Showing posts with label Michael Parks. Show all posts
Showing posts with label Michael Parks. Show all posts
Friday, July 24, 2026
FROM DUSK TILL DAWN (1996) at 30: The Vampire Cult Classic Still Has Teeth!
FROM DUSK TILL DAWN (1996) d. Robert Rodriguez (USA)
FROM DUSK TILL DAWN 2: TEXAS BLOOD MONEY (1999) d. Scott Spiegel (USA)
FROM DUSK TILL DAWN 3: THE HANGMAN'S DAUGHTER (2000) d. P.J. Pesce (USA)
FROM DUSK TILL DAWN: THE SERIES (2014-2016) d. Robert Rodriguez (USA)
Thirty years ago, From Dusk Till Dawn (1996) kicked open the saloon doors, ordered a round of tequila, and then revealed that everyone in the bar was about to be eaten by vampires. Of course, From Dusk Till Dawn is much more than its famous twist. It's a perfect snapshot of '90s independent filmmaking, bringing together Rodriguez's kinetic, resourceful direction, Tarantino's Fonzie cool dialogue, KNB's outrageous practical effects, and an ensemble cast led by George Clooney, Harvey Keitel, Juliette Lewis, Salma Hayek, and cameos from Michael Parks, John Hawkes, Tom Savini, Cheech Marin, Danny Trejo, and the Hammer himself, Fred Williamson.
Wednesday, August 14, 2013
WE ARE WHAT WE ARE (2013) movie review
We Are What We Are (2013) d. Mickle, Jim (USA)
There’s a deep dark secret at the center of writer/director Mickle’s latest feature, his third following the acclaimed Mulberry St. and Stake Land. The irony is that this mystery, which enjoys its big reveal about an hour into the film, is a large part of the high concept pitch and is likely to be known to anyone who settles in to watch, especially if they are in any way familiar with Jorge Michel Grau’s original Mexican shocker. Because Mickle and co-writer Nick Damici have taken such pains to carefully unwrap this plot element, I will endeavor to do the same. But regardless of whether viewers know where the winding road leads, the experience is not diminished; this is powerful, assured filmmaking that overcomes the clunkiness of its predecessor and stands as the fiercely independent artist’s most fully realized effort to date. And – barring an excessively silly climax (thrown in to appease the gorehounds) – it’s also probably one of the finest remakes of the past two decades.
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