Victor Frankenstein

IMDb
Told from Igor's perspective, we see the troubled young assistant's dark origins, his redemptive friendship with the young medical student Viktor Von Frankenstein, and become eyewitnesses to the emergence of how Frankenstein became the man - and the legend - we know today.



Rotten Tomatoes
James McAvoy and Daniel Radcliffe star in a dynamic and thrilling twist on a legendary tale. Radical scientist Victor Frankenstein (McAvoy) and his equally brilliant protégé Igor Strausman (Radcliffe) share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor's experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation. (C) Fox


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Creature

IMDb

An amphibious shark-like monster terrorizes an abandoned secret military base and the people who live on the island it is located on. A marine biologist, as well as several other people, try to stop it before it is too late...

- Written by Parca Mortem 



Rotten Tomatoes

MOVIE INFO

An amphibious shark-like monster terrorizes an abandoned secret military base and the people who live on the island it is located on. A marine biologist, as well as several other people, try to stop it before it is too late...

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Dark Mountain

DreadCentral

Better late than never” is an expression that has been used in many instances – it simply states that it’s better to do something late, than never to have done it at all… and I can understand that, but only to a point. In a movie-sense, if it’s been done already and the same format has been reproducing like a couple of pharmaceutically-inspired jackrabbits on a blind date, then get ready for the furry fallout.

Amidst the pantheon of found-footage horror, it can be debated that The Blair Witch Project not only set, but also broke the mold for shaky-cam spookiness that has been often imitated but never duplicated for the past 15 years. Some have come close in their dogged pursuit to unseat the current (and long-standing) champion, but none have been able to capture the sheer volume of uneasiness that hounded our beloved camping troika on their venture into the Black Hills of Burkittsville, Maryland.

While nothing definitive was shown on-camera as to the root of the wooded terror, I always believed that it wasn’t necessarily what you saw that scared you the most, but what you didn’t, and I’m completely at ease with the fact that I’m in a small percentage of my thinking of this, but why is it that the majority of found-footage followers have attempted the same gameplan in the years following?

Dark Mountain – directed (and written) by Tara Anaise, follows yet another group of three budding filmmakers as they make their way to the Superstition Mountains that run deep into the Arizona desert. Their man focus is set upon the Lost Dutchman mine, that according to legend, is housing approximately 200 million dollars in gold after the rush in the late 1800s. Supposedly an old miner by the name of Jacob Waltz, was one of only a handful of souls that knew the location of the mineral windfall (alongside his partner that “disappeared” upon their first trek, and a group of Apache warriors that allegedly defended the location). The local storytellers entail that whomever goes up to the mountains to search for the gold, never come back… (cue ominous music).

Sage Howard (in her role as Kate), offers an eerie comparison to Heather Donahue in Blair Witch – her relentless approach to obtain the truth all the while acting as an unofficial leader of the group, right down to an opening shot of an apologetic, on-camera fear & tear-filled declaration to her parents. Boyfriend Paul (Andrew Simpson), the strong & silent type & prankster pal Ross (Shelby Stehlin) round out the remainder of our soon-to-be-doomed backpackers. Armed with their video cameras & smartphones (providing creepy sepia-toned shots), they set out into the vast masses of pure Arizonian desolation.

Now comes the part where I systematically dissect the ins & outs of this film in direct relation to its predecessor back in 1999… I mean I COULD do that, but I wouldn’t want to bore the audience to tears. Not that this is a bad movie – far from it… it just happened to have been seen already… 15 years ago. Our group initially frolics in their new surroundings, debates over both shooting styles and the local lores they’ve been told, and then we progress to the sights and sounds of what may (or may not be) the axis of their undoing. Quick flashes of light are seen on mountaintops in panoramic shots, giving the illusion to our band of pseudo-Scorseses that they could potentially be followed. We then progress on to the bickering, loss of direction, and all-out disregard to the simple-set of cardinal rules that will most assuredly ensure your safety when on a venture like this – when you’re told by a plethora of individuals “don’t take ANYTHING from the cave” …well then, there really isn’t any issue to debate now, is there? When one of the three becomes a victim of a type of possession, all guidelines are tossed out the window and we drive straight on past the road-sign for “psychological thriller,” and take the express exit towards “carbon-copy found-footage automaton.”

The saving grace here are the visuals – sprawling and sweeping vistas are on display with regularity, and provide a backdrop that gives the viewer not only a calming sense of peace, but an odd disparity that invokes a feeling of isolation, and at times, claustrophobia. Scares are minimal, but effective at times – a blaring radio that seems to go off at random instances will make you shift in your seat after slow-paced acts, and varying distant noises in the dead of night will give those little hairs on the back of your neck a chance to stand up and stretch. All of the following lead to a payoff that many can see coming, but you’ll sit through anyway just to see how it all ends up.

In closing, I can’t throw Dark Mountain under the bus, as Anaise does provide a semi-entertaining 82-minute jaunt into the unknown, I just can’t get over the fact that it was much more creepy the first time I’d seen it… 15 LONG years ago.

Read more: http://www.dreadcentral.com/reviews/55198/dark-mountain-2014/#ixzz3DV0VQjKl 

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Alien Resurrection

As I said before Ripley does not get knocked down



VIOOZ
200 years after her death, Ellen Ripley is revived as a powerful human/Alien hybrid clone who must continue her war against the Aliens.



Rotten Tomatoes

Movie Info

Two centuries after Ellen Ripley's death, doctors aboard the space station Auriga clone her using a blood sample taken from Fiorna 161, in hopes of harvesting the queen embryo that was incubating inside of her when she was trapped on the remote penal planet. Finally succeeding after numerous attempts, they remove the alien and repair the clone for further study. Before long, the Ripley clone has gained consciousness, and displays superhuman capabilities that suggest it possesses alien DNA. When Ripley discovers that General Perez (Dan Hedaya) is keeping the queen in a heavily fortified room of the space station, she warns the military man and his scientists that the creature cannot be contained no matter how hard they try. Meanwhile, General Perez has hired a crew of space pirates to deliver the cryogenically frozen bodies of another ship to the Auriga so they can be used to breed more aliens. The leader of the pirates is Johner (Ron Perlman), a gruff mercenary who engages Ripley to no avail. When Call (Winona Ryder), one of Johner's crewmembers, admits that she was sent to assassinate Ripley, General Perez attempts to have the pirates executed. The result is a tense standoff between the pirates and the military men, with the aliens causing havoc after breaking free of their containment cells. Attempting a daring escape, Ripley and the pirates discover the lab where she was cloned before being forced to swim through the mess hall, which has been submerged in water during the aliens' escape. Discovering a carefully guarded secret about Call's past, Ripley attempts to convince her to alter the Auruga's course, which was set to Earth when the ship went into emergency mode. With the fate of mankind hanging in the balance, Ripley is captured by the aliens and taken to their nest, where she comes face to face with the mutated results of the scientists' experiments. ~ Jason Buchanan, Rovi


 

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Aliens

Ripley Does not die. I saw this one first and Loved it




RogerEbert

The ads for "Aliens" claim that this movie will frighten you as few movies have, and, for once, the ads don't lie. The movie is so intense that it creates a problem for me as a reviewer: Do I praise its craftsmanship, or do I tell you it left me feeling wrung out and unhappy? It has been a week since I saw it, so the emotions have faded a little, leaving with me an appreciation of the movie's technical qualities. But when I walked out of the theater, there were knots in my stomach from the film's roller-coaster ride of violence. This is not the kind of movie where it means anything to say you "enjoyed" it.
"Aliens" is a sequel to the very effective 1979 film, "Alien," but it tells a self-contained story that begins 57 years after the previous story ended. The first time around, you may recall, Sigourney Weaver and a shipload of her fellow space voyagers were exploring a newly discovered planet when they found an abandoned spaceship. Surviving in the ship was an alien life-form that seemed to consist primarily of teeth. The aliens were pure malevolence; their only function was to attack and eat anything that was warm and moved. And they incubated their young inside the bodies of their victims.
Weaver was the only survivor of that first expedition, and after saving her ship by expelling an alien through the air lock into deep space, she put herself into hibernation. She is found 57 years later by a salvage ship, and when she awakes she is still tormented by nightmares. (The script does not provide her, however, with even a single line of regret after she learns that 57 years have passed and everyone she knew is dead.) A new expedition is sent back to the mystery planet. Weaver is on board. She knows what the aliens are like and thinks the only sane solution is to nuke them from outer space. But in the meantime, she learns to her horror that a human colony has been established on the planet and billions of dollars have been invested in it. Now Earth has lost contact with the colony. Has it been attacked by aliens? Are there stars in the sky? The crew is made up of an interesting mixed bag of technicians and military personnel. My favorites were Lance Henrikson as a loyal android, Jenette Goldstein as a muscular marine private and Michael Biehn as the uncertain Cpl. Hicks. Also on board is the slimy Burke (Paul Reiser), who represents the owners of the planet's expensive colony and dreams of making millions by using the aliens as a secret weapon.
The movie gives us just enough setup to establish the characters and explain the situation. Then the action starts. The colony has, of course, been overrun by the aliens, all except for one plucky little girl (Carrie Henn) who has somehow survived by hiding in the air ducts.
The marines explore the base on foot, which seems a little silly in view of the great speed with which the aliens attack. Nobody seems very interested in listening to Weaver's warnings. After all, she's only the one person who has seen an alien, so what does she know? And then the movie escalates into a nonstop war between human and alien.
It's here that my nerves started to fail. "Aliens" is absolutely, painfully and unremittingly intense for at least its last hour. Weaver goes into battle to save her colleagues, herself and the little girl, and the aliens drop from the ceiling, pop up out of the floor and crawl out of the ventilation shafts. (In one of the movie's less plausible moments, one alien even seems to know how to work the elevator buttons.) I have never seen a movie that maintains such a pitch of intensity for so long; it's like being on some kind of hair-raising carnival ride that never stops.
I don't know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn't want to talk to anyone. I was drained. I'm not sure "Aliens" is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft.
The director, James Cameron, has been assigned to make an intense and horrifying thriller, and he has delivered. Weaver, who is onscreen almost all the time, comes through with a very strong, sympathetic performance: She's the thread that holds everything together.
The supporting players are sharply drawn. The special effects are professional. I'm giving the movie a high rating for its skill and professionalism and because it does the job it says it will do. I am also advising you not to eat before you go to see it.




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Alien

Sigourney Weaver was Ripley first then the scared girl in Ghostbusters I find funny kickin ass in alien then scared of slimer LOL But Ripley will always kickin ass asking questions later

 

 

 

Wikipedia 

Alien is a 1979 American science-fiction horror film directed by Ridley Scott, and starring Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm and Yaphet Kotto. The film's title refers to a highly aggressive extraterrestrial creature that stalks and kills the crew of a spaceship. Dan O'Bannon wrote the screenplay from a story he wrote with Ronald Shusett, drawing influence from previous works of science fiction and horror. The film was produced through Brandywine Productions and distributed by 20th Century Fox, with producers David Giler and Walter Hill making significant revisions and additions to the script. The eponymous Alien and its accompanying elements were designed by Swiss surrealist artist H. R. Giger, while concept artists Ron Cobb and Chris Foss designed the human aspects of the film.
Alien received both critical acclaim and box office success, receiving an Academy Award for Best Visual Effects,^[5][6] Saturn Awards for Best Science Fiction Film, Best Direction for Scott, and Best Supporting Actress for Cartwright,^[7] and a Hugo Award for Best Dramatic Presentation, along with numerous other award nominations.^[8] It has remained highly praised in subsequent decades, being inducted into the National Film Registry of the Library of Congress in 2002 for historical preservation as a film which is "culturally, historically, or aesthetically significant".^[8][9][10] In 2008, it was ranked as the seventh-best film in the science fiction genre by the American Film Institute, and as the 33rd greatest movie of all time by Empire magazine.^[11][12]

^{Rotten Tomatoes} 

Movie Info

"In space, no one can hear you scream." A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft in Ridley Scott's sci-fi horror classic. On the way home from a mission for the Company, the Nostromo's crew is woken up from hibernation by the ship's Mother computer to answer a distress signal from a nearby planet. Capt. Dallas's (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane's stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company. ~ Lucia Bozzola, Rovi

 
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Divergent

Putlocker
Synopsis: Set in a futuristic dystopia where society is divided into five factions that each represent a different virtue, teenagers have to decide if they want to stay in their faction or switch to another - for the rest of their lives. Tris Prior makes a choice that surprises everyone. Then Tris and her fellow faction-members have to live through a highly competitive initiation process to live out the choice they have made. They must undergo extreme physical and intense psychological tests, that transform them all. But Tris has a secret that she is Divergent, which means she doesn't fit into any one group. If anyone knew, it would mean a certain death. As she discovers a growing conflict that threatens to unravel her seemingly perfect society, this secret might help her save the people she loves... or it might destroy her.


RogerEbert

"Divergent" is all about identity—about searching your soul and determining who you are and how you fit in as you emerge from adolescence to adulthood. So it's all too appropriate that the film version of the wildly popular young adult novel struggles a bit to assert itself as it seeks to appeal to the widest possible audience.
It's the conundrum so many of these types of books face as they become pop-culture juggernauts and film franchises: which elements to keep to please the fervent fans and which to toss in the name of maintaining a lean, speedy narrative? The "Harry Potter" and "Hunger Games" movies—which "Divergent" resembles in myriad ways—were mostly successful in finding that balance.
In bringing the first novel of Veronica Roth's best-selling trilogy to the screen, director Neil Burger ("Limitless") and screenwriters Evan Daugherty and Vanessa Taylor have included key moments and images but tweaked others to streamline the mythology and move the story along. The results can be thrilling but the film as a whole feels simultaneously overlong and emotionally truncated.
Folks who've read the book will probably be satisfied with the results, while those unfamiliar with the source material may dismiss it as derivative and inferior. (Stop me if you think you've heard this one before: "Divergent" takes place in a rigidly structured, dystopian future where one extraordinary girl will serve either as its destroyer or its savior.) But the performances—namely from stars Shailene Woodley and Theo James and Kate Winslet in a juicy supporting role—always make the movie watchable and often quite engaging.
In the fenced-off remnants of a post-war Chicago 100 years from now, society has been broken down into five factions—groups of people arranged by a primary, defining trait. The Amity are happy, hippie farmers who dress in shades of sorbet. The Candor run the judicial system and value truth about all else. The Erudite are the serious-minded scholars who wear conservative, dark blue. The Abnegation are known for their selflessness and modesty. And the pierced-and-tatted Dauntless are the brave soldiers who protect the city from … who knows what? Whatever the perceived threat is, it requires them to run, scream and practice parkour wherever they go.
Woodley's Beatrice Prior is a member of the Abnegation alongside her brother, Caleb (Ansel Elgort), and their parents (Ashley Judd and Tony Goldwyn). They dress in drab colors, eat simply and are only allowed to steal a quick glance in the mirror once every three months when it's time for a haircut. Basically, they're no fun, and Beatrice has a wild streak in her that she's been forced to suppress. 
When she undergoes the aptitude test required of all teens, which determines which faction is the best reflection of one's true nature, her results are inconclusive. She's got pieces of a few different places in her, which makes her what's known as Divergent, which makes her dangerous. Thinking for yourself is a naughty thing in this world, apparently; plus, the angsty inner conflict that rages within Beatrice is something to which the target audience for the book (and the movie) surely can relate.
At the annual Choosing Ceremony, where the teens use their test results to pick the faction they want to join for the rest of their lives—like the last night of sorority rush, mixed with the "Harry Potter" sorting hat—Beatrice dares to choose Dauntless. This means she can never see her family again. (Man, the rules are strict in dystopian futures.) But it also means she gets to train to unleash the bad-ass that's been lurking inside her all along.
Renaming herself Tris, our heroine must learn how to fight, shoot, jump from moving trains, throw knives and control her mind in a series of harrowing simulations, all while competing against a couple dozen other initiates in a demanding ranking system. Eric (a coolly intimidating Jai Courtney) is the merciless Dauntless leader who's taking the faction—which was founded on the notion of noble courage—in a more militant and vicious direction.
But the hunky trainer who goes by the name Four (James) is the one who will have a greater impact on the woman Tris will become. Quietly and generically brooding at first, James reveals more depth and shading to his conflicted character as the story's stakes increase. He and Woodley have an easy chemistry with each other, but the romance that took its time and smoldered on the page feels a bit rushed on the screen.
Similarly, the supporting figures who had identifiable personalities in the book mostly blend into the background here, including Tris' best friend, Christina (Zoe Kravitz). But it is extremely amusing to see Miles Teller, who played Woodley's first love last year in the wonderful "The Spectacular Now," serve as her enemy here as the conniving fellow initiate Peter. The smart-alecky Teller is also the only actor here who gets to have much fun. With the exception of a few major set pieces—the zip-line ride from the top of the John Hancock Center, for example—"Divergent" is a rather dark and heavy endeavor.
Woodley, though, by virtue of the sheer likability of her presence, keeps you hanging on, keeps you rooting for her. She may not have the blazing, rock-star power of Jennifer Lawrence as Katniss in "The Hunger Games," but there's a subtlety and a naturalism to her performance that make her very accessible and appealing. And when she needs to crank it up and kick some butt—as she does in a climactic scene with Winslet as the evil Erudite leader who's hell-bent on eradicating Divergents and maintaining control—she doesn't oversell it.
Plus, there could be worse role models for the eager adolescent audience than a young woman who's thoughtful, giving and strong—all at once. The inevitable sequel will show us what else she's got in her.



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The Human Race

ScreenSpace

Stars: Eddie McGee, Paul McCarthy-Boyington, Trista Robinson, T. Arthur Cottam, Brianna Lauren Jackson, Fred Coury, B. Anthony Cohen, Noel Britton and J Louis Reid.
Writer/Director: Paul Hough

Rating: 4/5

A thrilling indie-sector vision that trumpets the arrival of a skilled, bold storyteller in writer-director Paul Hough, The Human Race is everything that adult viewers had hoped the similarly themed Hunger Games might have been.

Filled with fine performances, splattery effects and an electrifying out-of-nowhere third-act twist that pushes Hough’s feature debut into instant cult status (and adds a further sly spin on the film’s titular pun), The Human Race gives early notice that the narrative is unlikely to go anywhere one may expect. A singularly uplifting storyline involving cancer survivor Veronica (Brianna Lauren Jackson) is cut short in spectacularly hideous fashion; from that point, the true nature of Hough’s film becomes apparent.

From a street corner in downtown LA, a group of random citizens experience a blinding light and instantaneously find themselves in what appears to be the exercise pen of an abandoned prison. An omnipresent voice fills their heads with the rules of survival: ‘If you are lapped twice, you die. If youstep off the path, you die.’ Everyone is confused, disoriented, but the first glimpse of how fatal a breaching of the rules will be proves motivating. The race is on, and soon both the light and dark nature of mankind is exposed as the desperation to survive escalates.

Hough is fearless in his depiction of the inherent horrors such an event would lead to. Apart from the graphic depiction of cranial explosions and bleeding-out that befalls those that stray from the path or slow to crawl, the director also indulges in nightmarish episodes of rape and murder; one scene involving a heavily pregnant woman will separate hard-core horror-philes from the merely inquisitive.  The cast are all up for anything the director wants to dish out; standouts are real-life amputee Eddie McGee, Fred Coury in a superbly villainous turn and the stunning Trista Robinson.

The script (expanding upon ideas and imagery that Hough introduced in his 2007 short, The Angel) deftly explores the prejudices and hatred that would arise if a cross-section of the ethnically diverse Los Angeles population were put in such a pressure-cooker environment. The British-born filmmaker also examines how the faithful may explain the event (B Anthony Cohen’s character, The Priest, says, “It is purgatory, God directing us to stay on the righteous path”), though such a pat explanation would not suit Hough’s nihilistic vision.

Web denizens are decrying it is too much like the Stephen King short-story The Long Walk or Kinji Fukasau’s Battle Royale, though such comparisons suggest complainers haven’t seen the entire film. It is probably closest in mood to Sydney Pollack’s 1969 dance-marathon drama They Shoot Horses, Don’t They?, reworked as a modern horror-fantasy. Any comparison, however, does a great disservice to the work of an exciting young filmmaker, who has crafted a polished low-budget stunner that should be mandatory programming at any genre festival boasting a commitment to new horror talent. 

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The Man Who Fell to Earth (1976)

Rotten Tomatoes

Movie Info

Space alien (Bowie) crash lands on Earth, seeking help for his drought-stricken planet. By securing patents to advanced technology, he becomes a fabulously wealthy industrialist. However, money and its attendant decadence ultimately exert a stronger gravitational pull. Bowie seemed perfectly cast as the space traveller, and the film further cemented director Roeg's status as one of the most unique filmmakers of the 1970's. Originally cut by 20 minutes in its 1976 US release, this anniversarypresentation is the complete version

WhatCulture

Most Shocking Male Nudity Shots In Cinema History

For Bowie fans, Nicolas Roeg’s surreal sci-fi follow up to the eclipsing Don’t Look Now is rife with trivia for the genius musician. The Man Who Fell To Earth inspired two of his album covers; Low is the film’s poster and Station To Station comes from the most iconic scene in the film. But it also houses something more shocking; the film shows him completely naked.

Who is better than a Ziggy Stardust-era Bowie to play an alien? With fully orange hair and white skin, he already fills the part, which makes it truly shocking when we get to see him in au naturel; all sticky skin and cat eyes, with smoothed over genitals. But while Roeg’s inspired creature design is certainly a marvel, its not this nakedness we’re highlighting here.

Near the end of the film things aren’t going too great for Bowie’s Newton (his extra terrestrial origins have been discovered and the poor guy’s been experimented on), he rediscovers an old flame, leading to a raucous sex scene. Nakedness in sex scenes is fairly common, although not as much as you’d expect, but this places on the list due to their clearly being no body double; it’s David-frickin-Bowie.

TimeOut NY

The Man Who Fell to Earth

Time Out rating:

<strong>Rating: </strong>5/5

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Time Out says

Tue Jun 21 2011

It may be time to stop calling Nicolas Roeg's sexed-up sci-fi film that vaguely demeaning term---a cult classic---and start addressing it as what it is: the most intellectually provocative genre film of the 1970s. The allure of its perfectly cast star, David Bowie (emaciated and still months from going clean), overshadowed the content of the script in its day. Too easy, it was, to focus on Roeg's cheap-looking effects and the weirdness of the Thin White Duke himself---playing a forlorn alien who quietly builds an Earth-based space program---and ignore Roeg's rich testament to his own strange, adopted land: America.

Go back now and thrill to the movie's evocative terrain, stretching from the canyons of Manhattan to the wide, open spaces of the Southwest---a poetic place of motels, banal government stooges and wild, white horses running alongside trains. (This, by the way, is what a Thomas Pynchon adaptation should look like; the actual novel, by Walter Tevis, is much changed.) The ultimate embodiment of it all is the fearless Candy Clark, playing a sweet caretaker turned mystified lover. Rip Torn's horndog chemist, fighting off his own cynicism, is a closesecond. The tale is one of a meltdown, situated in a real-life national moment straddling paranoia and the inviting horizon; you can easily hold it up to Nashville, orange hair and all.

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Scarecrow (2013)

A Sy-Fy Movie


Scroll of Wisdom Review

Horror movie Review #5 - Scarecrow (2013)

There are any number of things that people are scared of.  Corpses, snakes, spiders, dogs, peanut butter sticking to the roof of your mouth...  The list really is endless.  Way back in the day, mankind found a lot of missing corn from their fields and made man-shaped dummies out of old clothes and straw to try and give the thieving Crows the idea that a man was watching the corn.  These "Scare Crows" were completely unsuccessful for the most part, because Crows are smarter than that, but they did have a lot of success scaring the bejeesus out of human beings, who are apparently not as smart as crows.  A number of movies featuring scarecrows have been made over the years, probably the best of which was a quiet, B-horror flick made back in the late 80's called, strangely enough, Scarecrows.

This isn't that movie.  This movie was just made by Syfy in 2013.  Starring Lacey Chabert of...  um....  okay, Lost in Space is the only movie I can remember seeing her in, but there you go.  So here's the story.  Lacey's character's family owns a farm.  She comes back for the annual Scarecrow festival to sell the farm, as she's low on cash.  Also, she's come back to see if her old boyfriend still has the hots for her.  Her old boyfriend, as it turns out, is escorting a bunch of school-aged miscreants to disassemble the old scarecrow from Lacey's farm and bring it into town for the festival.  Lacey's farm was the original site of the festival, and, as it turns out, the original site of the horror that happened many years ago that the festival is supposed to be making sure everyone remembers.  But of course, everyone has forgotten.  In fact, nobody even relates, at any point in this movie, what actually happened all those years ago to get the festival started, or where the scarecrow came from.  Needless to say, there's a monstrous Scarecrow that was imprisoned under Lacey's farm, and some idiots gone and done let the thing out.  So by the time Mr. Schoolteacher, Lacey's ex beau, shows up with his half a dozen students trying to work off their detention, the Scarecrow is already loose.  Lacey arrives just in time to let her old boyfriend know she still has the hots for him, and then the killing starts.

Since it's a SyFy movie, you know there's no nudity, a little gore, and the creature is computer generated.  Come to think of it, it looks suspiciously like the Mothman monster from the Mothman movie SyFy made a few years back, only without the wings.  There's a tiny bit of backstory going on to show you what each of the characters is like before things start going haywire, but there's no character development going on.  There IS a lot of action.  Once the first killing starts, there's pretty much an endless chase scene from that point of the movie til the end.  You have to wonder at the logic of creating a movie monster with no back story, no weaknesses and no character, but Syfy gone and done it.  Also, none of the characters really has any motivations for doing what they are doing, as far as I can tell.  There's a guy filling a notebook with pictures of a girl, only, according to the story, the girl only just moved to town.  There's a smart girl who's attending her first detention, but nothing on why she's there.  There's a couple obvious criminals who are so obvious about being bad that it's a wonder they aren't already in jail instead of being in detention.  There's a jock that's so happy and helpful, you wonder what the hell he did to get tossed into that situation.  Plus, how the hell did the new girl get detention so fast?  This movie doesn't give you a lot of reasons for what's happening and why, I'll say that much.

The acting is average, I suppose.  If LifeTime network is where old actresses go to make romance movies, Syfy is where out of work actors go to make horror flicks.  I can't say as I was moved to tears over any of the acting in this movie.  It's not Gone With the Wind.  There's not much scenery to look at, a few shots of a farm and a barn, a forest, and somehow, there's an old boat graveyard in the middle of this dried up old river.  With a boat on it big enough to have lifeboats?  Apparently, SyFy is also where oldCruise ships go to die.  And here I thought the Mediterranean Sea was where old cruise ships went to roll ov, err, die.  Guess I was wrong!  How a big-ass old ship got to the muddy edge of a river in some backwoods community with a scarecrow festival, I'll never know.  And amazingly, there's a guard shack at the boat graveyard!  In the middle of farking nowhere, with no roads out to it, no bridges anywhere near it, there's a bunch of old boats rusting to death on the edges of a dried up old river...  and there's a guard shack?  With an actual guard in it?  lol  Makes no goddamn sense.  Really doesn't.  What the hell is he guarding?  There's no roads!  No bridge!  Even if there isn't anything valuable to guard, and he's just there to warn off the kids, how the HELL did he get there?  lol  His shack is barely big enough to turn around in!  He doesn't live there!  Who the hell pays him?  Why not just put up a damn fence or a sign?  lol  I guess we'll never know.  Utterly ridiculous.  I don't know who the hell wrote this drivel, but come on.  No backstory for the monster, little backstory for the main characters, no monster weaknesses to exploit, how the hell do we even know how to kill the thing?  Will it be back for Scarecrow 2: Electric Boogaloo?  I hope not.

Well, I guess I wasn't really fond of that movie.  lol  The actresses were mostly cute, probably the film's only good point.  And, I suppose, the long-ass chase scene from near-start to the end.  Shit, I can't even tell you if anyone or anything survived.  It was that vague!  lol  if you get the chance to see it on Syfy sometime in the future, maybe someone could let me know how it turned out, because all I got to see at the end wasn't the monster, wasn't the survivors, no, all I got to see was that ridiculous goddamn guard shack, in the middle of nowhere, guarding nothing from nobody!  lol  Hell if I know what the point of that movie was.  I can't really recommend watching it again.  It'd probably just confuse me more a second time.

Man, give me a good old reliable werewolf movie, where you know either the werewolf is going to kill everybody or it's going to die at the end.  Maybe tomorrow night I can actually get back to the werewolves.  I hear Howling VI isn't as bad as I feared, and there's another werewolf movie in my netflix queue as well.  Til tomorrow, horror fans!

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The Institute (2013)

Rotten Tomatoes

Movie Info

A documentary examining a ground-breaking San Franciscophenomenon, where cryptic narratives and real worlds collide to produce unforeseen and, at times, unsettling consequences. The Institute takes the viewer on a journey into a secret underground organization teeming just beneath the surface of everyday life. (c) Argot Pictures

Google Review

To those dark horses with the spirit to look up and see... a recondite family awaits." Welcome to the Jejune Institute, a mind-bending San Francisco phenomenon where 10,000 people became "inducted" without ever quite realizing what they'd signed up for. Was it a cult? Was it an elaborate game? Told from the participants' perspectives, the film looks over the precipice at an emergent new art form where real world and fictional narratives collide, creating unforeseen and often unsettling consequences. Fusing elements of counter-culture, new religious movements and street art, the film invites viewers down the rabbit hole into a secret underground world teeming just beneath the surface of everyday life.

Release date: October 4, 2013 (USA)

Director: Spencer McCall

Running time: 92 minutes

Producer: Spencer McCall

Cinematography: Paul Encinas

Cast: Arye Bender, Gordon Mclaughlin, Daniel Shoup, Jeff Hull

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