Kane Hodder
Occupation
Actor
Kane Hodder Thursday 26th August 2010 The world premiere of 'Hatchet II', as part of Frightfest 2010, held at the Empire, Leicester Square London, England
Hatchet Review
By Chris Cabin
Weak
Touted as the next big thing in horror by everyone from Kane Hodder to Dee Snider, Adam Green's Hatchet comes pre-packaged by the director himself as a return to "Old-School American Horror." What does he mean by "old-school?" The facts that the main dismemberer in Green's film is played by Hodder, the man behind Jason Vorhees, and that Freddy Kruger himself, Robert Englund, makes a cameo in the early minutes of the film give it some street cred in the crowded world of iconic horror (Friday the 13th, A Nightmare on Elm Street).
Green's agenda is to return the horror genre to a lean mixture of gore and humor, as well as reestablishing the notion of horror iconography. His icon is Victor Crowley, a double-decker-sized mutant hillbilly relegated to the swamps of New Orleans. As you might suspect, Victor finds himself in the mood for a festive homicide when a boatload of tourists on a haunted swamp tour get stuck near his burnt-out family shack. Soon enough, Victor begins tossing limbs and torsos every which way while impaling and mutilating any body that has the good fortune of staying in one piece. It becomes the charge of a vengeful girl (Tamara Feldman) and a nerdy so-and-so (Joel Moore) to escape Crowley's clutches, heartbeats intact.
Continue reading: Hatchet Review
Daredevil Review
Weak
An unremarkably routine superhero movie based on the cult-favorite comic book about a satanically-costumed blind vigilante, "Daredevil" plays like a C-grade grad project for a night school course called Superhero Filmmaking 101.
Faithful to his inspiration -- the era of "Daredevil" issues written by "Batman" revitalizer Frank Miller and comic-crazy film director Kevin Smith -- in several important details, writer-director Mark Steven Johnson's one stroke of true genius comes in the pulses of fluid, misty, ghostly imagery he uses to depict the sightless crime fighter's enhanced ability to "see" through sound waves and smells.
But most of the picture apes its action style -- and many whole fight scenes -- from last year's "Spider-Man." It has the same ineffectual opening voice-over, the same unconvincingly CGI-assisted rooftop leaping and building-swinging (Daredevil uses a grappling-hook-modified walking cane instead of spider-webbing) and its hero has the same slow-mo back-flip method of dodging weapons thrown by villains.
Continue reading: Daredevil Review