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Movie Moxie’s 31 Days of Halloween – Day 2 – Wishmaster

Posted in Action, horror, Movies, suspense with tags , , , , , , , , , , , , , , , , , on October 2, 2013 by aliciamovie


Reviewed by Alicia Glass

Studio: Live Entertainment

MPAA Rating: R

Director: Robert Kurtzman

Review Rating: 8

A demonic Djinn tries to free himself from an enchanted ruby, to bring the horde of his terrible brethren and Hell on Earth!

I know, it might seem a little ridiculous. A Djinn, after all, is the original, the devilish counterpart if you will, to that beloved Genie from Aladdin and anywhere else you’ve heard of Genies. A Djinn is a spirit of fire, an evil baddie from Middle Eastern mythology, and for them, all kinds of scary. So it stands to reason if you know all that, you could be scared too. But as Westerners, a good deal of us are way too jaded when it comes to horror, so not only do we need to be educated on the whole Djinn story, the filmmakers need to find some way to make it scary too. Fortunately for all of us, this first incarnation of Wishmaster is a present from that amazing and talented horror master Wes Craven. Which means his zany brand of humor, evidenced in the Nightmare on Elm St. and Scream series, is in clear evidence in this movie. Plus, hey, we’ve got the treat of Robert England too. And I’ve met the man who played the human portion of the Djinn, Andrew Divoff – he’s great, if not actually somewhat shy in RL. Plus there are a bunch of other big names for horror-philes – Reggie Bannister, Kane Hodder, Tony Todd, Ted Raimi, and Angus Scrimm. (Referencing, respectively: the Phantasm series, 4 of the Friday the 13th movies, Candyman and Final Destination, Evil Dead, and also the Phantasm series again.)

So the Djinn grants wishes. The whole movie starts off in the court of some great Caliph in like ancient Eastern whatever kingdom, where the King tells the Djinn, show me wonders of the world. And the Djinn, being literal like he is, turns the Kings court into a Hell of a wonder, where people turn into monsters or inside-out or become live art. After all, one man’s wonder is another man’s terror. Anyway, the court sorcerer is called in to deal with the Djinn, and imprisons the monster in a special ruby the size of my fist. Cut to present day, where the ruby is in a statue being sent to some art exhibit in New York, and through a series of supposed accidents, ends up in the purview of Alexandra, who is of course the main Protag and apparently the only one who can really get that Djinn. The fiery villain himself gets some of the best one-liners around, including, “That which is immortal cannot die. But if it’s any consolation, sweet Alexandra, that hurt like hell!” after Alex has the Djinn shoot himself. Oh yes. This kind of story is where we get the expression, be careful what you wish for, and is demonstrated very enjoyably in Craven’s unique style. I know there are like 4 Wishmaster movies now, but nevermind that, the first one is all you need. Proof is proof were needed, that there is a concept of Hell no matter where you go on Earth, and there is no escaping the dark desires of the human heart.

Amazon Studios taps “Hellraiser” creator Clive Barker to rewrite “Zombies vs. Gladiators”

Posted in Action, drama, Fantasy, Historical, horror, Sci-Fi, suspense with tags , , , , , , , , , , , on June 7, 2012 by aliciamovie

Hellraiser Creator Clive Barker to Rewrite
Zombies vs. Gladiators for Amazon Studios

Based on the popularity of Zombies vs. Gladiators, Amazon Studios will further
develop the project for a mainstream commercial audience, Inc. today announced that
Hellraiser creator and prolific horror and fantasy writer Clive Barker will rewrite
the action horror project, Zombies vs. Gladiators, for Amazon Studios.  Based in
ancient Rome, the Zombies vs. Gladiators story opens as a shaman who is about to die
in the Coliseum casts a spell that unleashes the world's first zombies.  It's up to
a gladiator to stop the spread of the zombie horde and save Rome. From the moment it
debuted at Amazon Studios, Zombies vs. Gladiators has been one of the most
creatively engaging scripts, spurring tremendous interest within the community and
movie fans alike, indicating it's mainstream and commercial viability for the
studio.  As a result of this overwhelming and popular support, Amazon is moving
forward to develop the project with Clive Barker at the helm.

"Zombies vs. Gladiators is now in the hands of someone who has written
genre-defining material throughout his career," said Roy Price, director, Amazon
Studios. "We are excited to see how Clive will add his unique narrative to capture
the essence of this story and propel the project into something unique and original
that could one day be enjoyed by all audiences."

Said Barker, "I'm excited by the opportunity to interweave two very rich narrative
threads. One of them concerns itself with the reality of the decadence of Rome and
its rise and fall. The other is a fantastical narrative element - the living dead.
My brief to myself on this project is to give the audience not only zombies they
have never seen before but also a Rome they have never seen before."

Barker added, "Amazon Studios offered up the dream ticket with this project. In
twenty five years of working in this town, I've rarely had people listen to what I
had to say as closely and as carefully as they did and then simply give me the
freedom to go do it. Amazon Studios is an innovative creative concept. I am looking
forward to providing my own perspective to make Zombies Vs. Gladiators a highly
commercial and entertaining movie."
A visionary, fantasist, poet and painter, Clive Barker has expanded the reaches of
human imagination as a novelist, director, screenwriter and dramatist.  An
inveterate seeker who traverses between myriad styles with ease, Barker has left his
indelible artistic mark on a range of projects that reflect his creative grasp of
contemporary media -- from familiar literary terrain to the progressive vision of
his Seraphim production company.

His 1998 "Gods and Monsters," which he executive produced, garnered three Academy
Award nominations and an Oscar for Best Adapted Screenplay.   The following year,
Barker joined the ranks of such illustrious authors as Gabriel Garcia Marquez, Annie
Dillard and Aldous Huxley when his collection of literary works was inducted into
the Perennial line at HarperCollins, who then published The Essential Clive Barker,
a 700-page anthology with an introduction by Armistead Maupin.

Barker began his odyssey in the London theatre, scripting original plays for his
group The Dog Company, including "The History of the Devil," "Frankenstein in Love"
and "Crazyface."  Soon, Barker began publishing his The Books of Blood short fiction
collections; but it was his debut novel, The Damnation Game that widened his already
growing international audience.

Barker shifted gears in 1987 when he directed "Hellraiser," based on his novella The
Hellbound Heart, which became a veritable cult classic spawning a slew of sequels,
several lines of comic books, and an array of merchandising.  In 1990, he adapted
and directed "Nightbreed" from his short story Cabal.  Two years later, Barker
executive produced the housing-project story "Candyman," as well as the 1995 sequel,
"Candyman 2: Farewell to the Flesh."  Also that year, he directed Scott Bakula and
Famke Janssen in the noir-esque detective tale, "Lord of Illusions."

Barker's literary works include such best-selling fantasies as Weaveworld, Imajica, 
and Everville, the children's novel The Thief of Always, Sacrament, Galilee and
Coldheart Canyon.  The first of his quartet of children's books, Abarat, was
published in October 2002 to resounding critical acclaim, followed by Abarat II:
Days of Magic, Nights of War and Arabat III: Absolute Midnight; Barker is currently
completing the fourth in the series.  As an artist, Barker frequently turns to the
canvas to fuel his imagination with hugely successful exhibitions across America. 
His neo-expressionist paintings have been showcased in two large format books, Clive
Barker, Illustrator, volumes I & II.