VIDEO REVIEW: Night of the Living Dead 1990

VIDEO REVIEW: Dawn of the Dead

VIDEO REVIEW: Maniac

REVIEW: Martin

Martin

Director: George A. Romero

Year 1976

Martin is a fantastic and original vampire story which turns the genre on its head in a wholly surprising and ambiguously presented way. Directed by the legendary horror filmmaker George A. Romero, this unique gem tells a twisted tale that is more mysterious than anything else. Drenched in a Grindhouse aesthetic and filled with engaging imagery, Martin is a sadly underrated flick which goes above and beyond the normal vampire yarn. Unexpected and extremely enjoyable, you'd be a fool to let this one slip you by.

The film follows a confused and tormented young man named Martin, who is plagued by a superstitious family and a number of sick tendencies. After moving in with his elderly Uncle Cuda, Martin is quickly accused of being a vampire by his overly religious uncle, sparking fantasies inside Martin's mind that he is an 84 year-old vampire doomed to take the life of innocent victims in order to quench his thirst for blood. Whether confused or factually vampiric, Martin indulges his darker side as he stalks his prey during the day and satisfies his urges at night, all the while trying to stay clear of his uncle's wild accusations.

John Amplas takes on the role of Martin, the mentally disturbed young man who may or may not be a blood sucking vampire. Performed in daring style, Amplas is sensational as the tormented Martin, giving a raw and realistic approach to the over the top scenario which, through his subtle style of acting, is extremely believable. Grounded in reality and infused with an off kilter personality, Amplas thrives as the mysterious character, making every effort to get under our skin as he shows Martin going about his every day routine. As a George Romero regular Amplas has made a nice little career out of showing up in the iconic filmmaker's movies like Dawn of the Dead, Knightriders, Creepshow and Day of the Dead, and it is in Martin where he gets his first gig and starring role. It is amazing the range and subtlety that Amplas is able to portray in the film and you'd be hard pressed in telling that this is his first real feature, but against all odds he absolutely nails it. Creepy and ridiculously authentic, Amplas makes for an engaging specimen and his presence in the film is an extreme asset to the production.

Supporting Amplas' star turn is a rag tag group of familiar faces. Christine Forrest, AKA Mrs. Romero, takes on the role of Christina, Martin's Cousin, and she gives an endearing and heartfelt performance. Struggling against the oppression of her overbearing grandfather, Christina in defiant rebellion stands up for reason only to be beaten down by superstition and family tradition. Forrest conveys all of these frustrations with great ease and I highly enjoyed her performance. Tom Savini plays the role of Christina's boyfriend Arthur, the deadbeat and jobless jerk who constantly stands her up. Savini only appears briefly in a few scenes, but it's always nice to see him crop up in Romero's pictures, even if it's only to play a non-essential character. The real counter balance to John Amplas Martin is Lincoln Maazel as Cuda, the God fearing, self-proclaimed vampire hunter. He really makes an impression in the film as he constantly hounds Martin to keep on the straight and narrow and not steer from the path, unless death and damnation be what he's after. Maazel is a force to be reckoned with in the movie, and like Amplas, his presence is a great benefit to the validity of the film.

What this film really has going for it is that it is entrenched in a real world like setting, immersed in actual locations and true to life characters. Martin is never conveyed as anything more than a confused and troubled young man, and the situations that he gets himself into are not too far-fetched for someone of his mindset. There's an honesty to the approach of the film, and in that genuine portrayal we're able to absorb our self into the cinematic world that Romero has crafted. It's an extremely effective way in presenting the film and an even more unique way of approaching a vampire tale, but the unorthodox angle seems to give it a sense of validity that truly brings the film into its own.

Constantly playing with the fact that Martin may or may not be a vampire, is an engaging mystery that begs to be explored, but we never focus on this fact solely. Instead we just get caught up in the wild situations that Martin gets himself into while he tackles the urges to kill, and wholly hell are they wild. One of my favorite moments of the film has Martin breaking into a woman's house after her husband leaves on a work related trip. Hoping to catch her all by her lonesome, Martin bursts into her bedroom, only to find her in mid lovemaking with a naked stranger. Shocked and a bit irritated, Martin jumps across the bed and stabs the man with a syringe in order to drug him and take him out of commission. Then Martin proceeds to mess with the couple as they try to phone for the police, by dialing numbers on the other line and screwing up the connection. What a prankster. During this whole scene, Martin plays cat and mouse with the couple, toying with them as he pricks them again and again with the sleep inducing drug. It's a wild sequence of events and it pretty much sums up the uncanny nature of the production. If this sounds like an interesting genre bender to you, then give it a try. It comes highly recommended and is an excellent overlooked Romero classic.

Martin is a voyeuristic look into the mind of a maniac. A maniac that isn't too sure if his instinct to kill is of the natural or supernatural kind. Either way, Martin the character has a slew of problems and the ambiguous way in which the filmmaker's approach this subject matter is a breath of fresh air. Amass with memorable moments and teeming with gritty textures, Martin is a vampire film that is unlike anything you've seen before in the genre.

Headlined by a stupendous and authentic cast of characters, this down to earth production is one that grabs you by the throat as it shows you some of the most obscure of wonders. John Amplas is an absolute thrill as the titular Martin and his eccentric characteristics and evasive origins are one of the film's most engaging mysteries. The familiar cast of Romero regulars is another pleasing aspect of the production, not to mention the stylistically unique settings of Pittsburgh and the surrounding areas. There is just something so damn special about the film's of Romero shot in his hometown. There is a genuine raw energy to be found in every one of his productions around this time period, and Martin seems to cull all of these energies and focus them into delivering a thought-provoking story that is as ambiguous as they come. Dripping with religious overtones and awash in vampire lore, this modern take on the classic vampire tale is a unique beast. If you are looking for something that's a little bit different and a whole hell of a lot of fun, then give this old Romero classic a go. Martin is an.....

Cuda thinks you look like NOSFERATU!!!!!

Martin respects people's personal space, even though he is a creep.

What a little prick!

Martin has a deadly fear of candles.

Tom Savini without a mustache is like Jesus without a beard.... Lame!

The chicks just dig Martin.

Martin, what are you up to you little pervert?

I told you to stop calling! This isn't the sexy vampire hotline!

Pull my finger Nosferatu!

George Romero you beautiful bastard!

Look out grandpa! Martin is on the hunt!

Martin you silly, silly man.

I just can't look at you without that mustache.

Look out Pittsburgh! Here comes Martin!

Sweet turtleneck dude.

Messy baby!

Don't drink and bathe!

See what happens when you don't pull grandpa's finger!

REVIEW: Friday the 13th

Friday the 13^th

Director: Sean S. Cunningham

Year 1980

Friday the 13^th is the epitome of the 80's slasher. Gory, wild, and full of atmospheric dread, this granddaddy of the genre is a moody force benefiting from a fresh-faced young cast and an impressive effects department. Spearheading the trademark archetypes of the slasher genre, the film moves headlong into what would soon become a cinematic phenomenon, spawning countless imitators and a generation of horror fanatics. A classic in its own right, Friday the 13^th earns its iconic status as it has just the right amount of mood and horror to unsettle you, as it does character and lasting charm.

The film follows a group of camp counselors as they prepare for the coming season at Camp Crystal Lake to begin. During their preparations they are stalked by an unknown assailant and are picked off, one by one. But who could this mysterious murderer be and could it have something to do with the tragic death of a young camper in Crystal Lake's past? With so many questions there's one thing for certain, and that is that this place has a death curse!

Friday the 13^th, like all entertaining slasher films, has a great assortment of characters to help mix things up. Adrienne King rises to the task as Alice Hardy the surprisingly resilient counselor that proves too hard to kill. King is an interesting choice, as her character pretty much blends into the background during the early moments of the film and doesn't stand out until most of the cast has been killed, but I guess that lends to the fact that these were the early years of the genre, when things weren't so cliché and predictable. King does a great job as she gives a tremendously underplayed performance, playing the quiet and conservative young counselor and her genuine take on the character is rather impressionable.

The real memorable characters of the film are the supporting cast, as they show the more wild and promiscuous sides of the group. Lining up the various victims we have Kevin Bacon as Jack Burrel, Jeannine Taylor as Marcie Cunningham, Robbi Morgan as Annie, Harry Crosby as Bill, Laurie Bartram as Brenda, and Mark Nelson as Ned Rubinstein. Each of these actors feel natural and credible as a group of teenagers, and that combined genuine tone gives the film a believable foundation to support the gruesome things to come. Now truthfully there's nothing outstanding about the individual performances, it's just that they are played so authentically and naturally that it aids greatly in making the world of Friday the 13^th seem tangible. As for the performance that really explodes the film into motion, that credit would go to Betsy Palmer as Pamela Voorhees. Her character's dual personality is a thing of demented beauty and she really takes charge of the film when she bursts onto the scene. Off kilter and truly devilish, Palmer goes out on a limb to really inject a sense of dementia into the mix, giving stark realization that this film and its subject matter are quite out of their mind.

Aside from the cast, the real stars of Friday the 13^th are the atmosphere, locations, and special effects. There's nothing as potent as a secluded camp in the middle of no-where, aside a still lake, and this production makes great use of this tried and true scenario. The imagery and ambiance of the movie is top notch, often becoming so overpowering and weighty that you find yourself being sucked in to the visuals. This is all balanced perfectly with a pace and approach that is somewhat laid back and observant. In almost a voyeuristic way, the film allows us to become comfortable with our main characters and the spaces that they inhabit, often allowing for great moments of silence to engulf the scene as potential victims investigate a strange noise in the back of a dark and foreboding room.

The silence and restraint of these instances are tremendous precursors to the inevitable violent and bloody deaths that are sure to come, and special effects artist Tom Savini does wonders on ending them on high memorable notes. Necks are slit, skulls are chopped, throats are punctured, and heads are decapitated, all in glorious practical presentations that will make you cringe in disgust. Extremely effective and gruesome to boot, Savini's work in Friday the 13^th is a memorable footnote in what would eventually be a legendary career in the horror genre. With its spectacular atmosphere and iconic imagery, Friday the 13^th is without a doubt a stunning intro to what would eventually be a most interesting series of murders, mayhem and masochistic fun!

Friday the 13^th is credited for starting the slasher genre, but in essence it was pulling off of a very storied history of horror films. Black Christmas and The Texas Chainsaw Massacre are truer to starting the trend, but it was Mario Bava's A Bay of Blood that really set those killer wheels in motion in the first place. Mirroring the tone and feel of Bava's 1971 murder opus, Friday the 13^th brought the iconic set up into the 80's and from there the sub-genre set ablaze with countless imitators and handfuls of outstanding efforts. With its cast of characters and memorable deaths, Friday the 13^th upped the ante on what would eventually become the norm within the genre, marking its place as the cream of the crop.

The film's immersive atmosphere and undeniably vivid effects work aided in bringing the world of Friday the 13^th to life and in the process making Camp Crystal Lake seem like a real life place where horrible things can and will occur. Toppled onto that are the genuinely presented characters of the film, which also serve to keep that same sustained believability factor intact. It may be an over the top and violent affair, but the filmmakers make great efforts in easing us into the mayhem by slowly absorbing us into the world and quietly setting up the scares. The build up and payoff are enormously effective and the end result give way to a film that for me will always maintain its classic status. If for some reason this essential slasher has slipped through your fingers, then you owe it to yourself to witness the film that started the 80's slasher craze. It may not be high art, but it is extremely potent. Friday the 13^th is the undisputed.....

Shouldn't one of you assholes be watching the road? Hey Assholes!

What a strange time to be saying the Pledge of Allegiance.

Is that a hotdog in your speedo Kevin Bacon, or are you just happy to see me?

Stache and handkerchief.... Badass!

Hold it right there Tonto.

Did I mention that this place has a death curse?

Here's for that ridiculous boner Bacon!

She's got a splitting headache. Wakka, wakka!

The stache gets the chicks every time.

Sweet! It's a wet night gown contest!

Get that lens flare out of my face! Who the hell do you think you are, J.J. Abrams?!?!

Not looking so good buddy.

I make the same face when I have to take a shit too.

Hi there!

Psychotic Staring Contest.... GO!

Hi everyone. Just hanging around.

Stop right there or I'll shot you in the baby baker!

Mrs. Voorhees showing her, "Oh Shit" face.

REVIEW: Night of the Living Dead

Night of the Living Dead
Director: Tom Savini
Year 1990
 
Night of the Living Dead is an excellent remake of George A. Romero’s 1968 zombie horror masterpiece, which takes the same tried and true premise of the original and amps it up with updated practical effects and a creepy tone that pays considerable tribute to the black & white cult classic. Directed by genre icon and special effects wizard Tom Savini, the film has a visceral quality to it that really brings this zombified tale to life. With an abundance of interesting characters and a line-up of wonderful actors to portray them, Night of the Living Dead is a remake that justifies its existence by presenting a story that is without a shadow of a doubt, equal to its originator.
 
The film follows a quiet and repressed woman named Barbara, who suddenly finds her world turned upside down when a zombie uprising takes the life of her brother, leaving her all alone to fend for herself amongst an ever growing army of the undead. Finding sanctuary with a small group of survivors in an old farmhouse, Barbara struggles to stay alive by fortifying her surroundings and taking as many of the dead down as she can. With the army of walking corpses surrounding the estate, Barbara quickly comes to realize that the masses of flesheaters are not the only things that can bring about her doom as the surviving group begins to implode from within. Night of the Living Dead tells a terrifying tale which emphasizes the failings of the human race, showing blow for blow that when we are not literally devouring each other, we are figuratively cannibalistic with each other when struggling to save our own skin.

Patricia Tallman takes on the role of Barbara, the poor unfortunate soul who finds that even amidst such chaos and horror, she can rise above the bedlam and prove that she is a fighter. Tallman is sensational in this film and her character arc from a passive and fearful victim to a badass zombie killing warrior is tremendously achieved thanks to Patricia’s heartfelt and genuine performance. Her acting filmography may not be as accomplished as some of her counterparts in the film, but she is a driving force within this production. I love the contrasting elements between the original Barbara character and Tallman’s iteration, and I find this version’s portrayal much more compelling and exceptionally interesting.
 
Finding equal footing beside Tallman’s Barbara is Tony Todd who perfectly encapsulates the character of Ben. With his intimidating presence and theatrical form of acting, Todd is another aspect of this remake that really ups the bar. His intensity is infectious and from the moment that he bursts onto the scene, with crowbar in hand, he brings a dire urgency to the progression of the film. The same can be said for Tom Towles antagonist character Harry Cooper, who wants nothing more than to stay locked up in the basement where it’s safe. Towles has always impressed me as an actor and the moments where he begins to clash with Todd’s Ben are explosive to say the least. You can really feel the tension between each opinionated character and for an intimate story such as this one that is a must. On a side note, the inclusion of Bill Moseley as Johnnie is pure casting genius and his short appearance in the film is one that will stay with you long after.

With Tom Savini at the helm, the movie goes for a more realistic take on the zombie genre in the vein of Romero’s last two entries in the Dead series. The graphic nature of the practical make-up effects, which were not created by Savini, and the harsh violence that is unabashedly on display, produce an end product that boasts a visceral take on George A. Romero’s undead masterpiece, highlighting the gorier aspects of its content in stark clarity. I love the classic way in which Romero realized the original film, but I’ve always been drawn to the horrific way in which this remake delves into the modern portrayal of the zombie film at that time.
 
After Romero created his legendary trilogy in the form of Night of the Living Dead, Dawn of the Dead, and Day of the Dead, a new resurgence of zombie styled stories began creeping out of the woodwork which took the golden rules that Romero set up and built off of it. With the escalation of realism and gritty nature in Romero’s trilogy increasing, we ended up with a movie series that progressed into a much darker and nastier sort of outlook on both the zombie apocalypse and the character of mankind as a whole. With the 1990 version of Night of the Living Dead, Savini continues in this tradition by adding realistic and disturbing make-up effects, a heightened brutality factor, and a visual style that falls more in line with Dawn and Day of the Dead. In its unbridled portrayal of a harsher world, this updated version of the black & white classic comes off as a perfect companion to Romero’s later entries in the series and fits quite nicely in the stylistic flow of things.
 
Just like its predecessor, The Night of the Living Dead remake went on to inspire pop culture, infecting a particular classic zombie video game franchise known as Resident Evil. There are numerous examples in the game that seem ripped right out of the look and feel of Savini’s version, especially when it comes to the inventive angles and the aesthetic style of the farmhouse’s creepy staircase with rotten corpses strewn about in various locations. What is most strange about this 1990 entry is that if you were to have played the game before watching the film, you would have sworn that Savini was borrowing heavily from the video game franchise, because the film really does feel like a live action version of the game. With its distinct feel and deadly serious approach, the Night of the Living Dead remake is a crowning achievement in cinematic reiterations and the film is a poster child for the correct way to pay homage to a classic property that still manages to maintain a unique vision of its own while staying true to the source material.

Night of the Living Dead is a retread of a classic film that defies the impossible in the fact that it delivers all the goods while adding its own twist to the formula. The ensemble cast is outstanding and each actor takes on their perspective character with a heightened sense of composure and adamant spirit. Patricia Tallman, Tony Todd, and Tom Towles especially bring the thunder, making for a collection of fully realized characters that really inject a shot of life into the production.
 
Toppled onto that, the film is filled to the brim with horrifically imagined zombies, grotesque special effects work, and a violent temperament that skyrockets the visceral nature of the story to unparalleled levels. Obstinate in its delivery and confident in its execution, Night of the Living Dead is a retelling that truly goes above and beyond the call of duty in bringing to light a zombie film that replicates the success of the original while at the same time allowing itself to branch out in new and uncharted territories. The fact that the tone and feel of the film matches that of Romero’s last two entries in the trilogy is just an added bonus and a cherry on this deliciously grotesque cake. If you love zombies and you’re equally fond of the universe that Romero has set up, then you owe it to yourself to get lost in this horrific epic. Night of the Living Dead is a…..

Screw the zombies! I'm gonna get your ass Barbara!

Now this is why it's not a good idea to give zombies piggy back rides.

Thanks for the ride lady!

Damn I hate bald zombies! Shit! There's one right behind me isn't there?

What's the matter Candyman?

Get off your lazy zombie ass and get a job!

Damn you! You blew it up! God damn you all to HELL!

Someone give this guy a hand.

I'm watching you.... you bunch of Yo Yo's!

Don't mess with Barbara.

These zombies just don't know when to take a hint.

Who the hell invited zombie Ghandi?!?!?!

Someone should tell this guy that you can't get reception in a basement.
DICKHEAD!!!!!!!

Light em up! Smoke if you got em.

The perfect example on how not to pump gas.

It's dinner time!

Get that shit out of my face!

Look! It's the County Fair!