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Michael Arruda Reviews THE PURGE (2013)

Posted in Uncategorized on June 19, 2013 by knifefighter

(Note: LL Soares reviewed THE PURGE when it opened. You can read that review here. This is Michael Arruda’s follow-up review)

Movie Review: THE PURGE (2013)
by Michael Arruda

THE PURGE (2013) is an ugly movie about an uglier subject.

The year is 2022, and in an attempt to reduce crime and poverty, the government of the United States sanctions a yearly holiday known as “the Purge,” in which crime is legal for twelve hours. During this twelve hour period, people can commit any crime they want, including murder, without fear of punishment. The philosophy is that this brief free-for-all purges people of their aggressive feelings, while controlling the homeless population, who are vulnerable and make easy targets.

James Sandin (Ethan Hawke) makes home security systems for a living, and as you might expect in the age of the Purge, the home security business is booming. Sandin is doing quite well, and he and his family, which includes his wife Mary (Lena Headey) and two kids—teen daughter Zoey (Adelaide Kane) and son Charlie (Max Burkholder) —hole themselves inside their posh home on Purge Night, protected by dad’s state-of-the-art security system.

But when young Charlie sees a man (Edwin Hodge) on the street pleading for help, the boy panics and lets him inside their home. A group of nasty youths wearing masks led by a preppy lunatic (Rhys Wakefield) is hunting this stranger. They surround the house and tell the Sandins to release the man to them, or they will kill everyone inside.

Things are further complicated because Zoey’s boyfriend Henry (Tony Oller) is also in the house under the pretense of earning the approval of her father, but his true motives involve a gun. And when the electricity is cut and the masked lunatics invade their home, the Sandins realize they have no choice but to fight for their survival.

The biggest problem I had with THE PURGE is its ridiculous premise. What a dumb idea!

I didn’t believe that a one night free-for-all of unprosecuted crime was a good idea before I saw the movie, and I certainly didn’t think so after seeing it.

Unlike the convincing THE HUNGER GAMES (2012), another movie with an outlandish premise—a culture that accepts as entertainment a sporting event in which children fight to the death—THE PURGE never made me believe that these events were actually happening.

The only characters we get to know are the members of the Sandin family, and they’re a rather strange lot. Everyone else in the movie either acts like robots or in the case of the wild gang outside the Sandin’s home, like they’re on drugs.

I never had a feel for how real people felt about the Purge, nor did I get a sense as to what kind of government was in charge. A Nazi-like regime? The Religious-Right gone mad? Extreme Obamacare? Tea Partiers on steroids? No idea.

The story takes place in 2022, which is not even ten years from now. It seems unlikely that an extreme event like the Purge would take root in so brief a time.

Ethan Hawke, so intense in last year’s SINISTER (2012), is cold, clueless, and annoying here as James Sandin. As the head of the household, he does a terrible job of protecting his family. Nearly every decision he makes is the wrong one.

His wife, Mary, played by Lena Headey, has a better head on her shoulders, but she’s constantly reacting to her husband’s mistakes rather than taking the lead in the situation. Headey’s not bad here, but she was much more memorable and more enjoyable as the villain Ma-Ma in last year’s DREDD (2012).

I enjoyed Adelaide Kane as teen daughter Zoey, as she seemed like a real person, but she spends most of the movie being a victim. Max Burkholder’s Charlie is an odd sort, and I have to admit I found him incredibly annoying. Plus, he lets the stranger inside their house, which seems like a huge no-no, and it’s difficult to believe his parents didn’t beat him over the head with the directions “never let anyone inside the house on Purge Night!” They don’t even tell him as much after the fact. I didn’t buy this plot point, which is the trouble I had with most of the movie. I didn’t buy it. It didn’t convince me.

The stranger (Edwin Hodge) spends most of the movie bound and gagged, so what little sympathy he evokes is minimized. Rhys Wakefield makes a decent psycho, but we ultimately learn so little about him, he’s hardly a factor.

The premise of THE PURGE, as unpleasant as it is, is full of promise. It’s simply not executed to its full potential by writer/director James DeMonaco. We’re supposed to witness a conflict of conscience, between husband and wife, over what they should do about the man inside their home. Should they become like the freaks outside and participate in the Purge or should they hold onto their ideals and remain above the fray? But this debate never takes place to any degree of satisfaction.

Early on, there’s a brief discussion between young Charlie and his parents, as he asks them why they don’t participate in the Purge. His dad tells him it’s because they don’t have any problems with other people, and then Charlie presses the point and asks if his father did have a problem with someone else, would he then participate in the Purge and kill someone? His dad admits that yes, he would. I guess the more civil method of settling differences through conversation and legal channels is passé.

When James wrestles with the stranger to subdue him, he insists that his wife Mary stab the man. In the film’s ugliest moment, she gives in and jams a letter opener into the man’s wound. What are these people thinking? They’re not thinking, and that’s clearly the problem.

THE PURGE would have benefitted from some stylish direction—some unusual camera angles, strange dissolves, or intense choreographed action—in order to give it a futuristic feel or at least something to indicate that we’re dealing with another world here, the world of the Purge. Heck, even the inside of the house isn’t clearly defined, as the bulk of the action takes place in the dark.

There’s also something a bit “off” about this movie. Parts of it seem disjointed. When Charlie first lets the man inside the house, it occurs at the same time that Zoey’s boyfriend confronts James, yet the expected chaos following these simultaneous events ends abruptly. Later, a key moment when the stranger captures Zoey occurs off-camera. The intensity is also lacking. When the masked mob finally breaks into the house, the scenes that follow are nowhere near as extreme as they need to be.

The main villain in the movie, Mr. Preppy Psycho (he doesn’t have a name in the movie) is a complete lunatic, but he never becomes someone truly frightening, which raises another problem. THE PURGE may be dark and disturbing, but it’s not scary.

It also doesn’t help that very few of the characters in the movie act like real people.

THE PURGE could have been a hard hitting thriller had it not purged itself of its humanity.

I give it two knives.

—END—

Michael Arruda gives THE PURGE ~ two knives!

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Screaming Streaming: CASA DE MI PADRE (2012)

Posted in 2013, Comedies, Just Plain Bad, Michael Arruda Reviews, Parodies, R-Rated Comedy, Screaming Streaming with tags casa de mi padre, gael garcia bernal, genesis rodriguez, matt piedmont, mexican comedy, will ferrell on June 18, 2013 by knifefighter

SCREAMING STREAMING!
Streaming Video Movie Review: CASA DE MI PADRE (2012)
By Michael Arruda

I get it

Will Ferrell has made so many movies and has achieved so much success, he’s at the point in his career where he can do whatever he wants, like making movies that are experimental and offbeat, and stand little chance of making money at the box office.

I get it. But that doesn’t mean I liked CASA DE MI PADRE, a movie that is indeed offbeat—it’s in Spanish with English subtitles— yet isn’t all that funny, nor is it much of an action movie. Don’t get me wrong. I like the idea of a quirky movie, but it’s got to work. This movie doesn’t work.

In CASA DE MI PADRE (2012), now available on Streaming Video, Armando (Will Ferrell) is the black sheep of his family. His father Miguel (Pedro Armendariz, Jr.) is always calling him stupid, and while he does work on his father’s ranch, we see him spending his days hanging around with his buddies. When his brother Raul (Diego Luna) returns home with his beautiful fiancée Sonia (Genesis Rodriguez), he’s welcomed with open arms by his father, but it turns out Raul is really a drug dealer who’s at war with the local drug lord, Onza (Gael Garcia Bernal), who happens to be Sonia’s uncle.

Onza’s goons shoot up Raul’s and Sonia’s wedding, creating a bloodbath in the one stylish scene in the movie, leaving Armando to seek vengeance against Onza and to save his family’s honor

I kept waiting for CASA DE MI PADRE to be funny. I’m still waiting.

I don’t think I laughed once, and that’s no joke. Not a good sign for a comedy. Sure, it’s possible I could have missed the point. I could have missed the good intentions of what Ferrell and company were trying to do here. I’ll admit that. Then again, CASA DE MI PADRE just might be a bad movie.

Ferrell plays it straight here. Even though his character Armando is supposed to be a simpleton, he’s really not. He’s no goofy idiot bumbling his way through situations a la a Mexican Inspector Clouseau. He’s supposed to be an honorable man with a touch of spiritualism, a hero. Gag.

I suppose the joke is that it’s Will Ferrell and he’s playing it straight in a Mexican action movie. I suppose this is supposed to be funny. So, if you’re into seeing a serious Ferrell play a Mexican farmer battling a Mexican drug lord, and you think that’s humorous, then this might be the movie for you.

For a comedy, the jokes just aren’t there. The screenplay by Andrew Steele is about as funny as Taco Bell ad. I’ll take that back. I’ve seen funnier Taco Bell ads. In all fairness, I’d guess that the screenplay accomplishes what the writer and director and Ferrell wanted it to accomplish. There doesn’t seem to be much effort or interest in creating a straight comedy

Instead, the interest seems to be in creating an authentic Mexican action movie, and to get laughs simply through weird scenes and offbeat dialogue, as in, let’s have Ferrell deliver these serious lines with a straight face, and won’t this be funny!

Here’s my answer: no.

Director Matt Piedmont hasn’t made much of an action movie either. There’s one decent action scene, the bloodbath at the wedding, but that’s it. The rest of the action is incredibly flat. So, without comedy, without action, you’re left with a Spanish language drama starring Will Ferrell, the type of thing you’d catch on your local Spanish language TV channel.

Genesis Rodriguez is drop dead gorgeous and in all seriousness is the only reason to see this movie. But do you really want to sit through 90 minutes of CASA DE MI PADRE just to see Rodriguez? Heck, even her nude love scene is ruined by frequent shots of Will Ferrell’s naked butt. Yes, sadly, you will see more of Ferrell’s naked butt than Rodriguez’s. What were the filmmakers thinking?

Genesis Rodriguez – the only reason to see CASA DE MI PADRE.

I honestly felt as if the joke was on the audience. Let’s make this as unfunny as possible and see what people say about it. It’s as if they wanted to see our faces and laugh.

There are also some weird spiritual aspects to the story, including a talking mountain lion, which is so fake looking it makes the TWILIGHT werewolves look good! It looks like a Muppet reject. This lion talks to Ferrell and raises him from the dead. Huh? You know, maybe if you’ve had a few drinks before you see this one—.

There’s also some goofy songs sung by Ferrell and Rodriguez, but these miss the mark as well

In fact, the whole film misses the mark. It’s so bad, I wish I hadn’t seen it

I chose to review CASA DE MI PADRE because it was an R-rated comedy, something we review regularly here at Cinema Knife Fight. It’s about as far removed from traditional R-rated comedies as you can get. It’s rated R because of its one nude scene (hey, is that still Will Ferrell’s butt? Somebody make it stop!) There’s also that one bloody scene at the wedding, but that’s about it folks. The rest of the movie is hopelessly lame.

But didn’t I like the quirkiness of the whole thing? The deadpan style of Will Ferrell? His goofy buddies? About those buddies— when the funniest thing they do is laugh, you know you’re in trouble. Again, I felt as if they were laughing at the audience. Yep, the joke is on us.

Didn’t I like the scene with the severed hand? You mean the hand that looked like it was bought from Toys R Us? But wasn’t that funny? That it looked fake? No.

Didn’t I like the strange camera angles? The weird props? The fake-looking mountain lion? The mannequin? You mean, the stuff that looked like it belonged in a Pee Wee Herman movie? You know, I might have, if Pee Wee Herman had been around, but sadly, he’s not.

This is all a roundabout way of saying what you already know, that this movie simply didn’t work for me, not on any level.

As a result, I give CASA DE MI PADRE a whopping 0 Knives.

Don’t waste your time on this one. Save yourself the torture and have a Dos Equis instead.

—END–

Michael Arruda gives CASA DE MI PADRE - ZERO KNIVES!

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CINEMA KNIFE FIGHT: MAN OF STEEL (2013)By Michael Arruda

Posted in 2013, 3-D, Action Movies, Alien Worlds, Aliens, Cinema Knife Fights, DC Comics, Michael Arruda Reviews, Reboots, Superheroes, Uncategorized with tags Amy Adams, Henry Cavill, Man of Steel, Michael Shannon, Russell Crowe, Superhero movies, Superman movies, zack snyder on June 17, 2013 by knifefighter

CINEMA KNIFE FIGHT: MAN OF STEEL (2013)|
By Michael Arruda

(THE SCENE: A diner. MICHAEL ARRUDA sits at the counter sipping coffee talking to a group of patrons about MAN OF STEEL.)

MICHAEL ARRUDA: Well, at least Russell Crowe doesn’t sing!

Normally I’d be meeting my Cinema Knife Fight partner L.L. Soares to co-review today’s movie with him, but he’s off winning himself a Stoker Award, so it looks like I’m doing this one solo.

If you folks would like to listen, I’ll review today’s movie, MAN OF STEEL (2013) right now.

(To WAITRESS) Everyone’s breakfast is on me. (The group utters a collective “thank you.”) Don’t mention it. I’ll put it on L.L.’s tab. (laughs.)

Anyway, MAN OF STEEL is the new reimagining of the Superman story by director Zach Snyder, screenwriter David S. Goyer, and producer Christopher Nolan, who also received story credit.

It begins where all Superman origin stories begin, on the planet Krypton. It’s a familiar story by now. Krypton is dying, and Jor-El (Russell Crowe) is trying to convince his elders that they need to save the planet. It’s a much more action-oriented opening than past Superman origin tales, as General Zod (Michael Shannon) leads a coup to take over the land, and Jor-El, while a scientist, seems to have gone to the “kick-ass” school of science, as he’s quite adept at kicking butt when he needs to.

You already know what happens, as Jor-El and his wife send their infant son Kal-El to Earth before Krypton is destroyed, while Zod and his followers are arrested and sentenced to prison in deep space, thus sparing them from Krypton’s destruction.

The next time we see Kal-El, he’s already an adult, going by his Earth name Clark Kent (Henry Cavill) having been found and adopted as an infant by Jonathan Kent (Kevin Costner) and Martha Kent (Diane Lane). Fortunately, the story jumps around and we learn about Clark’s childhood via flashback, and so we’re spared the time it would normally take to explain the traditional back story, which again, unless you’ve been living under a rock, you already know.

But even with the creative spin put on the story this time around, there’s still no getting past the fact that the Superman tale has been told many many times, in the comics, in the movies, on TV, and even in cartoons. Can’t we just throw Superman into a new adventure and skip the back story?

I recognize that in this case, the whole idea was to reimagine the story, to reboot the whole thing, and screenwriter David S. Goyer does deserve credit for telling this tale from a totally new perspective, but the bottom line is it’s not enough to overcome the fact that MAN OF STEEL has little or no depth when it comes to its characters and its plot.

There were parts of the screenplay that I really enjoyed. Lois Lane (Amy Adams), for example, meets Clark before he even thinks about joining the Daily Planet. She also learns right away that he possesses superhuman powers. I also liked how the story utilized flashback. But one drawback to this style is the film never really establishes a sense of place. We never get a feel for life on the Kent farm, which is fine by me, but we also never get a feel for life in Metropolis, which is less fine by me. The story hops around all over the place, and it plays like a video game landscape.

Moving on to the characters, I enjoyed the General Zod character up to a point. The story makes it clear what his mission is. Right or wrong, he’s all about saving Krypton, and if it means destroying the human population of earth in the process, then so be it. I also really enjoyed Michael Shannon in the role. He makes a very cold General Zod.

(GENERAL ZOD approaches the counter)

ZOD: Glad to hear I was so enjoyable.

MA: But on the flip side, Shannon’s Zod is no fun. Compared to Terence Stamp’s portrayal of Zod in SUPERMAN II (1980), Shannon’s Zod is a bore with no personality. This is a problem the film has as well. It’s got no personality. There’s no joy to it. It’s soulless.

Russell Crowe as Jor-El.

ZOD: That I’m not glad to hear. I shall have to destroy you now.

MA: Can you at least wait until after the review? I really would like to finish this. If you stay and listen, you might hear some more good things said about you.

ZOD: Really? Okay.

MA: Where was I? Oh, yes. MAN OF STEEL has no camp, little humor, and ultimately it’s no fun.

ZOD: I don’t know how to take that. Is that good or bad?

MA: Well, if you’re evil, that’s probably good.

ZOD: Okay.

MA: I know they were going for a darker film, but this style worked better in THE DARK KNIGHT movies because Batman tends to be a darker character than Superman.

Russell Crowe fares very well as Jor-El. In fact, in his brief screen time, he was one of my favorite characters in the movie. He’s a much more active Jor-El than Marlon Brando was in the first Christopher Reeve SUPERMAN film (1978). It’s actually a superb performance by Crowe, who in a role like this, could have easily mailed it in, but he didn’t.

Superman meets Lois Lane….again!

I’ve become a huge Amy Adams fan of late, and I really enjoyed her here as Lois Lane. She’s strong, smart, and feisty, not to mention sexy, but one drawback is I didn’t think she and Henry Cavill shared much chemistry as Lois and Clark.

And that’s because Henry Cavill doesn’t generate much chemistry at all in this one.

ZOD: He’s a wuss.

MA: Quiet. I’m reviewing the movie, not you.

ZOD: How dare you hush Zod!

MA: He’s not the most engaging Superman ever to grace the screen. Yet, I have to believe, judging by the way this movie plays out, that he portrays Superman here exactly the way he was supposed to. But there’s something lacking. He doesn’t have much of a personality. He’s not the goodie-goodie Christopher Reeve Superman, but don’t expect a dark brooding superhero either. He’s not Christian Bale in a red cape. And that certainly is a problem. One of the strengths, for example, of the recent Marvel superhero movies is their superheroes are so full of personality. Cavill’s Superman is kinda boring.

ZOD: Zod is much more interesting.

MA: Kevin Costner enjoys some fine moments in his brief stint as Jonathan Kent, and Diane Lane is also memorable as Martha Kent. Laurence Fishburne makes for a less cranky Perry White, but the rest of the new characters, military types and scientists, are all largely forgettable.

The biggest problem I had with MAN OF STEEL is it suffers from the video game syndrome—it has that look of a video-game turned into a movie, and it contains long drawn out battle scenes that bored me to tears. For all its creativity with its story, MAN OF STEEL lacks grandness and cinematic vision. There’s no sweeping cinema here. It’s just CGI effects, and none of them stand out.

ZOD: I like long drawn out battle scenes! I could watch them all day!

MA: Well, I can’t.

The reaction I had to MAN OF STEEL was similar to the reaction I had with STAR TREK INTO DARKNESS (2013). I liked it, but I didn’t love it. There’s just so much going on in both films, you just want things to slow down a bit so you can get to know the characters more. Once the audience gets to know the characters in a movie, and if they like these characters, then they’ll follow them anywhere. But we have to get to know them first.

Give the characters some depth, and then we will enjoy the action.

Director Zach Snyder inundates us with special effects, none of which really wowed me. I wish he had spent more time on characterizations and plot.

I don’t really feel as if I knew Superman in this movie. He’s upset at a young age that he’s different, and later as an adult he goes off in search of his heritage. Once he learns the truth about his past, he goes off to fulfill his destiny. Along the way, does he like Lois Lane? Obviously, the answer is yes, but you wouldn’t know it from this movie. More effort should have been made to define this new Superman, because right now, he’s not all that exciting.

WOMAN: But he’s so hot!

MA: Okay, I’ll give you that. But I think Amy Adams is hot, too, but sex appeal isn’t enough to make a successful movie.

WOMAN: I think it is!

MA: Well, I’m sure you’re not alone in that opinion. But I need more.

One thing I don’t need, however, is more 3D. I didn’t see MAN OF STEEL in 3D, as I’m sick and tired of shelling out the extra money.

MAN OF STEEL is not as good as THE DARK KNIGHT (2008), THE AVENGERS (2012), or IRON MAN (2008), nor is it up to par with SUPERMAN (1978) with Christopher Reeve.

I wasn’t a big fan of the previous Superman movie, SUPERMAN RETURNS (2006), and I’m not a big fan of this new one.

MAN OF STEEL is ultimately about trust. Can Superman earn the trust of the world, or specifically in this movie, of the American government? It’s also about General Zod attacking Earth so he can conquer the planet and reestablish the Kryptonian race. Neither one of these two plot points did much for me.

Michael Shannon as General Zod!

I think Superman is a hard sell nowadays anyway because, one, his story is so familiar, and two, he’s so powerful it’s difficult to write interesting stories about him. If you really wanted to make Superman darker, he should have gotten involved in some predicament that troubled his conscience or something. About the only thing troubling Superman in MAN OF STEEL is whether or not the U.S. military thinks he’s good guy or not.

I wasn’t impressed.

I give it two and a half knives.

ZOD: Are you done?

MA: Yes.

ZOD: Then it’s time for me to destroy you.

MA: Wouldn’t you rather ask one of these fine young ladies out on a date?

ZOD: Huh? Do you really think they’d go out with me?

MA: You’re Zod! A great general! Of course they’d go out with you!

ZOD (blushing): Well, in that case—. (Turns to women next to him)

MA: Okay, while Zod is busy with his new dating reality show, I’ll slip out the back door so I can be around to review next week’s movie.

Thanks for joining me, everybody!

ZOD (to WOMAN): Did anyone ever tell you you’re the most beautiful woman to ever belong to an inferior race? (She rolls her eyes and turns away) What? Was it something I said?

—END—-

Michael Arruda gives MAN OF STEEL ~ two and a half knives!

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THIS IS THE END (2013)

Posted in 2013, Apocalyptic Films, Bad Behavior, Comedies, Disaster Films, Exorcism Movies, James Franco, LL Soares Reviews, Possessed By Demons, Post-Apocalypse Movies, R-Rated Comedy, Stoner Comedies with tags apocalypse, Danny McBride, Evan Goldberg, James Franco, Jonah Hill, Seth Rogen, Stoner Comedies, This is the End on June 14, 2013 by knifefighter

THIS IS THE END (2013)
Review by L.L. Soares

Back in the old days, director Roger Corman used to make “quickie” films over the course of a weekend between his regular features. Sometimes he would have the sets for a few more days or an actor might get done with a role early and have some availability (since they signed up for a certain amount of time), and Corman would take advantage of it to make a fast extra film while he still could. Sometimes this resulted in an incomprehensible flick like THE TERROR (1963), and sometimes it resulted in an accidental classic, like LITTLE SHOP OF HORRORS (1960).

THIS IS THE END, the new movie by directors and screenwriting partners Seth Rogen and Evan Goldberg, was probably not made over the course of a weekend, but it has that kind of feel to it. Like a bunch of friends were sitting around one afternoon and decided “Let’s make a movie!” While it clearly had an actual budget, there’s an “of the moment” aesthetic to the whole thing, some of which works in its favor, and some of which doesn’t. It’s based on a short film called “Jay and Seth vs. the Apocalypse” (2007) which was written by Jason Stone, about actors and friends Jay Baruchel and Seth Rogan confronting the end of the world. Now, it’s been expanded into a feature-length movie.

It features a bunch of actors playing “themselves,” or a facsimile thereof, and what happens when they get caught in the middle of the “End Times.” They’re able to make this concept work because in the movie each person’s personality is well-defined enough so that they can play on that familiarity—even if they exaggerate things a bit—and we get sucked in because we feel that we know these people. Fans of the short-lived TV series FREAKS AND GEEKS (which only lasted one season, from 1999 to 2000) will especially find things to like in the movie. That was the show that put Judd Apatow on the map, as well as giving actors Seth Rogen and James Franco their first big break.

The movie begins with Rogen (KNOCKED UP, 2007 and PINEAPPLE EXPRESS, 2008) meeting Jay Baruchel—who was in another Judd Apatow series, UNDECLARED (2001-2002), and had roles in movies like KNOCKED UP and TROPIC THUNDER, 2008) —at the airport. The two of them are long-time friends who haven’t seen each other in about a year, and they’re trying to kick-start their friendship again. This involves burgers from Carl’s Jr., smoking lots of pot, and playing video games on a new 3D TV. Then Rogen remembers that he was invited to James Franco’s (most recently in OZ THE GREAT AND POWERFUL, earlier this year) house for a party. Baruchel isn’t too eager; he feels uncomfortable around Rogen’s newer “Hollywood” friends, but he agrees to go.

The party has its own pleasures, one of the biggest being Michael Cera (from SUPERBAD, 2007, SCOTT PILGRIM VS. THE WORLD, 2010 and the cult TV series ARRESTED DEVELOPMENT) playing himself as a kind of coke-snorting, super-cocky lady’s man. Who knew? Cera is so obnoxious playing “himself,” that he had me laughing out loud several times. He is friggin hilarious. It’s only too bad he’s not in the movie longer. Also at the party are such familiar faces as actress Emma Watson from the HARRY POTTER movies, comic actress Mindy Kaling (from the American version of the TV show THE OFFICE and her new show, THE MINDY PROJECT), singer Rihanna, and, in smaller roles, other FREAKS AND GEEKS alumni, such as Jason Segel and Martin Starr.

While on a trip to a convenience store to pick up some cigarettes, Rogen and Baruchel find themselves in the middle of an earthquake. Or what they think is an earthquake. A bunch of stuff falls on Rogen, so he doesn’t see it, but Baruchel witnesses several customers in the store being zapped by blue beams of light from the sky and sucked up through the store’s ceiling. Back at the party, no one will believe him.

That is, until the next tremor. Then the earth opens up as the mother of all sinkholes suddenly appears in front of Franco’s house, sucking down most of the partygoers into the flaming pits of Hell.

There’s lots of death and destruction, until just a handful of the gang are left to survive—insecure Rogen, grumpy Baruchel, pretentious Franco, as well as Jonah Hill (from everything from SUPERBAD to MONEYBALL, 2011) in full diva mode and Craig Robinson (who you might recognize from HOT TUB TIME MACHINE, 2010 and the TV series THE OFFICE.). And, once they all try to get some sleep, out of the bathroom comes the shambling form of Danny McBride, who crashed the party the night before and was passed out in the tub when all of the scary stuff went down.

How much you’ll like this movie has a lot to do with how much you like these actors. I for one have been a fan of some of these guys since the FREAKS AND GEEKS days, when they were just kids. I like all these guys, and it’s just funny to see them interact in light of the horrific situation they’re in.

For me, though, the biggest plus here is Danny McBride, who I just think is one of the best comic actors around today. From his debut in the indie comedy THE FOOT FIST WAY (2006) to his hilarious HBO series EASTBOUND AND DOWN, I am a total fan. Although my enthusiasm for the guy doesn’t mean I’m delusional enough to have thought 2011’s YOUR HIGHNESS (starring Franco and McBride) was a good movie. His completely obnoxious persona completes works in this one, though.

Not everything works in THIS IS THE END. Once we have our six men trapped in Franco’s house, trying to figure out what is going on, there are moments when it almost seems like they’re not sure what to do next, and there are a few parts that go on too long. It’s the downside of a movie that feels improvised; sometimes the improvisation can seem to run out of steam. There are parts where they seem like they’re making it up as they go along.

There are some special effects, mostly involving CGI monsters, which aren’t too bad. But most of the movie is just a bunch of friends hanging out and talking, and on that level it works. I thought it was a lot funnier than a majority of comedies I’ve seen lately. It’s got its flaws, but it’s also a lot of fun. It seems to go on a little long, but if you judge a comedy by the amount of laughs it gives you, then you’ll probably feel like you got your money’s worth as you leave the theater.

I thought the trailers for this one looked pretty hilarious, and the movie does have its share of big laughs. I know I was laughing a lot during its running time, but I was a little disappointed that it did not live up to my expectations all the way through. I will say that, whenever Danny McBride is onscreen (or Michael Cera earlier in the film), the laughs increase. Another big plus is the segment where Jonah Hill gets possessed by a demon, and the other guys try to perform an exorcism on him. Oh, and a scene where we find out what happened to James Franco’s neighbor, Channing Tatum, is pretty hilarious as well.

The scenes with Danny McBride are some of my favorites in THIS IS THE END.

It has its flaws, but there’s a lot to like about THIS IS THE END. I like these guys a lot, and it’s kind of like hanging out at their house for a couple of hours. It seems like that would be fun, even if the world was ending outside.

I give it three out of five knives.

LL Soares gives THIS IS THE END ~three knives.

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Transmissions to Earth: THE INCREDIBLE MELTING MAN (1977)

Posted in "So Bad They're Good" Movies, 2013, 70s Horror, B-Movies, Bad Situations, Disease!, Horror, LL Soares Reviews, Low Budget Movies, Monsters, Mutants!, Science Fiction, Trasmissions to Earth, Unfortunate Astronauts with tags 70s Monster Movies, Alex Rebar, Low-Budget Movies, Melting Man, Rainbeaux Smith, Rick Baker, So Bad They're Good Movies, William Sachs on June 13, 2013 by knifefighter

TRANSMISSIONS TO EARTH Presents:

THE INCREDIBLE MELTING MAN (1977)
Review by L.L. Soares

In this business I come upon a lot of bad movies. But what makes them “so bad they’re good” or just plain bad? Sometimes it’s pretty easy to answer that.

But I’m still not sure which one THE INCREDIBLE MELTING MAN (1977) is.

Sure it has some funny aspects about it. But it’s also pretty much a waste of time, and has a storyline so thin, it could slip between your fingers.

It’s actually amazing that this one was made in 1977. It has the look and feel of a bad 1950s sci-fi film.

As we begin, three astronauts are passing through the rings of Saturn! Pretty cool. This must be in the far future, right? Well, not really, when we get back to Earth, it still looks an awful lot like 1977. Who knew we’d perfect faster-than- light interplanetary space travel so quickly?

As they pass through the rings, something goes wrong. This is when we see stock footage of sunspots close up, in negative. It’s supposed to be the astronauts “seeing the sun through the rings of Saturn,” and they’ll use it a few more times in the movie. Two of the astronauts die soon after. The third one, Steve West (Alex Rebar) survives, but is horribly disfigured.

We have no clue how he gets back to Earth, but he does, and it’s kept under wraps (how do you keep the return of an astronaut secret, anyway?). Astronaut West is also “under wraps” literally as he’s wrapped up in bandages. When we see him after his return home, he’s bandaged and strapped to a bed in an undisclosed hospital. All of a sudden he just gets up, breaks the straps, and runs away, chasing an overweight nurse through the hallways.

Suddenly, Steve West is on the loose. But he’s not the same guy anymore. Now he’s the INCREDIBLE MELTING MAN, whose skin is constantly oozing off his body. His face looks like a skull covered with dripping wax. Oh, and he’s radioactive! So you don’t want him to touch you. He goes around killing people, and we’re told he needs new cells to survive, but it’s not clear how he gets those cells. Is he eating people or what? One guy has his head torn off and thrown into a waterfall, another person is ripped apart – if Steve is eating people for their cells, then he sure does love to play with his food!. We never actually know what’s he’s doing to his victims, but they end up a bloody mess.

Meanwhile, everywhere he goes, he leaves dripping oozy flesh in his wake. You would think someone like this would be easy to track down, but no way! Doctor Ted Nelson (Burr DeBenning) is ordered to go find Steve and bring him back to the army hospital by General Michael Perry (Myron Healey), but Nelson spends most of the time goofing off. At one point he’s home making a sandwich for his wife. Pretty awful tracking job, Dr. Nelson! He tells his associate Dr. Loring (Lisle Wilson) that his wife has had three miscarriages about this same stage in her pregnancy and she’s nervous something will go wrong again. This is about the time Nelson realizes that Steve West, who he is supposed to recapture for the government, is radioactive, and he’s worried that this might affect his wife (one of the few real dramatic aspects of the script, although it’s soon forgotten). Maybe that’s why he doesn’t seem to try very hard to find West.

When Dr. Nelson has no luck finding West, General Perry comes to town, demanding results. Meanwhile, the monster who used to be Steve West continues on his rampage until there’s a big showdown in some kind of power plant.

There’s not much of a plot, as you can tell. It basically amounts to 1) man comes back from space as some kind of monster, 2) government guys try to track him down when he goes on a killing spree, and 3) big showdown where the monster is killed. Pretty-by-the numbers, and not very compelling.

The acting is so-so for the most part, but no one stands out here as a Shakespearean actor! Burr DeBenning (also in A NIGHTMARE ON ELM STREET: DREAM CHILD, 1989, and lots of TV shows like MATLOCK and FALCOLN CREST), as Dr. Ted Nelson, seems to love standing around, wasting time, and I’m not sure if he’s supposed to be funny, but he is. He comes off as completely incompetent. Myron Healey is convincing as General Perry, in a “TV general” kind of way. Healey had a long career as a cowboy or a military man in the movies and on TV, and was actually in tons of westerns in the 1950s and 60s, as well as such other horror/sci-fi classics as VARAN THE UNBELIEVABLE (1962) and THE UNEARTHLY (1957) , and the TV-movie V (1983), and was also Colonel Wright in one of the best episodes of KOLCHAK: THE NIGHT STALKER, “Mr. R.I.N.G.” (from 1975). Local Sheriff Neil Blake (Michael Alldredge, who was also in THE ENTITY, 1982, and V, 1983) is okay as the frustrated cop who wants answers – that the government just isn’t giving him. Ann Sweeny is likable enough as Ted Nelson’s wife, Judy, and Alex Rebar is serviceable as Steve West/the Melting Man, since all he has to do is put on crazy makeup and run around causing trouble.

There’s also a great (but short) scene where a photographer tries to coerce a model to take off her top on the beach, until the monster shows up. The model is played by genre legend Cheryl “Rainbeaux” Smith. Future movie director Jonathan Demme also has a cameo as a character named Matt Winters, another one of the monster’s victims.

Probably the biggest star in this one is the makeup artist, the legendary Rick Baker, in one of his earlier jobs. The Melting Man is not one of his best creations, but it certainly looks too good for this movie! It’s amazing what Baker would do with a bigger budget and real equipment (see AN AMERICAN WEREWOLF IN LONDON, just four years later in 1981).

Rick Baker’s makeup effects for the monster might be the ONLY reason to see THE INCREDIBLE MELTING MAN!

Star Alex Rebar (the Melting Man) had roles on TV shows like THE YOUNG AND THE RESTLESS and MURDER, SHE WROTE. He was also one of the (9!) writers of the Italian exorcism classic, BEYOND THE DOOR (1974), and his first acting job was in a movie called MICROSCOPIC LIQUID SUBWAY TO OBLIVION (1970), which I would love to see, just for the title alone.

Director William Sachs also gave us GALAXINA (1980) and SPOOKY HOUSE (2002).

Not bad enough to be good, and not good at all, THE INCREDIBLE MELTING MAN is for fans of bad cinema only- who don’t mind wasting 90 minutes of their lives – or Rick Baker completists.

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The Reassessment Files takes a second look at THE PROPHECY (1995)

Posted in 1990s Horror, 2013, Angels, Christopher Walken Movies, Paul McMahon Columns, Reassessment Files, Supernatural, The Distracted Critic with tags Bad Angel, Christopher Walken, elias koteas, Gregory Widen, Prophecy, viggo mortensen, Virginia Madsen on June 12, 2013 by knifefighter

THE PROPHECY (1995)
A “Reassessment File” by Paul McMahon, the “Distracted Critic”

It will come as a no-brainer to anyone reading this that I’m into horror movies. I have favorites outside the genre, of course, as well as a brother who is a full-fledged movie buff who has introduced me to a great many films I would not have chanced without his urging. One memorable night a number of years ago, he showed up at my place waving a VHS box at me. “I have a horror movie you’ve never heard of!” he said. At the moment I would have snickered at his folly, he dropped THE PROPHECY in my lap. “It’s Christopher Walken playing a bad angel. You’re gonna love it!”

The movie held my attention throughout. At the time, I was reading a great many books on the philosophy of religion, comparing theologies between Sky Father faiths and Earth Mother beliefs. While THE PROPHECY didn’t delve into this head-on, it did bring the two together in an interesting way. Not interesting enough for me to remember the specifics, though. Whenever discussion of the movie has come up, I’ve remembered that I watched it, but couldn’t recall anything beyond Christopher Walken playing a bad angel.

Looking back, I don’t remember anything significant about it, so I’d retro-actively rate it a single star. Recently, due to the urging of another friend, I dug up a copy and popped it in to see if I’d missed some deeper worth years ago.

We open with a voice over tale of the first war of Heaven and the banishment of Lucifer along with a third of heaven’s legion of angels. God’s elevation of man over angels precipitated the second war of Heaven, which split the remaining legion in half, leaving the sides locked in a stalemate that has kept the gates of Heaven closed since the beginning of time. The Angel Gabriel has come to Earth—where angels are mortal—with a plan to break the stalemate by stealing an evil human’s “dark soul” and making it fight for his side, thus breaking the stalemate and winning Heaven.

From here, we are dropped into a church. There is Latin, clouds of incense, a Cardinal, bishops, and deacons awaiting Ordination as priests. We’ll choose to ignore the major movie goof of a completely empty church behind them– ordinations are typically SRO. Deacon Thomas is called. Anyone with a passing acquaintance with Sunday School knows that a character named Thomas in a religion-themed movie will lose his faith. As Deacon Thomas lies prone before the feet of the Cardinal, he is assaulted by visions of bloodied angels that make him cry out and turn away. In the very next scene, Thomas is a LAPD detective standing on a rooftop and looking down at the city—taking in an angel’s perspective, if you will.

Now it’s time for more exposition as the Angel Uziel drops in on the Angel Simon, who has been sent by God to keep the dark human soul from Gabriel. Simon throws Uziel out of an apartment window, where he is crushed by an out-of-control automobile that is barreling down that exact dead-end alley at that exact time. By the reactions of the investigating officers, they never expected to find anyone behind the wheel and aren’t at all concerned that no one’s there.

Here comes ~~Deacon~~ Detective Thomas. He pokes around Simon’s apartment and finds an obituary for a Colonel Arnold Hawthorne from Chimney Rock, Arizona; a theological text that Thomas himself wrote back in the day; and an ancient, hand-written Bible that contains a twenty-third chapter of the Book of Revelations. “There is no twenty-third chapter,” he tells the medical examiner. After Gabriel incinerates Uziel’s body on the floor of the morgue, leaving nothing for the medical examiner to investigate, Thomas decides to head to Chimney Rock, because apparently the LAPD has no budget to telephone law enforcement in Arizona to follow up on leads, and, apparently, there are no jurisdiction lines in this movie, so Thomas’s LAPD badge gives him carte blanche across state lines.

Simon steals and then hides the dark soul in a school girl who was nice to him, because nothing displays eternal gratitude like jamming the soul of a cannibalistic war criminal into someone’s head. Gabriel finds Simon and tortures him, but Simon will not reveal the location of the soul. Thomas enters Hawthorne’s apartment and discovers a trunk full of evidence that the deceased Colonel is a Korean War criminal, because criminals like this keep mementos of their crimes out in the open for easy access on the off chance that an out-of-his-jurisdiction cop will show up without a warrant to poke through their belongings. Shaken, Thomas enters a local church to contemplate his situation. Gabriel appears in the pew behind him and freaks him out by knowing things about him that he shouldn’t. Then Gabriel disappears, forgetting to warn Thomas off the case, or fooling him with a false trail, or anything else

Proof that Gabriel is an angel and not a man– when he gets lost he actually stops to ask for directions. (His assistant here is played by Amanda Plummer, PULP FICTION (1994).

Gregory Widen, best known for writing 1991′s incredible firefighter movie BACKDRAFT, wrote and directed this one. He does everything by the numbers here, using tried and true camera angles throughout and taking no risks, thereby failing to put a personal touch on the work. The writing is circular and hollow, silly in places, and doesn’t hold up to the slightest theological scrutiny.

When the movie ended, I remembered my brother’s words from so long ago. “It’s Christopher Walken playing a bad angel,” and that is part and parcel of this film. In fact, that’s what they should’ve written on the back of the VHS box. Walken acts creepy and delivers his lines in that halting, oddly emphasized way of his. There’s a feeling of “That was cool” when the final credits roll, but nothing more substantial than that. Walken has made a career out of this unique delivery, utilizing it in such films as THE DEER HUNTER (1978), BILOXI BLUES (1988), PULP FICTION (1994), SUICIDE KINGS (1997) and SEVEN PSYCHOPATHS (2012)…. He’s got 123 titles listed on IMDb, and all of them have in common the “Walken Mystique.” I’ve heard it said that if you’re a casting director in Hollywood and you need to fill the “Walken Type,” you are stuck with having to cast Christopher Walken or re-define the type. This is his movie, plain and simple.

Viggo Mortensen and Elias Koteas share a moment in THE PROPHECY. If he’d had more screen time in his surprise role, Viggo would have stolen this movie from Christopher Walken

Elias Koteas, (LET ME IN, 2010), plays Thomas Dagget. He does a good job with the role, but with 82 titles beneath his name, he hasn’t exactly created a “Koteas Mystique.” Eric Stoltz,(MASK, 1985 and also PULP FICTION), shines as the angel Simon. He’s been in 115 movies, and what little I can find of a “Stoltz Mystique” is not very flattering. As the film rolls along, there’s a surprise role played by Viggo Mortensen, known mainly for playing Aragorn in Peter Jackson’s LORD OF THE RINGS TRILOGY (2001-2003) and Tom Stahl in David Cronenberg’s HISTORY OF VIOLENCE (2005). With only 55 titles to his credit, Viggo is well on his way to establishing a “Mortensen Mystique.” Virginia Madsen plays Katherine, the school teacher who teams up with Thomas to protect the possessed child from Gabriel. She will be best known as the protagonist of CANDYMAN (1992). She also played Tommy Lee Jones’s love interest in 1988′s GOTHAM. There is definitely a “Virginia Madsen Mystique,” but it may only affect me….

Altogether, watching this one a second time after so long, I was slightly more impressed with it story-wise, however it still felt like there was way more unsaid and unexamined than showed up on the screen, and I don’t mean that in a good way. Still, there was a lot of interesting acting from both Christopher Walken and Viggo Mortensen, and I’m always interested in watching Virginia Madsen grace the screen. If your aim is to watch any of these actors do their thing, you could pick far better showcases for their work. The story here remains uncompelling and unmemorable.

Original rating: 1 star.

Reassessment: 1 star.

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Scoring Horror: Interview with NATHAN WHITEHEAD

Posted in 2013, Barry Dejasu Columns, Film Scores, Horror, Interviews, Killers, Murder!, Music for Film, Science Fiction, Scoring Horror, Soundtracks, The Future with tags Futuristic Horror, Movie Scores, Nathan Whitehead, Soundtrack, the purge on June 11, 2013 by knifefighter

Scoring Horror Presents…An Interview with NATHAN WHITEHEAD
By Barry Lee Dejasu

It’s that time of year again, folks! Yes, Purge Night is here, where for twelve solid hours, any and every crime is 100% legal. So go out there and get your deepest, darkest urges on, and remember: all emergency services will be suspended for the duration of Purge Night. Good night, good luck – and have fun!

This is the world of THE PURGE, written and directed by James DeMonaco (LITTLE NEW YORK, 2009; also the writer of 1998’s THE NEGOTIATOR and 2005’s ASSAULT ON PRECINCT 13). In an alternate America where the regulated legalization of crime helps reduce its effects on the populace for the rest of the year, a family is preparing for another long, safe night indoors on Purge Night. This time, however, things don’t exactly go according to plan, a group of masked visitors come knocking…

The visitors arrive.

Such a grim cinematic tale naturally has to be told with a voice of thorough suspense. With all things visual and verbal being handled by the actors and the director on their respective ends of the camera, there is the necessity of bringing not only traumatic stimulation to the eyes and ears of the audience, but to subtly introduce tension and empathy to the soul—and for that, the music is key. For this purpose, composer Nathan Whitehead was brought in to unleash his talents.

Composer Nathan Whitehead

No stranger to cinematic tales of suspense and action, Mr. Whitehead’s credits include work on LORD OF WAR (2005), TRANSFORMERS: DARK OF THE MOON (2011), as well as TV and video game work. Mr. Whitehead was kind enough to share some of his thoughts on scoring THE PURGE.

BLD: How might you describe your score to somebody who hasn’t yet seen the film? (Or better yet: what kind of story did you try to tell through the music?)

NW: I would describe the score as dark, textural and fairly minimal. We wanted to convey a sense of unsettledness and dread surrounding what’s happening on this Purge Night, but we also wanted to explore what this means as a society. What does Purge Night say about us as human beings? With the music, I think we were trying to tell both of these stories; how can we survive this night and even if we do, what does that say about us?

BLD: What kinds of instruments and/or vocals did you incorporate for the score?

NW: The score incorporates a lot of synth and sound design elements which are both tools that I love to work with. There are strings in certain moments and sparse piano but also a lot of synth pads and textures. Even with the more electronic sounds, I tried to keep them organic and it’s difficult to discern what is an acoustic instrument and what is a synth. Almost everything was processed in one way or another too, so even if it started as a shaker or something it usually ended up morphing into something completely different.

BLD: Did you implement any unusual instruments or playing methods, or even construct any new kinds of instruments for it?

NW: Yes! I think “unusual instruments and methods” describes nearly the entire score. I really love thinking about the emotional content of sounds, especially things that on the surface might not seem to have any emotional content at all.

I was visiting my parents and there is an ancient microwave in their basement. The door on this microwave had this great spring rattle sound when you closed the door. It probably rang out for five or six seconds. I always travel with a little pocket recorder of some kind so I can grab any interesting sounds I find. So I put my recorder inside the microwave and slammed the door and got these great, growly spring decay sounds. I took this back to my studio and just started experimenting with them – distorting, filtering, weaving a bunch of them together to create a longer bed. Eventually I had this unsettling low throb that seemed to feel organic and odd and it became a central component of the score for THE PURGE. It just seemed to have this nagging discomfort and familiarity that felt right for what was going on. Most of the synthetic sounds in the score are made in similar fashion from some sort of real-world recording like traffic or wind through leaves or banging on a trashcan.

BLD: What were some particularly favorite scenes that you scored? (That is, if you’re allowed to be, or are comfortable with, talking about them)?

NW: Well, I don’t want to say too much, but I really loved scoring the scenes that highlighted the internal human struggle going on. Not just the struggle to survive but more the sinking realization or question of “What have we become as people? As families?” There are some great moments; just simple looks between James (Ethan Hawke) and Mary (Lena Heady), when we feel the weight of how messed up things have gotten—those were really juicy moments to explore, musically.

Lena Heady and Ethan Hawke star as Mary and James in THE PURGE.

BLD: You’ve worked in a number of genres and mediums. Do you wish to work more in a particular medium and/or genre than others?

NW: I’ve been really fortunate so far in my career to work on a wide variety of projects. I love that variety. I think working in different genres and mediums keeps things fresh and challenging and also allows me to continue to learn new things. Each project generally informs the others in one way or another, and that’s exciting.

BLD: What kinds of films do you enjoy watching, in general?

NW: It might sound a bit generic, but the short answer is I like films that are good stories. I love movies and storytelling in general because of their ability to make a human connection, whether it’s entertaining or challenging or terrifying or something else. I don’t think I can narrow it down to a particular genre; there are too many great but different movies out there!

BLD: What was your first instance of noticing music and sound in film?

NW: I guess the very first was probably RETURN OF THE JEDI (1983). It was my introduction to John Williams and STAR WARS, so that’s difficult not to notice. The theme from the TV show AIRWOLF (1984-1986) also was really exciting to me. Tim Burton’s 1989 BATMAN wasn’t first but I remember being amazed by (Danny Elfman’s) music in that movie.

BLD: Who and/or what are some of your biggest musical inspirations, in general?

NW: There are too many great ones to mention them all, but to pick a handful I would say Steve Reich, Arvo Pärt, Philip Glass, Fugazi, NOFX, Operation Ivy, The Cure, Bach, Carter Burwell, Danny Elfman, Mark Mothersbaugh, the list goes on…

BLD: What led to your film work?

NW: Music has always been very exciting to me. It has always felt magical or like a superpower. I’ve also always loved experimenting with electronics and gadgets and computers. Early on I remember playing with this Casio keyboard that my brother and sisters had as kids. It was an SK-1 so you could do really basic sampling with it. We would make either short stop-motion videos or skateboard videos and I would “score” them with the SK-1. It was a precarious arrangement to record the Casio’s output onto the audio track of a VHS tape and it meant that I erased whatever sound was there before. (I actually still have an SK-1 which I used a bit on THE PURGE.) In high school, I had played guitar in a punk band and started putting together a basic project studio. I really loved working in the studio. I started recording local bands in college and also creating music and sound effects for some short films. I think it just clicked that writing music in my studio for film (or games or TV) combined all these things that I love, things that consumed my thoughts and imagination anyway, so I should explore doing that for a living. After college I moved from Tennessee to L.A. and started working for a sound design company while writing music for any project I could get my hands on. Slowly I started doing programming and arrangements for other composers around town and that eventually led to scoring films on my own. I have been really fortunate to have some great mentors along the way, particularly Steve Jablonsky. He gave me some great opportunities and we still collaborate on projects today. I think there’s a huge part of film scoring that you have to learn on the job and it’s crucial to find those opportunities to learn.

BLD: Are there instruments that you haven’t yet used that you’d someday like to explore and experiment with?

NW: All of them! I have a pretty insatiable appetite for exploring and experimenting with new instruments. I am a guitar player but I’ve never used a real dobro; I think that would be fun to work with. I would also love to experiment with a cristal baschet. I know Cliff Martinez has one and I’m a huge fan of his work. It seems like such a beautiful instrument.

BLD: If you could re-score any pre-existing film (but preferably older ones, and the older, the better), which would you choose, and why? (Other composers have mentioned NOSFERATU, for example.)

NW: I would choose the original 1954 GODZILLA. Godzilla has always been one of my favorite monsters and I think it would be really fun to score all that mayhem and drama. Plus Akira Ifukube (the original composer) created Godzilla’s classic roar with, I believe, a double bass and I think that’s awesome.

BLD: There are tons of films always in the works. If you could choose and score anything in particular, which would you jump for? (Anything from a new documentary to, say, one of the new STAR WARS films?)

NW: I would love to work with the Coen brothers, Spike Jonze, or Michel Gondry someday and I would jump at any opportunity that came along. I would also love to score (Steven Spielberg’s) ROBOPOCALYPSE. The book was great and I’m very excited for the movie.

BLD: Would you like to add anything else?

NW: Thanks for the great questions, this was fun!

THE PURGE opened everywhere on June 7^th.

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Michael Arruda Reviews THE PURGE (2013)

Screaming Streaming: CASA DE MI PADRE (2012)

CINEMA KNIFE FIGHT: MAN OF STEEL (2013)By Michael Arruda

THIS IS THE END (2013)

Transmissions to Earth: THE INCREDIBLE MELTING MAN (1977)

The Reassessment Files takes a second look at THE PROPHECY (1995)

Scoring Horror: Interview with NATHAN WHITEHEAD

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