Monday, March 24, 2014

Interview with Kyle Rankin, Director of Infestation, Nuclear Family, etc.

He's currently running a Kickstarter for a new zombie comedy film with Ray Wise called Night of the Living Deb. Be sure to check it out here and pledge! You can even read the first 16 pages of the script, and trust me, it's going to be good!

1. I really loved Infestation. How long did it take to write that and what sparked the idea? It really reminds me of Aliens sometimes.

Firstly, thanks for watching AND for the comparison to a great film. It took me about two months to write a first draft. Then, when Mel Gibson’s company (Icon) got involved, I did more polishing while we were casting and pre-producing. The idea started with a visual for an opening scene, and also a common question screenwriters ask themselves: ‘what if?’ In the case of Infestation it was ‘What if a normal guy wakes up encased in a cocoon and has no idea how he got there?’

2. How were you able to get that film financed?

I sent it to a producer I know and he brought it to Icon. Like a lot of luck in the film business, it was all about timing. Icon had recently had a meeting and decided to make a lower budget genre film. I’m just happy they were willing to fund a genre hybrid (horror/comedy) because that tends to scare away the big studios.

3. You shot that movie in Bulgaria. Was that just for budget reasons? I actually had no idea it was filmed there so it definitely turned out well.

Thanks. Bulgaria was a great place for us because every production dollar meant more. We were able to get cool locations, a smart crew, nice accommodations, and talented US ex-pats to fill our smaller roles. All this while also experiencing another culture. It was a fun learning experience.

4. Were you involved in the distribution of Infestation? Any tips for filmmakers trying to get a widespread distribution deal?

That was all Icon and their affiliates. As an indie filmmaker myself, I certainly understand how difficult it is to get your films out there. I guess my only tip would be: make the best movie you possibly can... not one you CALCULATE the masses will buy, but one you feel passionate about.

5. Do you recommend finding a sales agent or going to any of the film markets?

I never hired a sales agent because they always asked for money up front. If you’re anything like me, you’re broke by the time your film is finished because you’ve invested everything into it. I’ve also never been to a film market for the same reason: they cost money. What I have done is the film festival route... and it’s paid off for me. I found folks who liked and passed along my work and THAT led to distribution, and I’ve also paid for more festival travel and entrance fees by winning money at this or that festival. It can be a great way to connect with like-minded people.

6. Have you heard any horror stories about distribution deals gone wrong?

Yes. I’ve even experienced one myself. There are a LOT of disreputable distribution companies out there that prey on desperate artists. In my case, the company made about $50,000 off of my old films... then produced a bogus report saying that that’s what they paid to make copies of my film and send it out, etc. My advice to anyone would be to enlist the help of a lawyer. If a company is legit, this won’t scare them away.

7. How did you deal with nudity on set? Was that as awkward as everyone says? Anything that helped make that process easier?

It can be a bit odd, but I always insist on a closed set with a skeleton crew when nudity is being shot. This way, the actors feel they’re being taken care of, and you can mitigate uncomfortable feelings.

8. Any chance of a sequel to Infestation?

That would be so much fun... but probably not. In the end, it must not have made enough money to get a sequel greenlight. That’s what sequels are all about: money, based on the original title's performance (domestically and overseas).

9. What are the most difficult challenges you've faced as a filmmaker?

Money would have to be number one. Heck, it may even be two and three, too. I have an endless stream of ideas and several screenplays ready to go... I also know a gaggle of talented actors who would love to be working more. With money, I’d simply go film to film without stopping to gather funds.

10. How did you overcome them?

I told myself that I’d never overcome the access to money hurdle unless I wrote scripts that people and companies wanted to pay for. This isn’t easy, but I’ve had the pleasure of making it happen several times. The thing I’m trying now is Kickstarter... because I love the idea of interacting directly with my backers and creating a product I love.

11. Provided they have the time and the money, do you think directors should rehearse with their actors before filming? Why or why not?

Yes. Time on set is usually so limited, so any discussion about character, situation, motivation, etc., that can happen beforehand is only going to benefit the final product. The first few days of a project can also be stressful as far as getting on the same page with the actors, so if there’s already agreement and accord... rehearsal time pays for itself.

12. What do you think is the key to collaborating with actors?

Being fun. I think of them as children, but I don’t mean that in a derogatory way. They are pretending, so anything I can do to facilitate and elevate that activity is going to help the film. I’m a task-master where my crew is concerned, but not my cast... I don’t want to mess with their freedom of thought.

13. Any advice on how to deal with egos and difficult crew or actors?

Once or twice I’ve pulled someone aside and asked if they’d rather leave than be part of what we were trying to accomplish. This is an important discussion to have. I mentioned treating actors like children, and that also means acting like a parent myself. Part of being a parent is setting and maintaining firm boundaries.

14. How do you get your actors comfortable so they can give the best performances possible?

As director, I set the tone on set. I can’t, for instance, joke around with everyone and then later discipline someone for laughing and ignoring their job. In that same vein, it’s my job to keep everyone safe. You mentioned physical nudity earlier, and it made me realize there’s also emotional nudity. It wouldn’t feel good to an actor to get emotionally nude in a scene and then see a crew member, say, looking at their phone and laughing at some text. It wouldn’t make them feel honored and cared for. It’s my job to make sure everyone’s on the same page in regards to creating a comfortable space.

15. What is it like working with Ray Wise?

Super fun. We’re old friends, so it’s like hanging out and laughing with a good pal.

16. Do you give him much direction at all or just let him do his thing?

I let him fly for the most part. After all these years, we’ve built up a shorthand, so if I need him to tweak a performance... I just say one or two words and he gets it. Similarly if he wants to tell me something, it’s done sometimes just with a look.

17. How did you first meet Ray Wise and get him aboard your initial project together? You guys have collaborated quite a few times.

I was a broke 25-year-old in Maine and read an article about how to get your short film noticed. It mentioned zeroing in on ONE actor you respect and courting them. I picked Ray and sent nice letters to him and his manager. He ended up liking a short script I sent, so he flew to Maine for a weekend and acted in my film. I was blown away by the kindness back then... and I still am when I think back on it.

18. Any suggestions on how to find good actors? Did you use a casting director or contact agents or actors yourself?

It’s very difficult to get to actors, but sometimes you meet someone who KNOWS an actor, or you run into someone out and about (a benefit of living in LA). Also, I never do a shotgun approach to casting. Instead, I pick, say, the five people I need that I think will be great (names within reason considering my budget) and I go after them, sometimes through their representation and sometimes using other means.

19. What do you think is the biggest mistake of most indie filmmakers?

Not making a film that fits into a specific genre. When you’re unknown, a great way to get noticed is to make a film that has its feet firmly planted in a particular mold. For instance, I think that making a kickass horror movie is better than making a sci-fi romantic comedy (if getting noticed is your goal). Blends are difficult to get distributed and even tough fits for festivals... as they want to program similar films together in blocks.

20. What is your process like for working with a composer?

Fun and exciting. I’ve worked with a great composer named Steven Guntheinz on my past few films and he’s a treasure. It’s important to me that film scoring aid and magnify the emotions I’m going for in a particular scene instead of telling the audience what to feel. Steven understands that.

21. What kind of guidance do you give him? How do you tell him what kind of music you want?

Instead of being specific about instruments I want to hear or anything, I give him emotional notes the way I would an actor. Since he’s an artist, too, he then feels free to pull something great from his heart.

22. What have you learned about the business side of moviemaking?

Mostly that I’m not very good at it. I think it’s tough for artistically-minded people to understand business and how to sell their own products. It’s something I’m working on and, I’d like to think, getting better at... but man, it doesn’t come naturally.

Kyle Rankin and Dario Argento

23. How crazy was the Project Greenlight experience? I'm sad that show isn't around anymore.

Me, too. It was crazy because I moved from Maine to LA and then 8 months later I’m in Park City with Matt Damon and Ben Affleck saying they’re excited to work with me. It was a rollercoaster. The filming itself was a lot of fun... I didn’t love how I was portrayed in the show, but all that’s lost to the ages now. The best things it did for me was give me lots of experience... and get me an agent, manager, and lawyer.

24. Why did you choose Kickstarter to finance Night of the Living Deb?

It’s a challenge. I wanted to see if I could crowdfund something. I ALSO want to make this special film the way I want to make it. I don’t want notes from studio suits because they need to justify their paychecks. I believe in this story, and I want to be personally responsible for this film’s destiny.

25. What are the most helpful books you've read on filmmaking and screenwriting?

I immediately think of two: The Writer’s Journey by Christopher Vogler, and The Conversations with famous editor Walter Murch. They’re both wonderful and have influenced me greatly.

26. What's the most important piece of advice you'd give an aspiring filmmaker?

That it’s important to make an entertaining film. I know this sounds simple, but it’s a lesson I had to learn. My first film was a slogging, dark, emotionally heavy movie because I thought that’s what great ART was supposed to be. Now, I make films that please me but I also ask myself ‘is this something people would spend $12 to see?’ Or: ‘Is this something a couple would be happy to pay a babysitter AND buy their tickets to see?’ If I can envision people spending the money, I want to make something they’ll enjoy and tell their friends about. I don’t want them to go home feeling like they need a shower or, in general, regretting their choice.

Thanks for the support & interest, Doug!

Thank you so much, Kyle!

And don't forget to visit his Night of the Living Deb Kickstarter!

Wednesday, March 19, 2014

Contact Lenses in Horror Films

When you change a person's eyes, it really has a startling effect on us. After all, there is a reason why we have the expression, "The eyes are the window to the soul." Take away the eyes or make them grotesque, and you're that much closer to creating a terrifying monster. Almost every zombie film does it. Ok, not Romero's original trilogy (likely because contact lenses were in their infancy at the time and painful to wear especially full scleral lenses) but Land of the Dead certainly does. Then there is, of course, The Walking Dead, which shows what great makeup and contact lenses can do. Clearly, Danny Boyle is a fan with his undead opus 28 Days Later. In fact, it's quite common now.

But contact lenses have been used in horror movies for a long time. The earliest and most striking example I can think of would have to be 1973's The Exorcist where they really helped transform the sweet little girl Regan into the unnerving, possessed puppet of a sinister demon. Naturally, Dick Smith's phenomenal makeup can't be underestimated either. 6 years later, Tobe Hooper employed full scleral lenses to great effect in the TV movie Salem's Lot, which I think still holds up well today. Plenty more horror films used them in the 1980s: DemonsThe Evil DeadAn American Werewolf in London, The Lost Boys, Cat People, etc.

I even used them in my low-budget horror movie. They cost $300 a pair for full scleral lenses, but they were definitely worth it. Of course, you can get contact lenses a lot cheaper these days. If you're making a horror film or just want to scare the crap out of somebody, it's a time-honored tradition. A lot of places will let you order custom ones too. If you just want to see what's out there, Spooky Eyes has a pretty big selection and cheap prices. For full scleral lenses, check out FX Eyes but be warned. They're a lot more expensive.

I guess you could argue too many horror films use them now, but I disagree especially when you can get so many different kinds. They're a great tool at our disposal that often isn't discussed, which is a shame since they really do add a lot.

Tuesday, March 18, 2014

Schoolgirl Apocalypse (2011) is pretty darn good. A smart story with strong characters.

With a title like that (and I'm a fan of the title), you might expect your average craptacular Z-level-exploitation film with no effort, but it's so much more than that. For one, the cinematography and production values are very professional. There are some animated sequences that could've been better (you basically get two in a row at one point, which is overkill, and the animation style itself is a little lacking though original), but this movie is actually very well thought-out with a deeper story lurking beneath the surface. Just from the synopsis, you can tell it's a different take on your typical zombie apocalypse: only the men are turned into crazy blood-thirsty killers. I won't spoil anything, but they have a good reason for this too. There isn't a lot of action, but it's shot quite well with plenty of tension and a good sense of geography. The disappointing thing is I never heard anything at all about this film. Not only is it good but the story behind making it is interesting too since the writer/director of this all Japanese film is a white American. He taught English in Japan before filming this. If you're into Asian films at all or just zombie apocalypse movies, I'd suggest you hunt it down. You can get it off Amazon pretty easily. There is a little bit of weak CGI at the very end, but given this was a very low-budget first-feature with everything else being so good, I'm not going to hate it for that. It really is worth tracking down, and I hope it gets the audience it deserves.

Thursday, February 20, 2014

Hot Girl of Horror #28: Lauren Cohan

Yes, I love The Walking Dead. Sure, the CG blood sucks. Really sucks. Drains-the-life-force-out-of-you-until-you're-nothing-but-a-withered-shell-of-a-corpse sucks, and I'm sure they have a tight schedule or whatever, but come on. Do it practical or don't do it. Greg Nicotero is even directing episodes, and they still got crappy CGI in there. Alright, end rant. Maggie is hot. That's my deep insightful analysis. She hasn't done any other horror really. Mostly, just TV work (ugh... The Vampire Diaries... kill me). But she is absolutely perfect on The Walking Dead. A phenomenal actress with drop-dead gorgeous looks. See what I did there? Yes, my writing skills are shit. Time for the pictures...

And the reason why animated GIFs were invented:

Wednesday, January 29, 2014

Review: Invasion of the Body Snatchers (1978)

Having recently watched all four cinematic adaptations of this classic 1955 serial by Jack Finney, I have to declare this one to be the very best for a number of reasons. Obviously with actors like Donald Sutherland, Jeff Goldblum, Veronica Cartwright, and Leonard Nimoy, the cast is spot on, but what really impressed me is the way something creepy is always happening in the background. Normally, the first act would be reserved for a lot of setup that could be potentially boring or just not as engaging as when our heroes are literally running for their lives. It's different here though especially if you're familiar at all with this infamous story since they keep ratcheting up the tension even from the very beginning when a teacher nonchalantly instructs her children to take the pod flowers back to their parents (not to mention, there's also the eerie excellent credit sequence on a distant planet with the alien seeds spreading). When our main characters witness a crowd of people relentlessly chasing a man down the street, they naturally reason, "He must have done something," despite the chilling odd nature of the scene and for those in the audience who know this tale, the horrifying reality behind these seemingly mundane events sinks in even deeper. We know soon our protagonists will be in the very same situation with their only crime being that they are in fact still human amongst a growing population of soulless pod people.

Of course, the special effects, greatly improved since the 1956 black-and-white version, really add a lot to this terrifying story particularly because you won't find a single drop of CGI. Everything here is practical. Done in-camera, and it gives every moment a visceral real quality that computers won't ever be able to touch. Plus, the actors have something physical to respond to so their performances never seem canned or glazed over. I'm not against CGI done well and in limited quantities for things you can't physically do, but I just have to admit I love practical. The opening space credit sequence without any CGI really puts a smile on my face, because I know, sadly, now that would be all computer-generated yet the clever ingenious way they did it back then still looks flawless today.

I can easily see why this story has been remade so many times. It's just creepy with two brilliant unnerving concepts at its heart: they get you when you sleep (and we all have to sleep) and my husband is not my husband; my wife is not my wife; my child is not my child; they look the same but we know they're not and no one will believe us. That screams pure horror, but aside from the weird bit with a homeless guy's head on his dog (I guess to show errors do occur and to play up the strange grotesque side a bit more though I think it's a little goofy), any future attempts to top this version are pretty futile. I do like the 90s remake; however, it still pales in comparison to this adaptation, and the most recent one ranks the lowest by far, ensuring it'll probably be a long time before anybody else tries again. If you missed this film even if you've watched the other remakes, you got to see this. It's truly a masterpiece.

Monday, December 30, 2013

Hot Girl of Horror #27: Marisa Tomei

She really hasn't done much horror at all, but she did have an uncredited role as a "Health Club Girl" in The Toxic Avenger, and she also starred in the Keanu-Reeves-slasher
The Watcher, which I kind of liked thanks in no small part to James Spader. I'm a little worried about rewatching that one though. It's crazy how many films she has been in (65 on IMDb) but yet only two horror movies and many might even try to say The Watcher is a "thriller" just like The Silence of the Lambs. I call bullshit. I always hated people labeling certain classier horror films "thrillers." If your movie has a cannibal eating people's faces or a serial killer preying on women, it's a horror film, and there's nothing wrong with that.

Wednesday, December 11, 2013

New Godzilla (2014) Teaser Trailer

I'm absolutely dying to see this. The 1998 Roland Emmerich piece of shit was one of the worst movies I've ever seen, and of course, Zilla was nothing but an embarrassing insult to the true King of the Monsters. Yes, I love Godzilla especially the original 1954 film and the 1985/1984 classic. I haven't been a fan of Toho's latest output. It has been full of craptacular CGI even Final Wars, which I could barely sit through despite Zilla getting a wonderful death (too bad the fights were so short). I think Legendary knows exactly what to do with this as evidenced by employing Frank Darabont to help with rewrites and their smart choice of director. If you didn't see Gareth Edwards' first film Monsters, you should, because it was quite good especially for a micro-budget debut so here's hoping he nails this. So far, the tone is perfect, and Bryan Cranston definitely raises it up a notch. Not to mention, David Strathairn. I do prefer the original proof-of-concept Comic Con teaser, which this includes enhanced bits of, but this isn't too bad either. I just want to see it... now.

Monday, November 18, 2013

Hot Girl of Horror #26: Diora Baird

The Texas Chainsaw Massacre: The Beginning, Night of the Demons remake, and 30 Days of Night: Dark Days. Oh, I forgot about Stan Helsing. Wait, no, I didn't forget. No one remembers that piece of shit, and no one ever will. I wonder if the 30 Days of Night sequel is any good. I liked the first one even though it could've been better, but it wasn't awful by any means. It's sad she hasn't gotten a chance to be in any original horror since we're so plagued with sequels, prequels, and remakes these days. Diora Baird was also on the cover of Playboy, and she did the topless lipstick trick in the Night of the Demons remake.

Friday, November 8, 2013

Possession (1981) is all kinds of crazy.

I had no idea what to expect when I watched this. The synopsis definitely doesn't prepare you for the madness that follows. Sam Neill is fantastic as always. I hadn't seen him in a role quite like this. Isabelle Adjani is extremely beautiful and mesmerizing. She has some truly insane and bizarre scenes too. The film has really stuck with me even though I'm not sure I like it (I think in a way though, you're not supposed to like it), but I would easily see it again. The story about the writer/director going through a divorce at the time explains a lot, because there's obviously an enormous amount of emotion behind it along with many mixed feelings that manifest themselves in the characters. It's almost utter chaos although the beginning is easy enough to understand, but then it pulls the rug out from under you and doesn't let up until the strange ending, which while it's weird, seems to make perfect sense on some level. It's very different, and if you haven't seen it, get ready to be shocked. The movie leaves a lot open to interpretation, which is what keeps it in your thoughts (that and the dark gruesome imagery). I love the practical effects, and I did not see them coming. I think it pretty much sums up divorce, and the hell or heaven (mostly hell here) of relationships.

Monday, October 21, 2013

Hot Girl of Horror #25: Alexandra Daddario

Bereavement, The Attic, and Texas Chainsaw 3D. Maybe you're like me and haven't seen any of these. Sorry I'm a little tired of remakes, reboots, re-imaginings, whatever the hell you want to call them and taking the word "massacre" out of the title didn't help matters. I never even heard of The Attic, and the poster on IMDb sure isn't doing it any favors. I saw some of Bereavement on Netflix but not all of it yet. And there's no way I'm ever watching a Percy Jackson movie. They might be the greatest films ever made, but I'm not interested even for her and that's saying something. Hopefully, she gets cast in some better horror movies before long.

Tuesday, October 8, 2013

Evil Dead (2013) was ok but disappointing.

I remember before it came out, the director made a big deal about how there was no CGI in the film. Then he backtracked a little and said they used it to enhance a few things. So when the first scene had some obvious computer-generated fire (or computer "enhanced" to the point where it looks fake), I was pissed. There are some great practical FX in the movie, but they shouldn't have said there was no CGI especially when it's in the fuckin opening. I don't understand the appeal of remakes unless they really do something completely different. John Carpenter's The Thing shares very little in common with The Thing from Another World. The characters are totally unique, the themes, the approach to the monster, the visual style, the amazing score, the opening with the dog, etc. Same with David Cronenberg's The Fly and the 1958 film with Vincent Price. The beginning of Evil Dead is essentially what you saw before with one of the most memorable characters of all time missing of course. Does Mia stand up at all to Ash? Not even close. You can see they're trying to be unique, but they don't do nearly enough. That short little scene at the start doesn't really add anything aside from CG fire. It was obvious before the cabin had a history, and you can't trust someone who is possessed. They also undermine their efforts sometimes by too clearly foreshadowing with the images in the Necronomicon. Spoiler: I was disappointed when the book hinted Olivia would cut off her entire face, you see her working on that in the bathroom from behind (a cool shot), but then all she did was cut into her cheek. End spoiler. There are a lot of little great touches though. The staples in the flesh of the Book of the Dead, when Mia first whispers David's name after the tree rape scene, the way Mia glides at David in the basement (reminds me of the scary old woman in the original House on Haunted Hill), etc.

Nice fake out from the trailer. This scene isn't in the movie.

The ending disappointed me so much. Spoilers from here on. I loved the blood rain and the thing coming out of the ground (an image teased by the posters for Sam Raimi's classic), but then that monster is basically just another demon girl like we've already seen. Heck, they could've had it start as a girl then mutate into some truly hellish creature. And what the hell is up with Mia tearing off her own hand? That was so pointless and stupid. She screams when she rips it off, but then she acts like it doesn't even hurt. The pain would be unbearable, and she would bleed to death unless she took care of the wound quickly, but all she does is casually tuck her still-bleeding-and-should-be-horribly-painful-with-the-bone-sticking-out stump under her other arm. What the fuck? She isn't even going to wrap the wound? When the blonde girl earlier cut off her own arm, at least they covered it in duck tape and tried to deal with it realistically. At the end, they don't even give a fuck. Mia just stands there for the longest time, acting like it's a little scratch. You lost your fuckin hand because it got crushed under a jeep and you tore the rest off! I can't believe they had her act like it was nothing. Yes, I love Bruce's cameo although people made such a big deal about it tying everything together, I was expecting more, but it's always great to see him especially reprising Ash and saying his famous line.

By the way, what's up with the dog? I didn't even realize there was one until David found it dead. They really didn't set that up well at all.

Anyway, the movie wasn't awful. At least, they didn't make it PG-13 with CG blood or something atrocious like that, but it still could've been a lot better. And please quit trying to do CG fire.

Friday, October 4, 2013

Hot Girl of Horror #24: Anna Paquin

I've heard great things about True Blood, but I haven't watched any of it yet. I'm a huge fan of Trick 'r Treat, and I liked Scream 4 although I wish they would've taken more risks, but Anna Paquin's scene was a lot of fun. Of course, I thought she was excellent in X-Men, which is definitely not a horror movie. I did see Darkness (was I the only one?), but I don't remember anything about it except it was mediocre at best, and I swore I wouldn't watch it again (I might though since I'm curious why I really have no memory of it). It looks like that is all she has done in this genre. I definitely need to watch True Blood. I've just been a little sick of vampires lately, but hey, we got Let the Right One In so I shouldn't complain too much.

Tuesday, September 24, 2013

The End of Dexter

No spoilers here. I can't believe it's over... the final episode. I loved the show. Sure, some seasons were better than others (how do you top the Trinity Killer?), but I never thought any season was flat-out awful. Michael C. Hall was always phenomenal and kept Dexter interesting even through some of its weaker moments. All the actors and characters were pretty amazing. I really liked Doakes. "Stop grinning like a fuckin psycho and get back to work." Their scenes together in the first season were some of my favorites. He never fell for the phony smile or the box of donuts. Of course, I liked Deb too despite how crazy they made her in the last couple seasons, but everybody was great: Batista, LaGuerta, Masuka, even Quinn, and James Remar was perfect as Harry. It's so nuts how they got you to root for a serial killer and made him someone you can relate to... obviously, the fact he only killed bad guys (at least, that was his code) went a long way. Seeing him take out complete and utter scum was definitely a highlight. His uncertainty at how to handle fatherhood, his difficulty with human interaction and human emotions, the playfully ironic (and sometimes quite funny) voice-overs, watching him always talk to his dad for advice and care about his sister, etc. all helped show different sides of him so he wasn't just a one-dimensional monster. Then of course, placing him next to the worst psychotic killers out there who murdered and raped innocent people made Dexter seem almost like a saint in comparison. I don't think any adversary came close to John Lithgow's character Arthur Mitchell. He was so fuckin good, and the parallels to Dexter's own life gave it another level. That season was incredible. I want to re-watch it.

Ok, spoiler time. I kinda like the ending and I kinda don't. I didn't see it coming at all. I was actually hoping Dexter would get away with Hannah and Harrison. I hated Deb dying. I know Dexter is a serial killer obviously, and he did get good innocent people murdered like LaGuerta, but they did so well with the character that by the end, you're really on his side except yes, there's still the LaGuerta thing (and Doakes and Prado's brother and quite a few others you forget about, which is definitely bad). But seeing Dexter finally feel so many emotions and care about people, not wanting to kill but to just be with Hannah and his son, I really wanted them to be happy together. Harrison needs a father even if Dexter is screwed up (no father is perfect, and if Dexter stops killing, they shouldn't be in danger especially in a foreign country far away where no one knows them). But I understand why they ended it that way, and killing LaGuerta really was wrong so they shouldn't just get away with that. Plus, from Dexter's point of view, he hurt Deb really badly when she found out the truth about him yet even when he decided to not kill Saxon, Deb still ended up dead so to him, it must seem like no matter what he does, he hurts the people he loves, but Deb told him not to blame himself. It was kinda comically funny how easy it was for Dexter to steal Deb's body to put on his boat, but I guess everyone was focused on the hurricane, he did wheel her out on the bed, etc. I did love him killing Saxon with that pen. I read about the other proposed ending where Dexter wakes up at the end to a lethal injection as he sees all the people he murdered watching from the other side so the whole show was his life flashing before his eyes as he died, but I don't really like that either. Isn't death too easy of a way out? And you expect him to be dead or in jail. I just don't think Dexter would abandon his son since Harrison really does need him, but again, I kinda do like Dexter all by himself, completely alone and avoiding any human contact. I don't know how I feel about a spin-off or a new series. I wish the end was the end, but of course, if something makes a lot of money, they got to milk it for all they can. I would watch more, but Michael C. Hall would have to come back, and I hope the motivation wouldn't be purely financial.

Monday, September 16, 2013

Hot Girl of Horror #23: Odette Yustman

I've only seen one film of hers: Cloverfield, and I liked it a lot even though I'm sick of the found footage gimmick, but I thought that movie used it well without being annoying. Actually, I guess she had a tiny role in Transformers as a "socialite." Poor girl. I was curious about The Unborn, but I ended up skipping it despite the attractive poster (they really used her to sell it, didn't they?). Looks like the only other semi-horror flick of hers would be And Soon the Darkness. The reviews for it are pretty awful, but damn, can I live on that island? Amber Heard and her in bikinis? Good casting. Ok, I just found out something disturbing. She was in Kindergarten Cop. I have no idea which kid she played in that, and I don't want to know. Thanks IMDb.

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