If Dracula became a monster for a noble cause, could his dark power be used in the name of the light?
Raised by the Turks as a royal hostage, Vlad Tepes (Luke Evans) returns to his homeland years afterward to rule. With a wife and child of his own, the peace of his kingdom is threatened when the Turks demand not only their regular tribute of coin but also a thousand children to fight in the Sultan’s army…including Vlad’s own son. With no standing army, Vlad makes a Devil’s deal with a cursed monster (Charles Dance), but can the prince defeat his enemies with borrowed power without falling victim to the curse himself?
Attempts to make Dracula merely a monster at the box office the last two decades have gloriously failed, so why not restore his nobility as a man of hope rather than yet another villain obsessed with a Scooby-Doo plot to do evil? Enter Dracula Untold, a low to middle-budget monster movie with high aspirations. True, the idea isn’t without precedent: the killer with a conscious, the gun with a soul, and the monster more noble than a man. In the name of Hollywood, of course, power must be demonstrated, and what better way than with special effects? Fortunately, a tight plot that plays to its running time weaves a tale of people who choose to become monsters, even if it does lean heavily on computer-generated imagery to tell it.
Annabelle rides on the coattails of The Conjuring but distinguishes itself only as well-executed jump-scare flick.
In the late 1960s, young couple Mia (Annabelle Wallis) and her husband John (Ward Horton) are expecting their first child. Annabelle is a rare doll presented to Mia as a gift to complete her collection, but the sanctity of the object is desecrated when a pair of Satanists enter the couple’s home and makes an attempt on Mia’s life. A series of incidents begin to occur in the presence of the doll, the only connection being that one of Satanists took her life while holding the object. Before long, it becomes clear that something is very wrong and that Annabelle is inexplicably at the center of it.
From the paranormal case files of the Warrens (kind of) comes the (possible) story of a doll manipulated by an evil force. Was this film as good as The Conjuring? No, and the worst thing about that movie was the unfortunate title. For folks seeking an above-average Halloween flick, however, it’s fun and effective, even for a period piece. For those interested in the true account of the actual doll, you can read it online at Warrens.net, but this also reveals that the film is pure speculation since Ed and Lorraine Warren only came into contact with the doll after another couple acquired it. That said, the filmmakers manage to take a stock plot and infuse it with enough atmosphere and original scares to satisfy your Halloween craving.
A game show with no prizes and audience participation is mandatory! Vote up your favorites in a contest of characters, movies, and TV programs but be ready to tell us why. Rules are made up as we go along by your opinionated a**hole hosts Kevin A. Ranson and Brett J. Link. Presented by MovieCrypt.com and Grim D. Reaper!
The Devil is in town…and only Bubba the Redneck Werewolf can save it! This looks both fun and horrific, folks, based on the comic creation of Mitch Hyman.
Cracker County is under attack and lovesick dog catcher Bubba Blanche has been transformed into a ferocious, cigar smoking Werewolf in order to save the day. But first he’s got to conquer a beer or two. And maybe a plate of chicken wings.
“Shorten your stream, Venkman…I don’t want my face burned off.”
After being tossed out of university for bilking funds with unproductive paranormal investigations, two nerds and a slacker (Dan Aykroyd, Harold Ramis, and Bill Murray) leverage a third mortgage to set up an actual ghost-busting business in New York City. Meanwhile, a decades-old plan to open a door into a dark dimension and invite a demigod into the Big Apple is just coming to fruition, and the Ghostbusters’ first client (Sigourney Weaver) is living in the corner penthouse of spook central. Can the boys-in-gray save the girl and stop the end of the world with their unlicensed nuclear accelerators, or are we all doomed to die beneath the feet of a demon-dog-loving hundred-foot marshmallow man?
What can you say about a paranormal action comedy that endures as one of the funniest and most entertaining films ever…even thirty years later? New fans are still discovering it every day, conventions are swarming with local Ghostbuster chapters of home-built costumes complete with lights and effects, and even Mattel toys has full-size exact-replica props straight from the film. The movie endures – the surest sign of a classic – and it’s impossible to utter even a single line of dialogue in a crowd without random strangers piling on the quotes. Thirty years later, there are still rumblings of making another sequel, but no one would dare suggest a reboot or re-imagining; Ghostbusters is perfect exactly as it is.
The best tissue-ready feel-good family film about dying you’ll see all August.
While waiting for a decision that will affect the rest of her life, high school student Mia (Chloë Grace Moretz) spends a snow day with her family cut short by a random traffic accident. As ambulances arrive to take victims to the hospital, Mia discovers she’s become a disembodied spirit caught between life and death. Family and friends grieving over the event prompt a recollection of Mia’s life leading up to the tragedy, but the ultimate decision belongs to her: will she go on living or move on?
Why put a film like this out in August? Counterprogramming maybe? The production has all the quirks of an awards contender: good acting, interesting characters, and a practical storytelling device mostly clear of obvious special effects. Yes, there’s a romantic angle here – young musicians in love – but it’s really about family: the one you’re born into and the close friends you collect along away. As a soul caught between worlds, characters interact via talk and the occasional touch, but only Mia seems aware. Never having read the Gayle Forman novel upon which the film is based, the director does an exemplary job of orchestrating the story’s highs and lows, culminating in a blink-and-you’ll-miss-it ending; everything that could happen afterward is clearly a different story, a bold choice for a final scene that works perfectly.