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.