Have you always wanted to take Zac Efron home? Well, A24 is giving you your chance – so long as you don’t mind him as an action figure. The studio has unveiled a new Zac Efron figure in the form of Kevin Von Erich, the real-life pro wrestler he played in last year’s The Iron Claw. The throwback figure is up for pre-order on A24’s site.
Here is A24’s brief description of the Zac Efron von Erich figure, complete with a nod to Rush’s “Tom Sawyer”, a song featured in the movie: “Modern-day warrior, mean, mean stride. Deliver a good ol’ fashioned Texas whooping with The Iron Claw Kevin Von Erich Action Figure.” The figure stands 6.5”, comes with a removable jacket and has 23 points of articulation. It is priced at $48 and will ship in August. Unfortunately for many, A24 has skipped on Jeremy Allan White’s Kerry Von Erich…
A24 is the reigning champion of movie merch. Whether it’s a figurine of the bear from Midsommar or a Mid90s fingerboard or hot dog finger gloves from Everything Everywhere All at Once, they have hit on their niche market to provide cool and offbeat collectibles. This Zac Efron one as his The Iron Claw character is no doubt a welcome addition to their shop and is surprisingly their first of its kind. Now come on, where’s our Howard Ratner figure?
The Iron Claw tells “the true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.” The dynasty’s depiction in the movie earned raves from critics, fans and those within the pro wrestling industry; we even named The Iron Clawone of our top 10 films of the year and, honestly, Efron should have been nominated for an Oscar.
Mattel previously put out a Kevin Von Erich action figure as part of WWE’s Legends line, while Kerry has also received numerous treatments in that form. The Iron Claw is currently on VOD.
Will you be picking up Zac Efron’s Kevin Von Erich figure? Which other A24 characters do you want to see given a figure or doll? Give us your choice below!
Elizabeth Olsen (Love & Death) and Charles Melton (May December) are set to star in Love Child, the first new movie from Todd Solondz in eight years.
Love Child follows Misty, a woman stuck in a loveless marriage to a brutish husband. “Junior, her precocious 11-year-old is her only consolation,” reads the description. “When Easy, a handsome vagabond stranger, appears, Junior hatches a plan to get rid of his father so that his mother can marry him instead. But things end up backfiring, so Junior comes up with yet another plan, this one even more devious, and with more disastrous—and unexpected—consequences.” The film has been in the works for some time, with Rachel Weisz and Colin Farrell once attached to the project back in 2021.
Todd Solondz is best known for Welcome to the Dollhouse and Happiness, and his last film, Wiener-Dog, was released in 2016. “I am beyond excited to work with Elizabeth Olsen and Charles Melton on what will be a super fun and playful celebration of Hollywood movies,” Solondz said in a statement.
Elizabeth Olsen added: “I am a long-time fan of Todd’s work and to collaborate with him on this film is a true dream.“
Not to be left out, producer Christine Vachon of Killer Films commented: “I’m thrilled to re-team with Todd Solondz on Love Child. We’ve worked together for many years now, starting with Happiness in the late 90s, and more recently with Wiener Dog. Love Child is yet another example of his singularity as a filmmaker – this dark, hilarious movie could only come from him.” In addition to Vachon, the project will also be produced by Cindy Bru of Volition Media, David Hinojosa of 2AM, and Ford Corbett of Gramercy Park Media.
Elizabeth Olsen starred in Love & Death last year, a Max mini-series which told the true story of Candy Montgomery, a housewife accused of murdering her lover’s wife. Charles Melton has received plenty of acclaim for his role in May December, which was loosely inspired by the Mary Kay Letourneau scandal. He even received a Golden Globe nomination for Best Supporting Actor.
Just two months after the release of Batman Begins, Cillian Murphy was back in theaters with Red Eye, a psychological thriller directed by Wes Craven. Although the film received decent reviews and was a box-office success, Murphy doesn’t consider it to be one of his best.
Cillian Murphy opened up about Red Eye during GQ‘s recent cover story, saying that he “love[s] Rachel McAdams and we had fun making it, but I don’t think it’s a good movie. It’s a good B movie.“
The movie follows a woman who is pulled into a political assassination plot by her initially charming seatmate during a red-eye flight to Miami. Murphy says that it was that duality that originally attracted him to the role. “It’s why I wanted to play it,” Murphy said. “That two thing. The nice guy and the bad guy in one. The only reason it appealed to me is you could do that. That turn, you know?”
Rachel McAdams also chimed in to praise her Red Eye co-star. “They say the nicest people sometimes make the best villains,” McAdams said. “We’d listen to music and gab away while doing the crossword puzzle, which he brought every day and would graciously let me chime in on.… I think the number one question I got about Cillian way back then was whether or not he wore contact lenses.“
This isn’t the first time that Cillian Murphy has expressed his dislike for Red Eye (albeit in an exceptionally kind way), as he told Uproxx in 2021 that he didn’t like his performance. “When I was a younger actor, I was really, really hard on everything that I was in. I hated watching myself. I hated looking at myself on screen,” Murphy said. “I remember when I saw it was like ‘Oh, that’s kind of a schlocky B movie.’ Rachel McAdams is excellent in it. But I didn’t think I gave a very nuanced performance in it. But, listen, if people love the movie then that’s great. I’m pleased with that. I’m less hard on myself now when I look at stuff. I’m less hypercritical of my work. But that’s probably a hangover from that to be honest.“
Although Murphy isn’t the biggest fan of Red Eye, the movie certainly has its fans and even received a 4K Ultra HD release last year. What are your thoughts on the movie?
It’s likely only a matter of time before Dave Bautista officially joins the DCU, but who should he play? James Gunn took that very question to fans over on Threads, and there were quite a few interesting responses.
One of the most popular responses suggested that Dave Bautista play Hugo Strange in the DCU, the scientist and criminal mastermind who was one of Batman’s first recurring villains. Another popular choice was Mongul, the tyrannical ruler of Warworld who can go toe-to-toe with Superman. Other comments suggested that Bautista would be perfect for characters such as Darkseid, Bane, Kilowog, Mr. Freeze, Atrocitus, or even Bibbo Bibbowski.
Dave Bautista recently told ComicBook.com that he would love to work with James Gunn again, whether it’s in the DC Universe or something else. “I just love James Gunn. He’s an incredible director. We have a comradery that’s priceless. So to work with him again would be… I mean, I’d do it for free,” Bautista said. “But we just haven’t had the conversations. He’s on top of DC now, he’s doing his thing, and I’m just trying to grind along in my process. I’m always open-minded to it, and I’ve expressed that to him.“
James Gunn is currently preparing to start shooting Superman: Legacynext month. The film will star David Corenswet (Pearl) as Clark Kent and Rachel Brosnahan (The Marvelous Ms. Maisel) as Lois Lane. The film will also feature Nathan Fillion (The Rookie) as Guy Gardner, a charismatic and slightly obnoxious member of the Green Lantern Corps; Isabela Merced (Dora and the Lost City of Gold) as Hawkgirl; Edi Gathegi (X-Men: First Class) as Mister Terrific; Anthony Carrigan (Barry) as Metamorpho; María Gabriela de Faría (Deadly Class) as The Engineer, a member of The Authority; Sara Sampaio (At Midnight) as Eve Teschmacher; and Skyler Gisondo (The Righteous Gemstones) as Jimmy Olsen. Nicholas Hoult is also set to appear as Lex Luthor, which Gunn finally confirmed late last year.
Co-chair of DC Studios Peter Safran has teased that Superman: Legacywill not be an origin story and will focus on “Superman balancing his Kryptonian heritage with his human upbringing. Superman represents truth, justice and the American way. He is kindness in a world that thinks of kindness as old fashioned.” Superman: Legacy is slated to hit theaters on July 11, 2025.
Who would you like to see Dave Bautista play in the DCU?
Update: John Cleese has responded to Eric Idle’s recent comments, and there doesn’t appear to be any love lost between the former Monty Python performers. Cleese defended Python manager Holly Gilliam, who Idle had suggested was responsible for dwindling income streams.
“I have worked with Holly for the last ten years,” Cleese tweeted, “and I find her very efficient, clear-minded, hard-working, and pleasant to have dealings with. Michael Palin has asked me to make it clear that he shares this opinion. Terry Gilliam is also in agreement with this.” Just in case there was any confusion over the status of the relationship between himself and Idle, Cleese drove the point home by saying, “We always loathed and despised each other, but it’s only recently that the truth has begun to emerge.” Yikes.
—Original article follows below—
Eric Idle may have written “Always Look on the Bright Side of Life”, but that doesn’t mean he has taken that into this 80s. Idle went on a social media tear early this week, taking former Monty Python members Terry Gilliam and John Cleese to task.
Posting on X on Monday, Eric Idle confessed that funds have dried up from his Monty Python days, writing, “I don’t know why people always assume we’re loaded. Python is a disaster. Spamalot made money 20 years ago. I have to work for my living. Not easy at this age.” He then pointed to the Gilliams: former Python member Terry and his daughter Holly, who handles management of Monty Python. “We own everything we ever made in Python and I never dreamed that at this age the income streams would tail off so disastrously. But I guess if you put a Gilliam child in as your manager you should not be so surprised. One Gilliam is bad enough. Two can take out any company.” Idle also confirmed that it was indeed Gilliam that forbids a Spamalot movie from happening.
Monty Python would have numerous reunions following their official 1983 split, including Monty Python Live (Mostly): One Down, Five to Go in 2014, which was notably missing Graham Chapman (as alluded to in the title). Terry Jones would pass away in 2020, leaving just four original members today. That event would also mark one of the last times Eric Idle spoke to John Cleese. As he also wrote, “I haven’t seen Cleese for seven years…It makes me happy.” Ouch…At the same time, Idle did note that he wish he had worked with another troupe at least once: The Muppets. Perhaps he’s a little jealous of Cleese’s appearance on The Muppet Show…?
Unfortunately, it all runs so much deeper than that. It’s always tough to see longtime collaborators not only split but talk poorly about each other. This is especially so now, as all surviving Monty Python members are in their 80s. It would seem a fine time to reconcile, to put aside any issues in the past as they approach their final act.
When one of his followers suggested that Monty Python be the subject of a Netflix doc that could highlight the tumultuous nature of the comedy team, Idle responded, “F*ck Netflix and f*ck documentaries.” Oh come on, Eric, don’t grumble, give a whistle!
What do you make of the continued feuds within Monty Python? What remains your favorite sketch or scene?
Mattel’s Masters of the Universe movie hasn’t had the easiest path, but the long-in-development project has taken a big step forward as Deadline reports that Bumblebee director Travis Knight is in final negotiations to helm the movie.
Although Deadline cautions that the deal is still coming together, the report states that Knight was the only director in the mix to give an in-person presentation, which made him the top choice for the gig. Chris Butler will rewrite the script from the previous draft penned by David Callaham, Aaron and Adam Nee. The project was previously set up at Netflix, but the streaming service scrapped the project last summer. It was later reported that the movie could find a new home at Amazon MGM Studios, and according to Deadline, they’re now in final negotiations for the rights.
Aaron and Adam Nee were previously set to write and direct the Masters of the Universe movie before it fell apart, reportedly due to budget issues. Netflix had already spent close to $30 million on development costs, with the budget ballooning to over $200 million. There was an attempt to bring the budget down, with the idea of shooting the movie back-to-back with a sequel in order to amortize the cost, but an agreement couldn’t be reached. Kyle Allen (A Haunting in Venice) was set to star in the movie as He-Man, but it’s not clear if he’s still attached.
Travis Knight made his live-action directorial debut with Bumblebee, which still stands as the best-reviewed movie in the Transformers franchise; but, perhaps more importantly to studios, it also had the lowest budget.
Knight is also the CEO of Laika, the stop-motion animation studio behind Coraline, Kubo and the Two Strings, and more. Knight is directing Wildwood for the studio, a stop-motion fantasy adventure based on the book by The Decemberists frontman Colin Meloy. It follows a young woman, Prue McKeel, and her best friend, Curtis, as they are drawn into a mystical, enchanted forest after Prue’s baby brother is kidnapped by crows.
Do you think Travis Knight would be a good fit to direct the Masters of the Universe movie?
Eleven months ago, it was announced that Colossal star Anne Hathaway signed on to star in a mysterious project It Follows director David Robert Mitchell is making for Warner Bros. Pictures, Jackson Pictures, and J.J. Abrams’ company Bad Robot. Now, Hathaway finally has a co-star, as Deadline has broken the news that Ewan McGregor, Obi-Wan Kenobi himself, has joined the project.
Details on this one, which doesn’t even have a title yet, are being kept under wraps, but last year film journalist Jeff Sneider reported the rumor that this happens to be “a dinosaur movie set in the ’80s”. In their report of the McGregor news, The Hollywood Reporter also said that their sources have described it as “a family adventure set in the 1980s that involves dinosaurs.” They added that Hathaway and McGregor would be playing the parents in this family adventure. Deadline’s sources simply described the project as a “thrill ride”… and it’s going to be shot in Imax to maximize the thrills.
It isn’t surprising that there’s not much information available, since this is a Bad Robot production, and Bad Robot likes to keep its movies as secretive as possible. Remember, they even managed to keep Cloverfield a secret until the trailer was released, and hid the fact that 10 Cloverfield Lane was a Cloverfield movie until the trailer for that one was released. Those are just a couple examples of their secrecy.
Mitchell has written the screenplay and is producing the movie with J.J. Abrams and Hannah Minghella for Bad Robot, as well as Jackson Pictures’ Matt Jackson. Jake Weiner and Chris Bender of Good Fear Content serve as executive producers. Sheila Walcott and Zach Hamby are overseeing the project for Warner Bros. Motion Picture Group.
Mitchell made his feature directorial debut with the 2010 comedy The Myth of the American Sleepover, then had a hit on his hands with It Follows in 2014. He stumbled a bit with his 2018 follow-up Under the Silver Lake, but now he’s rebounding with this project and the long-awaited It Follows sequel They Follow. Of course, since the project is set up at Warner Bros., now we just need to hope they won’t end up scrapping the movie for a tax write-off.
Does a mysterious dinosaur project from Bad Robot and David Robert Mitchell, starring Anne Hathaway and Ewan McGregor, sound interesting to you? Share your thoughts on this one by leaving a comment below.
NBC is tailoring its new drama pilot for Suits L.A., with Stephen Amell leading the extension of the Suits universe. The off-shoot hails from Aaron Korsh, the creator and writer of the original Suits series. Cameras roll in March in Vancouver, with fans already excited about returning to the Suits universe with a different fit.
Amell joins the pilot as Ted Black, “a former federal prosecutor from New York who has reinvented himself by representing the most powerful clients in Los Angeles. His firm is at a crisis point, and in order to survive he must embrace a role he held in contempt his entire career. Ted is surrounded by a group of characters who test their loyalties to both Ted and each other while they can’t help but mix their personal and professional lives. All of this is going on while events from years ago slowly unravel that led Ted to leave behind everything and everyone he loved.”
Word has it that Ted Black is a leviathan in stylish threads with a selfish nature. He’s more likely to give himself an edge than help you out, though he’ll also have redeeming qualities. “Fifteen years ago, the former New York prosecutor joined forces with his old buddy, Stuart Lane, to build an L.A. law firm that specializes in criminal and entertainment law.”
NBC wants fans to know that Suits L.A. is not a reboot or revival of the original series. Fans should consider Suits L.A. an extension of the original series and look forward to future drama.
Famously known for playing Oliver Queen, aka the Green Arrow, in The C.W.’s Arrowverse, Amell also played Jack Spade alongside Alexander Ludwig (Ace Spade) in the Starz wrestling drama Heels. The canceled series focuses on two brothers and rivals – one a villain, or “heel,” in the ring; the other a hero, or “face,” war over their late father’s wrestling promotion, vying for national attention in small-town Georgia.
Are you a Suits fan? Is Stephen Amell the right fit for Suits L.A.? Will the new show last nine years like the original series? Let us know what you think in the comments section below.
While the San Francisco 49ers and the Kansas City Chiefs were locked in a heated battle to win Super Bowl LVIII, Marvel Studios was busy scoring record-breaking numbers for its highly anticipated Deadpool and Wolverine teaser trailer. The teaser previews Deadpool’s MCU debut, and it’s as hilarious, clever, and action-packed as you’d expect. The teaser broke global records following its release on Sunday, scoring 365 million views in 24 hours, which makes it the most-viewed movie trailer of all time.
Alongside the teaser trailer, Marvel shared the official title of the Deadpool threequel, aptly titled Deadpool and Wolverine. The film already indicates that it flies in the face of Disney’s family-friendly sensibilities, with references to pegging, ultra-violence, and Wade declaring himself as Marvel Jesus. You might want to leave the kids at home for this one. Then again, maybe they’re used to this sort of thing after repeatedly watching the other two Deadpool movies.
Deadpool and Wolverine stars Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Karan Soni, and Matthew Macfadyen, with the House of Ideas teasing cameos from across the Marvel Cinematic Universe.
The massive viewership for the Deadpool and Wolverine teaser trailer signifies overwhelming excitement for Deadpool’s MCU introduction. Thankfully, leaks about the film haven’t kept fans from getting excited about the movie. If anything, people are busily freeze-framing the teaser to unearth secrets about the plot or unexpected character cameos. One example comes from fans debating about a masked gunman who some believe could be the famed Fantastic Four villain Doctor Doom. Upon further inspection, I doubt the character in question, but speculation is part of the fun when a preview like this comes around.
In the teaser trailer, Wade Wilson (aka Deadpool) warns that our “little cinematic universe is about to change forever.” Will Deadpool make good on this promise? How could Wade muck with the Marvel Cinematic Universe in a way that would change the trajectory of Marvel’s movie franchise? Are we heading toward a permanent “What If” structure with the MCU being in disarray after Deadpool gets his little gloved paws on the controls? One thing’s for sure: the TVA will never be the same.
Remakes have always been and will always be a tricky proposition. You could have something as pure and wonderful as 1982’s The Thing, which is objectively better than the revered Howard Hawks and Christian Nyby version, but be trapped in purgatory for way too long before it is decided that its proper and loved. There’s a bunch that are better in different ways or at least thoroughly enjoyable in their own right like John Carpenter’s masterpiece, Philip Kaufman’s Invasion of the Body Snatchers, and of course David Cronenberg’s The Fly. While you can argue the horror vs sci fi merits of any of these movies, their quality can’t be disputed. When it comes down to what you can or can’t remake, I think the gloves are off at this point. There’s very few sacred cows left and sometimes a remake can help. Something like The Fog really didn’t benefit from an update as the CGI of that time was a huge downgrade from the practical effects and the cast and crew that couldn’t hold a candle to the original. The Last House on the Left though? Even the original creator wanted to see what a bigger budget and some more professionalism would add to a harrowing tale. Today we will look at why that remake from 2009 (watch it HERE) is better than where it gets lumped into.
In 2006, popular movie house Rogue Pictures got the rights to the remake and signed on Craven as a producer with a new sub-company for Craven called Midnight for him to work on it. Fitting that his first big break movie was being remade as the first movie under this new studio. Craven didn’t want to direct as he wanted fresh eyes on the subject matter and was working on his own movie My Soul to Take at the time. Originally, Eli Roth was approached to direct, and he almost did but passed to make Hostel II instead. Greek director Dennis Iliadis was then chosen to helm the project. He really hasn’t done much of anything since and that’s a shame because the movie is shot well, and he gets good performances out of his actors. The script here is written by Adam Alleca and Carl Ellsworth with some things put in by Craven. There was talk early of having a supernatural element to the ending but it was made more grounded by the time it was completed.
Alleca has only 4 titles to his name with the other big one being the big screen adaptation of Stephen King’s The Cell. Ellsworth on the other hand is prolific in comparison with tons of TV projects before today’s movie including Anamorphs, Xena, and Cleopatra 2525. In the realm of movies though, he also has some hits with Disturbia, Red Eye, the Red Dawn remake, and 2020 surprise hit Unhinged with Russell Crowe. The movie opens with a prisoner transport of Krug by 2 officers when they are hit by a truck at a railroad crossing. The truck was driven by Krug’s associates Sadie, his girlfriend, and Francis, his brother. They viciously finish off the two cops and that viciousness shows us that this remake won’t shy away from the brutality of the original. It does, certainly, in ways that would be hard to pull off in the shiny 2009 setting vs the original lower budget gritty feel but absolutely does not mess around.
The cast of criminals is a god one too with comedian and actress Riki Lindholme as Sadie, Aaron Paul as Francis, and Garret Dillahunt as Krug. Lindholm is one half of the wonderful and successful comedy duo Garfunkel and Oates and one of her earliest on-screen appearances was in Million Dollar Baby. She is primarily known as a comedy actress though, and her resume speaks to that between live action and voice over work. She’s menacing the entire movie and shows good sadistic range. Paul is undoubtedly best known for his turn on Breaking Bad but has turned in a multitude of quality performances from Westworld to Black Mirror to BoJack Horseman. Dillahunt is an absolute gem, and I can’t believe this is the first time I’ve had the opportunity to discuss him. While he is typically a side character in things like Justified, Deadwood, and Looper to name just a few, he did have starring roles in Raising Hope as the dad and whatever he does, he is awesome and memorable. Here, he is just insane as Krug even if he isn’t as much of a comic strip character as David Hess played in the original.
We then see the other side of the coin in terms of characters with swimmer Mari, played by Sara Paxton, and her parents Emma and John played by Monica Potter and Tony Goldwyn. Honestly the weakest link here is Paxton but she’s not bad, just kind of overshadowed by her parent actors in the movie. She hasn’t done a ton of other horror, but The Innkeepers is reliably creepy. Monica Potter is Saw royalty and while she has been around for a long time, she picks her spots. She is also incredible in the show Parenthood as one of the matriarchs. Goldwyn is the bad guy in Ghost but has made a heck of a career as both good and bad guys over a stellar amount of time. The family is vacationing in a home that is, you guessed it, the last house on the left. Mari meets up with her friend Page and they run into the youngest of the gang and Krugs son Justin played by Spencer Treat Clark. Oh, and Page is played by Martha MacIsaac for the record. Everyone converges at the hotel and the movie really follows many of the same beats as the original.
In leu of just going through the whole damn movie I hear you saying Andrew, what are some of the differences, is the movie actually that good, where the hell is Lance? The movie is good, yes, even with its differences. It doesn’t carry any of the dark humor of the original which works for the era that it was made in. it’s dark, gritty, violent, and borderline nihilistic in a way other remakes of the time are. Think Hills Have Eyes, Texas Chainsaw remake and its prequel, and even The Hitcher. Don’t tell John Fallon or friend of the channel Eric Red I mentioned that one. Deal? There are some caveats here to what I said about being mean without any of the comedy as I will argue that the sexual assault scene in the original is still more horrifying than the horrifying one we get here. The girls in the original seem to have a stronger bond and empathy for each other too which adds to the heartache and empty space between the two. The movie does follow some of the same beats though with the ultimate death of the two girls, or does it? Probably the biggest change here is that Mari actually lives through the ordeal.
After the gang makes it to the, ahem, last house on the left, the very nice family including a doctor helps them out including fixing Aaron Paul’s nose. The effects in the movie run the gamut of really well done practical and necessary and mostly good CGI. That big change we talked about hits around the same time as our baddies find out where they are. Mari comes back and it adds a good new dimension to the film where the parents need to help heal their daughter and escape from the culprits when they find out, via a necklace left by Justin. While they search for a way out, they also need to protect themselves and no, for those waiting, Francis does not get his Aaron Paul bit off. There are a lot of similarities in the fights with the mom seducing Francis and the close quarter combat being visceral and frantic, but it goes back to the power of a 50 year old low budget movie just having that gross and grimy charm that is just damn near impossible to capture.
The movie is shot with that familiar filter that the movies of the 2000s used to get that dark feel but at times it can be distracting, and other times just feel a little too artificial. The second big game changer ties into a plot point that is absent from the first movie and not really explored here but its that of a son/brother that Mari had who passed away. The payoff and difference between the films is that young Justin dies by his father’s hand in the original but actually makes it out with the family. It’s kind of nice to have these hopeful moments in a movie like this. Honestly it comes down to personal preference, but I enjoy the fact that not every horror movie made between 2000 and 2024 needs a jump scare or downer ending. Is it one of those choices that lessens the impact compared to the gut-wrenching view of Krug killing his own son? Yes, of course! We also don’t need any more shot for shot and beat by beat remakes like Psycho.
When all the fighting is done and the heroes and plus 1 have made it out of harm’s way, we still get to see one final act of revenge. While it isn’t the same level of insanity as the original and its chainsaw finale, its one of my favorite kills of the 2000s for one of the scummiest villains of all time. Using his medical expertise and a microwave that is on the fritz, our good doctor and angry father makes it so Krug can’t move his body to escape but can still be aware of what’s going on. From there he is positioned with his head in the microwave as it powers on. Exactly what you think would happen does and I’m only describing it because I wonder if YouTube would make the scene look like classified documents all redacted and unable to see. It is glorious and an explosive and cathartic end to a man and a movie.
Last House on the Left from 2009 is one of the few remakes that shows why we CAN take movies from the past and give it a new sheen of paint or different angle and make it ok. It doesn’t take away from the original in any way nor does it attempt to replace it. Completely different eras of filmmaking and ideals and that’s perfectly ok. If you haven’t seen it or seen it in a while, give it a try as it’s underappreciated and a black sheep for both remakes and late 2000s horror flicks.
A couple of the previous episodes of The Black Sheep can be seen at the bottom of this article. To see more, head over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!