In the all too similar vein of Demons, the greatest horror film ever created, comes a tale of a series of bizarre and unforeseen supernatural mayhem inside of a movie theater. I had somewhat high hopes for this cult throwback to grindhouse cinema of the 70's but I found that the Texas Chainsaw Massacre Spoof was the only thing to really hold this film up on terms of being a faithful rendition. That, and the accidental PSA this film served as regarding child actors. Never use them.
A group of mixed archetypes arrange in a huge theater, though claim it's a shabby far cry from ones with stadium seating. Due to the condition of the theater I'm employed at, I don't take this environment for granted. That is, until I saw that the soda syrups were in the dingy, creepy basement ripe for all sorts of murderers to hide in. That is also until I saw the disheveled and grungy restroom that doesn't fit the schematics of the place at all. Need I bring the booth area to mind? Point is, Midnight Movie is as faithful to the doctrine of a theater as it is to a concept of horror film.
On terms of iconic slasher figures, Ted Radford is at the bottom of the alleged barrel o' monkeys. His quarter skull mask is laughable, but hilarious once you hear him talk and see his face out of alignment with the mask's positioning. His weapon is a handled bizarre rendition of a corkscrew. He uses it to slice people and in one scene, he manages to remove a cinephile's heart out. Even though it defies every law of math (being of a science), I let it slide. I've always noticed that directors who make a film for the "horror enthusiast" always create a caricature of their demographic that is a pathetic and squirming creature that uses the word "cult" too much.
When the film takes a believable turn of a director hellbent on a fanatical fixation of his own project thus going berserk, the film takes a ridiculous alleyway of creating a otherworldly cinema dimension and creating Radford as a film ghost(?). The end is one of those similar endings in which you believe some characters live but they are indeed trapped in a form of purgatory. Not one involving succulent tortures and over-the-top fire FX, but the kind where you are forced to be intimidated by a man in a goofy costume with a voice changer.
I could recommend this film somehow to slasher fans. But even still, slasher fans aren't really fans of anything. There's no realism, no substance, and a strong undernourishment of a prime entertainment. Midnight Movie creates a likable environment with some agreeable characters, embarrassingly butchers them (hard enough for a PG-13 rating), and squanders any and all form of satisfaction. That, and I also have an incredible distaste for the symbiosis that heavy metal and horror films have mustered over the years. Brings a bad taste of Brain Damage Films to the surface.
A group of mixed archetypes arrange in a huge theater, though claim it's a shabby far cry from ones with stadium seating. Due to the condition of the theater I'm employed at, I don't take this environment for granted. That is, until I saw that the soda syrups were in the dingy, creepy basement ripe for all sorts of murderers to hide in. That is also until I saw the disheveled and grungy restroom that doesn't fit the schematics of the place at all. Need I bring the booth area to mind? Point is, Midnight Movie is as faithful to the doctrine of a theater as it is to a concept of horror film.
On terms of iconic slasher figures, Ted Radford is at the bottom of the alleged barrel o' monkeys. His quarter skull mask is laughable, but hilarious once you hear him talk and see his face out of alignment with the mask's positioning. His weapon is a handled bizarre rendition of a corkscrew. He uses it to slice people and in one scene, he manages to remove a cinephile's heart out. Even though it defies every law of math (being of a science), I let it slide. I've always noticed that directors who make a film for the "horror enthusiast" always create a caricature of their demographic that is a pathetic and squirming creature that uses the word "cult" too much.
When the film takes a believable turn of a director hellbent on a fanatical fixation of his own project thus going berserk, the film takes a ridiculous alleyway of creating a otherworldly cinema dimension and creating Radford as a film ghost(?). The end is one of those similar endings in which you believe some characters live but they are indeed trapped in a form of purgatory. Not one involving succulent tortures and over-the-top fire FX, but the kind where you are forced to be intimidated by a man in a goofy costume with a voice changer.
I could recommend this film somehow to slasher fans. But even still, slasher fans aren't really fans of anything. There's no realism, no substance, and a strong undernourishment of a prime entertainment. Midnight Movie creates a likable environment with some agreeable characters, embarrassingly butchers them (hard enough for a PG-13 rating), and squanders any and all form of satisfaction. That, and I also have an incredible distaste for the symbiosis that heavy metal and horror films have mustered over the years. Brings a bad taste of Brain Damage Films to the surface.
-mAQ
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