It’s possible I have said this so much it is becoming my mantra, but horror comedies are a very difficult thing to pull off.  To do it well, the director and writer have to mock convention while maintaining a reverence for what is good in the genre.  Well, at least that is what I’m looking for.  It is why the original Piranha worked for me and the sequel not as much.  And, it is the reason stuff like the Scary Movie franchise are anathema to me.  When I got a hardy recommendation of Tucker and Dale vs. Evil from two horror-movie-fanatic friends, I knew that the film likely got the mix of comedy and horror right.  Turns out, they were right.  Tucker and Dale is horror-comedy done right, and it is the best slasher film parody to date (sorry, Student Bodies and Pandemonium).

Tucker and Dale plays on two slasher film sub-types, the killer hillbillies and teenager campout.  Both of those sub-types are ripe for parody, and Tucker and Dale does a good job getting right to it as we are introduced to the titular characters, the two nicest rednecks your ever likely to meet.  Tucker, played by the always great Alan Tudyck,  has just bought himself a vacation home, and he has brought his best bud, Dale (Tyler Labine) with him to help with the “fixer-upper.”  We simultaneously are introduced to a group of college kids on their way to camp out.  This group, led by the arrogant Chad (genre regular Jesse Moss, who, if his career doesn’t quite work out, can already probably survive on the horror convention circuit for the rest of his life).  Dale immediately takes a liking to the beautiful Allison (30 Rock’s Cerie).  In what will go down as one of the most awkward cute-meets in film history, Dale manages to cement in the student’s minds that country-folk are strange and dangerous.  The rest of the plot and humor of the film is based on that misconception as the redneck and college-kid paths continue to cross coincidentally.

The sight gags and specific deaths in Tucker and Dale are too good to spoil.  Suffice it to say that in an effort to escape the “killer” rednecks, the college kids manage to kill themselves in an escalating variety of ridiculous ways.  Just when it is all getting too ridiculous, the film reveals that there is a crazy killer in the mix, and the remainder of the film flips the ratio to eighty percent horror, twenty percent comedy.  There is a real threat in the denouement and our main characters take some real punishment.  I wasn’t expecting the tonal shift, and it was a pleasant surprise.

In the end, Tucker and Dale succeeds because of its tone and some great performances by the four main characters.  Tyler Labine and Jesse Moss are especially good here, with one playing it straight and the other in full scenery-chewing mode.  I highly recommend the film for horror buffs who can tolerate a bit of mockery (and I know not all of us can).

In their initial meeting about the film, director William Lustig instructed actress and the film’s protagonist Caroline Munro to “watch Halloween. . .this is how movies are being made now.”  Such a directorial instruction leaves little doubt to the film’s intentions and design.  And yet Maniac offers something quite different than its Halloween predecessor.

This 1980 slasher/splatter film is follows the life of Frank Zito (Joe Spinell) who is a lonely landlord and demented psychopathic killer.  His small apartment is furnished with mannequins who are adorned with real human hair from Zito’s female victims.  We learn that Frank has a serious problem with women and is unable to be around a female too long without going into a rage and killing her.  After the death, he scalps his victim and take their hair back to his place as a token of his accomplishment.  As the film progresses, we learn that Frank was physically abused by his prostitute mother and he is unable to ultimately discern between her face and the face of his victims.  In a rather chilling climatic scene, Frank hallucinates and believes all the mannequins in his apartment are coming to life to kill him.  The police find him dead the next morning.

On the surface, Maniac seems like a cheap, cheesy, typical 80’s slasher flick.  I suppose in some ways it lives up to that assessment.  But there is more to this movie than meets the eye.  First Joe Spinell delivers a weighty and memorable performance as Frank Zito.  The American-Italian demeanor works perfectly for this troubled soul who lives in the heart of New York City.  There are a couple of memorable scenes where Frank is describing his troubled childhood and they come across as sincere and truly motivational.  Unlike Halloween, we not only get to see what causes Frank to kill, but we grasp a sense of the darkest of human conditions; not being loved.  When Frank meets Anna (Caroline Munro) we see a different side of the serial killer and have momentary hope that things will change.  Those hopes are crushed as we watch Frank slip deeper and deeper into his psychosis.

The movie is also memorable for its gore.  One scene in particular portrays what is perhaps one of the most realistic and graphic deaths I have seen in horror.  It is the infamous “disco boy” death where a young Tom Savini gets his head blown off inside a car.  Frank jumps on the hood, points a shotgun through the windshield, and pulls the trigger.  It really has to be seen to be believed, the realism is simply incredible.

Although Maniac has moments of slowly moving along with the story, the psychological element of Frank mixed with some beautiful gore effects makes this a slasher film worth viewing.  I have heard rumors of a remake (big surprise) and will be interested to see how the actor who plays Frank (perhaps Elijah Wood?) deals with the delicate character of Frank Zito.

I was very excited last year when previews revealed that the second Paranormal Activity was going to stick to the “found footage” formula of the first film and not take The Blair Witch Project approach of attempting to shift the franchise onto a more traditional horror film path.  And, though I didn’t find the film to be as intensely jump-inducing as the first film, Paranormal Activity 2 was a solid follow up which was a big hit with audiences if not with critics.  The huge box-office take meant we were nearly guaranteed a part three that stuck to the formula, and it has arrived, only two years after the nationwide release of the first film (but four years after the original began making the festival circuit in an effort to find a distributor).  Paranormal Activity 3 is a prequel to the first two films that revolves around the two sisters from Paranormal Activity 2.  I was interested to see what the writers came up with to explain the events of the previous films, but my fear going in was simply that the “been there, done that” feeling would be overwhelming.  I need not have worried.  Handing over the directing reins to Ariel Schulman and Henry Joost, directors of the intriguing “documentary” Catfish proves to be a good move as they manage to inject a fair amount of fresh ideas and energy into franchise.

Setting the film in the 1980s means we leave behind the multi-camera, full house (and even poolside) coverage of the second film.  Instead, Dennis, a wedding videographer, is forced to choose just a few locations to investigate the noises and strange happenings in the home he shares with his girlfriend, Julie, and her two young daughters, Katie and Kristi—the sisters from the second film who make a brief appearance early on to tie the event of that film to this one.  The film attempts to use Dennis’s obsession with finding out what is going on combined with his voyeuristic impulses to explain why there is always a camera filming, even in the most mundane moments.  It doesn’t work entirely.  There are times when you can’t help but wonder why he has the camera out.

The big innovation for the film comes from Dennis mounting one of his huge 80s video on the base of an oscillating fan.  The back and forth motion of the camera gives us a break from playing creepy Where’s Waldo with the images from the static camera, and there is simply a great tension waiting for the camera to swing back to something that was only hinted at on the previous pass.  This device is put to best use in a tense scene with a horror film staple, the babysitter.

There are more scares and jumpy moments here than in the first two films but the director’s manage to work them in without compromising the tension that comes with each jump cut to another camera position.  I watched this with a packed crowd and, if the screams and laughter were any indication, the formula is still working.

I’m happy to say that if you liked the first two films, you are almost guaranteed to like this one.  Even if you weren’t quite sold on those films, the improvements here might make Paranormal Activity 3 at least worth a rental.

Hobo With A Shotgun is a Canadian horror exploitation film directed by Jason Eisener.  The film was originally a fake trailer to promote the release of Quentin Tarantino’s Grindhouse, but due to popularity was transformed into a full-length picture.  The movie stars film legend Rutger Hauer.

The central theme of Hobo With A Shotgun is anything but original.  A small town called “Hope Town” is run by a greedy, sadistic villian known as “The Drake” and his two severely demented sons, Ivan and Slick.  I must admit to chuckling when I realized I had just partly described the plot to Roadhouse.  Anyway, the film opens with Slick and Ivan brutally killing The Drake’s brother to set an example to the town folk, who idly stand by and watch the carnage as if they were zombies who could care less.  After the decapitation of the brother, the towns people just slowly go back to their lives as if nothing had ever happened.  The hobo finally has enough when he witnesses Slick attempt to sexually assault and kill a girl in an arcade, prompting him to attack Slick and save the girl.  The hobo drags Slick to the local police station and demands to speak with the Sheriff.  Unfortunately, the Sheriff and the police are corrupt and eating out of The Drake’s hand.  The hobo is knifed and thrown out on the street.

Soon, the hobo meets up with Abby, the girl he saved from the hands of Slick, and she nurses him back to health in her small apartment.  The two become friends and decide to start a new life in a different city.  The can’t leave town fast enough, however, because Ivan and Slick show up to finish off Abby.  They severely injure Abby, but the hobo is able to save her and kill Slick.  What remains is a final showdown between the hobo, The Drake, and the town people who decide they have finally had enough.  The hobo sacrifices his life so that no one else will get hurt, taking down The Drake with him.  There is hope in Hope Town.

Hobo With A Shotgun has a very positive reputation among horror fans.  After hearing so much praise for the film, I was eager to experience this “instant classic” for myself.  I must admit to being somewhat disappointed.  The exploitation genre is a difficult one to master.  One the one hand, one must recognize that making broad and over-the-top statements about the underlying issue is a necessary component of exploitation.  On the other hand, a successful exploitation film understands how those sensationalist images adds to the story being presented and doesn’t turn on itself by simply seeking to shock the audience without any ongoing connection.  Anyone can put together a bunch of violent, gross scenes.  It takes talent to make them tell a compelling story.   At the end of the day, Hobo With A Shotgun is just too much violence with not enough story.  The story isn’t meant to be believable, but still yet, this story is really, really unbelievable.  There are still fun moments and interesting deaths, but overall I found myself somewhat bored with the “how crazy can we go” violence and mayhem.  Probably worth a viewing just for Hauer’s performance, but doesn’t live up to the hype.

Some movies carry with them a sense of legend that escalates them in quality past the film’s real achievements.  Return of the Living Dead is such a film.

Director Dan O’Bannon is himself something of a legend.  He is most known for his screenwriting and character development, making a name for himself in films such as Alien and Total Recall.  And yet it is  silly little zombie flick O’Bannon directed in 1985 that cemented his name in horror movie history among die-hard fans.  O’Bannon only directed two films during his career, one of which was a zombie spoof called Return of the Living Dead.  It is cheesy, over-the-top, and filled with every element one would expect to find in a mid-80’s horror film.  You know – perfect.

The film is a heavy spoof on Romero and this original Night of the Living Dead.  The U.S. army is to blame in this one, producing a chemical agent that brings dead things back to life.  When a few barrels of this stuff accidentally gets shipped to a medical supply company (conveniently located next to a mortuary, crematorium, and cemetery), it creates a recipe for disaster.  The manager of the supply company, Frank,  shows his new warehouse employee, Freddy,  a young rebel, the aforementioned barrels and accidentally releases the fumes from the container in the process.  Not only does every dead thing in the medical supply company come back to life, including dogs cut in half for universities to study, but the cemetery begins to unleash the living dead.  Add to the mix a gang of 80’s styled friends who are coming to pick up their buddy Freddy.  This is a real beauty of a group as depicted through their clever names:  Spider, Trash, Chuck, Casey, and Scuz.  All these guys provide the necessary collection of humans for the newly resurrected zombies to feast on.  Frank and Freddy attempt to keep things under wraps as long as they can, but soon there is a frenzy of zombification and mayhem.  The only way for the government to lock down the problem is by sending in a nuclear strike on the peaceful little town.

Return of the Living Dead certainly has some memorable characters, such as “Tarman”, the first zombie unleashed by the chemical.  If you enjoy zombie films, then it seems near impossible not to appreciate ROTLD.  Yes, the dialogue is hokey, the plot is ridiculous, and the effects are way over the top – but this is a satire.  Then, right in the middle of the the silliness, O’Bannon throws in some effective scares and shocks that would stand up to any zombie movie out there.  It is a nice mixture of comedy and art.

I can’t put my full weight behind ROTLD, but if you enjoy horror and enjoy zombies, then what are you waiting for?  Take a look.

Click here to purchase Return of the Living Dead

Don’t Be Afraid of the Dark is a 2011 horror film written and produced by Guillermo del Toro and directed by comic book artist Troy Nixey.  It is a remake of the 1973 made for television movie of the same name.  The film has a rather eerie 19th century beginning where Emerson Blackwood, a famous artist who owns a beautiful mansion, lures his maid into the basement and promptly knocks her teeth out using a hammer and a flat edged tool of some kind.  We quickly learn that the teeth are for the fairy/goblin like creatures hiding in his furnace who are whispering to him and holding his son as ransom.  They want children’s teeth, not maid’s teeth, and both he and his son ending up perishing.

Fast forward to the present where a father, his girlfriend, and his daughter are moving into the huge house so that he can restore it and hopefully land on the cover of Architectural Digest.  Sally, the daughter, is unhappy about her living conditions as her mother has “shipped” her off to live with her father.  Alex’s girlfriend Kim (Katie Holmes) tries to befriend the Sally, but finds out that it will take time to earn her trust.  Soon, the goblin creatures lure Sally into the basement and although she initially thinks they might be friends, she learns that they are evil little creatures who want her teeth.   Meanwhile, Kim is becoming more and more sensitive to Sally’s pleas for help while Alex can only concentrate on his career.  The film climaxes with a “final battle” between the creatures and Sally, ultimately taking the life of Kim but failing to kill Sally and Alex.

Don’t Be Afraid of the Dark is a beautifully shot film with memorable direction and gobs of atmosphere.  The opening title sequence is gorgeous and the 19th century scene at the beginning of the film sets a creepy and exciting tone for the remainder of the film.  Unfortunately, the rest of the movie doesn’t quite live up.  This is because of two reasons:

First, the creatures are bland.  Nixey (and perhaps del Toro) reveal a full visual of the creatures fairly early in the film.  Although I applaud them for their willingness to show the antagonist in its full form (something del Toro does all the time), I can’t help but being underwhelmed by the revelation.  The creatures look like a humpback piranha with feet.  After the audience is shown the little monsters, they really no longer create any kind horrific expectation.  In other words, you aren’t hiding your eyes in fear that the creatures might pop back on the screen.

Second, the filmmakers utilize whispers extensively throughout the film.  The creatures use whispers to communicate to Sally and although it seems like the concept might work initially, it soon gives way to cheesiness.  Incredibly predictable things like “we want you down here” and “they always come back” are the whispers we are privy to.

Bailee Madison does give a solid performance as Sally and we find a theme in her suffering that del Toro has shown us before; we see something similar in Pan’s Labyrinth.  The movie is enjoyable and worth the viewing time but does not live up to its potential.

Quarantine 2 has one of the odder trips to the screen in recent memory and much of that journey turns off hardcore horror fans.  The original Quarantine was a near shot-for-shot remake of the excellent Spanish zombie film REC.  Quarantine shared so much of the original film’s vision and style, and came so closely on the heels of REC, that horror fans were up in arms.  “Why does Hollywood think we are so stupid we can’t appreciate a film with subtitles?”  It didn’t help that there were a number of solid foreign horror films getting the Hollywood makeover about that time.  Quarantine became a lightning rod for the negativity.   Now, Sony Pictures and director John Pogue bring us a sequel, and it isn’t based on the Spanish film REC 2 but is, instead, an original sequel to the US remake.  What a mess.  Expectations for the film dropped even lower when Sony decided to release the film direct-to-video and not even give it a token theatrical run.  I enjoyed the first film, and I thought in some ways it improved on REC, though it wasn’t as good a film overall, and I went into my viewing of Quarantine 2 with as open a mind as possible given the film’s history.  What I discovered was a solid low-budget “zombie” movie with a unique, interesting setting.  It isn’t ground-breaking by any means, but Quarantine 2 is definitely worth the price of a rental.

Quarantine 2’s plot runs in parallel with the events in Quarantine, but that isn’t obvious at the start of the film.  The film opens by introducing us to two flight attendants who are on their way to the airport for a flight.  The two characters are one-hundred percent cliché (one is a bit easy, the other has a father who tried to pressure her into being a pilot), but they are attractive and likeable enough to make for good protagonists (and potential zombie fodder).  Once on the airplane, we are introduced to one cliché character after another: a kid with divorced parents who is flying between them and trying to appear tougher than he is; an elderly woman and her Parkinson’s stricken, wheelchair bound, husband; an aggressive businessman who won’t turn off his cell phone; a portly passenger too fat to fit in the standard seatbelt, another older woman with a cat in her handbag, and a few more not worth mentioning.

The only passenger of any real interest is an elementary school teacher carrying a hamster cage.  Now, anyone who has seen the first film will know that the “hamsters” (and the cats for that matter) are going to be important.  The teacher is quickly revealed to be the male protagonist as the horror elements in the plot are introduced.  Those events are pretty predictable in light of the first film’s plot, but the setting is novel enough to build up tension and suspense.  Hey, it’s a zombie outbreak on a plane.  It would be hard to make that boring.

And Quarantine 2, even after it leaves the nicely claustrophobic plane and moves into an abandoned airline terminal (which is still novel but really could just be any nearly-empty warehouse),  isn’t boring.  There is a good deal of suspense, a little mystery, and a healthy amount of gruesome deaths.  Anyone who is not totally turned off by the film’s ancestry* should find it to be an enjoyable horror film.

* Speaking of the animosity out there in the horror community, I find it interesting that this film has an 83% positive rating from critics on Rottentomatoes.com but only a 4.5/10 average from the users at IMDB.  Considering that it is pretty rare for a low-budget horror film to have a positive critical response, I have to think the regular viewers responses are a little skewed because of the whole REC/Quarantine controversy.

The Strangers is a 2008 “home invasion” movie starring Liv Tyler and Scott Speedman.  After turning down a marriage proposal, Kristen (Tyler) accompanies a distressed James (Speedman) back to an isolated house where he had earlier decorated with an abundance of rose petals anticipating a “yes” to the big question.  Why they thought it would be a good idea to follow through with a plan to spend a weekend in the middle of nowhere together after such an alarming denial to marriage is beyond me.  But, they finally arrive at the house.  When James heads back out to pick Kristen up some cigarettes at 4 in the morning (really?), she is visited by three weird strangers and the terror begins.  They torment her, toy with her, and give up endless opportunities to kill just to keep up the fun.  James returns from the store and the rest of the movie is them trying to keep their sanity and their lives.  The movie ends with the couple finally being tied up in a couple of chairs, stabbed a few times, and then killed.

If my above summary of the film lacked any kind of gusto, it is because I found the movie to be dull, slow, and pointless.  The strangers just draw out their torment of the couple for way too long.  About 15 times throughout the film, there will be a “stranger” behind Kristen, easily ready to kill her, tie her up, slap her, poke her in the eye, or anything, but instead they decide to run away, disappear, and then reappear for a similar “scare.”  It just gets repetitive really fast.  The direction was good, but the couple just does too many silly things.  For example, they receive perfect cell phone service in the house (which was refreshing, the writers didn’t opt for the “no service” angle), but their cell phone dies.  Not to worry, Kristen has a charger!  But for some inexplicable reason, when she plugs the charger into the phone and into an outlet, she doesn’t turn it on to make the call!  It is as if she doesn’t realize that cell phones operate just fine while they are plugged in and charging.  Little thing like that add up to a fairly high annoyance level.  The pay off isn’t a pay off at all and the ending leaves us scratching our heads – did we really just watch 1 hour of senseless “teasing” for a lifeless, emotionless finish?  Yes.  Yes we did.

Unless you are just a die-hard home invasion freak, this one is very much avoidable.  Not terrible, but not good.

Several years ago, I started reading a novel about an extraterrestrial craft that crashed in Portugal in the Middle Ages.  The townspeople had no frame of reference to interpret their visitors as beings from another planet.  The benighted humans thought the advanced technologies of the spacemen must either be the results of sorcery or divine mediation.  For one reason or another, I never had the chance to finish that book before I had to return it to the library.  I can no longer remember what it was called or who wrote it and haven’t been able to track it down to complete it.

I’m not sure if the book was any good or not, but the premise was very sticky.  The concept of space aliens visiting earth in a time other than the modern one has a lot of untapped potential.  I’m sure there were some episodes of Twilight Zone or Star Trek that explored this thought.  It’s an underlying concept for Battlestar Gallactica. And who hasn’t heard about the theories of Erich von Daniken in Chariots of the Gods?  But I can’t recall a major motion picture that has dwelt on it.

How would people from times past react to advanced technology?  Though realism is not the first word that comes to mind with this film, it does strike me as genuine that the townspeople initially plug the aliens into their worldview.  They used the only vocabulary they had, wondering if their extraordinary assailants were demons.

Cowboys and Aliens stars Daniel Craig, Harrison Ford, Olivia Wilde and Keith Carradine.  You can see that the cast is something special.  It even has Sam Rockwell in an all too bland supporting role.  If they could have thrown in Samuel L. Jackson or Robert Downey Jr., it would have been perfect!

Daniel Craig plays Jake Lonergan (“Loner” – gan) who wakes up at the beginning of the movie lying in the desert, shoeless, wounded, with a strange metal contraption on his wrist, and no memory.  He quickly establishes himself as a man not to be messed with.  Having made his way to town, he finds himself at odds both with the sheriff, played by Keith Carradine and the big-shot rancher tycoon played by Harrison Ford.  This is the best role I’ve seen Ford play in years.

When the town is attacked by flying machines which rope random residents and rustle them away, the guys in the black hats and the guys in the white hats determine to work together, form a posse, and to try to rescue their kinfolk.  Other directors might have utilized energy beams to zap their captives up, but the use of the lasso was a nice western touch.

The men are helped by the always strikingly beautiful Olivia Wilde in the role of Ella Swenson.  As a side note, Olivia Wilde may be the new go-to action movie chic.  Consider Tron and now this.  She doesn’t yet have the fighting cred of Angelina Jolie (Tomb Raider, Mr. and Mrs. Smith, Salt).  But she’s a step above the token eye-candy girlfriend who is otherwise pointless to the plot (ie. Megan Fox in Transformers).  Jennifer Garner hasn’t done action in years, so maybe Wilde is the up-and-comer.  Have you started taking Karate lessons yet Liv?

Craig and Ford are the narrative focal points, and Wilde to a lesser extent.  All three of them are more than they first appear.  Wilde is in a category all her own, about which I’ll say no more.  Neither of the fellas is exactly admirable.  The preacher could have been talking about either one when he uttered this astute observation: “I’ve seen good men do bad things and bad men do good things.”  Are our heroes bad or good?  Both of them experience a change by the end of the picture.  Their sufferings and their losses are redemptive.

Most of the jabbering in the press is about the genre-bending mashup of the western and science fiction.  There’s at least one other genre that should get factored into the equation: horror.  If you think a move called Cowboys and Aliens sounds like kid’s stuff, be careful.  This is not a movie for little children.  The monsters are genuinely frightening at times and truly revolting all the time.  There are several jump scares and there are scenes of torture and grisly violence.  Alien abductions constitute a spooky sub-genre of horror and this movie goes there (cf. Fire in the Sky (1993) and The Fourth Kind (2009) et al.).

One moment struck me as particularly poignant.  When Craig finds the pile of gold watches and other personal items of abductees, it resembled a scene from the Holocaust Museum in Washington D.C.  The nazis collected the valuables of the concentration camp prisoners into piles.  This hints at the possibility of genocide or human extinction.  It also suggests that otherworldly monsters are not the only ones we need to worry about.  I realize I’m reading between the lines, but I don’t think I’m pressing the imagery too far.

In earlier decades, filmmakers faced what they called the “monster problem.”  That is to say, you had to have a creature that looked real enough to produce the intended effect.  You didn’t want to get everyone all geared up to see a nasty beastie, only to reveal a man in a rubber suit.  Having people laugh at your monster is not desirable.  Personally, I prefer old-school physical special effects whenever possible, but there are limits to what you can do without CGI.  C&A utilized both to the optimum effect.

There were many moments that called to mind sci-fi films that preceded it.  The abductees returning, for instance, reminded me of a similar moment in Close Encounters of the 3rd Kind.  A hat tip to Steven Spielberg, one of the several top shelf executive produces of C&A?

Cowboys and Aliens is a fun adventure.  So many things about it make it cooler than other blockbusters this summer, not the least of which is the cast.  Jon Favreau, the director, is not known for helming subtle thinky pictures, but he does know how to punch you the face with a good time.

What we have here is primarily a blistering fun time, not a message movie.  But if you will indulge this reviewer, one moral of this story seems to be that people can change.  It might just be that we need an impending global catastrophe to get us to wake up.  When the threat is great enough, even cowboys and indians will put aside their differences and work together.  Don’t waste your days on things that don’t matter.  Chasing gold is futile.  Family counts.  Community counts.  Even religious faith is given a nod.  And learn to give your brother a chance.  The town is named Absolution after all.

Pro-Life is the second effort from famed horror director John Carpenter for the incredibly wonderful Master’s of Horror television series created by Showtime.  The story depicts an ultra-conservative father named Dwayne Burcell (Ron Perlman) who becomes irate when he learns his pregnant, underage daughter is being treated inside an abortion clinic against his wishes.  Come to find out, this clinic already has a restraining order against Burcell for previous threatening behavior, but the stakes are much higher now that his daughter is inside.  All we know about the daughter, Angelique, is that she was running from someone or something at the beginning of the film and was picked up along the road by two doctors – two doctors who just so happened to work at the aforementioned clinic.  Thinking he heard a voice directly from God to “protect the baby”, Dwayne and his three sons storm the clinic, killing anyone who gets in their way.

As we learn more about Burcell and his determination to “free” his daughter, we also learn more about how she become pregnant.  She tells the shocking story of how a demon dragged her below the surface of the earth and raped her.  She is convinced that the baby inside her is of the devil and wants it destroyed immediately.  Unfortunately, demon babies apparently develop much faster than human babies, because instead of the normal 9 months for gestation, this demon baby caused Angelique to go into labor in a matter of days.  When she arrived at the clinic, she looked only a couple of months pregnant.  A few hours later, she was delivering.  Meanwhile, Burcell is busy giving the head doctor of the clinic a dose of his own medicine.  In a disturbing scene, Burcell and his son use a suction device on the lead doctor to show him what “sucking the life” out of a human is all about.  Pretty rough.

Finally, Angelique delivers the baby and sure enough, it is a whacked out demon looking creature not unlike the creature we see burst from Norris’ chest in Carpenter’s classic 1982 film The Thing.   At this point, the film adds another ingredient to the mix.  The demon father, who looks exactly like what you figure a demon might look like, shows up at the hospital to claim his baby.  Before the demon makes his way to the delivery room, he comes face to face with Burcell.  The climatic point of the movie occurs at this moment when the demon speaks to Burcell and says, “protect the baby.”  Yep, it was the voice of a demon, not God, that Burcell was hearing the entire time, making his rampage a demonic act rather than a holy one.  Sensing that she only has a few more minutes, Angelique takes a gun and shoots the baby in the head just as the demon father comes in the room.  Grieving over the death of his baby, the demon picks up his child, ignoring Angelique, and carries him sadly back to hell.  The film ends.

The title alone of this film along with above synopsis would lead one to believe that Carpenter is attempting to make a huge social and political statement.  Amazingly, it just isn’t the case.  I have given Pro-Life a good deal of thought in the last couple of days since viewing it and I am convinced that Carpenter used a hot-bed issue not to provide social commentary of his own, but simply as a way to create a powerful backdrop to the story he really wanted to tell – parents and their relationship with children.  In some ways, Carpenter paints a very sympathetic picture of Burcell.  It is a man who, misguided he may be by his solution, is convinced that abortion is murder and does not want his daughter engaging in that kind of activity.  Add to that the pious, religious angle and I suppose some would write off Burcell as just a fundamental religious zealot with no intellect or sense of right and wrong.  I don’t see that here.  Yes, he is out of control and heavily misinterpreting the messages he receives, but the love of family is what drives him more than anything else.  The same is true for the demon.  Both Burcell and the demon are trying to save their own flesh and blood and Carpenter reminds us of the strong bind between parent and child, a bond that creates the ultimate kind of pain when a child is taken away.

Pro-Life is not a great film, but it has redeeming moments and from frame one is an exciting, non-stop action horror movie.  Due to the 60 minute time constraint, character development is difficult to achieve, but this is off-set by the incredible performance from Ron Perlman who has made a career of dominating every scene he is in.  Some of the demon scenes come across a bit cheesy, but they quickly give way to the serious undertones of the film and do provide a few genuine scares.  John Carpenter is a legendary director who has had a poor run the last several years with his box-office attempts.  It is nice to see that he still “has it.”  This movie is not as effective as Carpenter’s other Masters of Horror attempt Cigarette Burns, but it is still worth the hour of your life to watch it.

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