Dawn of the Dead 10/26/19
Dawn of the Dead ultimately ends up drawing more from Night of the Living Dead by throwing together a sizeable ensemble and trapping them in a single location - the mall itself eventually starts to feel far more anonymous than it should, which definitely comes across as a problem for a film that calls itself Dawn of the Dead.
Zombieland: Double Tap 10/19/19
Most zombie films will take it for granted that everyone who survives a decade into the zombie apocalypse will be used to killing to survive so I guess it is something to see how out-and-out pacifists would survive the zombie apocalypse (enough that I sort of want to see a whole movie about how they'd even make that work) but here it just comes across as an extremely contrived means of justifying all of Tallahassee's tendencies that drove Little Rock away in the first place and makes me question where this film's priorities truly lie.
Hell Fest 10/15/19
I'm not sure how many horror movies I've seen that take place on the grounds of amusement parks (whether of the "haunted house" variety or not), but I don't think it was enough that I expected any clich specifically related to the setting.
It certainly has one very slow build-up that made me question if this revisit was worth it, but it's only once Christine really starts coming alive and causing problems (I'd say around the time that the football game ends) that the film really kicks into high gear and it starts being a Carpenter film, throwing out enough escalating developments and distinctive moments to push this up to a positive rating.
It's hard to gauge who this movie is for as it boasts a thoroughly hideous monster (think the giant head from Evil Dead II only much wetter and with more appendages) who nevertheless consumes various characters in comparatively bloodless and unimaginative ways, whereas its idea of biting satire is to create a bunch of loudly dysfunctional archetypes (swinger parents, survivalist grandpa, punk daughter, etc.) and have them rub up against one another (sometimes literally in the case of the parents and their fellow swingers) again and again as their numbers dwindle (and beyond).
Even having creators like Green and Danny McBride approaching the material with the best intentions does little to assuage that concern - the film itself features multiple characters whose benign first impressions are swiftly shown to be false fronts for unpleasant (and even destructive) forces that don't necessarily rival Michael himself but don't make for dependable cases either, and I think that much is true of a film that claims it wants to be the best and only sequel to a film that never truly needed one.
Halloween II 11/13/18
Rob Zombie's approach to remaking the original Halloween was to make it a film of two halves - the first a prologue that depicted Michael Myers as less an inexplicable force of evil than the inevitable end product of an abusive environment, the second a straight retelling of John Carpenter's original film where Michael carries out a killing spree with some minor changes such as including the reveal that protagonist Laurie Strode (Scout Taylor-Compton) is Michael's long-lost sister.
Where Carpenter's original limited Michael's villainous development to a brief but striking prologue depicting his first murder and a handful of expository lines from his psychiatrist, Zombie's reimagining spends about half its sizeable running time depicting an elaborate back-story for Michael that traces the events of that first fateful Halloween through his decade-plus in an institution under the watchful eye of Dr.
Halloween H20: 20 Years Later 11/11/18
However, more often than not it seems like window dressing that only offers the slightest of variations on the formula of teens (namely John and his immediate social circle) being targeted by Michael - this can be discerned by just how much the film really kicks into gear once Laurie becomes directly involved in conflict with Michael past the film's halfway mark (but hey, better late than never, I guess).
Halloween: The Curse of Michael Myers 11/09/18
It definitely doesn't have any qualms about showing Michael getting brutal with his marks as the film progresses, but by and large those are the only worthwhile parts of a film that goes to impressive lengths to undermine the franchise from the inside out.