23 Years Later...We Got "28 Years Later"

 

The zombie genre first clawed its way onto the screen in 1968 with George Romero’s Night of the Living Dead, and it’s refused to stay buried ever since. Time and again, it’s been resurrected, each time reflecting our deep-rooted obsession with survival and what it means to be human. But not every era has been kind to the undead. In the early 2000s, the genre hit a bit of a lull—zombie films still popped up here and there, but few made a lasting impact. 

But things started to shift in 2002 with the release of 28 Days Later. Much like Night of the Living Dead in ’68, it was lightning in a bottle—a game-changer that breathed new life into the genre. No question—28 Days Later blew the doors wide open for the genre.

It gave filmmakers room to break free from the slow-shuffling zombie formula and explore something bigger and bolder. This was a modern, visceral take on the genre.

Back then, I used to lump the infected in 28 Days Later in with traditional zombies. But they’re so much more than that. They're fast, relentless, and completely unhinged—driven by pure, unchecked fury. They’re not just another take on zombies; they’re their own beast entirely. Looking back, I can say I was wrong to label that first film as just another “zombie flick.”

What 28 Days Later really exposed wasn’t just the horror of the infected—but the far scarier truth: what humanity becomes when we let rage and fear take control. 

The success of 28 Days Later cracked the door wide open, inspiring a new wave of filmmakers to dive into the genre. It marked the rise of Edgar Wright, Simon Pegg, and Nick Frost with the genre-blending brilliance of Shaun of the Dead. We also saw a bold reimagining of Romero’s Dawn of the Dead in 2004, thanks to James Gunn and Zack Snyder. And perhaps most fittingly, Romero himself returned to continue his iconic saga with Land of the Dead.

It also inevitably paved the way for a sequel - 28 Weeks Later, released in 2007. Watching it again recently, back-to-back with the original during a double feature with my wife, I was struck by just how star-studded the cast was—something I’d completely forgotten. But almost immediately, the shift in tone was obvious.

This film had a bigger budget, no doubt about it. The increase in gore, the wider scope, and the more polished visuals made that clear. But what it gained in production value, it lost in emotional weight and thematic focus. 28 Weeks Later lacks the raw urgency and intimate terror that made 28 Days Later so unforgettable.

That’s not to say I dislike it—far from it. When viewed as a standalone entry, it’s a solid, adrenaline-fueled thriller. But it trades in the haunting questions about human nature for more conventional spectacle. The infected, for the most part, are treated more like high-speed zombies than the horrifying mirror of humanity they were in the original. The one exception is Robert Carlyle’s Don, whose arc brings back a flicker of that unsettling human darkness—but it’s not quite enough to recapture the original’s bite.

With the wave of successful requels and legacy sequels fueling audience appetite for nostalgia, Danny Boyle and Alex Garland have timed their return perfectly with 28 Years Later. Fans eager for a fresh chapter in the series have been rewarded with the original creators stepping back into the story, balancing respect for the past with new perspectives.

28 Years Later hit theaters on June 20th, 2025. Made on a $60 million budget, it went on to earn $150 million at the box office. And recently it has hit digital streaming services. 

The Film

Set 28 years after the original Rage Virus outbreak, 28 Years Later follows a remote community living on the island of Lindisfarne, off England’s coast. The story focuses on 12-year-old Spike (Alfie Williams), his father Jamie (Aaron Taylor-Johnson), and his mother Isla (Jodie Comer), who is suffering from a mysterious illness marked by violent episodes and confusion. Desperate for a cure, Jamie and Spike set out for the mainland—still ravaged by the lingering effects of the Rage Virus.

As they navigate this dangerous new world, they encounter mutated infected and hostile human factions, including a cult led by Sir Jimmy Crystal (Ralph Fiennes), whose eerie resemblance to the disgraced British TV figure Jimmy Savile adds a chilling layer to the story. The film delves deep into themes of survival, resilience, and the dark undercurrents that emerge when society collapses.

This past weekend, my wife and I finally sat down to watch 28 Years Later. We’ve both been big fans of the first two films in the series—they really left a lasting impression on us. So, we were genuinely excited about this new installment. To keep the experience fresh, we avoided any trailers or spoilers and went in completely blind.

Right from the start, the opening grabbed our attention. It felt like a seamless continuation of the story from the previous two films. The film quickly established the nature of the infected and revealed what had become of key characters from the original outbreak—especially Jimmy, the young boy introduced in the opening scene. That scene packed a serious punch. I was genuinely impressed; it was both powerful and unforgettable.

After that gripping opening, we got the iconic 28 Years Later... title card—always a highlight. One thing I’ve always appreciated about these films is how they skip traditional opening credits, jumping straight into the story.

We’re quickly introduced to Jamie (Aaron Taylor-Johnson), his son Spike (Alfie Williams), and his wife Isla (Jodie Comer). Right away, they come across as relatable and grounded—an ordinary family trying to live in extraordinary circumstances. But it doesn’t take long to sense something deeper going on with Isla. She’s forgetful, distracted, and has unsettling flashes of anger. I couldn’t help but feel for them—their dynamic really pulled me in.

At this point, I wasn’t entirely sure where the story was headed. I even found myself wondering—was Aaron Taylor-Johnson’s character supposed to be the young boy from the opening? I kept waiting for some kind of reveal, some clue about what happened to young Jimmy. 

It eventually became clear that this wasn’t Jamie’s story—it was Spike’s. We follow him as he journeys to the mainland with his father and embarks on his first so-called “hunt.” Looking back, it didn’t feel out of place within the series. In fact, it echoed the way the military was initially portrayed in 28 Days Later—seemingly helpful at first, only to reveal something far more sinister. That same arc applies to Jamie: what starts as a protective father figure slowly shifts into something more complex—and far more unsettling.

The first act zeroes in on Jamie and Spike’s relationship, framing the story around their father-son bond. It’s a solid foundation, and it gives us a clear sense of Jamie through Spike’s eyes—a father he admires, even idealizes, and is desperate not to disappoint. On that level, it works. The emotional beats land, and the setup is engaging enough.

But as the act wrapped up, I couldn’t help but wonder if the film was playing it too safe. It started to feel a little too familiar—like we were just watching a post-apocalyptic road movie with a family twist. I kept asking myself: is this all there is? Is the goal just to get back to Isla on the island? For a franchise that’s always pushed boundaries, this early stretch felt a bit restrained. It was effective—but it left me hoping the film had more to say than just, “get home.”

As we moved into the second act, the tone began to shift. If the first act was about Spike’s innocence—his sheltered view of the world—then the second act is where that illusion starts to break. He’s forced to confront the harsh reality of the world around him, starting with his own community.

The townspeople, once seen as survivors, begin to resemble something closer to a cult—rigid in their ways, disturbingly eager to celebrate Spike’s first kill. What should be a sobering moment is instead treated like a rite of passage, and it’s jarring.

Spike also sees his father in a new light. Jamie, once the strong and steady protector, is revealed to be far more broken and morally compromised than we—or Spike—realized. It left me questioning how many times he’s crossed lines like this before. Was this just one instance... or part of a pattern?

Then the film pivots again, sending us back to the mainland. Only now, the dynamic has changed—it’s no longer a father-son survival story, but a mother-son journey through a devastated world. The genre shifts with it, becoming a more familiar post-apocalyptic road movie. And while the emotional core remains, I started to feel the weight of the film’s structural repetition creeping in.

The second act dragged. Sure, the goal was clear—get Isla to Dr. Kelson—but the journey felt padded and slow. We got a few glimpses of the infected, but they lacked the impact or urgency of the first act.

There were a couple of memorable scenes, but not enough to keep the energy up. By this point, the film was starting to lose steam, and it showed. The tension dipped, the pacing sagged, and it felt like the story was just spinning its wheels. A new military character was introduced—then immediately reduced to comic relief and written off just as quickly. It felt like a missed opportunity and added little to the story beyond a brief tonal shift.

Then we hit the third act, where Isla and Spike stumble upon a baby—and suddenly, the film throws a dozen new questions into the mix. Was this meant to suggest an evolution in the infected? A commentary on the thin line between humanity and rage? Are we supposed to believe there’s a possibility of coexistence between the infected and the uninfected? It’s hard to say, because just as these ideas are introduced, the film barrels forward without exploring any of them.

The pacing in this final stretch is jarring. It shifts into overdrive, rushing through plot points without giving them time to breathe. One moment you’re trying to process what this baby might symbolize—and the next, the credits are rolling. It felt like the third act was in such a hurry to reach the finish line, it forgot to make the ending land.

The lead-up to the ending was a tough pill to swallow. Without giving too much away, there’s a moment that feels completely out of character and doesn’t make much sense within the story’s context. It disrupts the flow and throws the film off course in a way that’s hard to ignore.

While the intention might have been to deepen the mother-son dynamic, the execution falls flat, adding little emotional or narrative depth. For me, this misstep seriously undercut the film’s impact, to the point where I’d caution viewers about it—because it can be jarring and disappointing in a way that lingers.

When the film finally reaches its conclusion, the reveal about what happened to young Jimmy comes as a surprise—but sadly, it feels like a missed opportunity. By that point, the earlier missteps had already eroded my investment in the story. The payoff was too little, too late, leaving me emotionally distant and uninterested in where the sequel, The Bone Temple, might take things next.

The ending underscored a larger issue: the film struggled to build meaningful momentum or depth throughout, and that final reveal couldn’t repair the disconnect. Walking away, I felt a profound disappointment—not just because of what the story was, but because of what it could have been.

Rating: 1 out of 5. If you enjoy the earlier installments, I highly caution to avoid. 

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The Impact of Wes Craven On My Life

From a young age, I was introduced to the films of Wes Craven. It was my Mother and sister who were the ones that brought me into the fold. That first film was the original Nightmare on Elm Street. It scared the absolute bajeezus out of me. 

I remember there being some nightmares that I had where I was haunted by Freddy. You would think if the film scared me that much that I would stay away from it. Truth be told, there was no way that was going to happen. 

I found it a bit fascinating that here was someone that could enter the dreams of others. To some with just that description, it could come across as a superhero. However that was not Fred Krueger. He was the darkness. The one that lingered in the shadows waiting for you to start your slumber. Biding the time for that right moment to strike. 

At first, I saw Fred only as a monster. The Boogeyman. But over time, I began to notice that there was some grayness to his character. Yeah, he can be cold and heartless. However, he was wronged by the parents of Springwood. That element just lent a slight change to how I viewed the character. Yeah, he took children from their parents. Countless number. But it was mishandled when they burned him. They didn't need to enact this justice. No matter what the cost is it wasn't right. Because eventually what is out into the world will come back upon them. 

It was thanks to Wes for bringing this character into the world. For without it, who knows if I would be a horror fan today. 

The next film that I had seen was Swamp Thing. I remember seeing it on the Sci-Fi channel. Again, here we had what looked like a monster. But ultimately it had the heart of a man. I had known the character previously from the old cartoon they had made. But Wes' take on the material was a whole new level. Wes appreciated what he had to work with. And he made it his own. He gave Swamp Thing heart. And by this time in my life, I was a little bit into comics. Mostly because of the cartoons or films. But here, I was beginning to look into the world of Swamp Thing because of Wes. 

Then the Scream movies came along. I never had the chance to see the first on the big screen. But you better believe I got see it when it came to VHS. Scream means a lot to me. It was one of the first horror movies that I had seen that my Grandma also really loved. To the point where when I came to visit, we would go to the video store and rent it quite a bit. Ultimately she just decided to buy the film because of how much we enjoyed it. Scream 2 was the first entry I got to go see at the theater. And that was a whole experience unto itself. But when it came time, Grandma wanted to watch it with me. Then the third came out. And I had the pleasure of going with her to see it. So again, I thank you Wes for your involvement. You helped build a relationship between my Grandmother and I. 

New Nightmare. That was a whole beast altogether. Out of all of his films, this was the one that stood out the most to me. It may be all of the films as fairy tales or folklore that is present in it's themes. But it ended up being my go to film. It was the one I remember watching the most of the Elm Streets. Because of the relationship that Wes crafted between Nancy and Dylan. That bond between them was something that meant the world to me. Probably because I found myself relating to Dylan so much. At that point in my life, my mother was there. But she really wasn't. She was ghosting through her life. Only paying attention and caring when it mattered for her. Looking back, I see it's because she never wanted me. I was an oops. A mistake for her. So, seeing Dylan and Nancy together. It showed me what a true mother would look like.

Through the years, I wished I had the chance to meet you. Who wouldn't want to meet someone that they had looked up to? Wes was my hero. He was the first director and storyteller that had me thinking about what that would be like as a career. He helped me find my love for horror and film. At that point, I knew I wanted to be part of the community somehow. If it wasn't through directing, it'd be by talking about film. Sadly, I never had the chance to meet him. There are still films of his that I have never seen. I will be taking time to watch those. But you know what, this is enough. This is my way of getting to say thank you.

Thank You, Wes. You are a Master of Horror. Your legacy will always live on and be remembered. Thank you for creating the monsters in the shadows and the heroes that stood up to them. 

-Matthew

This one was for Wes.

Inside 'Fear, Inc.': A Chat with Luke Barnett

*Originally released 3/13/19*

Previously, I had talked about the film Fear, Inc. It was a solid love letter to the genre. I had the pleasure of speaking with Luke Barnett – the writer behind the film.

Hello Luke, Thank you for taking the time to chat about Fear, Inc.

Thanks for the kind review. Glad that you dug it.

What was your introduction to the horror genre?

The first time I really remember being scared from a movie was watching Hitchcock’s “The Birds”. I think my dad and I rented the VHS from Blockbuster. I doubt my mom had any idea. “Scream”, though, was when I really fell in love with the genre. I was hooked.

What is your favorite film?

That’s a near impossible question. That said, I only have one movie tattoo, and that’s from “Monty Python and the Holy Grail”. So…

Where did the idea for Fear Inc. come from?

I had a friend who was obsessed with haunted house and immersive experiences. He did all the ones here in Los Angeles and was perpetually disappointed. Then he did one called Blackout (they made a doc about it), that was expensive, required you to go through it alone, and sign a waiver. It’s intense. 

I saw him a few weeks later and asked how it was. He said “it was better than the others, but I wanted more”. And I thought he was crazy. But what he really wanted was for a company to genuinely make him question whether or not he was in real danger. A company like Fear, inc.

How long did it take to get made?

We made a three minute short film. I think it comes as a bonus with the purchase on iTunes/Amazon/DVD. The short was done for a contest called Bloody Cuts. 

The requirements were that the short had to be shot for under $1,000, had to be less than three minutes long, and had to loosely be based around the theme “who’s there”. It got top 5, along with another short called “Lights Out”, which got turned into a much bigger movie.

The short came out at the end of December and I had the first draft of the feature by March. The biggest lesson we learned was to just say “fuck it, we’re going to make this movie” and pick a start date. Once we had a date, everything felt real and it was much easier to get people to take us seriously. We made it as independently as it gets. Credit cards, loans, friends/family investing, etc. We were still raising money when the movie got into Tribeca. 

That said, we picked July 27th and I think we started shooting August 3rd.

So not far off from the goal. We were lucky, agents liked the script so they were happy to pitch it to their actor clients. We couldn’t have had a better cast and crew. They were all incredibly easy to work with and went above and beyond for the film.

To answer your initial question thought, the short came out in December, we started shooting in August, and premiered at the Tribeca Film Festival in April.

What was the initial response when it was first released?

Great! Every screening Tribeca sold out and had amazing audiences. The LA premiere was opening night of Screamfest to a sold out crowd of 450. It’s a total theater movie, in the vein of Scream or Cabin in the Woods, so it makes me sad more people didn’t get to see it in that environment.

Horror-comedy is tricky. We didn’t want to make something overly campy like “Tucker and Dale” (though, I LOVE that film), and we didn’t want to make something slow and moody like a lot of the horror that was coming out at the time. 

We wanted to make something like “Scream” that rides a thin line. When “Scream” is funny, it’s really funny, and when it’s scary, it’s really scary. That’s what we went for.

There were of course critics that just aren’t into a movie like this and felt we should have picked one genre or another to lean into, but we made the movie we would want to see, and that feels like a big win.

What has the response been since?

Honestly, the best part of making something is having people find it years later and reach out, or tell their friends about it. It’s incredible. Every day someone new finds it on HULU or iTunes. 

Recently, I got a random Facebook friend request from someone I went to elementary school with. She asked if I was the same Luke Barnett who she was in 3rd grade with, then asked if I wrote a movie called “Fear, Inc”. Turns out, it’s her son’s favorite movie. She’d watched it a dozen times with him, but never paid attention to the credits. Saw my name and thought “I wonder if that’s the same guy I knew as a kid”. She asked me if I had anything I could send him. 

Even though the movie didn’t become some insane smash hit and I’m not a millionaire from it, it’s kind of incredible to think some thirteen-year-old kid in Virginia has a poster of a movie I wrote on his wall. Just like I had a ‘Scream” poster on my wall.

What advice would you give for future writers?

Read a lot of screenplays. I started doing a thing recently where I committed to reading one great script a week. Various genres.

I’ve read everything from “I, Tony” to “Dumb & Dumber” to “Jurassic Park” and “Nightcrawler”. 

It’s already made me a better writer. Also, I can’t advocate strongly enough for making your own stuff.

In 2019, there is no reason not to. Make shorts, make features, just write and make content. Work shitty jobs and spend your money making stuff. It will all pay off if you don’t give yourself an end date.

What are you working on these days?

A film we produced last year, “Painkillers”, came out last month. 

It’s a cool, original take on the vampire myth from a great up and coming Taiwanese American director named Roxy Shih and a really talented writer/producer we work with often named Giles Daoust.

We just finished post on a dark crime thriller we’re producing called “Anderson Falls” from an amazing French director named Julien Seri (his last film “Night Fare” is a blast). That one stars Shawn Ashmore from X-Men and Gary Cole from Veep and Office Space. We’re figuring out where that will premiere now.

Next up for me as a writer and my partner as a director is a comedy called “Faith Based”. It’s a passion project for us and I truly cannot wait to get started. 

Later this year we’re producing a great little comedy directed by and starring Daniel Stern (“Home Alone”, “City Slickers”).

The grind never stops.

Thank you for your time, Luke. 

Thank you.

*Fear, Inc. is available on Hulu, iTunes, Amazon. Available on DVD and Digital.*

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Fear, Inc. (2016)

‘What would you do if you found yourself in a horror film?’. That is the question that the 2016 film Fear, Inc. asks.

Fear, Inc. is definitely a love letter to the horror genre. It is a small indie film. One that when it was initially released it flew under the radar. It wasn’t till recently that I discovered it on Hulu.

Fear, Inc. follows a company of degenerates who can be hired for a premium to bring your greatest fears to life. But when horror junkie Joe Foster’s customized scare seemingly begins, he and his friends must decide if this company is there to scare them or make them pawns in their own sick game.

The story definitely feels fresh and original. There are homages to other films in the genre. But it never feels out of place. The opening of the film is one that sets up the world and the rules of The Company. It is a very strong opening and will not wish to spoil.

After the opening, the film spends its time introducing the characters. The stand out of the film cast is Lucas Neff’s Joe Foster. He is a bit of a lovable oaf. But he is the everyman. Ultimately, the film fell on whether or not he was relatable. And I would say that it succeeds. The rest of the cast does an outstanding job.

The film proceeds to throw Joe into the world of Fear, Inc. along with his loved one and friends. It is a bit like Alice falling down the rabbit hole. It’s something that will change the course of the film altogether. I can definitely say that I was very impressed by the film. I had it pegged that it was going to be one thing. But then, it just took a step off the path and went into an entirely different direction. And that is definitely the film’s strength – its unpredictability.

I would highly recommend this film. It is a very strong and passionate love letter to horror. It’s original and fresh. If you have a chance to see it, don’t pass it up.

Rating: 5 out of 5.

The film was directed by Vincent Mascale from a script written by Luke Barnett. Starring Lucas Neff, Caitlin Stasey, and Chris Marquette. It is available on Hulu.

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Witness the Beginning and End - Fear Street:1666

This July has been special. One that will be for the books. Leigh Janiak and Netflix have delivered a story that is so great and massive that it couldn’t be told with just one film. No, Netflix understood the audience they would have and already built in audience to let Leigh Janiak craft a sprawling epic filmed in Lord of the Rings style – all in the course of a few months. And it has paid off in spades.

With the ending of 1978, I was not sure where the story was going to go next. Yes, we were going to see the origin of the curse and Sarah Fier. But beyond that, it was wide open to what the story would be. That has been one of the strongest points of Fear Street, the cliffhanger endings.

We open after the recap in 1666 with a look at Sarah Fier and life in Union as she went about her business. It was interesting seeing all of the returning cast in a different yet familiar role as they now were portraying the Union townsfolk. And if this is their ancestors, it adds even more layers to the tragic events that had proceeded in the previous films.

The story is very ominious and tense. As a viewer, we already know how Sarah’s story plays out. It’s a story of a witch and a witch hunt. But they beautifully take all of our expectations and twists it in a massively unexpected way.

Then as the screen crashes to black, we are treated to one of the biggest surprises in this film. A new title card flashes and introduces the next segment of the film – Fear Street 1994 Part 2. I figured that we would see the present time return, but the way it is handled is beautifully.

I understand that many people could spoil what’s going on in the film. But this should not be spoiled. It’s such a large event that should be experienced. As such, I will not go any further into details.

With this trilogy of films, Janiak and Netflix have crafted a beautiful story. A story that is unrelenting and inclusive. The characters in these films would easily be side characters in other films. But here, they are treated with so much respect. And it shows how far we have come since the days of 90s horror.

This film alone could have crumpled under everything that came before it. But it doesn’t. It takes everything that we have seen and asks you to reconsider your thoughts on it. To look at things through a different perspective. Then it builds on the strengths of each piece of the story. And what’s left is a satisfying conclusion.

The Fear Street trilogy will be remembered fondly. They brought new things to the horror genre. Especially the way that films are made. It wouldn’t surprise me if Netflix sees the success and continues to venture further onto FEAR Street. While one story closes, there are many more that can be told. And I for one hope that we see this expanded into an anthology series.

Rating: 5 out of 5. This film lands the hat trick for this fantastic series. Highly recommended.

*Thanks to Netflix and Daily Dead for screener*

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Fier Strikes Again - Fear Street:1978

If 1994 was everything in that bizarre mashup, 1978 is still very much Blair Witch but now its met Friday the 13th/Sleepaway Camp meets Goosebumps. (The reason why say Blair Witch-ish is because of the through line with our resident witch, Sarah Fier.) This film is once again brilliantly handled by Leigh Janiak. They make no mistake with showcasing that this is the second part in our story. This way of presenting the story feels very new. Yeah, this isn’t the first time that we have been presented with a trilogy. But, with this format that Netflix presents, it’s a happy medium between film and television. And quickly, we are thrown back into the present day story of Deena and Josh’s journey and meeting C. Berman.

After our characters meet Berman, we are introduced to our new cast at Camp Nightwing in 1978. Sadie Sink and Emily Rudd are our Berman sisters. Both actresses do a fantastic job in this film with their performances. It led to the point where I personally wanted to see both of them make it to the end of the story, but as 1994 had previously stated – only one would make it to the end. For me, part of the big point was seeing which sister it was going to be and caring about both of them. Brandon Spink and Ted Sutherland also did a great job with presenting a new side to the characters that we know to be Mayor Goode and Sheriff Goode. That is definitely one of the stronger points of this film is seeing the Goode family history being explored a bit more. And something that I’m sure that we will be seeing with the upcoming Fear Street: 1666. McCabe Slye delivers an outstanding performance tho. One that literally had me wanting to see more of Tommy Slater. His performance had a very tragic aura to it as we see exactly how Sarah Fier works her ways.

Once again, Fear Streets delivers in the music department. It presents a greatest hits of the era. And one that had me smiling once again. But as great as it is hearing ‘Carry On My Wayward Son’, the film’s orchestral score is where its at. It channels that ‘Friday the 13th’ feel in such a good way that I, for one, have been missing.

The continuity of this film and this series so far has been outstanding. Everything plays out like a beautiful puzzle as I pieced together things that were presented in 1994 and seeing how they played out in 1978. Or seeing one character in 1994 and how they connect to the overall story as we are reintroduced to her in 1978. I am hoping that we will see more of this in 1666. And I am almost certain that we will. The lore of Sarah Fier and Fear Streets is brought to another level in this film as well. Things that were introduced in 1994 are expanded or twisted into something that I never could have seen coming. And there was also a small ‘Stranger Things’ vibe to this installment. Especially because of one particular thing that happens.

While talking with my partner after the film had ended, a big highlight for us was the way the horror was presented. It was presented very tastefully. There have been other films that will show anything and everything that happens to a character. But here, its very refreshing as we are brought back to the filmmaking ways of old where glimpses are shown or the aftermath of events would be shown offscreen. This is a brilliant way that helps differentiate this series from many in this modern era of horror.

As the film came to a close, I was literally on the floor once again. The film just took everything that I thought was going to happen and turned it on its head. Ultimately leaving me wanting to know what was going to happen next. My partner also looked at me and was like ‘So we’re gonna be able to watch it tomorrow right?’. I sadly had to break the news that it was going to be a few days before could see the conclusion to the story. And that is a great testament to what this series has been doing so far. Delivering everything that could wish for and then leaving wanting more.

At the end of the day, I hope that when these films finish this particular story. They are able to do more with Fear Street. Tell more stories and turn it into an anthology series. There is a lot that can be done with this. And it’ll be fantastic to see what they deliver next.

RATING: 5 out of 5. It continues to blow away the expectations in such a fantastic way.

Fear Street Part One: 1994 and Fear Street Part Two: 1978 now available to stream on Netflix.

*Screener was provided by Netflix with the help of DailyDead’s Fear Street Contest.

FEAR STREET | A Film Trilogy Event Credit: Netflix

Sypnosis:

Shadyside, 1978. School’s out for summer and the activities at Camp Nightwing are about to begin. But when another Shadysider is possessed with the urge to kill, the fun in the sun becomes a gruesome fight for survival.

Fear Street 1978 starring Sadie Sink, Emily Rudd and Ryan Simpkins. Directed by Leigh Janiak. Screenplay by Zak Olkewicz and Leigh Janiak. Story by Phil Graziadel.

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Welcome to Shadyside - Fear Street:1994

In the 90s, R.L. Stine was known mostly for his Goosebumps books. Yeah, there were some other books that he had done. But I knew mostly Goosebumps. And man, I am a bit sad that hadn’t dived into the Fear Street novels during those days.

In 2015, R.L. Stine had a resurgence due to the success of the Goosebumps film. Which I’ll admit that I even found something to enjoy from it. But I wished that it was a bit darker.

My wish was granted with Netflix’s summer event – Fear Street.

The first chapter in this trilogy Fear Street Part 1: 1994 landed this past Friday on the streaming giant.

This film is something special. It is honestly the first fun film that I have watched in a very long time. It’s a callback to the 90s films of old that were fun. They didn’t care to take themselves too seriously. They were there to entertain and give us characters we can relate to and care about.

1994 gives us characters to care about in spades. Each of the performances in the film just oozes 90s love. One of the strongest characters in the film is Josh (played by Benjamin Flores Jr.). He has so much heart. I found myself rooting for Josh so much throughout the film. Deena (Kiana Madeira) and Sam (Olivia Scott Welch) were the next standouts. The story between them is one that had me deeply invested in what would happen with them.

The score and music used in the film was great. It helped the 90s nostalgia train a running as it felt like a greatest hits soundtrack. It was also great hearing Marco Beltrami score again.

This film is a gem. It encapsulates everything that was great about 90s horror. All of the references and easter eggs are a complete love letter to the genre. And it leaves me wanting to see what happens in the next chapter – FEAR STREET Part 2: 1978.

Rating: 5 out of 5.

It was directed by Leigh Janiak and starring Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald and Maya Hawke.

Synopsis: A circle of teenage friends accidentally encounter the ancient evil responsible for a series of brutal murders that have plagued their town for over 300 years. Welcome to Shadyside.

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This Land is Their Land: Wrong Turn (2021)

Late last year, I remember that we had received word that another Wrong Turn movie was gearing up to be made. With six films already, many wondered where the story could go. Especially if there were going to still be deformed cannibals. However, we weren’t expecting the direction the film would go.

Abandoning everything that had come before and starting fresh, Alan B. McElroy returns to the franchise he started to write a new tale with Mike P. Nelson directing. And what a story this film tells. It’s one that I kept wondering where things were going to go next. Everything was always two steps ahead of me – it seemed. Just like The Foundation that is featured.

‘Friends hiking the Appalachian Trail are confronted by ‘The Foundation’, a community of people who have lived in the mountains for hundreds of years.’

How does this film compare to the original? In many ways, these films are so different. They take the basic concept of what a Wrong Turn movie is and go onto different ends of the spectrum. This feels like the next evolution of what we should be looking for in this franchise. And while I love the original, the performances of the cast (Everybody) and strength of this story help make this my favorite entry in the franchise.

Am I going to go into detail regarding the story? No, I will not be diving into story details. This is a film where it’s okay to not have spoilers. To just go on this strong journey with the characters and experience things as they happen. It’s pure cinema. And trust me, there are many layers in this journey. 

The way the story is structured is different. It starts and introduces our cast of characters. Charlotte Vega as Jen and Adain Bradley as Darius being the two standouts of this first group. Not saying that everybody else is bad, just these two are our focal points and heart in Storyline A. Then the film proceeds to flash forward to Storyline B as we meet Jen’s father played by Matthew Modine. The film then proceeds to interweave these storylines and progress in ways that I never saw coming.

The gore in this film is vastly different than the original as well. Actually it’s vastly different than anything I’ve seen before. It’s brutal at times. It’s unforgiving. It’s grounded in a good sense of realism. There is a darkness to it. It’s not something to be celebrated. It’s something to be feared. This is something that I appreciated so much. It treated the gore in a way that I haven’t seen before.

The music in this was very low key. It was subtle. It never over presented itself. It helped add to the tension in the film, especially as we learn more about The Foundation. It worked beautifully.

Overall, I highly recommend Wrong Turn ’21. Go into it with an open mind. Let yourself go on the journey with these characters. And you may find yourself enjoying it a lot. If go into it expecting the typical Wrong Turn film, you will be disappointed.

Rating: 4.5 out of 5. Such a unique and refreshing new take with this franchise. I hope that we are able to see more.

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Venturing Into The Unknown: Jason X turns 20!

After Jason took Manhattan, the Friday the 13th franchise was sent over to New Line Cinema. It was there that Jason went to hell at the end of the previous film. But there were still room in the gas tank if you were.

Sean Cunningham was working hard on trying to develop the infamous Freddy vs Jason. But he knew that New Line needed to make a film to keep Jason relevant and in the public’s mind. He had a meeting asking for different pitches with Noel Cunningham, Jim Isaacs and Todd Farmer. (Yes, the same Todd Farmer from My Bloody Valentine 3D, Drive Angry and TRICK)

They had discussed every incarnation on what the next film should be. Jason in Antarctica was mentioned along with Jason in the snow. (How cool is idea of Jason in the Snow? That idea would eventually come to fruition in Womp Stomp’s Never Hike In The Snow) Ultimately, they decided upon Jason in Space.

It seems like a natural evolution on where to throw the character as he had been on a boat and to hell by now. Plus he was literally stuck in hell. Setting in the future would free up how to explain that. (Also Freddy Vs Jason does a good job of explaining that.)

By now, there have been a few other franchises that had taken their characters to space. We had seen Leprechaun and Pinhead in Space. Looking upon those films, it feels unnatural for them to ever being taken to space. But then again, Leprechaun is a very bombastic character that can go anywhere. But ultimately both these had left the horror community thinking that this where horror goes to jump the shark.

With their idea ready to go, filming had commenced and completed in 2000. The film was in the can. It was ready to go. However, with the changing of the head of NEW LINE CINEMA, the project would sit in stasis for a year. The irony isn’t loss as Jason experiences the same thing.

When it was released, Jason X took a lot of hits from the community. A lot. ‘How could you send him to space?’ ‘This goes against everything in a Friday film.’ It also had been pirated a lot on the internet. It was a difficult time for our favorite Camp Slasher.

I first discovered Jason X when it was released on DVD. My family had just gotten a DVD player and I had seen it sitting on the shelf at the local Walmart. I purchased it with my monthly allowance that I had saved up. This would be my first experience with a Jason film.

I loved the film. It was different from what I had heard about the other films. I was also very intrigued with how it was made. CGI then was still something that was in it’s infancy. (Though, it would start coming into it’s own more with Lord of the Rings later in 2001.) But it was cool seeing the spaceships. Yes, the acting in the film is on a cheese scale. But that’s the point. Jim Isaacs and Todd Farmer knew exactly what they were creating – it’s a fun experience. Plus, Kane Hodder delivers two great performances in the film – Jason and Uber Jason.

Uber Jason is something that is always a hard topic to talk about. Some fans had felt that it went too far. It had taken their great slasher and moved into a place they couldn’t go. I think that idea of Uber Jason is great. His design is a bit sleek as well with his mask. The rest of the costume could have been a little sleeker. But ultimately he still is a threat.

One of the standout sequences in the film to me is the virtual reality return to Crystal Lake. This sequence is a lot of fun. It amplifies the cheese and presents a play on what fans expected. Especially because Uber Jason is presented with the two counselors. The best part is we get to see Kane revisit the sleeping bag kill – using both counselors to kill each other.

I love Jason X. It’s a unique entry in the series. That’s something I can also say for Jason Goes to Hell. That’s probably why I love it. It doesn’t take itself seriously. It wants to deliver a fun ride, which it does in spades. I think it holds up very well 20 years later. The only thing I wish would have happened is if we could have seen where the story would have gone next. Instead, we went back to the camp with Freddy Vs Jason and Friday the 13th (2009).

Rating: 4 out of 5. Fun ride.

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A Whole New Hell: Revisiting Jason Goes to Hell

When New Line Cinema acquired Jason in 1993, they were told they couldn’t use the title Friday the 13th. That’s a weird concept to think considering that they are synonymous with one another. And easily one that could happen once again depending on the outcome of the legal battle.

Without the title of Friday of the 13th, Sean Cunningham enlisted Adam Marcus, Jay Hughuely and Dean Lorey to figure out where the story could go. I must say where they took the story led it to be one of my favorites of the franchise.

They decided that it was time to unshackle the story from all of the previous tropes. Quickly within the opening of the film, the tropes are shown then shattered. This resulted in everything feeling fresh. Boom! Jason is exploded and ultimately killed. And this was within the first ten minutes of the film.

Quickly, Marcus establishes that there’s more going on with our Jason. Throughout the film, we uncover the secrets behind the Voorhees legacy as it is a beautiful explanation to Jason’s continuous resurrections in the series. Pamela Voorhees had sought out the Necronomicon and Kandarian Dagger to bring her son back. I. E. – Jason is a deadite.

This realization forever changed how I felt about the franchise. It changed my outlook on everything. The more I thought about it I appreciated everything that this film and Adam Marcus was setting up. This beautifully tied and introduced Evil Dead to a NEW LINE CINEMA verse that was being established. (Later on, I even discovered that those are the actual props from Army of Darkness.)

Now, there are many that are quick to say Jason isn’t in the film. Yes, he is. He’s just not in the way everyone was expecting. This allowed a huge tension as now Jason could possess different characters. So, he could be anywhere. Could be anyone. This was so terrifying a thought.

But you know what – Pamela Voorhees would go to whatever lengths she had to if she could bring her son back. That is 100 percent accurate to the character. So it is a wonderful progression.

Another fantastic character that was introduced is Creighton Duke (played by Steven Williams). Duke is to Jason what Dr. Loomis is to Michael Myers. It makes sense that someone would eventually come after Jason. No better a choice than introducing a bounty hunter. And Williams performance is unforgettable. He gleefully plays the character and adds so much to Duke. (Best part is that Williams would go on to play a hunter in Supernatural.)

We are also given a more human story with Steven Freeman (John D. LeMay) wanting to protect his ex girlfriend Jessica Kimble (Kari Keegan) and child from Jason. This is something that is different than the usual camp fare of the other films. But there is depth and relatability to it.

Ultimately, this results in an amazing journey and fantastic ending. Steven has to go toe to toe with the reborn Jason. And results in Jason being dragged to hell – leaving his mask on the dirt.

I know this is a very cliff notes version of a sypnosis. But it’s all the non spoiler parts. This film is great. It always leaves me discovering something new. It’s full of action, has some creepy moments, and is tense when necessary. But it’s a fun ride. Give this film a shot. Watch with an open mind. You may end up enjoying it.

Plus you get to see Freddy’s glove as it pulls Jason’s mask down into the depths of hell. How cool is that?

Rating: 4 out of 5.

Update: This article has been approved by Adam Marcus. The positive response was something more than I ever could have imagined. He also had some wonderful words to say about it.

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A New Game Begins - SPIRAL: From The Book of Saw

In 2004, James Wan and Leigh Whannell delivered a film that was special with the first Saw. It defied expectations with its twists and turns. And culminating in that iconic end scene that we love so much with “Hello Zepp” playing.

Darren Lynn Bousman than jumped aboard the Saw train and delivering the next three films. For me, they are some of my favorites of the franchise. Especially with the interconnected storylines that flow throughout them. They all are completely solid. And in the case of II, it upped the game.

After Bousman left, the kinetic energy that he provided started to waver. For some fans, they started to see the films as cookie cutters. Just with a new design of traps. And some traps may have felt a little simple or they harkened back to a previous trap.

When I heard that Chris Rock would be joining the franchise with Bousman returning to direct, I was a little flabbergasted. I was very unsure of what to expect. Chris Rock is best known as being a funny man. What could he bring to a Saw film?

As more news of Rock’s involvement spread, we learned that he had a hand in pitching the idea for the film. I was a bit shook. I took a deep breath and wanting to take the film with an open mind.

Then the word came of Josh Stolberg and Pete Goldfinger returning to write the film. They had previously written Jigsaw. Many people have had quite a few bad things to say about that film. However, I enjoyed it a lot. Yeah, it felt in line with the previous films. But it just had a bit of a distinct feel to it.

I watched the first trailer and my excitement for this franchise began to renew. I understand now how the people growing up with Elm Street and Friday the 13th felt because this is how Saw was for me.

And then the news came of Samuel L. Jackson being involved in the film. This was something I never expected in a million years. But it also helps illustrate that this isn’t your typical Saw film. This is something different. Something special.

And then the pandemic happened throwing the release date in disarray. Goodbye October release that Saw is known for. But in the back of my mind, I was okay with it.

After waiting so long, I finally had the chance to sit down and watch Spiral. Everybody that worked on this film delivered in my opinion.

The main summary of the film goes like this “A criminal mastermind unleashes a twisted form of Justice.”. That’s roughly a good summary of the film. It’s vague. Ultimately that sounds like a summary for one of the other films.

This is different. I have seen a lot of bad reviews towards Spiral. I personally think it’s because it is different. It is an evolution for the franchise. A necessary one.

And the film immediately sets the tone that this is a different type of Saw film with its opening. The opening is very brutal. It left me with my mouth open in shock. Then a smile came to my face. I had the feeling that this was going to be something new. It was a similar feeling I had with all of the Bousman-led Saw films. And it just took me back to seeing Saw II at the theater with my Dad on opening day.

After the opening, we are quickly introduced to Zeke (Chris Rock). He butts heads with his Captain – Angie (Marisol Nichols), who assigns him a partner, William (Max Minghella). William and Zeke uncover that this new Jigsaw copycat is targeting crooked police officers. And Zeke’s father, Marcus (Samuel L. Jackson) checks on his son.

Immediately, I thought back over the past year to everything that happened that was Police related. It helped the film hit differently for me. And also added a different feel. Yeah, we seen other cops in Saw films – but they weren’t specifically targeted. Largely, they would get in the way (exception being Detective Matthews). This felt like a very topical film now than may have hit back in October.

The acting in this film is incredible. It elevates the film to a new standard. Everyone is literally on their A-game. It was difficult for me to find fault with anyone’s performance in this film. They were their characters. And that helped create a living breathing world. Something that in the later Saw films had a hard time with.

Chris Rock’s performance is incredible. I was expecting something with a bit of humor. I wasn’t ready for Chris Rock as a hardened character. Zeke’s been through a lot. It’s something I haven’t seen before from him. I hope that we continue to see more of these performances from him.

Samuel L. Jackson does a great job as Marcus. The chemistry between them is very strong and I could buy them as father and son. This was not the ham Samuel L. Jackson (example: Snakes on a Plane). He is a caring father that will do whatever he can to help his son.

Marisol Nichols did a great job as Angie. She had a very strong presence and it’s easy to see why Zeke looks up to her. It’s about the amount of respect that they have for one another. And that’s on a level that she had with Marcus.

As for Max Minghella, I have seen some of his other performances. (Great example being the movie Horns. If haven’t seen it, I recommend it.) He always delivers a solid performance. In this film, it is lifted up to another level. He is able to be relatable and leaving you wanting to know more about his character. He also does well with delivering a strong presence as well.

The tone for this film is different than the previous Saw films. Well, the more I think about it, it does feel in tone with the original Saw. Which is that grunge Se7en feeling. It feels like a solid return.

The pacing is also fantastic. It didn’t feel like it was a slow burn. It sets up things quickly then just dives off in a very good way. It never left me wishing the film would hurry up and be over.

The traps and gore. It wouldn’t be a Saw film without those. While they are included, they do feel a little toned down. I don’t mean Oh no, they suck. Each of the traps in this film are definitely new and unique. And they greatly reflect that this an evolution. And that’s also because of ‘Jigsaw’ in this film.

It’s not John Kramer. Sorry if I spoiled it. This is someone who has a good reason for doing what they do. I’m not going to spoil it for those who haven’t seen it yet. When it was revealed the who, I was excited. Literally am still excited to see if there is a Spiral sequel, if the threads left in this will continue. I hope so. And I would love to see more of this ‘Jigsaw’ explored. Because it feels like it’s only just a small bit of what makes them tick. And that is fascinating.

*Side Note: The voice in the videos didn’t bother me. I know we are used to Tobin Bell’s voice. But again, this ain’t John Kramer. It was refreshing to hear something different.

Also “Mr. Snuggles” is awesome in a super creepy way. It’s cool that they used something unique than just not having or reusing Billy.*

Darren Lynn Bousman did an amazing job with this film. It was fun seeing the callbacks in terms of the kinetic energy from those early films.

Everything in this film worked to create a very special film. I easily put this film alongside the original Saw. It had me guessing what was going to happen next. Nine times out of ten, I wasn’t prepared for what was going to happen next. It left me wanting to know what could happen next. And I hope that we do get a sequel that picks up the threads.

Rating: 5 out of 5.

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