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Was it always your ambition to become an actress? What kind of upbringing did you have and how did you get your first break in the industry?
"I never actually thought I could make it as an actress. I was more of a film geek and dreamed of being a movie critic of all things. I did take drama from Jr High into college, but it was mostly just for fun. I had gotten work as an extra in a few films thanks to my best friend Cici. Her mom had a modeling agency in Yuma, Arizona, and when films would come to shoot there, they would often call her to do the extras casting. That's how we first got our feet in the door. I had dropped out of college in order to be more independent and live on my own out in Tuscon. In 2004, I happened to meet Lloyd Kaufman of Troma films, and that got me back into the acting game."
How were you experiences with Troma and what was it about their style of filmmaking that appealed to you so much?
"I really appreciate Troma for helping me as an artist, and find out what I really wanted to do with my life. I love the combination of over the top gore and comedy in most Troma films. That is what makes them so unique. They will pretty much do anything they want to do in a Troma film and don't really care what the critics will say. It's that kind of attitude that I admire."
How did you first make the acquaintance of Matthew Reel and how were you introduced to the Jessicka Rabid project?
"I first met Matthew through a horror dvd review website. When I needed somebody to come and film a screen test for Poultrygeist, he came to mind. His partner had actually filmed my initial meeting with Lloyd, which had become an extra feature on one of Matt's dvds. I was happy with the way the Interview with Lloyd had turned out so it made sense for me to ask Matt to come and help me with the audition. Though I didn't get the part (I had read for 'Micki'), Matt had a short film coming up and asked me to be a part of it. The experience was so fun that we just ended up working together over and over and as a result became great friends. Jessicka Rabid was the result of a combination of things. Mostly a project that Matt and I had worked on that had ultimately failed and we wanted to use our resources to make something better."
What can you reveal about the story and what kind of tone are the filmmakers aiming for?
"The story revolves around a dysfunctional family living in a house where lots of disturbing things take place. Jessicka has an unspecified mental disability and as a result often ends up taking on the most abuse. I want the movie to feel like a vintage piece that brings back memories of the old school movies we used to rent on VHS back in the 80's. Alot of people lately refer to this type of movie as "grindhouse" a term that I am extremely hesitant to use. However sometimes it is just easier to tell somebody it is a grindhouse film instead of coming up with alternative explanations."
Was the character written specifically with you in mind and how much input did you have on the script?
"Yes the character was definitely written specifically for me. I had used the name Jessicka Rabid as an internet moniker and myspace url. When I got tempted to make a film about a female serial killer, it just made sense to take advantage of the name. I gave Matt the initial outline of what I wanted from the script and during one of my out of town trips, he was house sitting for me and wrote the script in under two weeks."
How did you prepare for the role and what was it about Jessicka that you found so interesting?
"I didn't really have too much time to prepare for the role. I had gotten into character during the original teaser trailer and some promotional shots we had done in pre production. Jessicka has a mental handicap and I thought it would be a cool challenge to play a type of role not normally found in these low budget movies. I had to use alot of facial expressions and body language in order to bring Jessicka to life. It's pretty hard to snap in and out of the character really quickly. I find myself staying in character alot of time when other cast and crew members were joking around and being themselves."
From the promotional footage released the movie seems to be in the vein of late '70's/early '80's exploitation features. Which movies in particular were the main influence on it?
"Originally, I think I wanted Jessicka to be more of a Freddy Krueger-ish type character with humor. But after reading Matt's script, I really like the direction we took. The most influencial movies would probably be Carrie, Deadly Friend, The Last House on the Left, Thriller a Cruel Picture, Halloween, The Baby and Bad Boy Bubby. There are really too many infuences to try and list , but these are a few of the main ones."
The trailer featured strong sex and nudity, and hinted that Jessicka's vengeance would be violent. Just how graphic will the movie be?
"I really have not thought about whether or not the movie will be rated. I know there will be alot of nudity, and some gore. It definitely won't be suitable for children."
How long did it take from your initial involvement to the shooting, and how difficult has it been to find an audience?
"We came up with the idea in January of 2007, and we shot the original teaser in July of 2007. Preproduction of the movie officially began sometime in September of 2007. The movie completed principal photography in November of 2007. Thanks to MySpace and the internet, the news of the movie has spread like wildfire. The teaser alone had gotten me so much attention at San Diego Comic Con in July 2007, that I knew we had to make this movie."
The likes of MySpace and YouTube have helped spread the word. Just how much of an impact would you say these sites have had on he way independent features are financed and promoted?
"I think those sites are invaluable promotional tools. However I wouldn't expect to get a movie financed solely from MySpace."
How would you compare Jessicka Rabid to the other projects you have worked on and what are the pros and cons of working on low budget movies?
"Jessicka is different from my other projects because it is the only one I have had nearly complete control over. As far as pros and cons of indie film go. There are tons of pros, as far as creativity goes. But obviously when you have limited finances as most indie films do, then alot of times you can't afford to produce the types of ideas you come up with. So it's a double edged sword. With low budget films, you get tons more creative control, but alot of the times, just can't afford to do the things you come up with."
How much torture did Matthew put you through in the name of art and were you subjected to much fake blood and effects?
"Matt really didn't put me through as much torture as you would think. A normal actress may have dreaded all the nudity and crazy stunts we did. I think I actually went further than Matt had originally intended when he wrote the script. I spent most of principal photography wearing next to nothing, and there were a couple of scenes where we could have staged things, but I wanted to go the extra mile to add realism. Some might refer to it as method acting, but yes I did get my hands dirty. Jessicka's final look did take a little while to put together with the teeth, blood, etc. Being a low budget movie, our f/x budget was limited, but thankfully fake blood isn't that expensive. So we did end up using quite a lot of blood!"
How enjoyable has the experience of Jessicka Rabid been and what kind of impact has the film had on your life so far?
"I have enjoyed all aspects of making Jessicka Rabid. Even from the beginning, you come up with a cool concept that you would like to see made, and getting to realize that dream is a fantastic feeling. Actual production was great because we made the movie with all of my close friends. So not only was it a bonding experience, but also a learning experience for many people involved. I have been getting such great support from everybody. Post has been the most stressful part. Everyone is awaiting the final outcome and making sure the movie turns out just right takes time, but in the end it will be worth it. Jessicka has changed my life because it is my chance to prove to everybody that I am not just your typical horror actress. I am a filmmaker who works hard to get things done, so I think I get more respect that way."
What kind of feedback has the movie received prior to its release and does Matthew intend to showcase the film at festivals or will it be sent straight-to-DVD?
"The trailer had amazingly positive feedback! The teaser also did pretty well, as far as getting the movie attention before it was even made. Jessicka will most likely play the festival circuit before it makes its way to dvd, but at this stage, if we get offered a good enough deal, anything is possible."
Do you and Matthew have any plans to work again together in the near future and does Jessicka Rabid lend itself to a sequel?
"Matt and I will always be good friends, but at this point I wouldn't mind spreading my wings and working with other directors. If Matt had a project he wanted me to act in, I would probably do it.. Jessicka Rabid could probably be made into a sequel if we had the money. I just want to finish the first one and then maybe after resting for a while after it's completion I will decide."
www.myspace.com/christiansellers
You know you're onto a winner when a huge corporation threatens to take you to court! Well, this is one of the many dramas that have rocked the pre-production of the notorious sickfest The Kentucky Fried Horror Show. Coming from the twisted mind of C. L. Gregory, who previously helmed the Hustler-produced porno horror Blood Lake, KFHS has not even begun filming yet and already it's promoted one scandal after another. From publicized fall outs with the likes of Jessica Simpson and Haylie Duff, to the recent feud with fast food giants KFC (who not only objected to the name, but also its violent content, claiming that such images should not be associated with their company).
"I just seem to piss people off these days," Gregory tells GoreZone, in an upcoming article, and that's no understatement! Simpson's bitchy comments were the least of his worries, though, when KFC demanded that the filmmakers change the name of the feature. As a compromise, Gregory shortened the title to The Kentucky Horror Show, though this was still unacceptable. In an unexpected turn, animal rights activists PETA issued a statement to GoreZone that claimed, "Kentucky Fried Horror Show should be the name of a documentary, not a fantasy film. KFC chickens are bred to be unnatural freaks, big, heavy and sick."
But there's more to KFHS than just controversy, the film is a host to various talents, including Child's Play stars Brad Dourif and Alex Vincent, adult actress Joanna Angel, Playboy regular Rachael Robbins and TV's Scarlett Pomers. Gregory gave GoreZone an exclusive read of the script earlier this year and one thing is for sure... expect blood, breasts and more blood! Subtlety certainly isn't one of his stronger points - after all, we're treater to a double murder and gratuitous nudity within the first few minutes - but he sure knows what horror fans want.
"I fucking hope to God this movie disgusts in some way the audiences. We have one scene in my film that is so over the top, so blatant, that I think will be talked about for a long time," he boasts cheekily, clearly eager to shock and offend in equal measures, though he does claim that the movie will have its humorous moments (the script had various digs at the differences between city slickers and Deep South rednecks). "There is one good scene in the beginning of the film that will be overtly sexual, full blown sex, but the end result will surprise you. But for the most part, the rest of the film 99.999% of it is straight horror."
For those of you who have been looking forward to KFHS, keep an eye out for our exclusive coverage in the neat future, featuring interviews with Gregory, writer Erin Gilmer, producers Rik Walters and Devin Reeve, FX artist Harvey Lowry, and stars Robbins, Mary Castro and Zoe Hunter. Whilst a release date has not yet been set, expect the film to appear late this year or early 2009. And if Gregory's attitude is anything to go by, expect something special when The Kentucky Fried Horror Show is finally unleashed... "I'm old school so I guess I feel that strongly about what's called horror these days and what's called bullshit. But we've got it all, a great set up, a great plot, fucking great characters that would make Charlie Manson proud and lots of gore and blood, so yeah, we've got it covered I think - and if that's not enough I'm sure I can find a midget to place in there somewhere!"
www.myspace.com/christiansellers
Over the years, the Return of the Living Dead franchise has taken several turns, through both Romeo and Juliet (Return of the Living Dead III) and TV movie (Necropolis, Rave to the Grave) territory, though one actor from the original movie had different plans for the series. Don Calfa, who played eccentric mortician Ernie Kaltenbrunner, wrote a treatment soon after the release of The Return of the Living Dead back in 1985 with partner Roger Carney. The studio showed little interest in the concept and instead approached Meatballs II director Ken Wiederhorn about creating a new story from scratch. All of the characters were jettisoned in favour of carbon copies, though both Col. Glover and Tarman would make a brief appearance.
Now, over twenty years later, Calfa has joined forces with British artist Gary Smart to bring his sequel, The Revenge of the Living Dead, to life in the form of a graphic novel! The story continues immediately after the conclusion of the film, where the army, in a last attempt to contain the outbreak, nuke the US town of Louisville, Kentucky. 'But what if the army got the coordinates wrong?' asks the comic. In this version of the story, the bomb goes off target, exploding in the distance. Whilst Ernie and Tina hide in the attic of the morgue as zombified boyfriend Freddy attempts to break his way in, the other survivors (Burt, Spider, Chuck and Casey) are holed up in the medical supplies warehouse across the street. As the movie comes to a close, Freddy manages to find his way into the attic, just as the city is illuminated by a bright explosion. But as the toxic smoke makes its way into the sky, the acid rain that reanimated the dead earlier on rains down all over the surrounding area, hinting that the story is indeed far from over.
Whilst many fans have expressed their disappointment with 1988's The Return of the Living Dead Part II's, Calfa's story follows on very much in the vein of the first movie. Ernie has become the somewhat reluctant hero of this motley crew, with Spider (originally played by Friday the 13th Part V: A New Beginning's Miguel A. Núñez Jr.) fighting alongside him while the other characters appear almost as useless as they did in the movie. Unfortunately, Burt died in the explosion, when part of the room caved in on him. This does make sense from a dramatic point of view, though, as this gives the story that 'anything goes' sensibility that made the film so appealing. In his place, both Freddy and Frank, the bumbling Laurel and Hardy-style double act, make a welcome return. After both slowly transforming into zombies throughout the movie, Frank tried to cremate himself, which may cause some confusion to fans as to how he has managed to survive, but the comic does explain that due to his incompetence he only burnt himself instead of ending his (undead) life as planned.
As Ernie and Tina meet up with the other survivors, the town is put under a military lockdown, with Col. Glover leading a search and destroy mission to exterminate any infection (i.e.; kill anything that moves). The group is forced to pile into an ambulance and make their way out of the area before it is destroyed. Fans will be pleased to see not only a brief cameo by a naked and zombified Trash (a role which turned Linnea Quigley into the ultimate '80's scream queen), but also a blink-and-you'll-miss-it appearance of Dan O'Bannon (writer and director of The Return of the Living Dead) among the crowd of zombies. Those with a keen eye will also notice a soldier wearing the nametag 'O'Bannon' on his uniform. Both Tarman and the ½ Woman Corpse also appear briefly.
The Revenge of the Living Dead is the perfect companion piece to the first feature, which expands on the original concept by taking the action out into the city (The Return of the Living Dead was primarily set in three locations; the graveyard, the mortuary and the warehouse). As the survivors attempt to leave the city, they must not only avoid the undead that have grossly outnumbered them, but must also flee from the military that show little interest in taking prisoners. The artwork is impressive, with each character perfectly resembling the actor on which they were based (Ernie even has that demented stare that Calfa has mastered). Whilst the comic is in no way as gory as the movie, the pace is kept tight and the layout is superb, with Smart clearly an up-and-coming talent. For fans of The Return of the Living Dead, and those that love zombies and graphic novels, The Revenge of the Living Dead is a treat!
No release date has been set, but I will keep you updated on the progress…
www.myspace.com/christiansellers
Horror movies have always had a fascination with 'scream queens,' from classic actresses of the Golden era such as Far Wray and Joan Crawford, to more recent stars like Jamie Lee Curtis and Linnea Quigley, the genre has constantly portrayed women as both victims and femme fatales. Since the slasher movie introduced the concept of 'the final girl,' and the likes of Buffy the Vampire Slayer and Lara Croft: Tomb Raider have shown that women no longer have to be the damsel-in-distress, horror filmmakers have begun to write their female protagonists as stronger, more independent, characters, and not just defenseless victims. Perhaps the most promising young actress to be working in the genre today is Bianca Barnett, whose diverse body of work has seen her portray everything from a deformed monster to a corpse.
Born Bianca Evans on the 26th of August 1981, in Garland, Texas, the twenty-six year old actress has so far launched several websites (including The Perils of Rock and Roll Decadence and Bianca's Boudoir), and has appeared in various short films (available on YouTube) and music videos, before making her feature debut in Ramzi Abed's The Devil's Muse (aka Black Dahlia Movie). Her best role to date, though, is as the central villain Pig Bitch in the upcoming monster movie Albino Farm (previously covered in issue 32 of GoreZone), which featured Barnett as the head of a clan of murderous mutants.
What first sparked your interest in the darker side of art? Allegedly, your parents owned a model company when you were a child, what can you reveal about this and how it had an effect on you?
"I was always weird and an outsider, so it was just a matter of time before I blossomed into a macabre mistress. I was always interested in studying metaphysics, the occult and spooky ghost stories even at a young age. Halloween was my favorite holiday of the year and horror movies simultaneously thrilled and frightened me. I'm sure my environment had some influence over me, even though I was more partial to monsters and horror rather than science fiction which my parents enjoyed. I had the opportunity of a lifetime to visit Bob Burns' personal movie memorabilia collection when I was twelve. I had the chance to sit in the original time machine, touch the werewolf from An American Werewolf in London, see Lily Munster's gown and Linda Blair's mock head. Mr. Burns even puppeteered some miniature aliens from the movie Alien for me! It was amazing and life changing. I knew I had to be involved in filmmaking after that."
Why choose acting and, more importantly, horror?
"I have always enjoyed entertaining people and it is really nice to get positive praise from people who dig what you do. It is also a challenge for me because I am quite shy, so pushing myself to do something out of the norm is a way to grow. Horror sort of came my way when I would go to special effects shops and volunteer to wear prosthetic makeups. Most actors and actresses shun the idea, but I think it's fun to become something else! I always found the bad guy or monster to be the most interesting character in a picture. I don't plan to limit myself to just horror films even though I love the genre. Anything smart and a bit dark is great, and I don't mind the challenge of trying something new!"
What were your early ambitions and what led to you starting your own site a few years ago?
"I was still floundering about, not sure what I wanted to do with my life. I knew I wanted it to be entertainment related, but there were so many options, I wasn't sure where to go. Originally, I had wanted to be an independent film director and I went to college to study film. I realized that I wasn't completely passionate about that, so I dropped out and moved to Los Angeles where I thought I would get hands on experience."
What came first, acting or modeling? Which do you feel you have progressed at the most and are there things you are willing to do for one and not for the other? Do you find success in one has helped with the other?
"I started modeling in my teenage years after a hair dresser spotted me walking in the mall. He asked me to do runway for an upcoming show and that progressed into more modeling work. I didn't really focus on becoming an actress full time until about two years ago. I suppose I got started late in the game, but it is really what I love to do and helps me overcome my personal demons. As an actress, I am still learning and progressing. I learn something new every time I work on something. I am actually quite shy in person, so this is a great opportunity for me to challenge myself to become more outgoing and free. Yes, I am willing to take unpaid work for a photographer if they have an amazing portfolio and can use me as a muse. I don't work for free or just points on a film, though. Modeling helped me to be more comfortable in front of the camera and learn to take direction. You won't believe how many people have a hard time following direction!!! I have been told that I have a very strong "look" which can be either a great asset or a hindrance. I've even tried out for softer roles and had the director change my part because he felt I had such a strong presence. Maybe I just look like a bully. :)"
What made you decide to move out to LA and how daunting was it?
"I went to college in Texas to study film, but realized that it wasn't the heart of the industry. So, with $2000 in my bank account and only what would fit in my car, I drove out to Los Angeles and never looked back. It took a really long time to get accustomed to life here, but I think I am now grounded enough to not REALLY live in Hollywood La La Land. This town can be so superficial, but I have grown a thick skin and have become more resilient over the years."
How did you land your first acting role and what was it?
"My first real role was playing the mutilated corpse of Elizabeth Short in Ramzi Abed's The Devil's Muse (aka Black Dahlia Movie). I pop up a few times in that movie... it's kind of like playing "Where's Bianca?". I got the part through a friend of mine who knew Ramzi personally. He was originally from Dallas, too, so he welcomed me aboard his crazy, guerrilla filmmaking train. And I love him for that! I collaborated with him again in his upcoming film, In a Spiral State."
You have stated that you are comfortable with prosthetics and nudity. How scary is posing nude and what is the worst experience you have had with makeup/FX?
"Well, I am alright with doing them both, but now they are going to have to pay me a lot more for them! Posing nude is terrifying, I don't claim to have a perfect or even great body. But, everyone on set is as uncomfortable as you are, so you just take a deep breath and roll with it. When actors say that filming these scenes isn't sexy and it's awkward, they are being totally honest! As for prosthetics, once I am in them and on set, I am ready to perform. The worst part is waiting around for hours between scenes. That can just be excruciating. I came down with Viral Pharyngitis while shooting Albino Farm. It was just awful."
You have made thousands of friends on MySpace and gathered a cult following as a scream queen. What's your secret?
"Cast a spell over them all to trick them into befriending me. Honestly, I don't know why or how, but I am so thankful and thrilled to meet new friends and fans. I do my best to read and answer every single email and I always visit new friends' profiles. If someone took time out of their schedule to write me, the least I can do is write them back. I wouldn't be talking with you now if I didn't have the amazing fan base that I have. I will never forget that!"
What are your ambitions as an actress? You have hinted at wanting to be a role model for women, how do you intend to accomplish this?
"I would love to make a living as an actress so I could do it full-time and pay bills. As far as being a role model, I love portraying smart and strong females who still embrace their femininity. This is a male dominated industry, so succeeding in this business is something I will be very proud of."
What are your plans for the future, what projects do you have lined up and what advice would you give to young actors and models wishing to take their first steps into the industry?
"I am always working on something, whether it is short films, commercials or music videos. I am looking forward to the release of films I worked on in the past few years. I also have a trilogy of films that I begin filming in about a month. I hope I didn't jinx it by talking about it! As for aspiring actors, I really recommend beginning work as an extra for film or television through a legitimate agency. It's really a crash course in how things work and you get the chance to be on set. Most people who do this the first few times realize they do not want to be actors anymore. Days are generally 12-15 hours long with a lot of waiting between shots. You have to do the same actions over and over again. You have to be punctual, follow rules and take direction well without any bitching. As for models, start by building a portfolio with local photographers. Be safe and careful who you work with, though, because I have been taken advantage of in certain situations."
www.myspace.com/christiansellers
Remakes are nothing new. Hollywood has been making money out of them since cinema was invented over a hundred years ago. Some of the most popular movies of all time have been re-imaginings of someone else's work; The Wizard of Oz, Scarface and Ben-Hur were all updates of older, less famous films. But it seems that now they are taking it a step too far. Look on any movie forum or in the letters page of a magazine and there's usually at least one angry fan protesting at his favourite film being retold.
And no genre has suffered from this more than horror; with not only the classics (The Omen, The Wicker Man) being rehashed, but now even long-forgotten atrocities (The Toolbox Murders). And it seems that it will only get worse, with a slew of other gems about to receive the 'makeover' treatment.
Thanks to such companies as Dark Castle (which were responsible for bringing back the flicks of yesteryear with a successful run that included House on Haunted Hill, Thir13en Ghosts and House of Wax), it seems that almost every genre classic is now up for grabs, resulting in everything from The Creature From the Black Lagoon to C.H.U.D. being dragged kicking and screaming into the 21st century.
Studios such as Sony Screen Gems and producers like Michael Bay are milking this current fad for all it's worth, probably aware that one day audiences will have had enough. Bleeding an idea dry is common within horror cinema; Universal released various spin-offs of their more successful creations and the 1980's saw the birth of several franchises which still continue to release inferior instalments today.
Probably the first movie for Hollywood to remake was Dr. Jekyll and Mr. Hyde, which was originally made by William Selig in 1908, only to be rehashed four years later. By 1920 there had been eight international versions, as well as two spoofs. A more renowned version was later released in 1931, directed by Rouben Mamoulian. The James Whale classic Frankenstein was not the first to be based on the Mary Shelley story, that honour went to a 1912 Edison-produced adaptation. When Universal released their seminal Dracula, a Spanish version was made simultaneously, using the same sets. Which went into production first is unclear but by now the remake was a viable commodity. All the old Universal classics were remade again, not only by Hollywood but also by Hammer in the 1950's and '60's. To this day there are still movies based on Dracula and Frankenstein.
Many of the cult B-movies from the 1950's were rehashed years later. Don Siegel's political sci-fi hit Invasion of the Body Snatchers was remade to critical acclaim in 1978 and then again, to a lesser extent, as Body Snatchers in 1993 (and, more recently, as the Nicole Kidman flop The Invasion). By the 1980's, the children that were brought up on the old 1950's classics had grown up to become filmmakers in their own right and, thanks to advances in prosthetic make-up, were able to bring to the screen what had only been hinted at thirty years before.
The best of these was The Thing, John Carpenter's retelling of the Howard Hawks-produced monster movie, this version taking it closer to its source material, the John W. Campbell short story Who Goes There?. David Cronenberg, renowned for his body-horror efforts such as Rabid and Videodrome, remade The Fly in 1986, which saw scientist Jeff Goldblum's slow deterioration after an experiment-gone-wrong melds his DNA with that of an insect. Chuck Russell's update of The Blob was a more light-hearted affair, which saw James Dean-style rebel Kevin Dillon and cheerleader Shawnee Smith up against a man-made life form, determined to swallow up a small American town.
While Francis Ford Coppola's 1992 hit Bram Stoker's Dracula and the Kenneth Branagh-directed Mary Shelley's Frankenstein both claimed to be the most faithful adaptations of those stories, indie director Gus Van Sant took it one step further with his 1998 remake of Psycho by filming it as a shot-for-shot copy of the Alfred Hitchcock original. Why anyone would want to tackle such an iconic movie was anyone's guess but whatever Sant wanted to achieve with the movie he failed on, as it is a bland and frustrating experience, with Vincent Vaughn's turn as Norman Bates too over-the-top.
But the movie most likely responsible for the current wave of remakes is the 2003 version of The Texas Chainsaw Massacre. The original had been made for next to nothing and over the years had become a genre favourite, the movie's visceral impact even resulting in it being banned in the UK for almost thirty years. But the MTV-style directing and fancy editing (the camera passes through a hole in a girl's head) have made the film far more glossy than the original, but it also took away any sense of dread that the Tobe Hooper classic evoked on the viewer.
Probably the most pointless of the recent remakes, though, was the 2004 update of George A. Romero's Dawn of the Dead. While it certainly wasn't the worst of its kind – it's far superior to The Texas Chainsaw Massacreupdate in every way – it is the title should have been changed. This did not need to be a remake. While the mall in the original movie served as a major plot function, showing the protagonists being brainwashed by capitalist greed, it had no real purpose in this version. The setting could just had easily have been a school, library or apartment block and the movie could have been called something else. Then maybe people would have appreciated it more as a homage, as opposed to just another remake.
Despite each individual director obviously taking their projects seriously, one cannot help but feel sceptical by the studio's desire to make one remake after another. For instance, when The Ring became a hit back in 2002, studios fast-tracked as many remakes of Asian horrors as possible, resulting in the likes of The Grudge and Dark Water. With The Hills Have Eyes becoming one of the biggest horror blockbusters of 2005, producers decided to raid Wes Craven's back catalogue to find similar successes, resulting in upcoming adaptations of A Nightmare on Elm Street, The People Under the Stairs and even The Last House on the Left.
Surprisingly, the new way for producers to make money is with the slasher movie; a once-despicable subgenre that, since the success of Scream, suddenly became bankable again. The Texas Chainsaw Massacre was followed by the likes of When a Stranger Calls and Black Christmas, both of which had been reduced to ineffective, harmless teen movies. Tobe Hooper jumped on the bandwagon with the above-average The Toolbox Murders, which was based on the forgettable 1977 movie. Even Robert Harmon's classic road movie-slasher The Hitcher was ruined by Michael Bay's production company. But now studios, particularly Screen Gems, have gone overboard, with producers rushing out new versions of Prom Night, Terror Train, Silent Night, Deadly Night, The Driller Killer, Motel Hell and Friday the 13th.
Probably the biggest offenders of the current wave of slasher remakes are Platinum Dunes, the production company owned by action director Michael Bay. Thanks to the success of their first venture, The Texas Chainsaw Massacre (which recouped it's $9.5m budget on its opening day), other projects to follow have included The Amityville Horror and The Hitcher. The next eighteen months will also see them produce new versions of Friday the 13th, The Birds and A Nightmare on Elm Street.
One thing that several of the recent remakes have angered fans for is the studios insistence to aim for a PG-13 teen crowd, thus forcing the filmmakers to tone down on not only the gore but any real threat of violence within the film. Quite ironic, really, when you think of what the original versions of some of these movies were like. Some of the films also have a glossy MTV look to them mainly because many of these directors have moved on from music videos.
So what other remakes are we being threatened with? Well, how many classics are there left untouched? We've already been subjected to awful updates of The Wicker Man (Nic Cage and his wig should never work again for being involved in such a dire film!), The Omen and 2000 Maniacs (remade as the imaginatively titled 2001 Maniacs). Next up will be Faces of Death (yes, that so-called snuff movie that was banned in God-knows how many countries for so many years), Sisters, Hellraiser and a possible new version of The Evil Dead (which was even turned into a musical recently!).
So what else is there they can sabotage? Well, so far I haven't heard of plans for an Exorcist remake, but it will only be a matter of time. Also, no doubt Michael Bay would love to fill A Nightmare on Elm Street with CGI and O.C.-style teens. Or a lame-as-hell update of Deliverance? It's over thirty years old now, so surely it's past its Hollywood sell-by-date. The Last House on the Left or I Spit on Your Grave; it'd be amusing trying to watch them make a politically correct version of them that they could sell to the multiplexes. Others for them to ruin are Don't Look Now, Twitch of the Death Nerve, Phantasm, Alien, Zombie Flesh Eaters, Basket Case, An American Werewolf in London, Q – The Winged Serpent or Tetsuo: The Iron Man.
In conclusion, one site last August pointed out a rather worrying statistic; "Since 2005, Hollywood has remade no fewer than 13 horror movies, leaning on 1970s titles such as The Omen, The Wicker Man and Black Christmas. That doesn't count US clones of Japanese pictures (The Grudge 2, Pulse, ad nauseam) or unofficial remakes such as Disturbia, which bore a disturbing resemblance to Rear Window." The writer on sfgate.com also stated that, "If it seems as if you've seen that blood-spattered, knife-wielding maniac chasing that girl before, you probably have. Ditto the dude with the chain saw, and those naggingly familiar flesh-eating zombies. More than ever, Hollywood is resurrecting horror classics (and not-so classics) - but is this giving old favorites new lives or just robbing their graves?"
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