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?
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.
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.
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 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.
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),
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.
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.
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.
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.
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.
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.
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.
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 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 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.
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.
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.
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.
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.