Showing posts with label scout taylor-compton. Show all posts
Showing posts with label scout taylor-compton. Show all posts

Monday, March 24, 2025

Flying Economy

 


A few months back, I watched the first three entries in the Airport series over the course of a few days. The experience was, well, weird. 


Have you seen these movies? They're insane, in both terrible and wonderful ways. Each one comes loaded with gender politics that would make Andrew Dice Clay blush. Every flight attendant (well, in these cases, stewardesses) is having an affair with a much older married superior. Old ladies scam their way through security. Suicidal bombers cheat the insurance industry. The third installment sees the plane buried at the bottom of the ocean. Everyone from Christopher Lee to Gloria Swanson shows up. This series is madness!


Anyway, for someone whose reference to Airport was always just Airplane! (which, it turns out, isn't THAT much zanier than Airport), this was a wild ride that no colors every other piece of culture I consume set on commercial aircraft. 

Quick Plot: The worst people imaginable board a flight headed to Tokyo. Among them are a new racist bride, a soon-to-be-divorced-but-faking-it-for-their-friends couple, a sad pregnant girl not in love with her partner, a racist petty thief, and a few portly men who dare to EAT on a plane (we can assume at least two of them are also racist). We know this is a crime because the attractive and trim flight attendants make jokes about it. I should also mention that the head of the crew is hoping that this is the trip that will finally convince her captain boyfriend to leave his wife and kids. 


A reminder: this is a 12-hour flight. We're going to be with these jerks for a while.

Up in the air, oddness ensues. A passenger guarding a mysterious coffin-like box has some kind of a seizure, dying instantly and causing some mild panic just as weather conditions jostle the plane. Air masks drop down, luggage descends from the upper storage, and a corpse goes missing. The only thing worse? First class passengers are forced to move down to economy. The horror!


Flight 7500 is directed by Takashi Shimizu, best known for both the original and surprisingly good American remake of The Grudge. This film definitely shares some of The Grudge's style, albeit in diluted form. It doesn't help that Craig Rosenberg's script is filled with so many awful characters, though most are thankfully played by good actors who manage to make them pop onscreen. 


Look, when I queue up a genre movie I've never heard of on Amazon Prime, my expectations are in a specifically low place. As soon as actual actors like Amy Smart and Johnathon Schaech show up, my brain has to do some recalculating. Where is the bar? 


The easy answer could be at 20,000 feet. Dad jokes aside, Flight 7500 is kind of like a junk drawer that has a few pleasant objects messily tucked inside. Based on the haircuts and fashion, Flight 7500 feels like it couldn't have been filmed after 2008, though it's currently on Amazon Prime with a 2014 date. The way these people speak to one another comes from another world.


And yet, I was kind of into Flight 7500's story? Even if it didn't line up in any logical way? There's a twist that hits at the 3/4 mark that isn't very satisfying in a narrative sense, but then you land on a good actor's face as they react and you walk away feeling like these 90 minutes had some value. 


And then you end on a very dumb jump scare and become even more convinced that the 2014 date is a lie. 

High Points
Genuine standing applause to much of the cast of Flight 7500, most of whom are overqualified for this kind of movie. Leslie Bibb is, for all intents and purposes, playing a woman whose primary motivation is to pull a cad away from his family, but we're able to forget that because she's also quite good as an actual flight attendant. Even Nicky Whalen, last seen by me as a shark hunter in Maneater, makes her terrible human being of a character, actually fun to watch

Low Points
If you start thinking about the details in Flight 7500, you will very quickly find that you have watched a movie that makes very little sense

Lessons Learned
The longer the flight, the more racists onboard

It's bad luck to board a flight without saying I love you

Screenwriting 101, courtesy of The Darkest Hour: if you need to establish a character as being unlikable, the easiest bit of dialogue is to have him rant against the 'no electronics during takeoff' rule



Rent/Bury/Buy
I think of Flight 7500 along the same lines as The Asylum's Flight of the Living Dead. These are not, by traditional definition, 'good' movies, but they're both far better than their poster art and pedigree would suggest. If hearing something described as "The Grudge on a plane" lends any interest, this is a fun watch. 

Monday, September 12, 2022

I'm Really More of a Morning Apocalypse Person


Apocalypse cults are a lot less charming than they used to be than back in our days of optimism, but that doesn't mean I don't welcome movies about them!

Quick Plot: New York-based Grace is excited to finally have a possible clue into her mysterious past. Having grown up in foster care, she's never met a biological family member, but a South Carolinian private investigator may have a lead. 


After a not-on-the-way-at-all side trip to the Hamptons to meet her boyfriend Jack's family, the pair heads down south to the investigator's sprawling plantation for answers. He's not home, but by nightfall, they're far from alone: a cloak-clad death cult has assembled outside, demanding Grace fulfill her apocalyptic destiny. 


There's not much more to The Long Night. Jeff Fahey pops by for a few minutes, Debra Kara Unger for a few more. Director Rich Ragsdale establishes some grand home invasion-by-way-of-folk horror energy, but if there's one adjective to describe Mark Young and Robert Sheppe's story, it's "unambitious."


Everything basically unfolds how you would expect from reading a one-sentence synopsis and glancing at the poster. Bad cellular reception, blood drinking rituals, goat masked murderers with no discernible identity, and so on.


The only real surprise The Long Night packs is its absolute lack of surprises. I'll spoil a plot detail to illustrate (so skip the next two paragraphs if you have any interest in watching). Early on, Jack is established as a WASPy legacy brat who oozes old money snobbery. When the cultists quietly offer him a way out in exchange for Grace, we spend the next twenty minutes eagerly waiting for him to make his heel turn. It's truthfully the most suspenseful part of the movie. 


And...it doesn't pay off. Jack plays the loyal boyfriend to the end, never really showing any of the conflict of conscience we were expecting to find. Sure, it's nice (I guess?) that not EVERY well-off white guy in a horror film has to be a jerk, but ... well... it would have at least given the movie a pop. 


Instead, everything flows the way a movie about a couple being hunted by a folk doomsday cult would. Sure, the ending has neat possibilities, but not surprisingly, it seems content to merely suggest something bigger than quietly walk away. 

High Points
Scout Taylor-Compton seems to have made a successful career out of the high end of low budget horror, and The Long Night makes a good case for it. She has the perfect kind of screen presence for this kind of movie



Low Points
... and yet, even with Compton's likable performance, we don't know a single detail about Grace that gives us any insight into who she might be

Lessons Learned (The American South Edition)
Being polite is a southern thing



The Klan kills people, not cats 

They don't teach southern rituals at Princeton

Rent/Bury/Buy
Like most new acquisitions on Shudder, The Long Night is a good-looking genre film. Unfortunately, it doesn't seem to have much on its agenda. You could do worse than give it your eyeballs for 100 minutes, but six months from now, you probably won't remember a thing about it. 

Tuesday, March 23, 2010

Crazy In Love (but not with this movie)



Since seeing the trailer for Obsessed back in 2009, I've pretty much been convinced this Beyonce-powered Fatal Attraction rip-off was, in all likelihood, the best thing every made by human hands. It's a sad day when I learned otherwise.

Quick Plot: This is the story of Derek Charles (The Wire's Idris Elba, who will forever be known as Stringer Bell, will thus be referred to as Stringer Bell for the remainder of this review. I suppose by remainder, I mean whole thing).
Anyway, Stringer is a successful vice president of something at a coolly lit office somewhere in LA. Back at his new home, wife Sharon (Beyonce Knowles; remember, if it’s a serious movie, her roles are not played by the singer Beyonce, but by the actress, Beyonce Knowles...even though she sings on the soundtrack) spends most of the day not really fixing up the new digs and playing with baby boy. Life is filled with financial security, loving glances, and smooth R&B infused montages of happiness.

Cut to a meet-cute elevator encounter with Stringer and Ali Larter’s Lisa, a hot pantyhose-less temp eager to take his calls.
Literally, because she quickly ascends to serve as his makeshift secretary, a minor problem since Stringer had previously promised Sharon he’d only hire men for the job. Discrimination? Sure, but also some marital safety since the last femme to fix his coffee was none other than Sharon herself.

Naturally, Sharon has all the reason in the world to worry since Lisa turns out to be nothing less than a complete psychopath with the libido of Pepe Le Pieux. Luckily for Sharon, Stringer Bell is a loyal family man, something he’s quick to tell Lisa, sexist coworker Jerry O’Connell, Lisa, detective Christine Lahti, Lisa, Sharon, and Lisa, all about 35 times in the course of the film. 

And therein lies the biggest issue I had with what is otherwise not nearly as trashy a film as I was hoping: not once in Obsessed do we ever believe Stringer Bell will give in to the blond beauty thrusting herself at him with more earnestness than Nomi Malone. Not when she’s trying her damnest to fellate him at a Christmas party. Not when she’s clad in lingerie in the front seat of his car. Not when she’s wearing a dress straight from Kira Knightly’s closet in Atonement and slipping him Roofies at a tropical work getaway. This is a good, if rather daft and dull man and as a result, all we get to do is watch a strong well-dressed executive try his best to not touch a woman dry humping him at every turn.

Yes, there is some joyful bitch slapping catfighting rounding out the finale and yes, it’s the highlight of an otherwise inert film. At the same time, it’s not like we really know a single interesting fact about Sharon or Lisa to actually care about the outcome. Sharon is a married woman and mother. She wears colorful clothing and has big hair. Lisa is a crazy blond. She dresses like a skank and drinks dirty martinis. 

Whose side are we on? Wake me up when we care.
High Points
Larter doesn’t come near capturing a smidgen of the talent of Glenn Close, but the sheer ridiculousness of her character at least makes Lisa the most interesting thing onscreen



Low Points
So the day before I watched this film, I caught D.C. Cab, a truly joyful 1983 romp with not a single limit. You know what it DID have? A montage. An effing amazing montage. You know what Obsessed has? Two montages. A quiet, happy-family-move-in montage and another, Daddy-playing-with-kid-while-Mommy-watches-from-window montage, both with less pulse than a zombie flea.
Aside from the final countdown and a few random moments of embarrassing failed seductions, about 97 minutes of this 108 minute film



Lessons Learned
Cosmos will buy you all the info you need on the boss of a bitchy gay man
No matter what the film or target audience may be, Scout Taylor Compton remains a babysitter you should never trust with your children’s lives

The good ones are always married. Or straight. Or, one might assume, both.
Attractive women make popular additions to male-dominated offices. While this isn’t really a surprise, it is rather jarring to hear every heterosexual male in a suit comment so crassly on the newest employee



Rent/Bury/Buy
This is one of those days when I say a small prayer to the gods of Netflix for putting the right films on Instant Watch. I was truly excited to seeing Obsessed--one might go as far to say I was obsessed with seeing Obsessed, which would not be true but it would be exciting to say--and my hopes were dashed by the late night cable feel of a minor dud. There’s some fun to be had for sure, particularly in a bitchin’ girl fight and Beyonce Knowles’ attempt to be badass. Overall though, Obsessed doesn’t quite commit to the trashiness it wants to assume. 

Sunday, August 30, 2009

And This Is How You Make a Mess




Like a good chunk of current horror fans, I rank The Devil’s Rejects as one of the best-made genre films of the last ten years, consider House of 1000 Corpses to be an obnoxious but not irredeemable scrimmage in filmmaking, and find the opening half of the Halloween remake to hold a pumpkin full of potential that gets squandered in the rushed second half. The news that Rob Zombie would be following up his 2007 film with a sequel that he once vowed to never touch was odd, but not unwelcome. Maybe, I thought, he needed to get the reboot homage out of the way to find his own vision for Michael Meyers.


Well. Perhaps he did, but that doesn’t mean it works. Halloween 2 (thankfully NOT called H2 in the actual credits) is, like its predecessor, an ugly, occasionally jarring, often annoying, and ultimately chaotic exercise in grisliness. It’s far more interesting than lackluster fare like the latest Friday the 13th or The Hitcher remakes, but ultimately, even the 2 hour running time--filled not in small part by quick shots of fake breasts, blasting music cues, and somewhere around 1872 uses of the word ‘fuck’--leaves us with a rough and confusing film without much to like.


Quick Plot: One year after surviving the return of Michael, Laurie Strode (the now more tolerable, if not quite sympathetic Scout Taylor-Compton) continues to be haunted by nightmares and bad fashion sense. Meanwhile, Dr. Loomis (the always reliable genre stalwart Malcolm McDowell), is thriving as a minor celebrity about to release his second book detailing the Haddonfield attack. And Michael? Well, he apparently woke up somewhere that contains Rob Zombie style hillbillies and has been trekking across the country/state/town/universe (it’s never clear) slaying anybody that gets in his way of reuniting with lil sis. For company, he is occasionally visited by mom Sheri Moon-Zombie dressed up for Halloween in a dime store ghost costume and leading a white horse through snow. (For the record, Zombie has adamantly stated there will be no Part 3--which he also did regarding Part 2--but if there is, I’m dying for it to feature a showdown between Moon’s Pegasus and Brad Dourif on a black stallion).




Also returning is Danielle Harris as the healthy-minded Annie, a far more enjoyable presence compared to Laurie’s new slutty goth friends. In typical Zombie style, other veterans pop up for random cameos with mixed results. Eventually, Michael comes home, Laurie learns some secrets, and we try to figure out what the hell is going on.*




One of the reasons I’ve always preferred Ebert to Siskel is that Ebert reviewed a film for its intended audience, while Siskel would criticize its plot for not being the direction he would have chose. At this point, I’m starting to think my issue with Rob Zombie’s Halloween series is not necessarily his filmmaking, but the tease of character development he’s now given us twice. I was intrigued by the young Michael Meyers as a natural born psychopath with a soft spot for his mother and baby sister, and therefore, I’ve been nothing but disappointed with Zombie’s decision to fast-forward through adolescence and jump into Meyers, now a 7 foot tall indestructible killing machine. As a fan of Chucky, I’ve never had issues with the abuse of realism of horror, but I don’t understand how or why someone with as much talent as Rob Zombie would start Michael out as a person and suddenly transform him into a demon. I don’t want a Part 6 style supernatural explanation, but it feels, once again, like Halloween 2 wants to explore Michael’s psychology but can’t quite shake the limitations of making a simple and grisly gorefest.




High Points
Brad Dourif clearly holds a special place in my heart, and here, he dutifully carries out the role of a guilt-ridden sheriff and ends up being the most sympathetic character in the bunch


Casting Margot Kidder as a psychologist is all sorts of ironically fun


No spoilers here, but one of my favorite performers--goodness no, it’s not Chris Hardwicke--makes a stellar cameo beside McDowell


The final shot is quite haunting, but see my spoiler rant below for more explanation*


Low Points
One of the most effective aspects of The Devil’s Rejects is how truly terrifying scenes take place under the hot sun, so it’s quite disappointing to see the majority of Halloween 2 occur in the poorly lit nighttime




While I enjoyed McDowell’s performance, his entire storyline felt like plot filler--especially considering its thin resolution


Zombie has proven before that he can compose a great shot, but here, he randomly chooses scenes to make artistic. As a result, these slow-motioned moments feel pretentious and out of place, while the rest of the filming just looks ugly


Lessons Learned
Post traumatic effects of surviving a nightmarish chase with a giant killer may include developing a goth persona, not wanting to clean your bathroom, and building an impressive tolerance to hard liquor




Illinois is home to the new Chris Hardwicke talk show, conveniently located ten minutes from Haddonfield


If you want to survive a Rob Zombie film, never work in the sex or stripping industry


Black-and-white cartoons are known to inspire vivid nightmares


Another word for a Dr. Frank-N-Furter Halloween costume would be “chick dressing up like a dude who wants to be a chick.” I guess someone did not obtain the rights to the Rocky Horror Picture Show


Jewish people use the phrase ‘kosher’




D-E-A-D spells not dead


See/Skip/Sneak In
Sigh. Fans of Zombie’s first Halloween will certainly want to check out this installment, and some may even enjoy it more. The Saturday night audience I had the displeasure of sitting with hardly seemed impressed at the conclusion, although they certainly seemed jumpy throughout. Despite my fairly negative review, I wouldn't want to discourage anyone from giving Halloween 2 a chance if he or she appreciates this kind of roughness onscreen. Just remember to stop by with some comments on your own take. I'm incredibly curious to hear other thoughts on this installment, especially as word of mouth contains more expletives than the film itself.


**SPOILERS**
**SPOILERS**
**SPOILERS**



My understanding is that Laurie has simply snapped by the end, but my friend and I were both considering the fact that maybe she was the killer all along. The last few kills are committed with no witnesses. The cops can’t get a shot of Michael. The early murders have nothing to do with anything else happening onscreen and therefore could have simply been fantasies of a pre-aware Angel Meyers. If our theory was right, I’d have more respect for the film; at the same time, I’d also be annoyed that Zombie couldn’t commit to that idea. Either way, the ambiguity--and there’s a good chance dear Erica and I are the only ones that felt that--just seems, like the rest of the film, a big old mess.


**END OF SPOILERS***
**END OF SPOILERS***
**END OF SPOILERS***