Film

The Top 10 Horror Remakes of All Time

The horror genre has produced some remake junk. In the case of these ten treats, the update delivers something definitive.

Hollywood loves a remake. From the earliest days of the artform, studios have sifted through previous hits (and a few near misses) to reformulate and resell the same stuff to audiences who don't seem to care about the subterfuge. Over and over again, similarity has struggled against individuality for celluloid recognition. For example, Love Affair, the 1994 Warren Beatty/Annette Bening vehicle was actually an update of the Cary Grant/Deborah Kerr weeper An Affair to Remember, which itself was a take on 1939's Love Affair. There have been several A Star Is Borns and dozens of Draculas. In fact, horror seems to stoke the fires of reconfiguration more than any other genre. Go down a list of classic fright films and you'll see a smattering of originals and a whole lot of reduxes.

As a result, the dread devotee has more to fear than the monster in the closet. Again and again, the creative forces behind the bean counters want re-imagined versions of beloved spook shows because (1) they can easily market the movie based on the original, and (2) the built in audience for fear will buy into almost anything. Indeed, as long as it is remotely scary, the macabre geeks will show up in droves. In a year which saw The Evil Dead, Maniac and Carrie get the decent update treatment, it's time to look back and determine when the horror remake was actually done right. While some may argue with the choices, what is clear is that -- to paraphrase Jud Crandall in Pet Sematary (itself worthy of a do over) -- "sometimes, redone is better."

So here they are, the Top 10 Horror Remakes of All Time, beginning with a goofy gorefest so fun you'll actually laugh at all the lost limbs...

 
# 10 - Piranha 3D
While he also scored big with the update of Wes Craven's cannibals in the desert effort The Hills Have Eyes, French fright master Alexandre Aja made a true terror statement with the superbly schlocky Spring Break splatterfest based on a creaky old Roger Corman title. With enough blood and body parts to keep an entire mortuary in business for a year, the results reminded fans that gore could be nasty and nauseating, but it could be a lot of fun as well.

 
# 9 - The Ring
Much of the success of this revamp comes from the efforts of eccentric director Gore Verbinski. Anyone whose seen his films outside the original Pirates trilogy knows he is a man of unique vision. While following the Japanese original rather closely, the filmmaker found a way to make sure the creepiness crawled under one's skin and stayed there. The film within a film, representing the supposedly deadly videotape content, remains a macabre masterwork.

 
# 8 - Night of the Living Dead (1990)
As a gift to F/X god Tom Savini, high profile buddy George Romero let him helm an early ‘90s revamp of the film that literally started the entire zombie genre. Considering the man behind the lens, one knew that the blood and guts would be great. What they couldn't have expected was the overall results. It remains revelatory, gory, grim, and given over to the time and temperament of its mostly post-modern mindset.

 
# 7 - The Texas Chainsaw Massacre
Marcus Nispel clearly needs to helm every horror remake on the horizon. Before helping Mama Voorhees’ favorite son get his garroting groove back (in the equally effective take on Friday the 13th), he took Tobe Hooper’s power tool loving lunatic and made him even more terrifying. With the budget and body count the original couldn't match, Nispel reimagined the Massacre myth as a kind of last layer of Hell. Unfortunately, he let an audience in to watch the wicked fireworks. A stellar update.

 
# 6 - Halloween (2007)
Originally, fans were split on Rob Zombie’s FBI profiler take on John Carpenter’s famous butcher knife wielding maniac Michael Myers, with most hating his brutal interpretation. They just couldn't get the excellent source material out of their geek heads. Now, Zombie's horrific take is appreciated for what it truly is: a marked masterwork that’s just as strong as its inspiration. Even the self-indulgent sequel does Myers and his mystique proud.

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The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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