(Photo by Lionsgate/ courtesy Everett Collection)
Saw came, Saw conquered, Saw…stuck around for a lot longer people were expecting. The franchise that popularized the torturous trend in mid-2000s horror arguably peaked early with critics: The original 2004 movie is half-appreciated for hardening the genre and for its infamous twist ending, and half-detested for its empty obsession with gristle, gore, and guts. But audiences lapped up the visceral thrills, and after the first sequel ramped up the pain and plot twists to box office highs, a franchise was born.
With part III, the story went full Search for Spock and pulled off the Saw equivalent of blowing up the Enterprise: It killed off its main malevolent villain, Jigsaw. But ol’ Jiggy is nothing if not meticulous, and was able to continue his warped games of moral vengeance from beyond the grave (not to mention with continuing appearances from fan-favorite Tobin Bell) for several more sequels. But by the seventh Saw, the mythology had become too complicated and the grosses (the money kind) were trending downwards; Saw 3D was ordered to cram several movies’ worth of plot into one whip-lashing finale.
After seven years, the series returned in 2017 with Jigsaw, which enjoyed a critical response that was about as sparkling as could be expected based on previous encounters. But the box office appeared encouraging enough to continue on for a ninth entry. Spiral: From the Book of Saw, a standalone entry starring Chris Rock and Samuel L. Jackson, is releasing after a yearlong delay caused by COVID. Before we see where Spiral places, we’re ranking all Saw movies by Tomatometer!
(Photo by Warner Brothers/courtesy Everett Collection. Thumbnail: Buena Vista Pictures, Columbia/Courtesy Everett Collection)
The journey to fame and employment for every movie star is different, but Danny Glover‘s background of working in the public sector with a side theater hobby stands unique among his peers. His work for the city drove Glover’s strong political and social activism, which translated into his major movie debut, 1984’s Places in the Sun. More critically acclaimed films he starred in the years following that ran along the same lines, including prominent Black stories, among them The Color Purple, To Sleep With Anger, Bopha!, Beloved, and Grand Canyon.
But because he broke through in the ’80s, buddy-cop action flicks were what the people demanded, and Glover delivered. His Roger Murtaugh from Lethal Weapon is the best example of the buttoned-down family man foil to a loose-cannon partner, and together Murtaugh and Riggs rode through three more sequels. In fact, Glover’s mainstream bread-and-butter was playing these sympathetic yet strong authority figures or trustworthy officers, in films like Witness, Predator 2, Shooter, Operation Dumbo Drop, and even the original Saw. And he even eventually reached the highest office in the land when he became President of the United States in disaster movie 2012.
Glover has continually worked since getting that big break in 1984, all the more impressive that he was 40 when it happened. Recently, he’s been making appearances in vital contemporary Certified Fresh movies, including Dreamgirls, Beyond the Lights, and Sorry To Bother You. In 2019 alone, he was in The Last Black Man in San Francisco, The Dead Don’t Die, and Jumanji: The Next Level. And now we’re taking those and more as we rank all Danny Glover movies by Tomatometer!
(Photo by Universal / courtesy Everett Collection)
If you’re looking for more movies like The Invisible Man, surprise: We’ve got a few recommendations! To get it out of the way, yep, The Invisible Man is a new entry in the Universal Classic Monster franchise. It was the first cinematic universe, kicking off way back in the ’20s. (The 1920s and not, you know, our ’20s.) Dracula, the Wolfman, Frankenstein’s monster, the Mummy are all part of this motley crew, including the Invisible Man, who had six previous movies. This new Invisible Man is notable for its departure from formula by framing the story from the victim’s perspective, but we’re including these original six Universal Monster movies here for historical context. And, hell, let’s throw in the other famous hard-to-see creep, Hollow Man, as a reminder that for decades, this is all we had in the invisible jerk subgenre.
2020’s The Invisible Man, besides being a cracking horror/thriller, has also captured the zeitgeist for Moss’ Cecilia character and her plight. Cecilia flees a violent relationship, only to be tormented and trapped by her abuser, and made to look crazy in the eyes of friends and family. This is a form of gaslighting, a term specifically derived from 1944’s Gaslight, a psychological thriller starring Ingrid Bergman as a wife manipulated by her husband into thinking she’s going insane. 1955’s Diabolique is probably the best of this type of story, though shout-out to Satoshi Kon’s Perfect Blue, and even Scream, once you arrive at its endgame revelations. Black Swan, High Tension, and Girl, Interrupted are also worth watching through the lens of female-driven stories with shifty narratives.
Invisible Man has drawn high marks for its use of negative space, which forces viewers to search through seemingly banal shots for hidden terrors, drumming up considerable dread and paranoia. It Follows — about a malevolent entity taking the shape of humans, often depicted shuffling in backgrounds — is a previous horror phenomenon that similarly uses negative space to maximum effect.
Audiences may also be impressed by Invisible Man’s stylish presentation. Writer/director Leigh Whannell had already made a name for himself in horror by co-creating the Saw series (he’s also one of the leads in the first movie). But his 2018 cyberpunk/body horror/action effort Upgrade represented a dramatic creative leap forward for him. It’s fun to see Whannell apply Upgrade’s style towards the world of The Invisible Man.
And, of course, there’s Elisabeth Moss, who first came to public attention with The West Wing, Mad Men, and then in the inescapable The Handmaid’s Tale. But Moss has been acting in film since the early ’90s (who can forget her as “little girl” in Suburban Commando?) and her most notable movie work is of the last few years: 2014’s The One I Love (witness her in a slightly happier relationship, before it turns sci-fi bizarre), psychological thriller Queen of Earth, and 2019 acting showcase Her Smell.
In the 1970s and 1980s, a horror renaissance rocked the film industry, riding on the wave of George Romero’s 1969 low-budget zombie breakout Night of the Living Dead. There was a general feeling that something special was happening, where even directors as esteemed as Stanley Kubrick, Nicolas Roeg, and Peter Medak were flocking to the genre, while others more dedicated to horror, like Tobe Hooper, John Carpenter, and Wes Craven were pushing the goal posts for scares. Even though the enthusiasm for innovative horror waned somewhat in the past couple of decades, with notable exceptions from the likes of Craven and newcomers like James Wan, the special feeling of a “movement” in horror seems to have finally returned, and with it a new class of the Masters of Horror who will lead us through the dark.
Whittling this list to 21 was a near-impossible task when you’ve got so many visionary filmmakers working in the genre, including queen Karyn Kusama (The Invitation), the Soska sisters (Rabid), Julia Ducournau (Raw), Coralie Fargeat (Revenge), Hélène Cattet and Bruno Forzani (Amer), Chelsea Stardust (Satanic Panic), Ana Asensio (Most Beautiful Island), Nia DaCosta (the upcoming Candyman), Na Hong-jin (The Wailing), Ti West (The Innkeepers), Jorge Michel Grau (We Are What We Are), Jennifer Wexler (The Ranger), Joko Anwar (Satan’s Slaves), Mattie Do (Dearest Sister), Gigi Guerrero (Culture Shock), Xander Robin (Are We Not Cats), and Demian Rugna (Terrified). (That’s not to mention producers like Jason Blum, dedicating their professional lives to scaring us stupid; but we’re limiting this roll call to directors, though some of those produce, as you’ll see. )
The list goes on and on, but here’s 21 that have made our blood pump and eyes pop recently, and are pushing the genre forward with every new work they make.
(Photo by James Minchin /© A24 /Courtesy Everett Collection)
Ari Aster, much like George Romero, did not see himself as a horror director before his breakout debut. Hereditary, starring Toni Collette in an awards-worthy performance, is a family drama that plays out like one long exhilarating gasp for breath. Aster’s follow-up, Midsommar digs around in the same psychological playground, though this time covering the dissolution of a romantic relationship. Both films recategorize the meaning of “scare,” as Aster mines the terror of simply being uncomfortable with other people to a nearly wacky psycho-comedy effect.
(Photo by Claudette Barius / © Universal)
What else is there to say about Jordan Peele? He single-handedly proved that black people want to see themselves in horror films and that other people all over the world would like to see it too. His films stray so far from what many would deem commercially acceptable — a lengthy monologue about inequality delivered amongst a bunch of rabbits in a kind of magical basement world? And yet his stories are compelling because they’re unlike anything else in theaters, their cinematic influences evident but not overbearing. Peele’s making horror weird again, and he’s making it matter.
(Photo by ©IFC Midnight/Courtesy Everett Collection)
When Jennifer Kent’s debut horror The Babadook shocked audiences, the potential for horror to mine desperate grief came into 20/20 view. Not only that, but distinctly down-and-dirty, terrible, feminine grief. It’s not unusual for horror films to star women — this has been a defining characteristic of the genre — but it was unusual to see a heroine slowly morph into a highly relatable villain in such a visceral manner. In her newest film The Nightingale, Kent continues to push her heroines past a point of likeability with an eye on doing away with the “strong woman” trope that has rendered so many female characters into caricatures of femininity.
(Photo by Justin M. Lubin/© Universal Pictures /Courtesy Everett Collection)
Mike Flanagan has toiled in the genre fields for almost two decades, writing, directing, and editing his own films, which included Ghosts of Hamilton Street, Absentia, Oculus, and Hush, before he got his name-making box office hit, Ouija: Origin of Evil. Flanagan has a rare ability to please mainstream audiences while still pushing boundaries of horror, as he did with the wildly popular Haunting of Hill House Netflix series, which, among other cool tricks, hid a number of ghosts in the frame. That kind of subtle innovation comes from a filmmaker who’s familiar with all tools at their disposal, and his adaptation of a sequel to The Shining, Doctor Sleep, is much anticipated for that reason.
Mexican director Issa Lopez made a name for herself in her native country by directing a series of comic films, but her debut horror film Tigers Are Not Afraid (trailer above) couldn’t have been a bigger departure from her earlier career. Filled with wonder and grit and meaningful insights into childhood, trauma, and the human soul in the harshest environment imaginable, the film has been racking up fans and awards long before its U.S. release on Shudder. Guillermo del Toro luckily saw the film and immediately signed up to produce her next movies, so this Master in the making is already well on her way.
(Photo by Kerry Hayes/©Universal Pictures/Courtesy Everett Collection)
Speaking of Guillermo del Toro, it’s difficult to overstate how much of a boon for horror this visionary director has been, but del Toro was pioneering new directions for horror years before it came back in fashion. From Cronos and The Devil’s Backbone all the way up to Pan’s Labyrinth and the slept-on Crimson Peak, del Toro’s body of work feels so ingrained in the culture that it’s almost easy to take him for granted. Not to mention that he’s spent a great deal of time championing the newer generation of horror directors like Issa Lopez, Scott Cooper, and André Øvredal, producing double the number of films he directs himself. He is, for all intents and purposes, the godfather of the new Masters of Horror.
(Photo by © Netflix)
This pair of collaborators burst on the scene with last year’s Netflix horror hit, Cam (pictured above), about a cam girl sex worker whose identity is stolen and used against her. In a novel twist, the film was also respectful of women, Johns, and sex workers, never resorting to staid clichés, signaling that the pair could inclusively expand the frontiers of horror. Announcements for their next project with Blumhouse have been thin, but the film is certainly driven by women, and they’ll also be wading into TV horror with a segment for Quibi’s new 50 States of Fear.
(Photo by ©Weinstein Company/Courtesy Everett Collection)
Martyrs (pictured above) is not what many would call an easy film to watch. But Pascal Laugier’s most notorious feature is quite masterful. A story that opens like a revenge flick but closes with a hammer-to-the-nose of philosophical insights into perceived womanhood and spirituality, Martyrs follows in the New French Extremity footsteps of Claire Denis’ Trouble Every Day. After Martyrs, Laugier tried his hand at American horror with Jessica Biel starrer The Tall Man, but returned to his roots in 2018’s Incident in a Ghostland. Laugier shows that gore with a brain is on the menu for horror fans.
(Photo by Brooke Palmer/© Warner Bros. /Courtesy Everett Collection)
In 2013, Argentine director Andy Muschietti had an international hit on his hands with Mamá, about a young couple who take in their two young nieces but find that a malicious supernatural entity has decided they’re her next victims of a haunting. The film starred Jessica Chastain, setting up Muschietti’s desire to make genre but with actors of high esteem attached, which led to his re-envisioning Stephen King’s It in a two-movie release, vaunted for its playful but serious take on the story. Next up, Muschietti’s going the monster route with an adaptation of Hajime Isayama’s Attack on Titan, and is rumored to be directing DC’s The Flash.
(Photo by © Kimstim Films / courtesy Everett Collection)
Kiyoshi Kurosawa is not a newcomer by any means. He’s been working steadily in genre and outside of it since the 1980s, as a critic, commercial artist, and a creative filmmaker. In 2001, he released his most well-known cult film Pulse, but his recent return to genre suggests he’s not quite finished being a Master. In 2016, he released Creepy, a thrilling hardboiled mystery, which he then followed up with Before We Vanish, which is an alien invasion story equal parts horror and humor that opens with a risky, bloody bang.
(Photo by © Magnet Releasing /Courtesy Everett Collection)
The Eyes of My Mother (pictured above), Nicolas Pesce’s debut feature, bucks so many contemporary trends of horror, shot in black and white like a high-art film but with the creeping childishness of Tobe Hooper. He followed that up with a Cronenberg Crash-style film called Piercing that turns a sex-torture story into a screwball comedy of errors and power dynamics. Pesce’s films explore loneliness and connection with wry humor, and yet somehow it’s his visual style, evocative of classic films filled with texture and tactile pleasantness like every object has meaning and purpose, that make him a new Master.
(Photo by © Oscilloscope / courtesy Everett Collection)
Anna Biller’s version of horror feels akin to classic fairy tales. They are rife with artifice yet also completely honest. Focused on sex and sexuality but coy and childlike. There is the sense that the director is telling the story of the world as it is while simultaneously wishing the world to be different. Viva is more an off-kilter soapy drama, while her film The Love Witch (pictured above) more fully embodies horror. Rumor has it she’s been shopping another horror story based on the Bluebeard tale, but be patient for her next one: Biller’s obsessive about costuming, locations, and production design, and makes most everything herself, which is a time-consuming act but is ultimately the key to her success as a modern Master.
(Photo by ©Janus Films)
Half the fun of Agnieszka Smoczyńska’s debut feature The Lure (pictured above) is describing it for those who don’t know: a gritty, glittery Polish mermaid horror disco musical. The film was a time capsule of Cold War-era dancing clubs, mixed with classic fairy tales and contemporary rage-filled feminism. Music that’s as catchy as it is dark and an almost surreal, theatrical production design set The Lure apart, earning it an almost instant Criterion release. Her follow-up, Fugue, looks inward for a more cerebral melodrama of psychological terror, with the kind of innovative camera work and sensitivity that display Smoczynska’s ability to play with mind as well as body in her horror.
(Photo by © A24)
Peter Strickland digested decades of Italian gore and giallo films, then washed it down the exploitation work of Jess Franco and spit out such atmospheric insta-classics as Berberian Sound Studio and The Duke of Burgundy. His newest film In Fabric (poster above) had so much hype and magic behind it that A24 quickly snapped it up out of the festivals. Both eerie and ethereal, In Fabric tells the story of a murderous red dress; like a chilling version of The Sisterhood of the Traveling Pants, this thing will fit everyone but also kill them. And like his predecessors, Strickland squeezes every inch of terror out of sound design and trippy, mirrored effects, perfectly marrying the past with the present.
(Photo by ©Kino Lorber)
Ana Lily Amirpour’s low-budget indie hit A Girl Walks Home Alone at Night (pictured above) thrilled for its simple but fully realized black-and-white graphic novel aesthetics. It’s not every filmmaker whose first film creates some of the most memorable iconography in recent horror film history, but Amirpour’s vision of a young woman gliding on a skateboard with her veil flowing behind her struck a chord for women, a seeming statement about feminine violence and traditional values butting up against Western ideals. Her follow-up The Bad Batch was a sunny apocalyptic trip through the desert, but in the meantime she directed a beloved episode of the new Twilight Zone and has been attached to the remake of Cliffhanger.
(Photo by Kit Fraser / © Vertical Entertainment / courtesy Everett Collection)
Babak Anvari’s Under the Shadow (pictured above) broke new ground in folk horror and is a rare Certified Fresh at 99%. In it, he exploited the tale of jinn, those malevolent spirits of Islamic mythology, but grounded the story in the very real cultural conflict of the Iran-Iraq war in the 1980s, as told through a belabored mother who’d much rather finish her medical degree than stay at home with the young daughter who acts almost like an anchor to a more traditional life. Vivid and tense, the film found an international audience, leading to his newest release, an American production called Wounds and a new television series titled North American Lake Monsters, where Anvari can further dig into local lore.
(Photo by Justin Lubin. ©Warner Bros.)
David F. Sandberg’s short “Lights Out” terrified audiences internationally with a simple light trick that harkened back to the early days of horror. That short, made for nothing and starring his charismatic wife Lotta Losten, was then developed into a feature starring Teresa Palmer. James Wan continued to help Sandberg develop his career, giving him a spot in The Conjuring franchise, directing Annabelle: Creation. Sandberg has temporarily waded into superheroes with the lighthearted Shazam!, but he’s stated he’s looking forward to coming back to horror real soon, hopefully utilizing the same creative low-budget ideas that gave him his big break.
(Photo by Michael Tackett/©Warner Bros. Pictures/courtesy Everett Collection)
Speaking of James Wan, no Masters of Horror list would be complete without the Aussie who harnessed the powers of surprise and low budgets to flip the entire industry on its head with the Saw and Insidious franchises, and then again with The Conjuring. He’s the pop filmmaker of our time, delivering the kind of popcorn fare that actually brings people to the theater, a rare feat. Like his Mexican counterpart Guillermo del Toro, Wan is also producing others’ work at a breakneck pace, passing the torch to his longtime collaborator Leigh Whannell, and Patrick Brice, Akela Cooper, and Michael Chaves.
(Photo by Kerry Hayes / © Paramount / courtesy Everett Collection)
Starry Eyes wasn’t Kevin Kölsch and Dennis Widmyer’s first feature, but it was the one that got them long applause at SXSW and a whole lot of horror cred with its black comic take on the entertainment industry, imagining the casting couch as a place to reap souls for Satan. Alex Essoe’s performance as a desperate starlet was one for the history books. At times gruesome and wacky, the film got them the gig remaking Pet Sematary and working on the Scream TV series.
(Photo by ©A24)
Robert Eggers may be known for The VVitch, but he might also be known for his obsessively detailed nature, which had him mastering settler’s English for the script and getting the period details correct down to the tiniest nib, likely from his time as a production and costume designer in theater and film. Like Kubrick before him, Eggers is intent on crafting worlds, and his newest film The Lighthouse (pictured above), though more horror-adjacent than his debut, is just as meticulous, digging again into hysteria and how isolation and harsh environments can unravel the mind.
(Photo by . © Oscilloscope / courtesy Everett Collection)
Sophia Takal’s trajectory into horror began with low-budget psychological romps through feminine hysteria, in both Green and then her more defined follow-up Always Shine (pictured above), which pitted two young actresses against one another in a remote Big Sur cabin. Her episode of Into the Dark marked an entry into the world of slashers, marrying the cerebral with the bloody physical, and her next film, a remake of the very first slasher, Black Christmas [disclosure: the author of this article is the co-writer of this film], will test that marriage and the viability of slashers in general in this day and age.
Don’t see our favorite horror filmmaker above? Let us know whose scares you’re loving right now in the comments.
(Photo by Lionsgate)
When Saw burst onto the scene in 2004, it introduced audiences to a monologuing killer named Jigsaw who enjoyed games, puppets on tricycles, and puzzle pieces made of skin. James Wan and Leigh Whannell’s (Insidious) $1.5 million budgeted film became an instant success, and it developed into an incredibly complicated franchise (the timeline is bonkers) that featured nonlinear timelines, bloody traps, and one crucial hacksaw.
What sets the Saw franchise apart from other horror mainstays is that it has the lowest Tomatometer average of any franchise with at least seven theatrically released entries. Its 26% Tomatometer average beats out other franchises like Friday the 13th (29.41%), Halloween (33.7%), and A Nightmare on Elm Street (54.5%) for the bottom spot. That said, the series has pulled in a massive $500 million domestically, and the average audience score sits at 60%, which puts it ahead of all the aforementioned major franchises and gives it the fourth highest audience score average behind the Evil Dead (80.75%), Hannibal Lecter (80%), and Night of the Living Dead (79.1%) franchises.
That may all change this weekend, though, because there’s a new Saw film opening, and it’s directed by Michael and Peter Spierig, the brotherly duo behind Predestination and Daybreakers. What sticks out in the trailer for Jigsaw is the amount of carnage actually related to saws, which looks like it’s been cranked up to 11, because the franchise in general hasn’t actually featured a lot of, well, sawing. In fact, after the first film, saws played a largely ancillary role in the series.
Nevertheless, we did a little research, and it turns out the style and amount of saw action can actually factor into how good a Saw movie might be. Here’s what we found:
(Photo by Lionsgate)
Tomatometer Average: 48%
Audience Score Average: 84%
Only the first Saw film features a body part being completely severed. A little odd for a series titled Saw that features 52 deaths, to be sure, but it’s probably fair to say there was no topping that first dismemberment, as far as narrative impact. The scene is arguably the high point of the series, and it serves as a reminder of the patience and planning that director James Wan and writer Leigh Whannell dedicated to the film. What sets Saw apart from the six sequels that followed is that Wan and Whannell, who didn’t direct any of the follow-ups, thought they were making a thriller in the vein of Seven. For better or worse, the marketing department latched onto the iconic torture element, and the rest is history.
Tomatometer Average: 32.3%
Audience Score Average: 64.6%
Saw, Saw V, and Saw VI feature instances of people surviving ordeals with saws. Saw (48%) and Saw VI (37%) also happen to have the highest Tomatometer scores of the series, while Saw VI is a weird outlier, because its 38% score isn’t actually that bad, compared to its peers. Sixth installments rarely do very well with critics, and as far as the horror genre is concerned, only 1986’s Jason Lives (52%) and 2013’s Curse of Chucky (82%) can boast better scores.
Tomatometer Average : 30.25%
Audience Score Average: 64%
The hacksaw from the first film gets a lot of mileage in the series. It pops up in Saw, Saw II, Saw III, and Saw 3D. Throughout the four films, it was used to saw off a foot, slit a throat, and be reunited with the guy who used the saw to cut off his own foot. The saw is proof of the series’ ability to intertwine its narrative and tie everything together via a very intricate timeline.
Tomatometer Average: 24.3%
Audience Score Average: 50.5%
Saws are surprisingly non-lethal in the Saw films. In fact, only three people are actually killed by saws.
There is some humor and poetry in Jigsaw’s death, but it arguably would have packed a bigger punch if it had come by way of one of his own traps.
Tomatometer Average: 22.5%
Audience Score Average: 64%
John Kramer, a.k.a. Jigsaw, was the glue that held the films together, and after his aforementioned murder (by saw) in the third installment, the audience was greeted by his autopsy in the early scenes of Saw IV. Sure, he’s already dead in the latter instance, but did the coroners use a saw on him? They sure did.
The Saw franchise is a perhaps surprisingly successful example of the prototypical contemporary horror franchise. Critics have hated it while audiences consider it Fresh, and the films have made an insane amount of money on tiny budgets.
Throughout it all, though, the presence of its titular weapon ties everything together rather nicely. The same hacksaw bookends the first seven installments, and if John Kramer were still around, he’d surely be pleased by the longevity of his purchase. We’ll just have to wait and see if it makes an appearance in Jigsaw.
Jigsaw is back in theaters this Friday, bringing back memories of the bygone era between 2004 and 2010 (the release years of the first and last Saw movies) when every horror movie released seemed to fall under the guise of ‘torture porn.’ They involved inflicting the most amount of pain in the slowest way possible, where dark fates could lead to death, or something worse: living on, literally broken in body and mind. Relive the pain with 24 best and worst (mostly worst) torture porn movies pieced and sorted by Tomatometer!
We here at RT went deep into the vault of horror franchises to tally up the victims of some of film and TV’s most deadly psycho killers. Take a peek at the results — if you dare!
Haunting Grounds: Bates Motel
Estimated Body Count: 20
Has there ever been a cinematic slasher more pitiable than Norman Bates? The poor guy is practically at war with himself, and his mom nags him from beyond the grave. Heck, every time he makes friends, they seem to end up dead. If Psycho exerted a profound influence on the slasher genre (and onscreen violence in general), it wasn’t because Norman was a particularly prolific killer. Alfred Hitchcock’s original (and the sequels) depicted a man in the clutches of inner torment and madness that was so gripping and scary that it didn’t need buckets of blood (or, in one memorable case, chocolate syrup) to be deeply unsettling. Nine deaths are attributed to Norman Bates (Freddie Highmore) on the five-season AMC prequel TV series Bates Motel. But, really, who can say for sure?
Haunting Grounds: The Jeepers Creepers series
Estimated Body Count: 20
When Harry Warren and Johnny Mercer wrote “Jeepers Creepers” in the late 1930s, they surely never guessed their snappy little pop ditty would go on to provide the theme song for a murderous winged creature who possesses a bee- and dog-like ability to smell fear, and who can regenerate body parts by ingesting those of his victims. And that’s not all — the Creeper can also overcome overwhelmingly negative reviews, too! Although critics kept 2001’s Jeepers Creepers from a Fresh certification, the Creeper was back just two years later with a sequel, and there was even talk of a third installment. Not bad for a bad guy who’s limited to a single 23-day feeding frenzy every 23 years, right?
Haunting Grounds: The Thing from Another World, The Thing, The Thing
Estimated Body Count: 20
Human beings have long wondered what otherworldy monstrosities might be lurking out in the far reaches of space, which helps to explain the enduring appeal of John W. Campbell’s 1938 short story, Who Goes There? It’s the tale of an Antarctic research team that unwittingly rescues a malevolent alien from an icy grave. The creature repays the favor by forcibly (and messily) assimilating every living being within reach, including 20 unlucky scientists and a handful of dogs. Campbell’s monster — referred to as the Thing — has provided rich fodder for filmmakers over the decades, inspiring 1951’s The Thing from Another World, John Carpenter’s 1982 cult classic The Thing, and, most recently, the 2011 prequel/reboot of the same name.
Haunting Grounds: The Jaws series
Estimated Body Count: ~21, if you count the whale in Jaws 2
Most of the slashers on our list are bona fide film icons, but few of them can boast of having changed the entire industry the way Peter Benchley’s great white shark did: Before Jaws‘ 1975 debut, studios actually held their big films out of the summer market, believing the vacation months to be a commercial graveyard. Almost $500 million (and lots of bloody ocean water) later, a franchise was born — and although the third and fourth installments aren’t good for much besides unintentional humor, the original remains a certified classic with a 98 percent Tomatometer rating. Granted, the kill count here takes into consideration the havoc wreaked by multiple great whites over the course of the franchise, but it merely illustrates what Benchley already knew: the ocean is scary enough even without a gigantic bloodthirsty shark chasing you around, so tossing one in the mix just ups the ante.
Haunting Grounds: The Texas Chainsaw Massacre series
Estimated Body Count: 30
The twisted true-life tale of grave robber Ed Gein has inspired many notable cinematic grotesques, from Norman Bates in Psycho to Buffalo Bill in The Silence of the Lambs. However, Tobe Hooper may have done the most to immortalize Gein in the annals of perverse pop culture by emphasizing his habit of making clothing out of human flesh. The Texas Chain Saw Massacre introduced Leatherface, a developmentally disabled fellow under the control of his cannibalistic family. Though he started out as a pretty timid guy who was as afraid of visitors as they were of him, Leatherface came out of his shell in the sequels and reboots, making up for lost time in liberally employing his Poulan 306A.
Haunting Grounds: The Hellraiser series
Estimated Body Count: 35
By the late 1980s, the slasher genre was starting to feel a little stale — and then along came Pinhead, the sadomasochistic leader of the extradimensional pack of hooligans known as the Cenobites. The spike-headed hook fetishist wasn’t featured heavily in 1987’s Hellraiser, but Pinhead’s combination of creepy appearance, selective taste for victims, and clear fondness for gruesome torture stole the movie; throughout the eight-film series (four of which were released straight to DVD), Pinhead has remained the only constant, and for good reason: although his body count may be relatively low, no one else can match his prowess with a sharp, well-placed hook.
Haunting Grounds: The Child’s Play series
Estimated Body Count: ~38
Chucky may have devolved into a pint-sized Tony Clifton at this point, but the original Child’s Play was a superior genre piece — creepy, suspenseful, and blessed with an insidious sense of humor. Child’s Play riffed on the idea of innocence gone horribly wrong, with a quasi-Cabbage Patch Kid embodied by a vicious serial killer thanks to a voodoo ritual. Subsequent sequels — the most recent of which, Curse of Chucky, just recently made its way onto home video — have delivered more camp than scares, but Chucky’s left a trail of more than 35 corpses in his wake — and probably didn’t enamor himself to Teddy Ruxpin.
Haunting Grounds: The Nightmare on Elm Street series
Estimated Body Count: ~39
Arguably the most recognizable movie monster of the 1980s, Freddy Krueger may not be able to compete with other horror icons when it comes to killing in bulk. But the dermatologically-challenged Elm Street resident certainly wins points for style; in addition to his expert use of claw-tipped leather gloves, Freddy is adept at shape-shifting, strangulation, and generating geysers of blood from the bodies of future heartthrobs. Even accounting for the various forms Freddy has taken over the years in his efforts to turn the sweetest dreams dark and bloody, we’ve got his kill count somewhere in the vicinity of 39. That might be fewer than one might expect, but Mr. Krueger is an artiste who chooses his victims very specifically.
Haunting Grounds: The Final Destination series
Estimated Body Count: 39
Remember the old margarine commercials that said you can’t fool Mother Nature? Well, according to the Final Destination series, you can’t cheat Fate, either. It’s often said that revenge is a dish best served cold — but for the unseen hand of Fate, it tastes even better when garnished with a series of incredibly brutal (and, it must be said, very morbidly entertaining) booby traps. The series’ unseen antagonist has dispatched 39 victims, using everything from the mundane (death by falling brick) to the cleverly rewind-worthy (shower cord strangulation, ladder through the eye, death by falling cherry picker). By the time we surpassed The Final Destination and got Final Destination 5, the series was clearly aware of its silly appeal, and each creatively choreographed death was equally as hilarious as it was cringeworthy.
Haunting Grounds: The Scream franchise, Scream (TV series)
Estimated Body Count: 49
One of the rare slasher antagonists who’s a killer by committee, the Scream series’ Ghostface is played by a revolving door of mask-donning, knife-wielding psychopaths. Their motives are different (peer pressure, revenge, etc.), but the results are the same, no matter who wears the Edward Munch-inspired getup: teenagers will turn up dead, following the conventions of horror movies. And, as with other horror franchises, the body count increases with each sequel. Adding to the mayhem was the first season of MTV’s Scream, which aired this summer. All in all, this council of killers is responsible for at least 49 slayings.
Haunting Grounds: The Leprechaun series
Estimated Body Count: 50
The Leprechaun series is the embodiment of the finest that Irish culture and letters has to offer, easily surpassing the works of James Joyce and Oscar Wilde. The titular antihero is murderously committed to acquiring a pot o’ gold, an undertaking that prompts travel to such exotic locales as Las Vegas, Compton, and outer space. Despite his diminutive stature, the Leprechaun’s super-sharp claws and teeth have helped him tally 50 onscreen fatalities, including a very young Jennifer Aniston, who made her big screen debut in the first film.
Haunting Grounds: The Saw series
Estimated Body Count: 60
John Kramer was first christened “Jigsaw” by detectives who discovered the serial killer’s calling card was a puzzle piece-shaped hunk of flesh carved from the corpses of his victims. The name stuck as the cops closed in on Kramer and realized his elaborate, irony-laden traps were designed to punish those he deemed guilty of criminal acts or taking life for granted (he must have been a fan of Se7en). More characters and plot twists (Jigsaw doesn’t work alone! Something about cancer!) were introduced as the series wore on, and Saw evolved into a labyrinthine annual soap opera drenched in blood and agony. A Grand Guignol for our times.
Haunting Grounds: Manhunter, The Silence of the Lambs, Red Dragon, Hannibal, Hannibal Rising, Hannibal (TV)
Estimated Body Count: 98
Before 1991, you may not have even known what fava beans were — but after Anthony Hopkins’ first appearance as Doctor Hannibal “The Cannibal” Lecter in The Silence of the Lambs, nobody ever thought of them the same way again. Like Jason Voorhees, Lecter doesn’t appear in much of the famous reboot — he’s only in a little over 15 minutes of Lambs — but it was the first time we actually witnessed the good doctor rack up a few kills on screen (both Manhunter and its remake Red Dragon only imply Lecter’s murdered some folks), and audiences had a clear, um, appetite for the flesh-craving serial killer’s brand of mayhem: he’s gone on to appear in a number of other books and movies. Although we just saw the end of Hannibal‘s three-season run on NBC, series creator Bryan Fuller insists we haven’t seen the last of Lecter just yet.
Haunting Grounds: The Halloween series, minus Season of the Witch
Estimated Body Count: ~107
The best-known escapee of Smith’s Grove Sanitarium, Michael Myers has never been a big fan of babysitters, nor is he particularly fleet of foot. He digs Blue Oyster Cult, and makes special use of Star Trek paraphernalia and kitchen cutlery. Since the release of John Carpenter’s landmark Halloween, Myers’ legend has been told in a number of sequels, and if his reasons for killing are obscure, he’s still coldly efficient at the task; he’s racked up a whopping 100-plus notches on his belt.
Haunting Grounds: The Invisible Man (1933)
Estimated Body Count: 123
We were shocked (shocked!) to discover that killers with high body counts could even be found in Old Hollywood fare. Based on the H.G. Wells 1897 novel, James Whale’s pre-code horror film featured Claude Rains (Casablanca) in his American film debut as the titular villain, also known as Dr. Jack Griffin. Hiding away in a snowy village, Griffin experiments on himself while working on a drug called “monocane,” which he believes is the secret to invisibility. Although he does succeed in turning himself invisible, he also becomes a crazed murderer. Killing those who get in his way, and a train full of people just for kicks, Griffin eventually causes the death of 123 people – including himself.
Haunting Grounds: The Friday the 13th series
Estimated Body Count: 146
Rocking facial protection that would do Jacques Plante proud, Jason Voorhees terrorized Camp Crystal Lake with cold precision (and an ability to cheat death that Rasputin would envy) in Friday the 13th. Occasionally, he breaks out of the bucolic confines of the countryside to wreak havoc in the big city (Part VIII: Jason Takes Manhattan), Hades (Jason Goes to Hell: The Final Friday), and the future (Jason X). According to our research, Jason has put a whopping 146 unfortunate souls on ice. Pretty impressive for a cat who drowned in 1958.
En español: Read this article in Spanish at Tomatazos.com.
This week’s Ketchup brings you another ten headlines from the world of film development news (those stories about what movies Hollywood is working on for you next). Included in the mix this time around are stories about such titles as Frankenstein, Pokemon, Wonder Woman, and the eighth movie in the Saw franchise.
This week’s biggest story in film development news is actually a continuation of something that started in April. At that time, the idea of Legendary Entertainment getting close to acquiring the live-action Pokemon rights could have been interpreted as Legendary looking for their next video game adaptation following the (presumed) success of Warcraft. Warcraft had a huge opening in China, and has earned $430 million globally (enough for Warcraft to make in the top 10 for the year, thus far), but it was also a flop critically, and in the USA. However, one week sure can change things. The “augmented reality” game Pokemon Go launched just nine days ago (7/6/16), but within a week, the game had almost as many daily active users as Twitter (!). Nintendo’s stock price subsequently jumped up 25%, (seemingly), instantly increasing the company’s value by an additional $9 billion. So, Hollywood is very much now interested in a live action Pokemon reboot, and Legendary Pictures is looking like they were ahead of the curve, considering that their talks started three months before Pokemon Go even launched. The other two studios that had been vying for the Pokemon rights were Warner Bros and Sony Pictures, but it looks like Legendary is very close to sealing the deal. It’s still unclear what approach the live-action Pokemon remake might take, but loosely, there seem like two main options: Legendary could stick closely to the traditional Pokemon lore, or they could go with a direct adaptation of Pokemon Go, perhaps following people hunting for Pokemon in the real world. If the rumors are true, the screenwriter who might have the job of figuring it out is Max Landis (American Ultra, Victor Frankenstein), whose only Fresh Tomatometer score thus far was for Chronicle.
Most of the attention on future Steven Spielberg movies this year has been on his adaptation of Ready Player One. However, the prolific director is rarely working on just “one movie” at any given time. Right now, another impending project is an adaptation of the bestselling non-fiction book The Kidnapping of Edgardo Mortara by David Kertzer, which relays the true story of a Jewish child (born in Italy) who was seized by the Catholic Church in the mid-19th century, then converted to Catholicism and went on to become a priest. The central figure on the church side of the controversy will be Pope Pius IX, who will be played by Mark Rylance, marking his fourth Spielberg film in a row (after Bridge of Spies, The BFG, and Ready Player One). It is as yet unknown what role Oscar Isaac (who is now in talks) will be playing, but since some sources have pointed to him as “the lead,” the obvious answer would be Edgardo Mortara himself. The Kidnapping of Edgardo Mortara is expected to start filming in early 2017 — Ready Player One is scheduled for release on March 30, 2018, so the earliest possible release window for TKoEM is probably late 2018, AKA “awards season.”
We’ve known for a few years now that Universal Pictures wants to build a new “cinematic universe” around reboots of their Universal Monsters. The first of these will be another reboot of The Mummy, set in the present day (to be released next summer, on June 9, 2017); its titular monster will be female this time, played by Kingsman: The Secret Service costar Sofia Boutella, and this week, the Internet was deluged by nearly 100 images of Boutella in “Mummy” costumes from filming on location. The non-Mummy star of that movie will be Tom Cruise, and recent months have brought news of other A-list stars who will costar. Russell Crowe will play a character similar to Dr. Jekyll and Mr. Hyde, and Johnny Depp will star in The Invisible Man in early 2018. As noted in this article, Universal Pictures seems to be focusing on casting actors in their 50s. Javier Bardem (Skyfall, No Country for Old Men) isn’t quite 50 yet, but he’s close (his 50th birthday will be on March 1st, 2019), and this week we learned that he is now in talks with Universal Pictures to star in their new monster movies as Frankenstein. Specifically, Bardem is not up for the role Frankenstein himself, but rather the monster that Dr. Victor Frankenstein creates. There have been rumors that Angelina Jolie will star in a Bride of Frankenstein movie, and this news fits right in with that, because Bardem is not expected to debut in a Frankenstein movie, but one of the earlier UMCU (Universal Monsters Cinematic Universe) movies. The Mummy is nearly done filming, so it probably won’t be that film, but the next possibility might be The Invisible Man (TBA 2018). Russell Crowe’s Jekyll/Hyde-like character is also expected to appear in other UCMU movies before receiving his own feature.
One of the many films that Walt Disney Pictures is adapting into live action from their classic animated filmography actually comes from one part of a film, the 1940 classic Fantasia. Specifically, we’re talking about The Nutcracker Suite, which was based on the ballet with music written by Pyotr Tchaikovsky. Disney’s movie will be called The Nutcracker and the Four Realms, and it will be based on both Tchaikovsky’s ballet as well as the 1816 fairy tale story by E.T.A. Hoffmann called The Nutcracker and the Mouse King, which the ballet was itself based upon. So, since Disney’s new Nutcracker movie is ultimately based on a ballet, this week’s news probably should have been a complete no-brainer. Ballet dancer Misty Copeland took to her Instagram account this week to post an image of the script by Ashleigh Powell (who will be making her feature film debut with The Nutcracker and the Four Realms), confirming that she will star in the adaptation. Copeland is the first cast member we have heard about, but she won’t be the last, as the various versions of The Nutcracker have a lot of characters, including the Nutcracker himself, the Mouse King (and Queen), the Sugar Plum Fairy, and of course, the large family at the center of the entire story. This magical adventure will be directed by Lasse Hallstrom, whose lengthy filmography includes What’s Eating Gilbert Grape, Chocolate, The Cider House Rules, and My Life as a Dog. There is no release date officially set for The Nutcracker and the Four Realms, but given the Christmas theme, there is a very, very strong chance that it is the Untitled Disney Fairy Tale (Live Action) currently on their schedule for November 2, 2018.
One of the most ambitious non-superhero movies that Hugh Jackman has been attached to star in for several years now (since 2009) is 20th Century Fox’s The Greatest Showman on Earth. As the title suggests, this film (scheduled for 12/25/17) will be a biographical musical drama about the life of 19th century circus entrepreneur P.T. Barnum, who, of course, will be played by Jackman (who’s also producing). In recent weeks, we’ve heard about the casting of both Zac Efron (as Barnum’s “right hand man”), and Michelle Williams (as Barnum’s romantic interest). This week, we learned that Fox is hoping to attract a young audience with the news that former Disney star Zendaya is now in talks to play a trapeze artist in Barnum’s circus. The Greatest Showman on Earth will be the feature film directorial debut of Michael Gracey (who is working on an adaptation of the manga/video game Naruto), working from a script by Michael Arndt (Toy Story 3; cowriter of Star Wars: The Force Awakens). 20th Century Fox has scheduled The Greatest Showman on Earth for December 25th, by which point the world will probably be much more familiar with Zendaya, due to her reportedly major role in Marvel’s Spider-Man: Homecoming (July 7, 2017).
One can argue lots of other factors at play here, but the facts are plain: Finding Dory is Pixar’s top box office earner to date, and Finding Nemo was no slouch either, now at #4 out of 17 films. One arguable factor in both films was the voice talent of Ellen DeGeneres, without whom Dory wouldn’t really be the Dory that audiences (and critics) have come to love. Knowing a good thing when they have it, Walt Disney Pictures is striving to continue working with Ellen DeGeneres on (at least) one future project, namely an adaptation of the children’s book Castle Hangnail, by author Ursula Vernon, the creator of the Dragonbreath series. The book will be adapted by Bill Kunstler, who is best known for his work as a writer and producer on TV shows like Mom, The Crazy Ones, The War at Home, and Accidentally on Purpose. Castle Hangnail is about a 12-year-old girl who shows up at the title location hoping to fill a vacancy as a “wicked witch,” and to do so, she must accomplish a series of tasks. Ellen DeGeneres is producing Castle Hangnail, and is likely to star in the film, but which character she would play is unknown.
The story of Jesus Christ is often called “the greatest story ever told” for a reason, and Hollywood seems intent on retelling it again and again; this year alone, we’ve already had two movies about Him — Last Days in the Desert (with Ewan McGregor as Jesus) and Risen (with Cliff Curtis as “Yeshua”, AKA Jesus) — and they keep coming. The next project to tackle the tale will focus on His companion, Mary Magdalene. We’ve known for a while now that Rooney Mara (Carol, The Social Network) will star in the film as the title character, with Joaquin Phoenix taking on the role of Christ. This week, we learned that Chiwetel Ejiofor (12 Years a Slave) is now in talks to play St. Peter, one of Christ’s 12 apostles. In many films about Jesus Christ, not all of the apostles receive the same amount of attention in the story, but St. Peter (AKA “The Rock”) is usually one of the most central figures. Director Garth Davis, whose debut film is this year’s Lion, expects to start filming Mary Magdalene this summer for the Weinstein Company, who are expecting to release Mary Magdalene sometime in 2017 (possibly around Easter).
Today’s release of the remake of Ghostbusters has brought into the spotlight the social debate over remakes, and whether some older films should or shouldn’t ever be remade, rebooted, regurgitated, etc. One thing to remember is that Hollywood’s been doing it since the “silent era,” and some of our most beloved movies (like say, The Wizard of Oz, The Thing, Scarface, The Magnificent Seven, and The Ten Commandments) were themselves remakes of earlier films. Some pundits make the argument that the best candidates for remakes are films that were either flawed in some way, or that technology has improved to tell certain stories more effectively, or in some cases, that the original is just so obscure or forgotten that most wouldn’t even recognize a remake of it. Option #3 feels the most relevant to this week’s news, because few moviegoers have likely even heard of the 1971 film The Beguiled, starring Clint Eastwood as a wounded Union soldier during the Civil War. Director Sofia Coppola (Lost in Translation, Marie Antoinette) apparently has, however, because she has written and will direct a remake of The Beguiled. Colin Farrell is now in talks to star as the soldier, who takes refuge at an all-girls boarding school and “cons his way into several lonely women’s hearts.” Farrell is joining a mostly female cast which already includes Nicole Kidman, Kirsten Dunst, and Elle Fanning. There is no filming start date for The Beguiled yet, but if financing can be found, there’s a good chance it will be Sofia Coppola’s next film (after departing the live action non-Disney remake of The Little Mermaid).
When Warner Bros and DC Comics were looking for a director for next summer’s Wonder Woman (6/2/17), it was clear they were looking for a female director. The job ultimately went to Monster director Patty Jenkins, after Breaking Bad producer/director Michelle MacLaren worked on it for a while, but eventually dropped out. Arguments can be made about whether gender identity plays a role in filmmaking, but WB’s efforts to cast a female director suggests they were at least attempting to match it up. That’s why it’s particularly confusing and/or confounding to learn that the official screenwriter credits are for “a screenplay by Allan Heinberg and Geoff Johns, story by Zack Snyder & Allan Heinberg.” In other words, Wonder Woman was written entirely by men. Of course, Wonder Woman was created by a man, and a rather controversial male writer at that, about whom much as been written. That was, however, also in 1941, and one might assume that 75 years later, things might be different. This would also be a good time to note that we are aware of the super relevant (but probably coincidental) timing of this story, which we’re reporting to you on the day that the reboot of Ghostbusters is being released (and all of the gender politics that come with it, from both sides). We’ll just point you to some other articles about this issue, published by The Verge, The Mary Sue, and Romper. What do you think? Should the first ever live action movie about the original female super hero icon have been written by at least one woman?
People like familiar franchises that provide sequels with familiar expectations; we get that. But some franchises fail to transcend their very niche audiences and be embraced, at least on some level. One such franchise is the “torture porn” extravaganza known as the Saw franchise, which critically peaked at 48 percent with the first movie (still Rotten) and whose most recent installment, Saw: The Final Chapter, failed to reach double digits on the Tomatometer. That said, even if it did seem like the Saw franchise was pretty much over, another factor in play was that Lionsgate needed lots and lots of franchises and ongoing ventures after The Hunger Games (and other YA adaptations) came to an end. With all that in mind, Lionsgate is preparing to produce an 8th Saw movie, which they have scheduled for release next year on October 27, 2017 (just before Halloween, of course), and they’ve hired the creative writer/director team of the Spierig Brothers (Peter and Michael) to do it. The Spierig Brothers bring a certain level of fan anticipation to the Saw franchise, as their two most recent films (Daybreakers and Predestination) both received Fresh Tomatometer scores. So, it’s sort of a tricky thing. On one hand, we have directors who have given us two pretty great genre films recently; on the other, it’s still the Saw franchise we’re talking about here. Verdict: This is the Rotten Idea of the Week.
Why did they make God’s Not Dead 2? The divine hand of the free market christened the original God’s Not Dead with a $60 million box office tally, and against its $2 million budget, that makes it one of the most profitable movies ever in these United States. So, sweet Jesus, of course they would make a sequel! And that inspires this week’s gallery: the 24 most profitable low-budget (under $5 million) movies ever (in America)!
A nanny is shocked to learn that her new employers’ son is actually a living doll in this Friday’s The Boy, inspiring this week’s 24 Frames gallery of the creepiest dolls from film and TV history!
Ep. 071 – New Movies & TV plus Jake Gyllenhaal & Nicole Kidman
This week the team kicks off the show with reviews for ‘Nightcrawler’ and Grae shares and interview with star Jake Gyllenhaal. Then they cover ‘Before I Go to Sleep,’ and Grae shares an interview with star Nicole Kidman. The new movie report wraps up with ‘Horns’ and the ‘Saw’ 10th anniversary re-release. Ryan talks about new home video releases ‘Deliver Us From Evil,’ and ‘Begin Again,’ and Sarah leads a quick discussion on ‘The Walking Dead’ and ‘Gotham.’ The last half of the show features an extended interview with Des Doyle, Ryan Patrick McGuffey, Jimmy Nguyen, Jason Rose, the writer/director and producers of the documentary ‘Showrunners.’
Related to this podcast:
This week at the movies, we’ve got a crime reporter (Nightcrawler, starring Jake Gyllenhaal and Rene Russo), a troubled amnesiac (Before I Go to Sleep, starring Nicole Kidman and Colin Firth), and a sadistic killer (the 10th anniversary rerelease of Saw, starring Cary Elwes and Danny Glover). What do the critics have to say?. What do the critics have to say?
A creepy, tense thriller about a nocturnal obsessive or a satire of the 24-hour news cycle? Critics say Nightcrawler is a terrific blend of both, with a live-wire performance from Jake Gyllenhaal and an evocative, sinister sense of place. Gyllenhaal stars as Lou Bloom, a freelance TV journalist who sells lurid crime footage to a local station. But as his career progresses, and his scoops become ever more explosive, Bloom’s shaky ethics threaten to overwhelm him. The pundits say the Certified Fresh Nightcrawler is so taut, atmospheric, and well-acted, you might not even notice the leaps in narrative logic.
Before I Go to Sleep boasts an intriguing premise, a top-notch cast, and slick, sleek production values. So how could it miss? The answer, say critics, is that the film’s fine performances are in service to a plot that starts strong but strains credulity as it goes along. Nicole Kidman stars as a woman who wakes up every day with no memory of her past — the tragic result of an accident. But when she makes a shocking discovery, our heroine delves into the secrets of her past while trying to determine who she can trust. The pundits say Before I Go to Sleep often gets by on chilly atmosphere and the strength of Kidman’s performance, but it doesn’t quite achieve the chilly heights it’s aiming for.
Ten years ago, before the term “torture porn” had even been invented, Saw hit theaters awash in Sundance buzz and comparisons to Se7en. The critics were split: some found it to be brutal and clever, while others simply found it depraved. Half a dozen sequels followed, but none could approach the original Saw in terms of novelty or (moderate) critical acclaim. If you’ve ever wanted to enter the twisted world of diabolical killer Jigsaw in a darkened roomful of screaming strangers, now’s your chance: Saw is hitting theaters to celebrate its 10th anniversary.
Critics are still mixed on Gotham‘s overall tone, but most found “The Spirit of the Goat” (67 percent) to be a step in the right direction, thanks in part to much-needed character details about Oswald Cobblepot and Detective Bullock.
Revenge of the Mekons, a rockumentary about the cultishly adored British indie band, is at 100 percent.
Jean-Luc Godard‘s Goodbye to Language 3D, an atmospheric meditation on the nature of communication, is at 89 percent.
The Great Invisible, a documentary about the explosion of the Deepwater Horizon oil rig in the Gulf of Mexico, is at 84 percent.
Point and Shoot, a documentary about a Baltimore man whose five-year tour of the Middle East included a stint in the Libyan Revolution, is at 71 percent.
ABCs of Death 2, a 26-chapter anthology horror film that takes another crack at alphabetical terror, is at 68 percent.
Private Peaceful, a period drama about two brothers whose loyalties are tested amidst the fog of World War I, is at 65 percent.
Magical Universe, a documentary about an eccentric octogenarian outsider artist, is at 60 percent.
Horns, starring Daniel Radcliffe and Juno Temple in a fantasy thriller about a man who’s been accused of a crime and finds horns with astonishing powers growing out of his head, is at 48 percent.
Missionary, a thriller about a woman who tries to break off her extramarital affair with a missionionary when she reunites with her estranged husband, is at 38 percent.
Hit By Lightning, starring Jon Cryer and Will Sasso in a comedy about a guy who meets the perfect woman only to discover she wants to kill her husband, is at 14 percent.
This week on home video, we’ve got Seth Rogen and Zac Efron facing off in a comedy, Guy Pearce and Robert Pattinson facing off in a post-apocalyptic road film, and Brenton Thwaites and Laurence Fishburne facing off in a sci-fi thriller. Then we’ve got the requisite smaller releases, a ton of recent TV seasons (and one complete collection of a popular sitcom), and three big horror franchise sets. Read on for details:
With hit projects both as director (Forgetting Sarah Marshall, Get Him to the Greek) and writer (the two recent Muppets movies) under his belt, it might be surprising to learn that Nicholas Stoller’s most successful film to date was Neighbors, a raunchy comedy that opened one week after The Amazing Spider-Man 2 and one week before Godzilla. Pitting Seth Rogen against Zac Efron, Neighbors follows a young couple with a newborn baby who find themselves at odds with their new neighbors when a fraternity moves in next door. Most critics found the comedy surprisingly sturdy, if a bit vulgar, and praised its game cast, which included supporting turns from Rose Byrne, Dave Franco, and Christopher Mintz-Plasse. Special features on the disc include the requisite gag reel and deleted scenes, alongside a handful of making-of featurettes.
Australian director David Michod’s 2010 film Animal Kingdom was a powerhouse debut, so it wasn’t unreasonable to set expectations high for his follow-up, The Rover, which opened in limited release back in June. While the latter wasn’t quite the critical darling its predecessor was, it still managed to impress critics to the tune of 66 percent on the Tomatometer. Utilizing the Australian landscape as a post-apocalyptic backdrop, The Rover stars Guy Pearce as Eric, a lone drifter who gets carjacked by a gang of combative thieves. In search of leads, Eric runs into Rey (Robert Pattinson), the brother of one of the thieves, and the pair set out across the desolate landscape to locate Eric’s car, encountering trouble along the way. Moody and violent, The Rover struck most critics as a stylish exercise in ambiguity, with a relatively thin story held aloft almost entirely by its stars’ compelling performances. Only one bonus feature comes with the disc, and it’s a 45-minute making-of doc.
Films that rely on sustained tension in service of a big final payoff are difficult to craft; sometimes, they’re more confusing than they need to be, and sometimes the anticipated twist is underwhelming. Unfortunately, there were enough critics who found both to be true for The Signal that the film mustered only a mediocre 55 percent on the Tomatometer. The story revolves around a trio of MIT students (Brenton Thwaites, Olivia Cooke, Beau Knapp) driving across the Southwest whose road trip takes a detour when they begin to receive taunting messages from an MIT hacker. Before they are able to confront their nemesis, however, they black out and find themselves trapped in a mysterious research facility, unable to explain what happened. Critics found The Signal ambitious and initially intriguing, but felt it could have used a lot more narrative finesse to deliver its climactic reveals. The film comes with a feature commentary with the director and writers, some deleted, extended, and alternate scenes, and a behind-the-scenes doc.
