We’re barking at the moon over this Wolf Cop trailer – It’s good to see there’s still truth in advertising in the movie business. Wolf Cop is exactly what the title implies based on this awesome new trailer – a film about a cop who’s also a werewolf. What more could you want?
Check out the clip below, which will have you panting in anticipation of the film’s June 6 release date.
It’s the end of the world as we know it in this Apocalyptic trailer – Found footage doesn’t look to be going away anytime soon, and while the form has more than its fair share of detractors, I’m still willing to give films shot in the format a chance.
This new Aussie indie Apocalyptic actually looks like it might be good. A group of people investigate a doomsday cult and lots of strange things start happening. It was reportedly made for a mere $ 10,000 – but looks like it had a much higher budget. Can it measure up to the similarly themed “Safe Haven” from VHS2? We’ll have to wait and see.
Apocalyptic – Official Trailer by dreadcentral
Kevin Smith’s Comes the Krampus gets a new title – For someone who was supposedly ready to retire from the movie business, Kevin Smith sure is busy. He’s got his horror film Tusk in the works, he’s promised us Clerks 3, and he hatched the idea for a holiday horror flick about the Christmas legend Krampus.
That anthology film (scheduled to start shooting this September) was originally titled Comes the Krampus, but has now been given a new moniker: Anti-Claus. Comes the Krampus wasn’t exactly a homerun in the title department, but I’m not sure Anti-Claus works for me either – it’s a little too cutesy. What do you guys think?
Sonno Profondo trailer nails every giallo trope – The gialli were essentially a product of their time (the ‘60s and ‘70s, primarily), but that hasn’t stopped a new generation of horror fans from trying to re-create the classic Italian subgenre.
The latest effort is Luciano Onetti’s Sonno Profondo (aka Deep Sleep), a low-budget indie that looks to nail pretty much every single one of the subgenre’s numerous tropes all in a single trailer. We’ve got fetishized blades, black gloves, half-naked women, creepy dolls and promises of psychosexual perversion out the wazoo. Will it be good, though? Only time will tell. Enjoy the trailer in the meantime.
Greg McLean’s 2005 Aussie fright fest Wolf Creek was a hit with horror fans; a gruesome little slasher film powered along by its at least somewhat dubious “based on true events” tagline, and a menacing and unforgettable performance from John Jarratt. Given that it still turns up on countless best horror films of this century lists, it’s a bit surprising we had to wait almost a decade to get a sequel.
After countless false starts, McLean’s follow-up is finally available to fans here in America. The question is, was it worth the wait?
The simple answer is yes – those who enjoyed Mick Taylor’s psycho shenanigans in the first Wolf Creek will most likely be pleased with his newest hunt. Jarratt is still absolutely perfect as the demented Crocodile Dundee character, and that unforgettable snicker is just as haunting as ever.
This new outing finds Taylor tracking fresh meat – and after an opening sequence that features a fantastic exploding-head gag, things are off to the races. McLean’s sequel is interesting in that it shifts tonally from the first filmm, which focused primarily on the victims and their fight for survival. With this new outing, it’s clear that McLean understands that Jarratt’s Taylor is the real star – and a slasher-cinema icon in the making. As such, Taylor really takes center stage in this installment.
The prey in this sequel often feel like secondary characters, particularly the young German tourists we spend most of the first act with. Taylor does eventually meet a more traditional and worthy opponent in the form of British traveler Paul Hammersmith (Ryan Corr), but it’s obvious from early on that McLean is more interested in letting us get to know Taylor than he is the victims.
It’s a smart choice in a lot of ways, because slasher-film heroes are often deadly dull and little more than a collection of traits designed to fit an archetype. Taylor, on the other hand, is a far more interesting creation – a sadist with some odd nationalist tendencies who finds the isolation of the outback provides the perfect locale to go a little (okay, a lot) crazy.
While some feel that the latter stage of the film bogs down for an odd slasher-esque version of Who Wants to be a Millionaire?, I actually thought the segment was intriguing. It’s set up as a standard Hostel-esque torture sequence, but there’s a lot of tension in the way the scenes are staged. Plus, it gives us another opportunity to really get to know what Taylor’s about.
As the sequel maxim dictates, everything has to be bigger, gorier and more extreme in a follow-up film – and Wolf Creek 2 is no exception. The gore is more pronounced (again, the opening head explosion is pretty great), Taylor’s psychosis is darker (the final act gives us a good look at his lair), and even the humor is more abundant. It seems at least a little odd to see so much humor in a film like Wolf Creek 2, but it works. Taylor is funny in a very gallows sort of way – and he never crosses the line that Freddy did in the Elm Street films. Taylor makes you laugh – often nervously, because you know something bad is coming.
McLean’s script is not without some minor issues – there are moments where things happen in an illogical sort of way (if you’re driving a Jeep, being chased by a tractor trailer, why not just go offroad where the semi won’t be able to follow you?), but horror films have been having characters do stupid things since the birth of the form, so it’s not entirely fair to rail on this film for following the status quo. Just be aware that your willing suspension of disbelief will get a decent workout at a few junctures.
Despite the occasional lapse in narrative logic, Wolf Creek 2 is still a lot of fun, and a pretty decent sequel to one of the better horror films to emerge in the past 10 years. It’s doubtful that Mick’s latest adventure will win over those who didn’t enjoy the first film, but those who did like McLean’s earlier feature will almost assuredly find things to appreciate in this one. Now let’s just hope it doesn’t take another decade before we see a third entry in this series.
Horror on the Horizon
With summer approaching, this is normally the time of year where we forget about horror movies at the local multiplex. However, this summer has a few frights in store for genre fans, now that Hollywood realizes that people actually like scary movies when the AC is on.
The first week of May brings us the limited release of Mr. Jones – a film about a strange guy (the title character) who captures the attention of a husband and wife when he starts dragging his ominous looking art into the woods at night. That one’s only opening in L.A., but if you’re in SoCal, it might be worth a look.
Meanwhile, May 9 sees the limited theatrical debut of slasher musical Stage Fright. This one’s already available on VOD, but if you want to catch it on a big screen, check your local listings.
Horror on Home Video
May offers up lots of new titles, including a slew of classics on May 6. White Zombie, The Birds, and a whole bunch of Godzilla double features make their debuts on the first Tuesday of the month, and you’ll most likely want to snag all of them.
May 13 sees the arrival of two more classics from Scream! Factory – Evilspeak (starring cult favorite Clint Howard) and Final Exam. You’re gonna want both of those.
This is also the week where you can check out I, Frankenstein if you missed it in the theaters earlier this year – and judging from the box office numbers, most of you did.
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