A remote Canadian science team is under the threat of a Graboid situation, hunting drill parties through the ice and ripping them to shreds with their snake-like mouth tentacles. The team phones the only known Graboid hunter, the legendary outdoor sportsman Burt Gummer, who flies from Perfection, New Mexico to the North of the border with his son Travis Welker to terminator their subterranean predator problem. Graboids aren’t the only problem as nasty Ass-Blasters also roam the sky. Stranded on a remote research station and stuck with non-combative administrative researchers, Gummer’s shoulders bare much of the battlefield burden, but the long time Graboid ass-kicker comes face-to-face with an internal Graboid stemmed disease that sidelines his ability to finish the campaign. Travis must pick up the reigns and band together a ragtag team of scientists to not only save Canada from a being swallowed from below, but also to save his father’s life by obtaining antibodies from a live Graboid.
Michael Gross is back! Reprising his role of Burt Gummer, the gung-ho military nut with a penchant for hunting down and killing Graboids, Gross straps on the HK-91 assault rifle once more for Universal’s “Tremors: A Cold Day in Hell,” the sixth installment to the “Tremors” franchise that began 27-years-old in 1990! The PG-13 creature feature is helmed by direct-to-video sequel director Don Michael Paul (“Tremors: Bloodlines”), written by two-time “Tremors” sequel writer John Whelpley, and release appropriately enough on Universal’s 1440 Entertainment label. Whelpley relocates the franchise away from the blistering heat, the scorching sand, and the denim-camo-plaid sporting bedrock to cooler climate of the Canada’s 49th parallel north. Under the ice and the chilled soil are pre-pre-cana Graboids awakened by the ever looming effects of global warming. Al Gore was right; Global warming will kill us all…by rousing the underground beasts who’ve been dormant for thousands of years! The very one aspect the filmmakers wanted shiplap together for this next chapter is to perilously put the invincible Burt through a taste of own mortality, plaguing him with a symbiotic Graboid worm that puts him on the edge of death, and introducing a worthy replacement, or perhaps a legacy, in his son, Travis Welker.
Welker is a returning character from “Tremors: Bloodlines” portrayed by comedian Jamie Kennedy. His role as Brad “B-rad” Gluckman from “Malibu’s Most Wanted” has been forcibly seared in many of our minds and his horror enthusiasm captured our black hearts as the lovable Randy Meeks in Scream, but being Travis Welker nearly upends those personas and transform him into a smooth talking, fast thinking, son of a gun whose perfect to match wits with his on-screen old man, Burt. “Tremors 6” is essentially the Burt and Travis show, leaving many other characters up as red shirts, but waver a handful as potential love interests and bone headed comedic reliefs. Starting with South African Tanya van Graan (“Starship Troopers 3: Marauder”) as the kinda kooky Jamie Kennedy love interest in Dr. Rita Sims. Sims is nearly all over the board being the lead scientist on the research expedition to a complete bad ass with a rifle to being a sultry fox who goes commando with no underpants in the arctic. Then there’s Jamie-Lee Money, just on the cusp of her career, plays Valerie McKee, the offspring of “Tremors'” Valentine McKee (Kevin Bacon) and Rhonda LeBeck (Finn Carter). Money looks the part, but the character is severely downplayed and lifeless that mistreats the legacy of Val who was spontaneous, inventive, and naively charming. Other characters come off goofy, oddball, and arbitrary or insignificantly used played by Greg Kriek (“Lake Placid: Legacy”), Stephanie Schildknecht (“Accident”), and Kiroshan Naidoo.
The entire Tremors franchise has been through a wringer of changes over the last 27-years that has really stretched the incredible substratum monster thinner and thinner. Reducing the physical formidability down to a visual effects monstrosity that still preserves a somewhat tongue-and-cheek campiness, “Tremors: A Cold Day in Hell” doesn’t quite have the “Tremors” flavor. Perhaps it’s the arctic setting. Perhaps it’s the inane special effects. Perhaps it both, but one thing is certain and that is Michael Gross being solidified as the unwavering face of the franchise, but even with that constant variable, this sixth installment attempts to lure back in the original fan base by referencing the original film in numerous instances, such as with Valentine’s daughter, Valerie, or even with Burt’s famous one-liner when he shot-to-death the basement crashing Graboid from the first film, but instead of saying “rec room,” he yells “airplane hangar” as the Graboid explodes in a gush of orange blood as it rams into an underground electrical barrier. It’s a bit of a farce. Yet, there’s still an immense amount of enjoy-ability, energy, and Graboid fun to be had.
Universal releases the PG-13 “Tremors: A Cold Day in Hell” on the home video, 1440 Entertainment label, with a combo Blu-ray + DVD + Digital disc. The 1080p High Definition Blu-ray was viewed for this review which is presented in a widescreen 178:1 aspect ratio and the image quality is deep with details. The terrains absolutely come alive to the screen and, at the same time, expose the visual effects work. No matter how much the visual effects team tries to create an Canadian arctic atmosphere, the sands of the South African landscape couldn’t be optically opaqued. Nonetheless, facial features, character attire, and even the explosions, cascading, and orange Graboid blood gooing is sharp with precision definition. As far as audio, the English DTS-HD Master Audio 5.1 surround sound caters to every audible fissure with an attractive ambiance track (ass)blasting with baritone and ripping semi-automatic fire cues. Dialogue comes over clean and the soundtrack has healthy bones, aside from it’s generic, low-budget assortment. Extras include a making of “Tremors: A Cold Day in Hell” that’s broken down into multiple, short chapters, the anatomy of a scene, and inside Walter Chang’s kitschy market. Since the breaking news that SyFy will not longer move forward with the anticipating Tremors television series with Kevin Bacon, “”Tremors: A Cold Day in Hell” signifies that the withering franchise will not stray from Burt Gummer’s one-man show anytime soon; still, the sixth installment provides a healthy amounts of witty banter and a swimming pool full of Graboid gore, two foundational motifs still vibrant in the Tremors universe.
Hot off the Quinn Brenner case, parapsychologist Elise Rainier receives a phone call from Ted Garza regarding paranormal activity at his house in Four Keys, New Mexico. The location happens to be the childhood home of Elise, where her father viciously abused Elise to stop her supernatural gifts and also where her mother was brutally murdered by a fearsome and hatred-energized demon known as KeyFace. Reluctant to return where memories revel in persistent and continuous nightmares, Elise and her two eager assistances, Tucker and Specs, take the case to aid the Garza’s request for a cleanse and to conclude the haunting and scarring chapter in Elise’s life, but the demon yearns power by luring Elise back to where it all began. With the help of her brother and two nieces, Elise’s family and friends aim to be a force against pure and undiluted evil hidden in the further.
Full disclosure….Insidious: Chapters 2 and 3 is not in my well versed cache of watched movies. I thoroughly enjoyed the atmospheric hit that is James Wan’s 2011 “Insidious” film starring Patrick Wilson, Rose Byrne, and the incredible Lin Shaye, but since that time, neither of the sequels have wandered into my unsystematic path. Except now. “Insidious: The Last Key” is the latest installment to the “Insidious” franchise and universe that’s directed by Adam Robitel, screenwriter of “Paranormal Activity: The Ghost Dimension” and written by franchise writer Leigh Whannell. In the grand scheme of chronological viewing, catching “The Last Key” first won’t divert and confuse too much from those on a methodical storyline timeline. Robitel’s chapter is a sequel to the prequel, “Insidious: Chapter 3,” and aside from an Easter egg here and there, there’s little reference and nothing substantial bonding to the next two films that are in sequential order.
Lin Shaye returns to reprise her role as parapsychologist Elise Rainier for the fourth time, picking up her character’s telepathic shtick like it was yesterday. Shaye’s one of acting talents that just flourishes like wild fire no matter what the type of role or movie she’s in or even affiliated with. Her ability to adapt and to get down and dirty with her characters proves why we love her thespian range from bust-a-gut comedies like “There’s Something About Mary” to indie horrors like “Dead End.” The now 74-year-old actress is more red hot now than ever as Elise Rainier whose even more popularized by her co-stars, writer, Leigh Whannell and and Angus Sampson as Specs and Tucker, whom like Shaye have reprised their roles for a fourth time. The comedic duo lighten up the dark toned premise, offering up dad jokes and snickering hairdos to offset to jump scares and gnarly KeyFace. Spencer Locke (“Resident Evil: Extinction”), Caitlin Gerard (“Smiley”), and the original 1971 Willard, Bruce Davison, play the supporting cast of Rainiers long lost, reunited family members caught in the middle of her quest for conclusion. Rounding out the cast is Kirk Acevedo (“Dawn of the Planet of the Apes”), Tessa Ferrer, Josh Stewart (“The Collector”), and contortionist, and Doug Jones’ Spanish rival, Javier Botet as KeyFace.
“Insidious: The Last Key” works on many positive levels: has a solid premise with Elise burning to finish the nightmare she had unleashed many years ago, subplots involving Ted Garza’s role and Elise’s abusive father, a dysfunctional family relationship between all the Rainiers, and some serious eye-popping scares throughout. The further also opens up more and becomes a vast area for exploration into all the creatures, ghosts, and demons that lurk in the otherworldly dimension, setting up future sequels and/or spinoffs. What doesn’t work as well is the rather anemic and lackluster climatic finale that took KeyFace from an extremely high frightfully monstrous pedastal, continuously building up the character to be the most powerful antagonist Elise has yet to encounter, and have the rug pulled right from under it’s horrid feet by squandering it formidability, flattening it with the single uppercut swing of a… lantern.
Adam Robitel’s “Insidious: The Last Key” finds a home on a Blu-ray plus Digital HD combo release by Sony Pictures and Universal Home Entertainment. The release is presented in high definition 1080p with a widescreen, 2.39:1 aspect ratio. The image quality just tops out with overly spooky cool blue hue that’s gloomy, dark, and ominous, all the attributes perfect for a supernatural thriller, while managing to sharply define the details on the actors and their surroundings. The English 5.1 DTS-HD track stings where jump scares are prevalent and appropriate. Dialogue has clarity with mild ambiance supporting the localized and conventional horror audible moments while brawny LFE bursts on-screen in a bombardment of scare tactics whenever KeyFace suddenly shows face. Bonus features include an alternate ending (complete with cheesy one-liner from Lin Shaye), eight deleted scenes, a look into the “Insidious” universe, going into The Further, Lin Shaye becoming parapsychologist Elise Rainier, and a segment entitled “Meet the New Demon – Unlocking the Keys” to KeyFace. Perhaps not the epitome of the franchise, but “Insidious: The Last Key” absolutely fits into the franchise’s ever expanding universe and unlocks more of the spine-tingling backstory to one of horror’s contemporary and unremitting heroines ready to confront evil.
Phil Stevens returns! The Philadelphian filmmaking is coming back for more surreal and gory abstract horror in his next upcoming project “Flowers 2,” a direct sequel, that “explores the final days of the serial killer known as ‘THE EXILE’ through a macabre birthday party held by his past murder victims. We are shown this monster’s violent past life through the eyes of his dead.”
However, Stevens needs your help because making movies you love and that you’re passion about is most certainly not free or cheap despite our best efforts. An Indiegogo page has been setup and the fans of “Flowers,” and I know there are many of you, should take the time to read thoroughly through the campaign page and think about donating to a original horror storytelling. The goal is $15,000 and Stevens is only 6% there from eleven backers. Please donate, no matter the denomination! Your contribution goes a long way and there’s swag for donations starting at $25, but you better hurry due to limited stock.
If you haven’t caught up with “Flowers” and you would like to know more, please read our positive review for “Flowers”. Also, “Lung,” another Phil Stevens directed film, received positive praise as well. We like Phil. So, we like to see him succeed in getting another chance to continue his story and to put into fruition his visionary tale of macabre.
You keep up-to-date with Phil and Flowers 2 at the official Facebook page – http://www.facebook.com/flowers02themovie
You can’t keep these damn kids out of the corn fields! If you didn’t know this, “Children of the Corn: Runaway” is the 9th installment in this undying Stephen King spawned franchise and was helmed by “Feast’s” John Gulager!
Here’s the press release from Lionsgate:
From director John Gulager (Piranha 3DD, Feast) comes a horrifying new chapter in the Children of the Corn series when Children of the Corn: Runaway arrives on Blu-ray™ (plus Digital), DVD, Digital, and On Demand March 13 from Lionsgate. Based on the original story “Children of the Corn” by Stephen King, the tenth installment of the legendary horror series follows a young woman who can’t escape her nightmarish past. Written by Joel Soisson (Children of the Corn: Genesis, Dracula 2000), the Children of the Corn: Runaway Blu-ray and DVD will be available for the suggested retail price of $21.99 and $19.98, respectively.
Children of the Corn: Runaway tells the story of young, pregnant Ruth, who escapes a murderous child cult in a small Midwestern town. She spends the next decade living anonymously in an attempt to spare her son the horrors that she experienced as a child. Ruth and her son end up in a small Oklahoma town, but something is following her. Now, she must confront this evil or lose her child.
BLU-RAY/DVD/DIGITAL HD SPECIAL FEATURES
· Deleted Scene
Marci Miller (“About Abigail,” “Viper,” The Ringer of Rimachi)
Lynn Andrews (“Borderlines 2” the Video Game, “Ghost of Goodnight Lane”
Mary Kathryn Bryant (“Hellraiser: Judgment”)
Jake Ryan Scott (“Bunnyman Vengeance,” “Warning Label”)
Experience a terrifying new chapter in the legendary Hellraiser series when Hellraiser: Judgment arrives on Blu-ray™ (plus Digital), DVD, Digital, and On Demand February 13 from Lionsgate. The tenth film in the classic horror series tells the story of three detectives as they struggle to solve a horrifying murder, but instead find themselves thrust into the depths of Pinhead’s hellacious landscape. Including horror icon Heather Langenkamp (A Nightmare on Elm Street, Wes Craven’s New Nightmare), and written and directed by Gary J. Tunnicliffe (Hansel & Gretel), the Hellraiser: Judgment Blu-ray and DVD will be available for the suggested retail price of $21.99 and $19.98, respectively.
The dreaded Pinhead returns in the next terrifying chapter of the classic Hellraiser series. Three detectives trying to stop a diabolical serial killer are sucked into a maze of otherworldly horror, where hellish denizens including the Auditor, the Assessor, and the Jury await to pass judgment.
BLU-RAY/DVD/DIGITAL HD SPECIAL FEATURES
· Deleted & Extended Scenes
· Gag Reel
Randy Wayne – “Escape Room” and “Death Pool”
Heather Langenkamp – “Star Trek: Into Darkness” and TV’s “Truth or Dare”
Paul T. Taylor – TV’s “Sheltered” and “Alternative Math”
Rheagan Wallace – TV’s “Malcolm in the Middle”