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 The Fog: Uncut Version

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Review by Clint Morris

It’s just terrifying. Totally bloodcurdling. Really sends chills down your spine. Goosebumps galore. What about you guys? Tired of the sloppy morbid horror redo? Nauseating right?

Yank the strap across your chest, poke it in the hole, and hold on – it’s time to buckle up for the belated skirmish between man and, well, fog.

The Fog

When a small Oregonian island community is suddenly attacked by a impenetrable, mystifying, spiteful fog, which conceals the spirits of some revenge-seeking dead dudes, it’s up to charter fisherman Nick (Tom Welling, Smallville), his just-returned-home girlfriend (Maggie Grace, Lost) and the town’s local D.J (Selma Blair, not currently on a hit TV show), among others, to fight it off.

Get up at 6am one day next winter, stand on the front lawn for a few minutes, and set your peepers in the direction of the frosty air lifting from the blades of grass. Sound scary? The makers of The Fog think so. Most will find that screechy noise your car windscreen wipers make when the blades aren’t on their tracks more frightening.

In the early 80’s The Fog might have been an OK movie – reasonably scary, well shot, full of nice ideas – but today, it’s as hammy as a Family Meat lovers. It’s a wonder acclaimed director John Carpenter even allowed his name to be used on the retool because compared to most of his films – even the original – this is an uber-average, rather pointless exercise in recycling. No doubt Carps needed some lunch money.

If it’s pretty young things that you want though – you’ll be in primetime heaven. Tom Welling – shirtless for a good part of it - will keep the girls armpit’s awash, and Maggie Grace – who gets about in skimpy shorts for a large part of the film, despite the chilly weather - will distract most guys from the frightless scares and the film’s indiscernible purpose, with her smouldering supermodel looks. Throw in Selma Blair, and you’ve got quite a tasty sandwich. Of course, no sandwich is complete without some meat – and there’s none on offer here. This is unexciting, unsavoury, derivative and effectively another exercise in paint-by-numbers cinema.

Cheque please.

EXTRAS

Extras include a commentary from the director, several featurettes on the making of the film, and deleted scenes. Better than nothing, but not mind-bogglingly amazing by any stretch of the imagination.

Conclusion: Movie 50% Extras: 40%

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