If you’re a woman in a horror movie, yours is often a lonely existence. If you haven’t been hacked to pieces or eaten before the end of the movie, you’re probably the lone survivor of the killer’s rampage. Whether you climb into the back of a conveniently passing pickup truck, float out into the middle of the lake in a canoe or get saved at the last minute by Donald Pleasance, you’re the Final Girl. Your friends are all dead, and you have to make it through the last act of the movie all by yourself. Being a woman in a horror movie usually means you either become self-reliant, find a man to save you, or you die.
That’s a big part of the reason why I found “Patchwork” to be so refreshing, because it’s one of the rare horror movies I’ve seen where the focus is on the relationships between women. Even if it’s not entirely successful in that regard, it’s at least attempting something different. Rather than make its lead characters stronger by isolating them, “Patchwork” focuses on its women surviving by getting closer together. You literally can’t get any closer together than the women of “Patchwork” do, as a matter of fact. Continue reading
The art of movie making essentially is a sleight of hand trick. The filmmaker’s craft is convincing the audience that what they’re seeing is real, in a limited sense. What works in filmmakers’ favor is that they only have to make what’s directly in front of the camera seem real. The movie screen creates a very thin slice of reality that only exists as light and sound. By carefully selecting the evidence and manipulating it in front of the camera, a filmmaker can make an audience believe in something, even if that belief is fleeting. For example, Steven Spielberg knew the robotic shark built for “Jaws” wouldn’t be as convincing to an audience as he had hoped. But, by carefully choosing how much of that shark to show and when, coupled with John Williams’ music, Spielberg made an entire generation scared to even dip their toes into a swimming pool. Continue reading
The original “Death Race 2000” isn’t just a nearly perfect slice of drive-in junk food, it’s one of my favorite movies ever. Working off a recipe that balances black comedy, action and sleaze in precise proportions, director Paul Bartel and writers Robert Thom and Charles Griffith created one of the best and most entertaining products to ever come out of Roger Corman’s schlock market. It would take more than another movie to combine road racing with wholesale slaughter to clear the bar set by “Death Race 2000,” and “Death Race 2050” certainly tries. Continue reading