Bill Moseley

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Picture - Bill Moseley and Darren Lynn... , Saturday 7th April 2012

Bill Moseley and Darren Lynn Bousman - Bill Moseley and Darren Lynn Bousman Saturday 7th April 2012 'The Devil's Carnival' film screening

House Review

Creaking, banging, clunking. A quiet house is often restless with memories -- joy and happiness, anger and sadness ruminate in its rooms. When you're in a strange house, you can feel the past's presence. But what you don't expect is that house knows your past too, which is what freaks out Jack and Stephanie when they stumble upon the old farm abode in an adaptation of Ted Dekker and Frank Peretti's novel House.

Take your pick of horror clich├ęs -- House is full of them. Jack and Stephanie's marriage is on the rocks after the death of their daughter and they're driving down a dirt country road. After a few wrong turns and some reckless driving, Jack has an accident and blows out the tires. Cue the rain and dropped cell phone signal as the couple make their way to a nearby house. Once they enter, they meet similar ill-fated guests Leslie and Randy, and the devil-worshiping family who lives there.

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Repo! The Genetic Opera Review

Repo! The Genetic Opera clearly strives to defy description, which of course makes it fun to describe: It's a futuristic rock musical about organ repossession from the director of Saws II through IV, starring Giles from Buffy the Vampire Slayer, Paul Sorvino, and Paris Hilton. But it's also surprisingly fun to sit down and watch, provided you're in the mood for a low-budget musical that swings for the fences rather than Oscar glory.

In the year 2056, Rotti Largo (Sorvino) heads up GeneCo, which offers financing options for organ transplants (both medical and cosmetic), and has no qualms about a gory repossession if a buyer misses a payment. Scientist Nathan (Anthony Stewart Head) moonlights as one such repo man while caring for his sick daughter Shilo (Alexa Vega from the Spy Kids movies), who yearns to break free from the confines of her bedroom. Complicated backstories are illustrated, literally, via half-animated comics-style panels.

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Picture - Bill Moseley Hollywood, California, Thursday 23rd August 2007

Bill Moseley Thursday 23rd August 2007 'Halloween' premiere held at Mann's Chinese Theater - Arrivals Hollywood, California

Bill Moseley
Bill Moseley

Thr3e Review

Despite my distaste for movies that use numerals in place of letters in their titles, I agreed to take a look at Thr3e, which quietly arrives in theaters today. Heralded as a "faith-based thriller," "Christian horror movie," or any other number of vague monikers that indicate some religious content mixed with your usual horror fare.

OK, fair enough, so what do we have here? Well, Thr3e is a kind of riff on your Saw movies and Seven, giving us an unseen psychopath who's stalking our hapless hero Kevin (Marc Blucas), who wants nothing more than to complete his thesis and get out of seminary school. Problem is, he's got something iffy in his past, and the psycho stalker is trying to force Kevin to "confess" his sins... mainly by killing off Kevin's friends and spraying graffiti on his car before blowing it up. Each time he's in touch, he delivers a mysterious set of instructions and a limited time in which to complete them, or else something explodes.

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The Devil's Rejects Review

House of 1000 Corpses, the last song on Rob Zombie's 2001 album The Sinister Urge, also served as the title track to the metal frontman-turned-filmmaker's 2003 directorial debut, but the cut's country twang-inflected ghoulishness would have made a more apt musical accompaniment for Zombie's The Devil's Rejects. Less a sequel than a spiritual follow-up, the director's latest revisits House's serial-killing Firefly clan as they're cast into the backwater dustbowls of rural America by a sheriff (William Forsythe) intent on exacting vigilante revenge for the murder of his brother. A gritty Western-via-grindhouse modern exploitation flick imbued with the ferocity of independent '70s horror, Zombie's splatterfest wisely alters virtually everything (narratively, stylistically, thematically) that characterized his campy, cartoonish and awkward first film. And from its coarse, graphic visual aesthetic, profusion of classic Southern rock tunes, and portrait of unrepentant mayhem, his film reverentially exults in the deranged spirit and impulsive, unpredictable energy of seminal genre masterpieces The Texas Chain Saw Massacre and The Hills Have Eyes.

The Devil's Rejects diverges from its predecessor beginning with its opening frames, in which the depiction of the Firefly residence - no longer a remote, forest-shrouded funhouse of horrors but, rather, a dilapidated structure situated in a stretch of open land - speaks to the film's rejection of atmospheric claustrophobia in favor of wide-open anarchy. A fascination with rampant disorder certainly fuels the tour de force intro sequence, a bullet-strewn siege on the Firefly home by Sheriff Wydell (Forsythe) and an army of police officers heightened by Zombie's sly use of freeze frames, Sergio Leone-esque close-ups, and The Allman Brothers' "Midnight Rider." Exhibiting a directorial maturity devoid of his former MTV-ish gimmickry (no hyper-edited montages with varying film stocks or bludgeoning industrial heavy metal here), the director orchestrates the chaotic events with feverish abandon, his shaky handheld camera set-ups and scraggly, sun-bleached cinematography (courtesy of Phil Parmet) placing us directly inside the carnage. By the time murderous siblings Otis (Bill Moseley) and Baby (Sheri Moon) escape their now overrun home to seek shelter in the rotting, blindingly white desert, Zombie has demonstrated a newfound adeptness at lacing nasty action with a breakneck thrust and vicious wit.

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House of 1000 Corpses Review

Maybe I'm just a little wimp who can't stand bad movies... but shouldn't I get hazard pay for seeing a movie this bad? [No. -Ed.] I'm symptomatic. This movie should come with a warning - this movie will cause nausea, boredom, the general feeling of constipation and a headache by banging your head against the seat in front of you about 1000 times.

The auteur debut of gothic icon Rob Zombie (think Puff Daddy in metal and with talent), I wasn't really hoping for much with House of 1000 Corpses -- schlock horror was anticipated and would have even been enjoyed -- but this is just ridiculous. House of 1000 Corpses is perhaps the most un-scary "scary movie" I've ever seen. It's not funny. It's not even really that interesting to look at.

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