I was pretty sleepy watching this one, slipping into dream-thinking constantly. Which, I think, is not a bad way to watch these Italian horror movies. They tend to be heavy on imagery and lighter on the plot, so following the story doesn't matter as much as enjoying what hits your eyeballs. My impression of this film was that it was a very cool combination of Argento's visual style and Fulci's gore. I liked it. I'll have to watch this one again when I'm awake someday. (?/10)
30 September 2011
September 30th
Demons (1985) directed by Lamberto Bava
I was pretty sleepy watching this one, slipping into dream-thinking constantly. Which, I think, is not a bad way to watch these Italian horror movies. They tend to be heavy on imagery and lighter on the plot, so following the story doesn't matter as much as enjoying what hits your eyeballs. My impression of this film was that it was a very cool combination of Argento's visual style and Fulci's gore. I liked it. I'll have to watch this one again when I'm awake someday. (?/10)
I was pretty sleepy watching this one, slipping into dream-thinking constantly. Which, I think, is not a bad way to watch these Italian horror movies. They tend to be heavy on imagery and lighter on the plot, so following the story doesn't matter as much as enjoying what hits your eyeballs. My impression of this film was that it was a very cool combination of Argento's visual style and Fulci's gore. I liked it. I'll have to watch this one again when I'm awake someday. (?/10)
29 September 2011
September 29th
Basket Case 3 (1992) directed by Frank Henenlotter
Did I miss it? For some reason, I'm bizarrely worried that no one seems to have mourned the death of Baby Belial #12. He's the one that got smushed by the sheriff's daughter after she took a shotgun blast to the chest and sat on him. Did Belial even find out about that? I was a bit sleepy watching this one, but I don't remember that he did. Duane saw it (and said, in not-too-worried voice, "Oh, no."), so I suppose the telepathically-linked Belial would've know as well. Still.
Maybe it's an easy detail to overlook with all of the other weird stuff going on. Belial's wife Eve gives birth in an explosion of goo, all of the freaks sing "Personality" together on a school bus and Belial ends up with a robot body to better seek revenge. You know, standard Henenlotter weirdness. Duane was also a little more like his goofy old self from part 1, with a dollop of insanity on top to make it interesting.
Still, this one doesn't work quite as well as Henenlotter's other movies. I think because there wasn't much of a story, really. The freaks drive to Georgia to get birthing help for Eve, local law enforcement kill her and steal her babies, and then the freaks get revenge. There's not quite enough here to chew on even with the weirdness. (6/10)
Bad Biology (2008) directed by Frank Henenlotter
Yeah, this is about what I would expect from Henenlotter after a sixteen-year absence from directing. No longer hidden in penis-shaped Aylmers and panty-stealing Belials, the sexual nature of his work comes out into full view. Jennifer has 7 clits, an insatiable sex drive and the ability to bear children in a couple of hours. Batz has a giant, drug-addicted penis with a mind of its own. Will this star-crossed couple ever meet?
Charlee Danielson is great as the hyper-sexed Jennifer. She gives the role so much energy, she's completely entertaining to watch. Perhaps for this reason, the movie focuses mostly on her and her quest to figure out God's purpose for her unique anatomy. I was so happy so see Beverly Bonner in another cameo, giving her a role in every Henenlotter movie. I was also happy to see a lack of CGI in the film: everything is Karo syrup and latex rubber, from Jennifer's mutant babies to Batz' mutant weener. The way it should be.
A decent body horror / schlock / exploitation film with bucket-loads of nudity, mutations and vagina masks. (7/10)
Did I miss it? For some reason, I'm bizarrely worried that no one seems to have mourned the death of Baby Belial #12. He's the one that got smushed by the sheriff's daughter after she took a shotgun blast to the chest and sat on him. Did Belial even find out about that? I was a bit sleepy watching this one, but I don't remember that he did. Duane saw it (and said, in not-too-worried voice, "Oh, no."), so I suppose the telepathically-linked Belial would've know as well. Still.
Maybe it's an easy detail to overlook with all of the other weird stuff going on. Belial's wife Eve gives birth in an explosion of goo, all of the freaks sing "Personality" together on a school bus and Belial ends up with a robot body to better seek revenge. You know, standard Henenlotter weirdness. Duane was also a little more like his goofy old self from part 1, with a dollop of insanity on top to make it interesting.
Still, this one doesn't work quite as well as Henenlotter's other movies. I think because there wasn't much of a story, really. The freaks drive to Georgia to get birthing help for Eve, local law enforcement kill her and steal her babies, and then the freaks get revenge. There's not quite enough here to chew on even with the weirdness. (6/10)
Bad Biology (2008) directed by Frank Henenlotter
Yeah, this is about what I would expect from Henenlotter after a sixteen-year absence from directing. No longer hidden in penis-shaped Aylmers and panty-stealing Belials, the sexual nature of his work comes out into full view. Jennifer has 7 clits, an insatiable sex drive and the ability to bear children in a couple of hours. Batz has a giant, drug-addicted penis with a mind of its own. Will this star-crossed couple ever meet?
Charlee Danielson is great as the hyper-sexed Jennifer. She gives the role so much energy, she's completely entertaining to watch. Perhaps for this reason, the movie focuses mostly on her and her quest to figure out God's purpose for her unique anatomy. I was so happy so see Beverly Bonner in another cameo, giving her a role in every Henenlotter movie. I was also happy to see a lack of CGI in the film: everything is Karo syrup and latex rubber, from Jennifer's mutant babies to Batz' mutant weener. The way it should be.
A decent body horror / schlock / exploitation film with bucket-loads of nudity, mutations and vagina masks. (7/10)
28 September 2011
September 28th
Basket Case 2 (1990) directed by Frank Henenlotter
What happened to Duane? He used to be such a nice kid, if you ignored the whole "helping his brother murder people" thing. In this movie, he's a kind of a douche. Missing is that weird disconnect from normal life he had in the first movie. Here, he keeps expressing a desire to live a normal life. I don't think the Duane from part 1 would even know what that meant. But, it is a story mover. Duane gets to learn a hard lesson about what happens when he ignores his freak heritage and is silly enough to be grossed out by his girlfriend's tummy-snake.
The other freaks in the movie are very, very cartoony. I'm tempted to love them -- the designs on many are really cool (my favorite is the dude with huge teeth jutting out) -- but I also miss the slightly more realistic world of the first movie. Then again, how can I complain when Henenlotter decides to do some crazy shit on screen? I love that the guy'll try this type of thing, even if it doesn't work out 100% of time. I'd admire both his creativity and his guts.
I've gotta say I do like the ending, though. Duane snapping and sewing poor Belial back onto his side is great. I hope they walk around still connected in part 3 for a while. (7/10)
What happened to Duane? He used to be such a nice kid, if you ignored the whole "helping his brother murder people" thing. In this movie, he's a kind of a douche. Missing is that weird disconnect from normal life he had in the first movie. Here, he keeps expressing a desire to live a normal life. I don't think the Duane from part 1 would even know what that meant. But, it is a story mover. Duane gets to learn a hard lesson about what happens when he ignores his freak heritage and is silly enough to be grossed out by his girlfriend's tummy-snake.
The other freaks in the movie are very, very cartoony. I'm tempted to love them -- the designs on many are really cool (my favorite is the dude with huge teeth jutting out) -- but I also miss the slightly more realistic world of the first movie. Then again, how can I complain when Henenlotter decides to do some crazy shit on screen? I love that the guy'll try this type of thing, even if it doesn't work out 100% of time. I'd admire both his creativity and his guts.
I've gotta say I do like the ending, though. Duane snapping and sewing poor Belial back onto his side is great. I hope they walk around still connected in part 3 for a while. (7/10)
Frankenhooker (1990) directed by Frank Henenlotter
More Henenlotter insanity. Jeffrey is an electrician who dabbles in self-taught surgery. One day his fiancee, Elizabeth, is run over by a remote-controlled lawnmower. He decides to fix her himself, saving her head and a few other body parts in a vat of pink goo while he sketches out plans for an electrical-charged replacement body. Ah, but where to get the replacement body? Hookers, obviously. Wacky hijinks then ensue.
No, seriously: they are wacky. How about a room full of hookers exploding like firecrackers after going crazy smoking some "super crack" Jeffrey whipped up in his garage? How about the resurrected Elizabeth sexing up a john, the john exploding from her electricity, and his flying head talking about about what a good time he had? Yeah, that happens. And, then, at the end, with Jeffrey's new body...
I hadn't seen this one before, but I love it nearly as much as Brain Damage now. Damn, what a good time. (8/10)
27 September 2011
September 27th
Basket Case (1982) directed by Frank Henenlotter
The Basket Case blu-ray arrived in the mail and Cinema Wasteland is imminent; I think it's Henenlotter marathon time! Man, I love any movie set in '70s / early '80s New York City, I don't care what it's about. The gritty side of the city that always shows up in movies from this era is a character unto itself. Duane in this film moves into a decrepit hotel and watches a porno movie on 42nd Street, which is coated in sex shops and hustlers as far as the eye can see.
Siamese twins are out for revenge on those who separated them. One of the twins happens to be a hideous and violent mutant who can conveniently fit in a basket. Not a tremendously surprising horror movie plot, but it's the details that elevate this movie above other grindhouse examples. The wacky cast of characters living in Hotel Broslin are fun to watch, especially the barely contained ball of sensuality that is Beverly Bonner. The completely fake-looking Belial puppet has a bizarre charm to him... I think his particularly creepy eyes help. Kevin Van Hentenryck plays Duane perfectly. While he's a wide-eyed, naive kid from upstate, he's also completely on-board with Belial's mission to murder those who cut them apart and goes about this task with a disturbing casualness.
What's in the basket? Good ol' exploitation fun, that's what. (7/10)
Brain Damage (1988) directed by Frank Henenlotter
Completely bugnuts and I dig every second of it. I love the pure creativity of the premise: a centuries-old blue worm-type creature likes to poke a tongue-needle into people's brains to drug them so he can find other people whose brains he will eat. Oh, and the creature is named Aylmer and he speaks in down-home, friendly manner (voiced by famed horror host Zacherle) and he has a penchant for singing. Oh, and he has cute little eyes and tons of teeth:
Brian meets Aylmer and becomes completely addicted to the blue goo Aylmer shoots into his brain. It's something of a super-hallucinogen, causing him to see awesome lights coming from everywhere and to not know what the hell he's doing. He spends about a quarter of the movie high as kite, laughing hysterically at nothing, seeing meatballs turn into pasta, and carrying Aylmer to his next brain dinner. Next thing you know, his girlfriend's dead and he's shot the top of his skull off. Except, he doesn't die. He's so extremely high during his suicide attempt, all that comes out of his brain is bright light. Awesome.
Probably a far better anti-drug film than anything the DARE program puts out. (8/10)
26 September 2011
September 26th
Grimm Love (2006) directed by Martin Weisz
"How are they going to make a whole movie out of that German cannibal case?" I wondered as the movie began. "Shoehorn Keri Russell into it as a college student investigating the incident in order to pad the movie" seems to have been the answer. The cannibals' portion of the movie is actually pretty good. It's a very twisted romance between two very broken men. Unfortunately, the movie grinds to a halt every time we switch from the cannibals to Russell. There's no reason to care about anything she does; she's looking at the locations these events happened in far after the fact.
I suspect, in addition to the padding it offers, the Russell story was added to "de-gay" the movie as much as possible. I bet the producers were worried about trying to sell a movie that's not only about cannibalism, but features two gay main characters. I can think of no other reason that we're shown Russell in both swimming and bathtub scenes, as neither were necessary to the plot. It's a shame. With some editing, I think this could be transformed into a great short. As it stands, it's just not effective. (5/10)
"How are they going to make a whole movie out of that German cannibal case?" I wondered as the movie began. "Shoehorn Keri Russell into it as a college student investigating the incident in order to pad the movie" seems to have been the answer. The cannibals' portion of the movie is actually pretty good. It's a very twisted romance between two very broken men. Unfortunately, the movie grinds to a halt every time we switch from the cannibals to Russell. There's no reason to care about anything she does; she's looking at the locations these events happened in far after the fact.
I suspect, in addition to the padding it offers, the Russell story was added to "de-gay" the movie as much as possible. I bet the producers were worried about trying to sell a movie that's not only about cannibalism, but features two gay main characters. I can think of no other reason that we're shown Russell in both swimming and bathtub scenes, as neither were necessary to the plot. It's a shame. With some editing, I think this could be transformed into a great short. As it stands, it's just not effective. (5/10)
25 September 2011
September 25th
Hellraiser (1987) directed by Clive Barker
Grandpa had signed me up on his Family Video account as being able to rent R-rated movies. Mom had no idea. One bright summer afternoon while she was out, some friends and I decided to have a horror movie marathon. We picked up The Gate, another movie I can't remember, and Hellraiser. I had been dying to see Hellraiser ever since catching the TV spots for Hellbound a few years prior. The tag line "time to play" uttered by a monster with nails precisely pounded into his head had me insanely curious as to what such a creature meant by "playing."
I wasn't disappointed. Hellraiser introduces some entirely new horror monsters. The Cenobites aren't out for revenge, or crazy or even bloodthirsty. They are merely "explorers in the further regions of experience" and can be "demons to some, angels to others." They provide an "experience beyond the limits: pain and pleasure, indivisible." Should you call them, they will manipulate your body with a precision far beyond any human surgeon. They will make your nerve endings sing an opera of extreme sensation. Fascinating stuff.
There's much to like in this film. The Cenobites, of course. Clare Higgens is brilliant as Julia, the true monster of this horror film. We watch as lust transforms her from housewife to timid killer to cool murderess. Christopher Young's majestic music is one of the best horror movie scores ever committed to film. Barker's visuals, particularly when shooting Frank, are beautiful. I love the shots of skinless Frank against the opaque windows in the attic room. Frank himself is beautiful and his resurrection scene -- backed with that majestic score -- is a highlight in '80s horror. Some of the low budget shows through in the obviously latex skin being torn and the less-than-realistic Engineer puppet, but the film is mostly effective at what's it's attempting.
During our horror marathon that summer twenty years ago, Mom came home earlier than I'd planned. She walked into the living room right as Julia let out a loud moan, Frank thrusting on top of her. We were both embarrassed, but she said nothing and left us to our movies. Once my friends had left, told me she didn't want me watching such things. I argued back, attempting to explain how far behind I felt and how many horror movies I still needed to see just to catch up with the rest of the world. I doubt she understood, but I was already hooked; a life-long horror fan had been born. (8/10)
The Silence of the Lambs (1991) directed by Jonathan Demme
The only horror movie to ever win a Best Picture Oscar, though you can certainly argue this isn't a horror movie. Me, I typically cast a broad net and count serial killer pictures as horror movies, mainly because they aren't a whole lot different from a Michael or a Jason, except for their lack of immortality.
I haven't watched this film in years. I hadn't noticed the sexism subplot with Clarice until this time through. Whether it's her boss using faux sexism to put local law enforcement at ease or the psych prisoner Miggs discussing the aroma of her vagina, we're constantly reminded that Clarice is a woman in a mostly man's world. Even her first meeting with Lecter is a result of her gender, her boss (correctly) thinking that sending a pretty woman might convince Lecter to open up. Clarice, for her part, does what she must: she takes these affronts professionally, but makes sure to call out both her boss and Lecter on their incivility. I can't think of any other serial killer movie in which we're watching events from a woman's perspective. Typically, they are the victims and nothing more. I'm thinking this is one of the secrets to this film's immense popularity; it speaks to more than 50% of the population.
As for my pondering a few days ago as to which Lecter is best, I'm still thinking Brian Cox. I know Hopkins won an Oscar for his performance in this film, but his Lecter feels like he's trying too hard to be creepy. He's a borderline comic book villain at times, handing out clues like the Riddler and monologing his insights as only fictional characters can. He's a really neat character, don't misunderstand, but I feel like he doesn't match the realistic tone of the rest of the film.
Man, I bet the FBI got tons of applicants in the early '90s. Between this, Twin Peaks and The X-Files, being a special agent looked like about the coolest job in the world. I wonder how disappointed those applicants were to find out there were no giants, vampires or engaging serial killers to talk to once they got the job? (8/10)
Grandpa had signed me up on his Family Video account as being able to rent R-rated movies. Mom had no idea. One bright summer afternoon while she was out, some friends and I decided to have a horror movie marathon. We picked up The Gate, another movie I can't remember, and Hellraiser. I had been dying to see Hellraiser ever since catching the TV spots for Hellbound a few years prior. The tag line "time to play" uttered by a monster with nails precisely pounded into his head had me insanely curious as to what such a creature meant by "playing."
I wasn't disappointed. Hellraiser introduces some entirely new horror monsters. The Cenobites aren't out for revenge, or crazy or even bloodthirsty. They are merely "explorers in the further regions of experience" and can be "demons to some, angels to others." They provide an "experience beyond the limits: pain and pleasure, indivisible." Should you call them, they will manipulate your body with a precision far beyond any human surgeon. They will make your nerve endings sing an opera of extreme sensation. Fascinating stuff.
There's much to like in this film. The Cenobites, of course. Clare Higgens is brilliant as Julia, the true monster of this horror film. We watch as lust transforms her from housewife to timid killer to cool murderess. Christopher Young's majestic music is one of the best horror movie scores ever committed to film. Barker's visuals, particularly when shooting Frank, are beautiful. I love the shots of skinless Frank against the opaque windows in the attic room. Frank himself is beautiful and his resurrection scene -- backed with that majestic score -- is a highlight in '80s horror. Some of the low budget shows through in the obviously latex skin being torn and the less-than-realistic Engineer puppet, but the film is mostly effective at what's it's attempting.
During our horror marathon that summer twenty years ago, Mom came home earlier than I'd planned. She walked into the living room right as Julia let out a loud moan, Frank thrusting on top of her. We were both embarrassed, but she said nothing and left us to our movies. Once my friends had left, told me she didn't want me watching such things. I argued back, attempting to explain how far behind I felt and how many horror movies I still needed to see just to catch up with the rest of the world. I doubt she understood, but I was already hooked; a life-long horror fan had been born. (8/10)
The Silence of the Lambs (1991) directed by Jonathan Demme
The only horror movie to ever win a Best Picture Oscar, though you can certainly argue this isn't a horror movie. Me, I typically cast a broad net and count serial killer pictures as horror movies, mainly because they aren't a whole lot different from a Michael or a Jason, except for their lack of immortality.
I haven't watched this film in years. I hadn't noticed the sexism subplot with Clarice until this time through. Whether it's her boss using faux sexism to put local law enforcement at ease or the psych prisoner Miggs discussing the aroma of her vagina, we're constantly reminded that Clarice is a woman in a mostly man's world. Even her first meeting with Lecter is a result of her gender, her boss (correctly) thinking that sending a pretty woman might convince Lecter to open up. Clarice, for her part, does what she must: she takes these affronts professionally, but makes sure to call out both her boss and Lecter on their incivility. I can't think of any other serial killer movie in which we're watching events from a woman's perspective. Typically, they are the victims and nothing more. I'm thinking this is one of the secrets to this film's immense popularity; it speaks to more than 50% of the population.
As for my pondering a few days ago as to which Lecter is best, I'm still thinking Brian Cox. I know Hopkins won an Oscar for his performance in this film, but his Lecter feels like he's trying too hard to be creepy. He's a borderline comic book villain at times, handing out clues like the Riddler and monologing his insights as only fictional characters can. He's a really neat character, don't misunderstand, but I feel like he doesn't match the realistic tone of the rest of the film.
Man, I bet the FBI got tons of applicants in the early '90s. Between this, Twin Peaks and The X-Files, being a special agent looked like about the coolest job in the world. I wonder how disappointed those applicants were to find out there were no giants, vampires or engaging serial killers to talk to once they got the job? (8/10)
24 September 2011
September 24th
Frankenstein (1931) directed by James Whale
We made it through 49 minutes before having to stop. I thought the 80-year-old Frankenstein might be a tame enough movie to watch with my nearly 4-year-old daughter, but it was just too scary. She was fine with the brains in the jars and the doctor's experiment, but as soon as Fritz started teasing the monster with the torch, she was done. I got her to watch a bit more, but every appearance of the monster was scarier than the last. Wisely, I stopped it right before the monster decides to throw Maria in the lake, leaving it with "see, she's teaching Frankenstein how to be nice and sharing her flowers." Ah well. I'm just happy she watched a slow, black & white movie and her only complaint was the scariness.
Seeing my daughter react to Frankenstein got me thinking about the movie in a way I really haven't before. What is scary in it? As an adult in the era of Saw 3D, it's difficult to see the film as anything other than quaint. However, if you've never, ever seen a horror movie before... the monster is something special. Jack Pierce's makeup is really good, as is Karloff's performance. There's a reason this particular take on Frankenstein has endured. If you're unused to seeing such things, I can understand the monster being frightening: a big, lumbering, disfigured guy who seems to only groan or strangle. But, it's hard to get into that mindset as an adult
Hmm... maybe we'll try to watch Bride of Frankenstein next year. (7/10)
We made it through 49 minutes before having to stop. I thought the 80-year-old Frankenstein might be a tame enough movie to watch with my nearly 4-year-old daughter, but it was just too scary. She was fine with the brains in the jars and the doctor's experiment, but as soon as Fritz started teasing the monster with the torch, she was done. I got her to watch a bit more, but every appearance of the monster was scarier than the last. Wisely, I stopped it right before the monster decides to throw Maria in the lake, leaving it with "see, she's teaching Frankenstein how to be nice and sharing her flowers." Ah well. I'm just happy she watched a slow, black & white movie and her only complaint was the scariness.
Seeing my daughter react to Frankenstein got me thinking about the movie in a way I really haven't before. What is scary in it? As an adult in the era of Saw 3D, it's difficult to see the film as anything other than quaint. However, if you've never, ever seen a horror movie before... the monster is something special. Jack Pierce's makeup is really good, as is Karloff's performance. There's a reason this particular take on Frankenstein has endured. If you're unused to seeing such things, I can understand the monster being frightening: a big, lumbering, disfigured guy who seems to only groan or strangle. But, it's hard to get into that mindset as an adult
Hmm... maybe we'll try to watch Bride of Frankenstein next year. (7/10)
Tales from the Darkside: "Inside the Closet" (1984) directed by Tom Savini
Finally, an episode that really is from the "darkside." And, Tom Savini's first directing gig at that. A college girl rents a room in a professor's house and begins hearing weird noises from a locked closet. Turns out -- and too bad for her -- it's a hungry little imp-thing in there. This is a mostly decent episode with a pretty good build of tension. Unfortunately, the imp-thing just doesn't look good. In fact, it looks pretty much like a toothy, naked Furby. The bad puppet pretty much ruins the episode. I think the problem was that the director was also the head of the SFX department responsible for building the thing. Instead of cloaking the puppet in shadows to both mask its flaws and make it scarier, he wanted to show it off. Didn't work out so well...
Fangoria Blood Drive II shorts
We All Fall Down (2005)
The Gibbering Horror of Howard Ghormley (2005)
Means to an End (2005)
Mainstream (2005)
Disposer (2005)
The Journal of Edmond Deyers (2005)
Sawbones (2005)
Working Stiff (2005)
Dark House (2009) directed by Darin Scott
The first Fangoria Frightfest movie of the season and -- surprise, surprise -- the first crappy movie of the season. Horror has a serious technology problem. Cellphones, for example, are a huge thorn in horror's side. It takes much more effort to isolate your characters when you've got to deal with everyone carrying a pocket communicator. Computers, also, are trouble. They seem to temp horror screenwriters into ridiculous plot ideas. In this movie, a haunted house attraction creator somehow has the equivalent of holodeck technology. Instead of, I don't know, making trillions of dollars licensing this tech to everyone on the planet, he decides to install it in a Victorian house so he can scare people. Like every holodeck story, the holograms go nuts and start killing people (actually, a ghost haunts the computer and infects it like a computer virus(!). We know this because we're shown a computer screen running the Matrix screensaver with the words "Virus Detected" superimposed on it along with an angry ghost video. Yeah, really).
There's an attempt at the end of the movie to explain the killings in more natural ways -- the protagonist went nuts and did it herself -- but it doesn't remotely stand up to scrutiny (holograms or no, the other people in the house are going to notice her killing people). Regardless, I couldn't get past the stupidity of the technology in the movie to enjoy it. Call it the Exorcist II problem. (4/10)
Fragile (2005) directed by Jaume Balagueró
I think the vengeful ghost story is my least favorite horror subgenre. Someone gets wronged and killed, they haunt a place and hurt people, the protagonist takes ninety minutes or so to figure things out, the end: it's the same story over and over. This one finds Calista Flockhart on the Isle of Wight, taking the night shift as a nurse at a children's hospital. A nurse who died 50 years ago doesn't want the place shut down, so she starts breaking the legs of the kids and shoving people out of windows. I'm not sure how this makes much sense, but maybe ghosts don't operate using people logic.
I'll admit the movie is well written and shot and paced. Flockhart is excellent as Amy, the nurse who figures things out. But, I just didn't care for the story. (6/10)
23 September 2011
September 23rd
Dollman vs. Demonic Toys (1993) trailer
Monster Brawl (2011) trailer
The Simpsons: "Treehouse of Horror: Bad Dream House" (1990)
The Ward (2010) directed by John Carpenter
I really wanted to like this more than I did. This is the first new Carpenter movie in a decade, after the awful Ghost of Mars. I was rooting for one of my all-time favorite directors to come back with a the apocalyptic spirit I loved in The Thing, Prince of Darkness or They Live. Sadly, The Ward doesn't reach the heights of Carpenter's classics.
Not that this is a bad film. It's well made and acted. If you want a tough chick in your horror movie, Zombieland's Amber Heard is the way to go. Susanna Burney as Nurse Lundt is the best bitch-nurse since Nurse Ratched. Carpenter's use of Ghost Alice is absolutely expert. Until her final appearance, we never get a good look at her entirely. Carpenter shows us her rotted hands (crawling with under-skin CGI worms, which was actually very effective) as they choke, or we get a glimpse of her face from just the eyes up, or she appears mostly cloaked in shadows behind someone. The guy knows what he's doing with this stuff.
I think the main problem isn't with Carpenter, but with the script. It's just not very special. The twist towards the end isn't terribly surprising or original. About half of the movie seems to be comprised of Kristen's escape attempts. Also, the mental institution isn't very scary. Though it looks vaguely like one of those incredibly creepy Kirkbride buildings (think Session 9), inside it's what I would expect a normal '60s institution to look like. Sure, they're performing electroshock there, but we still do that today. Sure, they've got a morgue there, but why wouldn't they? Sure, they have lobotomy tools in the basement, but it's the '60s and they didn't know any better.
It's an alright film. I hope it inspires Carpenter to pick up the camera again sooner than later. And, hey, at least it has a classic Carpenter ending. It just wouldn't be the same without one of those. (7/10)
Monster Brawl (2011) trailer
The Simpsons: "Treehouse of Horror: Bad Dream House" (1990)
The Ward (2010) directed by John Carpenter
I really wanted to like this more than I did. This is the first new Carpenter movie in a decade, after the awful Ghost of Mars. I was rooting for one of my all-time favorite directors to come back with a the apocalyptic spirit I loved in The Thing, Prince of Darkness or They Live. Sadly, The Ward doesn't reach the heights of Carpenter's classics.
Not that this is a bad film. It's well made and acted. If you want a tough chick in your horror movie, Zombieland's Amber Heard is the way to go. Susanna Burney as Nurse Lundt is the best bitch-nurse since Nurse Ratched. Carpenter's use of Ghost Alice is absolutely expert. Until her final appearance, we never get a good look at her entirely. Carpenter shows us her rotted hands (crawling with under-skin CGI worms, which was actually very effective) as they choke, or we get a glimpse of her face from just the eyes up, or she appears mostly cloaked in shadows behind someone. The guy knows what he's doing with this stuff.
I think the main problem isn't with Carpenter, but with the script. It's just not very special. The twist towards the end isn't terribly surprising or original. About half of the movie seems to be comprised of Kristen's escape attempts. Also, the mental institution isn't very scary. Though it looks vaguely like one of those incredibly creepy Kirkbride buildings (think Session 9), inside it's what I would expect a normal '60s institution to look like. Sure, they're performing electroshock there, but we still do that today. Sure, they've got a morgue there, but why wouldn't they? Sure, they have lobotomy tools in the basement, but it's the '60s and they didn't know any better.
It's an alright film. I hope it inspires Carpenter to pick up the camera again sooner than later. And, hey, at least it has a classic Carpenter ending. It just wouldn't be the same without one of those. (7/10)
Tucker & Dale vs Evil (2010) directed by Eli Craig
Welp, this one's going down as a classic of horror comedy. That's an easy call to make. Twenty years from now, people will be asking: "Do you want to watch Tucker & Dale, Shaun of the Dead or Evil Dead 2 tonight?" Some scenes in this redneck-horror-turned-on-it's-head movie had me crying I was laughing so hard.
Yeah, the romance in the movie is a bit Hollywood predictable. Yeah, there's a bit of a lull in the fun when the college kids abduct Tucker and the accidental deaths stop for a while. There's so much other good stuff in the movie, I don't care.
My biggest complaint isn't with the movie, but with the marketing. If you've watched the trailers, you've seen just about every really funny scene in the movie already. The scenes -- extended in the movie -- are still funny, but not surprising like they should be. But, what were they going to do? They needed to let people know how funny the movie was, and creating a trailer like they did was really effective. I watched the trailer a year ago and wanted to see it so badly I paid $11 to rent the thing on PSN today.
As much as horror fans may whine -- remakes suck, Twilight sucks, the old school directors have lost their touch -- there are always new classics being created. Ain't we lucky? (8/10)
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| An unsettling view from a local hospital room |
22 September 2011
September 22nd
Manhunter (1986) directed by Michael Mann
Hannibal Lecter (Lecktor?) movie numero uno. I think I'll try to watch 'em all this Halloween season (I've never seen any of the post-Silence films). Manhunter's a psychological police procedural rather than the scary serial killer movie I'd normally watch this time of year; it sits far closer to Insomnia than to Henry: Portrait of a Serial Killer.
I don't think I've ever noticed how beautifully shot this film is. Mann composes each frame like a painting, arranging the objects on screen precisely. His use of color is also excellent: the stark white of Lecktor's prison, the cool blue of Graham's beach house, the muted colors of Dollarhyde's house. Check it out:
I love Brian Cox as Lecktor. I may even like him better than Hopkins, but I'll have to re-watch Silence to know for sure. Though Cox only has probably ten minutes of screentime, he's incredibly memorable. He comes across as relaxed, unshakable and completely in control despite his imprisonment. No slouch, either, is Tom Noonan, who's Dollarhyde is a man who can barely function in normal society due to his murderous insanity.
Yeah, it's got a cheezy '80s synth score and maybe the jump cuts during the climax are goofy and perhaps Graham jumping through Dollarhyde's window in dramatic slo-mo doesn't make a whole lot of logical sense, but it's a fine detective movie otherwise. (7/10)
Hannibal Lecter (Lecktor?) movie numero uno. I think I'll try to watch 'em all this Halloween season (I've never seen any of the post-Silence films). Manhunter's a psychological police procedural rather than the scary serial killer movie I'd normally watch this time of year; it sits far closer to Insomnia than to Henry: Portrait of a Serial Killer.
I don't think I've ever noticed how beautifully shot this film is. Mann composes each frame like a painting, arranging the objects on screen precisely. His use of color is also excellent: the stark white of Lecktor's prison, the cool blue of Graham's beach house, the muted colors of Dollarhyde's house. Check it out:
I love Brian Cox as Lecktor. I may even like him better than Hopkins, but I'll have to re-watch Silence to know for sure. Though Cox only has probably ten minutes of screentime, he's incredibly memorable. He comes across as relaxed, unshakable and completely in control despite his imprisonment. No slouch, either, is Tom Noonan, who's Dollarhyde is a man who can barely function in normal society due to his murderous insanity.
Yeah, it's got a cheezy '80s synth score and maybe the jump cuts during the climax are goofy and perhaps Graham jumping through Dollarhyde's window in dramatic slo-mo doesn't make a whole lot of logical sense, but it's a fine detective movie otherwise. (7/10)
21 September 2011
September 21st
Behind the Mask: The Rise of Leslie Vernon (2006) directed by Scott Glosserman
Part mockumentary, part real slasher flick. Not unlike Scream, it's a winking love letter to slasher fans. In this film, a documentary crew follows a slasher killer as he meticulously plans his killing spree. Rather than relying on supernatural powers, slashers are really just good planners in excellent physical condition. It's an amusing and strangely satisfying way of explaining the more unbelievable aspects of slasher films. How do they survive being shot? Bulletproof vests. How do they make sure the victims flee where they want them to flee? Months and months of planning. How do they keep up with the fleeing victims? Lots of cardio. Why is there always a final girl left surviving? The slasher really just wants to make her a better, stronger person.
It's a little bit jarring, and maybe a little disappointing, when the film switches from mockumentary to straight slasher film. Partially, this means Leslie Vernon transforms from an engaging psychopath into a silent killer. Nathan Baesel does such a great job with the role, it's sad to see him don the mask and stop talking to the documentary crew. However, it's a necessary part of the movie. We need to see everything Leslie's been explaining put into action to make sense of it all. We also need to see that even if you already know what his plan is, changing it in the confusion of the night might not be so easy. Now I kind of feel bad for all of the times I've yelled at the screen because the victims in a slasher film were making poor choices.
I'm not sure why it took me five years to get around to seeing this, but a nice treat for day two of Halloween. (8/10)
Tales from the Darkside: "Mookie and Pookie" (1984) directed by Timna Ranon
There's an entire subgenre of movies and TV episodes on this subject: you're loved one isn't really dead... he's in the computer now! It's a ridiculous idea now and it's even worse in a 27-year-old show featuring what looks like a 286. Now, if Mookie had transferred himself into his computer and met Tron in there, maybe I'd like the episode a bit more. As it is, it's a pointless bit of fluff that's more of a rejected Twilight Zone script that anything with a "darkside" to it.
Tales from the Darkside: "Slippage" (1984) directed by Michael Gornick
The always entertaining David Patrick Kelly plays a man who is so unimportant, the universe decides to slowly erase him from existence one day. Or, maybe, he realizes his existence impedes the happiness of those around him and subconsciously decides to do a George Bailey (It's a Wonderful Life being directly mentioned in the show). I don't know. There's not much to this episode; it's more like the third act of a bigger story.
Part mockumentary, part real slasher flick. Not unlike Scream, it's a winking love letter to slasher fans. In this film, a documentary crew follows a slasher killer as he meticulously plans his killing spree. Rather than relying on supernatural powers, slashers are really just good planners in excellent physical condition. It's an amusing and strangely satisfying way of explaining the more unbelievable aspects of slasher films. How do they survive being shot? Bulletproof vests. How do they make sure the victims flee where they want them to flee? Months and months of planning. How do they keep up with the fleeing victims? Lots of cardio. Why is there always a final girl left surviving? The slasher really just wants to make her a better, stronger person.
It's a little bit jarring, and maybe a little disappointing, when the film switches from mockumentary to straight slasher film. Partially, this means Leslie Vernon transforms from an engaging psychopath into a silent killer. Nathan Baesel does such a great job with the role, it's sad to see him don the mask and stop talking to the documentary crew. However, it's a necessary part of the movie. We need to see everything Leslie's been explaining put into action to make sense of it all. We also need to see that even if you already know what his plan is, changing it in the confusion of the night might not be so easy. Now I kind of feel bad for all of the times I've yelled at the screen because the victims in a slasher film were making poor choices.
I'm not sure why it took me five years to get around to seeing this, but a nice treat for day two of Halloween. (8/10)
Tales from the Darkside: "Mookie and Pookie" (1984) directed by Timna Ranon
There's an entire subgenre of movies and TV episodes on this subject: you're loved one isn't really dead... he's in the computer now! It's a ridiculous idea now and it's even worse in a 27-year-old show featuring what looks like a 286. Now, if Mookie had transferred himself into his computer and met Tron in there, maybe I'd like the episode a bit more. As it is, it's a pointless bit of fluff that's more of a rejected Twilight Zone script that anything with a "darkside" to it.
Tales from the Darkside: "Slippage" (1984) directed by Michael Gornick
The always entertaining David Patrick Kelly plays a man who is so unimportant, the universe decides to slowly erase him from existence one day. Or, maybe, he realizes his existence impedes the happiness of those around him and subconsciously decides to do a George Bailey (It's a Wonderful Life being directly mentioned in the show). I don't know. There's not much to this episode; it's more like the third act of a bigger story.
20 September 2011
September 20th
Dead & Buried (1981) directed by Gary Sherman
My favorite part of these annual horror marathons is finding good movies I've overlooked. Sadly, this is a rare occurrence. Not only have I already seen a great many horror movies in my time, but -- let's be honest -- the awesome-to-wretched ratio for the genre ain't that great. Dead & Buried is an early '80s gem with a completely unique take on the zombie genre. It's so unique, I didn't even realize I was watching a zombie movie until about the halfway point.
I was sold on the movie right from the beginning sequence. The film starts with a photographer meeting a pretty girl on a beach in New England. Prompted by the girl, they exchange increasingly flirty banter until it looks like the photographer is about to get lucky. Just as he moves in for a kiss, a group of the townsfolk -- including the girl -- descend on him in a flurry violence. The violence comes absolutely out of nowhere and the contrast between the amorous flirting and the surprisingly brutal beating is shocking.
Coming from the writing team behind Alien, I guess I shouldn't be surprised to find the story very well constructed. James Farentino as Sheriff Gillis attempts to unravel the mystery behind a spate of killings in his small town. As he gets deeper into the case, he keeps unburying information that, perhaps, he'd rather not know; about the fellow his hit with his car, about his wife, about the town mortician and about himself. As his world falls apart, so does he mentally and physically.
Farentino's amazing performance -- watch his agony as he complies with his wife's request to bury her -- a great script and a unique premise overcome a few bad SFX and music cues to make an excellent start to my Halloween celebration. (8/10)
My favorite part of these annual horror marathons is finding good movies I've overlooked. Sadly, this is a rare occurrence. Not only have I already seen a great many horror movies in my time, but -- let's be honest -- the awesome-to-wretched ratio for the genre ain't that great. Dead & Buried is an early '80s gem with a completely unique take on the zombie genre. It's so unique, I didn't even realize I was watching a zombie movie until about the halfway point.
I was sold on the movie right from the beginning sequence. The film starts with a photographer meeting a pretty girl on a beach in New England. Prompted by the girl, they exchange increasingly flirty banter until it looks like the photographer is about to get lucky. Just as he moves in for a kiss, a group of the townsfolk -- including the girl -- descend on him in a flurry violence. The violence comes absolutely out of nowhere and the contrast between the amorous flirting and the surprisingly brutal beating is shocking.
Coming from the writing team behind Alien, I guess I shouldn't be surprised to find the story very well constructed. James Farentino as Sheriff Gillis attempts to unravel the mystery behind a spate of killings in his small town. As he gets deeper into the case, he keeps unburying information that, perhaps, he'd rather not know; about the fellow his hit with his car, about his wife, about the town mortician and about himself. As his world falls apart, so does he mentally and physically.
Farentino's amazing performance -- watch his agony as he complies with his wife's request to bury her -- a great script and a unique premise overcome a few bad SFX and music cues to make an excellent start to my Halloween celebration. (8/10)
Fangoria Blood Drive shorts
Hitch (2004)
A Man and His Finger (2004)
Inside (2004)
Shadows of the Dead (2004)
Mr. Eryams (2004)
Disturbances (2004)
Song of the Dead (2004)
Six Weeks of Halloween 2011
| September 20 21 22 23 24 25 26 27 28 29 30 October 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 |
Here, I'll write about the flicks I watch throughout my forty-two day fest. My goal is to watch at least one movie a day... if not more. To that end, I've got a metric ton of horror front-loaded in my Netflix queue and more sitting on my shelves and hard drives.
My viewing plans include keeping up with this year's crop of Horrorfest movies, now dubbed the After Dark Originals, and the two new Ghost House Underground offerings. Likewise, I've got to catch up with last year's Fangoria Frightfest films. I'm also looking forward to checking out The Ward, Stake Land, I Saw the Devil, and Let Me In. And, as per tradition, I've got to watch both Trick 'r Treat and the original Halloween.
Outside of the film-watchin', I'll be attending two horror conventions this season. I love the hell out of these things. There's nothing quite like being surrounded by hundreds of fellow horror nuts (it's black T-shirts as far as the eye can see). On October 1st, it's Cinema Wasteland. There, I need to shake Frank Henenlotter's hand and thank him for the wondrous insanity of Brain Damage. On October 29th, it'll be the first annual Flint Horror Con, where I've got to buy more of Steve Jencks' awesome horror movie poster interpretations.
So, feel free to stop on by from time to time and leave a comment. And, if you've got movie recommendations, leave those here too.
Let Six Weeks of Halloween IX Begin!
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