(2000)
Dir - Paul Verhoeven
Overall: MEH
In an attempt to make a more streamlined, commercial blockbuster after the one-two flops of Showgirls and Starship Troopers, Paul Verhoeven's Hollow Man is both hit and miss at its goal. On the one hand, the structure is quite conventional with endlessly clever dialog and a highly formulaic plot. The then state-of-the-art/now dated special effects take center stage, making it a showcase for Kevin Bacon and a guerilla in one scene to thrash about in their computer generated form while various other invisible man gags are brought to life. As an unofficial, modern reworking of the famous H.G. Wells story then, the film ups the crazy with Bacon engaging in such unwholesome acts as raping women and brutally murdering a dog. If the suspense level was more prominent, then the film would probably work a bit better. Instead, it is a bit too cookie-cutter and predictable, with just some nasty bits thrown in Verhoeven it up, minus the usual astute satire.
(2004)
Dir - Mikael Salomon
Overall: MEH
The second television reworking of Stephen King's Salem's Lot faces a similar, fundamental issue as the 1997 The Shining miniseries, namely that it is a remake of one of the author's most famous and most excellent film adaptations. Thus being the case, it is a bit redundant and at one-hundred and eighty-one minutes, also excessive. Filmed in Australia with a number of native actors slipping their American accents in minor roles, it may be of interest due to its modernization which tweaks several character and plot arcs from the original novel. As far as memorable, iconic moments or any remotely creepy aspects though, there are none to be found. Donald Sutherland puts in one of the only remotely convincing performance as the confidently menacing and charming Richard Straker though he is regrettably quite underused. Same goes for Rutger Hauer as a far lamer and far campier Kurt Barlow and Rob Lowe is on wooden autopilot in the lead as Ben Mears. Much of the dialog is stilted and unnatural, the digital effects could not be worse, and characters come to rather script-convenient conclusions. For the most part, the changes are ridiculous at worst and highly forgettable at best.
(2009)
Dir - Karyn Kusama
Overall: MEH
Jennifer's Body, (the feminist horror collaboration between director Karyn Kusama, screenwriter Diablo Cody, and filmmaker Jason Reitman serving as producer), seems to have its heart in the right place, but it drops the ball in some respects. On the positive end of things, it has high production values and excellent performances, particularly from the two that count in Megan Fox and Amanda Seyfried as teenage besties whose relationship grows quite diabolically complicated. The problem comes with the story itself which is ridiculous yet plays itself straight in a way where the nastiness is too mean spirited, the dialog too scripty, and the humor quite forced and uneven. Some narrative tropes are twisted, empowering the often exploited females into intelligent and proactive characters, yet the scares are highly formulaic and the atmosphere is pedestrian instead of creepy. The fact that it all ends on such a downer further confuses the comedy, even if it is of the dark variety. Lance Henriksen showing up for five seconds is always nice though.
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