“All The Boys Love Mandy Lane” AKA All the Bland Love Blandy Lane, Review By Case Wright


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IT’S OCTOBER!!!! WOOHOO!!!! The Most Wonderful Time of The Year!!!!

All The Boys Love Mandy Lane….for some reason.  Let’s begin by admitting Amber Heard is pretty, but …. love at first sight obsession?! Word?! Word?!  This film was written by Jacob Forman who went on to …. not much.  Jacob Forman does have a few recent credits as a special thanks over the last few years, which means he let someone sleep on his couch or something who was making a movie.  I wonder if the film deserved to make enough money to afford the futon that he used to get those special thanks.  But it’s on Netflix; so, if you’re on an elliptical and have already caught up on your YouTube subscriptions…. I guess this would be a choice that you could make … on purpose.

Jonathan Levine (director 50/50) directed this mess and he’s a very talented director for … Dramatic Comedy and Drama… Horror…not so much.  It was one of his first films (2006) and didn’t get a US release until 2013 … for good reason.  He’s very good at filming true to life couch conversations, which was certainly evident in 50/50, but in a Horror/Thriller the camera work/direction has to act as another character to pull us into suspense and punch us with payoffs.  This piece uses a lot of shaky cam in a 1980s style with artsy cuts that never allow us to feel worried about anyone on-screen.  The direction is like someone constantly spilling water on your charcoal as your trying to get the barbecue going.

The exploitation premise is simple enough: A bunch of boys try to corrupt a naive virginal archetype – Mandy Lane (Amber Heard).  Mandy is kind of bland and has a friend Emmet who everyone picks on and gets even by somehow convincing a guy to jump off his roof into a pool and he dies.  It’s weird.

After the pool incident, Emmet is a pariah. Mandy, on the other hand, is apparently the paragon of the feminine ideal because every man within 100 miles will give up his eternal soul for a tryst with her.  She agrees to go to a ranch in the middle of nowhere with a bunch of dudes and girls who are equally boring.  They arrive at the ranch and there’s a ranch hand on the property who is supposedly a Gulf War veteran even though he’s 27 and not in his later 40s.  Sigh.  Mandy Lane and all the other girls are obviously smitten with the ranch hand and why not….the ranch hand defies time and math itself!!!  As the song goes, every girl crazy for a …. man who defies the space-time-continuum! [Sung as ZZ Top]  The ranch hand is bored with the teens and returns to his home sweet shed.

Later, the teens start doing a ton of drugs and booze and Emmet or someone (dun dun dun) arrives and starts murdering everyone.  They are pretty gruesome deaths and it does border on torture porn at one point, which makes sense because it was written around 2004/2005 when Hostel was all the rage.  Even though people aren’t returning, all of the guys continue to try to make out with Mandy in the creepiest ways possible.  Mandy Lane has 20 lines of very bland dialogue total in the film and there is a slight twist at the end that fails to thrill.

What bugged me about this film is that horror is always treated as the Red-Headed Stepchild of film.  Everybody seems to think the genre is easy to write and do and this film is proof that both of those assumptions are false.  First, you need to at least have some sympathy for the people getting killed.  Second, you need to explain in someway at the halfway why they don’t just leave.  In this film, it’s not clear why the dudes want Mandy to stay at the halfway point of the film when it’s clear that she’s not interested in any of them.  Third, the camera work and direction to pull you into the house and into the story to ratchet up tension; otherwise, it’s just boring.

I’m glad that Jonathan Levine found his voice soon after this. Amber Heard did a fair enough performance for what she had to work with.  There was good performance by Melissa Price, but from IMDB, it appears that this film probably tanked her career.  In any case, I’m crazy excited that October is here!!!

 

Sundance Film Review: Alpha Dog (dir by Nick Cassavetes)


The Sundance Film Festival is currently taking place in Utah so, for this week, I’m reviewing films that either premiered, won awards at, or otherwise made a splash at Sundance!  Today, I take a look at 2006’s Alpha Dog, which premiered, out of competition, at Sundance.

Sometimes, I suspect that I may be the only person who actually likes this movie.

Alpha Dog is a film about a group of stupid people who end up doing a terrible thing.  Johnny Truelove (Emile Hirsch) is a 20 year-old living in Los Angeles.  His father, Sonny (Bruce Willis) and his godfather, Cosmo (Harry Dean Stanton), are both mob-connected and keep Johnny supplied with the drugs that Johnny then sells to his friends.  It’s a pretty good deal for Johnny.  He’s got a nice house and a group of friends who are willing to literally do anything for him.  Johnny, after all, is the one who has the money.

When Johnny’s former best friend, Jake Mazursky (Ben Foster), fails to pay a drug debt, things quickly escalate.  When Johnny refuses to accept even a partial payment, Jake responds by breaking into Johnny’s house and vandalizing the place.  (Just what exactly Jake does, I’m not going to go into because it’s nasty.  Seriously, burn that house down…)  Johnny decides that the best way to force Jake to pay up is to kidnap Jake’s younger brother, Zack (Anton Yelchin, who is heartbreakingly good in this film).

It quickly turns out that Zack doesn’t mind being kidnapped.  Everyone tells Zack not to worry about anything and that he’ll be set free as soon as Jake pays his debt.  Zack decides to just enjoy his weekend.  Since Johnny is better at ordering people to commit crimes than committing them himself, he tells his friend, Frankie (Justin Timberlake), to keep an eye on Zack.

And so it goes from there.  While Johnny leaves town, Frankie introduces Zack to all of his friends.  Everyone laughs about how Zack is “stolen boy.”  Zack’s going to parties and having a good time.  However, Johnny returns and reveals that he’s been doing some thinking, as well as talking to his lawyer.  Regardless of whether Zack’s enjoying himself, both Johnny and Frankie could go to prison for kidnapping him.  Frankie argues that Zack won’t tell anyone about what happened.  Maybe they could just pay him off.  Johnny thinks it might be easier to just have him killed.  Frankie’s not a murderer but what about Elvis Schmidt (Shawn Hatosy)?  Elvis is a loser who desperately wants to be a part of Johnny’s crew and he owes Johnny almost as much money as Jake does.  How far would Elvis be willing to go?

(While this plays out, the film keeps a running tally of everyone who witnesses Zack not only being kidnapped but also held hostage.  In the end, there were at least 32 witnesses but none of them said a word.)

Alpha Dog is based on the true story of Jesse James Hollywood and the murder of 15 year-old Nicholas Markowitz.  Hollywood spent five years as a fugitive from justice, hiding out in Brazil and reportedly being protected by his wealthy family.  He was arrested shortly before the Sundance premiere of Alpha Dog.  Since it was filmed before Hollywood’s arrest and subsequent conviction, Alpha Dog changed his name to Johnny Truelove.  Johnny Truelove is a good name but it’s nowhere near as memorable as Jesse James Hollywood.

Alpha Dog sticks close to the facts of the case, providing a disturbing portrait of a group of aimless wannabe gangsters who, insulated by money and privilege, ended up getting in over their heads and committing a terrible crime.  Emile Hirsch gives one of his best performances as the sociopathic Johnny Truelove while Ben Foster is both frightening and, at times, sympathetic as Jake.  Justin Timberlake is compelling as he wrestles with his conscience while Shawn Hatosy is properly loathsome as the type of idiot that everyone knows but wish they didn’t.  The dearly missed Anton Yelchin is heartbreaking and poignant as Zack.  And finally, there’s Harry Dean Stanton.  Stanton doesn’t say a lot in this movie.  Often times, he’s just hovering in the background.  The moment when he reveals his true self is one of the best in the movie.

As I said, I sometimes feel as if I’m the only person who likes this movie.  It got mixed reviews when it was released and, in the years since, it rarely seems to ever get mentioned in a positive context.  Personally, I think it’s a well-done portrait of privilege, stupidity, and the lengths to which people will go to avoid taking a stand.  In the end, no one escapes punishment but it’s the rich guy who, at the very least, gets to spend at least a few years enjoying his freedom in Brazil.

Previous Sundance Film Reviews:

  1. Blood Simple
  2. I Don’t Feel At Home In This World Anymore
  3. Circle of Power
  4. Old Enough
  5. Blue Caprice
  6. The Big Sick

Here Are The Winners of The 2015 Hollywood Film Awards, Whatever The Hell Those Are.


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Oh my God, y’all — the Hollywood Film Awards were held on Sunday and a bunch of potential Oscar contenders were honored!  Which all leads to one very important question:

What the Hell are the Hollywood Film Awards?

As I pondered that question, I realized that I had vague memories of sitting through the Hollywood Film Awards last year.  The ceremony was broadcast on CBS and it was distinguished from other awards shows in that there were no nominees.  Instead, only the winners were announced.  It was so amazingly dull and I can remember watching it and thinking, “Awards season has finally jumped the shark.”

(And this was even before Sasha Stone and Jeff Wells had their annual breakdowns…)

Anyway, the Hollywood Film Awards for 2015 were given out on Sunday and I’m assuming they weren’t televised.  (I was busy watching A Student’s Obsession anyway…)  You can find the winners below.  For the most part, it’s a pretty boring list (and why give out awards in November?) but it does allow us an early glimpse into some of the films and performers that are contending for Oscar gold.

Here’s the list.  Along with a gif of a kitty showing just how excited he is over Awards Season…

YAY! AWARDS! I'M SO EXCITED..I'M SO EXCITING...I'M SO ... SCARED!"

“YAY! AWARDS! I’M SO EXCITED..I’M SO EXCITED… I’M SO … SCARED!”

Career Achievement Award presented to Robert De Niro by David O. Russell.

Producer Award presented to Ridley Scott (“The Martian) by Russell Crowe.

Director Award presented to Tom Hooper (“The Danish Girl”) by Amber Heard.

Actor Award presented to Will Smith (“Concussion”) by Jamie Foxx.

Actress Award presented to Carey Mulligan (“Suffragette”) by Jake Gyllenhaal.

Supporting Actor Award presented to Benicio Del Toro (“Sicario”) by Reese Witherspoon.

Supporting Actress Award presented to Jane Fonda (“Youth”) by Laura Dern.

Breakout Actor Award presented to Joel Edgerton (“Black Mass”) by Johnny Depp, Dakota Johnson.

Breakout Actress Award presented to Alicia Vikander (“The Danish Girl”) by Armie Hammer.

New Hollywood Award presented to Saoirse Ronan (“Brooklyn”) by Ryan Gosling.

Ensemble Award presented to “The Hateful Eight” by Quentin Tarantino.

Breakout Ensemble Award presented to “Straight Outta Compton” by Ice Cube.

Comedy Award presented to Amy Schumer (“Trainwreck”) by Selena Gomez.

Breakthrough Director Award presented to Adam McKay (“The Big Short”) by Steve Carell.

Screenwriter Award presented to Tom McCarthy, Josh Singer (“Spotlight”) by Mark Ruffalo.

Blockbuster Award presented to “Furious 7” by Kurt Russell.

Song Award presented to “Furious 7” (“See You Again”) by Vin Diesel.

Animation Award presented to Pete Docter (“Inside Out”) by Amy Poehler.

Cinematography Award presented to Janusz Kaminski (“Bridge of Spies”).

Composer Award presented to Alexandre Desplat (“The Danish Girl,” “Suffragette”).

Documentary Award presented to Asif Kapadia (“Amy”).

Editor Award presented to David Rosenbloom (“Black Mass”).

Visual Effects Award presented to Tim Alexander (“Jurassic World”).

Sound Award presented to Gary Rydstrom (“Bridge of Spies”).

Costume Design Award presented to Sandy Powell (“Cinderella”).

Make-Up and Hair Styling Award presented to Lesley Vanderwalt (“Mad Max: Fury Road”).

Production Design Award presented to Colin Gibson (“Mad Max: Fury Road“).

"Yawn. These awards are boring..."

“Yawn. These awards are predictable and boring.  You disappoint me…”

Trailer: Magic Mike XXL (Teaser)


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I will be the first to admit that Soderbergh’s journey into the world of male strippers wasn’t on my radar when it was first announced and even when it finally premiered. Then again I don’t think I was the core audience.

Now, Lisa Marie did go see Magic Mike and to say that she enjoyed it would be an understatement. Her brief (no pun intended) but succinct review of the film could be summed up by it’s introduction:

“After me and my BFF Evelyn saw Magic Mike, I hopped on twitter and I tweeted, “Memo to single guys.  Go hang out around the theater when Magic Mike gets out.  You will get laid!”  Yes, Magic Mike is that type of film…”

So, we’re now three years removed from Soderbergh’s film. A sequel has been filmed and ready to be unleashed on the millions out there waiting to get back to the world of Magic Mike. While Soderbergh doesn’t return as director (he does go behind the camera as the sequel’s cinematographer and editor) the sequel does get Gregory Jacobs in the director’s chair. He was first asst. director during the first film and a frequent collaborator with Soderbergh (he pretty much has been Soderbergh’s asst. director in all his films).

Will Lisa Marie enjoy this sequel or will she return with a reaction of “seen it before” ennui? We’ll find out in a couple months.

Magic Mike XXL unveils for all this July 1, 2015.

Back to School #64: Friday Night Lights (dir by Peter Berg)


For the past three weeks, I’ve been looking at some of the best, worst, most memorable, and most forgettable high school and teen films ever made.  I’ve been posting the reviews in chronological order and, as I look back over the previous 63 Back to School reviews, one thing that I can’t escape is football.

It’s funny.  Despite being a Texas girl, I know very little about football and, whenever I have found myself watching a game, I’ve usually end up getting bored out of my mind.  I’m not a huge fan of sports films, either.  It’s just not my thing.  And yet, as a result of doing this series of reviews, I’ve watched more football films over the past month than I had probably seen in my entire life previously.  Some of the films that I’ve reviewed specifically were football films — The Pom Pom Girls, All The Right Moves, and Varsity Blues, for example.  However, even the film that weren’t specifically about the sport often featured scenes set on the football field.  Just think of Forest Whitaker in Fast Times At Ridgemont High or the socially conflicted jocks from Dazed and Confused.

For a lot of films, football and high school seem to go together.  And one of the most acclaimed high school football films is 2004’s Friday Night Lights.  Now, I have to admit that Friday Night Lights is not one of my favorite films.  It’s a football film, I’m not into football, and therefore, Friday Night Lights is a film that I respect more as a well-made film than like as a source of entertainment.  Perhaps the best thing that I can say about Friday Night Lights is that I understand why so many people who do love football also happen to love this film.

And I do have to say that I appreciate that Friday Night Lights is also a film about Texas that actually manages to realistically portray my home state without resorting to the predictable clichés that dominated Varsity Blues.

Taking place in Odessa, Texas, Friday Night Lights follows the 1988 season of the Permian Panthers.  As opposed to most sports films, Friday Night Lights does not focus on a team of lovable underdogs.  Instead, the Panthers are already known for being a championship team.  As the season begins, Coach Gary Gaines (Billy Bob Thornton) is under tremendous pressure to continue that winning tradition.  However, when the team’s star player is injured during the first game of the season, the Panthers suddenly find their pre-ordained winning season in doubt.  Gaines finds himself being alternatively celebrated and demonized depending on how the previous night’s game has gone and his players find themselves under tremendous pressure from everyone in town.  The film features a great performance from Billy Bob Thornton and a really good one from Derek Luke, playing a player who abruptly goes from being a future superstar to a present could-have-been.  In fact, the entire film is well-acted with even country singer Tim McGraw giving a surprisingly multi-faceted performance as a former player-turned-drunk.

In short, Friday Night Lights is a lot like Varsity Blues, except that it doesn’t suck.

(Incidentally, Friday Night Lights did inspire a TV series.  I never watched it.)

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Scenes I Love: Drive Angry


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“Gentlemen, aim for their tires.”

Drive Angry came out in early 2011 and it was one of those films which everyone thought was going to flop and flop hard. It did flop like a dying carp on a desert dune, but it was also one of the most fun flicks of the year. People just didn’t get what the film was about and trying to do. I, for one, was of the minority that got “it”.

This film starring Nicolas Cage going the subdued crazy route had so many funny and WTF sequences that it was difficult just to pick one, but pick one I shall.

I think the sequence where William Fichtner’s supernatural bounty hunter, The Accountant, chasing and assisting the undead John Milton on his vengeance ride against a Satanic cult leader, and to the tune of the KC and The Sunshine Band’s “That The Way (I Like It)” classic song was a major favorite. It emphasized just how over-the-top Drive Angry turned out to be, but in a fun and hilarious way. William Fichtner just chews the scenery in this scene. I also like how Tom Atkins, himself a veteran of grindhouse flicks, matches Fichtner chew for chew.

A Quickie With Lisa Marie: The Rum Diary (dir. by Bruce Robinson)


My sister Erin and I went and saw The Rum Diary on Tuesday and wow, was it ever a disappointment.  The commercials make it look like a wild comedy featuring Johnny Depp looking all sexy and decadent but, in reality, the film is kind of a mess that is almost schizophrenic in its attempts to be more than the sum of its parts.

Johnny Depp plays Paul Kemp, an alcoholic writer who goes to Puerto Rico in the early 60s and takes a job writing horoscopes for the local newspaper.  The job leads to him drinking a lot and hanging out with characters who are sweaty and so generally grimy that it’s borderline revolting to even see them on-screen.  (Giovanni Ribisi, giving a distressingly bad performance, is the main offender.)  Paul also ends up kinda befriending (but not really) a businessman named Sanderson (Aaron Eckhart), who you know is a bad guy because he’s the only character who dresses in pastels.  Anyway, Sanderson has a girlfriend named Chenault (Amber Heard) and Chenault really has no purpose for existing other than for Paul to fall in love with her and save her from a terrible future of being married to a rich, handsome man.  The film starts out as a comedy and then, after about an hour, it suddenly turns all serious and preachy.  It’s as if the film can’t decide whether it wants to be an unfunny comedy or a laughable drama.

Luckily, Johnny Depp is on screen for nearly the entire film and, as we watched, Erin and I quickly learned that the best way to enjoy The Rum Diary is just to allow yourself to be carried away by the Deppness of it all.  Don’t think about how the film’s kind of a mess and how Aaron Eckhart is more of a designated villain than a real villain and ignore the fact that Chenault is a sexist fantasy and tune out the preachy dialogue and try not to think about how everyone appears to have had more fun making the film than you’re having watching it, and just concentrate on Johnny Depp being all kinds of sexy.  

If you do that, The Rum Diary is a tolerable 2 hours.

Review: Drive Angry 3D (dir. by Patrick Lussier)


Every year there’s always a handful of films which gets little to no love from both critics and audiences. These are titles that for one reason or another get left by the wayside. Some say these films are awful. Some say they’re weren’t in the theaters long enough for people (or even critics) to notice. Yet, these films will get it’s vocal and ardent supporters and fans who sees through all the flaws and warts and find a rough gem that really entertains. One such film for 2011 is the supernatural-action film from filmmaker Patrick Lussier simply titled, Drive Angry 3D. Yes, it’s a 3D film and not one of those post-conversion deals but shot from start to finish in 3D.

Drive Angry 3D harkens back to the good, dirty era of grindhouse films. Films with simple storylines and even simpler dialogue. They were made on the cheap (though with a budget of 35-40million this film definitely not low-budget) and cramed full of everything that could be exploited to bring in the audience: sex, violence and lots of nudity. Lussier’s film definitely has all three in abundance. With Nicolas Cage headlining a cast of veteran genre actors and a spitfire of a female sidekick, Drive Angry 3D was a grindhouse film at its very core.

The story could’ve come from any number of revenge films of the 1970’s. Cage plays John Milton (I kid you not) who escapes Hell itself to seek vengeance on the Satanic cult and their leader Jonah King (Billy Burke sporting a slithery Southern accent that’s one step over excessive but oh so fun to hear) for killing his daughter and kidnapping his baby granddaughter. A baby to be sacrificed by Jonah King and his followers to usher in an era of Hell on Earth. Just going over that brief synopsis one could just imagine this film being made in the 1970’s with country rock playing in the background.

Along the way in his quest for vengeance and redemption, Milton comes across Piper (played with crackling gusto by the lovely Amber Heard in the shortest Daisy Dukes I’ve ever seen on film) who becomes his partner in his quest through some shared encounters which shows Piper not as a damsel-in-distress but a young woman who can kick ass as much as Milton does. The fact that she didn’t appear in any form of nakedness throughout the film was a sign that she wasn’t a woman to be messed with.

While it Milton and Piper going after King and his Satanic-cult inbreds wasn’t enough action for one film Lussier and screenwriter Todd Farmer (he also played the role of Piper’s philandering fiancee who gets knocked around a bit by almost everyone) decided to bring in the character of the Accountant (played with an almost childish glee by William Fichtner) who has followed Milton from Hell to bring him back and an item that was taken from Lucifer’s own stash of goodies. Watching the Accountant play someone not used to being human play-act as one definitely became some of the funnier scenes in the film. That’s also why this film was such a fun ride to sit through. Everyone in the cast seemed to be having a blast playing their characters to the hilt. Even David Morse in the role of a Webster as the aging sidekick of Milton’s before his trip to Hell looked to be into his role.

But enough of trying to explain the story and how the actors performed. Drive Angry 3D is all about action and action of every kind. This film oozed action from its very being. We had car chases with some of the most beautiful classic muscle cars in existence. We first get to witness Piper and her 1969 Dodge Charger 440 R/T then for the last third of the film twin 1971 Chevrolet Chevelle SS 454’s. This film is such a throwback to the car chase action films of the 70’s like Vanishing Point and Dirty Mary, Crazy Larry. It wasn’t just car chase action to be had and experienced. This film didn’t shy away from some very violent and up-close gunfights. One particular gunfight may just go down in history as one of the best as Cage’s character (still fully dressed) shoots it out with some of King’s thugs while having sex with the local waitress, smoking a cigar and a bottle of Jack Daniel’s in one hand. Milton was one multitasking badass.

This film was all about excess and it’s why it held such an appeal to those who have seen it and have raved about it. It didn’t pay homage to grindhouse, but ended up as being one of the very films it tried and succeeded to emulate. Forget the gloss veneer of the film. A film doesn’t have to be dated and cheap-looking to be grindhouse. Both Patrick Lussier and Todd Farmer wanted to make a badass film about a badass character doing badass shit and they succeeded.

Even the 3D used for this film actually worked. It helped that the crew actually used real 3D cameras to film every scene instead of doing post-conversion work of regular camera filmed scenes. Yes, there were scenes where things were made to come straight at the audience but it wasn’t so distracting as to ruin the experience. In fact, I would say that 3D added to this film’s appeal and fun. One reviewer had said that 3D should be reserved for use in films such as Drive Angry 3D. I won’t disagree.

Will this film be for everyone? I don’t think it is. Not everyone is ready for extreme excess of badassery from Cage, Heard and Fichtner.

Drive Angry 3D will be seen as a failure by those not involved in its production or by those who saw it and enjoyed it. There’s some truth in that, but I do think that this film succeeded in doing everything that was promised by its filmmakers and producers. It’s not an Oscar-baiting film or even one to be seen in the yearly film festivals and circuits. What this film has become was one hell of a ride that was all about kicking ass, taking names (screwing the local waitress while waiting for the ambush to come) and driving beautiful, fast cars. I do think that Lussier’s film looks like a cult-classic in the making as time passes and those who saw it while it was in the theaters should be proud to say that they saw it and liked it when most people couldn’t be bothered.

Now, where’s my pistol, cigar and bottle of Jack Daniels.

Trailer: John Carpenter’s The Ward


It has been over ten years since one of the masters of horror has released a full-length feature film. Sure, John Carpenter has filmed episodes for two seasons of Showtime’s horror anthology, Masters of Horror. But it seemed like the bad experience he had in filming his last feature-length, 2001’s Ghosts of Mars, might have soured him in doing anything for the big-screen.

That was then and this is now 2011 and Carpenter looks to make his return to the big-screen with the horror film, The Ward. It will star one of the industry’s rising stars in Amber Heard with veteran performers both young (Danielle Panabaker, Lyndsy Fonseca) and old (Jared Harris) backing her up.

The Ward was first show in this past 2010 Toronto International Film Festival and the reaction to the film was generally positive with most saying this was a good return for one of the horror genre’s most admired and beloved filmmakers.

The film looks to be set in a 1960’s mental institution with Heard’s character the center of attention. Mysterious happenings involving the staff, current patients and the presence of a ghost seem to be the main plot of the film.

Will Carpenter’s bag of filmmaking skills remain as it was before he left feature-length filmmaking a decade ago or will he show that he’s learned a few new tricks to add to his considerable skillset? The film certainly seem to echo some of the Japanese-style gothic and ghost story films which still remains a staple of Japanese horror cinema. In the end, I’m just glad to see one of the masters of horror back in the driver’s seat. Time for him to show some of the young horror filmmakers nowadays how to do it.

Hottie of the Day: Amber Heard


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Texas born and raised Amber Heard is the latest hottie of the day.

The young model and actress had her first major role in the 2004 sports drama, Friday Night Lights. Other small roles in TV shows like Jack & Bobby, The Mountain and The O.C. soon followed. Ms. Heard’s career would continue on a gradual trajectory as she takes on roles in other TV shows such as Hidden Palms and Californication. But her career seem to be set for her as a film star as roles in major films such as The Pineapple Express, Never Back Down and, the soon to be released Johnny Depp drama, The Rum Diary.

Fans of Amber Heard last saw her in a small role in Zombieland as the college girl whom Jesse Eisenberg’s character falls for only to see her turn into a zombie. This turn as a potential horror babe must’ve been impressive enough that horror maestro John Carpenter himself has cast her in the lead role of his next feature-lenght film, The Ward.