Night Terrors

A tale of its time, writer/director S. Craig Zahler (Bone Tomahawk; Brawl in Cell Block 99), takes us into dangerous terrain. . . no, not some bloody wartime feature or psychotic mystery/thriller, but rather into the realm of conservative and liberal, cops and criminals, race and racism, preconceived notions, and cancel culture, with his 2018 film Dragged Across Concrete. If you’ve seen Zahler’s previous efforts, you’ll likely know what to expect – fantastic, if lengthy dialogue (with a very specific and unique rhythm), combined with shocking moments of violence. Almost written more like a novel than a screenplay, it is a fascinating study. . . but more on that later.

Quirkily droll with a dark tinged twist, Devon Avery’s short film One-Minute Time Machine (2014), is an honest, sci-fi infused romantic comedy revolving around the difficulties of making that first emotional connection. . . setting in motion that much desired first date. Written by Sean Crouch (a scribe on television series like Numb3rs and The 100), he sets this unusual scene in the most simple and romantic of places. . . a bench backed by a sunlit, lush green park. Sitting there (minding her own business) is Regina (Erinn Hayes), a woman who immediately catches the eye of someone walking by, James (Brian Dietzen).

Sometimes things look good on paper, then translate well to film, and still don’t work at the box office. I am still not quite sure how 2003's The Rundown failed to win over a massive audience (80.9 million made on an 85 million dollar budget). Developing an action frenemy comedy script that deftly mixes the two genres (by Xena: Warrior Princess writer R.J. Stewart), what followed was inspired casting. . . pairing the biggest wrestler of the time (and one of the most charismatic human beings on the planet – The Rock (a.k.a. Dwayne Johnson – who had only dabbled in Hollywood with The Mummy Returns/The Scorpion King), with Seann William Scott, who was just coming off of the success of the American Pie trilogy (as well as some other memorable roles at the time – Road Trip and Old School come to mind), the pair have instant chemistry. It should be no surprise that Vince McMahon is a producer on the project.

A kitschy, quirky cult classic, Fright Night (1985), written and directed by Tom Holland (no, not Spiderman – he wasn’t even born yet), fuses vampiric horror elements with satirical comedy, bringing with it comparisons to a film four years its senior, An American Werewolf in London. Charley Brewster (William Ragsdale), is your prototypical teenager. . . a girl loving, movie obsessed high schooler growing up in boring suburbia. With a single mother, Judy Brewster (Dorothy Fielding), who is always working odd hours – she’s a nurse, most of his time is spent with his on again/off again girlfriend, Amy Peterson (Amanda Bearse). During one of their make-out sessions, Charley’s favourite show, Fright Night (hosted by actor Peter Vincent – named after Peter Cushing and Vincent Price, played by Roddy McDowall), is running in the background when he spots some unwonted activity next door.

A film that, upon its initial release, failed to garner much praise (in fact, most critics despised it), or earn more than the budget in which it cost but has since been reappraised by a growing cult of fans who truly appreciate it, The Replacements (2000), directed by Howard Deutch (Pretty in Pink), is a clever sports comedy that feeds off of stereotypes, giving the audience exactly what it wants – a true underdog story. Loosely based on the 1987 NFL strike, Eddie Martel (Brett Cullen) is the prototypical conceited athlete, the cocky quarterback who is the face of the franchise and the voice of why he and his teammates need more millions. Forcing Washington Sentinels owner Edward O’Neil (Jack Warden – in his last onscreen performance) to fill the void, he woos back a coach he has previously fired, Jimmy McGinty (Gene Hackman), to recruit a new team to finish the season off (they need to win three of their last four games to make the playoffs).

If you’ve ever wanted to see what Freaky Friday mixed with Friday the 13th would look like (outside of a Wheel of Fortune ‘Before & After’ category), then you’re in luck, as 2020's Freaky, which deftly mixes horror and comedy, is for you. Co-written and directed by Christopher Landon, Millie (Kathryn Newton) is a senior in high school. . . a girl struggling with her depressed, alcoholic mother, Paula (Katie Finneran) – who is recently widowed, a group of manipulative female bullies, a prick of a teacher, Mr. Bernardi (Alan Ruck – channeling his inner Mr. Rooney), and going seemingly unnoticed by her crush, Booker Strode (Uriah Shelton). . . plus it doesn’t help that she is known as the school’s beaver – no, this isn’t some sort of hussy-infused sexual slang, she is actually their mascot (the majestic, often Canadian associated buck-toothed rodent). In fact, if it wasn’t for her two besties, Nyla (Celeste O’Connor) and Josh (Misha Osherovich), she’d be completely lost.