It’s been a while since I’ve stumbled upon a decent horror film (the last one being Shaun of The Dead, which was unquestionably more comedy than horror, so I guess that brings me to Joy Ride)-out of the thousands of horror flicks produced every year, a majority will inevitably revolve around predictable plots, laughable scripts, flat characters and formulaic monsters or villains that neither scare nor move us.The best horror films infuse the right amount of gore, sex and fright-horror films weren’t made to be taken seriously, unlike say, films about human experiences, they are almost completely fictional (with the few that doubtfully claim they’re based on true stories or long-running myths) and play on our fear for the unknown, to actually scrutinize one’s script or story for points would be utterly pointless-other factors that contribute towards the film’s overall scare effect should be considered instead, although it’s essential that a horror film maintain a certain amount of logic to it-yes aliens, giant cockroaches and singing vampires are acceptable as audiences are more than willing to put their common sense aside (to a certain extent) to enjoy the perplexity of imagination-anyways, Slither struggles but somehow manages to retain this balance, and the end product is a decent horror film that terrifies and disgusts,with enough humour to balance the seriousness out. Moreover Slither has an overall smooth feel to it (scenes seamlessly blend together and rarely does the intensity fade away) and it avoids the aforementioned clichés including the insufferable sudden loud sounds or appearances that merely shock us briefly or excessive use of special effects-also, the film has an admirable creativity and risky approach that a lot of horror films refuse to venture-for example: two scenes in which the slugs terrorize the town Country Music plays in the background and this makes it doubly interesting somehow, plus at the shallow core of Slither lies a feeble love triangle but the focus remains on the horror and this weak romance rarely floats into sight (plenty of horror films unsuccessfully attempt to infuse meaning by bringing in an unconvincing love story that is foolishly made the film's focus, but Slither knows its limits and refrains from doing so-therein lies its withdrawal from desperation).However Slither is nothing to shout about, decent doesn’t necessarily equal to classic or amazingly brilliant (such praise i felt deserving for 28 Days Later), but it sure is a fun ride and solid B-grade horror movie (with a surprising 84% rating on RT) it deserves some praise for being significantly more superior than the multitude of wannabe horror films that bombard us nowadays.
31.1.07
Slither
It’s been a while since I’ve stumbled upon a decent horror film (the last one being Shaun of The Dead, which was unquestionably more comedy than horror, so I guess that brings me to Joy Ride)-out of the thousands of horror flicks produced every year, a majority will inevitably revolve around predictable plots, laughable scripts, flat characters and formulaic monsters or villains that neither scare nor move us.The best horror films infuse the right amount of gore, sex and fright-horror films weren’t made to be taken seriously, unlike say, films about human experiences, they are almost completely fictional (with the few that doubtfully claim they’re based on true stories or long-running myths) and play on our fear for the unknown, to actually scrutinize one’s script or story for points would be utterly pointless-other factors that contribute towards the film’s overall scare effect should be considered instead, although it’s essential that a horror film maintain a certain amount of logic to it-yes aliens, giant cockroaches and singing vampires are acceptable as audiences are more than willing to put their common sense aside (to a certain extent) to enjoy the perplexity of imagination-anyways, Slither struggles but somehow manages to retain this balance, and the end product is a decent horror film that terrifies and disgusts,with enough humour to balance the seriousness out. Moreover Slither has an overall smooth feel to it (scenes seamlessly blend together and rarely does the intensity fade away) and it avoids the aforementioned clichés including the insufferable sudden loud sounds or appearances that merely shock us briefly or excessive use of special effects-also, the film has an admirable creativity and risky approach that a lot of horror films refuse to venture-for example: two scenes in which the slugs terrorize the town Country Music plays in the background and this makes it doubly interesting somehow, plus at the shallow core of Slither lies a feeble love triangle but the focus remains on the horror and this weak romance rarely floats into sight (plenty of horror films unsuccessfully attempt to infuse meaning by bringing in an unconvincing love story that is foolishly made the film's focus, but Slither knows its limits and refrains from doing so-therein lies its withdrawal from desperation).However Slither is nothing to shout about, decent doesn’t necessarily equal to classic or amazingly brilliant (such praise i felt deserving for 28 Days Later), but it sure is a fun ride and solid B-grade horror movie (with a surprising 84% rating on RT) it deserves some praise for being significantly more superior than the multitude of wannabe horror films that bombard us nowadays.
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