FIVE REASONS THIS COULD BE GOOD: COCAINE BEAR (2023)
Every now and then a film title hooks you in immediately. Snakes on a Plane (2006) anyone? Now, another beast driven movie comes along and says, “Hold. . . My. . . Bear!”Enter the thrill-a-second trailer for – Cocaine Bear (2023)!
So here are five reasons, Cocaine Bear (2023) could be good!
The title of the film is Cocaine Bear (2023)!
It has a kill crazy bear high on cocaine in it!
It is amazingly inspired by a TRUE story!
It’s Ray Liotta’s R.I.P, final film.
The trailer is amazing – check it out here:
Cocaine Bear(2023) releases on February 24th 2023 in the US, UK and most of the world exclusively in movie theatres.
For my final slew of Shudder horror film reviews (with one television series write-up to come), I have combined a series of films which contain murder and killers central to the plot. I mean, most horror films feature these types of terrible situations, but the following movies are grounded very much in reality. Ghosts and ghouls and zombies and monsters are to the fore of the horror genre, however, for me, the shocking violence of human beings can often be far more scary on screen. Thus, these films feature assassins, revengers and serial killers which reflect the blackest part of the human soul. Marks out of eleven, with best rated first. You know the drill.
**MAY CONTAIN SPOILERS**
KILLER JOE (2011) – DIRECTED BY WILLIAM FREIDKIN
Tracy Letts’ incendiary, critically acclaimed dark comedy play was adapted by himself and directed brilliantly by genre auteur, William Friedkin. Matthew McConaughey arguably relaunched his serious acting career as the eponymous and corrupt lawman, Joe Cooper, who takes a fancy to Juno Temple’s southern Lolita-type. Killer Joe (2011) is full of bleakly biting noir dialogue and some amazing performances, especially from McConaughey and Temple. Playing out like the Coen Brothers doing a horror film, the memorably disturbing ending almost put me off chicken for life. This is a true cult classic from a director, screenwriter and cast, all at the top of their game.
Mark: 9 out of 11
A PERFECT GETAWAY (2009) – DIRECTED BY: DAVID TWOHY
Kind of like Agatha Christie meets holiday show Wish You Were Here, I had a lot of fun with David Twohy’s clever-clever-meta-thriller. Steve Zahn and Milla Jovovich are the honeymooners in Hawaii who find death in paradise, as a pair of serial killers are murdering holidaymakers. Having helped Vin Diesel to stardom in Pitch Black (2000), Twohy tries again with the laconic and likeable Timothy Olyphant as Macgyver-type island tourist. I’m a big Olyphant fan and he steals the show here in this nifty, twisting cat-and-mouse plot, however, the actor who would go onto massive things in the film world in none other than Chris Hemsworth. Thor pops up here portraying a tattooed-beefcake-with-an-attitude. Anyway, loads of actions, twists, pace and lovely locations make this film worth a visit.
Mark: 8 out of 11
WILDERNESS (2006) – DIRECTED BY: M.J. BASSETT
An efficient low-budget British thriller with a youngish cast led by charismatic actor, Toby Kebbell. Here, Sean Pertwee, takes his gang of youth offenders into the woods for a team-building exercise, only to find the team being destroyed by an unknown assailant. There are some decent thrills and kills throughout, but Christopher Smith’s film Severance (2006) did this idea much better. Still, it rattles along at a fine pace and Kebbell again demonstrates why Hollywood came knocking for his acting talent.
Mark: 7 out of 11
SMALLTOWN KILLERS (2017) – DIRECTED BY OLE BORNEDAL
Two Danish builders are having marital difficulties and one night when drunk, accidentally hire a Russian hitman on the ‘Dark Web’ to kill their wives. Mildly amusing, this comedic thriller is predictable with some haphazard plotting. Lastly, while the warring couples are pretty unlikeable characters, Marcin Dorocinski and Gwen Taylor, as the two hired assassins, provide some belly laughs with their hilarious performances.
Mark: 6.5 out of 11
WHITE OF THE EYE (1987) – DIRECTED BY DONALD CAMMELL
David Keith and Cathy Moriarty star in this serial-killer tale adapted from Margaret Tracy’s novel, Mrs White. Their relationship is put to the test when he becomes prime suspect in a series of murders. Cammell gets compelling performances from the leads but mishandles the plotting as the sudden twist near the end felt mildly ridiculous and contrived.
The horror genre is a fantastic medium with which to explore social, cultural and political events. Thus, with the COVID-19 pandemic still threatening the world’s health, wealth and societal structures, it will not surprise anyone when we get a raft of future films, songs, shorts and television programmes influenced by pandemics, viruses and lockdowns. Yet, there have already been, since the dawn of time, many horror, drama and science fiction films and series which have dealt with the end of the world due to some unknown or man-made virus.
For example, George A. Romero’s seminal low-budget masterpiece, Night of the Living Dead (1968), influenced an eruption of cannibalistic zombie movies after release. Indeed, the wave of undead genre films show no sign of stopping either. It makes sense therefore to focus my latest Shudder reviews on virus-based films and this category is obviously called Viral! Here I review four movies I watched on Shudder which all encompass some form of infection, disease or virus which impacts the living and the dead. As usual, all marks are out of eleven with the highest-rated film first.
ONE CUT OF THE DEAD (2017) – DIRECTED BY SHIN’ICHIRO UEDA
This film has both an amazing story on and off the screen. The budget of the One Cut of the Dead (2017) has been reported to be as low as $25,000. The film went on to be a massive hit in Japan, making over $25,000,000 at the box office there and abroad. Personally speaking, I am not a fan of indulgent one-take movies, but the sheer energy and invention of the initial thirty-seven minute take, followed by the hilarious scenes later, make this zombie-film-within-a-film-within-a-film a terrific watch. The lengthy set-up makes the furious splattering of punchlines in the film’s second half an absolute scream. To think it started out as part of an acting/filmmaking course makes the creative achievement all the more incredible. If you like zombie comedies and films about filmmaking too, this genuinely breathes new life into both sub-genres.
Mark: 9 out of 11
MAYHEM (2017) – DIRECTED BY JOE LYNCH
This office-based killer-thriller-horror-comedy resonated with me, as I myself have been trapped working in the corporate world. Steven Yuen is the jaded business attorney, Derek Cho, working for a law firm that regular screws over the less wealthy. When Derek is framed and fired, he plots revenge. However, his plans go sideways quickly when a nasty virus causes his office to be quarantined. The virus itself doesn’t kill, but it is capable of making people act out their wildest impulses – which tend to involve extreme sexual, verbal and violent behaviour. Mayhem(2017) uses a geographical structure similar to The Raid (2011) and Dredd (2012), where Derek must fight his way up from the ground floor to the corporate suits at the top. Steven Yuen is fantastic in the lead and he is ably supported by movie-star-in-waiting, Samara Weaving. The action, fighting and gore are well executed, and the script contains some great twists in this fast-paced horror gem.
Mark: 8.5 out of 11
THE CRAZIES (1973) – DIRECTED BY GEORGE A. ROMERO
Arguably, one of George Romero’s lesser known films is called The Crazies (1973). The narrative finds residents of a small American town accidentally infected by a darned biological weapon. The subsequent lockdown, quarantine and heavy-handed military invasion causes a small band of townspeople to fight back and attempt escape. As the soldier’s net closes in on them their lives are threatened by both the military and the virus. Overall, watching The Crazies is a dramatic, but chaotic experience. The ideas are strong, but Romero’s story is hamstrung by the low budget, choppy editing and some bad acting. Having said that, The Crazies echoes a lot of the issues our world has been experiencing lately. Although the deaths are more gruesome in Romero’s film and his characters don’t stockpile as much toilet roll as we have.
Mark: 7 out of 11
BLOOD QUANTUM (2019) – DIRECTED BY JEFF BARNABY
As well as providing a portal with which to watch older horror films, Shudder is also producing and buying up its own exclusive productions for streaming. One such release is Jeff Barnaby’s Blood Quantum (2019). Set in 1981, on the Red Crow Indian Reservation in Quebec, Canada, it’s an entertaining addition to the zombie genre, that perhaps would have been better served as a longer series. The story set-up is simple, as local sheriff, Traylor (Michael Greyeyes), is mystified when dead animals start to reanimate. Skip forward six months and a full-on viral assault has caused the dead to come back to life. The neat twist is that the indigenous American population is immune to the disease, but white people aren’t. Traylor and his community fight the dead (and living), attempting to keep safe from those that threaten their existence. Thematically, Blood Quantum (2019) is very powerful. The subtext of racial tension within the zombie genre is dramatically explored. Moreover, there are some explosively gory deaths and decent action. My main issue was with a script that laboured in places, as the film’s pace was slowed by overlong dialogues scenes.
CLASSIC MOVIE SCENES #13 – BLADERUNNER (1982) – “TEARS IN THE RAIN.”
Directed by: Ridley Scott
Produced by: Michael Deeley
Screenplay by: Hampton Fancher and David Webb Peoples – based on the novel, Do Androids Dream of Electric Sheep by Philip K. Dick
Cast: Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, James Edward Olmos etc.
Cinematography: Jordan Cronenworth
Music: Vangelis
*** CONTAINS MASSIVE SPOILERS ***
Philip K. Dick’s dense, dystopic and futuristic novel, Do Androids Dream of Electric Sheep (1968), is an ugly, beautiful, depressing, obtuse, hypnotic skip-through-treacle read full of incredible concepts relating to: Artificial Intelligence; robot technology; android simulacra; animal husbandry; apocalyptic disease; virtual reality/empathy mood tech; extinguished humanity; and ultimately, of course, mortality and death. The fact that Hampton Fancher and David Webb Peoples were able to fashion a workable screenplay for Ridley Scott to direct is a creative miracle. Moreover, it is testament to the writing and Scott’s incredible production team that, Bladerunner (1982), is held in such high esteem among cinema fans now.
The original Bladerunner, despite bombing at the box office and subsequently going through a number of cuts, re-cuts, final cuts and re-re-re-releases, has become a bona fide science fiction cinema classic. I watched the original theatrical version recently and despite the deadpan Harrison Ford voiceover and spurious, tacked on “happy” ending, it actually has a lot going for it. Obviously the ‘Unicorn Dream’ re-edits released under the guidance of Ridley Scott are the purer versions but the film holds up notably because of Ford’s gruff, depressive and world-weary performance as Rick Deckard; the imperious psychopathy of Rutger Hauer as android assassin Roy Batty; Scott’s glorious tech noir rendition of our desecrated future; as well as the evocation of Philip K Dick’s thematic existential power.
Such existential power is demonstrated in one of the final scenes where Batty has pushed Deckard to the edge of a building and death. The rain falls and the majestic soundtrack swells. A stripped down Batty, rather than let Deckard die, saves his life. It’s an ambiguous decision, but one of redemption for a replicant that is more used to delivering death. Perhaps, it proves that Batty does indeed have human qualities and Deckard will take up the cause. Delivering one final heartfound speech, Batty regales and laments the beautiful things he has seen. But they are gone – just like tears in the rain. It is a moving epitaph and amazing end to an incredible science-fiction classic. Batty closes down for good, but his demise and Hauer’s incredible performance will live long in the memory.
MEMORABLE FILM CHARACTERS – SARAH CONNOR – VIDEO ARTICLE
I have already written a text article regarding this subject and that can be read here. However, I am trying to promote my YouTube site too, and thus have been busy creating short online video content which may interest some cineastes. So here is a tribute to one of the most memorable film characters of all time – SARAH CONNOR.
CREDITS
This video article is a fun and educational piece highlighting our one of our favourite film characters – SARAH CONNOR.
Written by: Paul Laight
Narrated by: Melissa Zajk
Music: Sci Fi – Bensound | Royalty Free Music – No Copyright Music | Bensound Music
The copyright of the images and trailers are those of the film studios. I do not own any of the images or films.
Film/Trailer clips credits:
1) The Terminator (1984) – Orion Pictures 2) Terminator 2: Judgement Day (1991) – TriStar Pictures 3) Terminator: Dark Fate (2019) – Paramount Pictures / 20th Century Fox
THE NETFLIX PROCLAMATION – FILM REVIEW CATCH-UP MARCH 2020
With COVID-19 threatening the world’s population, it is a time to remain calm and, if required, stay indoors out of the way of potential infection. As long as the Internet holds then there are thousands of films and TV shows to watch online to keep us all occupied. Obviously, one must also take a deep breath and pray that aside from the illness affecting the world, society manages to keep it’s social, financial and medical structures in place too.
Clearly, we need distractions at this difficult time. Films may not be the solution, but they can offer diversion at least. Thankfully, I love staying in and watching movies as it is a major hobby of mine. Indeed, I have been busy lately catching up on some of the latest releases Netflix has to offer. Thus, I present some quick reviews of films currently on the streaming platform, all with the usual marks out of eleven.
***MAY CONTAIN SPOILERS***
A PRIVATE WAR (2019)
Rosamund Pike is absolutely enthralling as the brave war correspondent, Marie Colvin. Putting her life and sanity on the line to report the terrors of conflict in Sri Lanka, Libya and Syria, to name a few, Colvin was both fearless and crazy in equal measures, but remains an incredibly powerful voice. This fine biopic feels haphazard and structurally chaotic but is certainly an impressive tribute to an iconic journalist. (Mark: 8 out of 11)
DESTROYER (2018)
Nicole Kidman gives another excellent performance in this gritty neo-noir-cop-procedural drama. The clever structure — which tracks back and forth between Kidman’s burnt out character in the present and her violent past going undercover in a crime gang — arguably works against the emotional power of the film. However, director Karyn Kusama and Kidman make a formidable team in delivering a moody, bruising and bitter revenge thriller. (Mark: 8 out of 11)
EARTHQUAKE BIRD (2019)
I really loved director Wash Washmoreland’s previous film, Colette (2018), because it was such a vibrant. colourful and sparkling biopic of a fascinating character. I was thus surprised to see he had followed it up with an under-cooked thriller like Earthquake Bird (2019). Alicia Vikander portrays a dour ex-patriot in Japan who gets drawn into a love triangle involving the effervescent, Riley Keough, and photographer, Naoki Kobayashi. The film felt, like Vikander’s protagonist, depressed; ultimately drifting toward a tepid denouement. (Mark: 6 out of 11)
ENTEBBE (2019)
Rosamund Pike again! Here she is cast alongside Daniel Bruhl as they portray two Germans who joined a Palestinian military group that hijacked an Air France Flight in 1976. While the politics of the Israelis versus the Palestinians is explored to some extent, I felt more could have been done during the hostage situation to examine such complex issues. Instead, we get something more generic from director Jose Padiha, who inexplicably uses dance troupe montage to convey nebulous emotion and meaning. (Mark: 6 out of 11)
I LOST MY BODY (2019) – (Contains spoilers)
Both original and generic in terms of story, this romantic drama contains some of the most wonderful animation concepts I have seen in a long time. Brilliantly rendered and directed by Jeremy Chaupin, the narrative has two major strands. A severed hand – yes, a hand – seeks to unite with its body. Simultaneously, flashbacks reveal young Naoufel attempting to romance the girl he loves, Gabrielle. I really wanted to enjoy this more as the filmmaking is stunning. But, the final act of the film was too poetic, and it left me feeling cold and confused. (Mark: 7 out of 11)
THE KING (2019)
David Michod has been a filmmaker worth keeping tabs on since the release of brutal Australian crime film, Animal Kingdom (2010). After the big budget military satire War Machine (2017), failed, in my view, to hit the target, Michod has gone with another big production in The King(2019). Adapting Shakespeare’s Henry V trilogy (co-writer with Joel Edgerton) is no easy task and they deliver a film full of bravura cinematic moments. Timothee Chalamet is impressive in the lead role as the reluctant, but strong-of-heart young Prince Hal/King Henry. Lastly, Sean Harris, Robert Pattinson, Edgerton (as Falstaff) and Thomasin Mackenzie provide excellent acting support in a stirring period epic. (Mark: 8 out of 11)
THE LAUNDROMAT (2019)
Filmmakers Scott Z. Burns and Steven Soderbergh are usually so reliable in their cinematic endeavours. However, a star-studded cast including: Meryl Streep, Gary Oldman, Sharon Stone, Antonio Banderas, Matthias Schoenaerts and Jeffrey Wright cannot save this misguided comedy-drama about the Panama Papers scandal. I’m sure there is a great film in such financial crimes, but this was not it. (Mark: 5.5 out of 11)
MID 90s (2019)
Jonah Hill adds director to his already very successful acting, writing and producing curriculum vitae. Mid 90s (2019) owes much to the low-budget, improvisational and gritty style of filmmakers like Harmony Korine and Larry Clark, however, Hill’s approach is less extreme. The loose and episodic rites-of-passage narrative centres on Los Angeles based skater gangs and specifically Stevie (Sunny Suljic). He longs to grow up too fast and his experiences reminded me of an American version of Shane Meadow’s This is England (2006). While it’s a solid work of cinema, full of heart and believable performances, it’s ultimately quite underwhelming from an emotional perspective. (Mark: 7 out of 11)
THE TWO POPES (2019)
Fernando Merielles directs this adaptation of Anthony McCarten’s play featuring two giants of the acting world in Anthony Hopkins and Jonathan Pryce. The two heavyweight actors portray the real-life Pope Benedict XVI (Hopkins) and future Pope Francis, Cardinal Jorge Mario Bergoglio (Pryce). The duo conflict, debate and laugh about serious matters related to the history of the Catholic Church; plus, some not-so serious matters such as pizza and football. Having sat through Paulo Sorrentino’s uber-pretentious TV series The New Pope (2020) recently, I was not in the mood for more theological drama. However, the two leads are excellent, especially Pryce; and while the film is very dialogue driven, the flashbacks of Argentine history from Cardinal Bergoglio’s early years were powerfully evoked. (Mark: 8 out of 11).
My latest short film You Have A New Follower (2020) was screened earlier this week at the wonderful CineShots film night. The venue was the Streatham Space Project and a great night was had by all.
CineShots aims to give up-and-coming London filmmakers a chance to screen their films, get the feedback from a live audience, engage in Q&A and network with like-minded people for potential collaborations or just to talk film.
The only criteria the film has to fulfil is that the filmmakers are London-based, the film hasn’t been finished more than 12 months before submission and is not longer than 15 minutes. Please check out their website here and the cool trailer of the event.
All six films were received with fine appreciation by a decent crowd of filmmakers, actors and audience members. It was so good to get a premiere for You Have A New Follower (2020) too and watch it with many of the crew members. Overall, I would certainly recommend CineShots to anyone interested in attending a positive film screening night.
I look forward and hope that I can get more screenings of my film at festivals in the UK and worldwide. I am very proud of the film as it has powerful suspense, plus memorable themes relating to identity and anxiety in an urban setting. You can watch the short film trailer here:
Produced by: Jennifer Fox, Tony Gilroy, Michel Litvak, Jake Gyllenhaal, David Lancaster
Cast: Jake Gyllenhaal, Riz Ahmed, Rene Russo, Bill Paxton
**** CONTAINS SPOILERS ****
Along with Toni Collette in Hereditary (2018) and Lupita N’yongo in Us (2019), Jake Gyllenhaal’s failure to be nominated for a Best Acting Oscar for his performance as Lou Bloom never fails to astonish me. His committed acting in the thrilling and violent social satire, Nightcrawler (2014), is one of the greatest of this century so far. He inhabits the skin within this sociopathic, self-starting capitalistic hustler with such energy it’s a film I can watch over and over again.
With so many films about superheroes, it’s rare to see one about an anti-hero that is done so brilliantly and without redemption. Lou Bloom’s conniving, planning and preparedness to go the extra mile and expand his media business via sabotage and eventually murder is expertly rendered in Dan Gilroy’s stupendously good screenplay. Bloom is a drifting social outsider until he becomes a “stringer”; a “nightcrawler” filming bloody events to sell to news stations. Bloom then becomes a monster of ambition. A monster of obsession. A monster of humanity. He’s a symbol of a monstrous media and of a bloodthirsty public searching for the next violent clip to trend or share on Twitter or Facebook over their morning coffee. Bloom is an anti-anti-anti-hero of our times. A personification of capitalist evil.
Dan Gilroy’s cutting script makes no attempt to make Bloom likeable or even sympathetic. But you kind of admire his drive, linguistic charisma and thirst for success. That is until he goes way too far filming death and selling it for profit. Ultimately Lou Bloom is a vampire; a night creature creeping between the shadows. Through Bloom, the parasitic Media New Networks and public are also shown to both be vampires draining the life out of humanity. Gyllenhaal’s performance, as I say, is one of physical, verbal and mental brilliance. In some ways it foreshadows Joaquin Phoenix’s stunning acting work in Joker (2019). Phoenix was rightly rewarded by the Academy, with Gyllenhaal’s Bloom cruelly overlooked.
THE CINEMA FIX PRESENTS – TWELVE FAVOURITE FILMS OF 2019!
Hello 2020!
So, here are my TWELVE FAVOURITE FILMS I watched last year at the cinema, at film festivals and on streaming platforms such as Netflix, Curzon and Amazon etc.!
It was another very good year full of entertaining and thought-provoking cinema. If I have missed any films out it’s because I did not enjoy them as much as you — or have not seen them yet. If I have missed any must-see films then please point out any glaring omissions.
For comparison here are my FAVOURITE FILMS OF 2018:
A Quiet Place (2018)
A Star is Born (2018)
BlacKKKlansman (2018)
The Favourite (2018)
First Reformed (2018)
First Man (2018)
Game Night (2018)
Peterloo (2018)
Phantom Thread (2017)
Sorry To Bother You (2018)
The Shape of Water (2017)
Upgrade (2018)
12 FAVOURITE FILMS OF 2019
So, here are the films I enjoyed watching most of all last year. Films I also really liked but narrowly miss out on this list are: Doctor Sleep (2019), Green Book (2018), Harriet (2019), Little Women (2019), Paddleton (2019), Ready or Not (2019), The Report (2019) and Vice (2018).
AD ASTRA (2019)
“James Gray’s existential space epic finds Brad Pitt journeying into the abyss of space with tremendous results.“
AVENGERS: ENDGAME (2019)
“…the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion.”
CAPERNAUM (2018)
“…With incredible scenes of documentary realism the director Nadine Labaki has delivered a powerful piece of cinema.”
DOLEMITE IS MY NAME (2019)
“… it’s a testament to the ability, talent and infectiousness of EddieMurphy. Comedian and B-movie star, Rudy Ray Moore, is a part he was born to play.”
THE FAREWELL (2019)
“… Awkwafina provides subtle brilliance in her role as Billi, yet, Zhao Shuzhen steals the show as the effervescent Nai-Nai in this funny and moving drama.”
THE IRISHMAN (2019)
“… Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering.”
JOJO RABBIT (2019)
“… Taika Waititi just manages to balance parody and pathos in this risky, but brilliant rites-of-passage comedy-war film.”
JOKER (2019)
“… marrying Taxi Driver (1976) with a DC comic-book super-villain is a masterstroke; making it one of the most compelling films of 2019.”
KNIVES OUT (2019)
“… Rian Johnson is back on the form with this breathless murder mystery, which works brilliantly as fast-paced, witty and intricate film entertainment.”
MARRIAGE STORY (2019)
“… an emotional and funny relationship drama that’s full of standout scenes, with Adam Driver and Scarlett Johansson on top form.”
ONCE UPON A TIME IN HOLLYWOOD (2019)
“… a near three-hour arthouse classic, especially if you like films about film and TV making, driving, feet, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt.”
US (2019)
“… Jordan Peele skilfully delivers another great horror film, thanks to clever writing, masterful film production and an incredible cast.”
Once again the festive season is upon us. Thus, the over-privileged first world will buy stuff they don’t need, drink and eat more than humanly possible, and perhaps even celebrate the birth of the son of God. As you may gather, being a miserable cynic, I’m not a massive fan of Christmas, but it is a lovely time to try and be nice to people, take time off from the day job and watch even more films and television.
Watching films and not being at work is definitely my favourite thing about Christmas, so I thought it fun to have a look at what I consider six of the best Christmas films. How do you define a Christmas film? I would say the film should not only be set at Christmas, but also invoke a sense of the Christmas spirit, evil or otherwise. It should also contain Christmas themes or even some kind of moral within the narrative. Therefore, Die Hard (1988) is NOT a Christmas film. Here, in my humble opinion, are six that most definitely are! Happy holidays!
A CHRISTMAS CAROL / SCROOGE (1951)
“Well, then, I’ll just swallow this and be tortured by a legion of hobgoblins, all of my own creation! It’s all HUMBUG, I tell you, HUMBUG!”
BAD SANTA (2003)
“I beat the shit out of some kids today. But it was for a purpose. It made me feel good about myself. It was like I did something constructive with my life or something, I dunno, like I accomplished something.”
ELF (2003)
“We elves try to stick to the four main food groups: candy, candy canes, candy corns, and syrup.”
GREMLINS (1984)
“First of all, keep him out of the light, he hates bright light, especially sunlight, it’ll kill him. Second, don’t give him any water, not even to drink. But the most important rule, the rule you can never forget, no matter how much he cries, no matter how much he begs, never feed him after midnight.”
IT’S A WONDERFUL LIFE (1946)
“You see, George, you’ve really had a wonderful life. Don’t you see what a mistake it would be to throw it away?”
KRAMPUS (2015)
“Saint Nicholas is not coming this year. Instead, a much darker, ancient spirit. His name is Krampus. He and his helpers did not come to give, but to take. He is the shadow of Saint Nicholas.”
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The Cinema Fix presents: 