I’m reminded, watching the film we’re going to look at now, of that line from Predator by Arnold Schwarzenegger: “So you cooked up a story and dropped the six of us in a meatgrinder?” Because that’s largely what happens in Pride & Prejudice & Zombies, the film we didn’t know we needed until now. How will the world of Jane Austen and Zombies be after it was all over? Trailer and answers after the jump.
In a perfect world, Walter Hill’s record as a director would be unblemished. Streets Of Fire, 48 Hours, The Warriors, Southern Comfort, Red Heat. Any of them would define the 70’s and 80’s in American cinema and its goals. Unfortunately, everybody’s run ends somewhere. Hill’s ended with this abomination of a film, Supernova, and took him over twelve years to be trusted with another movie. Which is sad given that the film could have been a great film both in terms of pacing and execution.
TerrorVision is not a good movie. Good movies have decent acting, a noteworthy script or a competent direction. Qualities TerrorVision does not possess. Despite all this, it is one of the most sinful of guilty pleasures and you should thank the film gods that it exists. Quite how it all works, well, we’ll get into that now.
Lucio Fulci has many films to his credit that exemplify his talents as one of Italy’s foremost horror directors. Zombie Flesh Eaters, City of the Living Dead and The Beyond to name a few and those were his most celebrated but he had a career spanning three decades. A lot of his projects were deliberate choices, creative endeavours so The Black Cat might seem an odd choice for Fulci but between his directing style and the way the film turned out, I think it’s one of Fulci’s better films.
One of the early 80’s slashers, Madman is soaked in the myth of the evil that lurks just beyond the treeline. A group of camp counselors are packing up the kids in their charge for the end of the summer and responsible adult Max tells one more ghost story at the campfire. But in true form, the tale they tell is real. Madman Marz killed his family, was lynched by the townspeople and then escaped into the woods around his house. He’s not been seen since but if you say his name above a whisper, he’ll get you. They do. He does.
My first experience with Italian horror and science fiction has two rocky but excellent starts. The horror came in the form of Lucio Fulci’s The Beyond and House By The Cemetery (Thanks so much Mick, for recommending and loaning them to me). Watching them on the brand new DVD format (Wave of the future!), I loved Beyond and couldn’t finish House as I was too scared of it (Thanks so much Mick, for recommending and loaning them to me!). Watching them, I could understand their appeal: they were quickly edited, well paced and had decent actors in them who just tackled the work and nothing more.
Wow, childhood is a strange, multipurpose thing. On one hand, it’s a pain with all the mistakes and pains that go with not knowing that it’s the world that has a problem, not you. On the other, we experience things or make a note of them and they stay with us until we have the skills to understand them. Or not as the case before me proves. Thanks, Moontrap.