Friday, October 24, 2014

The Purge: Anarchy (2014)

Society is sick and has problems. There you go, that's all you need in terms of social commentary. You goddamn geniuses. Now you're basically done with storytelling for the rest of the movie in your first five minutes; you know, like any good movie. What can we do to fill up the rest? Just throw in gunfights and chase scenes from the bargain bin of 12-year-old thriller films ripping off Panic Room! Then have some serious faced scenes reiterating the social commentary at the end by saying “God Bless America” a lot!

Yeah, I guess that's good enough. We can go back to snorting cocaine in the bathroom now.

Or that's my interpretation behind the making of this film, anyway.

Director: James DeMonaco
Starring: Frank Grillo, Carmen Ejogo, Kiele Sanchez

We start off this sequel to last year's The Purge with a bunch of people waiting to prepare for the annual Purge, the time space where all crime is legal for a year. Because it apparently makes the country better and helps the economy. If you can figure that one out, well, Ted Cruz has a space open for you right next to him on the campaign trail.

I guess the big change between the last movie and this one is that there are multiple different characters and storylines going on which converge eventually. But unlike most movies that try this, this one doesn't really try to develop it – the film just rushes through all the backstories with about as much caring as a hungover college student working on economics homework. 

If you want an example of the brilliant dialogue we have to look forward to, check this out, from some old lady talking about walking her dog or something: “He doesn't even like me anymore. He just wants to sniff your ass!” Well, thank you. Thank you so much for that gem of dialogue...

The two main girls are apparently mother and daughter, even though they look at most three or four years apart. I guess it's true, kids really are getting younger and younger. Their father is an old man who hates the Purge and also hates the new radical movement promising to destroy it. His solution is apparently to go offer himself to be killed by a bunch of rich people so his family can get money or something.

"There are probably easier ways I could have gotten you money, like cashing in those old savings bonds I have hidden in the attic, but I just like being dramatic!"

We never see him again and never see the money delivered to the girls, so this was an unpleasant, dark and nonsensical subplot that went nowhere. As you'll find out throughout the film, it's more interested in showing you DARK EDGY SHIT as a flimsy cover to disguise the fact that it has absolutely nothing to say. You know, showing bad things happening is good enough. That really drives home the point that bad things happen in real life. You guys are delivering messages we never heard of before!

There's also this other couple, who are considering getting a divorce and for some reason the most important aspect of this idea is telling the wife's sister. The husband, however, is having second thoughts and wants to reminisce about all the good times they had together.

You know, for all the insults I could hurl at this badly written plot, all that comes to mind is this: 

Their car breaks down on the side of the road, and now they're stranded on Purge night! Oh no! Even though you're clearly in an urban area and could easily find a place to hide all night, I guess this is now a big fucking deal. It's even more serious when the Joker's henchmen from The Dark Knight show up:

Not as scary without Heath Ledger, are they?

I guess the last main character is this guy, who is gearing up for some kind of revenge by trying all of these guns for the first time right now despite the fact that the Purge starts up any minute. Pfft. Being prepared is for nerds! 

"I bought these guns from some guy who repeatedly assured me while sweating profusely that he was NOT a cop in disguise trying to bust illegal gun buyers!"

The two Hispanic girls are in their house when their fat Breaking Bad wannabe landlord barges in and tries to kill them for not saying hi to him in the hallway, or some shit like that. Really not sure how this guy expects to keep any tenants the rest of the year if THIS is how he treats them now, but whatever; clearly that isn't a big deal at all in this universe.

"Conditions of your lease if you live here include no pets, don't leave any lasting damage on the walls, floor or bathroom, clean up after yourself and give me blowjobs whenever I break into your apartment and violently demand them!"

And ooh, such edgy social commentary about how people would KILL other people if it was legal because human beings are all scumbags deep down with no redeeming qualities! You're really doing a lot of good for the world by preaching that incredibly stupid, inaccurate generalization that has no basis in reality! You definitely shouldn't be eaten by a pack of rabid hyenas for perpetuating this kind of tinfoil hat nihilistic nonsense!

What follows after that is some pretty generic action/thriller bullshit, mostly full of dark alleys and running around and exclaiming banal things that wouldn't need to be said in real life, but are said here to explain what's going on. Like a character will say “oh no, we're surrounded!” No shit, really? I couldn't tell because I have tunnel vision and only see in one direction.

We have to use our legs to run or else they'll catch us, and if they catch us it'll be bad!

Or the badass “leader” dude will go “Duck! Keep moving! Go!” like a billion times when they're running away from people with guns. Oh really? When I saw that guy coming at me with an Uzi and shouting that he wanted to kill me, my first instinct was to stay here and enjoy the scenery, maybe camp out for a picnic!

Oh no, he's got a gun and that gun could probably kill us, and if it kills us, we're dead as fuck!

Dialogue is easy when you're a shitty writer with no real story in mind. You can just have various characters describe what's happening on screen and that will apparently, through some hellish sorcery of which I know not, make them three-dimensional characters. Teach us more of your magic, O Great Wizard.

There are some brief attempts at building character here and there, which mostly amount to this girl wiggling her eyebrows while the “daughter” (HA!) and that bland leader guy do some very, very minor flirting. Her eyebrows are the best actors in the movie.

At some point, they go to one of the characters' friend's houses or something, who is some annoying girl getting drunk off her ass while the rest of her family just sits around and acts miserable about that. Her husband comes in, who I'm sure is actually her cousin or something. Hello, West Virginia! 

What, did you escape from Texas Chainsaw Massacre?

Then that girl's sister, who she called fat a bunch of times in some passive aggressive way, goes insane and shoots up her entire family, because you know, your sister being a bitch is definitely a reason to murder your entire family. Because really, this scene is a mirror of how all American society really is, under the surface. This movie sees the TRUTH, man. Preach it! 


One of my favorite moments is when the grandfather kneels over his dead, drunk daughter's corpse after she was shot like five times and goes “Is she dead?” Well, maybe not. Try doing a rain dance over her body and then reciting from the Necronomicon – that ought to show if you she is or not. And it'd be more entertaining than anything else in the movie.

Out in the streets we get some more boring chase scenes, followed by more dialogue comprised of nothing but pointing out the obvious. It's really starting to get old at this point and I'm starting to see exactly how much I'm not exaggerating at all when I say all the dialogue is like this. It's seriously all there is in the fucking movie! No character development, no story being told, just telling us what we're seeing on screen!

Then they get kidnapped by a bunch of guys and shoved in a truck. I love the scene inside the truck when they're tied up and the main girl is like “Why are you doing this?” and the guy is like “Oh, we need money.”

Yeah you know...the same kids that these rich people would normally be trying to kill are now working for them. Awesome.

You need money? I guess getting a job or something was out of the question. “Hey, man, I heard Walmart was hiring down the street.” “NO! Fuck that! We're going to kidnap innocent people and truck them off to be killed on Purge Night!” “Won't that leave us with little income the rest of the year since this is a one night event?” “Ssshhhhh.”

Yeah, you know how it is – making sense isn't for cool kids anymore.

And get this – apparently they're shipped off to some fancy looking building owned by a bunch of rich people. Because in this world, being rich means you want to kill people randomly for sport. They don't have a reason to or anything – they're just bored. Being rich means being evil, and it doesn't matter how many rich people in real life donate to charity, help out good causes or propagate good things in the world – they're all just evil and want to kill the poor people. Glad the movie is keepin' it real.

"So what do you want to do after this?"
"Kicking puppies and stealing from orphans sounds good."
"Yes indeed...after all we are rich and that's all we do!"

Then they get hauled out into a discount Hunger Games arena and are hunted by a bunch of people wearing night vision goggles. Although we see those goggles don't really matter when the main guy can just jump them and take their guns and kill them instantly even without goggles. Either he's just got super vision or the room isn't that dark and you're just tools for thinking you needed night vision goggles. 

"You'll have to excuse how bad I am at this whole hunting humans thing! I've only ever done paintballing before this! I'm not exactly Count Zarloff!"

So then the one white married dude is kneeling down with his wife, and she tells him she still loves him – I guess being nearly killed several times is the cure for divorce. Start spreading the word! Except apparently her declaration of love is poison, as he then gets shot to shit.

"Hey honey, the shitty script thinks people in real life actually make up and decide not to divorce after a ridiculous scenario like this!"
What an ironic coinkydink...

I don't know how only HE got shot, seeing as they were all kneeling in the same place, but whatever! Continuity and making sense is for assholes.

Then the rebel leader guy comes in and the wife says she now wants to Purge, so she joins them and starts shooting shit up. Which is confusing, seeing as the rebel guys are all about ENDING the fucking Purge, but I guess this is supposed to be the movie's way of telling us that it's a gritty, hard-line, violent world and even the supposed good guys aren't that good. Except it doesn't work when you're not really saying anything besides that – just making a statement and showing us something doesn't work by itself. You need context and some kind of point.

If you can believe it, we actually have another last-minute plotline to cram into this movie's nonsense – the badass cool leader guy was actually on a mission all night long to go kill the guy who killed his son. Apparently it's some white-collar doofus who was driving at three times the legal Blood Alcohol limit and then somehow “got off on a technicality” after running over his son – because “getting off on a technicality” is the kind of vague story element you use when you don't know what you're doing.

Badass cool leader guy goes inside and wakes up the guy and points a knife at his face, forcing him to tell him “what his son looked like.” I dunno, the guy's only real answer is “I DON'T REMEMBER, I WAS REALLY DRUNK!”


Then we cut away and see badass cool leader guy coming out of the house. He gets shot by some other jackass, who comes up and goes on a long monologue about why the Purge is good for the country and all kinds of other psychobabble saying the same thing in different ways, that basically amounts to one thing: word vomit. You're really not even saying anything at this point, movie – you're just saying words to hear them come out, like a really annoying little child. And like most annoying little children, those of us who are adults will look upon this with condescension and promptly not take any of it seriously.

Frankly I'm just amazed this movie remembered there was colors aside from dark blue and green.
Then that guy gets shot by the hapless DUI child-murderer guy who the cool leader guy initially came to shoot – yes, apparently at the last second he had second thoughts, and now the would be victim saves the leader...for some reason. I don't know; it's hard to care about this story when we didn't know any of it until the last 10 fucking minutes of this movie.

People, this is not only the worst movie of 2014, it's also one of the worst films I've ever seen. I just hate this whole thing. Not only is it a poorly written mess with no characters, bad camerawork and a flimsy, dull storyline, it's also a complete hack-work when you look at it from the point of view of its ideology and message.

The film wants us to think it's smart and edgy with this whole “THIS IS WHAT WE'RE HEADING TOWARD IN 'MURICA” message, trying to tell us what we're seeing in this movie is a reflection of our societal climate right now – i.e. lots of violence and disarray and nothing else whatsoever. Well, if you think this movie is an accurate depiction of where the world is going right now, my suggestion is don't breed. Sterilize yourself. It's probably better for humankind as a whole.

She can see you any time now. In fact, you're first in line!

The movie's idea of social satire is to tell us things get SO bad that the government would actually “solve” the problem by making crime legal as a way to kill off those on the underbelly of society. Except really, there is no solution offered here, no greater purpose or message except “people are shit and they will kill each other for no reason.” If you want to have a nihilistic, depressing message, fine; but do it with more taste than this.

Because there's just no class to this. It's taking a complex issue like class warfare and the divide between rich and poor and boiling it down to “LOL! They're all just violent and would kill one another at the drop of a hat if given the chance!” No – there are far more pressing issues than that. The rich people are depicted as soulless cardboard cutout Saturday morning cartoon villains, and the poor are depicted as either crazy or babe-in-the-woods helpless, which is actually another level of there are no poor people in this world with the street smarts, weapons or resources to fight back? Are they really that much at the mercy of these rich people hiring mercenaries and shit? Seems to me like the writers just didn't know that much about real urban crime and violence - maybe stepping out of your parents' basement once in a while would have helped.

This picture probably isn't actually of the movie's writer.

Beyond even that, we come to the issue of the incredibly thin and transparent plot – this is a film where bad things happen just to drive home the despicable point I talked about above, which is that people are shit and bad things happen. There's really no attention paid to character or build up here. The girls' grandfather sells himself to be killed, and then it presumably happens and we don't see him again. The husband dies at the end and the wife becomes a bloodthirsty killing machine, and that's the last we see of her. These aren't characters, they're strawmen set up to prove the movie's shitty message: LOOK! THEY'RE ALL BAD PEOPLE! BAD THINGS HAPPEN IN LIFE! You puddle of shit.

It's just so fucking deplorable of a thing to say in a film. The worst part of it all is that there really was no care or direction to the message delivered here. This movie was just made so the filmmakers (and the audience, by extension) could feel smart and above the sheeple in society by pointing out where (according to their gross misinformation) we're really heading.

The people who wrote this don't really care about society's problems; they're just using those problems to feel like they're smarter than they really are, like they're in the privileged position of “knowing” while the rest of us are all ignorant masses.

Like a lot of bad dystopian stories, there's a big sense of smug self satisfaction reeking off this like corpse rot.

I really, really can't see much of an argument for enjoying this film or finding it intelligent or thought provoking. It's the lowest kind of trash in cinema. Let me tell you something, makers of The Purge: Anarchy – this is NOT a reflection of society, nor is it a statement about human nature. People are better than you think, and the world does have problems, but they're more complex and nuanced than you probably understand or comprehend. This movie is awful, plain and simple.

To put it simply, you failed at everything you were trying to do.

Images copyright of their original owners; I own none of them.

Saturday, October 18, 2014

Fright Night (1985)

These days, movies like The Wicker Man (remake) come out where they get famous based solely on a few minutes of schlocky fun, when really the rest of the movie isn't like that and is, for the most part, a sizable step down in quality from said schlocky fun. But the film gets “so bad it's good” praise from people anyway despite the fact that they're really just praising that short few minutes of schlocky fun.

Well...everything has to start somewhere!

Director: Tom Holland
Starring: William Ragsdale, Chris Sarandon

Fright Night is a 1985 horror comedy that got a lot of lip service back in the day, which I'm pretty sure was for the bangin' 80s music and visuals. Yeah! Shake those hips.

The 80s was the only time you could get your party on and get a relaxing back massage at the same place.

But the movie doesn't start off with such extravagant extremes, no; instead we get a much humbler opening of main character Charley Brewster almost having sex with his girlfriend Amy, but she pulls back at the last second, feeling nervous I guess. Then she changes her mind again and wants to do it, but by that time, Charley's goldfish-sized attention span has gone to the next logical place – the weird stuff happening across the street, like new neighbors moving in.

You know, the common hierarchy: New neighbors are more important than sex. Just how it goes, guys.

"Honey, your total willingness to have sex with me is less important than two guys carrying a box around outside. We have a good relationship!"

Downstairs, they get into a fight because he didn't want to have sex when she was ready. Uh excuse ME young lady, but weren't YOU the one refusing HIM sex like five minutes ago? You guys have as much synchonicity as two parallel lines running for miles without intersecting. People on other sides of the planet have better chemistry. A blind guy and a deaf girl could connect better.

The mother, even despite hearing this conversation, continues planning her son's marriage to this girl. Are you just really desperate? I guess the fact that Charley, given the rest of the movie, was able to land a girlfriend at all was so mind-fuckingly, rainbow-burstingly amazing to her that she now insists he marry the chick before he screws it all up as she knows he will.

But it's okay – there's a vampire moved in across the street! Charley knows this because he's apparently related to that jackass from From Dusk Til Dawn 2 – think about it; the same vacant stares, the same lack of any likability AND the same paranoid delusions about vampires validated in implausible ways! Plus they both get distracted from sex by what's on TV. Long lost brothers, you have finally found each other.

You can tell by the identical vacant, wide-eyed stares of dumbfounded idiocy on their faces.

Although overall, Fright Night is the better movie. Why? Because the main character in From Dusk Til Dawn 2 never got the hamburger in the face he deserved:

*slow clap*

So apparently the story here is that Charley saw some really hot prostitute going over to the house next door and then saw her later get killed by the guy next door, who is a vampire. He knows he's a vampire because he was spying on the hot naked chick and then saw...well, vampire shenanigans, I guess is the best way to put it!

"I could have had actual sex with a willing girlfriend if I hadn't been such a dick-cheese and spent more time looking out the window! BUT BOOBS! OOOOHHH!"
That's another thing - a big plot point throughout the first act is Jerry the vampire mad at Charley for exposing him. But Jerry has no fucking problem leaving a window open while he's showing off his vamp powers? C'mon, man - get with the program.

The next day he sees a news report that says a “known prostitute” was killed last night – i.e. the same chick Charley saw in the window. But, uh, how does one become a known prostitute to the level of being mentioned as such on the news? How did she get such a reputation? Maybe she has a Facebook page. Yes, I know it's 1985. Shut up.

Charley calls the only black guy in this movie's world, a cop who comes over and investigates with the panache and professionalism I expect from dumb 80s horror movies – he basically acts like a debate moderator. He lets Charley hurl wild accusations and then turns to the guy at the house and goes, “Well, what do you have to say about that?” Dude, nobody's getting points for the strengths of their argument here. Fucking do your job, or go home.

He's my third favorite movie cop. Right behind the guy from Dead Silence and Danny Glover in Predator 2.

After the vampire dude's helper convinces the detective nothing's going on, Charley storms out after the detective screaming like an insane person that VAMPIRES EXIST! Because that's sure to win him over, ya know, like it does most good cops. I love the way the detective screams at him before he gets in the car – he says if Charley bothers him again, he'll lock him up FOREVER!

"I regularly kidnap law abiding citizens who annoy me and lock them up in grimy dungeons with no hope of escape! SO DON'T CROSS ME, BOY!"

Well, I do agree Charley needs to be locked up. But I don't know if you have enough evidence yet. Give me a call sometime, man; I'll help you plant drugs in his room so you have probable cause.

Then Charley goes to find his TV hero, Peter Vincent, who makes a living as a character even less credible than the Crypt Keeper. But for some reason, Charley seems to think this guy is the answer – a fucking TV actor is apparently the most credible expert in this world.

The common expression anyone who interacts with Charley gets within thirty seconds of speaking to him.

Are you going to call Christopher Lloyd next time you need help on your science project that involves traveling back in time? Maybe call Bill Murray next time you need help fighting a ghost?

I guess it's a funny enough scenario for a comedy, but I just have to wonder about Charley's sanity at this point. Maybe the kid who starts believing in vampires in the span of two seconds looking out his window, to the point where he decorates his room with some rather questionable feng shui:

He's a born again idiot.

...maybe it's time to start asking around about which mental hospital has the best security, hmm?

Either way, we can all agree on one thing – the kid playing Evil Ed was clearly directed to act like he was on a manic drug trip with no clear stopping point.


I just don't know what to say about this except that I really want to go back in time myself now and see what exactly director Tom Holland was telling this guy: “Okay, act like you're strung out on heroin, haven't slept in four days and just took a triple shot of Espresso to compensate! And like you were also raised in a den of insane clowns in a traveling circus. Yeah! Now we got this horror movie performance down.” Oh 1985 – never go away.

Also, what's up with Amy's clothing choices? Is she just wearing the entire GoodWill catalog's fall edition? I mean fuck, it's not that cold, woman – you can take off a sweater or two!

But this is all just window dressing for the main plot of Charley, Ed and Amy getting Vincent to come with them and prove the neighbor, Jerry Dandridge (you know, a name I would expect any fearsome vampire to have) is a vampire. They do this by making him drink some fake holy water. When Charley tries to point a cross at Dandridge, which actually makes him flinch and recoil, the rest of the gang tells him don't be silly, etc.

"My, what big fangs you have."

You idiots, all he has to have now is a fucking neon flashing sign saying I'M A VAMPIRE to be any more obvious! How do you not see it?!?

But I'm not one to just bash ONE side of stupidity – I also think it's pretty lame how douchey Charley acts when they're all walking home later, just screaming hysterically about vampires and insulting his supposed “friend” Ed. 
As much as I think the Ed character was probably a product of drug-induced insanity, at least he's funny. Charley right now is about as likable as pond scum. Yeah man - you insult your friends and sulk like a big crybaby. You won this argument.

So after a dumb joke where Ed pretends to be attacked, screams and worries his two friends, they part ways and then hear him scream again. Even though it's been several minutes and he has no reason to do another joke exactly like the one from before – it's a horror movie convention that they do the whole “boy cries wolf” routine and ignore him. Even though THIS time he really is in trouble!

"It is I, Fabio's obscure vampire cousin, here to put you out of your misery!"

Yes, now he's a vampire. And also the thing everyone remembers about this movie – nobody really cares about the rest of it; just Evil Ed the vampire. He pretty much acts the same as he did before this, which is to say he acts like a man in the throes of a psychotic breakdown. But now he has a voice that sounds like your grandmother after someone dropped a piano on her pinky toe. So there is that...

He just wants a hug. Though I understand if his scenery-chewing abilities frighten you. He could devour you whole, and not just because he's a vampire.

In addition to that wonderful addition to cinema canon, we get a scene where he has a cross burned into his head. I'm sure he'll have fun attending Westboro Baptist Church meetings from now on.

Meanwhile, at a dance club, Jerry Dandridge (they really couldn't give him a cooler name? Even something generic like Lord Darkness or something?) seduces Amy and takes her away – because I guess 1980s glitter and neon lights just make anyone look more appealing. He takes her back to his house and plays Dress Up like a Toga Frat Party:

Only I'm not sure those parties usually had biting involved. Eh, maybe they did.

So I guess Charley and Vincent team up to go to the house and fight Dandridge. Dandridge's henchman shows up and Vincent ends up shooting him in the face – it would have been funny if that was just the end of it, but alas, he's been turned into a vampire now. So like most of the time when you kill a vampire, he melts into Nickelodeon slime. 

Iiiiiiiiiit's slime time!

We get some more really drawn out scenes, with one really memorable one in the mix somewhere – it's when Peter Vincent goes over to Charley's house and finds Evil Ed under the covers of Charley's mom's bed. After some truly silly and hammy lines where he somehow makes the simple explanation of Charley's mom leaving dinner in the oven for him sound like a goddamn theatrical production. Gee. Really reaching for the bottom of the barrel there, huh? Really no better jokes you could have used than “Dinner's in the oven”?

Then Ed turns into a wolfman and fights Vincent that way. Unfortunately, every hammy over the top 80s performance must come to an end.

"Dammit, another incident where I end up alone in a stranger's house with a naked teenage boy."

Good thing, too; if he had kept going, he probably could have created a black hole and sucked up reality into an alternate dimension where this kind of acting is considered Shakespearean. And that world, my friends, is one I tremble to imagine.

When Vincent gets back over to the other house, they have an extremely long fight scene during which time I'm positive the casting crew, makeup artists and others had time to do their nails, read the rest of Moby Dick, work out real estate deals for new houses, write shitty scripts for unmade Fright Night sequels and work on their memoirs for appearing in a film that somehow drags out this story to two hours.

"I will not be killed by Ray Harryhausen scraps!"

I'm sorry, I was dozing off a bit there.

Anyway, they kill him by punching holes in the wall until he explodes and then driving a stake through his heart, which somehow makes him stand up as if he were a yard rake and you stepped on its teeth.

And he also makes squeaky noises if you punch him in the face.

Either way he's dead and the whole thing is finally over. Amy even turns back into a human, which I didn't know could happen – but hey, vampires. They're wacky! I think mostly they just wanted to spare the world more of this "vagina face" style makeup job:

Eugh. Did somebody just fall asleep when they were doing her face?

So then the movie ends with Charley and Amy back in his room having sex again. Because she's such a good catch, he of course gets distracted by the TV again, proving that he has learned nothing and that they are truly made for each other.

Oh ho ho. In their future I see plenty of nights where the deep hatred stewing between them reaches a near-boiling point as she tries to give him a handjob after making dinner and cleaning the house and he shrugs her off without looking at her because hey, Sons of Anarchy is on and he wants to see what happens next. After months of turgid arguments where she cries how he just doesn't understand her and he says what do you want from me, and she says I just want you to listen to me for once, and then he just shrugs her off and goes down to the bar for a drink and to watch the game in the peace of all the other tired, frustrated old men, and he comes back to find that she's trashed the place in a rage, spray painted FUCK YOU on the walls in bright purple, and gone to live at a lesbian nudist retreat for the rest of her life.

At least I think that's how it goes. You can change up a few details if you want. Never let it be said I don't make this blog interactive – you can give 'em a happy ending if you like.

This movie is just silly. It's got a funny premise and the story moves along okay for the most part, but it's too long and the main character is just a douchebag through and through, with no redeeming qualities as a character. I mean, he's just so lame. I really thought this movie could have been way better if it focused on another character entirely - maybe the story from Ed's point of view would have been good, as he's actually a likable character and elicits a little bit of sympathy. Or from Peter Vincent's point of view, as he seems like he has more invested in all of this.

Charley is just a boring, awful little douche, and really just shows the limitations of so many of these kinds of films - focusing on the most boring cardboard cutout of a suburban white kid just to make it "relatable." We could have had a potentially interesting, funny flick, but what do we get?

Eugh. I get it, the point of the story is a kid who thinks his new neighbor is a vampire. Keep him in the story, sure; but at least do us the courtesy of having a better character be the main focus!

The Evil Ed stuff is funny, and there are some other clever bits, but it really does start to drag as it goes on and it should have been trimmed by at least twenty minutes if not more. It's obviously better than The Wicker Man remake which I mentioned earlier, but I really do think most of the fame tends to stem from the Evil Ed performance - it was the most memorable part of the movie. It's a fairly well made film though and I can see how it was popular back in the day. But I'll stick to Re-Animator for my gory laughs.

Images copyright of their original owners; I own none of them.