Revisit: The Hunger

An MGM film 1983

Directed by Tony Scott

Written by James Costigan, Ivan Davis & Michael Thomas

Based on the novel by Whitley Strieber

An ancient vampire seduces a famous gerontologist after her similarly ancient husband begins to fade away.



Tony Scott's studio debut has become somewhat of a cult classic since its release in 1983. The Hunger is a vampire flick cut from the Anne Rice tradition -- elegant, ageless, and refined. Much of the film focuses on the seductive powers of the female, played by the always beautiful Catherine Deneuve. Likewise, the main theme is the quest for immortality, and the consequences that come with it.

However, once you strip away the film's glamorous atmosphere, it falls rather flat. Tony Scott's films always seem to be in montage mode; he's a fan of cutting back and forth between planes of action while synchronizing voice-over to wring out double meaning, a trick I always found to be a bit obnoxious. It can be done well but here (and in another one of Scott's films, Spy Game) the cuts move so fast there's barely any time to process the visuals. It's rarely a good sign when a film starts out with a flurry of quick cuts and crazy images, and this one turned me off almost right away.

The performances aren't too great either. Say what you will about Miss Deneuve's looks, but her acting here is stoic, aloof, and disengaging. Likewise for Susan Sarandon, who looks great but is unconvincing as a doctor who specializes in aging research. Casting David Bowie, however, as Deneuve's rapidly aging husband was a very inspired choice. Bowie is by no means an extraordinary actor, but he plays the role straight and does a serviceable job. Marrying the fading vampire character with Bowie's androgynous persona, openly bisexual orientation, and frequently reinvented image adds a lot of intertextual depth that would not have been present otherwise.

If you like gothic vampire lore, you've probably already seen this flick. Otherwise I wouldn't recommend it.

Revisit: Altered States

A Warner Brothers film 1980

Directed by Ken Russell

Written by Paddy Chayefsky

A Harvard scientist conducts experiments on himself with a hallucinatory drug and an isolation chamber that may be causing him to regress genetically.



William Hurt makes his film debut in this 1980 sci-fi/horror thriller that poises itself as an intellectual dissertation on consciousness and slowly descends into absurdity by its last act. Directed by British filmmaker Ken Russell, the film meshes video art style with practical makeup and special effects. The film is sort of a cross between Cronenberg's The Fly and something like A Beautiful Mind. At the start it appears to be a drama revolving around post-radical 70's academic elites, but slowly it regresses (quite literally) as Hurt devolves into an ape like creature, and then some.

Russell is often criticized as being overly obsessed with sexuality and the church, and Altered States is no exception. Hurt's scientist is obsessed with restoring his faith and externalizing his past lives, and his hallucinations are often riddled with religious and allegorical imagery, from depictions of hell to himself on the cross. As he genetically retrogrades, the idea of man's progression from nothing becomes literal, and downright bizarre. Russell's direction treats these events so matter-of-factly that it's hard to take serious; the whole thing almost feels facetious, just short of camp. But the film's strangeness is its greatest asset; each twist and turn leads down an unexpected path until the ultimate WTF? climax is revealed.

Of course the films final message is that humanity is the ultimate truth - outside existence is merely a vast, impersonal nothingness. The film really strains to bring this idea to the forefront, and a lot of questions/absurdisms linger at the end. But if you're into so-heady-its-campy sci-fi or simply bizarre films, this one won't disappoint.

Revisit: Night of the Living Dead

A Columbia Pictures release 1990

Directed by Tom Savini

Written by George A. Romero



One would assume that this 1990 remake of George Romero's zombie apocalypse classic Night of the Living Dead exists for the same reason as Zack Snyder's Dawn of the Dead - advanced film-making techniques "update" a horror classic for modern audiences. There are only two problems with this theory: Tom Savini's amateur direction, coupled with his DIY special-effects aesthetic, are rudimentary even for early 90's standards.

Alas, the remake does the original little justice, and brings little new to the table. Aside from being filmed in color, everything seems a lot more routine this go-round, particularly in the shadows of Day and Dawn of the Dead. A few alterations are made to the plot of Romero's classic horror tale, including the survival of our hero Barbara, who doesn't make it out alive in the first film. Romero has gone on to amend and augment much of his zombie apocalypse universe, with Land of the Dead and other recent forrays, so the chance to revisit his pioneering classic was, and still is, presumably very tempting.

I'll give Savini some credit -- Living Dead is his directorial debut, and hand-made effects are always a delight. But it doesn't negate the fact that the film is, quite frankly, a pointless excursion.

Ultimately you're better off watching the original or one of it's earlier sequels. But if you're a splatter fan or zombie freak, you could do worse. It's better than Return of the Living Dead by a long shot.

Revisit: Undertow

A United Artists release 2004

Directed by David Gordon Green

Written by Joe Conway and David Gordon Green

Based on a story by Lingard Jervey

Tragedy besets a broken family when a mysterious uncle returns from prison with more on his mind than a happy reunion.



An unsettling film with a strong Southern voice, Undertow is a fine representation of David Gordon Green's skills as a director. While far from perfect - the script takes a while to get going, stumbles in some information reveals and relies a little heavily on Christ metaphors - Undertow is a captivating mix of melodrama, suspense, and horror. Green really makes the most of the setting, a Southern bayou, letting cinematographer Tim Orr really stretch his camera and get a good feel for the murky, hot, muddy surroundings. Performances from Josh Lucas, Jamie Bell, and Dermot Mulroney are more than passable, elevating the somewhat leaden script to a much scarier place. Ditto for composer Philip Glass's music, which certainly adds to the tension and moves many of the scenes. Under anyone else's supervision, Undertow may have been a sub-par or downright silly affair. But David Gordon Green and his crew make it something more: a sort of modern day Night of the Hunter, fairy-tale-esque and all the more tragic. Worth a watch.

Revisit: Blood Hook

A Troma Films release 1986

Directed by Jim Mallon

Written by Larry Edgerton & John Galligan

During a local fishing contest, people are being mysteriously dragged into the lake and killed by a giant fish hook.



For a D-list film revolving around "Muskie Madness" and a fishing rod wielding killer, Blood Hook is a surprisingly satisfying (and unsurprisingly hilarious) adventure. Shot in 6 weeks with a cast and crew of non-professionals, the film looks like crap but is campy fun and a testament to the independent spirit. It's no surprise the director, Jim Mallon, went on to be part of Mystery Science Theater 3000 - Blood Hook is the exact kind of film those guys love to trash. Yet at the same time, it manages to be aware of the inner-workings of the genre, subverting some of the slasher flicks most timeworn cliches, including characters like the idiotic punk-rock teen, shell-shocked war vet, among others. While the plot may be completely ridiculous and full of Midwestern inside jokes, information is never revealed too quickly, and the story keeps you guessing up until the very end. Far more intelligent than it looks, Blood Hook is perfect for anyone who loves well thought out, shoe-string DIY horror trash.

Review: Let the Right One In

A Magnolia Pictures release 2008

Directed by Tomas Alfredson

Written by John Ajvide Lindqvist

Oscar, an overlooked and bullied boy, finds love and revenge through Eli, a beautiful but peculiar girl who turns out to be a vampire.



A chilling film about adolescence, love, and vampires, Let the Right One In sounds like an arthouse grindcore mess but manages to marry budding romance with bloody horror in just the right way. Alfredson's snowy white/pitch black palate, cold Sweden setting and deliberate pacing create a truly unsettling mood, one that grows throughout the picture and shakes off any absurd notions that come with the idea of human/vampire love. The child actors are terrific, particularly Lina Leandersson as the ancient vampire Eli. And the film has plenty of blood and effects to keep any splatter fan happy, without being too silly. An original and enjoyable film that was unjustly shut out of this years Oscar race.

Review: Coraline

Written & Directed by Henry Selick

Based on the book by Neil Gaiman

A young girl walks through a secret door in her new home and discovers an alternate version of her life.



I've seen Coraline twice now and I can't seem to get it out of my head. The mix of intense artistry and chilling children's fantasy is infectious, and incredibly beautiful. As of right now it's my top film of 2009 and sure to be on my top ten list come the end of the year.

There are two major reasons why I love this film. Number one: Henry Selick's incredibly detailed, labor of love animation. This is as good as it gets people -- a fully realized, amazingly in depth 3D world made entirely of miniature puppets and set pieces. A lot of heart and soul went into the making of this film, and every ounce of it shows on screen. Everything from the soundtrack to the V.O. to the little hairs on Coraline's head are pitch perfect. It's truly a wonder to behold, and infinitely more impressive than any computer generated image. It's a shame more filmmakers don't follow in his footsteps.

Number two: Neil Gaiman's beautiful story. A take on the classic Alice in Wonderland, down the rabbit hole type tale, the story of Coraline is as breathtakingly imaginative as the animation that brings it to life. Despite being a fantasy, it doesn't pander to overprotective parents and has some real scares that are sure to upset younger viewers. But no matter -- Gaiman knows that kids are braver than we give them credit, and it's refreshing to see a children's film that isn't all cute animals and silly colors.

The film does have its flaws. Some scenes drag on a tad too long and overall the screen story isn't as streamlined as the novel. But those are some small grievances that were easily overlooked on my first viewing. I may be biased as this film has a lot of elements that tickle my fancy, but seriously -- I don't think I could be friends with anyone who didn't like this film. Selick and Gaiman have done children (and adults) everywhere a service, creating a masterful and resonating work that should be cherished for generations.

Review: Friday the 13th

A Warner Brothers release 2009

Directed by Marcus Nispel

Written by Damian Shannon & Mark Swift

A group of young adults discover a boarded up Camp Crystal Lake, where they soon encounter Jason Voorhees and his deadly intentions.



Not so much a reboot or remake as it is a sequel of sorts, the new Friday the 13th amalgamizes elements from the first three Jason movies to create a 'fresh start' for the series. Continuing where the original Friday the 13th left off -- with Jason's mother being brutally beheaded whilst her son watches in the darkness -- the film quickly dispenses its ludicrous plot involving a weed heist and starts the killing almost right away.

While Jason and his victims may have never looked as stylish or sexy as they do in this entry to the series, they've also never been so damn boring. The strength of a slasher always rests on the creativity of its kills, something this entry severely lacks. Most of the death scenes rely on run of the mill pop up/jump 'look out behind you!' scare tactics, or even blatantly rehash kills from early Jason flicks (ie: the famous jump through the window scene from Part II). Several key story elements, such as the manipulation of Jason's mommy complex, are all lifted from earlier Jason flicks. As a result the whole flick has a been there/done that, I-saw-that-coming-from-a-mile-away type feel.

Rather than amping the creativity of the kills and the omnipresent nature of Jason's character, the film relies on and retools the worst slasher cliches: annoying, bratty, stupid teens and their sick vices. While I commend the filmmakers for managing to get Willa Ford naked and showing an ample amount of breasts, it's hard to sit through a flick where the main characters keep saying "bro" and pound beers till they vomit. Truly they are better off dead. The stupidity and immorality of the victims has always been a major thematic point for these kind of flicks, but I'm not sure if they've ever been quite as vapid or abhorrent.

It would be nice, for a change, to see some relatively decent people go up against the monster that is Jason. Or, perhaps even better, some actual camp counselors. Why does the series always move away from the camp idea? Wouldn't it be more terrifying to see some teenagers dealing with young children as well as a masked psycho killer? Balancing responsibility with survival? Camp Crystal Lake is barely present in these films anymore (at least beyond an overgrown forest/murder scene), and it would be nice to see it return.

Ultimately this reboot/rehash/whatever was all about streamlining the inconic killer and making a version that adhered to our modern technical standards. On that level it succeeds. But as entertainment it's completely inept. Amping all the intolerable cliches and lacking any real creativity, Friday the 13th is a truly awful representation of the slasher genre. Hearing that the guys responsible for this are planning a Nightmare on Elm Street reboot sends shudders through my spine...

Revisit: Phantom of the Paradise

A 20th Century Fox release 1974

Written & Directed by Brian De Palma

Music by Paul Williams

A disfigured musician sells his soul for the woman he loves so that she will perform his music.



Silly, surreal, insane, dumb, infectious and hilarious, Brian De Palma's 1974 gothic rock opera Phantom of the Paradise is deliciously absurd, and one of my favorite films. Starring the beautiful Jessica Harper (best known from another one of my favorites, Suspiria) and legendary Muppets/Carpenters songwriter Paul Williams, the film is basically a suped-up, drugged up, 70's version of Phantom of the Opera.

The first time I watched this I was quite infuriated; I had no idea what was going on, what the point of it was, why the characters were breaking out into such awful songs. By the end of my first viewing, I was hooked. The film has a 'so bad it's good' quality to it, until you realize that it's actually a work of genius. The off-beat music, the ridiculous costumes, the absurd humor -- it all works together to form this highly energetic, completely insane film that can never be duplicated.

I have a particular fondness for this film, and I know not everyone enjoys it as much as I do. But give it a shot -- you may find it delightfully entertaining.

Revisit: Lifeforce

A TriStar Pictures release 1985

Directed by Tobe Hooper

Written by Dan O'Bannon & Don Jakoby
Based on the novel by Colin Wilson

A space shuttle mission investigating Halley's Comet brings back a malevolent race of space vampires.



80's horror masters Wes Craven, John Carpenter, George Romero, and Tobe Hooper all enjoyed mixing pop genres with psychoanalytic sex, and Lifeforce is no exception -- in fact, it's entirely built upon that idea. Combining elements from Alien, Night of the Living Dead, and Nosferateu, Lifeforce happily borrows elements from sci-fi to horror and throws a bit of eroticism in the mix to create a silly mess of genre conventions, B-level special effects, and sexual commentary. The Species-like plot follows two British Secret Agents as they try to track down a (very) naked girl-alien-vampire-from-space who's sucking the life out of the unknowing public and turning her victims into bone-dry zombies who crave souls.

Really, this movie is only worth your time if you fall into any of these categories:

1) You're a sucker for mixed horror/sci-fi genre fare or enjoy the lesser known work of famed horror directors.

2) Constantly topless women and an insane amount of B-level special effects (explosions, people turning to dust, zombies, etc.) is your idea of a good time.

Keep an eye open for a young Patrick Stewart, and the fantastically hilarious faces he makes throughout the film.

Revisit: Ghostbusters

A Columbia Pictures release 1984

Directed by Ivan Reitman

Written by Harold Ramis & Dan Aykroyd

Three unemployed parapsychology professors set up shop as a unique ghost removal service.



Ghostbusters is a classic, but it's always felt like one of those franchises that never really lived up to it's potential. The sequel is basically a rehash of the first, and while the cartoon was entertaining, the animation is barely passable by today's standards. Don't even get me started on Extreme Ghostbusters... extreme my ass.

What surprised me the most in revisiting this film is how paper thin the script is. The movie basically coasts by on the chemistry of its affable lead actors and the silliness of fake technical jargon. The special effects are spotty and the story is lose and ridiculous. But it's still wildly imaginative and entertaining, even after all these years.

Ghostbusters could seriously benefit from a revamp, assuming they don't go all Apatow and cast Seth Rogan and McLovin in it. They could do some crazy ghost effects and the possibilities within the concept are essentially endless. Here's to hoping Bill Murray gets his shit together and decides to don the old power pack for another go.

Revisit: Street Trash

A Synapse Films release 1987

Directed by J. Michael Muro

Written by Roy Frumpkes & J. Michael Muro

When a liquor store owner finds a case of "Viper" in his cellar, he decides to sell it to the local hobos at one dollar a bottle, unaware the drink causes its consumers to melt. Two homeless lads find themselves up against the effects of the toxic brew, as well as a Vietnam vet with sociopathic tendencies, and the owner of the junkyard they live in.



This inane horror-comedy is one of the dirtiest, grossest, grungiest things I've ever seen. If you're a fan of splatter flicks it's a must see. People explode, they melt into piles of goo, one guy even gets his dick ripped off. It's disgusting. And great.

The plot isn't important -- you could even watch it with the sound off, but I guess you'd lose some of those nasty sound effects. There is some commentary on post-Vietnam vets and their quality of life -- a great scene at night in the dump with a ranting vet and a terrifying pan shot stands out -- but you're not watching this flick for the social commentary. You're watching it for the blood.



Here are most of the great scenes. There's another one of these on youtube somewhere. I highly recommend seeking this out if you're a splatter fan but the casual movie goer might want to stay away, especially if you're squeamish.

Review: Repo! The Genetic Opera

A Lionsgate film 2008

Directed by Darren Lynn Bousman

Writing credits:
Darren Smith (screenplay)
Terrance Zdunich (screenplay)

A worldwide epidemic encourages a biotech company to launch an organ-financing program similar in nature to a standard car loan. The repossession clause is a killer, however.



This horror-musical directed by Darren Lynn Bousman (Saw II-IV) was a passion project, and it shows. Clearly made for the cult-niche market, Repo! is a mess of electronic music, goth imagery, pulp violence and slapstick humor. While by no means a good film, it will certainly find its place amongst those for whom it was made, as well as a few stragglers, like myself.

Why did I like this movie? I'm not sure. Maybe it's because I have a penchant for horror-musicals -- the audacity, the self-awareness, the silliness of it all was reminiscent of Phantom of the Paradise but for the digital age. Maybe because I've never quite seen anything like it before.

It has it's problems for sure -- comic book style title cards display the action before the film kicks in, revealing way too much information. The acting and singing are terrible. The music has no hooks and isn't memorable. The color palate is disgusting and terribly digital and overexposed. But that's the charm. You can tell so much heart and soul went into making it that eventually it just sucks you in. And the self-awareness that holds throughout adds a lot of humor. It's a pretty damn funny movie.

The film was released in a road show format earlier this year, and already had a sizable cult following before its first date. The showing I went to was completely sold out hours before the showing. I can't say I recommend it, but one look at the trailer, and you can immediately tell if this film is for you.

Remembering the Pioneer Theater

Dear Pioneer Friends, Filmmakers, & Film Lovers,

Ten years ago, when we began construction on The Pioneer, we were told we were crazy - that no single screen, indie-oriented, 99 seat theater, east of Avenue A, could possible survive. But for nine years, we did - showcasing the best of truly independent cinema, presenting restored classics (from The Last Picture Show to Ace in the Hole), curating special programs (from Luis Guzman Night to the 42nd Street Smut Show), hosting guest filmmakers (from Robert Altman and Robert Downey to Steve Buscemi and Richard Kelly) and partnering with local film organizations including the IFP, Filmmaker’s Co-op, Cinema Tropical, Fangoria, Women in Film and Television, Cinewomen, Third I, Slamdance, Docfest, and many more...

We’ve been blessed that The Earth Mother, Mel Cooley, The Dude, and the other Two Boots pizzas have been able to support our labor of love all these years, but now, with our lease ending and a rent hike looming, it’s no longer economically feasible to keep the theater going. Friday, October 31st at midnight, will be our last regular screening, appropriately: Night of the Living Dead.

We want to thank our amazing staff, past and present, and we want to thank you, our loyal audience, for your patronage over the years. Please, PLEASE, keep supporting independent films and independent theaters.

Finally, on Friday, November 7th, we’ll be having a goodbye party starting at 6pm - free movies, popcorn, and reminiscences. Please come by!


I used to live a few short blocks from this theater, one of the only true "independent" art houses left in New York City. These guys showed everything, from
classic Kubrick and Sam Fuller, to pop horror, splatter, and grind, to thought provoking documentaries. They often supported local artists, allowing patrons to rent screens and arranging one-off screenings of no-budget features and shorts. They also screened a lot of Gay/Lesbian themed works and were a great outlet for progressive film-making.

One of my fondest memories of that place was the night I met Bill Plympton there. He was screening his latest feature Hair High (which is an incredible film, by the way, if you're an animation junkie like myself). I arrived like an hour or so early and got to sit with Bill and chat about animation, John Kricfalusi, New York, Plymptoons and much more. He signed a bunch of DVD's for me and was a truly gracious guy. To get to meet one of my heroes - and then watch him introduce his latest work - I can only thank the Pioneer for that.

The Pioneer is/was probably the only theater in New York still brave enough to house low-brow and high-art under one roof. The fact that they're closing down - regardless the reason - is a tragedy for the current New York cinema scene. It will truly be missed.

Revisit: Bad Taste

A WingNut/New Zealand Film Commission release 1987

Written & Directed by Peter Jackson

A crackpot team of agents investigate a group of aliens that chase human flesh for their intergalactic fast-food chain.



Peter Jackson made this film over a series of weekends across four years, starting in 1983. Hard to believe that twenty years later he'd be picking up a trove of Oscars. Continuity errors and goofs abound, but Jackson's distinct sense of humor and visual language finds its footing here. Lots of crazy close-ups and meandering hand-held pans.

The plot is paper-thin and there's a lot of scenes with characters just running through the woods, but Jackson's effects are stellar and the sound design is unbelievable. One of the grossest sounding movies I've ever seen.

If you're a fan of splatter, you've already seen this. Worth a gander if you're a fan of Peter Jackson or just enjoy cheesy horror.

Revisit: A Nightmare on Elm Street Part V: The Dream Child

A New Line Cinema release 1989

Directed by Stephen Hopkins

Writing credits:
Wes Craven (characters)
John Skipp (story)
Craig Spector (story)
Leslie Bohem (story & screenplay)

Alice, having survived the previous installment of the Nightmare series, finds the deadly dreams of Freddy Krueger starting once again. This time, the taunting murderer is striking through the sleeping mind of Alice's unborn child. His intention is to be "born again" into the real world. The only one who can stop Freddy is his dead mother, but can Alice free her spirit in time to save her own son?



A Nightmare on Elm Street is one of my favorite horror flicks of all time. Combining slasher scares with meta-physical reality, Wes Craven crafted an original and truly scary film that took advantage of the 80's gore effects boom. It also spawned a slew of knock-offs and an obsession with altered-reality/dreams/paranormal activity that dominated 80's horror.

The sequels all tinker with the nightmare formula a little bit - Freddy's abilities to haunt and scare and the definitions of the dream world are all a bit fluid - but one element always keep these films from being a predictable slasher flick: the kills. Freddy Krueger murders are always an excuse for outlandish, over-the-top effects, and the crazier the better.

In this film, the fifth in the series, Krueger returns in an attempt to inhabit the soul of Alice's unborn child. The precedence for Freddy's soul-stealing was set in the second film - which is universally hated, I believe, for having gone astray from the original formula - and is no less ridiculous here.

Neither are the kills, which range from a ridiculous comic book style slashing to Seven-style force feeding to the infamous "Freddybike". This film is all about the effects, which take a cue from the works of Rob Bottin (The Thing) and feature a lot of flesh mutation and slippery tendons.



By this point in the series, Freddy had developed a strong personality too, which also separates it from many other slasher flicks. He's given some hilarious quips and says the word "bitch" a lot.

Look out for a great scene that addresses the subject of abortion (if Alice just got rid of the damn baby, Freddy couldn't keep killing). The dialogue is priceless.

Revisit: Friday the 13th Part VI: Jason Lives

A Paramount Pictures release 1986

Written & Directed by Tom McLoughlin

Tommy Jarvis battles the infamous Jason for a third time after returning to his grave and accidently bringing him back to life.



The original Friday the 13th is basically a Halloween rip off with Kevin Bacon and a few twists. This film, the sixth in the series, wears the whole slasher killing sexy teens formula on its sleeve so much that it doesn't even bother to explain Jason's return. His corpse just gets struck by lighting and suddenly the slaughter begins.

I guess it's good that they cut to the chase. And some of the slaughter is sweet. The scene where Jason punches straight through the dudes heart is pretty kick ass.



Overall though this shit pales in comparison to the effects heavy Nightmare on Elm Street stuff, or the works of John Carpenter & David Cronenberg several years earlier. Maybe it's not fair to compare, but I still think there's room in slasher flicks for some pretty hefty visceral gore.

Top Movies of 2007

My favorite films of the year thus far:





























And there are still many more I have to see... Things may change after voting for this year's Independent Spirit Awards begins.

Here's this year's NYC Screening Room dates

Review: I Am Legend

A Warner Brothers picture 2007

Directed by Francis Lawrence

Writing credits:
Mark Protosevich (screenplay)
Akiva Goldsman (screenplay)
Richard Matheson (novel)

After a supposed miracle vaccine turns the world's population into undead mutants, one scientist (Will Smith) fights for a cure.



This apocalyptic effects extravaganza suffers from the worst of Hollywood flaws - a poor script. The idea itself is great: a man, perhaps the last alive in the entire world, struggles to find a cure for a devastating vaccine that was supposed to cure cancer. One man alone in the world... think of all the things you could do with that concept! Well, this movie doesn't do anything interesting, and is riddled with plot holes and hokey movie-science.

SPOILERS! WARNING!

Legend sets up some basic facts for the environment and the effects of the virus: 1) Manhattan is completed quarantined, as the bridges were all blown up. 2) The virus is spread both air-borne and through saliva. 3) The creatures effected by the virus show no signs of human behavior, social skills, or human intelligence.

The film then systematically debunks all of these rules through action.

Questions:

If Manhattan has no road access, how do Anna and her son Ethan, Smith's supposed saviors, drive their car onto the island? Where do the deer and lions roaming the streets come from?

How come 1% of the population is immune the virus? Why are some animals effected by the airborne virus, but others are not? At what point did the virus stop curing cancer and start killing people?

The film spends time setting up this arch-nemesis type creature who appears bigger than the other mutant humans and seems to exhibit some basic behavior skills. For example, he runs after the woman creature Smith catches; he sets up a trap for Smith; he leads the creatures in the attack on Smith's fortress. But the script doesn't elaborate on this idea any further, and goes out of its way to suggest that this character is merely a freak anomaly. So what's the point? Likewise, why did Smith kill himself at the end? There's no reason for it - he could have easily tossed the grenade and hid with the woman and things would have turned out the same.

There is also a lot of coincidence and repetition of scenes. Smith's character just so happens to find the cure as the creatures are breaking into his fortress - just like how Anna just so happens to show up right as Smith is about to kill himself. Smith hunts deer at least twice. Why do we need to see this more than once? Why is he hunting deer in the first place? It's not like he needs them for food. Repetition is a tall tell sign of poor screen writing.

The landscape scenes look gorgeous - especially on IMAX - but the creature effects are extremely second rate. They could have easily just dressed up a bunch of people as zombies but for some reason they used this incredibly fake looking CGI.

Millions of people have already seen this movie and it blows my mind that no one has taken the time to just think about what the film presents. Two minutes of meditation on the story reveals that it's a pretty incoherent, illogical pile of crap - not even in a nit-picky sense, but on a basic transitional level. See it on IMAX, if you must see it at all.

AV Club on Cronenberg

Primer: David Cronenberg

The Onion's AV Club has taken the liberty of dictating a pretty basic introduction to the works of one of my favorite filmmakers, David Cronenberg, for those of you unfamiliar with his body of work. Cronenberg is the genius behind some of the most psychologically twisted, reality-bending films of the past three decades, not to mention the inventor of 'body horror'. It's a great read, check it out.