On October 1st, Paramount Pictures will release “Paramount Scares Vol. 2,” the follow-up to their successful Vol. 1 horror box set from 2023. The initial volume showcased a curated selection of five films, ranging from the 1968 psychological horror “Rosemary’s Baby” to the more recent “Smile” from 2022. This approach demonstrated a clear intent to highlight the studio’s diverse contributions to the horror genre across different eras. As we examine the contents of Vol. 2, it will be interesting to analyze whether Paramount maintains this strategic curation and if the included titles generate the same level of enthusiasm as the inaugural collection.
The second installment of Paramount’s horror collection, “Paramount Scares Vol. 2,” offers a mixed bag of four films. While it’s light on the number of titles compared to the first volume, the selection raises questions about what constitutes a horror movie. The compilation includes “Friday the 13th Part 2” (1981), “Breakdown” (1997), “World War Z” (2013), and “Orphan: First Kill” (2022).
Die-hard horror fans may be perplexed by these choices. “Friday the 13th Part 2” is undeniably a classic in the horror genre and a standout in the Jason Voorhees franchise. However, the other three films blur the lines between horror and thriller. Jonathan Mostow’s “Breakdown” is a masterclass in suspense, but it lacks the supernatural elements typically associated with horror. Similarly, “Orphan: First Kill” delivers tense moments, but it’s more of a psychological thriller than a traditional horror film.
The most surprising inclusion is “World War Z,” given its PG-13 rating. The first volume of “Paramount Scares” stuck to R-rated horror films, but this sequel deviates from that pattern. While “World War Z” has intense action sequences, it’s more of an apocalyptic thriller than a horror movie.
Overall, “Paramount Scares Vol. 2” is a mixed bag. If Paramount decides to release a third volume, horror purists hope for a more focused curation of films that embody the true spirit of the genre.
Five years after the events of the first film, a summer camp next to the infamous Camp Crystal Lake is preparing to open, but the legend of Jason is weighing heavy on the proceedings.
The success of “Friday the 13th” in 1980 prompted Paramount Pictures to swiftly greenlight a sequel, which premiered precisely one year later. Steve Miner took the director’s chair for this installment, introducing a fresh cast of characters while bringing back Alice (Adrienne King), the first film’s heroine, for a brief but intense appearance. Jason exacts revenge on Alice for the beheading of his mother before the focus shifts to a new camp, preparing to open near the now-closed Camp Crystal Lake. As the story unfolds, the new counselors meet horrific ends until Ginny (Amy Steel) and her boyfriend, Paul (John Furey), uncover something shocking in the woods.
Part 2 highlights the series, achieving a rare balance in slasher films by making the audience invested in the characters. Steve Miner imbued the counselors with distinct personalities, making their inevitable demise genuinely affecting. The sequel maintains the gory kills fans of the genre demand, with inventive scenes like the wheelchair-bound character’s deadly tumble down a flight of stairs and the spear impalement of a post-coital couple.
The story feels fresh by subverting the expectation of a new killer following Mrs. Voorhees’s death in the first film. Jason becomes the primary antagonist, introduced as a folklore figure before appearing in person. His initial appearance, in overalls and a burlap sack, contrasts with the iconic hockey mask he’ll don in Part 3, marking the beginning of his evolution into the franchise’s symbol.
While some elements reflect the era of its release, Part 2 remains a well-crafted early entry in the Friday the 13th series, demonstrating the potential of horror sequels to deliver engaging characters, memorable kills, and a compelling story continuation.
A man searches for his missing wife after his car breaks down in the middle of the desert.
Jonathan Mostow may be best known for directing “Terminator 3: Rise of the Machines,” but his 1997 thriller “Breakdown” initially established him as a force in Hollywood. Mostow’s skill for crafting high-octane suspense is on full display in “Breakdown,” a film that showcases his ability to ratchet up tension and deliver thrills at breakneck pace. This skill would serve him well in his subsequent work on the submarine thriller “U-571” and the sci-fi action film “Surrogates,” starring Bruce Willis.
In “Breakdown,” Kurt Russell and Kathleen Quinlan star as Jeff and Amy Taylor, a married couple embarking on a cross-country road trip from Boston to San Diego to start new jobs. They are left stranded when their Jeep stalls on a remote Arizona backroad. A passing truck driver, Warren (J.T. Walsh), offers Amy a ride to the nearest town to call for help while Jeff stays behind with the car. However, when Jeff arrives at the diner, he discovers no one has seen Amy. His search for answers leads to a terrifying revelation: Warren and a group of locals have been preying on unsuspecting travelers.
As Jeff delves deeper into the mystery of Amy’s disappearance, he finds himself in a desperate fight for survival. With its isolated setting and sinister characters, “Breakdown” taps into the deep-seated fear of being stranded and at the mercy of malevolent strangers. While it may not fit the traditional mold of a horror film, it is undeniably an outstanding accomplishment in suspense and tension.
Mostow’s direction is assured, keeping the film hurtling forward at an expeditive pace while still allowing Jeff’s character to evolve. At the film’s beginning, Jeff is reserved and unassertive, but as the stakes grow higher and he uncovers the truth about Warren and his cohorts, he finds a newfound determination and courage. The film’s final act is a heart-pounding ride, culminating in an intense showdown between Jeff and Warren.
“Breakdown” is a testament to Mostow’s skill as a director and his ability to craft compelling, suspenseful stories. It is a shame that he has not worked more in Hollywood, as he clearly has a talent for this type of material. The late J.T. Walsh is equally impressive, bringing his usual knack for playing slimy villains to the role of Warren. His performance makes Warren a genuinely detestable character, and his ultimate comeuppance is both satisfying and earned.
In conclusion, “Breakdown” is a must-see for fans of suspenseful thrillers. With its energetic pace, well-developed characters, and ratcheting tension, it is a tour de force in the genre. While it may not be a traditional horror film, it is undeniably unsettling and will keep viewers on the edge of their seats until the very end.
Former United Nations employee Gerry Lane traverses the world in a race against time to stop a zombie pandemic that is toppling armies and governments and threatens to destroy humanity itself.
The 2013 release of “World War Z” sparked controversy within the horror and zombie communities due to its PG-13 rating. The film’s depiction of a zombie apocalypse, a typically gruesome and terrifying concept, was seemingly watered down to appeal to a broader audience. While an unrated cut featuring additional footage was later released on Blu-ray™, this review will focus solely on the theatrical version.
The film follows Gerry Lane (Brad Pitt), a former United Nations investigator forced back into service to combat a viral zombie outbreak. After a harrowing escape from his hometown of Philadelphia, Gerry agrees to help the UN trace the outbreak’s origin in exchange for his family’s safety on a naval vessel. His perilous journey takes him across the globe, from South Korea to Jerusalem to Wales, as he unravels the mysteries of the highly infectious and incurable virus. Gerry proposes a radical solution: using a curable pathogen to “camouflage” the healthy, making them appear sick and thus invisible to the zombies. However, the pathogen is located in a heavily zombie-infested WHO facility.
“World War Z” is an unusual choice for the “Paramount Scares” series, given its focus on action and suspense over traditional horror elements. While the opening scene is intense, most of the film prioritizes thrills and globe-trotting adventure over the graphic gore and carnage typically associated with the zombie genre. This sanitized approach may disappoint some viewers, particularly fans of more gruesome zombie films.
Unfortunately, the film’s potential was left unrealized when plans for a sequel, potentially helmed by David Fincher, were scrapped in 2019. The story of Gerry Lane and the zombie pandemic could have significantly benefited from further exploration and development. As it stands, “World War Z” remains a tense and engaging action-thriller with touches of horror but falls short of delivering the bloody, visceral experience audiences typically crave from a zombie film.
After orchestrating a brilliant escape from an Estonian psychiatric facility, Esther travels to America by impersonating the missing daughter of a wealthy family.
“Orphan: First Kill” serves as a prequel to the 2009 horror film “Orphan,” offering an intriguing exploration of the backstory behind the terrifying character of Esther. The film boasts a talented cast, including Isabelle Fuhrman, Julia Stiles, Rossif Sutherland, Hiro Kanagawa, and Matthew Finlan.
For those unfamiliar with the original, “Orphan” told the chilling tale of a couple reeling from the loss of their unborn child. Seeking to fill the void, they adopt Esther, a 9-year-old Estonian girl from a local orphanage. However, they soon discover that Esther is not a child but Leena Klammer, a 33-year-old woman with a rare hormonal disorder that stunts her physical growth and gives her the appearance of a young child. This shocking twist propelled the film to cult classic status.
In a bizarre instance of life mirroring art, the concept of an adult with dwarfism posing as a child gained international attention in 2014 when an Indiana couple was charged with abandoning their 9-year-old foster child, who had dwarfism, claiming she was an adult. This real-life event helped garner interest in a prequel, paving the way for “Orphan: First Kill.”
The prequel delves into Leena’s backstory, introducing us to the mentally unstable 31-year-old Estonian woman with hypopituitarism. After escaping from a psychiatric institute, Leena discovers that she bears a striking resemblance to Esther Albright, a missing American girl from a wealthy family. Seizing the opportunity, Leena assumes Esther’s identity and is reunited with the Albright family in Connecticut.
While the family is initially overjoyed by Esther’s return, it becomes clear that Leena has developed a disturbing attraction to Esther’s father, Allen (Rossif Sutherland). In a surprising turn, Esther’s mother, Tricia (Julia Stiles), confronts Leena, revealing the truth – the real Esther died years ago in an accident, and they’ve been keeping it a secret from Allen. Leena and Tricia strike a deal where Leena will continue the charade for Allen’s sake, but Leena has her own intentions.
“Orphan: First Kill” is a thought-provoking thriller that, while containing some gory scenes, feels somewhat misplaced in the “Paramount Scares” box set. The film shines by expanding on the mythology established in the first movie, with Isabelle Fuhrman delivering a chilling performance as Esther and Leena.
The climax descends into absurdity, with the family more concerned with preserving their reputation than survival as their house burns around them. As a prequel, the ending naturally sets the stage for the events of “Orphan,” offering no surprises.
While “Orphan: First Kill” is engaging, it does retread familiar ground from the original. The concept, while intriguing, could have been better executed. Given Esther’s fate in the first film, the series will unlikely continue unless the creators pursue another prequel. Fans of the original will find this a satisfying addition to the mythology, but may hope for more original entries in future “Paramount Scares” collections.
