Not all Syfy channel movies are created equally. Some are created by The Asylum and anyone who has seen Snakes on a Train or Transmorphers knows exactly what that means; low budgets backing completely nonsensical scripts brought to life by poor actors reacting to even poorer computer generated imagery. I know that's what most people expect from films that premiere on the Syfy channel, but some of them really aren't that bad. Some are a lot of fun because they're actually ambitious. What's the opposite of ambitious, though? Oh, yeah; the Asylum.
Sure, it's funny to see piranha double in size until they're jumping in and out of rivers like flying double-decker buses. And sure, I love lines like "We should have doubled the killatons", but Forsberg's film is just too damned boring for a movie called Mega Piranha. It delivers exactly what you expect and nothing more.
A Nightmare on Elm Street, directed by Wes Craven, 1984
Luke Mullen and I sat down to check out the new Nightmare on Elm Street Blu-ray out today. He should have a more in-depth review later on in the week that, judging from his review of the British Suspiria Blu, will probably be more technical detail oriented than my own, but I thought the disc looked great and sounded even greater. I don't think the image quality is quite as impressive as Paramount's Friday the 13th Blu-ray, which looks incredibly sharp for a 30-year old movie, but it's certainly the best presentation you'll find these days. I'd say it even looked better than the digital presentation I saw a few years ago during one of those Fathom Entertainment streaming presentations.
Tales From the Crypt Season 1, various directors, 1989
I recently finished picking up all the Tales From the Crypt season sets so I've begun rewatching the series from the beginning. I've seen the first few seasons a number of times over the years, but I have such an affinity for television anthology shows that I could watch stuff like this all day long. If I had to pick a favorite episode of season 1, I think I might have to settle on Walter Hill's The Man Who Was Death. Though I think that's a little obvious because everything Hill does is great. Okay...not counting Supernova.