When A Stranger Calls

“When A Stranger Calls” is the ideal bubble gum horror cutlet. It generates a genuinely eerie atmosphere that is steadily consistent for an hour and a half. Of course, tension builds and then lets loose at the ultimate climactic moment – almost without an ounce of bloodshed. Such a quality is just what some people go to the movies for.

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Cinematic Footprints: Part 2 – Bubble Boy

The Popcorn Journal presents the second installment of a captivatingly original series, Cinematic Footprints, encompassing the attributes of three Oscar-caliber motion pictures and three typically underestimated flicks. The series, which was written by Joey Airdo as an honors thesis assignment for Arizona State University, runs weekly (on Sundays) in fourteen segments throughout the spring of 2006.

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Annapolis

“Annapolis” is overly simple, a rip-off of other similar movies, and features a finale that you wouldn’t necessarily expect in a naval academy flick. Despite all of that (and perhaps, at least in part, as a result of it), I really enjoyed “Annapolis.”

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Big Momma's House 2

“Big Momma’s House 2” can best be described as a hybrid of other feature films. Martin Lawrence once again wears the fat suit, so naturally the flick is at least part “Big Momma’s House.” Kids are involved this time, since Big Momma plays the part of a nanny, leading me to believe this movie has a fair amount of “Mrs. Doubtfire.”

Finally, I am sure there is at least a splash of “Boogeyman,” my LEAST Favorite Flick Of 2005. My reasoning is simple – “Big Momma’s House 2” is already one of my LEAST Favorite Flicks Of 2006.

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Nanny McPhee

Children aim to misbehave.

Or at least that is how recent trend movies like “Cheaper By The Dozen 2” and “Yours, Mine, And Ours” portray them. Fortunately for the parents of such big cinematic families, England has a simple solution.

The person they need is Nanny McPhee.

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Cinematic Footprints: Part 1 – The Introduction

The Popcorn Journal presents the first installment of a captivatingly original series, Cinematic Footprints, encompassing the attributes of three Oscar-caliber motion pictures and three typically underestimated flicks. The series, which was written by Joey Airdo as an honors thesis assignment for Arizona State University, runs weekly (on Sundays) in fourteen segments throughout the spring of 2006.

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Underworld: Evolution

Here is my theory of how “Underworld: Evolution” entered existence: A few nerdy science-fiction fans got to the last scene of the original movie and one turned to another and said, “Hey… what happens next?” The other replied, “Oh, wow, dude… we should totally do that!”

That is when I believe they ran out of ideas.

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Tristan & Isolde

“Tristan & Isolde” is a tragic love story appealing to the predominantly younger female crowd. It is important to point out that I am not of that demographic. However, I find it difficult to believe even the target audience would be enchanted by this typical tale.

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Hostel

Until now, I believed the single most disturbing scene in cinema to be the shaving sequence in Eli Roth’s “Cabin Fever.” Who better to tie that title than Roth himself with an excruciatingly gruesome sequence in “Hostel” featuring a blowtorch, a pair of scissors, and an eyeball.

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Grandma's Boy

Contrary to popular belief, it is difficult to insult a movie like “Grandma’s Boy.” Yes, it is stupid and juvenile and no, it does not contribute a lick to society or the cinema. However, who would ever think a movie called “Grandma’s Boy” would do any of that? So, how can you hold that against it?

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