It’s nice to see an action film that doesn’t complicate things just for the sake of looking smart. As much as I enjoyed most of the spy films from 2011, we saw almost every variation and mind-boggling complexity that the genre had to offer. In Haywire, which was initially slated for release early last year, we are treated to 90 minutes of undiluted action that stays within the boundaries of physics (and our attention spans) and out of the confusing details.
By Michael Parsons
It’s that dreary season between The Golden Globes and The Oscars when we commiserate about another crappy year of football, fight our annual urge to move south and pick at the remnants of last year’s cinematic bounty.
A FOUR DAY INDULGENCE OF ZOMBIES, SLASHERS, PSYCHOTIC DEVIANTS (AND FEW THINGS I’M NOT SURE THEY HAVE A NAME FOR YET), THE FESTIVAL BOASTS AN ECLECTIC AND TWISTED SELECTION OF HORROR FROM A BEVY OF INDEPENDENT FILMMAKERS. AND JUST IN TIME FOR HALLOWEEN – MY REVIEWS OF THE WATERMEN, THE MILLENNIUM BUG & THE DEAD
According to the Oxford Dictionary, horror (noun) is defined as ‘an intense feeling of fear, shock or disgust.’
As a lifelong genre fanatic, I share the plight of discerning horror junkies whose need for fresh material is rarely satisfied in mainstream cinema. Recently, I had about the same reaction to the remake of A Nightmare On Elm Street as I did to the sticker price on a package of organic blueberries at Whole Foods; disheartened, but not shocked.