Category Archives: Carrie

A Beginners’ Guide to Horror as Written by a Beginner

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Image via Villains Wiki

Well, it’s Halloween. You know what that means: time for people to pretend they care about horror movies for one month!

And it’s really a shame that this obsession will go on for only a month: Horror movies do not get all of the respect they deserve (I blame found footage). Sure, horror is starting to get attention on TV (“The Walking Dead,” “Hannibal,” “Bates Motel,” fifty new witch shows all premiering on Lifetime), but cinema is really where the genre began, and where it is at its best.

Unfortunately, horror has been one of my pop culture blind spots for years. I have been lucky enough to take a class about the genre and explore it more on my own and have a newfound appreciation for it. Maybe it’s my fault for thinking that “Saw V” represented every horror movie ever.

What I am trying to say is that I am a relatively new horror fan. Unfortunately, I cannot dig up any obscure examples to show how savvy I am, as I’ve only seen one movie made by George A. Romero. However, I can be your Introductory Horror Spirit Guide, and lay out the basics. In my opinion, these are ten essential horror movies to kick off your love of horror movies with. Let me remind you that you can watch horror movies after Halloween ends:

NOTE: This list is not in order from best to worst, or vice versa. It is also not in chronological order. Rather, I put them in the order I think you should watch them in. So watch the first one on the list first and continue down to the bottom. Or don’t, if that’s not what you’re into. And according to most horror movies (especially “The Silence of the Lambs”), people can be into some really weird stuff.

Psycho (1960)

Horror didn’t start with “Psycho,” but this is the point where the genre completely changed. Hitchcock’s masterful directing is years ahead of its time. He shows just the right amount of strength. 50 years later and that shower scene is still terrifying. “Psycho” inspired a new generation of filmmakers and audiences obsessed with slashers who could probably use a few therapy sessions with Freud.

Scariest Moment: The shower scene. No question.


Night of the Living Dead (1968)

I have never been a huge fan of zombie stories (sorry, “Walking Dead” fans, I’ll watch it one day), but “Night of the Living Dead” is more than just that. For starters, the word “zombie” is never said once, making this the only zombie movie where its plausible that the characters have never heard of zombies before. It came out in 1968, so you can bet that its full of references to Civil Rights and the Cold War. “Night of the Living Dead” is a fine example of how to make a convincing scary movie on a microbudget.

Scariest Moment: An infected young girl stabs her mother to death with a trowel.


Halloween (1978)


Sometimes, it seems like the power of “Halloween” has diminished, thanks to many sequels, a remake, and a vast amount of copycats. Yet, John Carpenter’s classic still holds up as a near-perfect (there’s a bit too many palm trees for Illinois) slasher film about terror in suburbia. While a majority of the tropes that make up most modern horror movies can be traced back to “Halloween,” Michael Myers is still one of horror’s most unique villains. He wears a plain white mask, and most of the killings are seen through his eyes. Sometimes, it feels the viewer is the slasher, and whether you enjoy it or not is up to you.

Scariest Moment: One prominent chase would have been scarier had Jamie Lee Curtis not been screaming about her stupid keys. So I’m going to go with the moment where it SEEMS like Michael Myers is dead…


Jaws (1975)

At age 12, I made the mistake of watching “Jaws” just a few days before getting on a cruise ship. It amazes me how much terror Spielberg was able to pull off with just a PG rating, but “Jaws” elevated Hitchcockian horror to blockbuster status. To this day, it is still the scariest and most entertaining horror movie involving a giant sea creature. Everything from the music to the shark itself are frightening as ever. Like Hitchcock before him, Spielberg shows great restraint in showing the shark sparingly (even if it was partially because of a technical issue).
Scariest Moment: Tough call, but I’m going to go with the opening shark attack. Basically, if you’re a girl in a horror movie and you take your clothes off, then you’re probably about to die.


Carrie (1976)

Like Spielberg, Brian De Palma worships at the feet of Hitchcock. That is one of the reasons why the recent remake of “Carrie” has nothing on the original. “Carrie” is a masterpiece of slow-building horror capped off by two amazing performances by Sissy Spacek and Piper Laurie. De Palma makes you wait a long time to get to the much anticipated moment when the bucket of pig guts falls. Yet, the wait is never boring; it is agonizing and suspenseful as hell because we’ve been waiting the whole entire movie to witness this tragic moment, and we just didn’t know it.

Scariest Moment: While the prom scene seems like a given, I am going to go with the second to last shot, which I will not spoil for you.


Rosemary’s Baby (1968)

A very famous movie came out in 1973 that is about demonic possession. While that one seems like the common sense example for this list, parts of it come off as kind of silly today. Meanwhile, “Rosemary’s Baby,” which contains very few scenes with the actual devil, is just as good today as it was in 1968. Roman Polanski might fool you a few times, as “Rosemary’s Baby” often doesn’t even feel like a horror movie. Like “Carrie,” “Rosemary’s Baby” is all about slow-building dread. And oh what an ever watchable display of dread this is.

Scariest Moment: In a hazy dream/nightmare sequence, Rosemary is impregnated by the devil. Brought to you by the sick mind of Roman Polanski.


The Silence of the Lambs (1991)

“The Silence of the Lambs” remains the only horror movie to win Best Picture, and for good reason. This is the first horror movie that must have really connected with voters: there are no vampires or zombies to be found here, just some psychotic humans. Anthony Hopkins and Ted Levine do amazing work creating two of the most haunting villains in cinematic history. The scariest part about “The Silence of the Lambs” is that these monsters could actually exist. Sometimes, they are just lurking in the basement next door to your house.

Scariest Moment: The showdown between Clarice, Buffalo Bill, and a pair of night vision goggles.


The Shining (1980)

“The Shining” is one of the most baffling and memorable psychological horror films ever made. It is one of Stanley Kubrick’s crowning achievements. “The Shining” has become a part of the pop culture lexicon (“all work and no play make Jack a dull boy”), and its influence on audiences has been so great that there is even a documentary about all of the theories it has espoused (“Room 237″). Jack Torrence could only exist in our worst nightmares, but his world is so vivid that it has become a part of our own.

Scariest Moment: Three-Way Tie: “Heeeeere’s Johnny!”/”Redrum”/”Come play with us forever and ever and ever.”


The Evil Dead (1981)

“The Evil Dead” might leave you breathless the first time you see it. “The Evil Dead” is filled to the brim with ideas and originality. The screams and geysers of blood are so over-the-top that they are frightening and intentionally hilarious at the same time. It’ll make you question your perception of horror in general. If you are a fan of the genre-bending done in “Community” or any Quentin Tarantino movie, then “The Evil Dead” is necessary viewing. It is also a must-see for every other human in general. Watch as Sam Raimi, at just age 22, proved he knew more about making movies than people twice his age. Heck I’m 21, and now I just feel like an underachiever.

Scariest Moment: “We’re gonna get you. We’re gonna get you.” Also, tree rape.

Funniest Moment: “Shut up Linda!”


The Cabin in the Woods (2012)

Playing off the genre-bending done by “The Evil Dead” years earlier, “The Cabin in the Woods” breathed new life into horror movies by deconstructing them. It spoofs the cliche group of college kids who go up to a cabin and get killed off one-by-one. Then, through some genius plot devices, “The Cabin in the Woods” explains exactly why all horror movies go the way they go. While it breaks away from formula, “The Cabin in the Woods” also defends it. But never mind that, it’s also as hilarious as it is insane.

Scariest Moment: The moment it gets bat shit crazy. You’ll see.

Other Contenders: Invasion of the Body Snatchers (1956), Deliverance, The Bride of Frankenstein, Alien, Se7en, The Birds

Still Need To See: Dawn of the Dead (1978), Friday the 13th (1980), The Omen (1976), The Texas Chainsaw Massacre (1974), The Hills Have Eyes (1977), Saw, Scream, Nosferatu, Paranormal Activity, Bram Stoker’s Dracula, Poltergeist

Overrated: The Blair Witch Project, The Exorcist

Horror pros and all others, what would you add to this list? Did I get it right? How many “Friday the 13th” sequels do I have to watch before I’m considered an expert?

Movie Review: Carrie (2013)

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Poor Carrie White. 37 years later, and she still can’t catch a break. The latest update of “Carrie” is not a total facelift, but it does take the White family and places them in the present day. If you’ve already seen the original, you might be interested to see how much more the White family feels out of place in 2013 than 1976.

Even for newbies, I believe the story of “Carrie” is well known enough at this point that I shouldn’t use too much time to lay it all out. Carrie (Chloe Moretz) is still a misfit, and her mother Margaret (Julianne Moore) is still a religious fanatic. Carrie still gets bullied, gets covered in pig guts, and then gets sweet, sweet revenge.


Unlike the original though, director Kimberly Peirce decided to focus much more on the bullying aspect. This is important, as the Internet has made bullying both much more prevalent and scarier than it ever was in the past. On the one hand, Peirce handles this topic with restraint, rightfully not cluttering the screen with texts and Tweets. This is what sets “Carrie” apart from most modern teen films, even if it is sometimes feels like a gorier version of a CW show. On the other hand, Peirce doesn’t explore the bullying idea enough, and it often feels more like an afterthought than an insight. Also, even somebody as maniacal and dumb as Chris (Portia Doubleday) wouldn’t post a video that incriminating on YouTube for anyone and everyone to see.

I’ve begun to shake off my completely negative attitude towards remakes. The best thing about them is that they can shed light onto the filmmaking of both the past and present. The “Carrie” of 1976 creates tension with a slow buildup. It is more a work of the Hitchcockian school of terror (indeed Brian De Palma was a big fan of paying homage to Hitchcock). The “Carrie” of 2013 throws the ideas of patience and subtlety out the door. The action scenes in the new “Carrie” are well choreographed and plausible, but they are never surprising and they never keep you guessing. At one point after a big explosion I said to myself, “oh they had to do that just in case we weren’t sure that character was already dead. Now they’re just more dead.” The more “Carrie” shows, the less scary it becomes.

While a movie about telekinesis obviously isn’t going to offer the most realistic portrait of high school, there could have at least been a little more effort. I would have liked to see Carrie in the same high school I saw in “The Spectacular Now,” where the teens at least speak the way teens actually do. “Carrie” feels less like a horror movie set in high school, and more like a superhero movie. In fact, at several points I felt reminded of “The Amazing Spider-Man.” While I really enjoyed that movie, Carrie shouldn’t be a superhero movie. It is more interesting, and more tragic, to watch her struggle with her powers. Carrie is a tragic anti-hero, not Wonder Woman.

There’s also a lot of problems with the dialogue, which rarely replicates the way teenagers actually talk. However, the actors make the best of the script they are given. Chloe Moretz, the most mature actress her age in Hollywood, embodies all of Carrie’s silent rage. Meanwhile, Julianne Moore is sometimes unrecognizable in her performance as Carrie’s mother. They both portray madness in two different ways: one implicitly, and one explicitly.

As director, Peirce definitely respects the source material, and does her best to remain faithful while inserting her original voice. It just doesn’t seem right to turn “Carrie” into such an on-the-nose anti-bullying film, when the original story did that so well without having to state the message. The latest version of “Carrie” is a fine introduction to the story, but its existence still doesn’t seem merited enough for me. Throughout its entire run, it had my attention. However, it never had my full curiosity.

SPOILER SECTION- Read on if you’ve seen “Carrie”

  • I think it was the new ending that bothered me most about “Carrie.” It is not even that Sue (Gabriella Wilde) going to court is less haunting than her having a breakdown in her mother’s arms. It is that they took the memorable final image of Carrie’s hand popping out of the ground and replaced it with what felt like the beginning of a music video. I am all for ambiguity, but I don’t even think this ending knew how it wanted to make the audience feel. 
  • This version decides to spare Ms. Desjardin. Her death in the original showed the consequences of Carrie’s revenge, and how little control she had over her own body. Now, her revenge is much more calculated. 
  • I think Richard Kelly would have been a great choice as director for this remake. He hasn’t made a great film since “Donnie Darko.” He really could use a comeback. 
  • Of course Mrs. White is crazy enough to give birth to Carrie all by herself.
  • Their last name is White. White…Walter White? Lot’s of evil…are they related?! Guys, I miss “Breaking Bad.” 

Rosemary’s Baby: My Favorite Horror Film

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Three years ago, I released a list of the five best horror films in honor of Halloween. However, three years is a long time and I am certainly not the same person I was back then. Naturally, both my opinions and taste have changed since then.

In 2009, I hailed “The Silence of the Lambs” as the best horror film ever made. I admit that I have never been the biggest fan of horror films. Zombies and slashers have never quite done it for me. So I think it would be more appropriate to say that this new post is about my favorite horror film. Seeing as I have yet to watch “Night of the Living Dead,” I don’t feel totally qualified to judge which horror film is the absolute best ever made. While I still consider “The Silence of the Lambs” a masterpiece, I have come to realize that “Rosemary’s Baby” is truly my favorite horror film of all time.


One of the biggest complaints made against of modern horror films is how the genre has substituted true suspense for blood and guts. Maybe that is why the horror films which effected me most usually have a supernatural element to them. Ironically though, I hate “The Exorcist.” Giving a character powers that they do not understand and cannot handle can say a whole lot thematically. For example, in “Carrie,” her telepathy is partly a metaphor for her ignorance of her journey into womanhood. “Carrie” does not get enough mentions in top ten lists.

“Rosemary’s Baby” isn’t even that frightening throughout its running time. Then again, there shouldn’t have to be someone hiding behind every door in order to make something scary. A scary idea can be more frightening than a few cheap screams.

“Rosemary’s Baby” is also one of the films that proves that Roman Polanski is a master filmmaker. Few directors have ever been so bold as to view humanity as so overwhelmingly dark. With the exception of “The Pianist,” the endings to most of Polanski’s films are devoid of optimism. However, they are never devoid of meaning.

The film is set mostly in one location. More horror films should use less locations, as giving characters less places to go for safety can make a story all the more chilling. The film centers around certified New York yuppies Guy (John Cassavetes) and Rosemary (Mia Farrow) Woodhouse who move into The Dakota. The Dakota would become the sight of a real tragedy 12 years later, as it was the home of John Lennon, and he was murdered just outside of it. One scene in the film showing a dead body just outside the building feels all the more eery when seen through the lens of history.

The film begins more hopefully than it ends. The young couple is ready to have a baby, yet Guy is struggling to make it as an actor. Their neighbors are the overly hospital Castevets (Sidney Blackmer and Ruth Gordon). Gordon deservingly won an Oscar for this role. It has always been difficult for me to decide which version of Ruth Gordon she should best be remembered by: the crazy, spritely old Maude of “Harold and Maude,” or the crazy old witch who acted like anyone’s grandmother in “Rosemary’s Baby.”

Guy will do anything to make his acting dreams a reality, and he may or may not have made a deal with the Castevets to transform Rosemary’s seed into the son of Satan. Besides one scene early on in the film which is presented with a nightmarish quality, “Rosemary’s Baby” is mostly grounded in reality throughout. It is also a detective story, with Rosemary investigating her own pregnancy and trying to find out whether her deepest fears are actually all too real. I am not sure how this film was advertised when it was first released in 1968, or whether people knew what the ending would be like going into it. I do not believe saying this is a spoiler, but anyone going into this film would automatically believe that Rosemary is right in her suspicions. If she wasn’t, then there wouldn’t be a film at all.

Keeping that in mind does not managet to ruin the power of “Rosemary’s Baby” in any way. “Rosemary’s Baby” possesses the greatest trait of American films from its era: building up and up and up to a devastating conclusion. Letting things sizzle for longer than they should always leads to great results. The unseen is most terrifying, and that is why we are kept in the dark for so long about this Satanic mystery.

Many horror films play on the idea of how frightening the unseen can be. What makes “Rosemary’s Baby” so unique is the way in which it plays on common fears. “Rosemary’s Baby” asks whether or not we can really trust the people who are supposed to help us unconditionally, such as our family, friends, doctors, and neighbors. In true Polanski fashion, “Rosemary’s Baby” shows that even our loved ones could be working against us because human selfishness knows no boundaries.

Polanski’s films always center around one character who are pulled into evil despite never wanting to be a part of it. The final shot of “Rosemary’s Baby” is both haunting and strangely sublime. Rosemary is that moral center, and she comes to grips with the idea that even if the world were ruled by absolute evil, evil would not be able to exist without love. In Polanski’s eyes, a world without love is more terrifying than staring Satan directly in the eyes.

“Rosemary’s Baby” may be so unforgivingly dark, but there is a reason that I want to keep revisiting it. It is a continuously engaging story that is never ruined by knowing the twists. The script, based on the novel by Ira Levin and adapted for the screen by Polanski himself, shows Polanski’s overlooked gift for humor. “Rosemary’s Baby” is populated by an array of colorful New York high society stereotypes that nearly border on satire. I have not read the original source material, but I wouldn’t be surprised if Polanski crafted many of these exaggerated characters himself, as he always enjoyed spinning our views on the wealthy. Polanski had a reputation for being difficult to work with, but it seems as if his boldest decisions usually end up being for the better. If it wasn’t for Polanski’s change to the ending of Robert Towne’s “Chinatown” script, that film might have been just another detective story.

Believing in the existence of a demon child might seem ridiculous, but the world created by this film is so well crafted that I actually felt stupid believing that the opposite could be true. People seem to only want to talk about horror films around Halloween. “Rosemary’s Baby” is perfect for any time of the year. Because it is as frightening and daring today as it was 44 years ago, it remains timeless in every sense of the word.

People please tell me, which horror classics are your favorites? Which ones do I still need to watch?

Things That Should Possibly Happen: A Carrie Remake

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That awkward moment when someone pours pig guts all over you at prom.

New remake gets “Carrie”-d away, said the worst headline writer ever.


Hollywood doesn’t seem to understand that if it ain’t broke, don’t fix it. However, I’m done yelling at studio executives who probably aren’t listening, and I’m also tired of referring to every person who works in the film industry collectively as Hollywood. The idea that existing properties are more valued than original ones needs to change, but there is no way that it will ever happen overnight.

The latest remake being concocted is of “Carrie,” Brian De Palma’s twisted horror thriller. “Carrie” seems to have little justification for a remake. “Carrie” stands out to me because because nothing really exciting happens until the very end, yet the whole experience is a thrill to watch. The promised finale lasts under five minutes, yet it is as spectacular and horrifying today as it was in 1976. The slow buildup is a perfect display of Hitchcockian tension. This is a subtlety that most horror movies today are devoid of, and I fear that a modern update of “Carrie” would be substitute real scares for extra buckets of blood. And not just pig’s blood.

However, there is one saving grace to the “Carrie” remake. Chloe Moretz, better known as Hit-Girl from “Kick-Ass,” has signed to take Sissy Spacek’s place as “Carrie.” Now, Moretz is not quite Sissy Spacek yet but then again, neither was Sissy Spacek when she took this role. Moretz can play a hard-edged teen, but can she bring Spacek’s creepiness and vulnerability back? Also, the movie will be directed by Kimberly Peirce, who directed “Boys Don’t Cry.” I have yet to see “Boys Don’t Cry,” but some extra female perspective for this story could be interesting.

Either way, I’m standing by the original. And unless Peirce really screws up, there is no way this could be as bad as the Broadway musical. Discounting the fact that this story should never be a musical, it was apparently terrible.

Read more about the remake here.

In Honor of Halloween: The Five Best Horror Films

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I’ve always had an admiration for horror films because, when done right, they can quite simply define what it means to be entertained. You might forget why you cried at the end of “Titanic,” but you’ll never forget that final shock in “Carrie,” or that shower scene in “Psycho.” Quite simply, a good scare proves that our emotions remain intact.

What better time is there to celebrate the best films that make you scream than on Halloween? If you’re looking for some real horror this Halloween, check out these films; the five best horror films:

1. The Silence of the Lambs- To date, this is the only horror film to win Best Picture at the Oscars. And for good reason. “The Silence of the Lambs” boasts two of the creepiest villains ever and one of the most troubled heroes. You might be most shocked by the cannibalism and you might be most shocked by the well scene. Point is, there’s enough shock here to go around. As violent as it is, “Silence of the Lambs” is the rare horror film that truly uses character for thrills. And not cheap thrills. Anthony Hopkins performance as the brilliant cannibal Hannibal Lecter is one of the greatest in all of cinema. “A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” Hopkins delivery of this line makes it all the more chilling. They say some movies truly have to be seen to be believed. If you want to understand truly why this horror film tops all others, then sit down and watch it, frame by frightening frame.

2. Psycho- Skip the 1998 shot-by-shot remake. Head toward the original instead because almost five decades later, Alfred Hitchcock’s classic hasn’t lost its power to make audiences scream. In discussing this film’s qualification for the list, only one scene is necessary: the shower scene. This scene still delivers goose bumps because of its hyper-fast cuts and shrieking musical scores. Try showering alone again after watching this, it won’t be easy.

3. Se7en- This contemporary masterpiece is also one of the bleakest films ever put onto the big screen. The film follows two cops hunting for a certain John Doe, a psychopath who kills his victims based on the seven deadly sins. “Se7en” is so distinct in the fact that it can frighten you for days not by what it shows you, but what it doesn’t show you. The audience never sees any of the victims die, but the aftermaths are even more horrible.

4. The Shining- The master of every genre, Stanley Kubrick, deserves at least one mention on this list. Only someone like Kubrick could take something as simple as a ghost story about a writer going mad from isolation and trying to kill his family to something so frighteningly complex. In this movie, it’s not just the axes and the blood that are so scary, but the eerie musical score, and those stunning tracking shots. “The Shining” was released 20 years after “Psycho.” This time audiences weren’t so much afraid of being stabbed in a motel shower by Anthony Perkins, but axed in the face in a hotel bathroom by Jack Nicholson.

5. Carrie- Some horror films try to scare you with cheap thrills like oozing blood and bumps with the night. Not this one. What starts off as your typical drama about a bullied high school girl, until she gains super powers and uses them for revenge. “Carrie” is a slow building horror film, with the greatest not occurring until well over an hour in. Brian De Palma uses Hitchcockian techniques to create slow-burning suspense leading up to its unforgettable climax. “Carrie” is an essential horror film for those with patience. To top it all of, this movie has the best final scare. Ever.

And, a few other classics: Rosemary’s Baby, Jaws, Deliverance, Alien

Movie Review: The Final Destination (3D)

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When did audiences stop caring about life and start cheering on merciless, unnecessary death? I didn’t realize this was the case until I sat through “The Final Destination.” In 3D. And felt myself cheering too.

Maybe it wasn’t such a bad thing that we were all cheering. After all, what sympathy could be felt for the characters? Not one felt the least bit developed. Well, maybe a little bit. The most I could say is that Nick (Bobby Campo) goes to a race car event with his friends. There, he has premonitions of a disaster in the stadium causing brutal death. Him and his friends, along with a few others, narrowly escape the carnage. They have cheated death. This sets off a chain of events that leads to each of them being killed off in the most unpleasant ways imaginable. Oh, and Nick also has a friend named Hunt (Nick Zano) who’s kind of a tool. I don’t remember any other of the characters’ names. And I don’t really care. 
The actors certainly don’t help bring sympathy to the characters. Their dull and lifeless delivery bring nothing to the script; not that there’s anything good to the script. The dialogue is nothing but a series of platitudes and cliches. At one point, one character actually says “you only live once” and tries to pass it off as original, moving, and insightful. Of course, it is none of these things. 
The film’s director, David R. Ellis, has a strange resume that includes “Final Destination II,” “Snakes on a Plane,” and “Homeward Bound II.” In directing “The Final Destination” he breaks the rule that makes a horror film great: waiting. Don’t try to hit your audience with so much in so little time, you have to let the characters grow. You have to let the fear grow. That’s what makes horror films like “Psycho,” “The Silence of the Lambs,” and “Carrie” so effective: they grow on you. And then, suddenly, they give you and incredible jolt out of the dark.
The debate “The Final Destination” covers is one that has been argued for centuries on and off the screen: fate vs. freewill. Can you cheat death? And if so, will death find you again? “The Final Destination” obviously leans towards the latter. However, it seems to believe that spilling blood and guts is an effective way to prove a point. Believe me, it’s not. If you’d like to see this topic discussed much more eloquently, watch an episode of “Lost” or read “Man’s Search for Meaning.”
Now, most of you wanting to see this movie aren’t looking for a sophisticated debate; you’re looking for escapism. Well, you won’t find it here. Escapism is enjoying a film that provides a sort of world you know can’t exist, but for a limited amount of time, you’ll believe it does anyway. The kind of escapism “The Final Destination” provides is the kind where you can laugh at the ridiculousness of the film. But this is not enjoyment. For real escapism, go see “Inglourious Basterds” instead.
I will admit, this is only the first “Final Destination” movie I’ve seen. I felt confused at first, so my friend explained the premise of the other three to me. The premise was the exact same for each movie, and he seemed to have a good feeling that this installment would go the same way. I doubted him for a second, thinking nobody could possibly carry out the same idea and get away with it three times. He was right.
Note: Don’t let the title fool you. Even though it’s called “The Final Destination,” the film is truly “Final Destination 4.” This just marks a weird trend where studios try to wipe out a franchise history by leaving out the number of the film (ex: Fast & Furious, Rambo). Sorry guys, it isn’t working.