Word: slashers
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Dates: during 2000-2009
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...only their second or third film in a genre that many critics willfully ignore. If there's a nascent Stanley Kubrick or Steven Spielberg in the mix, it's still too soon to tell. But there's certainly innovative filmmaking under way that rises above the mindless slasher sequels of the '80s or such predictable teen-star killfests of the '90s as I Know What You Did Last Summer...
...dark place of a movie auditorium is a last refuge from reality. The trailer for United 93 has upset viewers with its gritty evocation of that day, especially a shot of the plane hitting the second tower of the World Trade Center. Audiences who wouldn't flinch at slasher movies and serial-killer thrillers have shouted back at the previews. A multiplex in Manhattan yanked the trailer after complaints from patrons. Some were angry, some in tears. They felt violated to see, in the guise of entertainment, a pinprick reminder of a tragedy for which Americans still grieve and which...
...most striking performance I saw this summer was “Junebug”’s Amy Adams, an actress who, like Virginia Madsen before her, dragged herself up out of slasher movie purgatory into a film in which she so fully embodies her character that the two may forever be inextricably linked. Adams is Ashley, the pregnant North Carolina native and self-appointed welcoming committee for her new, blue-state sister-in-law into their small town. With those impossibly doe-like eyes and confident drawl, Ashley is a woman satisfied because she fully understands everything...
...although the expected buckets of bodily fluids are there, “Venom” lacks suspense and tension. The killer’s identity is known from the beginning, eliminating the whodunit element so crucial to keeping most slasher flicks watchable. And when the fiend is not killing people during the day, he’s driving around town as if his tow truck were an ice-cream truck...
...scene is a great one, awesomely played by the two actresses. The way terror can suddenly appear in the midst of banality, the basic irony that is the source of most modern horror fiction whether it be crude slasher pic or elegant Hitchcock classic, has never been more eloquently or economically stated. For Ana, at least, there is relief in hysterically speaking at last of what has been, for her, the unspeakable. For Alicia, however, the friend's nightmare only hints at the one that she herself is to face. Under the terror imposed by the junta, which ruled Argentina...