21 Movies. 5 Filmmakers. Limitless Futures: The Best of the New Breed Horror Director
Darren Lynn Bousman
Saw II
There aren’t many Saw installments that warrant extreme praise. In fact, beyond the first three films (I still can’t watch the third film, as that torture rack scene just disgusts me beyond belief) in the franchise things head south in a hurry. However, the first two films in particular are exceptional works that successfully gross us out while holding our attention, leaving our eyes glued to the screen in a trance like state. Darren Lynn Bousman is the man who delivered Saw II, and he did a remarkable job of creating a tangible continuity and believable follow up to James Wan’s franchise starter. Expect plenty of wicked death scenes, but you can also bet on a solid story, which can’t be said for the second half of the franchise.
Repo! The Genetic Opera
Having never been a fan of musicals it was shocking to see a musical that tapped all the right nerves. Bousman is extraordinary at offering us some amazing set designs, stellar cinematography and a fine story. He also manages to siphon a few riveting performances from the cast. Repo! The Genetic Opera is one of those rare beauties that feels more like an experience than a movie. Not an easy feat, but definitely a mandatory view!
Mother’s Day
It’s rare to see a remake that far surpasses the quality of the source in which it’s based, but Bousman made it happen with Mother’s Day, an ambitious picture that turns the intensity up from 5 to 15. Not only is Bousman’s Mother’s Day overwhelmingly superior to Charles Kaufman’s original 1980 pic, it borders on technical mastery. The story is infinitely more engaging, rooted in much cleaner logic and we’ve actually got a series of characters we’re pulling for here. Rebecca De Mornay makes for the picture-perfect casting call as she channels her work in The Hand That Rocks the Cradle, creating a vile yet sad and sympathetic mother caught in a criminal whirlwind. It’s seldom recognized as one of the greater remakes, but it no doubt qualifies as just that.
The Devil’s Carnival
Everything mentioned about Repo! The Genetic Opera, pretty much applies to The Devil’s Carnival. But in the eyes of this humble little writer, The Devil’s Carnival is a noticeably stronger production. The set pieces are absolutely gorgeous, lavish designs that pull viewers in like the dark vortex that yanked Ash Williams from the good old U-S-of-A to the barren, war torn regions of No Man’s Land, 1300 AD. It’s an amazing ride, loaded with insane makeup and a faithfulness to the outward appearance of a classic carnival… up to the point in which the darkest secrets of The Devil’s Carnival come to light. Creative, original, beautifully dark and thoroughly entertaining, The Devil’s Carnival is yet another musical that totally and completely works.
The Barrens
Full disclosure: even as a dedicated fan of Bousman’s work, I felt some trepidation heading into this pic. Could Bousman do the Jersey Devil justice? Could he give us a creature that terrified? What will the perimeters of a film like this look like, and could the fabled Jersey Devil work its way within those perimeters without feeling absolutely preposterous? Bousman answered all of those questions, passing a stiff test with high scores.
For some reason or another many critics panned the film, but I’d firmly argue with anyone who attempts to discredit this feature. The true beauty of this one isn’t even the Jersey Devil itself, it’s the psychological break that lead man, Richard Vineyard (played by Stephen Moyer) undergoes. His descent into madness is a true thing of beauty, and between Moyer and Bousman, it quickly becomes clear that this is exactly the kind of film Bousman should be focusing on.
If you read any negative reviews and subsequently steered clear, I’d highly recommend giving the picture a chance. You just might be surprised!
Up Next: Abattoir
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