Whether or not you’re a fan of the Saw series, from 2004 to 2010, they held an iron fist over that Halloween release date. They also helped change the overall tone in horror films. Instead of the snarky slasher films, we were given films that were meaner and gorier. Which definitely has a place in most horror films, but for some, it became a bit of a problem. Not for me though, weirdly enough, the Saw franchise helped push me into horror. Something about diving headfirst in, it felt as if other films weren’t as scary.
The first film was directed by James Wan and written by Leigh Whannell, but after a super successful opening, Lionsgate immediately green-lit a sequel. Darren Lynn Bousman wrote a separate script for a film called The Desperate prior to 2004’s Saw. Some producers saw the script and thought after a bit of a re-write, it could become Saw II. Enter Whannell again who rewrote the script and helped continue the story of John Kramer (Tobin Bell). Bousman went on to direct Saw III and IV. Since then, he walked away from the franchise to work on his own films, including the very popular and divisive Repo: The Genetic Opera.
As the series began jumping the shark over and over again, there was an obvious dip in quality. A few years after the series seemed to wrap up, Josh Stolberg & Peter Goldfinger pitched and eventually made Jigsaw, which felt like a bit of a return to form. The two are now back alongside Darren Lynn Bousman for Spiral: From The Book of Saw (or just Spiral), this time, from a pitch and idea coming from Chris Rock.
In Spiral, it’s been many years since John Kramer’s death, and the city is no longer actively dealing with the death traps that Kramer and his apprentices would have set up. But because it’s been some time, we now have a copycat. Spiral definitely feels inspired both stylistically, and plot-wise from Seven (or Se7en). Between the warm colours that make everyone look like they’re sweating, to the procedural elements that have Detective Ezekiel Banks (Rock) trying to track down the killer with his rookie partner Detective William Schenk (Max Minghella).
I’ve been looking forward to Spiral since I first heard about it. Knowing that they filmed it in my city (Toronto) is a nice treat. Weirdly, I’m always here for more of these types of horror films. Bloody, silly and a lot of thinking into their traps.
Did this trailer excite you, or are you planning to avoid this one?
The Scariest Hotels On Film & TV: You can check in, but you’ll never leave…
In the new chiller THE NIGHT, a young couple who get lost in downtown Los Angeles book into a forbidding-looking old hotel for the night… and that’s when their troubles really begin. Very strange things start to happen – eerie noises of young children crying out from other rooms, a sinister and unhelpful cop, and a truly peculiar concierge, all of which make their stay extremely uncomfortable and genuinely frightening.
Creepy hotels – some of them actual haunted hotels, like the Hotel Normandie used in THE NIGHT, have provided the backdrop for some of film and TV’s most notable moments, including monstrous managers, disappearing guests and sleep-shattering disturbances. Here’s a guide to the best worst hotels to book into if you are looking for a night of frights…
The Overlook, Colorado
What it’s like: The beautiful and spacious Overlook (the setting for Stanley Kubrick’s 1980s horror classic The Shining, starring Jack Nicholson) is nestled in the quiet and isolated snowy peaks of the Rocky Mountains in Colorado. It’s a perfect and restful getaway if you and your family need to unwind.
Facilities: Lavish bar/ballroom, fully stocked kitchen, fantastic topiary maze on the grounds.
Tip for guests: Winter stays can be a bit testing. Don’t go into room 237. Just don’t. And don’t use the elevators.
The Bates Motel, California
What it’s like: The Bates Motel (where Alfred Hitchock’s 1960s chiller, Psycho, starring Anthony Perkins, takes place) is a modest, functional facility located near an old highway in California – the perfect stopping off point for the tired traveller, or the guest for whom ‘discretion’ is key.
Facilities: En-suite shower facilities; beautiful taxidermy collection in reception.
Tip for guests: Lock doors while using the bathroom; don’t go up to the main house; be nice to manager Norman.
Cecil Hotel, Los Angeles
What it’s like: The latest must-watch true crime series on Netflix is The Vanishing at the Cecil Hotel, detailing the story of the disappearance of a student from her hotel room in downtown Los Angeles.
Facilities: With 700 rooms at budget rates, this hotel is also a slice of history, said to be the inspiration for Barton Fink, and American Horror Story: Hotel; and U2 once filmed a promo video on the roof of the hotel.
Tip for guests: Be sure to make your stay as uneventful as possible, otherwise you might end up the subject of a four-hour long conspiracy theory documentary.
Hotel Cortez, Los Angeles
What it’s like: The hotel that provides the basis for Season Five of the popular TV series American Horror Story is allegedly based on the aforementioned Hotel Cecil, due to its history of strange occurrences taking place within its rooms.
Facilities: Mattresses contain hidden surprises, and the ‘Addiction Demon’ might pay a visit.
Tip for guests: Avoid bookings on ‘Devil’s Night’ (October 30th), as this is when serial killers including Richard Ramirez and the Zodiac killers tend to stay at the Cortez.
Hotel Broslin, Times Square, New York
What it’s like: This modest but quirky real-life hotel (featured in Frank Henelotter’s magnificent grindhouse gorefest Basket Case from 1982) does not judge when it comes to accepting guests – all are welcome here! The residents make up a vibrant, eccentric little community, and there is never a dull moment. Rooms are cheap and basic.
Facilities: In the heart of New York – nightlife on your doorstep.
Tip for guests: The tenant in room 7 is very small, very twisted, and very mad. Knock at your peril!
Starlight Hotel, East Texas
What it’s like: The Starlight Hotel, located deep in the Texas swamps, is run by Judd (played by Neville Brand, in Tobe Hooper’s 1976 Eaten Alive), who makes Basil Fawlty seem positively cordial in comparison.
Facilities: The hotel has an adjoining petting zoo – or rather, a huge great alligator in the swamp, for disposing of unwanted guests.
Tip for guests: Don’t upset the manager – he might get out his scythe.
Hotel Earle, Los Angeles
What it’s like: This ‘characterful’ hotel, with peeling wallpaper, is where a screenwriter (played by John Turturro) books in,in an attempt to get some work done in the Coen Brothers’ 1991 Oscar winning Barton Fink.
Facilities: This cheap and no-nonsense hotel is the perfect place to rub shoulders with the ‘common man’.
Tip for guests: Try not to stay in your room too long. Don’t talk to other guests, particularly salesmen. Don’t invite guests to your room. Be sure to know where your nearest fire escape is.
Motel Hello, California
What it’s like: Farmer Vincent Smith and his younger sister Ida welcome you to Motel Hello, with it’s dodgy neon sign (from 1980 cult comedy horror Motel Hell). They are so eager for you to stay at their combination farm/hotel that they will even kidnap you and force you to stay there.
Tip for guests: If you see the sign for Motel Hello, perhaps just keep driving.
Hotel Normandie, Los Angeles
What it’s like: The real-life Hotel Normandie (featured in the new psychological horror film The Night) is said to be the most haunted hotel in the world.
Facilities: Rooms always available.
Tip for guests: Bring earplugs/eye masks in case of ghostly noises/visions; on no account call the police.
If all this talk of haunted and horrifying hotels has piqued your interest, be sure to keep an eye out for the THE NIGHT when it is released on digital platforms (iTunes/Apple TV, Amazon, Sky, Virgin, Google/YouTube, BT, Playstation, Microsoft, Chili, IFI@Home) on 2nd April
The Star-Spangled Man: Falcon And The Winter Soldier – Disney+ Talk
Like my coverage with ‘Wandavision’, my coverage of ‘The Falcon & The Winter Soldier’ will be done via weekly episodic articles. However, this article (like last week’s one) will not contain spoilers.
Episode 2, titled ‘The Star-Spangled Man’ sees John Walker be introduced as the new Captain America. Bucky and Sam also team up to figure out what the terrorist group from the previous episode are planning, all while ‘trying’ to get along.
Ultimately, this episode serves as an introduction to the dysfunctional duo that is Sam Wilson and Bucky Barnes. From the moment they meet in the show, they were delightful to watch onscreen. They have fantastic onscreen chemistry and, while that may have been expected to some people, it’s easy to forget that Bucky and Sam didn’t share many solo scenes together when they both featured in the MCU films. So, essentially, it’s an introduction to how they’ll interact with each other. And it’s both hilarious and heart-breaking. The former is because their banter is reminiscent of child-like bickering at times. Bucky’s therapist even asks that they ‘don’t answer with a childish response’ when she interrogates them near the end of the episode. The closest I can think of is Jason Statham and Dwayne Johnson in ‘Fast & Furious Presents Hobbs & Shaw’ when thinking of inspirations.
But there’s a reason why they don’t get along: Bucky is angry that Sam gave Captain America’s shield away when it was given to him for the sole purpose of him taking up the role of the new Captain America. And, while Sam says he wasn’t ready for that, it’s hard to disagree with Bucky Barnes. His argument is understandable, especially considering that they were both close friends with Steve Rogers. Bucky essentially feels that Sam betrayed Steve which is hard to argue with.
A detail that wasn’t mentioned in last week’s Disney+ Talk article was how the first episode ended. The reason for that is because I knew this episode would give viewers more answers and details. Therefore, more discussion could be had this week, rather than briefly mention it in last week’s article. And, yes, the episode ended with the government announcing a new Captain America, complete with the shield that Sam had donated to be displayed. Not only is this decision disrespectful to Steve Rogers, Sam and even Bucky, but it also feels like a PR stunt until a fight scene takes place later on in the episode. This new Captain America is John Walker (who later becomes U.S. Agent in the comics) and, from the moment he opens his mouth, he seems genuine and humble. He truly believes in what he is doing, but also knows that he will never be like Steve Rogers, so won’t try to be. However, the one thing he can do is try to keep people safe. He has similar morale values to Steve Rogers, so it’s clear why he was picked for the role. He also portrays strength and can hold his own, for the most part, in a fight. But, because of Sam and Bucky’s connection to Captain America and Steve Rogers, it can’t be helped that I feel dislike towards John Walker. Unfortunately, the only thing he’s done wrong is take up the role of Captain America, not matter how good he is at it at the moment.
And the fight is against a terrorist group of super soldiers, presumedly led by Zemo, judging from the handprint logo. These were people who were introduced in the last episode, but it’s in this episode that they get to show their super strength. While Zemo’s story arc was one that I found dull in ‘Captain America: Civil War’, his appearance makes sense within this context: because the MCU civil war is done, his character has more time to expand here, so I’m interested to see this plot line develop.
Overall, this episode was better than the last one and serves as a great introduction to Bucky and Sam’s interactions as well as their first meeting with the new Captain America. And, with Zemo reappearing, I’m more interested in his character now that the MCU civil war is over.
Dara (Sarah Sutherland) has been drinking since she was 14. She grew up and married Danny (Jared Abrahamson) and they had a little girl called Isabel (Margaux Vaillancourt). However, Dara’s drinking became a problem over the years and when Isabel was two years old, she decided to leave her and Danny behind.
Two years later, Dara decides that the time is right to come back and try to make amends to what she did to Danny and her daughter. The problem is that Danny really doesn’t want her to come back and Isabel doesn’t remember her own mother. So, all Dara can do is to try her best to fit in with her family and get her life back.
Like a House on Fire is an emotional drama written and directed by Jesse Noah Klein about a woman trying to pick up the pieces of her life after succumbing to addiction. Gently paced, the story takes its time to tell the audience about Dara’s life and the repercussions of her actions.
The script does so by cleverly interweaving these details, making the film feel like the audience aren’t being preached about the dangers of addiction either. Slowly letting the audience into Dara’s world, they soon come to realise what Dara has done, what she’s sacrificed and how difficult it must have been.
Sarah Sutherland gives a great performance as Dara, a woman clearly desperate to get back the people she holds so dear, yet knows all too well what price it could pay. Beautifully shot with a great cast including Margaux Vaillancourt who is adorable as the child caught between the family issues that she’s too young to understand.
There is an issue that the story may be a little too predictable for audiences, but thankfully the performances and the tight script will manage to keep their interest even if they may know where it’s going.
Also, there could have been a tendency for Like A House on Fire to go into melodrama, trying to showcase an actor’s ability with dealing with scenes that exploit addiction. Luckily though, the characters and script have been very well thought out and the issues raised are dealt with sensitively.
Bad Trip Synopsis: The film follows two best friends (Eric Andre and Lil Rel Howery) who take a road trip from Florida to New York City so one of them can declare his love for his high school crush (Michaela Conlin), all the while being chased by the other’s criminal sister (Tiffany Haddish), whose car they have stolen for the trip.
Simply put, Eric Andre is a comedic genius. Throughout his five seasons as host of The Eric Andre Show, Andre has pushed his signature brand of surreal sketch comedy to exciting new boundaries. Few have boldly thrown themselves into their gags like this talented funnyman, often going to awe-inspiring extremes to elicit laughter from his audience (Andre’s RNC visit is still one of the funniest videos I’ve ever seen).
While Andre has enjoyed some crossover on the big screen, his first starring vehicle Bad Trip is finally discovering the light of day after spending over a year on the shelf (it was originally scheduled to be a 2020 online SXSW premiere before being acquired by Netflix). His mixture of vulgarity and lovingly amoral gags won’t be for everyone, but the film had me bursting out in laughter throughout its 84-minute runtime.
To Andre’s credit, Bad Trip works as a brilliant marriage between his hyper-realism style and a satirical parody on comedic conventions. Within the film’s slap-dash narrative, Andre and his team of writers (Dan Curry and director Kitao Sakurai) embrace every avenue to twist the audience’s expectations through the comedian’s distinctly bizarre stylings.
Common comedy tropes like extravagant musical numbers and a half-baked love story are hilariously lampooned, with Andre having a blast coloring outside the lines of what the genre typically dictates (the end credit scene, which tributes a forgotten mid-2000s comedy, is sharp in its referencing and uproarious in its impact). I love the way real people are implemented into the mix as well. Their genuinely puzzled reactions serve as an unfiltered greek chorus to the madness at hand, creating a subversive angle from their nose-turning towards moments of studio comedy artifice. Bad Trip deserves praise for its hilarious and intelligent mockery of studio comedy norms.
Only good things can come from assembling a trio of Hollywood’s most dynamic comedic stars. I don’t want to gush too much, but I consider Andre to be one of our generation’s defining comedic voices. Few could implement such steadfast dedication into wildly deranged gags, as Andre’s open-hearted sincerity creates laughter like no other. Lil Rey Howery makes a perfect straight man to Andre’s buffoonery, playing off the situations well with his own sharp sense of humor. I certainly can’t forget to mention Tiffany Haddish, who often steals the show as a comedic thunderstorm with unparalleled energy.
Bad Trip certainly has the makings of a late-night classic, but a few blemishes do detract from the experience. Even considering its slight runtime, some frames lag as they work to set up more grandiose comedic set pieces. Andre’s scattershot sensibility highlights most of the film’s comedic strengths. That being said, it doesn’t always translate to the most succinct narrative experience.
Missteps aside, I had an uproarious time watching Andre and company throw themselves into their inventively drawn gags. Bad Trip is one of the best mainstream comedies in some time, taking the well-trudged genre to daring new heights of hilarious stupidity.
