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Jaime King | EclipseMagazine
Finally – a press release that sums things up succinctly and accurately, ‘After her philandering husband and unruly kids break her psyche, Jill upends the family dynamic by assuming the persona of a vicious dog.’
Bitch will be in theaters and on VOD November 10th.
When I scored a pass to see My Bloody Valentine 3-D, I wasn’t sure it was a good thing – but since I went into theater with absolutely no expectation, I was pleasantly surprised. I never saw the original, but this new version – written by Todd Farmer [from a story by Stephen Miller and the original screenplay by John Beaird] and directed by Patrick Lussier – contains all the elements of a classic horror movie: gore, mutilations, laughs, a genuine mystery and some gratuitous nudity.
More than twenty years ago, a miner named Harry Warden survived a mine collapse by killing the other miners trapped with him in order to make what little oxygen remained last until he could be rescued. Even so, he came out of the mine in a coma. A year later, he came out of the coma and when on a killing spree – first at the hospital, then back at the mine where a bunch of teenagers were partying in the closed tunnel. Only four of the teens survived: Tom Hanniger [Jensen Ackles], whose father owned the mine and who left town right afterward; Sarah [Jaime King], Tom’s girlfriend who winds up married to Axel Palmer [Kerr Smith], who is now sheriff, and Irene [Betsy Rue], who now has a thing for truck drivers [and provides the aforementioned gratuitous nudity]. Warden is reported dead – killed by then Sheriff Burke [Tom Atkins].
Now, ten years later, Tom has finally returned to town to sell his share in the mine’s ownership and everyone is unhappy about that because if the mine closes, the town dies. And the killings begin again. Since unreported details are accurate, the townsfolk begin to suspect that Warden is back. As the killing mount, we’re given scenes that implicate former miners, Tom and even Sheriff Palmer.
Director Lussier keeps things moving along at a fast enough clip that any plotholes are skimmed over before we can recognize them as such. The 3-D effects are frequently dazzling right from the second the Lionsgate logo appears [when the audience oohs and ahhs over the studio logo/introduction, you know the effects are special] and are used in ways both subtle and sledgehammer obvious [it’s the mix that makes the more obvious effects work.
The entire cast is better than average, which gives the film just enough humanity to make the horror work, and the resolution is shrewdly realized. Both Ackles and Smith are given more to do than they usually display [or in Smith’s case, got to do] on their hit TV series and they tackle their roles with enthusiasm.
My Bloody Valentine 3-D is one of the better horror movies of the last several years because it knows what it is and isn’t afraid to be just that. In that regard, it shares a lot with some of the great horror films of the seventies and eighties. It may not be the groundbreaker that Halloween and Friday the 13th were, but it’s better than most of the raft of imitators that followed them. In short, it’s good, bloody, sexy fun.