For this article, we will look back over other sequel examples that have changed genre from the first. We will analyse whether Joker: Folie à Deux can succeed and look at other franchises that could benefit from taking a different track.

Changing Beats

Film franchises regularly shift focus over time. By King Kong’s third feature appearance, the series had morphed from a fantasy horror adventure to sci-fi-inflected action. Aliens famously changed its series from horror to more of an action focus. Many serious series have also become more comedic and vice versa (the Evil Dead trilogy and the recent Ghostbusters films).

These genre shifts happen for many reasons (creative and financial) but do these changes land well at the box office? After all, it can be alienating for fans to see a movie series built on one genre’s principles suddenly shift to another. While also seeming confusing for general audiences.

Generally, it’s impossible to say. Sometimes a genre shift can go down well if the prior film was already successful (Alien and Aliens) or if it shakes up a fairly predictable franchise (Ghostbusters). However, even films with solid fanbases can see a genre change undercut their success financially (Return To Oz) or in terms of reception (Halloween 3). So there’s no guarantee that a genre change would automatically yield failure or success for a sequel.

A Different Devil

But regardless of financial success will this change suit Joker’s dark world? Well from a talent perspective, it could certainly work. Both Lady Gaga and Joaquin Phoenix have experience with singing and dramatic roles (A Star Is Born and Walk The Line). Director Todd Phillips and cinematographer Lawrence Sher also have experience making films based on music. Phillips directed Phish’s concert movie Bittersweet Motel and Sher shot a Dua Lipa music video. So the talent is there to make the film work.

Additionally, the series change can work tonally. One of the first film’s highlights was the stair dance sequence, which shows that music and theatricality are nothing alien to this Joker. Joker also trades on us not knowing whether something is real or in Arthur Fleck’s head, making for a perfect excuse to make the film a musical.

This doesn’t mean it will definitely be a success. Musicals are struggling to draw box office numbers, genre changes are unsure things in franchises and the conceit could not work from a story perspective. This merely means a genre change isn’t necessarily a bad idea.

Change The Record

Lastly, for fun, here are three film franchises that could benefit from a genre change. 

Batman (Main Series)

For decades, it feels like DC has been afraid to let Batman have some fun in his main cinematic releases (only seeming to lighten up in spinoffs). With every new adaptation upping the Bat-misery a comedic Batman film would be very welcome now. All they would need to do is have Batman and a version of Robin fight a villain without the fate of Gotham being at stake and have a laugh with the universe.

Knives Out

The Knives Out series has successfully updated the murder mystery formula for modern audiences but unlike other franchises it hasn’t gone outside its genre wheelhouse (like A Haunting in Venice). Writer/director Rian Johnson has often upended expectations, and with the series having fantastic casts and social commentary the films could easily switch to another sub-genre while keeping it based in modern times so long as it has something to say. Imagine Benoit Blanc investigating a musician’s death leading into a musical story about how the music industry exploits radical images for profit. Who wouldn’t watch that?

Halloween

After so many lacklustre sequels and requels that all boil down to Michael Myers stabbing people Halloween should return to its long-abandoned anthology idea. Just give the brand name to an up-and-coming creative team and let them do something different in any horror sub-genre they want.

Do you think Joker Folie à Deux’s genre change will work well or hinder its success? And what film franchises do you think would benefit from a genre change?

Also Read: The Perfect Batman: A Look At The Actor & Director Duos Behind The Films

The post Reinventing the Franchise: Will Joker: Folie à Deux’s Musical Twist Succeed? appeared first on Big Picture Film Club.

What’s Going On?

In the 80s Pam was a Queen Bee Mean Girl who was targeted by a serial killer who murdered three of her friends over the course of several days. The killer was never caught. Jumping to the present day her daughter Jamie deals with typical teenage life in a town made famous by a serial killer and a mother who takes the safety of her daughter very seriously. When the killer returns and kills Pam in the present Jamie travels back in time to the original murders, trying to stop them, solve the case and save her mother.

In Front Of The Camera

The central character is Jamie, played by Kiernan Shipka, probably best known for her role as Sally Draper in Mad Men, where she regularly upstaged the rest of the cast with her brilliant acting. Pam, Jamie’s mother, is played by Julie Bowen in the present day and Olivia Holt in the 80s. Julie Bowen will be known to millions as Claire Dunphy in Modern Family and Olivia Holt starred as Dagger, in Cloak & Dagger.

Shipka is great, shifting from annoyance to bemusement to horror at the way the 1980s were, as well as showing a lot of emotion. The actors who play the 80s are also lots of fun, Holt and her three friends standing as examples of a more fun and blunt age – or crueller and more selfish, depending on your point of view.

Does It Work?

Totally Killer is a ridiculous film but it is aware of this. The central premise of Jamie’s high school best friend managing to build a time machine is stretching credulity to impossible demands. If you cannot accept this leap of oddness this may not be the film for you.

The film is parodying two film genres – slasher horror and time travel movies. Back To The Future is repeatedly referenced as well as the various problems time travel causes, best elucidated by referencing more time travel films. Scream is another film that is referenced, already a film that is wrapped up in meta-commentary of slasher horror films. And then the film is also parodying 80s movies, or perhaps just the 80s. The Gen Z Jamie is appalled by much of what she sees and hears – casual racism, homophobia and misogyny amongst them, and even when she directly calls it out the 80s teens will essentially admit that’s what it is – they just don’t care. The weight of all of these parodies and references does threaten to implode the whole film and it is by no means completely staving off the implosion. Another feature which I’m sure is intentional but not entirely successful is the amount of people who are hinted at being the killer – just about everyone apart from Jamie and the actual victims has a suspicion of killer thrown on them.

The film doesn’t add a great deal to horror but it does some stuff that I’ve rarely seen in films about time-travel – things like the consequences of the changes actually mattering, how those in the “Present” see things change as Jamie changes the “Past”. The whole time travel situation is not neatly wrapped up.

If you can get past some of the more absurd parts of it and can get on board with a lot of pop culture references Totally Killer is a lot of fun and can be very funny. Horror comedy as a genre can be very difficult but the film strikes a good balance, and while perhaps never genuinely scary the film has good moments of tension. The serial killer’s premise, that he stabs his victims sixteen times, leads to some pretty brutal murder scenes.

Totally Killer is a silly film and its premise and plot shake under the most gentle of inspections but it is a funny and enjoyable film with some great moments.

Rating: (3.5 / 5)

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Evil is on the run again!

Halloween is around the corner, and in recent years, it was the period during which the inhabitants of Haddonfield took precautions to stay out of the hands of Michael Myers. However, not this time. No one has seen the killer in many years and even Laurie and her granddaughter Allyson (Andi Matichak) seem to have turned a leaf on the dark past. Laurie writes her autobiography while Allyson is a nurse at the local hospital. Allyson’s life is about to become much brighter when Corey Cunningham (Rohan Campbell), who injured himself after a brawl, enters the hospital.

Both take an immediate interest in each other, and soon they go on a first date. They realize that they have a lot in common, including what seems to be a dark past. When Laurie meets Corey, the anger, darkness, and emptiness in his eyes reveal more about him than she wants. While she wants to warn Allyson about it, the latter seems to have entirely fallen into Corey’s hands. Will Halloween once again be a dark day for Laurie, Allyson, and Haddonfield, or will they have a peaceful Halloween?

“When is someone going to get murdered?”

When reading the synopsis, you would think that Halloween Ends is one of those movies in which blood and murder fill the screen every minute. Even more so when you know that we didn’t describe the vicious murders that get this film going. However, apart from that murder, you have to wait for ages before another body turns up. When we watched the movie, an audience member shouted, “When is someone going to get murdered?” We fully agreed with his question. Most of the film is about Laurie writing her biography and Allyson finding the happiness she deserves. There are sinister figures, extremely recognizable masks and gruesome bodies, but those are rarities, especially during the film’s first part.

If you’re wondering when Myers appears for the first time (apart from during the flashback to the 2018 movie), be prepared, it takes a while before he makes his entrance. He’s not as present as he should have been, but when Myers appears, he’s as compelling and horrifying as always. It’s clear that director David Gordon Green (Halloween Kills, Stronger) and his writing team want to take the Halloween franchise in another direction for the last film, but was that a good idea?

Curtis is still the Scream Queen

While there’s a lack of Myers, blood and murder, there’s the usual amount of great acting performances. Curtis (Everything Everywhere All at Once, Knives Out) is still the Scream Queen, as her performance is spot on. As Laurie, she captures the perfect balance between being relatively at peace with life and being badass and determined to get rid of all the evil in the world. Matichak (Foxhole, Son) gives a captivating performance as the broken but still headstrong and hopeful Allyson. Campbell (Operation Christmas Drop, Diablo) makes an impressive impact as the innocent looking but with darkness-filled young man.

A bold decision that paid off or the wrong way to end a 40-year-old franchise?

Taking the Halloween franchise in a different direction is something to applaud, but it might have been better if Green and his team didn’t wait until the last film. While the movie introduces a fresh plot and brand-new characters, maybe people just wanted a two-hour slasher movie like the previous ones. Depending on what one you want, you will either love or hate Halloween Ends. But, no matter what you want, you still get a grand finale and stunning acting performances.

Rating: (3 / 5)

Halloween Ends is out now in U.K. cinemas

Also Read: Review: Halloween Kills

Also Read: Women In Horror: An Ode to Laurie Strode

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Jack Griffin – The Invisible Man (1933)

Ironically Jack Griffin’s bandage mask reveals more about him than if he remained maskless. But the mystery it initially generates as we wonder what is underneath his bandages is what helps to draw everyone into the story.

Christiane – Eyes Without A Face (1960)

The mask Christiane wears while her face is being reconstructed is really unsettling. Its neutral expression feels lifeless and devoid of emotion, a far cry from Christiane’s actual face. Expressionless masks producing horrifying results is now a genre staple. But Christiane’s mask is effective more because of how it restricts her displays of emotion.

The Killer – Blood and Black Lace (1964)

Set in the fashion world Blood and Black Lace‘s killer uses a mask that obscures any defining features, to hide their identity. The mask’s pale and smooth nature recalls the look of mannequins and brings about the feeling of the uncanny valley because of how it makes the killer look human and inhuman.

Leatherface – The Texas Chain Saw Massacre (1974)

What is scarier than someone wearing a mask made from human skin?

Michael Myers – Halloween (1978)

Blank, pale, emotionless, and with hauntingly dark eyes. Michael Myers’ mask embodies everything evil Dr. Loomis glimpsed when Michael was a child. It has no human feelings, no warmth, and the eyes, meant to give a window to his soul, are in shadow. Not a bad result for a cheap William Shatner mask.

Jason Voorhees – Friday the 13th Part 3 Onwards

Jason’s second mask is now synonymous with the marauding machete murderer. Its effectiveness comes from the fact that it gives away just enough about Jason’s appearance without ever fully revealing everything. Thus everyone is left to dread what is lurking underneath his iconic look.

Silver Shamrock Masks – Halloween 3: Season of the Witch (1982)

Two factors make these accessories iconic. They are incredibly designed, managing to capture Halloween cultural icons in a definitive way. And the fact that they are not designed to hide killers. They are instead designed to entice and ultimately kill the children that wear them.

Irving Wallace – Stage Fright (1987)

The unmoving eyes of this owl mask really bring across Wallace’s predatory nature. As though he is constantly waiting for a moment to strike. Despite looking heavy enough to hinder the killer’s movement it really taps into a primal animalistic fear.

Button Face – Nightbreed (1990)

Everything about Button Face makes viewers feel uncomfortable. The dark buttons like Michael Myers’ mask effectively remove any empathy we could glean from someone’s eyes. And the off-kilter zipper brings to mind horrifying fables of people with their mouths sewn shut. A masterpiece of simple but effective terror.

Sam – Trick ‘r Treat (2007)

Sam’s mask embodies the spooky spirit of Halloween. The mask has a homemade costume feel. Additionally, it evokes the terror and joy of the season with its happy stitched-on smile, and its overall look resembling sacks worn by hanging victims. But its childlike simplicity puts forward the glee one should approach Halloween with. There’s a reason Sam has become the new mascot for the spookiest time of year.

This ends our rundown of 10 iconic horror movie masks. Unfortunately, with only 10 spaces we had to exclude some fan-favourite choices. So what famous horror masks did we miss out?

Also Read: Netflix Horror Movie Written Entirely Using Artificial Intelligence

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09:00 – Start off with something light and gentle the brilliant Gravity Falls. A Disney cartoon about twins Dipper and Mabel Pines who spend the summer with Great Uncle (or Gruncle) Stan in the mysterious and bizarre town of Gravity Falls. Try episodes Headhunters and Little Giftshop of Horrors, the first concerning sinister wax dummies and the second a trio of scary stories.

Streaming Service: Disney+.

10:00 – Still in more comic territory move onto What We Do In The Shadows (the tv series), the story of four vampires and one familiar living in Staten Island. The couple of Laszlo and Nadja are currently the best couple on television and their vampire nature only adds to their greatness. Recommended episodes – The Curse, the technologically challenged vampires believe they are cursed by a chain email, and On The Run, where Laszlo goes on the run to get away from a vampire who wants to kill him and takes on the persona of Jackie Daytona, a “regular human bartender”.

Streaming Service: Disney+.

11:00 – We all know the best Halloween special episodes are The Simpsons Treehouse of Horror. The undisputed champion is Treehouse of Horror V, containing three short stories of a brilliant homage to The Shining, Homer upsetting the timeline with his time machine toaster and the nightmare scenario of cannibalistic teachers.

Streaming Service: Disney+.

12:00 – Moving more into horror we have Cabin In The Woods the fantastic meta-horror film. Funny and genuinely horrific it is a reference heavy fan letter to horror films and finally explains why people make all those terrible decisions in films.

Streaming Service: Netflix.

14:00 – To make it a double-bill of reference-laden homage to horror next we have Scream, perhaps the definitive 90s horror. This film spelt out all the rules you need to know to survive a slasher horror and the Drew Barrymore phone conversation opening scene is genuinely brilliant.

Streaming Service: IMDB TV via Amazon.

16:00 – One of the best horrors of recent years is the Iranian film Under The Shadow, set during the Iran-Iraq war of the 90s a mother and daughter find themselves trapped with an evil spirit whilst a literal unexploded bomb has smashed through the roof of their apartment building.

Streaming Service: Netflix.

17:30 – Film legend Bruce Campbell returned to the role that made him famous with Ash Vs Evil Dead where a much older Ash is once again drawn into the world of deadites and general evil.

Streaming Service: Netflix.

18:00 – One of the most shocking films I have ever seen is up next with Hereditary. A film with about three different kinds of horror going on at once with amazing performances from the cast (Toni Collette deserved an Oscar nomination at the very least). It’s a film that for the next few months you’ll flinch every time you remember it.

20:30 – The fantastically fun Ready or Not is a great recent horror film filled with horrible rich people, excessive violence and creepy games. Grace is marrying into a super-rich family who made their money through games and has a number of unsettling traditions regarding people joining their family.

Streaming Service: Disney+.

10:30 – A film that is so scary it continues to cause phobias to this day – Jaws. Proof that you don’t need anything supernatural to be scary or even see the bad guy for most of the film Jaws is a masterpiece of horror and tension. There are not many films that can scare you with a monologue – Jaws can.

Streaming Service: Netflix.

01:00 – Trust the BBC to bring in some classics to end the evening and send you off to bed with nightmares and so we move to Poltergeist, this 1982 film should have been directed by Steven Spielberg (and some suggest it really was) but wasn’t contractually allowed to direct it at the time. A landmark in horror and has entered the common cultural landscape with references to people talking to their tv and the dangers of building houses on cemeteries popping up in many films and tv shows.

Streaming Service: BBC iPlayer

Also Read: A Horror Fans Film Guide To 2021

The post Halloween: A Whole Day Of Horror appeared first on Big Picture Film Club.

So let’s look at six movies from different genres that either tried to start or continue a franchise. And we will look at the various reasons why these films failed to spark enthusiasm for their brands. 

1. Dredd (Comic Book Movie)

Dredd proves that not all failed franchise starters are bad. Following Judge Dredd and rookie Judge Anderson on a mission to bring down the head of a Highrise crime syndicate, the film was a gloriously fun and violent alternative to most comic book movies of the time. Unfortunately, Judge Dredd was too obscure a character for mainstream audiences. Along with this, it had generally poor marketing which meant it didn’t make its budget back. Many critics also derided it for having a similar plot to “The Raid“. Nevertheless, Dredd gained a loyal cult following whose hopes for a franchise will never be dashed. 

2. Halloween 3: Season of The Witch (Horror)

After definitively ending Michael Myers’ story in Halloween 2 the producers decided to make the series into an anthology. With each entry telling a different Halloween-themed story. This time focusing on an evil businessman’s plans to destroy the youth of America using masks that kill the wearers when a certain advert is watched. But this attempted change failed. Audiences were confused by the lack of Michael Myers, critics saw it as generally bad and it made less than either of its predecessors. Because of this lack of success, the anthology franchise was scrapped in favour of reviving Myers. A disappointing end for an amazing idea. 

3. Batman and Robin (Superhero)

The film that killed the Batman film franchise for almost a decade. Despite being a fun romp about the ever-growing Bat-Family working together to beat Mr. Freeze and Poison Ivy, it was despised by audiences and critics. With reasons ranging from the change of tone from the darker Tim Burton films to the inclusion of aesthetics more potentially appealing to LGBTQIA audiences. This outcry and the overall poor financial reception led to the cancellation of the planned sequel “Batman Unchained“. Ending the then-current Batman series until the Batman Begins reboot 8 years later.

4. The Last Airbender (Fantasy)

Avatar: The Last Airbender is one of the most beloved animated shows ever made. And Nickelodeon Movies certainly hoped its success would translate to film. A three-movie series following the tale of Airbender Aang and his companions was planned. Unfortunately, The Last Airbender underperformed in cinemas, and it displeased everyone. Fans hated the film’s handling of the show’s story. And casual viewers, as well as critics, found the film to be a poorly put-together slog. Snuffing out any hope of the live-action films continuing.

5. John Carter (Sci-fi)

Nothing quite kills a potential franchise like being one of the biggest box office flops of all time. Despite having a middling rather than a hostile reception by audiences and critics John Carter lost over £87 million during its run, which ended any hope for future adaptations of John Carter’s adventures on Mars. According to writer Michael Sellers, the marketing sank the film by not driving home connection to its book source material. Ironically saying the film would have faired better if it was more open about its intentions to start a franchise.

6. Carry On Columbus (Comedy)

The Carry On films were never high art and by today’s standards contain more than a few offensive moments and attitudes. But they always found a way to entertain audiences with their double entendres and funny performances. Until Carry On Columbus. The 31st series entry follows the fictionalised life of the eponymous coloniser. It was released 14 years after Carry On Emmanuel (itself quite poorly received). The film flopped. Additionally, it failed with audiences and was dubbed the “worst British film ever” in a 2004 British film workers’ poll. We have seen no other series entries since. It’s safe to say the series ended because the world had moved on from Carry On’s brand of comedy.

Those are just a few movies that sent their franchises to the grave. Did we miss any big franchise killers? Please let us know.

Also Read: How To Revive A Franchise After Many Years

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Who Is Malcolm McDowell?

Born Malcolm John Taylor in Leeds, England in 1943, McDowell caught the acting bug in his school years. Later he joined a touring repertory theatre company before moving to London. There he landed work with the Royal Shakespeare Company, several television bit parts, and was meant to make his big-screen debut in Ken Loach’s Poor Cow but his scenes were deleted. Regardless, he received an impressive debut as the lead in Lindsay Anderson’s If…. a year later. Across his career, he has worked with many notable creatives in many different genres; over film, TV, videogames and theatre.

Why Is He Underrated?

McDowell is underrated because despite having a career spanning over five decades, with a vast catalogue of credits, most people only mention A Clockwork Orange when talking about him. And McDowell deserves appreciation for the great work he’s done outside of Kubrick’s masterpiece.

McDowell belongs to the old crowd of British screen actors like Christopher Lee and Peter Cushing, who kept working even if the projects weren’t the best quality. And, like Cushing and Lee, McDowell never sleepwalks through a performance. Often being the lone bright spot in many films he appears in.

McDowell said he doesn’t think of himself as an artist, he just loves acting. In the age of prima donna actors, actors concerned about image over craft and method acting to a fault, it’s refreshing to see someone simply acting because he likes it. And the fact that someone so talented is willing to do so many different types of projects is honestly exciting. You never know what film you’ll get with McDowell, but you know he’ll be great.

Five Great Malcolm McDowell Performances

1. Alex DeLarge – A Clockwork Orange

The story of a psychotic teenage thug who loses his free will after a government experiment, A Clockwork Orange works so well because of McDowell’s performance. Not only does he make the Burgessian dialogue sound natural, but McDowell allows us to alternately feel frightened of and sympathetic for a truly despicable character, thanks to his charm and superb physical performance. There’s a reason this is considered McDowell’s best role.

2. Mick Travis – If…, O Lucky Man! and Britannia Hospital:

The only constant in Lindsay Anderson’s thematic trilogy was everyman Mick Travis. Travis helped audiences navigate Anderson’s surreal worlds. Whether he was a revolutionary, being chewed up, and spat out by arms dealers only to become a film star or being transformed into a Frankenstein’s monster, McDowell made you feel for him every step of the way.

3. Caligula – Caligula

As Caligula, McDowell looks right at home, committing horrendous acts and losing himself in hedonistic abandon with childlike glee. But beneath the tyranny is an affection for those close to him that gives him a layer of depth rather than simply being a madman. McDowell is brilliant at giving even his most monstrous characters in humanity.

4. Dr Samuel Loomis – Rob Zombie’s Halloween Duology:

Love or hate Rob Zombie’s Halloween films, McDowell is the perfect replacement for Donald Pleasence as Dr. Loomis. Through both films, McDowell makes the role his own. Bringing class and gravitas while offering a more emotional and flawed interpretation of the character. Even if the scripts don’t work, McDowell gives the role dignity and dimension.

5. Thomas Pembridge – Mozart in the Jungle

In this series, McDowell plays the New York Symphony Orchestra’s stuffy ex-conductor. Initially antagonistic towards those around him, we soon realise his attitude comes from not accomplishing everything he wanted to in the spotlight. So, he tries to amend himself. McDowell’s perfect comedic timing, curmudgeonly attitude, and ability to weave between comedic and heartfelt make him an enjoyable presence in the Jungle.

Even this barely scratches the surface of McDowell’s great roles. But hopefully, this article has encouraged you to check out and appreciate more of McDowell’s work. Be sure to tell me your favourite Malcolm McDowell roles below.

Also Read: The Anatomy of a Christopher Nolan Film

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Horror films thrive on spooking their audience in a variety of ways. For example, the recent tech horror Countdown tapped into our anxiety about our mortality with an app that predicts the time you’ll die, down to the second. The central conceit being, how do you avoid death?

Well, today we’re counting down seven reasons characters die in horror films. Avoid these things to ensure your safety.

1. Taking drugs/having sex

Let’s get the obvious reason out first. Now many tend to overstate the significance of not taking drugs and having sex in horror movies. There are many iconic horror movie survivors who didn’t die after taking drugs (Laurie smokes marijuana and survived Halloween (1978)) and having sex (Ginny in Friday the 13 part 2, Sidney in Scream and Jay in It Follows).

But generally, it’s best to play it safe. For every iconic horror survivor who disproves this claim, there are slews of iconic horror victims that prove it. Just see Tina in A Nightmare on Elm Street (1984) who had sex moments before her tortuous slicing by Freddy Krueger.

And Palmer in The Thing (1982) definitely shouldn’t have gotten high with a shapeshifting alien creature running around.

2. Mocking conventions

Something less widely recognised is the fact that knowing genre clichés can also be a death sentence. How many times in horror movies have you heard someone mock their compatriots, by saying, “haven’t you seen a scary movie before?” only for them to die soon after. Unless you’re part of the Scream series self-aware characters rarely live to the end credits.

For a great example of how self-awareness kills, look at the character of Lizbeth from Friday the 13th Part 6: Jason Lives.

3. Heading into the unknown

A word of advice, if you’re heading somewhere and find that it’s abandoned, rundown, has measures in place to keep people out, contains weird items or you don’t know much about it, just leave. You don’t know what may be lurking around.

The Texas Chainsaw Massacre (1974) typifies this. Two of our leads wander onto a property with a drained swimming pool, blacked-out windows, and teeth are found on the porch. When they don’t leave there are very unfortunate consequences.

4. Going anywhere alone

Following on from the last entry, while it’s a bad idea heading into the unknown it’s even worse to go anywhere without bringing someone with you. It’s a good rule of thumb, when you go off alone you’re easier to stalk, terrorize and kill because no one’s there to keep you grounded and out of harm’s way.

No series exemplifies this trope better than the Friday the 13^th series. The first movie, in particular, features several effective reasons for why you should never go anywhere alone.

5. Being generally unpleasant

As in life, don’t be unpleasant to people. Don’t insult, belittle, harm or be rude, it just makes everyone hate you. And when everyone hates you in a horror film you can rest assured that you are going to die.

Look no further than this scene from Silent Night for proof of that.

6. Ignoring warnings & premonitions

I get that sometimes it’s hard to accept warnings from strangers, close friends, relatives or even your subconscious (in the case of dreams). It may feel patronising or like you aren’t personally in control. But these warnings are for your safety. It’s so baffling that horror film characters continually ignore them, as it usually leads to someone biting the big one.

Again Friday the 13^th shows that warnings should be heeded. If the kids listened to Crazy Ralph, they’d still be alive.

7. Cheating death

The final irony of horror movies is that you’re seldom truly safe. There was a time when good people survived and lead happy lives after the credits rolled. But besides the odd exception, that’s not the case nowadays.

If you’re in a self-contained movie maybe, one or two survivors will live to tell the tale. But if you’re a returning character from another film (and you aren’t Sidney Prescott, Ash Williams, Tommy Jarvis or Alice Johnson), you’ll more than likely die. So, if you survive, avoid sequels.

The master of dying in sequels is Laurie Strode. Originally dying in an off-screen car crash between Halloween 2 and 4, she was brought back in H20 (which continued from Halloween 2), only to die again in Halloween: Resurrection. She also died in the director’s cut of Rob Zombie’s Halloween 2 (the second film in the reboot timeline) before being brought back in Halloween (2018). It seems the universe has a fascination with reviving and killing Laurie.

So there’s our list of seven reasons why characters die in horror movies. Just avoid doing these things and you’re sure to live to see another day.

Also Read: 5 Horror Films and The Real Events Behind Them

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This past weekend to celebrate Halloween I decided to return to the Celluloid Screams horror festival for the second time. And, I wanted to take the opportunity to let you guys know what I thought of the festival this year.

As ever Celluloid Screams was a fantastic experience for genre fans. The staff, organizers and fellow festival-goers were all incredibly friendly and helped contribute to the best festival atmosphere I have been to yet. Everyone was willing to engage in conversation about films, help out with any problems and were incredibly well behaved when it came to watching the films, as well as enforcing good cinema-going etiquette. Something that is always appreciated by me.

Though we didn’t have any director Q&A’s like last year it was more than made up for by the extras we got. Firstly, we had stalls from the likes of Fab Press and Arrow Video. As well as exclusive previews for the second season of Wellington Paranormal and a local production called Seepers: A Love Story coming next year from Gory Hole Films. Both bode well for the upcoming projects. And the festival also did their bit to contribute to a good cause by encouraging people to sign up and give blood with the NHS.

Lastly, of course, I got to see loads of films. Unlike last year, I saw all 17 feature films shown at this years festival. But like last year I thought I would give you guys my short takes on the movies I saw. All kept under 50 words, ranked from worst to best:

Corporate Animals: A movie that thinks merely referencing popular culture in a snippy, self-aware fashion (including the Weinstein case) is the same thing as humor. None of the jokes have any sense of timing or build-up. They’re just thrown out by a cast clearly killing time until their paycheques clear. (0.5 / 5)

Outback: Some beautiful cinematography and decently tense moments in the third act don’t make up for the unbearably whiny characters, cringy dialogue and one of the most obnoxious soundtracks I’ve heard all year. (1 / 5)

Tone-deaf: Despite a standout performance from the ever-great Robert Patrick and a good round of ironic laughs to be had, the films unsubtle nature in regards to delivering jokes, postmodern sub-Scream dialogue and thin characterization make the movie hard to really engage with as anything aside from a funny diversion. (2.5 / 5)

Making Monsters: Using a YouTube prank show as the story basis is quite cringe-inducing. And for the first half only serves as an elaborate crutch to hold up the story. However, once the reasoning behind its use is revealed Making Monsters becomes very entertaining. Even if certain things still don’t make sense. (2.5 / 5)

After Midnight: A movie that suffers from an identity issue. Part formulaic romance part unengaging monster movie, After Midnight’s first 2 thirds will leave many viewers cold. The finale however, while not entirely justifying the first portion, will leave viewers satisfied. In addition, it features the best jump scare of the festival. (2.5 / 5)

Colour Out Of Space: Nic Cage does cosmic horror. The second Nicolas Cage neon-soaked horror film in as many years (the first being Mandy), does have a lot of dodgy CGI, very wonky performances and an uneven tone. But it more than makes up for it with its sheer entertainment value. (2.5 / 5)

Girl On The Third Floor: While the film would’ve benefited from a different lead actor than CM Punk and it does feel like a first feature, if you want an enjoyable horror movie that focuses on tension over jump scares and thoughtfully addresses issues of sexism present throughout many genre movies then check this out. (3 / 5)

Bliss: A mixture of Climax and The Addiction, Bliss is a visually stunning foray into psychedelic horror with a glorious 70s grindhouse aesthetic, some great performances and an infectious soundtrack. Hampered by a severely unlikeable main character, obnoxious dialogue and a very repetitive structure. (3 / 5)

Daniel Isn’t Real: Adam Egypt Mortimer’s second feature is a powerful watch. With a strong dower tone, visuals and mostly great performances from its cast. However, it crumbles under its own weight in the third act. Trading in subtlety in favour of overexaggerating everything to the point of unintentional parody. (3 / 5)

The Golden Glove: Chillingly straightforward in its execution of an incredibly bleak story. Featuring an incredibly slimy turn from Jonas Dassler and haunting use of licensed music. The Golden Glove is not a movie you watch to enjoy. But as a well-made true-crime horror movie, you definitely won’t forget it. (3 / 5)

Little Monsters: A charming cute zombie romp, that is formulaic, often cheesy and relies a little too much on man-child angst in the beginning. But through Lupita Nyong’o’s heartfelt central performance the film soon finds its footing as a funny love letter to teachers and childhood optimism. (3 / 5)

Come to daddy: This black horror-comedy starring Elijah Wood about family reconnection isn’t for everyone. It’s slow, deliberately uncomfortable pace means you never know whether you’re supposed to be laughing or not. Though not all the jokes land and some threads feel like padding, it’s worth seeing purely for its odd presentation. (3 / 5)

Why Don’t You Just Die!: No country does social metaphor pictures like Russia. Set mostly in an apartment and taking aim at many aspects of Russian society the film goes in so many different directions and juggles so many different tones so well that you won’t want it to end. (3.5 / 5)

Synchronic: My introduction to Benson and Moorhead (The Endless) couldn’t have made a better first impression. With an incredible premise, fantastic acting (I’d love to see Anthony Mackie and Jamie Dornan together in another movie), beautiful visuals and a lean pace, this is something any cosmic horror fan needs to see. (3.5 / 5)

Antrum: If you get the chance to see this movie in the cinema, do it. Because so much of this movie’s effectiveness comes from seeing it with a crowd. A brilliant example of transmedia storytelling, thick with atmosphere and imagination. A must watch for fans of 70’s euro cult horror. (3.5 / 5)

Extra Ordinary: The film that won the hearts of everyone at the festival, winning first place in the audience vote. A charming homegrown comedy filled with personality, pitch-perfect timing, quirky and engaging characters and the best editing gag I’ve seen this year. All horror-comedy lovers need to see this. (3.5 / 5)

The Nightingale: My favourite film of the festival. Jennifer Kent’s sophomore feature focuses on the horrors of colonialism and oppression with awe-inspiring results. The pacing is a little slow, but everything really comes together to create one of the most hauntingly beautiful, brutal and nuanced films to discuss oppression in years. (4 / 5)

So ends my second experience at Celluloid Screams 2019. It was yet again a fantastic experience that makes me proud to be a horror fan. I hope you all found this little retrospective informative and that I’ve encouraged you to check out some of these movies or perhaps even attend the festival in the future. I know I will definitely be trying to return next year. Either way, happy viewing and Happy Halloween.

Also Read: 5 Classic British Horror Films

The post Return of the Screams: Celluloid Screams 2019 appeared first on Big Picture Film Club.

There’s plenty of things out there to satisfy the film lover this Halloween, so today we’re going to recommend five gift ideas to put a smile on your face.

Horror Festival Passes & Themed Screenings

What better way is there to celebrate this scary of year, than by watching as many horror movies as you can with a dedicated community of fans?

October and early November is a big time for horror festivals as well as themed film screenings. There are of course big names like Frightfest that have their own Halloween events but there are also smaller festivals like Celluloid Screams among many others that offer fantastic lineups and experiences for their audiences.

And you may also be able to find special themed events near you that allow you to experience a horror film in a genuinely spooky atmosphere. Such as in Churches, adding an extra layer to the horror experience.

These experiences drastically vary in price depending on how long you want your experience to be. But you’ll doubtlessly have a good time immersing yourself in the best of horror film culture.

Horror Movie Collectors Editions

As I have said before, every film fan loves collectors’ editions. And when it comes to horror films there’s no end of companies that pride themselves on releasing fantastic deluxe editions of great horror films.

You can choose from the likes of Arrow Video, 88 Films, Second Sight Films, Powerhouse Films, Studiocanal, Blue Underground, Eureka Entertainment and many more.

All of these companies pack their releases with special features, fantastic transfers and loving attention to detail that will give fans a great amount of insight and appreciation for their favourite films. And for the quality of these releases, they are well worth their asking price.

Horror Movie Costumes

Everyone likes to dress up for Halloween. So, it stands to reason that any film fan needs a great costume. Just find out what costume you want and then its time to get creative.

Remember the devil is in the details so be sure to think about the costume, the trimmings, the character props and any makeup that may be needed.

Costuming will, of course, vary in price depending on the quality you want and the level of detail you want to put into your outfit. But whether you’re buying from a costume store or buying induvial parts from the high street, you’re sure to bring out a lot of smiles on the big day.

Horror Decorations

Another fun idea for movie lovers on All Hallows Eve is to decorate your house and get into the spirit of the season. And there are many creative ways to do this.

You can buy standees of famous horror movie characters to scare your guests. You can litter the place with props, replicas and fan-made decorations to give a spooky atmosphere. Or if you want to save some money you can make your own decorations?.

Why not make wanted posters to go in the window? Or carve a pumpkin in the likeness of a horror icon like Freddy, Jason or Pinhead?  The possibilities are endless.

Whatever you choose it will definitely help to bring your house to life this season.

Horror Merchandise

And of course, every true film buff loves their movie memorabilia. And horror films have a number of great types of merchandise, in any price range, to gift to yourself, family and friends.

Whether it’s a replica of your favourite fictional killer’s weapon. A poster of your favourite spook film. Or something as simple as a themed mug.

Every film fan appreciates having something eye-catching to furnish their home and remind them of their favourite films.

Conclusion

So there are a few ideas for how you can help add a little spice to a film lover’s Halloween. If you have any suggestions for cool things for film lovers to do this Halloween then tell us in the comments.

Also Read: A Christmas Buyer’s Guide for Film Lovers

The post A Halloween Buyer’s Guide for Film Lovers appeared first on Big Picture Film Club.

Yet, for all of its rules, the genre also seems to understand that it needs to evolve in order to stay relevant. No longer is it just the masked man wielding a chainsaw out to get you, it’s also the chavs you stumbled across on your romantic getaway. No longer is it just malevolent forces whose home you have just moved in to wanting to rip you apart, it’s also someone who just wanted to kill you for the sheer thrill of it. The characters themselves have evolved over time – men are no longer void of emotions aside from sexual desires; they’re remorseful, protective, impassioned.

Women have evolved too and are no longer the pure virgin, the damsel in distress waiting to be saved, lungs sore from screaming the whole film – they’re mothers protecting their children, they’re stronger, finding ways to defend themselves so the fight against evil isn’t so one-sided. Laurie Strode defines that evolution.

Happy Halloween

Halloween was released in 1978 and became an instant horror classic. From the opening shot of Michael’s first murder to the music that travels around Michael to that William Shatner mask, John Carpenter created (perhaps unwittingly) a horror legacy. The film follows Michael Myers, an escaped convict, as he returns home on Halloween night, fifteen years after killing his sister in order to kill again. His new obsession? Laurie Strode.

Laurie in the 1970s was a fair-haired, intelligent teenager. Naive but sweet. She had the aura of a girl who would roll her eyes if you asked her for the homework answers but would still hand you the completed worksheet. In fact, one of her friends asks her to look after the girl she’s babysitting in order to go and see her boyfriend – after much back and forth, eventually Laurie agrees to. A typical character of the time, a lovely girl who no one expects bad things to happen to.

From the moment Myers first stabs Laurie’s shoulder, there is a hint of what Laurie could be, the strength she has inside. She smashes a window open in order to escape, she makes sure the children are safe by keeping them upstairs away from the chaos and she stabs Myers in the neck with a knitting needle, with the aim of killing him. However, with knowing that Myers’ doctor, Dr Loomis, is out there looking for him there is a sense of waiting. Waiting for the heroine to be rescued from the big bad wolf.

After the infamous closet scene, where Laurie stabs Myers in the eye and then promptly stabs his chest with his own dropped knife, she begins to slip back into her exhaustion. Myers rises behind her and strangles her, taking advantage of her state of near unconsciousness. Though she puts up a good fight, it’s not until Loomis appears and shoots Myers that he stops. After falling from the balcony and after being shot and stabbed multiple times, Myers still finds the energy to get up and slip away. Laurie sobs, knowing the fight isn’t over, knowing that he’s still alive – and that is the final shot of Laurie Strode in 1978.

Though Myers kills others in this film, there’s a disturbed intent on killing Laurie. Even after she believes she’s killed him (twice), instead of disappearing as he does after he’s been shot, Myers immediately attempts to kill her again. It’s as if he can’t rest until he’s finally killed her, which he attempts to do again, forty years later.

Laurie’s Return

Laurie Strode in 2018 is a stranger to Laurie Strode in 1978. Her hair is still wild, but white, her smile is gone and she is hardened by the events that have happened to her in the past. She has weapons in her house and she’s been training forty years for Myers’ reappearance. Gone is the naivety, her underlining strength becoming the forefront of her very self. Though she has mental health issues, having a panic attack at her daughter’s house, it doesn’t deter Laurie for she has more than just herself to fight for – she’s fighting for her estranged daughter Karen and for her granddaughter Allyson.

Though Laurie is hell bent on destroying Myers once and for all, she also understands the importance of keeping her family safe, just as she understood the importance of keeping those children safe all those years ago.

In the final scene of the more recent Halloween film, Laurie (with the help of her family) traps Myers in a safe room as it fills with gas. She lights a flare and tosses it into the room, setting it and the rest of the house aflame. It’s redemptive – she doesn’t sob with fear, nor is there a hint that Michael is still alive. She works together with her family, her courage coming from them as well as from herself. The three women embrace as they’re taken to safety, relieved that a forty-year nightmare is finally over – and that is the final shot of the film and of Laurie Strode.

Though the 2018 film may have had more of an impact on Halloween’s progression had there not been many more films in the franchise, it is hard to deny to the impact the films have had on horror lore as a whole. Laurie Strode defines those films just as much as Michael Myers. Her evolution from sweetheart to conqueror is just as vital and iconic as the William Shatner mask.

Also Read: Research Shows How Cinema Therapy Helps Reduce Anxiety

The post Women In Horror: An Ode to Laurie Strode appeared first on Big Picture Film Club.

The story

On Halloween night, 1963, in the small town of Haddonfield, a young boy named Michael Myers murders his sister, Judith Myers for seemingly no reason. Michael then spends the next fifteen years locked up in Smiths Grove Sanatorium under the eye of doctor Samuel Loomis (Donald Pleasence). But on one fateful night, Michael escapes and returns to his hometown. He then begins stalking teenage babysitter Laurie Strode (Jamie Lee Curtis) and her friends. With Dr. Loomis hot on his trail, will the girls be able to survive Michael’s onslaught? And more frighteningly, can Michael actually be stopped?

What did I like?

I have an odd history with the original Halloween. When I first saw it, I dismissed it because it seemed like every other slasher movie. Over the years, however, I now appreciate what the original Halloween is. A stripped down, supremely suspenseful horror classic.

Halloween does not need gory kills to set its audience on edge. Because Halloween effectively generates a thick atmosphere of creeping, unknown dread. There are several factors for why it is able to build this so successfully. Chief amongst them being the films iconic killer.

Michael Myers is terrifying in Halloween because there is no rhyme or reason to his actions. The opening revelation that he was only a child when killed his older sister, is truly haunting. Especially since he shows no remorse or comprehension of what he did. He then stalks and murders the high school friends simply because he can. Tapping into our fear of the unknown. This is helped by other various touches. For example, Michael’s mask is a blank, expressionless parody of a human face (a white painted William Shatner mask) that is troubling because of its indifference to the slaughter Michael commits. And there are things about him that never sync with reality. His average build and almost superhuman strength, as well as his undying nature and his ability to disappear at will, transforms Michael into a nightmarishly surreal figure. And he has terrified generations of moviegoers ever since.

The performances are another way the movie evokes a feeling of dread. Donald Pleasence’s Doctor Loomis is one of cinemas greatest harbingers of doom. Despite hardly interacting with Myers during the movie, he instils a sense of fear in the audience for how calmly assured he is of Michaels evil nature. He knows what Michael is capable of and that he is the only one who can stop him. Jamie Lee Curtis also makes her film debut as one of the horror genres most fondly remembered final girls. Curtis plays Laurie with humility and innocence that makes her easy to root for. And all the other performers, despite some occasional cheesiness, come across as likeable, everyday people. Making it all the more tragic when the bogeyman rips through their lives.

Lastly, the films production elements help to elevate the unease. The film had a shoestring budget and could not afford lavish location work and set design. So, the film was forced to economize. Thus, the set design is minimal and the action confined to a handful of locations. Making the audience feel a sense of claustrophobia and helping the setting feel more intimate than the overblown nature of many of its higher budgeted counterparts. John Carpenters score and directing are also excellent at building tension. The simple but effective score gives Michael a great sense of presence and constantly sets the audience on edge. And the way Carpenter builds suspense through having Michael in the background of shots without lingering on him is masterful. It puts the audience one step ahead of the characters and makes the scenes where the shape slowly creeps towards his prey nail-bitingly taut.

What I do not like?

While Halloween is a classic, there are aspects that will not satisfy everyone. The films loose connection with reality regarding Michael works. It makes him more unpredictable and the characters feel more vulnerable. But some of the characters actions also have a loose connection with reality and can remove the audience, momentarily from the experience. For example, during the finale when Laurie drops Michaels knife right next to him, it seems like a leap of logic. Especially, as she is still not sure if Michael is actually dead.

The plot can also feel a bit meandering at times. The teen’s story is necessary thematically and Loomis’ scenes are always effective. But at times the plot leans too hard on the teenager’s story to engage the audience. Which can be a problem if you don’t find the teenagers and their dated slang interesting. And as a result, Loomis does not directly affect the plot aside from at the beginning and end of the film. Making Loomis seem like an afterthought.

Finally, while the score is iconic, it does become a crutch after a while. Often during the films second act, the score will dramatically increase to ensure that the audience knows that Michael is still around. And to make sure they have not lost interest. Which feels very cheap. A little goes a long way after all.

Bottom Line

Despite my minor misgivings, the original Halloween is nothing short of a classic and a testament to what can be done on a low budget. The combination of a great production crew, fantastic performances, and a scary villain helped Halloween become one of the most profitable horror films ever made. And while the sequels, remakes and slasher derivatives may have weakened it in the eyes of general viewers over the years, Halloween is essential viewing. Especially around this time of year. Because on Halloween, everyone is entitled to one good scare.

Verdict: (4.5 / 5)

The post Retro Review: Halloween (1978) appeared first on Big Picture Film Club.

Whilst there I was enthralled by the friendly atmosphere and pervasive sense of fun. Horror fans are always a delight to be around. Every screening was packed, almost every audience member was well behaved and the ability of horror audiences to jump, laugh and squirm at the right time makes experiencing each film a true communal bonding experience. Supported by friendly organizers who were always happy to engage with the audience and a myriad of extras. Including a DVD, Blu-ray, book and merchandise stalls, Q&A’s with film directors and stars, novelty drinks and karaoke at the bar. With the heart-warming cherry on the cake being how everyone came together and donated money to help the wife of a friend of the festival after her tragic loss. It was a remarkable display of solidarity. And everyone should be proud.

But the atmosphere of a film festival is only half the experience. Films are of course also needed. So here are my thoughts on all the feature films I managed to see. All kept at 50 words or less and ranked from worst to best. This is by no means a comprehensive overview of the festival as I was unable to see everything. But I hope this gives you an idea of some films to check out in the run-up to Halloween.

You might be the killer– A cinematic eye-roll, that thinks it’s too cool for its genre. Content to point out slasher clichés and nothing more. It’s nice seeing Alyson Hannigan again and Scream fans may enjoy it. But this makes me miss the days when slashers were fun and funny without being glib and self-effacing. Verdict: (1.5 / 5)

What Keeps You Alive– A movie that substitutes unrelenting building tension for lazy exploitation and torture yarn, because it does not know the power of subtlety. The first half is a tense build but once the twist happens it swiftly falls as a steady pace gives way to cartoonish over the top villainy. Verdict: (2 / 5)

Seven Stages to Achieve Eternal Bliss By Passing Through the Gateway Chosen By the Holy Storsh– Making shouting funny, is hard. The thick of it can do it. It’s always sunny in Philadelphia can do it. This movie cannot do it. Despite Taika Waititi’s presence and the cult plot providing great opportunities for dark comedy, the film is too light and undisciplined to fulfil its potential. Verdict: (2.5 / 5)

Nightmare Cinema– Subpar slasher satire, plastic surgery horror and catholic demon slaying, a terrifyingly surreal odyssey through depression and a survivor’s guilt ghost story make up this uneven anthology film. The final two films, however, elevate it into the realms of watchable. Verdict: (2.5 / 5)

Puppet Master: The littlest Reich– Welcome to your new guilty pleasure. The Puppet Master reboot features a silly plot, subpar CGI and very politically incorrect jokes. But has charming lead characters, impressive practical effects and if like me, you have a twisted sense of humour, Puppet Master will have you laughing till the end. Verdict: (2.5 / 5)

Assassination Nation– A gonzo, violent and righteously angry middle finger to Trumps America, that at times is very annoying and is nowhere near as clever as it thinks it is. But never the less it is worth the price of admission for sheer entertainment value. Verdict: (3 / 5)

Mandy– The artiest excuse to make a Nicolas Cage movie ever. The first half is a visually beautiful but narratively boring excuse for when Cage goes full blood-drenched psycho. If you want Nic Cage insanity this delivers. And the visual inventiveness may make up for the lack of dramatic engagement. Verdict: (3 / 5)

Halloween (2018)– Everything a Halloween sequel should and shouldn’t be. The Laurie Strode/Michael Myers story gives you everything you’ve wanted since the original. But the time in between that is padded with high school dope comedy that becomes obnoxiously overbearing. Tension and character work make it a must-see despite its flaws. Verdict: (3 / 5)

Summer of ’84– A great example of a fantastic ending saving an otherwise by the numbers nostalgia trip. This fun mixture of Stranger Things and The ‘Burbs starts as a fun distraction but at the end reveals itself to be a lot more thought-provoking and unnerving than expected. Verdict: (3.5 / 5)

Cam– This film began by giving me unfortunate flashbacks to Unfriended, but soon turned into an intriguing look into the world of online cam girls that deals with themes of identity, female empowerment and sexuality in the digital age in a mature, non-judgemental, and intensely gripping way. A welcome surprise. Verdict: (3.5 / 5)

Wolfman’s got nards– This documentary about the sub-cultural impact of The Monster Squad is an affectionate analysis of fans, cult movies and their effect on the creative forces behind them. Although occasionally self-aggrandizing and waffly, its subjects’ humanity always shines through and will even have Monster Squad newcomers and haters shedding tears. Verdict: (4 / 5)

Knife + Heart– A psycho-sexual, magical realist, giallo seed-fest, with no shame and the power to enrage “moral” and storytelling puritanical’s but to those who can get past that, they will find a beautiful, frightening and often darkly hilarious mood piece which although it explains a bit too much, feels like pure cinema. Verdict: (4 / 5)

Tigers are not afraid– An unrelentingly grim coming of age story that pulls no punches regarding the impact of the Mexican drug war on children. A magical realist edge, reminiscent of Devil’s Backbone helps to underline the tragedy of a tale that was undoubtedly the best film of the festival. Verdict: (4.5 / 5)

So ends my personal retrospective of Celluloid Screams 2018. It was truly wonderful to share a cinema screen with so many likeminded people for four days. Even when the films let me down, a smile was never far from my face. I definitely hope to return next year. Until then I hope I have given you guys an idea about some upcoming releases that you can check out and hope you enjoy them as much as I did. Happy viewing.

The post A Screaming Good Time at Celluloid Screams appeared first on Big Picture Film Club.

Before we begin I’d like to clarify three things. Firstly, with so many updates coming, it would be easy to just list movies within a certain category or genre and call it a day e.g. the Disney live-action remakes. So, to keep this list interesting I will limit myself to one entry per genre and they will be presented in no particular order. Secondly, just because I express trepidation in this list I do not automatically think these upcoming movies will be bad. Like any film goer I love being surprised and if any of these movies turn out to be great I will gladly retract my words. This is merely a speculative piece, using available information to inform my reactions. Finally, this list is just my opinion. If you disagree with me, that is fine. But let’s keep this civil and constructive. With that out of the way, let’s begin.

1) Horror: Halloween

By the time you read this article, the new Halloween movie will already have hit theatres and the horror community is alight with anticipation. The problem is, Halloween is a movie that never needed a sequel. Like it’s contemporaries, the original Black Christmas and Texas Chainsaw Massacre, Halloween thrived on using the unknown to terrify audiences. Michael Myers was scary in the original film because there was no explanation for his murderous rampage. He stalked and killed those he came across, for no reason. The problem is that many of the sequels and reboots focus too much on giving Michael a motive for his actions. The new movie brings back Jamie Lee Curtis as Laurie Strode and retcons Halloween 2’s (1981) revelation that she is Michael’s sister. While Laurie Strode is the quintessential final girl, and it’s nice to see Jamie Lee Curtis return to the franchise, the revenge motive still gives too much reason for Michael to be around. And this retreads the themes already explored in Halloween H20: 20 years later. Making the film seem like an uninspired cash grab that does not understand what made the original great. Not saying that the new film won’t be entertaining. But, for the scariest Halloween experience, watch the first movie as a standalone. You will never feel safe going out on Halloween night again.

2) Children’s Animation: The Lego Movie

The Lego movie is a victim of its own success. When it came out in 2014 it was a breath of fresh air. A Lego branded kids movie that was not a low effort to scrape money from brand recognition. Instead, it was a smart satire on consumer culture, fandom, and genre tropes while also being an entertaining and heart-warming action film that was suitable for all audiences. Since then the spinoffs prove that the Lego movie formula really was lightning in a bottle. With the new films not understanding the essential ingredients. Continually trading on brand recognition and glib self-referential dialogue without the interesting characters, social commentary or sense of pathos that made the Lego movie great. So now they have decided to continue the Lego movie with a direct sequel. But the Lego movie worked better as a self-contained narrative. It told its story in a way that felt conclusive and this made the film unique. Therefore a continuation of a story that has already told everything it needed to, is sure to become tedious fast. Which is a sad state of affairs for arguably the best-animated movie of the decade.

3) Comic Book Action: The Crow

The crow is a rare beast. Not only a good action film in its own right, but it also stands as a memorial to lead actor Brandon Lee, who died in an on-set accident during filming. With that history behind it, continuing or retelling the story is both futile and in poor taste. As proven by the low effort sequels. No one will top what director Alex Proyas and star Brandon Lee did in adapting the crow. So doing a crow movie at this point is only being done to exploit the fondness a whole generation has for the movie and the source material. Other movies on this list have the potential to, at least, entertain audiences, but this is one property that won’t work with anyone else. So, stop trying to make it happen.

4) Musical: West Side Story

In today’s climate of racial tensions, constant violence and the degradation of the younger generation, it is understandable why West Side Story would be remade. It is a film that perfectly fits into modern times. It addresses all the above issues in an entertaining and thought-provoking way. But the original film still exists. And is not only a classic, which deals with the aforementioned topics in ways that are as heavy as they need to be without becoming preachy, but includes performances, songs, and scenes that have passed into film legend. So why remake it? It smacks of the same logic that brought us the Psycho remake. A movie made solely to remind you of how great and ahead of its time the original was. With Steven Spielberg as director, the film will be technically flawless. But this seems like a waste of his talents. Especially when he could be creating the next underappreciated Oscar gem or the next generations childhood touchstone.

5) Science Fiction: Avatar

Avatar is the highest grossing film of all time (not adjusted for inflation). Its imagery was beautiful, its production technology revolutionary and blockbuster cinema to this day owes a lot to it. But once you get past the technical aspects, Avatar is kind of boring. It tells the same story we have all heard a thousand times before about not judging and the destructive powers of colonialism with no nuance or subtlety. Its characters are all broad archetypes buoyed by Sam Worthington’s boring performance. And its mammoth runtime makes getting through it a chore because it stretches its runtime to show us visually pleasing but thematically irrelevant spectacles rather than trying to engage us through relatable characters or unique storytelling. And the prospect of watching more movies with these flat characters, when the original’s plot was stretched beyond breaking point, does not excite me. No matter how beautiful the visuals are.

Thus, concludes my list of remakes, reboots, and sequels that do not need to happen. But I would like to know what you guys think. Are there any upcoming or hypothetical continuations to movies you do not want to see? Do you agree or disagree with any of the choices on my list? Then please let me know and let’s get a discussion going. And while all these movies are on a negative list, like I said at the beginning I always hope to be proven wrong. So here’s to hoping that these updates do just that.

Also Read: Retro Review: Halloween

The post Top 5 Movies That Don’t Need a Sequel, Reboot or Remake appeared first on Big Picture Film Club.