The K-Files - Hallow E'en

With all of the topics I cover here in the K-Files, its easy to feel like every day is Halloween.

Although horror movies, candy, and fake blood are a part of my usual routine, I do try to make an effort to up the macabre on All Hollows' E'en. But with so many choices out there on how to spend your night, I figured I'd do you all a favor and separate the tricks from the treats.

Besides, Halloween parties are overrated...Full Article.

Saw IV - Directed by Darren Lynn Bousman
Rated R for extreme horror violence, quite a lot of blood, and profanity.

***The Saw franchise is based on twisty, turny plots. Therefore, this review contains no spoilers. I hope you enjoy...***

Hello readers. I want to play a game. The rules aren't so simple: make a fourth sequential horror movie while keeping the story fresh and just as mind-screwingly awesome as the original. Just like all of Jigsaw's tests, this was no easy feat...but gal dang if Bousman and crew didn't pass it with bloody flying colors.

I'm going to start this review for those Saw haters out there; the ones disgusted by the franchise's popularity. This movie is not for everyone. This movie is not about the higher art of filmmaking. What this movie is, as I've come to realize, is just one big game. In the same way Tobin Bell as the dementedly genius 'Jigsaw' killer likes to play games with his victims, director Darren Bousman is playing a game with the audience. Each progressive Saw movie is about trying to up the tension. Up the violence. Up the sense of disbelief at what they were able to get past the MPAA board. It's about trying to trick an audience that's trying its best not to be tricked.

In these regards, Saw IV delivers on a scale not seen since the original.

As a director, Darren Bousman is certainly finding his groove. Whereas in Saw II he was basically copying the trademarks set by James Wan in 2004's Saw, his latest directorial attempt is a full throttle blend of sickly cinematography and an almost overwhelming intensity that has now become Bousman's style.

And when I say this movie is intense, do know that I mean it. By far the most unforgiving and graphic of the series, I don't recommend it to the squeamish or immature. If you had difficulties watching the brain surgery scene in Saw III, you'll be done after only the opening minutes of Saw IV. Case in point, the rowdy Friday night crowd I was forced to watch it with was shut up right quick...I'll just leave it at that.

Though I will say this: gore is one thing, suspense is another entirely. The first Saw is a classic because of the way it spaced out gore shots between periods of dialog that built up to them. If I were to give my biggest complaint with Saw II and III is that they forwent proper build up in suspense in exchange for more screen time for the traps. Saw IV is a step in the right direction, however. Although never as suspenseful as I would like--no scene compares to when Adam gets attacked in his apartment in Saw I--Saw IV does slow the story down, giving us time to grow interested in the cast of characters and anticipate what will happen next. At times, it plays out more like a sick episode of Law and Order than the trashy exploit cinema that some expect.

Also, I think it's worth noting that Saw IV will be a treat for those fans that have been following the series from the start. Each has made reference to the films before it, but this one more than the others really rewards you for your diligence. Almost as if the creators are thanking you for your support. Please, don't let this be your first Saw movie...go watch the others first. You'll get much more out of Saw IV if you do.

To close, I've got a message for anyone still on the fence about seeing Saw IV:

Saw has always been about twists. You'll find them here.

Saw is about imaginative set pieces and taking makeup effects to a new level. A new level is indeed reached.

Saw doesn't concern itself with minor plot holes like Jigsaw's seemingly supernatural clairvoyance. If that bugs you, it'll bug you in Saw IV, too.

But most of all, Saw is about an edge-of-your-seat onslaught of color and sound--one that will leave your head spinning as you and your friends try to make sense of what you just saw...This one will definitely keep the message boards busy.

Rating: 4.5 / 5

The K-Files - 30 Days of Night

There's a Grammy award-winning Godsmack tune titled "Vampires" that asks the question, "Few creatures of the night have captured our imagination like Vampires...What is it about the vampire myth that explains our interest?"

Whatever the reason, the box office success of Columbia Pictures' 30 Days of Night this past weekend is evidence that our fascination with the ancient blood-suckers is no less prevalent. Bringing the isolation and intensity of a zombie flick to the tried and true vampire formula, this comic book adaptation shows a different--grittier--side to the aristocracy of the night.

Just as Steve Niles' graphic novel marked a revitalization for the horror comic genre, this film adaptation of 30 Days of Night has the potential to bring vampires back to the forefront of horror cinema. Could vampires be the new zombie? Now might be a good time to stock up on garlic.

It took the revolutionary 28 Days Later in 2002 to spark what would become a zombie renaissance. The turning of the flesh-eaters from lumbering corpses into speedy infected would pave the way for a sequel, the Dawn of the Dead remake, and the return of the genre's founder with George A. Romero's Land of the Dead.

In many ways, 30 Days of Night is reminiscent of 28 Days Later. With its fast editing, shrieking antagonists, and ample bloodletting, 30 Days of Night takes us beyond Dracula's castle and brings the traditionally brooding vampire into our faces with the frenzy of blood-lust. No longer satisfied with simply seducing a few thralls and giving them a little bite on the neck, these vampires go for the jugular, ripping out the throats of their victims and bathing the sanguine flow. Let me be clear--this ain't no Bella Lugosi movie.

For the uninitiated, let me break down the plot before continuing. It truly is a great work of imagination; one of those ideas that seem so obvious in afterthought that you can't help but face-palm over the fact no one had thought it up until now. The story takes place in the small town of Barrow, Alaska: "The northern most city of the United States." Because the sun sets for a 30-day period each year, a group of vampires decide it would be the perfect opportunity to satiate their thirst without the fear of sunlight doing them in. It's then up to a small group of survivors, including the town's sheriff, Eben Oleson (Josh Hartnett), to hide it out until dawn.

The vampires of 30 Days are an odd bunch, to be sure. Lead by the Mafioso-esque Marlow (Danny Huston), it's a varied group unified only by their disturbingly twisted facial deformities, black on black eyes, and shrill shriek. Quite unlike the aristocracy of the Universal Monsters age vampire, but also markedly different from the vampires featured in The Matrix clones Underworld and Underworld: Evolution, they're somewhere between urban chic and Hot Topic denizen. More akin to something you might find in Michael Rymer's Queen of the Damned, their appearance remains in touch with the Jungian elements that made the vampire into the myth it is today, but also updates it with a sharp edge that our modern audiences can still find terrifying.

What really helps 30 Days stand out from the rest is its setting. One wouldn't think to associate vampires with the frozen wastes of Alaska, but the inhospitable locale adds a certain element of unease and most certainly a sense of extreme isolation. Such a setting was used to great effect in such films as John Carpenter's The Thing, and it is no less threatening here. I must say that I'm glad I wore a sweatshirt to this one, as it wasn't long before I too could almost feel the freezing cold of a white-out blizzard.

Were it for just the vampires and setting, 30 Days of Night could probably be considered a classic. However, the human aspect and some odd story choices really brought this movie down at the worst possible times.

Having read the comic before seeing the film, my opinion may be more biased than some, but certain changes to characters and the addition of others became an unintentional distraction. Even so, I also couldn't help but feel certain lines of dialog were either out of place or so low-brow that they could be intended only for the 'mall-goth' teen crowd. As far as the characters are concerned, the human cast is torn between being annoyingly stupid and whiny vampire bait. I swear I couldn't stop wishing that Eben's punk brother would get his neck eaten out. I also find it unfortunate that the roll of Eben's wife was changed so drastically from the comic.

It saddens me that a film with such a terrific plot, beautiful cinematography, and original enemy would be brought down by a cast of unlikable characters, but that does not mean that 30 Days of Night is in anyway a bad movie. It is without question a great Halloween experience and also a refreshing take on the vampire movie. Although not a genre classic like 28 Days Later, I do see this as being a possible inspiration for future vampire films. With a spin-off already being rumored, and plenty of graphic novel sequels to adapt, I think we may have a new franchise on our hands.

Rating: 7 / 10

For anyone with even a passing interest in the esoteric, I highly recommend you check out Tim Binnall's BOA Season 3 audio premier featuring Jim Marrs.

At just over an hour in length (split up between 2 downloadable MP3's), I'm not hesitant in any way to call it the most interesting remote viewing interview in many years. Everything from Marrs' re-released Psi Spies book to the US remote viewing program, Ed Dames and even a little bit of Ufology is covered to great detail under the casual and friendly guidance of host Tim Binnall.

Season 3 of BOA audio is available at Binnall's website, BinnallofAmerica.com, or via podcast on iTunes. Check it out.

The K-Files - Improving Coast in 5 Steps

There was a time when I couldn't bring myself to do anything else at night but listen to Coast to Coast AM. Now four years later I can't help but feel that I've lost that loving feeling for America's #1 all-night radio talk show.

For this there are many reasons. On a personal basis, my nights between 10pm and 4am are when I partake in the bulk of my entertainment activities. When I would have been usually listening to Coast to Coast, I know find myself torn between fall season TV programming saved on my DVR and the constant allure of a few Halo 3 matchmaking games on my Xbox 360. I tend to keep Coast on in the background during this, but I find I don't listen anywhere near as intently as I would before.

But I think the folks that run the show have a share in the blame in this new-found lack of interest. In even the short span of four years in which I've been closely following C2C, the usual guests and topics have grown rather stale.

All is not lost, however. I've wracked my brain this past weekend and have developed a five step plan to improve Coast to Coast AM. In a slump, lately? Tell me these wouldn't be cool...Full Article.

The K-Files - Fall TV Review

Back in August, I detailed in a two part K-Files special event my picks for the must-see shows in this current fall TV lineup. Now that I've had a chance to catch some of these season premier and pilot episodes, I thought it a good idea to go back and see if anything I wrote came to pass.

Although I wasn't able to catch every new show that I covered in my Preview articles, what I've seen so far has been a mixed bag. Up for review in this first part follow-up is NBC's Heroes, Journeyman and Bionic Woman. It's an interesting collection of both new and returning IP's spanning everything from a realistic comic book homage to over the top action/adventure.

Feeling like you'd like to get into a new show this season but aren't sure what's worth your time? Read on and find out...Full Article.

Review: Resident Evil Extinction - Directed by Russell Mulcahy
Rated R for strong language, graphic zombie violence, and brief nudity

Here's what I wanted out of this third Resident Evil flick: a balls to the wall, straight up work of epic corniness the likes only writer/producer Paul WS Anderson could deliver. I wanted unnecessarily awkward dialog, terrible CGI, fancy scene transitions, and Milla Jovovich performing outrageous kung-fu moves.

On this level, Resident Evil: Extinction delivered on almost all points.

Although not directed by Anderson himself, his well...unique style is still very much present in this sequel. Funny thing about Paul WS Anderson--his movies are above direct-to-DVD standards, yet have never reached a level of mainstream quality to be considered solid accomplishments. Extinction follows this trend with mindless plotting and an almost lovable fanboyish charm.

Almost...

In Resident Evil: Extinction, superwoman Alice (Milla Jovovich) wanders around post-apocalyptic Nevada deserts in search of supplies. In the wake of a zombie epidemic, the Earth has dried up and withered into a barren landscape for some unexplained reason. Now what remains of the evil Umbrella Corporation labors to find an answer to the infection in a series of laboratories buried deep under ground.

So much of the plot makes so little sense, the only explanation I could think of as to why it was presented as such was because Anderson wanted to break a record for the most rip-offs of other films in the genre. Among those that he borrowed heaviest are Day of the Dead, Mad Max, Dawn of the Dead remake, and Judge Dredd.

One scene in particular, in which a couple of scientists attempt to domesticate a captive zombie, plays out almost word for word from a similar scene in George Romero's Day of the Dead. Instead of an old rotary phone being used to show the zombie retained some of his former memories, a cellular phone was used in its place. A Sony Ericsson phone, I might add...they just had to through that Sony advertisement in there.

Basically, Resident Evil: Extinction is a mish-mash of every post-apocalyptic movie in recent memory that never manages to find its own sense of identity. Its pacing is off at best, the acting only slightly above laughable, and climax head-slappingly lame.

Still, its probably not only the best of the Resident Evil films, but one of Paul WS Anderson's best writing attempts to boot. But then, that's not saying much.

Go for the... possible conclusion to the first trilogy based (loosely) on a video game.

Stay for the... ridiculous Las Vegas shootout in which an army of zombies run out of a shipping container like some kind of demented clown car.

Rating: 6 / 10