{"id":482,"date":"2010-01-04T15:12:15","date_gmt":"2010-01-04T19:12:15","guid":{"rendered":"http:\/\/mondomark.com\/?p=482"},"modified":"2010-01-04T15:12:15","modified_gmt":"2010-01-04T19:12:15","slug":"the-horror-the-horror","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=482","title":{"rendered":"The Horror, the Horror"},"content":{"rendered":"<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/FinalDestination4.gif\" alt=\"\" width=\"120\" height=\"168\" \/><\/p>\n<p>Coming out tomorrow is the latest <strong>Final Destination<\/strong> sequel from Warner Bros., who\u2019ve oddly retained  the New Line shingle in spite of shuttering the company\u2019s ability to produce  and release product.<\/p>\n<p>Released theatrically in 3D, FD4 is presented both flat and  in 3D on DVD and Blu-ray, but the DVD edition leaves a lot to be desired, and  is another victim of WB&#8217;s  decision to isolate special features to the  BR edition. What\u2019s grating about WB\u2019s tactics is that while the company was all  fine in making content identical to BR and the dead HD-DVD format a few years  ago, DVD owners are regularly treated to a guessing game as to what features  (if any) will be available when an effects film debuts on home video.<\/p>\n<p><strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/t2u\/3492_TrickRTreat2008.htm\">Trick \u2018R  Treat<\/a><\/strong> is perhaps the worst DVD release of 2009 \u2013 great film, rotten DVD  edition \u2013 and it\u2019s no surprise the extras made for <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/t2u\/3511_T4.htm\">Terminator:  Salvation<\/a><\/strong> and the imminent FD4 were heavily curtailed for the DVD  release. Either WB thinks DVD is dead or dying, or there will be a meteoric  rush to upgrade to BR.  (Which, in this economy, is unlikely. A gradual upgrade, perhaps; but outright  replacement of DVD within one year, highly doubtful, and dumb.)<\/p>\n<p>I\u2019ll have more comments regarding the quiet shift classic  and back catalogue titles are undergoing on home video \u2013 on-demand versus the  once-prolific monthly wave of DVDs \u2013 later this week, as I\u2019ve uploaded more  horror\/thriller reviews to the site.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/TiWest.gif\" alt=\"\" width=\"240\" height=\"168\" \/><\/p>\n<p>In addition to <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/f\/3516_FinalDestination4.htm\">The Final  Destination<\/a><\/strong> (Warner Bros.), there\u2019s also a pair of thrillers from indie  filmmaker Ti West. His debut, <strong>The Roost<\/strong>,  was a bit divisive for horror fans: they either loved the slow pacing and  concentrated attention towards one location, or found it a great big clumsy  bore (which unfortunately, I did). The film is notable for inspiring <a href=\"http:\/\/www.kqek.com\/exclusives\/Exclusives_Grace_1.htm\">Jeff Grace<\/a> to write one of the most terrifying scores in years, and happily the composer\u2019s  association with West also continued with <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/t2u\/3507_TriggerMan2007.htm\">Trigger Man<\/a><\/strong> (2007) and <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/h\/3508_HouseDevil2009.htm\">The House of  the Devil<\/a><\/strong> (2009).<\/p>\n<p>The former has yet to appear on video here, so the film  review comes from the German Region 2 release, which has some notable extras. <strong>House of the Dead<\/strong> will make its DVD and  BR debut in March overseas, but it\u2019s worth catching the film in a theatre  for West\u2019s near-perfect making of a vintage eighties slasher. Every pacing  fetish that disaffected <strong>The Roost<\/strong> (as well as the early half of <strong>Trigger  Man<\/strong>) works in <strong>House<\/strong>, and the  cast is uniformly strong. It\u2019s a good shocker that emphasizes mood over gore,  and while blood and brain matter do splatter now and then, West is too smart to  fall into the torture porn trap.<\/p>\n<p>His approach in <strong>House<\/strong> is very simple: introduce the premise, map out the physical location for the  character and the audience (a big old creepy house in Nowhereland), and then  introduce the lethal stressors that punish the poor babysitter.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/ISellTheDead.gif\" alt=\"\" width=\"120\" height=\"168\" \/><\/p>\n<p>In addition to the West films, Grace also scored Glenn  McQuaid\u2019s <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/i\/3509_ISellTheDead.htm\">I Sell the Dead<\/a><\/strong> (Anchor Bay), a fine little mordant black comedy  about grave robbers and the increasingly weird cadavers the pair must retrieve  to maintain room and board.<\/p>\n<p>I\u2019ll have a new interview with Grace this month, alongside  reviews of the scores (each available on CD and digitally from MovieScore  Media), but for now, do check out the film reviews.<\/p>\n<p>Also imminent are reviews of John Woo\u2019s original, two-part,  5 hour historical epic <strong>Red Cliff<\/strong> (out on DVD and BR overseas), as well as Taro Iwashiro\u2019s excellent score (via  Silva Screen).<\/p>\n<p>I\u2019ll also a have a review of Jerry Goldsmith\u2019s <strong>Freud<\/strong>, newly released on DVD (in  stereo! from Varese), as well as a film review;  and Bill Conti\u2019s <strong>That Championship  Season<\/strong> (La-La   Land) and <strong>The Right Stuff<\/strong> (Varese).<\/p>\n<p>Lastly, all those Berlin-centric reviews will be up in  stages, starting with the first German production shot after the war, Wolfgang  Staudte\u2019s <strong>The Murderers are Among Us<\/strong> \/ <strong>Die M\u00f6rder sind unter uns<\/strong> (1946),  starring Ernst Wilhelm Borchert and a baby-faced Hildegard Knef; and the first  Hollywood film shot in postwar Germany, Jacques Tourneur\u2019s <strong>Berlin Express<\/strong> (1948), starring Merle Oberon, Robert Ryan, and the IG  Farben Building.<\/p>\n<p>&#8211; MRH<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Coming out tomorrow is the latest Final Destination sequel from Warner Bros., who\u2019ve oddly retained the New Line shingle in spite of shuttering the company\u2019s ability to produce and release product&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,5],"tags":[],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-7M","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/482"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=482"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/482\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}