Evil Dead (Dir. Sam Raimi 1982): In the literary tradition of Stephen King and the cinematic mode of George Romero (Night of the Living Dead) The Evil Dead is a visual and aural attack on the senses which requires a strong stomach and a healthy sense of humour! Whilst holidaying in the Tennessee woodlands five innocent teenagers unwittingly unleash the spirit of the evil dead. One by one the teenagers fall victim to the frenzied flesh-eating monsters amidst a tour-de-force display of stunning special effects. The Hills Have Eyes (Dir. Wes Craven 1977): The Carter family taken a wrong turn when crossing the desert for California and are attacked by a savage group of cannibals. For the Carters who have to revert to their own primitive instincts it is a battle for survival: the lucky ones died first...
The 13th Sign is a no-budget horror-action flick in which a solar-eclipse provides the backdrop for all manner of cultish goings-on in rural England. Obvious fans of The Wicker Man, directors Adam Mason and Jonty Acton gamely try to imbue the action with that film's sinister tones, most notably through the creepy rural setting and the appearance of a suave, philosophy-spouting country lord. Sadly they don't stop there, also throwing in (among a plethora of other jarring and disparate elements) a copious dose of supernatural mumbo-jumbo and a trio of cyberpunk hitmen. The film's miniscule budget is an Achilles' heel that cannot be disguised by enthusiasm alone. It is all very well staging a Desperado-style face-off to wow your audience, but its impact will inevitably be dampened somewhat if it has to take place outside the village Co-op. What we are left with then is a buxom, blood-drenched heroine gamely fighting a losing battle against bizarre bounty-hunters, lazily possessed rednecks, unconvincingly fiery-eyed demons and production values that make The 13th Sign look like the goriest and most convoluted You've Been Framed clip of all time. --Paul Philpott
Anywhere But Here (Dir. Wayne Wang 2000): Adele is a flashy flirtatious dreamer. Her daughter Ann is a quiet no-nonsense realist. On the surface they're like oil and water but deep down they're two of a kind. ""Susan Sarandon makes magic"" (Chicago Tribune) and ""Natalie Portman soars"" (NY-1) in this funny and touching story about a mother who knows best...and a daughter who knows better! Where The Heart Is (Dir. Matt Williams 2000): Ashley Judd and Natalie Portman
Jody is the kind of guy that every 1970s teen looked up to. He's in his early 20s, has a cool car, splendid '70s hair, leather jacket, plays guitar and (naturally) snags all the girls. His little brother, Mike, in particular, admires him and emulates him at every turn. Things start to go astray, however, when the two brothers and their friend Reggie attend a funeral for a friend. Mike notices a tall man working at the funeral home; in the course of his snooping, he sees the tall man put a loaded coffin into the back of a hearse as easily as if it was a shoebox. Jody doesn't believe his little brother's stories, though, until he brings home the tall man's severed finger, still wriggling in what appears to be French's mustard. From there, the film picks up a terrific momentum that doesn't let up until the sequel-ripe twist ending.Phantasm was one of the first horror movies to break the unspoken rule that victims were supposed to scream, fall down and cower until they were killed. Instead, Mike and Jody are resourceful and smart, aggressively pursuing the evil inside the funeral home with a shotgun and Colt pistol. Furthermore, the script has a great deal of character development, especially in the relationship between the two brothers. The film even has a surprisingly glossy look, despite its low-budget origins, and little outright gore (except for the infamous steel spheres that drill into victims' heads). This drive-in favourite was a big success at the time of its release, and spawned three sequels. Little wonder; it includes an inventive story, likeable characters, a runaway pace, and, of course, evil dwarves cloaked in Army blankets. The end result is one of the better horror films of the late 1970s. Hot-rod fans take note: Jody drives a Plymouth Hemi 'Cuda, the pinnacle of 1960s muscle cars, rounding out his status as a Cool Guy. --Jerry Renshaw, Amazon.com
A young man (O'Bryan) sees his dating failures are related to his always being nice so he changes his ways to compete with the obnoxious fellas only to find that he might very well miss out on the woman he's chasing!
Williams a veteran cop has always refused to polish the right people's boots. Now pushing forty he's still on the lowest rung of the police department. When Williams and his partner are assigned what appears to be a routine investigation they stumble on to a huge international car smuggling ring.
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