amesmonde
may 2002 se unió
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Clasificación de amesmonde
In this '80s zombie horror-comedy, a bullied teen mortuary assistant thinks his problems are over when his tormentors die in a crash-until lightning reanimates them as unstoppable undead jerks.
Night Life also known as Grave Misdemeanours (and not to be confused with the vampire movie Nightlife of the same year) is a 1989 high school bully/undead oddity. Directed by David Acomba and written by Keith Critchlow, the film is clunky at times and tonally mismatched, often unsure whether it wants to be a horror comedy, or straight undead thriller.
The film stars Scott Grimes in the lead as Archie, with John Astin turning up in a memorable supporting role. Cheryl Pollak lights up the screen as Archie's friend Charly. Memorable faces include Darcy DeMoss from 1986's Friday the 13th Part VI: Jason Lives and Lisa Fuller from The Monster Squad (1987). The supporting cast also includes the likes of Anthony Geary and Mark Pellegrino.
The score is fitting enough, but it lacks that punchy, unforgettable soundtrack that defined many of its genre peers.
Where Night Life really comes alive is in its third act. After a fatal accident, the dead begin to rise-not as mindless ghouls, but as thinking, car-driving corpses with unfinished business and a taste for the living. Once reanimated, the film finds its feet. The zombies draw clear inspiration from The Return of the Living Dead-intelligent, articulate, and unsettling in ways slow shamblers aren't. At times they're genuinely creepy, helped enormously by strong practical makeup effects, stunts, and an effective on-location atmosphere that gives the film a grimy, after-hours feel.
Flawed but oddly endearing, this is one of those VHS-era undead films that rewards patience. If you enjoy The Video Dead, Night of the Creeps, Night of the Comet, or The Return of the Living Dead, there's no reason not to get a kick out of this-whatever title you happen to find it under. A truly forgotten, imperfect undead gem that deserves rediscovery.
Night Life also known as Grave Misdemeanours (and not to be confused with the vampire movie Nightlife of the same year) is a 1989 high school bully/undead oddity. Directed by David Acomba and written by Keith Critchlow, the film is clunky at times and tonally mismatched, often unsure whether it wants to be a horror comedy, or straight undead thriller.
The film stars Scott Grimes in the lead as Archie, with John Astin turning up in a memorable supporting role. Cheryl Pollak lights up the screen as Archie's friend Charly. Memorable faces include Darcy DeMoss from 1986's Friday the 13th Part VI: Jason Lives and Lisa Fuller from The Monster Squad (1987). The supporting cast also includes the likes of Anthony Geary and Mark Pellegrino.
The score is fitting enough, but it lacks that punchy, unforgettable soundtrack that defined many of its genre peers.
Where Night Life really comes alive is in its third act. After a fatal accident, the dead begin to rise-not as mindless ghouls, but as thinking, car-driving corpses with unfinished business and a taste for the living. Once reanimated, the film finds its feet. The zombies draw clear inspiration from The Return of the Living Dead-intelligent, articulate, and unsettling in ways slow shamblers aren't. At times they're genuinely creepy, helped enormously by strong practical makeup effects, stunts, and an effective on-location atmosphere that gives the film a grimy, after-hours feel.
Flawed but oddly endearing, this is one of those VHS-era undead films that rewards patience. If you enjoy The Video Dead, Night of the Creeps, Night of the Comet, or The Return of the Living Dead, there's no reason not to get a kick out of this-whatever title you happen to find it under. A truly forgotten, imperfect undead gem that deserves rediscovery.
Traumatised by childhood violence linked to a Santa-clad killer, Billy Chapman spirals into a bloody holiday rampage that unfolds amid snow, lights, and seasonal cheer twisted into menace, but is there more to the killings?
Silent Night, Deadly Night (2025) reworks the notorious Christmas slasher into something sharper than its B-movie roots. It's best experienced cold, with no spoilers.
Rohan Campbell is excellent in the lead, giving Billy a fragile, unsettling humanity beneath the violence. Oozing screen presence, Ruby Modine provides a strong performance, while the supporting cast, including Mark Acheson, adds grit and personality. The performances take the material seriously, which is key to why the film works as well as it does.
Writer-director Mike P. Nelson shows real control, balancing slasher excess with atmosphere and character. The on-location winter setting (shot in Manitoba) gives the film an authentic chill, and the cinematography leans into cold blues and stark whites to strong effect. Blitz//Berlin's score enhances the unease, blending menace with warped seasonal undertones. There's plenty of gore and inventive kills, and while some ideas are familiar and you may see the ending coming, the journey is so well executed and satisfying that it hardly matters.
Overall, this is a film that elevates its B-movie source material, exceeding expectations through confident direction, strong performances, and craft. It may not reinvent the slasher, but it refines it - and in doing so becomes one of the most effective Silent Night, Deadly Night films to date. Highly recommended.
Silent Night, Deadly Night (2025) reworks the notorious Christmas slasher into something sharper than its B-movie roots. It's best experienced cold, with no spoilers.
Rohan Campbell is excellent in the lead, giving Billy a fragile, unsettling humanity beneath the violence. Oozing screen presence, Ruby Modine provides a strong performance, while the supporting cast, including Mark Acheson, adds grit and personality. The performances take the material seriously, which is key to why the film works as well as it does.
Writer-director Mike P. Nelson shows real control, balancing slasher excess with atmosphere and character. The on-location winter setting (shot in Manitoba) gives the film an authentic chill, and the cinematography leans into cold blues and stark whites to strong effect. Blitz//Berlin's score enhances the unease, blending menace with warped seasonal undertones. There's plenty of gore and inventive kills, and while some ideas are familiar and you may see the ending coming, the journey is so well executed and satisfying that it hardly matters.
Overall, this is a film that elevates its B-movie source material, exceeding expectations through confident direction, strong performances, and craft. It may not reinvent the slasher, but it refines it - and in doing so becomes one of the most effective Silent Night, Deadly Night films to date. Highly recommended.
Deathstalker finds a cursed amulet and is plunged into a wild hunt across witch-haunted wilds, crypts and taverns as dark forces close in.
Steven Kostanski writs and directs the film leans hard into practical monsters, swords and gore. Like the comparable Red Sonja, this comes off a little better given its low budget 1983 source material. What it lacks in budget it makes up for in pure fantasy entertainment - cheap but hugely imaginative effects, hands-on creature work, solid swordplay and ragged, effective costumes. The production favours practical monsters, masks and suits over CGI, and that DIY approach gives the fights real weight. Many of the gore and icky revivals are impressive.
Colour timing can look a touch TV-bound at times, and the film wears its low budget on its sleeve - but that TV feel is partly disguised by bold production design and a taste for the grotesque: limbs fly, heads come off. It's grubby, loud and unapologetic packed with pig-men, swamp creatures, a flying eye, a mad bishop, stop-motion skeletons, teleporting phantoms, mystics, creatures and more.
Kostanski's fingerprints are all over it, it's all functional, from Andrew Appelle cinematography, Robert Hyland editing and Blitz//Berlin the score which includes the original theme too.
Daniel Bernhardt is great fit in the title role, physical, grimy, and utterly believable as a sword-scarred hero, while Patton Oswalt (voice) Doodad the wizard (with physical performance by Laurie Field) and Christina Orjalo give the supporting cast texture and dark humour.
If you want glossy fantasy, look elsewhere. If you want cheap-charm, practical monsters, real sword fights and a willingness to spill blood for fun, this is exactly the throwback sword-and-sorcery flicks of the 1980s you hoped for. Short, sharp and highly watchable.
Steven Kostanski writs and directs the film leans hard into practical monsters, swords and gore. Like the comparable Red Sonja, this comes off a little better given its low budget 1983 source material. What it lacks in budget it makes up for in pure fantasy entertainment - cheap but hugely imaginative effects, hands-on creature work, solid swordplay and ragged, effective costumes. The production favours practical monsters, masks and suits over CGI, and that DIY approach gives the fights real weight. Many of the gore and icky revivals are impressive.
Colour timing can look a touch TV-bound at times, and the film wears its low budget on its sleeve - but that TV feel is partly disguised by bold production design and a taste for the grotesque: limbs fly, heads come off. It's grubby, loud and unapologetic packed with pig-men, swamp creatures, a flying eye, a mad bishop, stop-motion skeletons, teleporting phantoms, mystics, creatures and more.
Kostanski's fingerprints are all over it, it's all functional, from Andrew Appelle cinematography, Robert Hyland editing and Blitz//Berlin the score which includes the original theme too.
Daniel Bernhardt is great fit in the title role, physical, grimy, and utterly believable as a sword-scarred hero, while Patton Oswalt (voice) Doodad the wizard (with physical performance by Laurie Field) and Christina Orjalo give the supporting cast texture and dark humour.
If you want glossy fantasy, look elsewhere. If you want cheap-charm, practical monsters, real sword fights and a willingness to spill blood for fun, this is exactly the throwback sword-and-sorcery flicks of the 1980s you hoped for. Short, sharp and highly watchable.