Luke Skywalker's whereabouts, appearance and allegiance. We have yet to see Mark Hamill's senior Luke in any promotional footage be it in-film or B-Roll, however there was that leaked photo of him in full Jedi robes. Maybe the final trailer will give us a glimpse into his life thirty years after the Battle of Endor. (I would like to note that many believe Luke appeared in the Star Wars Celebration teaser with R2-D2, but I remain skeptical because it would require his hand's technology to have reverted to a metal prosthetic as opposed to his original synthetic human hand).

Better yet, where is Max von Sydow in all of this? At least we know Luke Skywalker is in film and Andy Serkis is portraying a new character named Supreme Leader Snoke. Who is Sydow? We will find out soon enough.

Tune in to Monday Night Football on October 19th to catch the trailer during halftime, or wait to it to appear online right after. I'm sure it won't disappoint!

Star Wars: The Force Awakens is in theatres December 18, 2015.

October 17th - Horror Feature: The Texas Chain Saw Massacre (1974)

Here's another movie that spawned a series of sequels, remakes, reboots, prequels and whatever. Yes, it's been tainted by the touch of Michael Bay who thought it best to modernize classic horror films that really felt at home in their original decade. (Again, he did produce the Friday the 13th reboot, and there were gleams of quality within that frantic mess). Not that they're bad remakes, etc., but the first instalment is truly the best option. The Texas Chain Saw Massacre! No, not The Texas Chainsaw Massacre. Chain Saw. This is the 1974 classic film that brought us the "true story" adaptation of the Ed Gein murders. For one, Ed Gein killed in Wisconsin, and he didn't really use a chainsaw. He did skin his victims and mutilate them, making various garments from their pelts. Leatherface replaced Ed Gein in this film, and his portrayal is an overly exaggerated version of the real person. All of the real-life crimes and horror are too much, but the film's absurdity helps the viewer understand that this is a fictional story at its heart. The film made a point of informing its audience that the cinematic depiction was based on a true story simply because that made it more frightening. It didn't matter how much it deviated from Ed Gein's actions. It really grabs a hold of those thoughts in the back of your head after viewing a horror film; is there someone out there who could do this to me right now? I have a habit of checking the back seat of my car after watching these movies. No, I'm not scared.

Shut up.

So a couple siblings and their friends are on a road trip to their grandfather's grave and family home in rural Texas. They pick up a hitchhiker, and that goes south pretty quick. You guessed it, he's crazy. And it won't be the last time we see him. They stop for gas and "barbecue" (yeah, wait for that realization), but not everything seems quite right (uh huh, "barbecue"). After arriving at the homestead, a few friends go off for a walk and stumble onto a neighbour's property where they encounter Leatherface in the house, and their meeting is short-lived to say the least. The remaining friends decide it best to look for their missing companions, and they drop off in succession. The film isn't long, which ramps up the pace quickly. You'd think they'd take it easy on the brother in the wheelchair, but he gets wrecked worse than most of the others (it's also the only chainsaw kill) but we later confirm in Friday the 13th Part 2 that even a paraplegic is game. The final act of the film veers from the standard slasher formula as we sit down to a meal with Leatherface and his family, including the stale-looking Grandfather. Yeah, he's alive. Somehow. The lengthy scene is excruciatingly uncomfortable and the content can be quite disturbing. It's great fun.

If you're looking for Leatherface's fit of frustration swinging the chainsaw over his head in the middle of the road you'll have to wait until the very end. It's worth the viewing experience, I assure you. Gunnar Hansen's portrayal of the main antagonist is fascinating, as he often received very little direction from Tobe Hooper and he developed the killer's odd characteristics himself. He is so awkward and uncoordinated that it's a wonder Leatherface is such a prolific butcher. But it makes him that much scarier. Many have tried to duplicate his portrayal of Leatherface, but Hansen is the true original (except for maybe Ed Gein?).

I'd like to give Marilyn Burns a nod for her part as Sally. Her top-billing should inform you that she winds up as the final girl. Now, I've made it very clear that Jamie Lee Curtis is the end-all-be-all Scream Queen, but Burns really nails the role in this one. It seems so natural and frantic, which I think is understandable given that Hansen's Leatherface is so terrifying. Imagine being chased through the dark woods by a giant killer nutjob with a chainsaw who skins people and eats what's left. Even if you get to see him between takes, it would feel all too real when the cameras are rolling. He isn't exactly a slow mover either. He really hoofs it when he has to, and jukes around with spastic flailing.

The Texas Chain Saw Massacre (1974) is a must watch, even if you've seen and disliked the other entries in the franchise.

October 16th - Horror Feature: Prom Night

Jamie Lee Curtis should be enough if you're looking for a good slasher. She tends to be the indicator, even if some are better than others. No matter what, she puts in a performance that makes the film just that much better. Prom Night is one slasher that benefits from the Scream Queen's presence. It's also important to note that Mr. Hammond is played by Leslie Neilsen. That dude's a legend no matter what he's in.

Prom Night is yet another Canadian slasher that builds its conflict on a past mishap involving children and teenagers. Rather than setting it at a summer  camp, a cabin in the woods or the house where the protagonist is babysitting, this one takes a page out of Carrie as the killings occur mostly at the high school prom. I think Prom Night gets a pass on taking the high school event setting because Carrie isn't a slasher no matter how many buckets of pig's blood are involved.

Prom Night has its despicable characters that you don't mind getting taken out, but some of the most intense scenes involve those that are more likeable. It makes the killing all the more horrifying because you don't want them to die. Some may find the killer to be a little predictable but it caught me by surprise. Hopefully it will catch you too. By surprise that is.

Prom Night! Check it!

October 13th - Horror Feature: Black Christmas

Let's throw it back to 1974. And to Christmas. Yes, it's okay to watch this in October because it's still a horror film. Some would classify Black Christmas as a slasher, and I agree that it follows the many rules of one. However, it predates the 1980s craze for gore. You're not going to see brutal kills but you're going to feel the frustration of not knowing the killer's location and identity at all times. It's creepier for it.  

There are still a number of elements of slashers that appear throughout. Black Christmas used the killer POV before Halloween, and I don't think it gets enough credit. It wasn't the first, but it sure did it well. The crude humour and sexual content is not spared and it plays well in the first act. Black Christmas was one of the first films to have a killer call its victims before ramping up the action. And spoilers, it's coming from inside the house! The way they discover this is so true to the time. It's kind of cool. 

Black Christmas may not be the flashiest slasher out there, but if you want to appreciate the genre's roots you should see it. 

October 12th - Horror Feature: Friday the 13th

I think this one's obvious, right? How do you talk about horror and slasher movies, not mention even one Friday the 13th film and get out alive? The thing is there are so many of these movies. If you include the weird ones, the future ones, the cross-over and the reboot, the Friday the 13th franchise boasts a twelve film roster. No, they're not all good, but that doesn't mean people don't see them. This slasher series is one of the most successful and widely recognized horror franchises of all time. Jason Voorhees is a top three slasher killer, and he isn't even the antagonist in the first film! The iconic goalie mask doesn't even appear until the third film! Think about that. Friday the 13th has staying power, even if it turns out bad sequels and multiple reboot attempts.

So today's recommendation is sort of a mess. I strongly recommend seeing the first film. It nails so many slasher tropes including the summer camp, the immoral counsellors, a killer with a history at the camp and an abrupt twist ending. You rarely see the killer, which I love in horror movies that want your imagination to run wild. If that doesn't grab you, maybe Kevin Bacon will. He plays Jack, so look out for him.

Other than the first film, I don't think you really have to watch every chapter to follow along, but it helps. Sometimes it's fun to catch a sequel on TV and watch for the kills rather than the story. Yes, there is a general continuity to the earlier films, some with semi-cliffhanger endings and surprise returns. If I'm going to recommend one particular title in the series, it would have to be Friday the 13th: The Final Chapter, which is the fourth film. It isn't the best but it's got it all, including Corey Feldman as Tommy Jarvis (a recurring character but without Feldman in the following instalments). Tommy's nuts, and I think he acts as a study of Jason's development as a child after enduring the traumatic experiences that led Mrs. Voorhees to kill in the first.

Honestly, if you're in it for the kills and the tropes, any of these movies should do the trick. If you can deal with the silly explanations, resurrections and plot holes, you'll have fun. I guarantee there will be at least one moment from each film that you like. Actually, I can't really guarantee that beyond Part VII, everything goes off the rails, but they're still Friday the 13th films. You can't honestly expect to see an Oscar-worthy movie with stellar performances. They're slashers! Level your expectations.

Some honourable mentions include Friday the 13th Part II's Mrs. Voorhees shrine, Friday the 13th: A New Beginning's major twist, and the not-so-terrible 2009 reboot that mashed together much of the earlier canon and has a thrilling cold open that is unrivalled.

October 11th - Horror Feature: Sleepaway Camp

A lot of 80s slashers took place in familiar settings like colleges and summer camps. These were relatable to many kids checking out the Saturday afternoon matinee so it was easier to scare them. So it's easy to sent a killer loose on the campgrounds, killing immoral teens and mean counsellors. Mix in the summer camp with a whodunit and you've got Sleepaway Camp. But this slasher is much more under the surface.

Sleepaway Camp begins with a tragic death years before the primary setting of the film when a father and child are killed, leaving one behind. Bring it back to 1983 and you've got a depressed girl, Angela the survivor, and an overbearing Aunt. Off to camp she goes with her protective cousin Ricky. People think she's weird, all quiet and shut in. When people start dropping, many point to her and those around her. The big twist at the end will probably get you. It got me good. Not only who the killer is but what has brought them to their violent actions.

Sleepaway Camp is a scarier slasher than most, especially when you don't know who to look out for. The movie is a lot smarter than you may think, but you'll have to analyze the character development and mental trauma suffered during the opening scene to follow along. Any more and I'd spoil it. Check out Sleepaway Camp!

I Have a Good Feeling About This - Star Wars: Battlefront Beta Impressions

I've racked up 12-15 hours in the Star Wars: Battlefront Beta this weekend and will probably put in a few more before it closes on October 12. Yes, that's a lot for a beta, but I cannot get enough of this game. I can only really give you two impressions with this game, one being from a gameplay standpoint and the other from a Star Wars fan standpoint. So take either as you wish.

Star Wars: Battlefront plays differently from DICE and EA's Battlefield franchise, strictly on movement and gunplay. The blasters don't require a reload, but they do give you the opportunity to perform a quick cooldown similar to the "active reload" system in Gears of War.  The four blasters available in the beta fire at different rates with varying impacts, however, no one weapon eclipses the other. It comes down to the preference of the player, and sometimes their ability to land precise headshots. The blaster pistol requires a steady hand and can be a deadly tool in the right hands. The mobility is huge in this game. There is a sprint and a standard jump, but the jump pack card that you can add to your hand like a class perk is an excellent way to get around and into tactically advantageous positions. The wide range of movements force a new verticality to the game, particularly when playing Drop Zone on Sullust as the volcanic rock can tower feet into the air and give the enemy the high ground.

Each game mode comes with a series of map pick-ups. The smaller modes include one-use weapon items such as a thermal imploder, orbital strike or smart rocket. Larger game modes have additional map pick-ups like vehicles, varying between the Imperials and Rebels, and Hero pick-ups like Darth Vader and Luke Skywalker. None of these perks are dependent on your playing ability or success in one match. If you get to the indicator, it's yours. You either must survive with a health bar (AT-ST, TIE Fighter, X-Wing, A-Wing, etc.) or live out the clock (AT-AT [don't you dare call them at ats], Heroes, etc.).

The Walker Assault on Hoth slanted well in the favour of the Imperials in the majority of the matches in which I participated. It seemed for a long time that I would never win with the Rebels, which is technically canon given that a "loss" is constituted by the shield generator being destroyed. Nevertheless, I have managed to win as the Rebels on two occasions, as my team destroyed both AT-AT walkers in the final stage of the match. In the first case, I shot one walker from the ground while a Snowspeeder toppled the other, and the second case I managed to begin wrapping the toe cable around the AT-AT, but it's health was slow low that when I crashed into it I took it with me. Not the prettiest win, but a win nonetheless.  It can be done, people!
This game will need to provide a wide range of unlockable content like blasters, perks, hands, and appearances if it's going to keep players in the game. Once everything is unlocked there is little incentive to earn experience points and credits. I know I will play it regardless, but some players may fall out of it if they don't have a goal to work towards. Microtransactions would ruin this element of the game, but thankfully DICE/EA has confirmed there will be no such purchase system. I don't want to buy a cool Stormtrooper variant. I want to unlock the TIE Pilot or the AT-AT Driver.

If there is one thing I can complain about it would be the momentary drops in framerate on Xbox One. I have seen it on PS4, but my playing experience has been on Xbox and there have been some brief but noticeable inconsistencies of the framerate. This may be due to beta connectivity. There have also been texture pop-ins on Sullust, but only when spawning in particular zones. The Xbox One version was running at 720p and 30 FPS, which is now regarded as inexcusable for a modern shooter, however I did not notice any major issues with clarity. If you're not playing on a TV larger than 50-55", you will have a hard time seeing the difference between the 720p and 900p that PS4 has managed. Of course, unless you have a keen eye for video quality. I prefer the Xbox One version for the controller and it is where I play my third-party games with friends. So take your pick, or go to PC where that thing is firing on all cylinders well over 1080p.

Star Wars: Battlefront releases on November 17, and those who preorder the game will have early access to the Battle of Jakku DLC which is free for all players come December 8. If you're on that The Force Awakens hype train, no doubt you'll want to gear up for Jakku. You saw that Star Destroyer in the sand dune, now go be a part of the Rebel Alliance (or will they actually refer to the them as the canonical New Republic?) and put that star destroyer in its place! Check out the beta on Xbox One, PS4 and PC now before it ends on October 12.

October 10th - Horror Feature: Insidious

Insidious is a 2010 film by James Wan and Leigh Whannell, the duo behind Saw, but it is quite the departure from the gory series. Insidious sets the tone right off the bat with a thrilling title card with shrill string instruments and a hellish image. It stars Patrick Wilson, Rose Byrne, Ty Simpkins and Lin Shaye. Insidious takes on demonic entities, medium powers and a spirit realm referred to as The Further, although I think it's better suited as "The Twilight Zone." Wan and Whannell do an excellent job of turning comforting images and homey settings into places of horror. No matter where the Lambert families goes, they are followed by a demonic being that is latched to their son and draws many other beings with it. The character designs are creepy and unnerving, especially the Lipstick-Face Demon and the Old Woman who is actually played by Phillip Friedman.

I think Insidious tackles the depth of paranormal horror and possession very well because it doesn't resort to the same drawn out exorcisms and conversations with a demonic being. Instead, it takes us into the spirit realm that we rarely see, and deals with the mind of those possessed rather than those who endure their demonic state. The seance that is held in Insidious is so unique in its execution thanks to the three hundred sixty degree table camera and the inclusion of a gas mask for no explicable reason. Admittedly, it makes the scene creepier, so I'm all in.

If you're looking for a different take on paranormal horror, Insidious is a good start. Wan and Whannell do a stellar job, and they also inject a few good laughs along the way. Patrick Wilson is a great actor and I had a hard time watching his character endure the horrors of his family's demonic link.

Star Wars: Battlefront Beta Early Impressions

I have been spending most of my downtime with the Star Wars: Battlefront beta m, so I will be foregoing a Horror Feature this evening. The beta has been a great experience thus far and I intend to play it for a few more days. There are only two core modes being tested, the Drop Zone on Sullust being a smaller game with 8v8 and Walker Assault on Hoth with 20v20, Hero spawns and vehicles active.

My early impressions are positive. The game is some of the most authentic Star Wars content I have ever experienced. From the character models to the pyrotechnic-like effects, this feels like an interactive movie. Even the way a stormtrooper crumples to the ground is true to the Original Trilogy. The gunplay is very FPS, but the blaster weapons make a refreshing change by bringing an active reload mechanic. The maps are gorgeous renderings of screen accurate locations and some new ones that are equally beautiful.

My first day with the beta had some connectivity issues with the Drop Zone mode, but they were corrected by the second day. I will drop in to update my time in the beta over the weekend.

October 8th - Horror Feature: The House of the Devil

The House of the Devil is a 2009 film directed by Ti West, who I previously mentioned in the V/H/S feature. This project predates the anthology film, giving us some insight into the earlier work of West. The House of the Devil merges the slasher and haunted house subgenres to make a "based on true events" horror film that delivers. By now you should know I'm a sucker for 1970s and 1980s horror films and this one emulates them in a respectful and appropriate way by adopting framing, music and themes.

To fill you in, the plot centres on a college student named Samantha Hughes (Jocelin Donahue) who takes a babysitting job to make rent. She finds herself in an awkward situation looking after a mansion while an old lady sleeps upstairs and is not to be disturbed. But it's good money. The deeper the trail goes, the weirder things get. There's a surprising kill that I won't spoil, but it blindsided me. Things go south for Samantha as she makes her way through the mansion. Things go satanic. It's pretty great.

I don't really have a lot to say about the film because it is so straight forward. It has an aged feeling to it that makes it more authentic to the time period that it portrays and I love the moody tone. It's not overly gory, but it makes up for it in good scares and the creepy turn of events. It gets by on style instead. Even though it hits on the nostalgic points for me, and surely for Ti West, it is also just an all-around good horror film and demonstrates how filmmakers should be approaching their work in the genre today. At least if I'm going to like it much.

The House of the Devil is a cool flick for October, so check it out!

Star Wars: Aftermath Review

Star Wars: Aftermath is the first novel in the new canon to take place following Return of the Jedi and is burdened with the responsibility of beginning the lead up to The Force Awakens in December. There was a lot riding on Chuck Wendig's book, even though it was the sixth novel to release under Del Rey Books' new line of Star Wars titles. There are a number of other publications grouped into the tagline "Journey to The Force Awakens" such as the Star Wars: Shattered Empire" comic book and a line of young adult novels. Star Wars: Aftermath remains the major piece in the growing canon and spent weeks on the New York Times Best Seller list following its release. So, let's check it out, shall we?

Star Wars: Aftermath attempts to answer that nagging question ahead of The Force Awakens: What happened to the Empire following the destruction of the second Death Star and deaths of Emperor Palpetine and Darth Vader? Wendig stepped into an existing world with a big hole in it. The Empire is divided and on its heels, scrambling to gather its forces all the while combating the rampant rumours that their leaders have perished.  Some second-tier officers and allies gather on the Outer Rim planet of Akiva to discuss the future of the Empire as the Rebel Alliance has formed the New Republic in the wake of their major victory. Captain Wedge Antilles, a fan favourite pilot from the days of Yavin IV, Hoth and Endor, is scanning worlds in search of such Imperial meetings, falling right into the hands of Admiral Rae Sloane who takes him prisoner. Rebel Y-Wing pilot Norra Wexley is making her way home to Akiva where her son Temmin, a crafty and stubborn kid, has been under the care of his two Aunts. Sinjir, an ex-Imperial loyalty officer gone rogue on Endor (oh, the irony) is planet-side, drinking himself into trouble. The Zabrak bounty hunter Jas Emari has her sights set on Arsin Crassus, ally of the Empire and slaver, when she finds him amongst some heavy hitting Imperials during their panicked meeting. They cross paths, get each other in trouble, then out of trouble and have to fight their way through the occupied city of Myrra in order to stop the Imperial meeting from making any progress. It has hints of "space-opera" when you look at it that way.

I'm all for a good crossing-of-paths story where interesting characters have their personal narratives and encounter the others as a result of events and circumstances bigger than themselves. It is interesting to watch a character develop on their own and clash with the others in dire situations that have an impact on all of them. Some characters are more likeable than others, such as Norra who suffers internal turmoil over leaving the Rebel Alliance to return to Akiva where she had left her son years before. Sloane is a cold Imperial who proves capable of controlling even the most difficult individuals associated with the Empire, and the epilogue points to her becoming an important leader in the resurgent Imperial fleet. Sinjir Rath Velus, on the other hand, is very difficult to relate to despite being an indecisive and lost wanderer of the galaxy, unsure of his future and what he should do with himself now that he has abandoned his post as an Imperial Loyalty Officer. It seems like we should pity him, but his personality is bitter, unlikeable and shut off from outsiders. He sulks around, gets himself into trouble and needs help at every turn. There are some gleams of hope in redeeming his character, but ultimately it falls short. Jas is your typical bounty hunter, hard not to like. But Temmin is a frustrating teenager with a temper and poor judgement; his character arch is disappointing to me, and he makes decisions that he should not have come back from but does through unconditional love. Now if only there weren't so many death fake-outs. I counted over five, some repeat occurrences for the same characters. Don't mess with my heart like that, Wendig!

It is important to note that Chuck Wendig has introduced the first openly gay characters in Star Wars with Temmin's Aunts, Admiral Sloane's assistant and Sinjir Rath Velus. This is a progressive move for the series and opens up the franchise for more opportunities to focus on diversity. Some have argued that Wendig was trying to make a statement about homosexual characters, and I for one think that their point is ridiculous. That argument has as much ground as the uproar from narrow minded people who opposed John Boyega's role as a stormtrooper. Just because you haven't seen it before doesn't mean it shouldn't exist or has never been possible. Wendig inserts these characters without making a significant point about their preferences because it is not a statement. It is a reality. In a way, Wendig has made up for past oversights in Star Wars writing. So get used to it. 

Aftermath makes a point of nodding to original trilogy characters like Wedge Antilles, Admiral Ackbar and Mon Mothma but Wendig is sure to shine the spotlight on the new emerging characters in order to widen the galaxy's lens.  This allows Aftermath to act as its own story rather than use a crutch to get by on nostalgia.  In turn, the atmosphere of the original trilogy is ever present. However, it feels more like Star Wars: Rebels than a feature film; the galaxy may hang in the balance but I just don't see these people making the difference. The references are there, familiar places, people and ships, but it remains a side story with minor consequence overall. The direction of the franchise requires a cohesive universe, but before this reinvigoration of the series, I often disassociated the two trilogies because of their differences. Now Wendig has successfully made me identify prequel era content within a larger narrative. I would have preferred to see the B1 Battle Droid "Bones" be an IG assassin droid, but to each their own. The old, defunct Expanded Universe thrived on interesting new characters and I'm sure Aftermath would have at a different time, but right now the hype train is driven by the original characters, the new ones that appear alongside their relevant story paths and the return to a grand scale in the core Skywalker narrative. As a result, I must commend Wendig for delivering a solid side story, and in doing so he has begun to establish what happened the the Empire and the New Republic in the thirty years before The Force Awakens.

Wendig took an interesting approach in developing a changing galaxy following Return of the Jedi by providing interlude chapters throughout Aftermath. In some cases they are teases about Han and Chewie, others are vague references to seemingly inconsequential characters who want to buy Vader's lightsaber. Overall, these interludes can be distracting from the primary narrative, but they do serve their purpose well. It was nice to see what was going on in other corners of the galaxy.

Star Wars: Aftermath isn't the best canon novel ever written, but it sure does succeed in kickstarting a dark period in our knowledge of the Star Wars universe. It is far more important to the sequel trilogy than an off-hand story about the Old Republic or the Rise of the Empire because we want to know how we got from Endor to Jakku. Wendig's abrupt, raw and choppy writing style suits the frantic narrative, which made me feel like I was entering a world with a more creative interpretation than a core film would have allowed. I look forward to reading what Wendig has in store next for these new characters in a familiar, yet unexplored era.

October 7th - Horror Feature: Scream Queens (TV Series)

Today we're going to veer away from movies to talk about Ryan Murphy's new series Scream Queens starring Emma Roberts and Jamie Lee Curtis. We all know Jamie Lee Curtis is the ultimate scream queen, debuting in Halloween and carrying on through the 80s in various slasher films, both good and not as good. Pair her style of horror with Ryan Murphy's and you get one hell of a parody.

Scream Queens is a self-aware interpretation of the slasher and horror genres, making digs at tropes and deep cut references for hardcore fans. The story follows a sorority, Kappa Kappa Tau, with a history of violence and murder. In 1995, a sister gives birth in a bathtub and dies shortly after, leaving a baby girl behind with neglectful college girls and Cathy Munsch (Jamie Lee Curtis). Flash forward to present day as Grace Gardner (Skyler Samuels) tries to join her mother's former sorority without knowing that she is in fact the baby born in the house that is now run by sorority president Chanel Oberlin (Emma Roberts). As the sorority experiences a series of misadventures, they endure violent incidents instigated by Red Devil, a murdering psychopath (or so it seems).

Ryan Murphy's show is padded with laughs and is very inviting to even the most mild horror fan. The prime time airing and network programming prevents it from getting as gory as American Horror Story, which gives the comedy an opportunity to shine. It does what good horror films do: provide you with enough information to fear what's around the corner, but withhold the rest in order to make you come back for more. It turn, it also makes fun of what mediocre horror films do: objectify women and over compensate in masculinity. Many of the guys are over-the-top meatheads with identity crises and many of the girls are extremely materialistic and self-absorbed.

The strong characters defy these stereotypes and deliver realistic performances that are often non-existent in horror films, outside the individual who seems to be the only one to remember rational thought.  Scream Queens doesn't approach horror like the Scream movies did, allowing the characters to be aware of slasher films and knowing how to respond to familiar scenarios. Instead, they increase the frequency of tropes, making them obtuse, all the while enforcing the ignorance of the characters to their predicament. The plot has been a classic "whodunit" and it's only getting deeper as the show progresses.

Scream Queens airs on Wednesdays at 9 on Fox. The fifth episode debuts on the 13th, so there's plenty of time to catch up on this excellent show.

Rainbow Six Siege Beta Impressions

Now that the Rainbow Six Siege Beta has closed, I'd like to share some thoughts on my experience. As it was a beta, connectivity reflected the unfinished build and should not represent the final game. Most times that's true, but I really hope they tighten up their servers for the December 1st release. I had issues connecting to squads through the friends list on Xbox One and found matches two out of three attempts. Once I did find a match, the connectivity held up and remained manageable.

The multiplayer gameplay places you on a five-player squad that requires teamwork and communication in order to succeed.  You either attack or defend a location/objective such as a bomb. The teams have a series of player classes that you may unlock with in-game currency earned through experience, and the class can only be used by one player and only applies to either the attacking or defending team. The class you choose provides you with unique abilities, items and weapons that contribute to a well-rounded squad. A good team requires player classes that compliment each other and are used effectively in relation to the in-game scenarios as well as the actions of teammates. Above all, the squad's voice communication and tactical approach to the objective allows for the ultimate playing experience. If your teammates aren't talking, they can't tell you what they're doing, what they're seeing and how they can help to make your squad better. The best matches I played involved five players with microphones, calling out actions, sightings and developments in the scenario as the opposing team dropped into the bomb room or when you breach a window into the enemy's stronghold.

The hyper-realistic response in Siege's gameplay creates a frantic atmosphere. It doesn't take an entire clip to take down an enemy player. In fact, it usually only takes a few well-placed rounds. The wide range of playing style options makes for a nerve-racking fight as you don't always know where the enemy is. Each match begins with the attacking team sending in drones to find the opposition, while the defenders place fortifications in their position of choice. From there, the attackers choose a route into the building and make their way through to complete the objective or die trying.

I particularly enjoyed the vertically of the maps that often included three floors and a number of rooms. Many of the walls are destructible allow for more breaching options and fewer safe places to defend. One match I recall vividly placed me and a teammate on the main floor of a colonial home positioned at Bomb A while three of my other squadmates were down the hall with Bomb B. The attacking team found "B" with their drones and moved in to take the location, but failed to defuse the device. The teammates that didn't make it watched out for any movement on the upper floor where the enemy has breached Bomb B room and myself and the remaining squad members held up under desks and behind furniture waiting for the enemy to make their way in. It was a very tense experience waiting for the opposition to breach from any location. The remaining enemy players breached from two locations, the ceiling directly above the bomb and the double door entrance to the room. We managed to eliminate the other team before they could reach the bomb, ending the match in our favour. Without communication and teamwork, that match would have gone south in a hurry.

The Terrorist Hunt game mode pits a team of five attackers against tens of enemy AI characters who are barricaded inside a building. The object requires you to kill every terrorist before they take you out. I played this mode on the Realistic difficulty, which provided me with a higher experience point reward. Some of the enemy classes seem to take a few more bullets than they really should, such as the suicide bombers. I would prefer if they could be managed a little more realistically, but they sure made it a challenge. This game mode is most enjoyable for those who like to play as attackers and I hope they include a defending objective in the full release.

I am afraid the lack of maps and character classes may shorten the life of Rainbow Six Siege. Ubisoft confirmed that the game will not contain a story mode or campaign, and instead will boast a number of campaign-like objectives. I find it highly ironic that a licensed property stamped with "Tom Clancy," the late author of many novels, does not include a story. Shooters that lack a campaign have become more common on consoles in the last two years, and none of them have been a great success (Titanfall, Evolve). They may be fun, but they don't always have the legs to justify the multiplayer only approach. Rainbow Six Siege is going to need some serious post-launch support to keep players coming back. Ubisoft doesn't exactly have a great track record for this, but I hope this will be a different case. The class unlocking system and progression is a perfect example of a game that requires that you play early and often, or else you will end up behind the other players. You may not enjoy your experience unless they provide new players with quick unlocks.

Another multiplayer shooter out this fall is Star Wars: Battlefront, releasing on November 18 with an open beta beginning October 8. Some believe this too will falter following release, but I believe if there is one multiplayer shooter that will have legs it is a licensed Star Wars game. This thing looks and feels authentic and I will provide my impressions in the days to come.

October 6th - Horror Feature: My Bloody Valentine

Let's keep on this slasher kick for a moment. There are a lot of them. I can't possibly touch on them all, nor would I want to for that matter. I only recommend the films I enjoy so today's is a Canadian slasher many may be familiar with in name: My Bloody Valentine.

This 1981 horror film is one of many Canadian slashers to come out in the early 80s, but his one really shows. The accents, the Nova Scotia coast and mines, and all the Moosehead. It really does feel Canadian.

My Bloody Valentine was directed by George Mihalka and continued the seasonal trope of slashers occurring on a holiday or calendar event. Valentine's Day had yet to be used and the production was kept under wraps to prevent their idea from being exposed and used by other films. The movie takes place in a mining town called Valentine Bluffs where they suffered a tragic accident in 1961 on Valentine's Day when miners became trapped under rubble while the town went to a party. Harry Warden was the only survivor. He went insane and killed his neglectful supervisors, threatening the town to never hold another Valentine's Day party.

But what fun is that? In 1981, the young miners and their girlfriends defy the orders of the mayor and police to cancel the party despite the mysterious murders occurring in the days ahead of February 14th. It appears to be Harry in his miner gear, mask and all. It is such a unique and unnerving disguise. But you'll have to watch to see what's going on in Valentine Bluffs; you'll have to make your way into the mine.

There are some creative kills and dark scenes. Try to find the most recent uncut version. It's just better.

October 5th - Horror Feature : The Burning (1981)

The Burning is a 1981 slasher film released, yes, amidst so many other movies just like it. It ticks off the boxes all slashers seem to cover, including the campgrounds, teenaged campers and counsellors, questionable morals, and a past prank-gone-wrong. The killer is the prank's victim and he's disfigured. Things go wrong. Yeah, it seems pretty cookie-cutter. And it is, really, save for one particular scene involving a raft and multiple deaths. (Spoilers: five deaths, five different ways, less than a minute, it's amazing).

I don't seem to be talking this movie up very well, and there's a reason for that. Sometimes what I look for in a slasher are those boxes being ticked. I love the tropes and the predictability of the plot. Better yet, when you get comfortable with the formula, some off-shoots in different movies are more likely to surprise you. Even though I had heard about the raft scene before seeing the film, it has stayed with me. It's creative, frightening and unique. You won't be disappointed, I hope.

Some interesting little facts about The Burning: 

The Burning was Jason Alexander's film debut and he would later go on to play George Costanza in Seinfeld (admittedly, Seinfeld being my favourite show drew my to this film, and I left satisfied by the slasher instead).

Tom Savini was responsible for The Burning's effects, and he has quite the make-up and effects resume including Dawn of the Dead, Maniac and the first Friday the 13th. This dude's a legend and he was inspired by George A. Romero's Night of the Living Dead.

The Burning didn't exactly make waves upon release, with little attention from critics and audiences. It has since developed a cult following and drew the attention of critics who reassessed it, earning it a 100% Fresh rating on Rotten Tomatoes.

Harvey and Bob Weinstein debuted as producers on this film and later became some of the most successful producers in Hollywood after founding Miramax and The Weinstein Company. Bob also heads Dimension Films, known for a number of horror franchises.

The primary murder weapon, the garden sheers, are unique to The Burning. Very refreshing.

Check out The Burning because it hits all those slasher tropes but I bet you're not as familiar with it as you are with Halloween or Friday the 13th.

October 4th - Horror Feature: V/H/S (2012)

Found footage has muscled its way into horror the last six or seven years (to botht he pleasure and disdain of some fans, depending on who you ask) after decades of waiting in the wings with one or two notable efforts prior to the boom. This subgenre of horror caught on after Paranormal Activity took audiences by storm in 2009 and it inspired countless entries akin to the wave of 80s slashers. The popularity and subsequent over-saturation of the subgenre has left it a target for jokes and criticism rather than appreciation. Of course, not all of these films are really that great, but there have been some hidden gems over the years. One such gem was V/H/S.

V/H/S is a horror anthology (its first obstacle) featuring found footage shorts (its second obstacle) from up-and-coming directors (its third obstacle) that horror fans should keep an eye out for, notably Ti West. The collection boast unique takes on the found footage fad and put out some of the best content seen in the subgenre to date. The anthology collects five short stories found on VHS tapes by a group of criminals who film themselves exploring a house and watching the footage. Not only do you witness the horrible events discovered on the video tapes, but you also endure the strange things happening in the house between the shorts during the frame narrative titled "Tape 56."

Each short film is different, making the found footage experience a very refreshing take on the otherwise stale trope. The first short, "Amateur Night," is a creepy voyeur-heavy story that doesn't end well for the guys in control of the camera (yes, there's something wrong with that girl). The second one called "Second Honeymoon" is one I would prefer to talk about at length, so stay tuned. "Tuesday the 17th," the third short, takes us to a familiar forest setting, but the friends who are out camping encounter a strange figure that distorts the camera and sets out to kill them; we know when its coming (sometimes) but the protagonists don't. The fourth is called "The Sick Thing That Happened to Emily When She was Younger" uses webcams to follow what is happening on both sides of a video chat as a girl tells her med school boyfriend about a bump on her arm, and this one gets really weird (there's a strange little entity and then this one twists hard). The fifth and final short titled "10/31/98" tackles the standard cult/haunted house story with very frantic direction as the protagonists find their way in and out of the building.

Now back to "Second Honeymoon." This one is my favourite because it does two interesting things. I will attempt to avoid spoiling the twist, but there are some things that must be shared in order to explain what makes it the best. This is the entry by Ti West, who has gone on to direct some other great movies, one of which I may feature later this month. "Second Honeymoon" follows a couple, Sam and Stephanie, as they record their trip to Arizona for their... second honeymoon. A Zoltar-like fortune teller says Stephanie will reconnect with an old loved one. Later, a woman comes to their motel room asking for a ride the next day. That night, their camcorder is turned on revealing both Sam and Stephanie in bed. Someone else is filming them, and that someone touches Stephanie with a switchblade. That same person steals money from Sam's wallet and puts his toothbrush in the toilet before leaving. Sam notices the missing money the next day and accuses Stephanie. This mystery person has already put a wedge between the couple, creating conflict. The next night, the camcorder is turned back on to film Sam and Stephanie, but! you'll have to watch to find out. It's not hard to piece together but it is a satisfying conclusion.

I enjoyed Ti West's contribution to V/H/S the most because it combines the found footage subgenre with the POV antagonist of old slasher films. Nothing is more unnerving than seeing through the eyes of a potential killer, and witnessing acts that we may never commit ourselves but have viewed them as if we have. There's something uncomfortable about seeing the scene unfold from this first-person perspective, one where we would typically have control, but this ability is ripped from us save for our eyes. The voyeurism of this segment is also tense, especially when it is revealed in the first encounter.

V/H/S has spawned two sequels, V/H/S/2 (2013) and V/H/S: Viral (2014). The first sequel is pretty good, but the second veers so far off course from what its predecessors established that it doesn't feel a part of the series. It doesn't even maintain the found footage element in some cases.

Check out V/H/S because it's different. I'm sure you'll find something you like.

October 3rd - Horror Feature: Night of the Living Dead (1968)

I have enjoyed jumping back and forth from old to new films so I'm going to keep with that trend. So far we have seen a slasher that influenced a generation of films and a paranormal horror introduce new ideas. So let's throw it back to 1968 for an undeniable classic by the legendary George A. Romero: Night of the Living Dead. There's a reason I've been doing this feature series in October. It's because of this month that I associate so many horror movies, Halloween related or not, to this month. Old movies like Halloween and Night of the Living Dead would be played on classic movie channels. Without these TV airings I would not have encountered so many of the films that have influenced my taste in visual media. Night of the Living Dead introduced me to the most iconic vision of zombies to have graced the medium.

To summarize it quickly, Night of the Living Dead tells the story of Ben (Duane Jones), Barbra (Judith O'Dea) and five other survivors find themselves in a house in rural Pennsylvania while the dead return to life outside in search of the flesh of the living.

George Romero's first "Dead" film reimagined the concept of zombies and defined the most reused elements of the undead. These things shamble, shuffle, groan and lurk in the dark corners of the crumbling society eating those who have not turned and you better shoot them in the head. It has influenced a countless other films, television shows, books and comic books, most notably The Walking Dead in comics and TV. Robert Kirkman directly references Romero's films as a primary inspiration for his world, except that it doesn't just go away when the credits roll.

But rewind to 1968 when critics detested the excessive gore and questioned the filmmakers for their "sadistic" approach to storytelling. Those critics were not seeing the forest for the trees or the horde for the zombies. Night of the Living Dead is deeper than blood, guts and cannibalism. Romero's legacy also includes his emphasis on social issues relevant to American society. In 1968 Night of the Living Dead critiqued Cold War politics and domestic racism that plagued the United States. Not many were doing this in 1968, at least not on a blatant level like Romero. Night of the Living Dead embodies social commentary through the lens of horror, emulating the black-and-white footage of the Vietnam War, excessive violence and careless problem solving. Whether Romero's casting of Duane Jones was intentional or not, a black character who is a tragic hero still evoked thematic references to Martin Luther King Jr. and Malcolm X as critic Mark Deming pointed out. Rather than ending happily, Romero's iconic film closes with tragedy. It is less Hollywood and more ripped-from-the-headlines domestic violence.

Night of the Living Dead spawned many sequels, remakes, ripoffs and spiritual reimaginings. A lot are bad, some are good. I'll talk about one of these in the days to come.

So do you like zombies? Want to see where the popular depiction originated? Romero is a legend and made great independent films. He's a smart guy and I really like his work. Check out Night of the Living Dead this October.

October 2nd - Horror Feature: It Follows (2014)

Let's jump forward forty years to 2014. We are about a steady decade into a stint of remakes and reboots of 1970s and 1980s horror movies and nine out of ten of them are pretty bad. And the ones that are new properties just steal elements of existing ones. This, of course, pertains mostly to the major market horror films from big studios with big actors. Save for James Wan and Leigh Whannell, there aren't many people totally killing it in mainstream horror.

Along comes David Robert Mitchell with a little film called It Follows. This one was a sleeper hit. Word of mouth carried, more and more people got around to catching it in theatres or on its home release, and more people shared it with those who had yet to see it.

Now, I like a good paranormal thriller and Mitchell delivers just that. It Follows is different from your typical ghost or demonic entity story. Maika Monroe plays Jay Height, a college girl who is dating a nice guy who turns out to be linked to a supernatural being that takes the form of people that only the curse-bearer can see. By having sex, the curse can be passed on, sacrificing the recipient and relieving the formerly burdened. This movie is one of the most original concepts I've seen in years and it is creepier than the most viewed horror movies to hit theatres these days.

It Follows explores the relationships of Jay and her sister and friends Kelly, Paul, Yara and Greg respectively, as well as the man, Hugh (who is really named Jeff), who turned the entity over to her. They travel around their neighbourhood and even leave town in order to keep Jay away from the entity that follows her.

What does it take for someone to put themselves in danger in order to help a friend? What are you willing to do for someone else? What are you willing to do to someone else to save yourself? Is it worth throwing someone under the bus if abandoning them could come back to haunt you? Should we be more aware of who we share our time with and the consequences of our actions in haste? It Follows dissects friendship, love and questionable morals unlike any horror film today. It resembles Halloween in that it forces the audience to second guess the way they behave morally, and this contrasts with a lot of the standard horror movies that make light of teenage and young adult ethics.

The film's low budget does not hinder its effects, often playing to its strengths rather than exposing holes in the quality of production. The film was shot in the downtrodden borders of Detroit and does not shy away from this fact. I'm not saying the film is top notch stuff, but it is an impressive accomplishment. I felt the same way about Paranormal Activity when it took audiences by surprise in 2009.

Watch It Follows this month. It's an indie gem and deserves to be seen by a larger audience. The more people that see his movie and speak its praises, the more filmmakers will be willing to tackle original projects like this, the more studios will support them, and the more good horror films we will see in the future. Stellar young, unknown cast. Fresh director. Chilling film.

The Martian Review

Sci-fi fans have been graced with a gem here.  The Martian is probably the best film in the genre since Interstellar and many fans would argue it's better. But save the comparisons. This is a whole other film. 

The Martian, starring Matt Damon as astronaut Mark Watney, is an adaptation of Andy Weir's best selling novel of the same name. Drew Goddard wrote the screenplay and Ridney Scott directed the film that tells the story of the Ares III mission gone wrong as Watney is left behind on Mars and is forced to "science the shit out of this" in order to survive. 

The film is gorgeously shot, the environments look believable and tangible as if they truly took the production to Mars. Ridley Scott's wide shots are brave, capturing the alien terrain and environment in realistic images to the point of subconscious acceptance that this is Mars and Watney is stranded with a wide array of real NASA technology. 

Matt Damon's Watney is the brightest spot in this film, often with only himself to work with in his scenes. His humour is consistent and the comedic timing (with a hand from good directing) is effective. Whenever you leave him for the Hermes or Earth you miss him. I'd say the film could have benefited from a little more Watney. Study his character more and how the year and a half alone on Mars changed him (and what scraps of himself remained the same).

The Hermes crew has good chemistry, Michael Pena's Martinez stealing the spotlight with humour. Aksel Hennie's Alex Vogel does not seem to be as German as he should be as it is easy to forget he isn't just another American astronaut, with little to no accent and perfect English unlike his literary counterpart. The rest of the crew is fine, but Jessica Chastain just doesn't pop like she usually does in supporting roles. 

The Earth NASA team is a good cast, Jeff Daniels' Teddy Sanders is cold but honest and Chiwetel Ejiofor's Vincent Kapoor is the link that holds the group together as a balanced force between opposing viewpoints. Sean Bean's Mitch Henderson just isn't angry and passionate enough to convince me that he wants his Ares program to save Watney at least until the end. Kristen Wiig's Annie Montrose was lost at times, far too timid and quiet to stand out like the character should have. Donald Glover's Rich Purnell was the quirky character the Earth-side cast needed, but there is less development than I would have liked, he is interesting and so different from the others. 

The real math and science is present throughout The Martian, but in a diluted form, often opting to show rather than tell in some cases. This may work in favour of drawing I'm a wider audience. It did not describe Watney's every thought, experiment or move. Certain processes that would have taken several Sol were covered in a matter of seconds such as his travel tests, recovery of Pathfinder and journey to the Ares IV site. 

In some cases the conveyance of time was jarring. The film would jump ahead dozens of Sol with little consideration to the events that would have transpired during such a duration of time. Some instances benefit from this such as the potato farming, but we miss out on Watney's travels and a lot of interesting character development. 

Moviegoers will be thrilled with this science fiction adventure film. It's got enough to make you laugh and cry. But you'll laugh more. The visual effects are top notch as we've come to expect from Ridley Scott. 

For fans of the stellar Andy Weir novel, it is a very close adaptation. There are a couple changes, namely the Pathfinder communication complication, the Schiaparelli Crater incident and the exact events of the climatic rescue mission. Some of these omissions and changes bothered me, especially the rescue, but none of them were significant enough for me to dislike the film. In the interest of time, screenwriter Drew Goddard and director Ridley Scott clearly felt that Watney had endured enough and deserved to catch a few breaks. 

The Martian is a really good movie with an entertaining cast and a compelling story. As a fan of the book there are things I wish they had stuck to, but purely from a viewing experience it was a thrilling ride. I cannot recommend it enough

Notch one up for science fiction.