Movies
Bruce Campbell’s Final Answer On ED4: ‘No’
Until Sam Raimi and Bruce Campbell are both dead, there will always be hope of a fourth Evil Dead film. While over the years both Raimi and Campbell have given a vague “someday” style answer, lately they are leaning toward the “No” side of things. And in a recent interview with Onion’s AV Club (which you should all be reading regularly anyway), Bruce pretty much puts his foot down and explains why he has no desire to do a fourth film anymore. Read on for his “sad but true” explanation on the matter.From Onion AV Club:
AVC: In your opinion, is Ash worthy of more movies?
BC: No. I think there should be an end to everything. I mean, did anyone really want Indiana Jones 4? The answer is no. I’ve taken a poll in about seven theaters now. Of 300 people, three hands go up. You are bound to disappoint. I would rather disappoint with a brand new original movie. People worship Army Of Darkness, and God bless them for it. It’s a beautiful thing. The movie bombed when it came out, and not many people are aware of that. Twenty years later, the thing has picked up speed, and it’s on American Movie Classics now. That was a long time ago, and whatever we do next will always be compared to Army Of Darkness, and I don’t see how we can win. You make that movie, and I can tell you the quote right now, “Oh, it’s not quite as good as Army Of Darkness.” Then we would have gone through immense physical pain and anguish to bring something out that ultimately disappointed. That’s really not what I’m into these days.
(Read the full interview HERE)
Bummer, but he’s 100% right. Let it be.
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At the Abigail premiere, Dan Stevens listed Norway among his four favorite vampire movies. “I just saw a great movie recently that I’d never heard of,” he told Letterboxd. “A Greek film called Norway, about a vampire who basically exists in the underground disco scene in ’80s Athens, and he can’t stop dancing ’cause he’s worried his heart will stop. And it’s lovely. It’s great.”
You won’t find a better endorsement than that, but allow me to elaborate. Imagine Only Lovers Left Alive meets What We Do in the Shadows by way of Yorgos Lanthimos. The quirky 2014 effort follows a vampire vagabond (Vangelis Mourikis) navigating Greek’s sordid nightlife circa 1984 as he dances to stay alive. Not as campy as it sounds, its idiosyncrasies land more in the art-house realm. Stylized visuals, colorful bloodshed, pulsating dance music, and an absurd third-act reveal help the existentialism go down in a mere 74 minutes.
With the recent solar eclipse renewing public interest in the astrological event, Bloody Birthday is ripe for rediscovery. Three children born during an eclipse – Curtis Taylor (Billy Jayne, Parker Lewis Can’t Lose), Debbie Brody (Elizabeth Hoy), and Steven Seton (Andrew Freeman) – begin committing murders on their 10th birthday. Brother and sister duo Joyce (Lori Lethin, Return to Horror High) and Timmy Russell (K.C. Martel, The Amityville Horror) are the only ones privy to their heinous acts.
Bloody Birthday opened in 1981 mere weeks before the release of another attempt to claim the birthday slot on the slasher calendar, Happy Birthday to Me. Director Ed Hunt (The Brain) combines creepy kid tropes that date back to The Bad Seed with slasher conventions recently established by Halloween and Friday the 13th – with a little bit of the former’s suspense and plenty of the latter’s gratuity. The unconventional set up helps it to stand out among a subgenre plagued by banality.
Starting in the late ’70s and throughout the ’80s, Italy built an enterprise out of shameless rip-offs of hit American movies. While not a blatant mockbuster like Cruel Jaws or Beyond the Door, 1989’s Alien from the Abyss (also known as Alien from the Deep) was inspired by – as you may have guessed from its title – Alien, Aliens, and The Abyss.
After a pair of Greenpeace activists attempt to expose an evil corporation that’s dumping contaminated waste into an active volcano, the environment takes a backseat to survival when an extraterrestrial monster attacks. Character actor Charles Napier (The Silence of the Lambs) co-stars as a callous colonel overseeing the illicit activities.
Director Antonio Margheriti (Yor: The Hunter from the Future, Cannibal Apocalypse) and writer Tito Carpi (Tentacles, Last Cannibal World) take far too long to get to the alien, but once it shows up, it’s non-stop excitement. The creature is largely represented by a Gigeresque pincer claw that reaches into the frame, giving the picture a ’50s creature feature charm, but nothing can prepare you for its full reveal in the finale.
Set against the backdrop of displaced Syrian and Palestinian refugees, What Is Buried Must Remain is a timely found footage hybrid from Lebanon. It centers on a trio of young filmmakers as they make a documentary in a decrepit mansion alleged to be haunted on the outskirts of a refugee camp. Inside, they find the spirits of those who died there, both benevolent and malicious.
It plays like Blair Witch meets The Shining through a cultural lens not often seen in the genre. The first half is presented as found footage (with above-average cinematography) before abruptly weaving in more traditional film coverage. While the tropes are familiar, the film possesses a unique ethos by addressing the Middle East’s plights of the past and the present alike.
Cathy’s Curse is, to borrow a phrase from its titular creepy kid, an “extra rare piece of shit.” The Exorcist, The Omen, and Carrie spawned countless low-budget knock-offs, but none are as uniquely inept as this 1977 Canuxploitation outing. Falling squarely in the so-bad-it’s-good camp, it’s far more entertaining than The Exorcist: Believer.
To try to make sense of the plot would be futile, but in a nutshell, a young girl named Candy (Randi Allen, in her only acting role) becomes possessed by the vengeful, foul-mouthed spirit of her aunt, destroying the lives of anyone who crosses her path. What ensues is a madcap mélange of possession, telekinesis, teleportation, animal attacks, abandoned plot points, and unhinged filmmaking that must be seen to be believed.
Visit the SCREAMBOX Hidden Gems archives for more recommendations.
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