With the run of original Star Trek films, there's a long-standing theory that only the even-numbered entries are good, i.e. Star Trek II: The Wrath of Khan, Star Trek IV: The Voyage Home, Star Trek VI: The Undiscovered Country. Well, that theory does not apply to director J.J. Abrams' rebooted franchise; both of his voyages of the starship Enterprise — 2009's Star Trek and this summer's sequel of Star Trek Into Darkness — stand strong as successes across the board: creative, critical and financial.
Once upon a time, the idea of a film being silent, foreign and — steee-rike three! — black and white equated to box-office poison. Then 2011’s The Artist won five Academy Awards, including Best Picture; earned $133 million worldwide; and lived happily ever after.
To paraphrase a character late in The Black Waters of Echo's Pond, anything to get off this movie. From the start, director Gabriel Bologna (The Asylum's 30,000 Leagues Under the Sea) has no real hold on the material; what little there is gets so far away from his grasp that his last name proves accidentally apt.
I've seen many a zombie movie — too many, one could argue successfully — but 1966's The Frozen Dead must be the first in which a member of the undead was so concerned with hair care, Carly Simon probably wrote a song about him. As the pic's mad scientist introduces him, “This one is harmless. He combs his hair continuously, like a vain adolescent.”