No doubt thanks to monetary success of the Paranormal Activity franchise, the found footage genre has exploded within the last decade. I confess: I’m not terribly versed in the subgenre, having only seen the first Paranormal and not its forefather, The Blair Witch Project. However, the format has been used in so many other film genres (superheroes in Chronicle, monster movie in Cloverfield) that despite being a relatively new subgenre, the shaky cam footage nearly instantly loses the edge or intensity it inherently brought and instead requires the filmmakers to be creative in their use of the format. Luckily, V/H/S/2 does this in spades. Continue reading
“Even a man who is pure in heart
And says his prayers by night
May become a wolf when the wolfsbane blooms
And the autumn moon is bright.”
I must open with an apology. Life has been a bit hectic for the last week, so this review is thus a week late. What this allowed for though was a second viewing of The Wolf Man. So, hopefully that will turn into good things for my three loyal readers.
The Wolf Man (1941), directed by George Waggner, is the classic Hollywood horror film that defined the silver screen werewolf. And The Wolfman (2010), directed by Joe Johnston (soon to bring us Captain America), is the modern re-imagination of the classic film. They follow the same basic plot, but the films are polar opposites in execution. Continue reading
This marks our first foray into our analysis of the original film and its modern remake, and this is a doozy of a one to review. In fact, even with a day to reflect on both viewing experiences, I’m not quite sure what to make of either film. Both films are flawed in various respects, but I did find myself enjoying The Wolf Man (1941) over The Wolfman (2010). But let’s dive in, shall we? Continue reading