Review by Derrick Carter

Running Time: 1 hour 38 minutes

MPAA Rating: R for Bloody Horror Violence, and Language throughout

Directed by: Darren Lynn Bousman

Written by: Christopher Monfette

Starring: Dayton Callie, Jessica Lowndes, Joe Anderson, Lin Shaye & Jay Huguley

Darren Lynn Bousman has crafted an interesting career in horror filmmaking. He helmed three of the SAW films (including the best film in the entire series), directed a disappointing Jersey Devil movie, and has had a hand in three horror musicals so far. Though the quality of his filmography ranges all over the map, Bousman isn’t afraid to try new things and there’s something to be said for that. ABATTOIR is Bousman’s attempt to do a haunted house story and, in a weird twist of fate, he combines this genre with a pulpy noir execution. This film is far from perfect, but it’s an interesting creation that seems tailor-made for Halloween viewing.

Julia Talben (Jessica Lowndes) is a real-estate reporter who wants to cover the story of a lifetime. When her sister is brutally murdered and the scene of the crime is removed by a mysterious home owner, Julia finds herself in a wild news story beyond her imagination. Aided by her detective best friend Declan Grady (Joe Anderson), the pair’s search for answers leads them to the creepy small town of New English. Ooky spooky old man Jebediah Crone (Dayton Callie) seems to be collecting murder rooms to construct the ultimate haunted house. Julia and Declan soon find themselves in a nightmarish web of mystery, buried secrets, and ghastly ghosts.

Though it may have strong influences of other ghost movies (the underrated remake of HOUSE ON HAUNTED HILL and the not-so underrated THIR13EN GHOSTS remake), ABATTOIR sticks out as its own entity in the haunted house subgenre. Most of the reasons for this come from Christopher Monfette’s screenplay taking a purposely quirky noir approach to the material. There are lines of dialogue that sound like they belong in 40s/50s pulpy crime thrillers, yet they inspire chuckles and make this film entertaining the whole way through. It’s clear that Julia Talben and Declan Grady are colorful characters and the way that the performers deliver these lines comes off as believable enough.

This isn’t to say that Jessica Lowndes and Joe Anderson (who you might recognize from THE RUINS, THE CRAZIES remake, and HORNS) deliver flawless acting. Lowndes character seems a bit too eager to make stupid decisions, while Joe Anderson comes off like too much of an asshole at certain points of the story. Clearly, Bousman was trying to build a love connection between these two characters, but their would-be romantic relationship seems forced. I believed these two were friends, but I could not by them “loving” each other.

On the supporting side of things, Lin Shaye is clearly having a blast as yet another weird horror character. This time she’s playing the New English town “witch,” though I’d say that she’s just playing her typecast self yet again. Dayton Callie is a mixed bag as the villainous Jebediah Crone. The film takes a while to give us a face-to-face between his baddie and the two protagonists. When we do get to see Callie’s Crone in his glory, he’s a scenery-chewing blast to behold. Though I never found him threatening, Callie’s presence is colorful and adds a memorable figure to the haunted house proceedings.

As I mentioned before, ABATTOIR reminds me of 1999’s HOUSE ON HAUNTED HILL and THIR13EN GHOSTS. This mainly comes in the film’s stylishly spooky atmosphere and the look of the ghostly inhabitants. ABATTOIR was clearly an ambitious project from the get-go and had enough creativity behind it to warrant a comic book prequel (and a supposedly upcoming sequel titled DWELLING). However, this film’s reach occasionally exceeds its budgetary grasp. The ghosts look a little too cheesy at points and one more rendering through the special effects department couldn’t have hurt the production. That being said, I loved certain scenes and the look of the haunted house itself was awesome.

ABATTOIR’s final third unveils the main attraction: a massive haunted house that’s constructed from countless tragedies. However, we only get to see a few select rooms and this was most likely due to more financial constraints. As a result, scenes of characters wandering through this insane environment aren’t nearly as cool as they should be. I was able to predict a plot twist well in advance before it occurred as well, though that may have been intentional on Bousman’s part. ABATTOIR is an atmospheric combination of over-the-top horror and pulpy mystery noir. The film suffers from shaky (but fun to watch) acting and budgetary constraints that ultimately hurt the plot’s ambition. I’d love to see a remake of this film with millions of dollars behind it, but ABATTOIR is a fun little diversion while it lasts.

Grade: B-


Review by Derrick Carter

Running Time: 1 hour 38 minutes

MPAA Rating: R for Strong Bloody Horror Violence throughout, Language and brief Drug Use

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Directed by: Dave Parker, Darren Lynn Bousman, Adam Gierasch, Paul Solet, Axelle Carolyn, Lucky McKee, Andrew Kasch, John Skipp, Mike Mendez, Ryan Schifrin & Neil Marshall

Written by: Dave Parker, Clint Sears, Axelle Carolyn, Lucky McKee, Andrew Kasch, John Skipp, Mike Mendez, Ryan Schifrin & Neil Marshall

Starring: Barry Bostwick, Lin Shaye, John Savage, Pat Healy, BooBoo Stewart, Grace Phipps, Alex Esso & Kristina Klebe

TALES OF HALLOWEEN is arguably the most ambitious horror film to hit VOD during this spooky season. This Halloween-themed anthology has eleven directors telling ten stories that take place over the course of one night. However, the only real connections between these tales are a radio announcer (Adrienne Barbeau) who occasionally pops in and small lines of dialogue uttered by certain characters. So, an actual flowing wraparound between these segments is virtually nonexistent, but this anthology does give us an excuse to watch ten short films all centered around the scariest holiday of the year. It’s definitely no TRICK ‘R TREAT, but TALES OF HALLOWEEN is a fun flick that’s perfect for this time of year. As with every anthology that I review, I will focus on each short individually before ranking the film as a whole…

1. Sweet Tooth

SWEET TOOTH: Dave Parker (THE HILLS RUN RED) directs and writes this story about a kid who discovers a local urban legend of a candy-eating monster. Seeing that this is a horror anthology, you have a good idea as to whether or not the monster is real. This segment has some creativity to it and a nice set-up, but doesn’t fully come to a satisfying ending. You know where everything is going as soon as it starts and there was room for this short to go a little darker in its finale. B-

2. Night Billy Raised Hell

THE NIGHT BILLY RAISED HELL: Darren Lynn Bousman’s contribution to this film is the first solid segment. This one follows a little boy who finds himself committing horrible “pranks” on Halloween under the guidance of a creepy old man. This segment is definitely more comedic than I was expecting, but I quickly warmed up to its dark sense of humor and cheesy sound effects. Also, the ending was a nice touch! B+

TRICK: A group of adults find themselves terrorized by some particularly violent trick-or-treaters. This segment had a lot of potential, especially seeing how one legitimately shocking moment occurs near the beginning. It quickly turns into a simple cat-and-mouse game that, while effective and to the point, doesn’t pack nearly enough of a punch as it should have. B

4. Weak and Wicked

THE WEAK AND THE WICKED: Paul Solet (who previously penned 2009’s brilliantly bloody GRACE) sadly underwhelms with this fourth segment. The story revolves around some violent bullies who find themselves confronted by a would-be vigilante. Though the effects are cool during the final minutes, the story is pretty silly and never really had me engaged. You’ve seen this sort of short film before and I’d guess that you’ve seen it in many different ways. C

5. Grim Grinning Ghost

GRIM GRINNING GHOST: Director/writer Axelle Carolyn makes up for Solet’s disappointing short with this highly effective and atmospheric one. A young woman hears a spooky ghost story at a Halloween party and soon finds herself on edge as she walks home through dark, fog-laden streets. It’s not exactly hard to guess where this short will eventually end up, but I really enjoyed the whole execution of it. This segment actually got two solid jumps out of me with its scares and playfully thwarted potentially cheap moments. Though it’s not exactly original, this short is extremely well-done and scary nonetheless. A-

6. Ding Dong

DING DONG: Lucky McKee is one of the most well-known directors of this anthology (with MAY and THE WOMAN in his filmography) and that’s why this sixth segment is so very disappointing. The plot revolves around an odd couple and I don’t really want to say more for fear of spoiling some of the few redeeming factors. Pollyanna McIntosh was brilliant in THE WOMAN and I just don’t know what the hell she’s doing here. Meanwhile, Marc Senter (who’s been fantastic in THE LOST and RED, WHITE & BLUE) makes the most of the material he’s given. There’s definitely an interesting idea at the center of this short, but the execution feels cheap and far from fully developed. C-

7. This Means War

THIS MEANS WAR: The best short of this entire anthology belongs to Andrew Kasch and John Skipp! Combining a great sense of humor with horror, this story focuses on an erupting battle between two neighbors with very different tastes in Halloween decorations. The segment plays out like a really nasty piece of dark comedy and I absolutely loved it. It also helps that production values are rock solid (that’s true of the next two shorts as well) and it’s all very fast-paced. Though I guessed the ending before it actually happened, that didn’t make it any less satisfying. This is easily my favorite segment of this anthology! A

8. Friday the 31st

FRIDAY THE 31ST: The award for most bizarre entry in this anthology goes to Mike Mendez (director of the appropriately titled BIG ASS SPIDER!). This segment starts out as a slasher-esque bit that turns into something else entirely. I won’t say what because a lot of the fun comes from the goofy “what the hell am I watching?!?” tone in this segment. I haven’t seen any of Mendez’s other work, but this short strikes me as the work of someone who could potentially become the next Sam Raimi. In other words, this short is cheesy, goofy and a friggin’ blast! B+

THE RANSOM OF RUSTY REX: This segment stands out as my second favorite of the film. Two kidnappers find their plan falling apart after one horrible mistake. That’s all I’ll say, because this segment is really fun to watch. An over-the-top sense of humor is combined with creepy horror, but this story leans slightly more on the scary side than THIS MEANS WAR did. The two performances of the leads as well as one well-placed cameo and some stellar make-up effects make this into the second-best of these ten shorts. Also, I would easily watch a feature-length horror-comedy centered around this premise. A

10. Bad Seed

BAD SEED: Neill Marshall has brought us enjoyable flicks in the past, such as THE DESCENT, DOOMSDAY, and CENTURION. Now, he brings us a short about a killer pumpkin. That’s right. A cop is investigating a killer pumpkin on Halloween night and we see this occur for about 10 minutes. Think of this short as a Halloween-centered version of ATTACK OF THE KILLER TOMATOES…but with pumpkins. I really wanted to enjoy this short and there were a couple of goofy moments that worked. However, I felt that this segment was a weak way to close out the film, especially given how it ends. At least, the always enjoyable Pat Healy shows up for a few minutes. C+

11. Overall

TALES is the second horror anthology to come out this year that’s based around a holiday and features a radio host as the main connection between the stories (the first is A CHRISTMAS HORROR STORY). Like that other holiday anthology, TALES OF HALLOWEEN has a mixed bag of segments. There are bad ones (Lucky McKee’s and Paul Solet’s), so-so ones (Neil Marshall’s and Dave Parker’s) as well as some good ones (Mike Mendez’s and Darren Lynn Bousman’s) and fantastic ones (Ryan Schifrin’s, Andrew Kasch’s and John Skipp’s). The good far outweighs the bad though! If you’re looking for a fun anthology that’s perfect for this time of year, then TALES OF HALLOWEEN won’t disappoint.

Grade: B

2001 MANIACS (2006)

Review by Derrick Carter

Running Time: 1 hour 27 minutes

MPAA Rating: R for Strong Horror Violence and Gruesome Images, Sexuality/Nudity and Language

2001Maniacs poster

Directed by: Tim Sullivan

Written by: Tim Sullivan & Chris Kobin

Starring: Robert Englund, Lin Shaye, Giuseppe Andrews, Jay Gillespie, Matthew Carey, Peter Stormare, Marla Malcolm, Gina Marie Heekin, Brian Gross & Mushond Lee

2001 MANIACS is one of those rare horror remakes that is miles better than the original. Based on Herschell Gordon Lewis’s TWO THOUSAND MANIACS!, Tim Sullivan’s remake is a much more tongue-in-cheek effort that ultimately comes off as a hilariously un-PC horror-comedy. Driven by a constant combination of horror and humor, 2001 MANIACS has so much to like within its fast-paced 87 minutes. This should be taken precisely as the kind of film it was intended to be: a silly slasher flick with lots of laughs and gallons of gore.

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Anderson Lee and his two best friends have taken to the road for Spring Break. On the way to Daytona Beach, the trio of hapless frat guys take a wrong turn. Instead of leading them to a beach filled with babes, this misguided detour has landed the group in the old-fashioned Pleasant Valley. It seems that the boys have arrived just in time for a big celebration. However, they aren’t the only guests of honor, because two more guys and three gals arrive shortly after. Taking the extremely old-fashioned Southern charm and friendly townsfolk as a good sign, the group of “guests” decide to stick around for the Guts and Glory Jubilee. After all, there’s a delicious barbecue at the end of the festival. What our “guests” don’t know is that they are the menu!

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2001 MANIACS knows exactly what it wants to be. This is a deliberately over-the-top horror-comedy that’s full of un-PC humor and cheesy gore. The former is definitely the driving force of what makes this slasher work so well. Throughout the years, we’ve seen so many dull and dreary slasher films that hit the same clichés and don’t have the decency to have fun with them. 2001 MANIACS utilizes a lot of the crazy situations that might be brought on by a group of modern college kids running headlong into old-school Confederate cannibals. What’s especially funny is that director/co-writer Tim Sullivan includes three people who the Confederates would have hated from the get-go. We get a black biker, his Asian girlfriend, and a gay guy thrown into the pool of victims. The interactions between the town full of insane Southerners and these three particular characters are hysterical to watch. The Mayor’s reaction to finding out that his son may be attracted to the gay guy is especially hilarious. It sounds like 2001 MANIACS might be offensive from that description, but it should be made clear that Tim Sullivan is exploiting every redneck joke he gets an opportunity to. From kissing cousins and bestiality to jokes about racial tensions and sex, nobody is safe from the crude and very funny comedic jabs.

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However, the laughs only make up half the film as the gore is especially glorious. Using mostly practical effects, 2001 MANIACS certainly doesn’t skimp on the blood or creative kills. Part of the fun is to guess how each character will meet their untimely demise. A couple of pieces of foreshadowing come back in a big way. We get severed limbs, popped out eyeballs, impalements, and many other acts of wanton violence. None of it is meant to be taken seriously at all as each death is accompanied by a few bad puns. The protagonists/victims are nothing to write home about. These are your average slasher stereotypes. There’s the jock, the black guy (who doesn’t meet the typical dying-first cliché), the nerd, the slut, the horn-dog, the gay guy, the final girl, etc. These characters were here to die and served their purpose well. The antagonists are quite a different story. These Confederate cannibals are colorful individuals and each seem to have an identity (as brief as their screen time might be). Robert Englund is especially enjoyable as the sinister Mayor Buckman.

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2001 MANIACS might not be the greatest horror-comedy or slasher ever, but it’s a gory blast of fun from beginning to end. The story is silly and the protagonists are stupid, but these factors lend to the enjoyment. Tim Sullivan crafted both a remake that’s far superior to its source material and a wholly enjoyable horror-comedy. This is the kind of film that knows exactly what it wants to be. Everyone seems to have had fun making it and that radiates off the screen. If you’re in the mood for a crazy, gory and stupid good time, then 2001 MANIACS is probably right up your alley.

Grade: B


Review by Derrick Carter

Running Time: 1 hour 37 minutes

MPAA Rating: PG-13 for Violence, Frightening Images, some Language and Thematic Elements

Insidious3 poster

Directed by: Leigh Whannell

Written by: Leigh Whannell

Starring: Dermot Mulroney, Stefanie Scott, Angus Sampson, Leigh Whannell, Lin Shaye & Ashton Moio

I consider 2011’s INSIDIOUS to be the modern-day POLTERGEIST (in spite of that needless remake that’s in theaters right now). I remember when I first saw INSIDIOUS on opening night in April 2011. The theater was packed. The audience was reacting extremely well to every scare and spooky detail. The film worked flawlessly for me and I’ve revisited it many times since. In 2013, we received INSIDIOUS: CHAPTER 2. Though it had a few original ideas, the film was a lesser retread through familiar territory. Wisely, Leigh Whannell (once again writing this installment, but also directing this time around) has made the newest CHAPTER into a prequel. The end result is made of far better quality than most third installments of successful horror franchises. CHAPTER 3 doesn’t simply play the same tune, even if it hits familiar notes. Though it has problems in one of the subplots, INSIDIOUS: CHAPTER 3 should satisfy fans of the first two films.

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The story takes place “a few years” before the events of the first INISIDIOUS. Quinn Brenner is a teenage girl who has recently lost her mother to cancer. Desperate to contact her dead mom, Quinn goes to former psychic Elise. When Elise isn’t able to contact Quinn’s deceased parent, the elderly woman warns the naïve teenager against trying to contact the dead. Her reasoning is that when you call out to one of them, all of them can hear you. Quinn stupidly ignores Elise’s warning and winds up making friends with a sinister presence that begins feeding off of her life. Elise must struggle with reentering the profession that she gave up so long ago in order to save Quinn’s life and time is running short.

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One thing right of the gate that I appreciate about CHAPTER 3 is that it doesn’t play up the Darth Maul-looking demon from the first film or the creepy ghost woman from the second. Instead, we get an entirely new threat that’s sucking the life of its victim in a pretty creepy way. This is essentially another child-in-peril story, but the child happens to be a teenager and the peril is something that we haven’t seen before in this universe. Though Quinn is a dumb character who makes the stupid clichéd horror movie mistakes, young Stefanie Scott makes her into a sympathetic character. Dermot Mulroney is off-and-on as Quinn’s father. Sometimes, he plays up the whole “I’m an old person and don’t understand your kid’s newfangled blogs and such” shtick a bit too much. Angus Sampson and Leigh Whannell are back as the obligatory comic relief paranormal researchers and just as entertaining as ever.

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Unfortunately for us, Quinn’s life being threatened by the supernatural presence only makes up half of the running time. The rest of the film is dedicated to Lin Shaye’s Elise having a midlife crisis. Her scenes are when this movie gets tedious. Imagine if 1982’s POLTERGEIST only focused on the haunted family for half of the running time and the other half was dedicated to psychic Tangina getting in touch with her inner self to rescue Carol-Anne from the other side. Tobe Hooper’s classic haunted house story wouldn’t be nearly as frightening, creative or interesting if that were the case. That’s precisely the biggest problem with INSIDIOUS: CHAPTER 3. Other than giving Lin Shaye’s side character way too much screen time, this subplot also serves to hammer in needless connections to the first two films (including a cameo that made a few people in the theater laugh). When this subplot eventually melds together with Quinn’s storyline, the climax isn’t fully satisfying as things nearly go into TOUCHED BY AN ANGEL level of cheesiness.

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Seeing as this is an INSIDIOUS movie, we do get our obligatory trip into the Further. This provides the best imagery in the whole damn film, including a couple of scares that legitimately got me. However, I couldn’t help but notice that CHAPTER 3 relies too much on loud noises. I found myself tensing up more at the prospect of nearly going deaf than at any of the freaky pop-outs that a scene might hold. Whannell phones in most of these scares with the same damn technique and obvious “Boo!” moments are telegraphed from a mile away. Herein lies the problem with these INSIDIOUS sequels. The first INSIDIOUS perfectly balanced loud freak-outs with quietly terrifying moments. If you’ll recall the last shot of that film is someone gasping and it’s one of the scariest horror film endings that I’ve ever scene. That quiet gasp did far more than any scream or loud pitch of violins. This film has a horrifying shot near the end that could have sent the theater goers out with shivers down their spines as opposed to blasting them out of their seats for one last cheap jolt. Instead, Whannell goes for the latter and shows just how predictable this series has become.

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INSIDIOUS: CHAPTER 3 is far better than it has any right to be. I really dug that Whannell was taking the material in a new direction and telling what seemed to be a crazy standalone story in the INSIDIOUS universe. However, he kind of botches that by spending way too much time on a less interesting subplot and using cheap scares as opposed to letting mood or atmosphere sink in. This is definitely better than most third installments of blockbuster horror series, but it’s also a definite downgrade from the first (and even the second) movie. All that being said, CHAPTER 3 is likely to please less-discerning fans of the series. I just hope they keep this as the okay closure to a pretty enjoyable horror trilogy, instead of blowing it out of proportion with four more sequels.

Grade: C+


Review by Derrick Carter

Running Time: 1 hour 35 minutes

MPAA Rating: PG-13 for some Thematic Elements, Violence and Language

Signal poster

Directed by: William Eubank

Written by: Carlyle Eubank, David Frigerio & William Eubank

Starring: Laurence Fishburne, Brenton Thwaites, Olivia Cooke, Lin Shaye & Sarah Clarke

I don’t usually start of a review with a crass statement right out of the gate, but the gloves are off on THE SIGNAL. Cool visuals mean nothing if a storyline is incoherent dogshit. That’s simply the case with this derivative, incoherent mess of a movie. Some of the effects are indeed professional looking. The movie stands out in a small stretch when it appears to be taking a thought-provoking minimalist less-is-more creepy approach. The film doesn’t focus on these ideas for too long though. Everything overloads into a frustrating experience that cares more about showing off what director William Eubank can do with a camera and less on telling a cohesive narrative to pack all of this junk into. Just because you can do something, doesn’t mean you should. In no other movie is this more clear than THE SIGNAL.

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Nic, Haley, and Jonah are three hackers traveling across the country. Upon receiving mysterious messages from a rival hacker (who had given them some trouble in the past), the trio takes a detour to confront the seemingly brilliant computer whiz with the gifted ability of hacking into any computer or camera around. Unfortunately, they’ve just walked headfirst into a nightmare as they run into a mysterious force. Upon waking up from this encounter, the three find themselves confined in a facility populated by scientists in biohazard suits. I won’t go any farther, because some people will still venture into this film, in spite of my dire warning. Even if I wanted to deconstruct the plot properly that is practically impossible due to the sheer convoluted nature that works up to a semi-predictable final revelation that felt like a giant middle finger to the audience.

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THE SIGNAL tries to be philosophical and deep. The end result winds up being a pretentious jumbled storyline. It has an aura of someone throwing random scenes in front of the camera, yelling “Look what I can do!” This is the kind of science-fiction mess that there isn’t a single excuse for. This is one crap-fest of a movie. It’s hard to maintain a dignified tone in this review, because this movie frankly pissed me off. I haven’t been this angry in paying to see a bad movie in theaters since I saw BRANDED back in 2012. Words can barely do justice to how infuriating THE SIGNAL is. This film reeks of someone playing around with some effects on camera and then peddling it to the masses.

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Some effects do admittedly look cool and others feel very cheap. There’s a severe overuse of slow motion. This is especially demonstrated in a laughably bad out-of-place action sequence. None of the characters are worth caring about either. Brenton Thwaites and Olivia Cooke can be good in the right roles, but there’s nothing here but bland cardboard cut-outs that resemble silhouettes of people. Lin Shaye shows up in a brief would-be eerie role that comes off as more of a wacky cartoon character (she generated plenty of laughs in my theater). Laurence Fishburne is a wooden scientist donning a biohazard suit. There’s also one moment regarding his character that strongly reminded me of TROLL 2 (something that should never happen in any movie hitting the big screen). In place of character development, the viewer is given quick montages of flashbacks involving Thwaites, Cooke, and Knapp that are inserted at the most inopportune times. A few of these came in during action montages or would-be crucial scenes. The resulting effect also generated some unintentional laughs among the audience in my theater.

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An overly familiar ending echoes notable science fiction films from the late-90’s. To give specifics would most definitely be going into heavy spoiler territory, but it’s safe to say that you’ve probably seen this kind of ending in far better movies before this steaming pile came along. The conclusion renders some scenes entirely pointless, which makes one wonder why they even bothered to include them to begin with. It’s messy film with some pretty effects supporting by wooden acting and a lame script. THE SIGNAL comes off as bad any way you slice it.

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Some posters for THE SIGNAL state “R U Agitated?” This message is also seen a few times in the beginning of the film and ultimately serves as a horrific bit of foreshadowing for the despair the viewer is plunged into. The emotional pain isn’t brought on by watching a trippy movie with bleak messages or viewing good characters go through horrible things. It comes from the devastation of realizing that you plopped down hard-earned money to sit through this film and that you’ll never get your valuable time back. I originally had an opportunity to see THE SIGNAL at Sundance and after seeing the huge release it was getting, I was kicking myself for skipping out on it. I’m glad I didn’t see it at the festival. Had I seen this flick at Sundance and waited in the cold for a solid hour to get into the theater, then I would have probably been even angrier. As it stands, seeing it as a matinee, the word “agitated” doesn’t even begin to cover the disdain I feel for this complete and utter failure of a film. Avoid this SIGNAL as it will do far more than just leave you agitated…

Grade: F

KINGPIN (1996)

Review by Derrick Carter

Running Time: 1 hour 53 minutes

MPAA Rating: PG-13 for Crude Sex-Related Humor and a Drug Scene

Kingpin poster

Directed by: Peter Farrelly, Bobby Farrelly

Written by: Barry Fanaro, Mort Nathan

Starring: Woody Harrelson, Randy Quaid, Vanessa Angel, Bill Murray, Chris Elliot, William Jordan, Lin Shaye

The Farrelly brothers are known for their earlier comedies. DUMB AND DUMBER is one of the funniest films of the 90’s and I would argue that THERE’S SOMETHING ABOUT MARY is on the same level of that Jim Carrey and Jeff Daniels flick. Between both of those well-known celebrated films, the Farrellys directed a project that has become a underseen gem of theirs. They may not have written it, but they did direct it and the script is more than worthy of the brothers names being attached. KINGPIN is a crude, silly, and thoroughly enjoyable sports comedy that blends plenty of different types of jokes together. It’s not high art or one of the funniest movies I’ve ever seen, but I had a really good time watching this film. I laughed a lot and by the conclusion (which did surprise me), I walked away grinning.


Roy Munson has had the gift of bowling in his blood from childhood. Trained by his father, the young (albeit naïve) Roy wins the state championship against a snooty rival bowler, Ernie McCracken. After being scammed into a hustle gone wrong by Ernie, Roy loses his bowling hand and winds up wasting 17 years of his life as a washed-up, broke, has-been athlete. Out trying to make a cheap buck, Roy spots budding talent in the Amish closeted-bowler Ishmael Boorg. With an all-star bowling tournament on the horizon that boasts a prize of one million dollars, Roy takes the innocent Ishmael under his wing on a road trip to Reno to enter the competition. Along their way, the two encounter plenty of different colorful characters including: intimidating thugs, a beautiful girl named Claudia, and an unwelcome face from Roy’s past.


KINGPIN is sort of in the same vein as Weird Al’s UHF. It uses the go-for-broke, throw everything at the wall and see what sticks method. Luckily, a majority of the jokes hit. There are a number of punch lines that miss the mark and one that downright didn’t belong in the film. Even in the not nearly as funny moments, things still work due to the interesting characters. Woody Harrelson takes the lead role as Roy and revels in the loser personality of this washed-up professional that begins to have a change of heart thanks to Ishmael. Speaking of which, Randy Quaid is hit-or-miss as Ishmael. He’s downright hilarious in some scenes as he sinks into some all sorts of sinning (all rationalized as being for the greater good), but also takes the dummy shtick too far during some moments (e.g. him constantly mistaking Roy’s last name throughout the entire movie).


Vanessa Angel is a good as a genuinely caring friend to Ishmael and begrudging love interest for Roy. Chris Elliot and Lin Shaye also make brief, but disgustingly memorable appearances. The real standout besides Harrelson would be Bill Murray as the Roy’s old nemesis, Ernie McCracken. Donning one of the worst comb-overs in movie history, Murray is clearly having an absolute blast playing the villain for a change. He’s hatable on all levels and reserves a spot as one of the most despicable dickheads to ever grace film history.


The biggest issue that detracts from some of the entertainment in KINGPIN doesn’t involve some lame jokes that don’t quite work. It’s actually the long running time. Some parts of the film could have definitely been glossed over or cut out altogether for a more tight running time. Credit where credit is due, the story really picks up the pace in the last 50 minutes. I really liked how the conclusion played itself out too. The last scenes involving every character were very fitting. The ending also surprised me on a few levels that I didn’t predict. I was completely satisfied by the final 10 minute wrap-up.


KINGPIN is far from the Farrelly brothers best movie. That accomplishment lies between DUMB AND DUMBER and THERE’S SOMETHING ABOUT MARY. It doesn’t deserve the fate of being mostly forgotten that has befallen it though. This is a movie that I would highly recommend for a group of friends gathered with pizza and beer. It’s a highly entertaining sports comedy that does surprise on some levels and goes to outrageous lengths to get a laugh. Some of the jokes don’t work, but the majority of them do. The pacing can be a little slow in the first hour, but it never lost my interest and got significantly more enjoyable in the second half. In the end, I do recommend KINGPIN as a ridiculous comedy that revolves around the cut-throat world of bowling. Before DODGEBALL or TALLADEGA NIGHTS, there was KINGPIN and it’s very much worth remembering.

Grade: B


Review by Derrick Carter

Running Time: 1 hour 45 minutes

MPAA Rating: PG-13 for Intense Sequences of Terror and Violence, and Thematic Elements

Insidious Ch2 poster

Directed by: James Wan

Written by: Leigh Whannell

Starring: Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, Barbara Hershey & Steve Coulter

Warning! The review contains SPOILERS for INSIDIOUS. If you have not seen INSIDIOUS yet, do yourself a favor: go buy it, turn out the lights, crank up the sound, and prepare to witness one of the scariest horror movies of the new millennium. If you have seen INSIDIOUS, then feel free to read on!

In 2010, a little movie called INSIDIOUS premiered at TIFF and made huge waves in the critical world. In 2011, the film was put into wide release and grossed almost 100 million. This was particularly impressive when you consider that INSIDIOUS was budgeted just over 1 million. Hollywood took the money as a sign that a sequel was necessary and two years later, we have INSIDIOUS: CHAPTER 2. One thing that should be praised to the heavens about this sequel is that it isn’t necessarily the same thing over again. Wan and Whannell actually try to take the newly born franchise into a different direction and it works with mixed results.

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After a flashback sequence set in the 1980’s involving a young Josh (father from the first film) and a séance gone awry, INSIDIOUS: CHAPTER 2 picks right back up where the first film left off. The Lambert family just got their son back from the ghostly netherworld known as The Further, but the murder of Elise (the elderly psychic) has the family shaken up. While the police investigate their home, the Lamberts stay at Josh’s mother’s home. Turns out that the supernatural forces that began terrorizing the family aren’t done with them quite yet. Renai (Josh’s wife) begins seeing ghostly apparitions around the home and Josh isn’t acting like his usual self. For those who have seen the original film, you may already have a good idea why Josh is being so weird, but let me assure you that you don’t have the full picture. Things go from bad to worse, grim grinning ghosts come out to do more than just socialize, and some seriously freaky scenarios occur!

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To re-examine the first INSIDIOUS reveals that the ghosts were plentiful and there was the constant threat of a demonic presence throughout. By the time the third act had broken out, Josh had ventured into The Further to find his son, while all hell was breaking loose in the Lambert household. The last-minute revelation that Josh had brought back the evil spirit of an old woman, who had haunted him as a child, wound up being one of the scariest twist-endings in quite some time. So we pretty much have a good idea who’s responsible for Elise’s demise, but CHAPTER 2 does a great job of ramping up the tension in spite of that.

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This sequel is actually more focused on two spirits in particular. The creepy old woman inhabiting Josh’s body and another freaky apparition who’s appearing constantly around the house. In this sense, it’s more confined in that we don’t see many other spirits and it’s more of a straightforward possession story with a dash of haunted house thrown in. The script is still smart and has some neat twists thrown in. There are some genuine scares throughout and the atmosphere is thick with dread. CHAPTER 2 is spooky fun while it lasts, but it’s not without some major faults.

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There is some really awful dubbing in the opening flashbacks of Lin Shaye’s voice coming out of a much younger actress and it takes the viewer out of what could have been a much creepier scene. The logic behind this decision doesn’t make much sense. Our voices evolve as we grow older. It would have made just as much sense to dub an adult Patrick Wilson over the actor portraying him as a child. Then there are some of the scares that don’t work too well. Some of the typical gotcha moments that have no place in an INSIDIOUS movie. The first film made you jump because there were real scary things to the scares. In this sequel, there are shocks that feel so predictable that they’re dusty. Finally, the conclusion seems a bit half-hearted. There was massive build up to the finale and nothing much came from it. The final seconds feel phoned in as if begging for a CHAPTER 3, which I wouldn’t really welcome after seeing 2.

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The best scares do come from a new character introduced in this sequel. Elise’s former assistant, who communicates with the dead by rolling lettered dice and spelling out the words that come in those letters. This provides some really intense moments, particularly in a confrontation between him and a possessed Josh. Credit where credit is due, INSIDIOUS: CHAPTER 2 doesn’t merely retread old ground and continues the story in an interesting way. I just wish that some of the ideas turned out better on film than they probably did in script form. This is said to be Wan’s last horror movie. After viewing this and the overrated critically acclaimed THE CONJURING, I think the man needs to get away from horror, at least for a little while.

INSIDIOUS: CHAPTER 2 is entertaining and spooky fun, but that’s about all it winds up being. I expected more, but this is okay. Take that for what you will.

Grade: B-

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