Toy Story 4
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
We encourage our community to report abusive content and/ or spam. Our team will review flagged items and determine whether or not they meet our community guidelines.
Please choose best explanation for why you are flagging this review.
Thank you for your submission. This post has been submitted for our review.
Sincerely, The Rotten Tomatoes Team
Nail Gun Massacre, I don't want to be born, Mr. Frost, High Life, and Valhalla Rising... and now this. nothing but shitty movies ive been watching lately . Arrggh!
Love this movie! Good clean muderous fun. It's not like anything done before at the time and i found myself horrified one minute and laughing the next.
Wes Craven wins again. The creativity in this movie does not disappoint. Any true metal fan should watch this for the sound track alone kudos to Desmond Child for putting that together.
Solid take on a criminal on death row and the aftermath of something that could go wrong when you try and execute someone. This film has scary parts and some very bad '80s gags as well.
With all the elements Wes Craven tried to jam into the film, "Shocker" it should have been a dud. Instead, Craven cranks the performances and ridiculousness to Looney Toon levels and creates the perfect guilty pleasure "B" movie. This movie is overstuffed, over the top, and too much fun to hate. 4 stars
Not bad most of the way through, I just didn't like the tv stuff at the end. It's very similar to Fallen with Denzel Washington if you were into that flick. Lot of similarities between this and Craven's NOES series. Just wish it had a better final act.
Absolutely ridiculous and cheesy body-swap horror movie. Wes Craven attempts to make a new horror icon like Freddy, but for the MTV/video generation, but ultimately fails. So much of it makes zero sense, but still, it's so much fun. And holds tons of nostalgic value for me.
Horace Pinker (Mitch Pileggi) was meant to be the next evolution in Wes Craven's horror odyssey. A bald serial killer who worships at the throne of channel-surfing, Pileggi hops right on board the gargantuan overacting inherent in the role. In a sidenote, it's an amusing nuance that Pileggi had to mimic the limp of a prepubescent girl who was possessed by Pinker later in the film because she filmed her scene before he arrived on set. However, Shocker nosedived at the box office and Craven couldn't capitalize on another Freddy Krueger. For what it's worth, Shocker is a rollicking, albeit cynically synthesized horror-comedy. The boob-tube hypnosis and desensitization to cathode-ray-tube violence would've been a viable outlet for satire but Craven presumably abstains from social commentary for once. Craven plunders wholesale from his Nightmare on Elm Street template. The opening is precisely identical to his aforementioned franchise with a repair shop instead of a boiler room. The lines between reality and REM sleep are blurred. Pinker spews sound bytes that could've been pun-intended catchphrases ("Take a ride in my Volts-wagen"). Moreso than his other films, rationalization and logic hold no sway over the far-fetched writing in Shocker. Jonathan Parker (a vanilla Peter Berg) is a foster child who practically lives in an expensive suburban house all by himself like a Nickelodeon sitcom. A necklace imbued with the omnipotent power of "love" is the only object that can defeat the electrified Pinker. It might seem that I'm deriding this film but actually I wholeheartedly recommend it. The flickering, low-res pixel version of Pinker was quite innovative for the time. The showstopper is a gonzo sequence where Pinker and Jonathan hopscotch through different programs from a Leave it to Beaver to a John Tesh newscast to a televangelist set. Obviously, Shocker should be evaluated with a macabre sense of humor. The Dudes of Wrath and Alice Cooper soundtrack guarantees the film is a heavy-metal guilty pleasure for headbangers and any opportunity to hear a tongue-wagging Michael Murphy shriek "eat shit and die you little fucker" is a succulent treat. If nothing else, it is superior to both The First Power and The Horror Show which overlapped the same premise.
I have a fondness for schlocky 80s horror flicks and Wes took this one a notch above the typical fare. Sure, it's silly (and not in the same league as Nightmare or Scream) but it is enjoyable to watch.
its still one of my favorite Wes Craven movies R.I.P. Wes Craven