- Marshall Accepts Bid to 2013 Military Bowl Presented by Northrop Grumman
- Marshall Falls to Rice in Conference USA Football Championship
- MILITARY-INDUSTRIAL COMPLEX: Defense Dept. Contracts for Dec. 6, 2013
- Ellen Wilson First Spouse Gold Coin Available December 9
- BOOK REVIEW: 'The Devil's Son': WV Native's Novel Focuses on Cap Hatfield, Who Ended the Famous Feud Between the Hatfields and McCoys
- Richard Cordray, Director of the Consumer Financial Protection Bureau, Discusses Mortgage Rules at Consumer Federation of America Meeting
- BOOK REVIEW: 'The Eternal Wonder': Pearl Buck's Last Novel Manuscript Discovered in Texas Storage Unit
- FLASHBACK: Transcripts Reveal Technetium, Neptunium and Plutonium at Huntington Pilot Plant Concern Over Parking Lot Radiation Expressed
- National Influenza Vaccination Week: December 8-14, 2013
- WSJ Wasteland Series Continues in Pennsylvania where Uranium Processing Site had "Birdcages"
Horror Flicks Frighten Up Favorable Screams
Second, the Naval mass shooting has revived simmering debate concerning violent video games and violent flicks.
On the trouble with mega budgeted tentpole summer film offerings that tanked (“Lone Ranger,” “RIPD,” “Pacific Rim,” etc.), the buzz nearly always emphasizes the BUDGET. Hey, get a grip, it’s the story stupid that brings moviegoers to the big screen complexes. They don’t care about the amount of $$ spent to produce if the execution is not entertaining.
Late in the summer, the low budget “Conjuring” leaped to the head of the boxoffice charts. It zipped to $100 million in sales, even with a paltry $20 million dollar budget. Why? It scared, shocked, and entertained viewers. “You’re Next” scared the flippers off everyone by its cunning twists on the “And Then There Were None” standard at an isolated retreat of the almost super-wealthy.
“Insidious II” has continued the string of horror hits. Likely, the reimagination of “Carrie” will pack auditoriums too.
“Insidious” sequel viewers found a furiously paced story that took advantage of visuals to assist in transitions. This cuts down on the need for narrative explanations and audience head scratching.
Switching between life and a dark, misty afterlife way station, director James Wan astutely and artistically decided that depicting the real world sequences mostly in light and the netherworld with misty darkness quickly cuts to the would-be convoluted premise with ease.
Interestingly, the new horror roll outs have avoided the extreme torture visuals that dominated franchises such as “Saw,” of which Wan directed in 2004. This decision calms the race to depict that which is the most gross and avoids the explicitly violent label. Look for “Machete Kills” to again test the bloody slashing torture limits when it debuts in October.
“World’s End,” the drinking buddies “Big Chill” reunion featuring Simon Pegg mixes a comedic revival of the good ole days of barhopping for a group of middle aged dudes. The drinking marathon takes a screwy, yet interest reviving, “Invasion of the Body Snatchers” styled twist. If you wrote this one off as simply an intoxicated comedy, don’t. The invasion premises salvages this one.
As the fall movie season awaits the Hunger Games follow up, the questions awaiting resolution by you the social media users are whether the romantic comedies “Baggage Claim” and “Don Juan” will woo, how many favorable twits will accompany the Wiki-leaks inspired, “The Fifth Estate,” and whether Brad Pitt convinces as an attorney plunged into the world of drug trafficking (“The Counselor”). George Clooney and Sandra Bullock seem to be shoe-ins for “hit” status when “Gravity” opens in which they are cast adrift in outer space.
There’s still time at some cinemas to catch “Getaway,” which has more zinging chases than such classics as the “French Connection” or “Bullett,” sustains the dodging and smashing with an the actions of a terrorist manipulating the driver.