Halloween III: Season of the Witch (1983)
Halloween III: Season of the Witch is a film that often provokes a strong reaction from genre fans. This is mainly due to it not having any direct connection to the previous two films. The absence of Michael Myers in such a franchise was a serious mistake and the subsequent poor box office returns endorsed this. Yet if this film had been released as a separate product it may not have performed so poorly. After re-examining Halloween III: Season of the Witch there are many aspects of interest. Despite a troubled production, the film is an intriguing anomaly that tried to be different during a decade where the established horror formula was “stalk n' slash”. It does have a very bleak tone and some consider it to be mean spirited as the cast are killed off one by one. Perhaps theme of child sacrifice caused audiences to balk?
Halloween III: Season of the Witch is a film that often provokes a strong reaction from genre fans. This is mainly due to it not having any direct connection to the previous two films. The absence of Michael Myers in such a franchise was a serious mistake and the subsequent poor box office returns endorsed this. Yet if this film had been released as a separate product it may not have performed so poorly. After re-examining Halloween III: Season of the Witch there are many aspects of interest. Despite a troubled production, the film is an intriguing anomaly that tried to be different during a decade where the established horror formula was “stalk n' slash”. It does have a very bleak tone and some consider it to be mean spirited as the cast are killed off one by one. Perhaps theme of child sacrifice caused audiences to balk?
A mysterious patient, Harry Grimbridge (Al Berry) is brought to hospital late at night, after being pursued by several besuited assassins. He is subsequently murdered in his bed and his assassin then kills himself. Dr. Dan Challis (Tom Atkins) is shocked by these events and struggles to comfort Ellie Grimbridge (Stacey Nelkin), the victims daughter who arrives at the hospital seeking answers about her father's death. The pair decide to investigate matters and the trail leads to the town of Santa Mira. Harry, who ran a toy shop, had travelled to the town to collect a shipment of Halloween masks from Silver Shamrock Novelties. On arrival Dan and Ellie find the town dominated by the presence of the Silver Shamrock company and its charismatic owner Conal Cochran (Dan O'Herlihy). Is Cochran connected to the death of Ellie's Father? Who are the mysterious mute assassins in grey suits that are pursue them?
John Carpenter, although only a producer on this film, was still heavily involved in the film’s development. Being a big fan of British writer Nigel Kneale, he commissioned him to write a screenplay. However the final draft did not find favour with financier Dino De Laurentiis, who insisted in the inclusion of more graphic death scenes to placate the target demographic. Kneale subsequently had his name removed from the credits but most of his original material remained in the redrafted screenplay, such as his re-occurring theme of reconciling science and witchcraft. It is paradoxical how Cochran uses contemporary technology to perpetrate an act of pagan sacrifice. The film also draws heavily on the 1956 genre classic Invasion of the Bodysnatchers, with its themes of humans being replaced by a sinister intelligence. The Silver Shamrock factory is set in the fictitious town of Santa Mira, which also features in Don Siegel's movie.
As for the scenes of violence, they are themselves quite unusual. Although gory to a degree, they are also a little surreal. Veteran make-up artist Tom Burman creates several bizarre deaths that reflect the odd nature of the plot. A man is murdered in his hospital bed by having his skull broken. Another has his head pulled off. But the most effective are those caused by the booby trapped Halloween masks. The demise of a particularly unpleasant small boy, involving cockroaches and snakes is both ghoulish and satisfying. The atmosphere and tone of the film is bolstered by an outstandingly minimalist score by John Carpenter and Alan Howarth. There is also an excellent faux commercial for Silver Shamrock masks which is both infuriating and an earworm.
The film also benefits from earnest performance from its main cast. Due to budgetary reasons the leads were character actors and not box office stars. Genre favourite Atkins acquits himself well as the world weary Doctor. But it is Dan O'Herlihy who excels as the sinister head of Silver Shamrock. His soft voice and measured delivery adds weight to the plot and the motives of a man who wishes to punish a nation through the death of it children. He delivers a singularly sinister monologue at the film’s denouement. Director Tommy Lee Wallace (who also directed Halloween II) maintains the tension and imbues the town of Santa Mira with a unsettling quality. He also handles the blending of pagan themes with modern technology well.
Despite its initial failure, over the recent years Halloween III: Season of the Witch has been re-appraised by critics and developed the inevitable cult following. It is seen as a social comment on consumerism and commercialisation. It also explores the roots of a Pagan festival that has now become an integral part of US culture. The bleak ending that was somewhat unpalatable 25 years ago, is now credible to a postmodern audience. John Carpenter was happy to lay Michael Meyers to rest permanently after Halloween II and wanted the subsequent films in the series to be wider in vision, dealing each time with a different supernatural theme. Such a bold idea was not endearing to the prevailing studio mentality of the time. Thus after the box office failure of Halloween III: Season of the Witch, the overall concept was side-lined and "the shape" subsequently resurrected in future sequels.
Ghostwatch (1992)
Ghostwatch is a controversial British horror “mockumentary” produced by the BBC that was first broadcast on October 31st 1992. Written by Stephen Volk and produced by Ruth Baumgarten it is now considered a milestone in UK broadcasting. This was mainly due to the strong reaction it provoked from the public, many of whom failed to grasp that it was a drama. At the time it raised serious questions about responsible programming and caused a furore in the British press. It has curiously never been shown since by the BBC. Ghostwatch remains a talking point to this day and is a text book example of the power of television as well as the publics enduring belief in the supernatural.
Ghostwatch is a controversial British horror “mockumentary” produced by the BBC that was first broadcast on October 31st 1992. Written by Stephen Volk and produced by Ruth Baumgarten it is now considered a milestone in UK broadcasting. This was mainly due to the strong reaction it provoked from the public, many of whom failed to grasp that it was a drama. At the time it raised serious questions about responsible programming and caused a furore in the British press. It has curiously never been shown since by the BBC. Ghostwatch remains a talking point to this day and is a text book example of the power of television as well as the public's enduring belief in the supernatural.
The 90 minute film is shot in a documentary style and appeared as part of BBC Drama’s Screen One series. While it is often incorrectly referred to as a hoax, it is more accurate to call it a “mockumentary”. In many ways it was a precursor to the supernatural reality shows that are prevalent today, such as Most Haunted and Ghost Hunters. Ghostwatch centres on a team of BBC reporters conducting a live, on-air investigation into alleged Poltergeist activity at a family home in Northolt, Greater London. Through the medium of a live broadcast the investigators discover the existence of a malevolent ghost nicknamed “Pipes”, as his banging and crashing were initially attributed to bad plumbing.
As the programme unfolds viewers learn that “Pipes” is the ghost of a psychologically disturbed man called Raymond Tunstill, who is believed to have been possessed by the spirit of a child killer from the 19th century. The manifestations became more intense and terrifying as the investigation progresses, until the frightened reporters realise that the broadcast itself is acting as a focus for a national séance through which “Pipes” is gaining more power. The program ends with poltergeist activity manifesting in the BBC TV studios themselves, before the screen fades to black.
One of the reasons Ghostwatch succeeds is through the use of known and trusted television personalities. Michael Parkinson and real life couple Mike Smith and Sarah Greene brought credibility and professionalism to the proceedings. All were firmly established television broadcasters at the time. The Crimewatch style format, complete with telephone phone in and hand held cameras is oddly prophetic of popular paranormal shows we see today. However the most interesting aspect of the original broadcast was the way the public assumed the show was a genuine investigation and not a drama. Despite the addition of brief credits by the BBC at the start of the broadcast, viewers watched events unfold for over ninety minutes before they began to question the authenticity of them. It also highlights how the supernatural remains an integral part of UK popular culture.
Twenty three years on Ghostwatch is still fascinating and disturbing to watch. The story unfolds in a leisurely manner focusing on a very credible family. Halfway through the proceedings there is a red herring which indicates the alleged phenomena at the house may be a hoax. However this bluff cunningly sets the audience up for further paranormal activity and an interesting plot twist. Having now watched Ghostwatch several times, its dramatic roots are more noticeable with references to Nigel Kneale and even a nod to Orson Welles’ famous broadcast of War of the Worlds. It is still fun to keep an eye out for all the allusive on screen appearances by “Pipes”. Overall Ghostwatch remains a prime example of the power of television and its ability to hoodwink the public. Although similar themes have been tackled in films such as Cannibal Holocaust and The Blair Witch Project, it is the immediacy and intimacy of TV that makes this production so successful.
As an addendum to this post, I've included a short podcast about Ghostwatch that I participated in. It was first published in October 2016, as part of the 31 Days of Scary Movies event at Totally Legit Publishing. I discuss the enigma of the mockumentary with the host Jessica.
Event Horizon (1997)
Event Horizon is a curious movie hybrid, mixing plot elements from classic sci-fi and horror genres. It has been labelled “Hellraiser in Space” by some lazy critics, although I think there's far more to it than that. Perhaps a more apt description would be a Gothic horror story set in space. The movie has garnered a cult reputation since its release in 1997, mainly due to its graphic imagery and troubled production history. It does indeed have some quite shocking sequences but the lightning editing does not show as much as some would think. Paramount forced director Paul W S Anderson to reduce the original one hundred and thirty minute running time down to a more manageable ninety, after unfavourable test screenings. Much of the violence was allegedly removed as a result of that process. Sadly nothing survives of the removed material other than a VHS workprint. Hence a restored director’s cut is therefore unlikely.
Event Horizon is a curious movie hybrid, mixing plot elements from classic sci-fi and horror genres. It has been labelled “Hellraiser in Space” by some lazy critics, although I think there's far more to it than that. Perhaps a more apt description would be a Gothic horror story set in space. The movie has garnered a cult reputation since its release in 1997, mainly due to its graphic imagery and troubled production history. It does indeed have some quite shocking sequences but the lightning editing does not show as much as some would think. Paramount forced director Paul W S Anderson to reduce the original one hundred and thirty minute running time down to a more manageable ninety, after unfavourable test screenings. Much of the violence was allegedly removed as a result of that process. Sadly nothing survives of the removed material other than a VHS workprint. Hence a restored director’s cut is therefore unlikely.
Event Horizon is an experimental spaceship which went missing on its maiden voyage. When the ship mysteriously reappears in orbit above Neptune, a rescue mission is launched by the authorities. The ship's designer Dr. Weir (Sam Neil) is assigned to the rescue vessel Lewis and Clark, commanded by Captain Miller (Laurence Fishburne). The crew consists of Lieutenant Starck (Joely Richardson), pilot Smith (Sean Pertwee), Medical Technician Peters (Kathleen Quinlan), Engineer Ensign Justin (Jack Noseworthy), Rescue Technician Cooper (Richard T. Jones), and Trauma Doctor D.J. (Jason Isaacs). Upon arrival they find that the Event Horizon is empty and the crew dead or missing. The ship's last transmission contains human screams and a cryptic message in Latin. Subsequently the rescue party starts experiencing horrific hallucinations along with a growing sense that unease.
There are many positive aspects to Event Horizon. The cast of character actors are more than competent and the production values are very high. The sets are opulent and the production design conveys the required hi-tech aesthetic. The visual effects have not dated too much although some of the CGI is a little primitive. The prosthetics and animatronics are exceedingly good (and unpleasant). Bob Keen and his creative team were involved in the production although much of their work unfortunately didn't make it into the theatrical version. The movie also manages to maintain a disquieting atmosphere, punctuated by some effective jumps. Sadly the screenplay lurches from the good to the bad and is somewhat inconsistent. The denouement does succeed in explaining the evil entity that is linked to the ship but I would have preferred some further insight. However these narrative inconsistencies may be due to the last minute re-edit that took place prior to release.
However despite these issues, Event Horizon is sustained by its ambition, tone and grotesque visuals. Director Paul W S Anderson has produced a tense and atmospheric blend of genres, despite the studio's interference in post-production. The mixing of advanced technology with Hieronymus Bosch style visions of Hell are quite compelling. Certainly the movie deserves more critical praise than it gained upon release in 1997. It’s a shame that a restored cut of the film is off the table. It would be most interesting to see the gaps in the narrative filled, as well as the visual effects restored to their full glory. Clive Barker managed to achieve a comparable restoration of his movie Nightbreed, which was similarly “butchered” upon release. However, unless the missing material can be miraculously sourced from elsewhere, the theatrical edition of Event Horizon will remain the only version available.
The Car (1977)
The peace of tranquillity of Santa Ynes, Utah, is shattered when the town becomes the focus of several hit and run deaths, by a mysterious and apparently driverless, black car. After the Sheriff (John Marley) is run down, it is down to Captain Wade Parent (James Brolin) and his deputies to protect the town from this sinister threat. Is the car simply a driven by a mad man or is there a more supernatural explanation? When the car menaces a local school marching band, the teachers and students take refuge in the nearby cemetery. Does the cars inability to enter consecrated ground provide a clue to its otherworldly origins and offer a potential solution? As the death count increases and the population becomes more fearful, the Captain and his team of deputies form a desperate plan to see if they can lure the car into a trap.
The peace of tranquillity of Santa Ynes, Utah, is shattered when there are several hit and run deaths by a mysterious and apparently driverless, black car. After the Sheriff (John Marley) is run down, it is down to Captain Wade Parent (James Brolin) and his deputies to protect the town from this sinister threat. Is the car simply a driven by a mad man or is there a more supernatural explanation? When the car menaces a local school marching band, the teachers and students take refuge in the nearby cemetery. Does the cars inability to enter consecrated ground provide a clue to its otherworldly origins and offer a potential solution? As the death count increases and the population becomes more fearful, the Captain and his team of deputies form a desperate plan to see if they can lure the car into a trap.
A movie like The Car needs something else other than its initial premise to keep it going. To provide it with narrative impetus and keep the viewer engaged. Simply put, if the audience is to spend ninety or so minutes watching a group of people in peril then it needs to be able to relate and empathise with them. Surprisingly, that is exactly what director Elliot Silverstein does. Having cut his teeth directing several episodes of The Twilight Zone, he has a good sense of pace and how to build the tension leading up to the “boo” moment. The Car has a solid cast of respectable characters actors and actually makes a decent attempt to try and provide some backstory and sub plots. There is a genuine feeling that this is a real small town. There’s the ex-drunk officer, the wife beater and a lead character living in his father’s shadow. John Marley is good as a sheriff whose world is turned upside down by the arrival of this potentially satanic car. You feel that he genuinely cares.
As ever with movies of this ilk, the low budget means that the scope of action is somewhat restricted. Yet the various death scenes in which innocent members of the public are run down are well constructed with the focus upon tension rather than gore. The Car taps into similar themes as Steven Spielberg’s Duel, with its exploration of our fear of the motor vehicle, its associated anonymity and potential to kill. In one scene the car drives right through a victim’s house to kill them, shattering the presumption that once off the road, you are safe. Certainly fusing the road movie genre with the supernatural was a bold idea. It works better here than in similar films such as Race with the Devil. But one cannot discuss The Car without referencing the customised 1971 Lincoln Continental Mark III designed by George Barris. It is in many ways the real star of the movie, having a genuine presence and posing a credible threat.
The Night Flier (1997)
The key to success in the horror genre is to try and find an innovative new angle on tried and tested themes and tropes. The Night Flier is an often-overlooked gem, that takes a unique perspective on vampirism and features strong performances as well as an intelligent and thoughtful screenplay. It builds a sense of foreboding during it’s first two acts and teases audiences with some unpleasant prosthetic effects, courtesy of KNB EFX Group. The climax of the movie is both thought provoking and suitably unpleasant. Furthermore, The Night Flier even manages to make a coherent criticism of tabloid culture and morals of those journalists working in the industry. It’s a damn shame that this modest but well-crafted genre movie didn’t get the attention it deserved when it was initially released in 1997.
The key to success in the horror genre is to try and find an innovative new angle on tried and tested themes and tropes. The Night Flier is an often-overlooked gem, that takes a unique perspective on vampirism and features strong performances as well as an intelligent and thoughtful screenplay. It builds a sense of foreboding during it’s first two acts and teases audiences with some unpleasant prosthetic effects, courtesy of KNB EFX Group. The climax of the movie is both thought provoking and suitably unpleasant. Furthermore, The Night Flier even manages to make a coherent criticism of tabloid culture and morals of those journalists working in the industry. It’s a damn shame that this modest but well-crafted genre movie didn’t get the attention it deserved when it was initially released in 1997.
Jaded and cynical tabloid reporter Richard Dees (Miguel Ferrer) initially refuses the job of investigating a violent murder at a remote private airfield. So his boss and editor of Inside View (a National Enquirer style publication), Merton Morrison (Dan Monahan), assigns the case to rookie reporter Katherine Blair (Julie Entwisle). When it becomes apparent that there is a serial killer using the network of small, rural airfields and flying under the alias of Dwight Renfield, Dees takes over the assignment. However, Morrison asks Katherine to follow Dees as he’s grown tired of his ego and insubordination. As Dees uncovers more information regarding “The Night Flier”, he starts receiving warnings from the killer himself to stop his investigations. It soon becomes clear that there may well be more to the case than meets the eye and that Dwight Renfield is not a mere serial killer but a vampire.
There are several standout aspects of The Night Flier. The first and most important is the strong lead performance by the late Miguel Ferrer who excels as the journalist Richard Dees. Exactly what is his motivation beyond doing whatever is needed to get the story, is left intriguingly vague. Dees is a bitter and heartless character, but he’s driven and surprisingly good at what he does. Then there’s the intriguing use of the network of small, private airfields that exist across North America and the entire sub-culture of having a pilot’s license. It’s an aspect of life that is unknown to many people. And then there’s our undead antagonist, Dwight Renfield. There’s a fine line between being vague and insubstantial, compared to creating a sense of the enigmatic and uncanny. Yet director Mark Pavia manages to tread such a path, providing only a smattering of implied history for the villain of the piece, while maintaining our interest rather than indifference.
Overall, The Night Flier is a good and faithful adaptation of Stephen King’s novella with the only major creative difference being the bleaker ending adopted for the movie. It serves not only as a fitting and inevitable conclusion to the story arc, but also as an acerbic indictment upon the iniquities of tabloid journalism. All of which leaves Richard Dees philosophy on journalism ringing in one’s ears. "Never believe what you publish and never publish what you believe". Twenty-six years on from its initial release, word of mouth and a revised critical assessment means that The Night Flier is finally reaching a wider audience. In a world filled with so many poor and indifferent adaptations of Stephen King’s work, this “diamond in the rough” is an entertaining and engaging alternative and worth the time of discerning horror fans.
Dr. Terror's House of Horrors (1965)
Dr. Terror's House of Horrors was the first portmanteau horror movie by Amicus Productions. The small British studio was founded by producers and screenwriters Milton Subotsky and Max Rosenberg. As the horror genre grew in popularity due to the success of Hammer films, Amicus saw the potential in the portmanteau format. Subotsky in particular held Ealing Studios 1945 classic Dead of Night in very high regard. Although only a modest budget movie, Dr. Terror's House of Horrors proved to be financially successful and led to a series of similarly structured films over the next decade. These included Torture Garden (1967), The House That Dripped Blood (1970), Asylum (1972), Tales from the Crypt (1972), The Vault of Horror (1973), From Beyond the Grave (1974),
Dr. Terror's House of Horrors was the first portmanteau horror movie by Amicus Productions. The small British studio was founded by producers and screenwriters Milton Subotsky and Max Rosenberg. As the horror genre grew in popularity due to the success of Hammer films, Amicus saw the potential in the portmanteau format. Subotsky in particular held Ealing Studios 1945 classic Dead of Night in very high regard. Although only a modest budget movie, Dr. Terror's House of Horrors proved to be financially successful and led to a series of similarly structured films over the next decade. These included Torture Garden (1967), The House That Dripped Blood (1970), Asylum (1972), Tales from the Crypt (1972), The Vault of Horror (1973), From Beyond the Grave (1974),
Set on a late night train from London to Bradley, five passengers encounter a mysterious Dr Schreck (Peter Cushing) who offers to tell each passenger their future with a deck of Tarot cards. Initially most of them are sceptical, however curiosity eventually gets the better of them. As the Dr. proceeds, each man's story plays out as a vignette plays with a suitably sinister tone. All of which inevitably end unfavourably for the protagonists. Can the five passengers possibly escape their predicted demise? Will a fifth card drawn from the deck hold the key? Each time it is the death card; a conclusion they are far from happy with or ready to accept.
The most notable aspect of Dr. Terror's House of Horrors it its strong cast of British character actors. Jeremy Kemp, Bernard Lee and stately Christopher Lee effortlessly acquit themselves. A young Donald Sutherland was secured for the benefit of selling the movie to the US market. Roy Castle and Kenny lynch add some welcome levity to one story, without derailing the atmosphere. But ultimately it is Peter Cushing as the unshaven and shabby Dr. Schreck, who dominates the proceedings. He strikes the right balance between frailty and malevolence perfectly. The sinister look he gives when the first passenger (Neil McCallum) taps the Tarot card three time shows his prodigious acting talent.
As for the five stories that unfold, The Werewolf and Disembodied Hand are perhaps the strongest and the most traditionally grounded in horror. The others make up for in style what they lack in genuine horror. The Roy Castle's Voodoo tale is quite comic and reminiscent in tone to the Golfing story in Dead of Night. The Creeping Vine in which a family home is menaced by a sentient plant is surprisingly low key (due to minimal special effects) and works better that way. Vampire sees a newlywed Doctor who discovers that his wife may be a vampire. It has a rather clever sting in the tail. The resolution of the entire film holds yet another plot twist, though I'm sure it will come as no surprise to those familiar with this genre.
Despite its modest budget, this was considered a finely crafted horror vehicle at the time and had an X certificate rating. DVD copies currently available in the UK are now rated PG by the British Board of Film Classification. However it must be remembered that the British horror genre at the time was still in a state of transition. Hammer Studios had introduced more lurid elements to the proceedings but many films involving the supernatural still tended to rely on atmosphere and tone. Hence there is an emphasis on dialogue and performances in Dr. Terror's House of Horrors over gore. The atmospheric cinematography by Alun Hume (Star Wars Episode VI: Return of the Jedi, A View to a Kill) and the use of Techniscope elevate this mainly studio based production into something more than the average horror movie.
The portmanteau format proved lucrative for Amicus, mainly due to their focus on inventive writing and their stable of regular stars. The sub-genre fell out of favour in the late seventies as Hollywood scored box office success with blockbuster horror films such as The Exorcist and The Omen. However the influence of Dr. Terror's House of Horrors left its mark and occasionally film makers still try their hand with the multi-story format. The success of George Romero's Creepshow, based upon the baroque style of EC horror comics and Stephen King's Cat's Eye prompted a resurgence of the portmanteau horror in the mid-eighties. With the industries current penchant for rebooting past successes, perhaps we'll see a return of horror compilation.
Ghost Story (1981)
Ghost Story is a deliberately superficial adaptation of the novel by Peter Straub. If you’ve read the book and are expecting a verbatim retelling of the plot, then you will be disappointed. It’s complex narrative structure and the abundance of characters do not immediately lend themselves to mainstream film making. However, if you like tales of the supernatural and solid performances from Hollywood legends, then this may well be for you. John Irvin has always been a workman like director and has therefore often been overlooked. Films such as Hamburger Hill and When Trumpets Fade show a great deal of focus and a clear understanding of the mechanics of cinema.
Ghost Story is a deliberately superficial adaptation of the novel by Peter Straub. If you’ve read the book and are expecting a verbatim retelling of the plot, then you will be disappointed. It’s complex narrative structure and the abundance of characters do not immediately lend themselves to mainstream film making. However, if you like tales of the supernatural and solid performances from Hollywood legends, then this may well be for you. John Irvin has always been a workman like director and has therefore often been overlooked. Films such as Hamburger Hill and When Trumpets Fade show a great deal of focus and a clear understanding of the mechanics of cinema.
Released in the early eighties during the peak of the slasher boom, Ghost Story fell squarely outside that sub-genre and offered the public a more traditional supernatural story. The initial intent was to produce an atmospheric movie built upon performances and suspense. Yet the studio, in their infinite wisdom, felt that there was a need for high profile shocks, so make up effects master Dick Smith was brought onboard to bring the story’s undead antagonist to the screen. Yet despite creating a broad range of ghoulish specters, much of his work never made it to the final edit. What remains is still exemplary and suitably grim, but one gets the sense that punches are being deliberatley pulled.
The plot focuses on the “Chowder Society”, an gentlemen’s club comprising of businessman Ricky Hawthorne, lawyer Sears James, Dr. John Jaffrey, and Mayor Edward Charles Wanderley. The four ageing men regularly meet, dine and swap tales of the sinister and supernatural. When Mayor Wanderley’s eldest son David falls to his death from a luxury apartment, the only clue is an enigmatic woman that he allegedly had a whirlwind romance with. David’s brother Don, soon finds himself in a similar relationship with a beautiful stranger who seems to know not only a lot about him, but the other surviving members of the “Chowder Society”. Don begins to question the woman’s identity and gradually becomes aware of a dark secret that his Father and friends are harbouring.
Ghost story is blessed with an outstanding cast comprising of John Houseman, Douglas Fairbanks Jr, Melvyn Douglas and the great Fred Astaire. They all bring a degree of dignity and gravitas to the proceedings. It is also worth noting that the actors who play the “Chowder Society” in their youth are very well matched. Alice Krige brings a suitably sinister quality to her performance and exudes malevolence. Sadly despite much promise, the screenplay by Lawrence D. Cohen is a little hit and miss in places, as is the editing. One aspect of the plot involving two human familiars in league with the vengeful spirit is never satisfactorily explained. However, as well as strong performances, Ghost Story sports handsome cinematography by Jack Cardiff and a sumptuous score by Philippe Sarde.
The public and critics alike were divided over Ghost Story at the time of its release. Despite good production values and a strong cast, it never really found a suitable market. Younger viewers found the pacing too slow and senior audiences, although attracted by the old stars, were repelled by its “unpleasantness”. Despite its studio heritage it can be argued that Ghost Story is simply a vignette, masquerading as a feature film. Yet irrespective of its flaws, forty five years on the film does now appear to have found a more forgiving fan base. For the horror aficionado Ghost Story has a terrific pedigree as well as an intriguing reputation of being a cinematic throwback, bravely trying to straddle the old and the new.
The Ruins (2008)
The Ruins is similar to both The Mist and Cloverfield , which were released around the same time, in so far that it is rather bleak and unrelenting movie. And like the aforementioned films, its strength lies in the manner in which it tackles the subject of people facing their own death in a credible fashion. In The Ruins the protagonists when faced with the prospect of their own demise quickly descend in to panic and resolutely refuse to face facts. Although these are negative themes that may not be to everyone’s tastes, they make The Ruins both gripping and genuinely scary.
The Ruins is similar to both The Mist and Cloverfield , which were released around the same time, in so far that it is rather bleak and unrelenting movie. And like the aforementioned films, its strength lies in the manner in which it tackles the subject of people facing their own death in a credible fashion. In The Ruins the protagonists when faced with the prospect of their own demise quickly descend in to panic and resolutely refuse to face facts. Although these are negative themes that may not be to everyone’s tastes, they make The Ruins both gripping and genuinely scary.
Four Americans on holiday in Mexico meet up with a German Tourist on his way to join his archaeologist brother, who has recently discovered a new Mayan ruin. Taking the opportunity to see some of the countries heritage first hand, they decide to head off in to the jungle. On arrival they find a Mayan pyramid that is covered in vines and creepers. It would appear that the locals are not too happy with them trespassing and they find themselves herded at gun point in to the ruins. It soon becomes apparent that the ancient temple harbours a deadly secret and that the siege outside is the least of their problems.
Author Scott Smith’s screenplay, adapted from his own novel, effectively depicts American middle class twenty somethings. The characters are well defined and not as unlikeable as one has come to expect from this genre of movie. Trainee doctor Jeff (Jonathan Tucker) is by far the most sympathetic character who keeps his head while his colleagues fail to grasp their situation. Director Carter Smith builds tension in a measured fashion and takes a traditional approach to revealing the films antagonist. There is also only a minimal amount of explanation regarding its predatory nature. He does not however hold back on the shocks, particularly in the unrated version. One scene rivals Misery for leg related trauma.
The Ruins despite its modern setting owes a lot to such films as The Day of the Triffids, Invasion of the Body Snatchers and The Descent. It plays on primeval fears of isolation, hidden predators as well as the alien and abstract nature of plants. The film benefits from a very subtle score that avoids punctuating the shocks and therefore making them melodramatic. The plausible characters behave as they should. As ever in life the most intelligent and sympathetic martyr themselves to save their less worthy friends. Despite having an ending that is somewhat formulaic The Ruins is still a rewarding horror film and is most certainly a cut above the standard of the genre. For the best results, watch late at night in a darkened room. Just ensure that you’re not sitting next to any pot plants.
In the Mouth of Madness (1995)
The arcane and esoteric works of author H P Lovecraft have often inspired horror directors. Sadly many of the films that have been made in homage to the Cthulhu Mythos have failed to capture its nightmarish mix of madness and mythology. John Carpenter's In the Mouth of Madness is not directly based on any of Lovecraft's specific works but screenwriter Michael De Luca draws his inspiration from many of this recurring ideas and concepts. He then adds a further homage to British writer Nigel Kneale, adding themes that are prevalent in his Quatermass series. Where others have failed, Carpenter successfully crafts a film that alludes to the baroque and eldritch qualities of the Cthulhu Mythos.
The arcane and esoteric works of author H P Lovecraft have often inspired horror directors. Sadly many of the films that have been made in homage to the Cthulhu Mythos have failed to capture its nightmarish mix of madness and mythology. John Carpenter's In the Mouth of Madness is not directly based on any of Lovecraft's specific works but screenwriter Michael De Luca draws his inspiration from many of this recurring ideas and concepts. He then adds a further homage to British writer Nigel Kneale, adding themes that are prevalent in his Quatermass series. Where others have failed, Carpenter successfully crafts a film that alludes to the baroque and eldritch qualities of the Cthulhu Mythos.
In the Mouth of Madness begins with John Trent (Sam Neill), an insurance investigator who has recently been "sectioned", telling his story to the resident psychiatrist. Hired to track down horror author Sutter Cane by his publishers, Trent finds the trail leads him to the town of Hobb's End. This is poses a perplexing problem as the town is fictional and shouldn't exist outside of the Cane’s novels. Using a hidden map on the cover of Cane’s book, Trent travels to Hobb’s End and watches the town collapse into madness, murder and monstrous transformations: the contents of Cane's novels manifesting in the material world. Furthermore this blight wants to spread! The dark forces working through Cane's text have designs to engulf the entire world.
In the Mouth of Madness is a surprising return to form by Carpenter during a time when his film making was very hit or miss. It is thoughtful, minimalist and has the brooding traits of a Lovecraft story along with the "science versus the ancient world" themes common in Kneale's work. There is clever imagery, some radical plot twists and a lot of black humour. However this is not a gorefest and the emphasis is on atmosphere and performances to create a disturbing tale. Sam Neil drives the narrative forward with a compelling lead performance. The viewer needs to watch very closely because the devil is very much in the detail leading to a thought provoking climax.
Overlooked at the box office, In the Mouth of Madness improves greatly with a second viewing. It's more an eerie vignette and a cunning critique of the horror genre, than a traditional horror. It’s not designed to shock or terrify, preferring to build a sense of disquiet. The cast such as David Warner and Jürgen Prochnow are well versed in the genre. The production design and physical effects are perfect for the tone of the film. This is very much a movie that leaves the viewer reflecting upon what they have seen. Certainly for those who are more patient and disposed towards the thoughtful, it's a rewarding experience. But that’s hardly surprising because John Carpenter’s work on a bad day (which this movie is not) is always more interesting than many of his peers on a good one.
Legion (1990)
Since the late eighties Morgan Creek productions have dabbled with multiple genres whilst pursuing box office success. At times, they have been successful with such populist movies as Young Guns and Robin Hood: Prince of Thieves. However, for every film that proved financially viable there were often two more that failed to gain an audience. Yet, despite having the business acumen to commission the best writing and directing talent available, co-founders James G. Robinson and Joe Roth have often been at odds with such creative individuals, resulting in many troubled productions. Horror writer and director Clive Barker endured an arduous experience while making Nightbreed, which was based upon his own novella. It was such a negative experience, resulting in a movie that was far from his initial vision, that Barker effectively quit film making. A similar experience befell William Peter Blatty when he was given an opportunity to film a direct sequel to The Exorcist based upon his novel Legion.
Since the late eighties Morgan Creek productions have dabbled with multiple genres whilst pursuing box office success. At times, they have been successful with such populist movies as Young Guns and Robin Hood: Prince of Thieves. However, for every film that proved financially viable there were often two more that failed to gain an audience. Yet, despite having the business acumen to commission the best writing and directing talent available, co-founders James G. Robinson and Joe Roth have often been at odds with such creative individuals, resulting in many troubled productions. Horror writer and director Clive Barker endured an arduous experience while making Nightbreed, which was based upon his own novella. It was such a negative experience, resulting in a movie that was far from his initial vision, that Barker effectively quit film making. A similar experience befell William Peter Blatty when he was given an opportunity to film a direct sequel to The Exorcist based upon his novel Legion.
I first saw The Exorcist III in 1990 at horror movie festival, prior to its UK release. There was a discussion before the screening regarding the major alterations that the studio had been forced upon the director. Upon viewing the theatrical edition, it became very apparent where narrative changes had been made and the entire final act suffered a tonal change and an utterly redundant exorcism sequence. It was clear that there was a better movie struggling to get out but Morgan Creek productions had simply wanted to pursue as broad an audience as possible. Thus, subtlety and intelligence were replaced by spectacle and gore. As the movie was subsequently released across multiple territories, critics universally reflected similar sentiments. The film failed financially and went down in cinematic history as a curious misfire in a troubled franchise.
After years of internet speculation by writer and director William Peter Blatty, a restored edition of The Exorcist III was finally released in 2016 by Scream Factory. The Blu-ray Collector’s Edition features a 2K scan of the original theatrical print of the movie as well as a director’s cut, retitled Legion. This new version is far closer to Blatty’s original vision and loses most of the re-shot material including the climatic exorcism conducted by Father Morning (Nicol Williamson). Sadly, the missing footage could not be found in the archives and so the Blu-ray producer Cliff MacMillan had to find alternative sources. “We turned to VHS tapes of the film’s dailies to assemble the director’s cut. However, even some of that footage was incomplete, so scenes from the theatrical re-shoot were used to fill in the gaps. This director’s cut is a composite of varying footage quality from the best available sources”. However irrespective of these technical obstacles, Legion is still a radically different movie to The Exorcist III and is compelling viewing even in this presentation.
What becomes apparent whenever watching any of Blatty’s movies is that he has a knack for dialogue. Legion is no exception. The banter between Lt. William F. Kinderman (George C. Scott) and Father Dyer (Ed Flanders) is extremely dry and witty, verging on the Chandleresque at times. It also establishes their deep friendship which is pivotal to the plot. New material further embellishes this aspect of the film. Legion now avoids obviously telegraphed unpleasantries and chooses to focus more upon a narrative driven disquiet. Alternative takes are used of Brad Dourif performance which alters his portrayal of the Gemini Killer. It is subsequently far subtler and brooding. Jason Miller is also now absent as Father Karras. Some of the heavy-handed dream sequences relating to the murdered child Thomas Kintry have also been deleted. The ending is now far more abrupt and devoid of any spectacle. It’s feels tonally more in tune with the rest of the film and has a greater impact.
Overall this new cut of the movie is more succinct and less strident. The minimalist shocks and lack of effects work lends a greater focus upon the themes of the story. This is essentially a theological thriller, rather than a Grand Guignol. Legion is a superior movie altogether when compared to its theatrical counterpart and a superior sequel to The Exorcist per se. Despite some cast changes it follows on from the original movie quite logically. Given the difficulty in reassembling this cut of the movie and the overall indifference of Morgan Creek, the current version of Legion is the best we are likely to see. As such it should appeal to all serious horror fans who enjoy character driven and cerebral entertainment. It also offers an interesting opportunity for aficionados of film restoration.
Murders in the Zoo (1933)
Murders in the Zoo was made towards the end of the first, post sound horror boom and just before the rigorous enforcement of The Motion Picture Production Code came into effect in 1934. The latter point is relevant because despite its age and being very much a product of its time, this movie has a grisly streak running through it. Had it entered production a year later I suspect it would have been a lot tamer both visually and thematically. Murders in the Zoo begins and ends with scenes that certainly leave an impact and stay with the viewer. Most casual movie viewers probably consider pre-war cinema to be theatrical in its acting style and somewhat tame, but that is not the case with Murders in the Zoo and many other movies from this time. Until tighter regulation was introduced, there was a brief period between 1928 and 1934 when movies were as violent and lurid (in principle) as contemporary cinema. All the things that are deplored today in certain quarters, where equally decried then.
Murders in the Zoo was made towards the end of the first, post sound horror boom and just before the rigorous enforcement of The Motion Picture Production Code came into effect in 1934. The latter point is relevant because despite its age and being very much a product of its time, this movie has a grisly streak running through it. Had it entered production a year later I suspect it would have been a lot tamer both visually and thematically. Murders in the Zoo begins and ends with scenes that certainly leave an impact and stay with the viewer. Most casual movie viewers probably consider pre-war cinema to be theatrical in its acting style and somewhat tame, but that is not the case with Murders in the Zoo and many other movies from this time. Until tighter regulation was introduced, there was a brief period between 1928 and 1934 when movies were as violent and lurid (in principle) as contemporary cinema. All the things that are deplored today in certain quarters, where equally decried then.
Lionel Atwill stars as the wealthy zoologist and big game hunter Eric Gorman. We meet him at the start of the movie in the jungles of French Indochina. Initially it appears that Gorman is assisting his colleague, Taylor. Perhaps he’s had an accident and Gorman and his two “native bearers” are providing emergency first aid. Gorman is certainly busy with a needle and thread. But the dialogue takes a sinister turn. It would appear Taylor has shown too much interest in Gorman’s wife Evelyn (Kathleen Burke), kissed her and lied to Gorman about it. And so Gorman has sewn Taylor’s mouth shut and bound his wrists behind his back. He then abandons him in the jungle and leaves him to his fate. Later locals inform Gorman at his camp, that his friend has been eaten by Tigers.
This powerful opening clearly establishes the story arc for Murders in the Zoo. Returning to the US with a collection of animals for the municipal zoo, Gorman subsequently discovers that his wife intends to leave him for another man, Roger Hewitt (John Lodge). Gorman takes advantage of a gala fundraising event at the Zoo to poison Hewitt and subsequently blame his death on a Green Mamba that he has recently donated. However, the zoos resident toxicologist, Jack Woodford (Randolph Scott), doesn’t care to be blamed for the snakes escape and suspects that Gorman is not telling the truth. Jack’s assistant and fiancée Jerry Evans (Gail Patrick) also doesn’t trust Gorman. When Evelyn Gorman discovers that her husband has a mechanical Mamba head in his desk filled with venom, she realises that her husband is a murderer. However Gorman has no intention of allowing his wife to inform the authorities, so he pushes her into the Alligator pit at the zoo. Can he cover his tracks or will Jack Woodford uncover his secret?
Murders in the Zoo runs for just over an hour, yet packs quite a lot in during that time. Lionel Atwill excels as the psychopathic Eric Gorman who swings quickly from homicidal maniac to passionate lover. The movie hints quite heavily at an abusive relationship and sexual violence. The death of Evelyn is quite shocking and Gorman’s inevitable demise is also equally powerful. Performances are in the acting idiom of the thirties and are somewhat theatrical but this was the prevailing style. Once again it is best for contemporary viewers to remind themselves of the context of the times, so they can see beyond the somewhat dated trappings of the production. I found Atwill’s visual acting ticks, such as his slow burn sinister looks, endearing and a reminder of how many actors of the time came from a theatrical background. The film also attempts to offset the gruesome aspects of the plot with liberal doses of humour. Charlie Ruggles plays the zoo’s press agent. The hilarity stems from the fact that he’s a “comedy drunk” (a standard trope at the time) who is also afraid of all the animals.
Effectively directed by the versatile A. Edward Sutherland, who could turn his hand to musicals, comedies and dramas, Murders in the Zoo is efficient horror thriller. It isn’t for everyone and I wouldn’t recommend such a film to casual viewers. But for horror aficionados, this is an unusual and quite hard-hitting piece of pre-code film making. It is also notable for several scenes in which the cast clearly interact with live animals, in a manner that wouldn’t be countenanced today. Randolph Scott handles a live Mamba on two occasions and Charlie Ruggles “boops the snoot” of a Lion. There’s also a sequence at the movies climax, when the animals are released from the cages and some of the big cats fight among themselves and they’re definitely not playing. Murders in the Zoo has recently been released on Blu-ray as part of the Universal Horror Collection: Volume 2. It is a beautiful print and will certainly be of interest to hardcore movie collectors.
Mimic: The Director's Cut (1997)
When I first saw Mimic in 1997, I was impressed by the fact that it offered a different perspective on the monster movie genre and that it seemed to have moments of greater depth than you'd expect from such material. Later on when I became more aware of the works of writer, director Guillermo del Toro, I learned that this movie had had a troubled production and that Miramx had imposed specific requirements upon the final cut of the film. This explained some of the movies inconsistencies and hinted at a far more ambitious artistic endeavour by del Toro. Initially Mimic was conceived as a thirty minute short and part of a three part anthology movie. However it along with the sci-fi film Imposter were both deemed to be of sufficient merit to be developed into feature length productions.
When I first saw Mimic in 1997, I was impressed by the fact that it offered a different perspective on the monster movie genre and that it seemed to have moments of greater depth than you'd expect from such material. Later on when I became more aware of the works of writer, director Guillermo del Toro, I learned that this movie had had a troubled production and that Miramx had imposed specific requirements upon the final cut of the film. This explained some of the movies inconsistencies and hinted at a far more ambitious artistic endeavour by del Toro. Initially Mimic was conceived as a thirty minute short and part of a three part anthology movie. However it along with the sci-fi film Imposter were both deemed to be of sufficient merit to be developed into feature length productions.
Initially Mimic appears to be just a standard creature feature, yet it soon becomes apparent that there’s more depth to the story than is usual for the genre. Cockroaches are spreading a fatal virus among the Manhattan's infants. Entomologist Susan Tyler (Mira Sorvino) genetically engineers the Judas Breed, a large insect that releases an enzyme that kills off the disease-carrying roaches by speeding up their metabolism. The Judas breed is also designed to only have one fertile male, which remains in quarantine, thus condemning the species to alleged oblivion. Naturally things do not work out as planned and three years later, Health Inspector Dr. Peter Mann (Jermey Northam) along with his detective friend Josh (Josh Brolin) become aware of increased deaths among the illegal immigrant and homeless communities.
Where Mimic stands out from other run-of-the-mill genre offerings, is its unusual characters and greater depth of narrative. The creation of a genetically modified Judas breed is played out against the struggles of our husband and wife protagonists attempts to have a baby. There is also an engaging sub-plot involving a shoe shine man and his autistic Grandson. The boy’s savant ability to identify shoe sizes at a glance, is cleverly utilised as he is the first to witness the mimics of the title. Unable to place them within the context of his world he refers to the one he sees as Mr. Funny Shoes. Mimic is another member of that rather exclusive cinematic club in which the death of a child is shown on screen.
The recent director's cut of Mimic adds an additional six minutes of footage to the existing print. Guillermo del Toro has striven to alter the overall feel of the film through additional editing and the use of colour filters. The audience does not necessarily gain any new insights into the story but the characters feel more rounded. The underground sequences have a more atmospheric feel to them and a stronger sense of menace. The revelation that the insects have learned to mimic the appearance of humans has a greater impact this time round. The tone of the movie, particularly the humour now takes on a distinctly darker hue. Overall the director's cut of Mimic is a refinement of the theatrical print.
Mimic was del Toro's first major US feature. If he made this now, I believe it would be a far more experimental picture. This revised improved version still remains a curio, rather than a classic; a hybrid mixture of the director's lyrical and cerebral approach to horror, along with the trappings of a more commercial picture. It is an odd blend but none the less very watchable. The film benefits from strong performances, especially Charles S. Dutton as a world weary transit policeman. There are also some solid shocks and jumps to be enjoyed. Yet even in this new format Mimic doesn't quite achieve the heights of the directors later works. However, del Toro even under these circumstances is still a far more inviting and enthralling prospect than your average horror hack.
The Last Man on Earth (1964)
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
The Last Man on Earth is an American Italian co-production, that was filmed in Rome, with some location shots taken at Esposizione Universale Roma. Made on a modest budget, apart from Vincent Price, the cast are all Italian. However, the constraints of the production at times work in the films favour, offering a far more measured and therefore credible view of the apocalypse. There is one flashback scene where the are some brief shots of the dead being thrown into pits by the military and burned. This low-key depiction, works well and has a greater sinister ambience than big budget set pieces of the 2007 remake. Price gives a solid performance as the lost and forlorn lead character. Sadly, the English voice dubbing done in post-production is weak and at times undermines the drama. The solid black and white cinematography by veteran cameraman Franco Delli Colli, is an asset to the production.
As a horror movie of its time, The Last Man on Earth is adequate fare. However, on a thematic level it works far better as a study of human loneliness. The scenes where Morgan finds a dog and tries to entice it to him because he is so desperate for companionship are well conceived. Sadly, the animal is injured and will inevitably succumb to the vampire virus, so he is forced to kill it. Touchingly he then buries the dog. Unfortunately, despite adapting his own novel, writer Richard Matheson was disappointed in the finished film, finding it lacklustre and poorly directed. He subsequently changed his name on the movie credits. Although The Last Man on Earth is a somewhat small scale adaptation of a book with a much broader scope, it is not without its virtues. It offers viewers the essential essence of the source text and allows time to reflect upon the narrative’s themes.
Friday the 13th (2009)
The original Friday the 13th (1980) movie was a box office success due to a perfect storm of events. Overall the film is cheap, functional and the only real element of note are Tom Savini’s grim prosthetic effects work. But this is the nature of horror cinema. It is a genre that can be produced quickly and cheaply. That is not to say that Friday the 13th is without its merits. It has a grim sense of honesty and there’s even an attempt at a narrative twist at the end. It is very much a product of its time and that is reflected in its subtext and themes. Cinema often ends up mirroring, directly or indirectly, the prevailing socioeconomic trends of the time. So it is logical to suggest that if you wish to successfully reboot such material, you need to recalibrate the premise to suit the needs and expectations of contemporary audiences. However, in the case of this new version of Friday the 13th director Marcus Nispel has opted not to do this. Instead he just gives audiences a distillation of the most basic elements of the franchise, on a higher budget.
The original Friday the 13th (1980) movie was a box office success due to a perfect storm of events. Overall the film is cheap, functional and the only real element of note are Tom Savini’s grim prosthetic effects work. But this is the nature of horror cinema. It is a genre that can be produced quickly and cheaply. That is not to say that Friday the 13th is without its merits. It has a grim sense of honesty and there’s even an attempt at a narrative twist at the end. It is very much a product of its time and that is reflected in its subtext and themes. Cinema often ends up mirroring, directly or indirectly, the prevailing socioeconomic trends of the time. So it is logical to suggest that if you wish to successfully reboot such material, you need to recalibrate the premise to suit the needs and expectations of contemporary audiences. However, in the case of this new version of Friday the 13th director Marcus Nispel has opted not to do this. Instead he just gives audiences a distillation of the most basic elements of the franchise, on a higher budget.
Overall Friday the 13th suffers from perfunctory direction and a lazy, uninspired screenplay. There is a brief opening scene where Pamela Voorhees (Nana Visitor), is beheaded by a camp counsellor, after she goes on a killing spree at Crystal Lake summer camp. Yet this one good interesting idea is promptly abandoned. Exactly what her motives are is glossed over. Thirty years later a group of teenagers seeking marijuana growing in the woods are attacked by her son Jason and all are murdered, except for one who resembles his mother. Several weeks later, a second group of teenage “fun lovers”, arrive at Camp Crystal lake and promptly embark upon a competition to see which one of them is the biggest asshole. They subsequently fall foul of crazy Jason. A game of cat and mouse subsequently ensues but it’s all devoid of tension or originality. When Jason changes his burlap sack for the iconic hockey mask, it is presented for the audience’s edification in the same way as Batman donning his mask and suit for the first time. It’s all somewhat risible.
The teenage victims that are the sacrificial goats of this franchise, have never really been of any particular interest (apart from Tommy Jarvis). They continue to be superfluous in this instalment. The only difference this time round is that they are more obnoxious than ever and most of the breasts on display are now “cosmetically enhanced”. Overall, the focus of the franchise has always been the enigma of Jason Voorhees himself. He started off as a delusion of a homicidal mother, then changed into a deformed, shed dwelling, gimp before evolving into the lumbering, unstoppable, killing machine sporting a hockey mask, that we know and love today. Whatever you may think about the convoluted and contradictory lore, it has always been clear that Jason Voorhees is more than just a man. Yet in this movie he rendered down to just an oversized, brain damaged murderer. He lacks any “je ne sais quoi” and is less interesting and threatening than Michael Myers or even Victor Crowley. Such a flaw is fatal and relegates this remake to the status of just another slasher.
By the time the Friday the 13th franchise found its feet, in the middle eighties, the formula was clear and simple. In the first act, put some teenagers in peril and have a few jump scares and red herrings along the way. In the second act, start to pick them off one by one with various creative death scenes. Ensure there’s a chase and showdown between crazy Jason and “the final girl” at the denouement. Rinse and repeat. Add levity to taste. When it worked, it worked well. Friday the 13th Part 3 being a prime example. This cinematic recipe could have been easily repeated in 2009 and given a postmodern veneer. It could have been Jason versus millennials. Yet despite such an open goal and an audience lining up to hand over their money, this 2009 version fumbles the opportunity. The murders and set pieces are darkly lit and uninspired, the characters are contemptible and gags fall wide of the mark. For example, a black character is axed to death in a “woodpile”. If Friday the 13th is ever to rebooted again, Paramount Studios need to do far better than this.
The Tower of London (1939)
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is a well written and concise drama, which manages to expedite the historical plot without it feeling like a history lecture. Richard, Duke of Gloucester (Basil Rathbone) exudes both charm and malevolence as he plots and schemes. He is assisted by executioner and assassin Mord (Boris Karloff) who idolises his master and facilitates his plans. Vincent Price has a suitably unctuous role as Duke of Clarence. The drinking contest between him and Richard is a delightful scene, which Price and Rathbone mainly ad libbed. The production values are good and the sets have a sense of period atmosphere. There are some brief scenes set in the torture chamber and although far from graphic, they are quite bleak and psychologically quite cruel. However, it should be noted that this is very much a case of the 15th century as interpreted by a Hollywood studio. Even the depiction of squalor is oddly stylised and sanitised.
When Boris Karloff made Son of Frankenstein he signed a deal with Universal to make an additional two feature films. His role in The Tower of London was written specifically for him by screenwriter Robert N. Lee. Although the part is somewhat limited within the scope of the story, Karloff certainly demonstrates his acting skills. During a scene in which Richard, Duke of Gloucester orders the murder of the twin nephews, Karloff brings a subtle degree of hesitation to his performance. He briefly pauses outside the room and reflects upon what he has been charged to do. A brief pang of guilt passes his face before being replaced with grim resolve. Sadly, the role of Mord is not as prominent as the studio inferred. My late Father remembered seeing this film in the cinema when he was ten and recalled that many in the audience expect the film to be a pure horror movie. Apparently in the screening he saw, there were chants of “ we want Boris” as viewers became bored with all the historical intrigue.
As well as being a period costume drama, The Tower of London was also provided a degree of wartime propaganda. The film starts with an opening title card that strives to clearly draw a parallel between Duke of Gloucester’s rise to power and that of Hitler in Germany. Another interesting aspect of the production are the battle scenes. Despite using quite a lot of extras, bad weather destroyed a lot of the props and so a lot of the action were shot at close quarters, giving them a very intimate quality. John Boorman used the same technique forty years later in Excalibur. The director Rowland V. Lee was also keen to maintain a degree of authenticity with the production and wished to use period music. Sadly this was disputed by the studio and so a lot of stock music from previous Universal films were used. All things considered, The Tower of London is an entertaining historical drama that deserves a reappraisal. It certainly makes for an interesting alternative perspective on these events, rather than a traditional adaptation of Shakespeare’s Richard III.
The Curse of La Llorona (2019)
Patricia attacks her and is arrested by the police. Patricia's sons, Carlos and Tomas are then taken to a child-services shelter, where Anna assures them they’ll be safe. However, that night, the boys are attacked by a spectral woman in a white dress and are later found drowned in a river. When Anna is called out to the scene she brings her own children, Chris and Sam, who wait in the car. Patricia, accused of her sons' murders, screams that it is Anna's fault and that they were taken by "La Llorona". Sam leaves the car to hear what his mother is discussing and is grabbed by the wrist by the same woman that attacked Carlos and Tomas. A red mark is left on his arm. The next day Anna interviews Patricia while she’s in custody. She reveals that she has prayed to "La Llorona" for the return of her own children and to take Anna’s instead.
Set during 1973 in Los Angeles, social worker Anna Tate-Garcia (Linda Cardellini) visits Patricia Alvarez (Patricia Velásquez) due to her sons’ truancy from school. When Anna finds the children locked in a closet, Patricia attacks her and is arrested by the police. Patricia's sons, Carlos and Tomas are then taken to a child-services shelter, where Anna assures them they’ll be safe. However, that night, the boys are attacked by a spectral woman in a white dress and are later found drowned in a river. When Anna is called out to the scene she brings her own children, Chris and Sam, who wait in the car. Patricia, accused of her sons' murders, screams that it is Anna's fault and that they were taken by "La Llorona". Sam leaves the car to hear what his mother is discussing and is grabbed by the wrist by the same woman that attacked Carlos and Tomas. A red mark is left on his arm. The next day Anna interviews Patricia while she’s in custody. She reveals that she has prayed to "La Llorona" for the return of her own children and to take Anna’s instead.
The Curse of La Llorona is part of the The Conjuring Universe franchise, although its links to it are somewhat tenuous. The film features a brief appearance by Tony Amendola as Father Perez, who previously featured in Annabelle (2014). However, beyond this reference The Curse of La Llorona is very much a standalone production. Directed by Michael Chaves who has a background in short films and web series, it is handsomely photographed and features some interesting visual compositions The seventies setting doesn’t really contribute much to the proceedings other than remove a lot of modern technology and hence further isolate the Tate-Garcia family. The supernatural set pieces are inventive both in their construction and execution. There’s a nice scene where a child sees the weeping woman but only through her clear umbrella. The emphasis is upon jump scares and ghoulish imagery, as opposed to violence and gore. However, beyond its technical merits The Curse of La Llorona is somewhat lacking.
Despite the presence of Linda Cardellini who does her best as a single mother facing a supernatural threat, the script by Mikki Daughtry and Tobias Iaconis is perfunctory and uninspired. It moves from A to B efficiently but without any originality. The central characters are all archetypes and have little or no depth. Despite touching upon some interesting ideas, many are all squandered. For example Anna Tate-Garcia is a widower whose husband was a Hispanic police officer. Given the time in which the movie is set, this could have been explored further. Another plot point that falls by the wayside is why former priest Rafael Olvera (Raymond Cruz) left the church. Was it a question of bureaucracy or methodology? And then there is the “weeping woman” herself. I have no problem with the horror genre keeping their antagonists as an enigma but this one is especially vague and her actions somewhat illogical.
One of the selling points of The Curse of La Llorona is that it offers a Hispanic perspective on the supernatural and the scope to examine cultural traditions. Horror films too often focus on European Christian dogma and their interpretation of ghosts and demons. But the interesting crossover between Catholicism and traditional Hispanic superstition that is alluded to, is again neglected. The production seems more focused on contriving jump scares but they really only work as a technical exercise and don’t actually do much for the overall story being told. Therefore, many genre fans will consider The Curse of La Llorona to be “filler”. Formulaic and serving a basic purpose but not attempting to do anything out of the ordinary. It’s a shame in a way as with a bit more thought and possibly just an additional ten minutes or so, this could have been a far more rewarding film with something new to offer.
Prophecy (1979)
During the seventies, Hollywood started looking to ongoing societal and political concerns as a source of material for movies. Hence, the energy crisis, terrorism and global pollution quickly found themselves being subsumed into hastily written screenplays, in attempt to be topical, commercially successful and relevant. Prophecy based upon a novel by David Seltzer tackled not only the issue of pollution but also the ongoing disenfranchisement of Native Americans. Paramount studios went so far as hiring an established director of note, John Frankenheimer. In many respects this movie should have been a bigger success with a reasonable budget, robust cast and studio support. Sadly it did not fare well, either critically or at the box office due to obvious flaws in the production. Despite his outstanding body work, (Birdman of Alcatraz, The Manchurian Candidate) Frankenheimer was not the best choice of director for a genre movie such as this and he was also going through a period of alcoholism.
During the seventies, Hollywood started looking to ongoing societal and political concerns as a source of material for movies. Hence, the energy crisis, terrorism and global pollution quickly found themselves being subsumed into hastily written screenplays, in attempt to be topical, commercially successful and relevant. Prophecy based upon a novel by David Seltzer tackled not only the issue of pollution but also the ongoing disenfranchisement of Native Americans. Paramount studios went so far as hiring an established director of note, John Frankenheimer. In many respects this movie should have been a bigger success with a reasonable budget, robust cast and studio support. Sadly it did not fare well, either critically or at the box office due to obvious flaws in the production. Despite his outstanding body work, (Birdman of Alcatraz, The Manchurian Candidate) Frankenheimer was not the best choice of director for a genre movie such as this and he was also going through a period of alcoholism.
Dr. Robert Verne (Robert Foxworth) accepts a job from the Environmental Protection Agency to investigate a dispute over potential pollution between a logging company and a Native American tribe in Maine. Dr. Verne's wife Maggie (Talia Shire) accompanies him on the trip. She is pregnant but has not yet told her husband as he is conflicted about bringing children into such a problematic world. On arrival in the remote logging town, the mill director Bethel Isley (Richard A. Dysart) is inclined to blame all problems on the local Native American community. Especially the disappearance of several tourists and search and rescue workers. However, he extends all possible courtesy to Dr. Verne, showing them around the paper mill plant and providing them with a remote woodland cabin so he can test the water. The local Native American community leaders, John and Ramona Hawk (Armand Assante and Victoria Racimo) appeal to Robert and his wife that they are not a community of drunks but are being poisoned. They tell of illness, premature death and of children born with birth defects. But Ramona’s old grandfather speaks of Katahdin, a spirit that “is part of all things created” who has awakened to protect the tribe.
Being a seventies movie Prophecy is guilty of a practice that is happily not so common these days. Namely, casting actors of the wrong ethnicity into specific roles. Having a “known name” on a movie poster is one thing but it’s somewhat eggerious when a production casts racially appropriate actors for minor roles but does not do the same for major characters. The issue here being Armand Assante, an actor of Italian descent, playing a Native American. Despite this decision, the cast perform well. The relationship between Robert Foxworth and Talia Shire is plausible, although “of the time”, especially in the way that he listens to her but doesn’t hear what she’s really saying. Richard A. Dysart gives a good supporting performance, as the die hard company man. His character reflects a lot of the entrenched prejudices that were all too common at the time. The script introduces several interesting themes such as attitudes on ecology and the risk of a baby with birth defects but these plot lines are sadly abandoned when the monster turns up. Prophecy was also one of the first major studio movies to be filmed in “Hollywood North”. Vancouver became a regular substitute for parts of the US and a centre of film production hence forward.
But the main problem with Prophecy is not so much the inconsistencies in the script, which is a common issue in genre movies but the way the central monster is filmed and revealed. The basic design by The Burman Studios is sound but the way it is lit and shot is not flattering. The Xenomorph in Alien is essentially a man in suit but it is shown in a way that often minimises this. The mutant Bear in Prophecy is not handled with such care. Neither Frankenheimer or his crew had much experience of dealing with these sorts of issues and although the editing by Tom Rolf does much to try and correct the problem, it doesn’t always work. The monster was originally conceived to be a chimera and have attributes of multiple animals; just as a human foetus exhibits similar traits during its development. But this proved potentially too complex, so the scope of the special effects were reduced. Frankenheimer also decided to secure a lower rating and so removed some of the more violent scenes. Hence the movie feels that there is content missing and the gore has been toned down to a minimum.
Prophecy could have been a far better movie under different circumstances. If the Native American aspect of the plot was explored further and there was a degree of ambiguity as to whether the monster was just a mutant or Katahdin the avenging spirit, then the story would have been a little more engaging. The issue of Maggie’s pregnancy and the problems she could face is another aspect of the plot that could have provided more human drama. Then there is the matter of Katahdin itself. Irrespective of the way the special effects were shot, the more violent scenes should have remained in the film. As it stands, the theatrical cut of the movie is a little anticlimactic. However, Prophecy is still entertaining and an interesting reminder of a time when big studios were still prepared to explore the horror genre in different ways, with robust budgets and high production values. Something that doesn’t happen quite as often these days. The ending that hints at a potential sequel naturally didn’t happen.
Malignant (2021)
Madison Lake (Annabelle Wallis) returns home to her husband, Derek Mitchell (Jack Abel), after her pregnancy causes her to be ill at work. During an argument, Derek hits Madison's head against a wall. Madison locks herself in the bedroom to avoid him and falls asleep. She later wakes up to find Derek dead, after having a dream of someone entering their house and violently killing him. The killer, who is still in the house, attacks Madison. The next morning, Madison wakes up in a hospital and is greeted by her sister, Sydney (Maddie Hasson). She is told that her baby didn't survive the attack. After being interviewed by police detective Kekoa Shaw (George Young) and his partner Regina Moss (Michole Briana White), regarding Derek’s death, Madison returns home. As there was no sign of forced entry into the house and Derek was known to be an abusive spouse, the police suspect that Madison is the murderer. Madison continues to experience vivid waking dreams in which a mysterious figure commits murder.
Madison Lake (Annabelle Wallis) returns home to her husband, Derek Mitchell (Jack Abel), after her pregnancy causes her to be ill at work. During an argument, Derek hits Madison's head against a wall. Madison locks herself in the bedroom to avoid him and falls asleep. She later wakes up to find Derek dead, after having a dream of someone entering their house and violently killing him. The killer, who is still in the house, attacks Madison. The next morning, Madison wakes up in a hospital and is greeted by her sister, Sydney (Maddie Hasson). She is told that her baby didn't survive the attack. After being interviewed by police detective Kekoa Shaw (George Young) and his partner Regina Moss (Michole Briana White), regarding Derek’s death, Madison returns home. As there was no sign of forced entry into the house and Derek was known to be an abusive spouse, the police suspect that Madison is the murderer. Madison continues to experience vivid waking dreams in which a mysterious figure commits murder.
Once again, while reviewing a contemporary horror film, I am forced to repeat myself which probably doesn’t make for especially engaging reading. Never mind, ultimately this is not my fault. So, for the record, here we go again. The trouble with being an avid fan of something is that it ultimately brings a great deal of familiarity with that which you enjoy. Over the years I have seen a great many horror films. Classic, cult movies and obscure niche market titles. I read extensively, liking to know about specific film productions, the technicalities of film making and what titles are venerated and why. All of which brings me a great deal of pleasure. However, it also means that because of my analytical approach to viewing horror films, along with a substantial amount of personal knowledge, I tend not to be surprised, perturbed or wrong footed by many of the films that I see. This can sometimes diminish my enjoyment somewhat.
With this comprehensive caveat out of the way, James Wan’s Malignant may well scare the occasional or casual viewer of horror films. They may also find the main plot device to be unusual. Sadly, if you’ve seen Basket Case (1982), The Dark Half (1993) or recollect the scene from Total Recall (1990) involving Kuato, then much of what Malignant has to offer will seem less impressive. Furthermore, for a film to succeed and to engage its viewers, it requires them to suspend their sense of disbelief. Horror fans by default can be more accommodating than other genre enthusiasts regarding this, because horror so often deals in supernatural concepts and extreme themes. However, if the horror genre abuses this goodwill they’re granted by their audience, they end up losing them. I believe this is the case with Malignant.
There are some good aspects to Malignant. The lighting is very atmospheric, and the action scenes are dynamic. The camera is seldom still and is not content to confine itself to traditional linear movements. Some of the violence is quite unpleasant, especially if you have an aversion to open fractures. But there are two specific failings that director James Wan makes. The first is clumsy plot exposition and some frankly quite hokey dialogue. Certain characters seem to have no purpose beyond delivering a slab of story content and advancing the plot. The second is regarding the film’s own internal logic. It is set ostensibly in the real world. Yet what happens is often so left field or over the top, that it stretches even the most accommodating viewer’s suspension of disbelief. The story’s implied “happy ending” simply doesn’t ring true as there would be far too many questions and consequences, arising from the events of the film itself. As a result, Malignant is an interesting misfire.
Solomon Kane (2009)
I had the pleasure of seeing Solomon Kane at the Empire Leicester Square upon its initial release. I remember at the time how I found it very refreshing to see an independent horror film that treated its underlying material with the respect it deserved. The genre was somewhat in the doldrums at the time, awash with soulless remakes and endless franchise sequels, produced by cynical studios that were ultimately contemptuous of the material they utilised and the fans that watched it. Although not a literal adaptation of the series of short stories by Robert E. Howard, Solomon Kane successfully captured their spirit and broadened their scope to accommodate both the horror and fantasy genres.
I had the pleasure of seeing Solomon Kane at the Empire Leicester Square upon its initial release. I remember at the time how I found it very refreshing to see an independent horror film that treated its underlying material with the respect it deserved. The genre was somewhat in the doldrums at the time, awash with soulless remakes and endless franchise sequels, produced by cynical studios that were ultimately contemptuous of the material they utilised and the fans that watched it. Although not a literal adaptation of the series of short stories by Robert E. Howard, Solomon Kane successfully captured their spirit and broadened their scope to accommodate both the horror and fantasy genres.
I have seen the film several times since then and my enjoyment for it has not abated. It still strongly reminds me of the heyday of the Hammer studios in the way that the production looks more expensive and sumptuous than it actually cost. Solomon Kane had a modest $40 million budget but at first glance you would not tell, with its striking gothic production design, beautiful locations and cinematography by Danish cinematographer Dan Laustsen (Crimson Peak, Brotherhood of the Wolf). The film has a very distinctive European look and feel. It sports a rich and memorable soundtrack by composer Klaus Badelt. This is why the horror genre can so often make a silk purse out of a sow’s ear, because it used what resources it has creatively and effectively.
M. J. Bassett directs efficiently and economically, as they did in their previous film Wilderness. The story is well paced and the narrative is relatively lean. There is a strong supporting cast including Pete Postlethwaite, Alice Krige and Max von Sydow. Their presence adds weight to the proceedings and covers some of the shortcomings of the somewhat concise screenplay. The action scenes are well choreographed, being violent but not excessively explicit. The CGI and other physical FX work are perfectly acceptable, although opinion is somewhat divided over final "demon" at the films conclusion. As far as I’m concerned it is functional and serves it purpose as a climatic and narrative "MacGuffin".
Many reviews at the time praised the production but were critical of what they saw as a very generic product. However true that may be of the story's central premise, the film is elevated by James Purefoy's strong lead performance. Seldom are characters this well fleshed out in genre movies. Ultimately Solomon Kane biggest asset is that it does exactly what it sets out to do and provides audiences with 109 minutes of fantasy/horror adventure. There are no postmodern one liners or annoying comic relief; just an honest old fashioned genre film made in an appropriate tone. It’s a shame that the movie never managed to kick-start the franchise that it was obviously hoping to create.
Phenomena AKA Creepers (1985)
For those unfamiliar with the work of Italian director Dario Argento, Phenomena may not necessarily be the best place to start. It is somewhat excessive movie even by the film makers own standards. Yet if approached with the right mind set, then it can be a very rewarding film. Mainstream American cinema often has a clear and linear framework. It is constructed in an established fashion and despite adopting techniques and styles from other countries, is frequently somewhat conservative in its presentation. Italian cinema, especially the work of Argento, focuses very much on visual aesthetics. Framing, the use of colour, editing and atmosphere often take priority over narrative and logic.
For those unfamiliar with the work of Italian director Dario Argento, Phenomena may not necessarily be the best place to start. It is somewhat excessive movie even by the film makers own standards. Yet if approached with the right mind set, then it can be a very rewarding film. Mainstream American cinema often has a clear and linear framework. It is constructed in an established fashion and despite adopting techniques and styles from other countries, is frequently somewhat conservative in its presentation. Italian cinema, especially the work of Argento, focuses very much on visual aesthetics. Framing, the use of colour, editing and atmosphere often take priority over narrative and logic.
Phenomena centres on Jennifer Corvino (Jennifer Connelly), the daughter of a famous actor who starts at an exclusive girl’s school in Switzerland. She befriends Doctor MacGregor (Donald Pleasance), a disabled entomologist who is helping Police with their enquiries regarding a serial killer. The Doctor also has a Chimpanzee. I mention this as it is an integral plot device. It should also be noted that Jennifer is a somnambulist and has a telepathic link with insects. It is not long before Jennifer crosses the path of the serial killer, yet because of her strange gifts suspsicion falls on her.
On paper the plot does sound somewhat ludicrous and I’d be lying if I said it doesn’t come across that way in the film. However Phenomena is beautifully shot on location in Switzerland and manages transcends its storyline through its audio visual excesses. Argento uses crane shots and stedicams to construct audacious and shocking set pieces, which are beautifully grotesque. European cinema always seems to depict acts of violence in a far more horrific way than the US. It is hard to put a finger on what the exact difference is. Colour and sound play an important part in the construction of Phenomena. The music veers from soft choral motifs, to burst of eighties metal. Night scenes are bathed in blue hues and blood is often splattered against lighter colours that starkly contrast it.
If you have a curious nature, a liking for the horror genre and an interest in European cinema, then this film is certainly a “baptism of fire”. Just to re-iterate the plot contains a killer dwarf, flesh eating insects, bad Scottish accents and a chimp with a cut throat razor. The final twenty minutes are quite gruelling but it is also an exquisite assault on your senses and for that reason alone I feel compelled to recommend Phenomena. Try and avoid the US release of the film which was renamed Creepers. This version was heavily edited from one hundred and ten minutes down to eighty two. Most of the violence is missing and the bizarre plot is rendered even more incomprehensible.
Phenomena features a soundtrack by long time Argento collaborators Goblin and their musical style contributes greatly to the film. The main theme is repeated in subtle variations throughout the course of the story. Although very much a product of the time, their unique European ambiance is still quite striking and the complete opposite of a traditional melodramatic orchestral score. This combined with the ambient sound effects and cacophonous sound mixing adds an extra dimension to Argento’s work and reflects his established aesthetic. One way or another Phenomena is a movie that leaves a lasting impression