The Mummy re­turns, Eli Roth’s de­but is re­booted, my cyn­i­cism lingers...

SFX: The Sci-Fi and Fantasy Magazine - - Opinion -

Grape­sof Roth

So the first re­views are in for the scene- forscene re­make of Cabin Fever and much to no one’s sur­prise, they’re pretty neg­a­tive. To re­cap: this is a “re- stag­ing” ac­cord­ing to Eli Roth, us­ing ex­actly the same script as his 2002 orig­i­nal, with neo­phyte di­rec­tor Travis Zari­wny shack­led to the di­rec­tor’s chair. Zari­wny’s 2p- worth is to have made it more real- world and less funny or timely so ba­si­cally, he’s taken the strong­est fea­tures of the orig­i­nal and di­rected them out. I don’t re­ally blame the guy – di­rect­ing Roth’s van­ity project, what a poi­soned chal­ice! Got me think­ing about what terms I’d have to be of­fered to take the helm on a re­make of Hos­tel 2 ( which I hate). Re­place the whole cast with pup­pies, re­lo­cate to some­where warm and ex­otic and let me “Alan Smithee” the cred­its, and Eli, I’m all yours!

The mo mm yret urns

If you haven’t yet had a chance to catch

Good­night Mommy , do so! This is the Aus­trian in­die I men­tioned a cou­ple of is­sues back and it’s very ef­fec­tive. The story of twin broth­ers who think their mum has been re­placed by some­one else af­ter she comes back ban­daged post- plas­tic surgery, it’s itchily dis­turb­ing and the kids in it are bril­liant. A prop­erly nasty, sur­pris­ingly vi­o­lent bit of psy­cho- hor­ror, it’s a teeny bit pre­dictable, but de­spite that it’s a must- see. Now di­rec­tors Sev­erin Fiala and Veronika Franz have signed with Uni­ver­sal for their stu­dio de­but. The

Fortress fo­cuses on refugees in a con­tainer ship whose path to a new life turns out to be not what it seems. There’s not much more out there but I’d ex­pect this to be English lan­guage. US de­buts from in­ter­na­tional ta­lent can be hit and miss. JA Bay­ona fol­lowed The Or­phan­age with ex­cel­lent drama The Im­pos­si­ble while Pas­cal Laugier’s English lan­guage de­but The

Tall Man was a dis­ap­point­ment. Park Chan Wook’s Stoker was a won­der­ful film, while Alexan­dre Aja ( Mir­rors, Pi­ranha 3D, The Hills

Have Eyes) has never done any­thing in English as good as Switch­blade Ro­mance. And don’t even talk to me about the bril­liant Hideo Nakata ( Ringu), whose English- lan­guage de­but

Chatroom was just hideo- us.

one­for the mummy

Uni­ver­sal has been on about re­boot­ing its mon­ster fran­chises for quite some time – an Avengers- style cross­over uni­verse where the In­vis­i­ble Man and the Crea­ture from the Black La­goon get to­gether to fight crime? Not im­mi­nently. No, in­stead we’re get­ting an­other Mummy movie. This time it’s set in the mod­ern day, and the Mummy “him­self ”, in a bit of bizarre re­verse cast­ing, will be played by beau­ti­ful young ac­tress Sofia Boutella. Trans­form­ers writer Alex Kurtz­man will di­rect; Kurtz­man is also down to pro­duce a raft of other mon­ster re­vivals in­clud­ing Van Hels­ing , The Wolf­man and The In­vis­i­ble Man . Not mas­sively ex­cited about any of those, ei­ther.

Bring­ing home the Ba­con

Call me cyn­i­cal, but out­side of The Con­jur­ing’s em­pire I feel like the whole fu­ture of mid- bud­get hor­ror is pretty much down to Blum­house right now. Ghost­house Pic­tures has been dis­ap­point­ing, Ham­mer’s bid­ing its time, and other than The Purge, which they share with Blum­house, Plat­inum Dunes seems to be thank­fully leav­ing hor­ror alone for a bit. Keep an eye out for The Dark­ness , then, due 13 May from Blum­house and di­rected by Wolf Creek man Greg McLean. It stars Kevin Ba­con and Radha Mitchell as part of a fam­ily hol­i­day­ing in the Grand Canyon who bring back a dirtyfin­gered de­mon. The trailer is glossy, jumpy and scary, the pro­duc­tion val­ues are high and the con­cept is orig­i­nal. An­other three- star mas­ter­piece I’m go­ing to thor­oughly en­joy!

An­other bout of Cabin Fever. Justin Hawkins not present in The Dark­ness. Kids keen to say Good­night Mommy.

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