The Haunted Doll’s House (2012)
The Haunted Dolls House is a short film based on a story by M.R. James about a unique antique that is subject to supernatural phenomenon. Adapted by Stephen Gray and David Lilley, this is the third of three short films based upon James’ work that the pair have made. It stars Steven Dolton as Mr. Dillet, a collector of antique dolls houses, who acquires a bargain only to discover that it harbours a ghostly secret. Made on an extremely modest budget over the course of 2012 this clever, innovative and rather sinister adaptation is a fine example of short film creativity. It manages to offer a unique visual depiction of M.R. James’ classic story whilst capturing the unsettling quality of the author’s work. Like so many independently made short films it is clearly a labour of love, made with modest resources. It succinctly captures the spirit of the author’s work and is both innovative and rewarding.
The Haunted Doll’s House is a short film based on a story by M.R. James about a unique antique that is subject to supernatural phenomenon. Adapted by Stephen Gray and David Lilley, this is the third of three short films based upon James’ work that the pair have made. It stars Steven Dolton as Mr. Dillet, a collector of antique doll’s houses, who acquires a bargain only to discover that it harbours a ghostly secret. Made on an extremely modest budget over the course of 2012 this clever, innovative and rather sinister adaptation is a fine example of short film creativity. It manages to offer a unique visual depiction of M.R. James’ classic story whilst capturing the unsettling quality of the author’s work. Like so many independently made short films it is clearly a labour of love, made with modest resources. It succinctly captures the spirit of the author’s work and is both innovative and rewarding.
The Haunted Doll’s House creates an interesting period atmosphere of the early nineteen twenties and sets the scenes for the ghostly events. Professional antique collector Mr. Dillet seems very pleased with his latest acquisition and sits late into the night cataloguing its contents by dictating into a Phonograph Recorder. However, as Mr. Dilet lists the respective details, they seem to become more intricate each time he checks them. Perhaps he is just overly tired? He subsequently retires to bed for the evening, however he is woken during the night when a strange light illuminates the doll's house. It would appear that the latest addition to his collection has something to show him. A rather disturbing story plays out among the antique’s occupants; a family of dolls consisting of a husband and wife, two children and a bedridden Grandfather.
The director's use of stop motion animation is a major positive asset for this adaptation. The minimalist character design of the dolls and the lack of dialogue do not in any way hinder the narrative. The silent actions of the puppets not only clearly convey the story but embellish it with a great deal of atmosphere and pathos. In many ways it plays out like a sinister episode of Camberwick Green and I do not mean that in a derogatory manner but as the highest possible compliment. The transition from animation to live action is cleverly done and provides an appropriate codicil to this supernatural tale. The Haunted Doll’s House makes good use of its eleven minute running time making it an ideal seasonal ghost story. It is a fine example of the high quality independent short films that you can often find online, if you take the time to search them out. The Haunted Doll’s House is available to watch on YouTube.
In 1922, middle-aged University Don Edward Williams (Rory Kinnear), is sent a somewhat “indifferent” mezzotint (a monochrome print made from an engraved copper or steel plate) on approval from one of his regular art dealers. On arrival the mezzotint features an unidentified English country house and has no distinguishing features to merit its price. Later that day, Williams shows the print to Binks (John Hopkins), a colleague he plays golf with. He comments that the moonlight is quite well done and there appears to be a figure just on the right of the image. Williams is puzzled that he hadn’t noticed it before. That evening Garwood (Robert Bathurst), a fellow academic, studies the picture and comments on a “grotesque” figure. When Williams checks again before going to bed there is now clearly a shroud covered shape crawling across the lawn in the mezzotint. Williams confers with his friends as to what they have seen, as it becomes clear that the picture is trying to show them something.
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
MR James: Ghost Writer is a sixty-minute documentary written and presented by Mark Gatiss, exploring the life of Britain's foremost ghost story writer. Gatiss, a long-time admirer of James, delves in to the life of the author from his devout Anglican upbringing and close-knit family life, through to his ascent to the summit of academia at King's college, Cambridge. The program seeks to discover what motivated this scholarly bachelor to create some of the most iconic and chilling ghost stories in English literature. By following in James’s footsteps, the documentary attempts to gain a greater insight in to the enigmatic author.
The supernatural fiction of Montague Rhodes James is a major milestone in the history of the literary ghost story. His work tangibly helped shape the genre as we know it today, focusing on classic themes such as retribution, vengeance and other aspects of traditional mythology literature. The protagonists are often socially dysfunctional intellectuals who face peril due to their excessive curiosity. The very physical nature of horror often masquerades for deeper psychological issues. They also serve as an invaluable window into the socioeconomic structure of Edwardian Britain.
The Mezzotint (2021)
In 1922, middle-aged University Don Edward Williams (Rory Kinnear), is sent a somewhat “indifferent” mezzotint (a monochrome print made from an engraved copper or steel plate) on approval from one of his regular art dealers. On arrival the mezzotint features an unidentified English country house and has no distinguishing features to merit its price. Later that day, Williams shows the print to Binks (John Hopkins), a colleague he plays golf with. He comments that the moonlight is quite well done and there appears to be a figure just on the right of the image. Williams is puzzled that he hadn’t noticed it before. That evening Garwood (Robert Bathurst), a fellow academic, studies the picture and comments on a “grotesque” figure. When Williams checks again before going to bed there is now clearly a shroud covered shape crawling across the lawn in the mezzotint. Williams confers with his friends as to what they have seen, as it becomes clear that the picture is trying to show them something.
In 1922, middle-aged University Don Edward Williams (Rory Kinnear), is sent a somewhat “indifferent” mezzotint (a monochrome print made from an engraved copper or steel plate) on approval from one of his regular art dealers. On arrival the mezzotint features an unidentified English country house and has no distinguishing features to merit its price. Later that day, Williams shows the print to Binks (John Hopkins), a colleague he plays golf with. He comments that the moonlight is quite well done and there appears to be a figure just on the right of the image. Williams is puzzled that he hadn’t noticed it before. That evening Garwood (Robert Bathurst), a fellow academic, studies the picture and comments on a “grotesque” figure. When Williams checks again before going to bed there is now clearly a shroud covered shape crawling across the lawn in the mezzotint. Williams confers with his friends as to what they have seen, as it becomes clear that the picture is trying to show them something.
The Mezzotint is part of the A Ghost Story for Christmas series of short television films, produced by the BBC somewhat intermittently since 1971. More recently, writer, director and actor Mark Gatiss has resurrected this franchise and produced several adaptations of short stories by the great M. R. James. The Mezzotint is his latest production and was broadcast on Christmas Eve 2021. Running for just 30 minutes Gatiss builds an unsettling atmosphere as the story progresses.The changes that take place in the print are not dwelt upon onscreen but instead he focuses upon the impression they make on those who are looking. Rory Kinnear excels as the befuddled bachelor who begins to feel a sense of impending doom. There is also a strong cameo appearance by Frances Barber as Mrs. Ambrigail, an amateur historian. Scottish composer Blair Mowat provides a succinct and creepy score which adds to the overall ambience.
The original short story is set in 1904 and takes place mainly in the rooms of the various protagonists at the University. Although it is a sinister tale, it lacks a suitably strong ending, hence Mark Gatiss has chosen to expand the storyline. The drama is now set in 1922 and the staff of the University are debating whether to allow women students to study for degrees. To make the story a little less male-centric some characters have been changed to women; a University Porter becomes a Housekeeper. The most significant addition to the story is a subplot regarding William’s ongoing investigations into his family tree. Hence Mrs. Ambrigail, the Vicar’s wife, searches through the various parish records. This thread has a major impact upon the climax of The Mezzotint which in this adaptation ends with a substantial “Jamesian wallop” (the unofficial term for a shock or surprise twist in the stories of M. R. James).
Some purists have balked at the embellishments and changes that have been made to this adaptation. If you’re of a similar mind, then you may be better off listening to an audiobook version of the original short story. There is a very good collection read by David Collings available. However, I am of the view that the story requires expanding to lend itself to the requirements of television and I feel that the widening of the plot and additional ending are to the drama’s overall benefit. Mark Gatiss is clearly a consummate fan of M. R. James and I feel his screenplay is very sympathetic to the source text. As for the “Jamesian wallop” at the story’s denouement, I believe this is consistent with the author’s style which often featured a grotesque and eldritch flourish at the end of a story. I hope that the BBC has the good sense to commission further adaptations from Mark Gatiss so that the A Ghost Story for Christmas series can continue.
In the year 1860, Baron Victor Frankenstein (Peter Cushing) faces execution by guillotine for the murders perpetrated by the creature he created. With the assistance of a hunchback named Karl (Oscar Quitak) he avoids death by beheading the priest who came to give him the last rites. The priest’s body is then mistakenly buried by the authorities. Three years later, Victor, now using the name Doctor Stein, has established himself as a prosperous physician in Karlsbrück, serving both affluent patients and the poor at a paupers’ hospital. Hans Kleve (Francis Matthews), a junior member of the medical council, recognises Victor and being an admirer, seeks to become his apprentice. Victor and Hans then undertake an experiment to transplant Karl’s living brain into a new, more refined body, rather than a grotesque monstrosity the Baron has previously made. Karl is eager to have a new healthy body, especially after encountering Margaret Conrad (Eunice Gayson), the charming new assistant at the hospital.
Exit 8 is a sophisticated and claustrophobic psychological thriller directed by Genki Kawamura, which skilfully transforms a minimalist indie walking-simulator game into a cinematic existential enigma. This overtly metaphorical film renders the repetitive nature and drudgery of modern working life into a physical environment in which the lead character is trapped and must find a way out. A random, brutal maze filled with an atmosphere of indifference to the lab rats that find themselves trapped within. Or is it their personal guilt that has put them there? Genki Kawamura’s psychological mystery draws inspiration from the Japanese video game of the same name, as well as from the cyclical nature of Groundhog Day and endless corridors of the Overlook Hotel in Kubrick’s The Shining. Although there are jump scares and some ghoulish imagery, this is not a horror vehicle. Instead this is a disquieting psychological drama with a strong sense of morality.
In 1968 the dilapidated freighter Corita hastily leaves Freetown to avoid a customs inspection. Captain Lansen (Eric Porter) has a cargo of dangerous explosives which he is smuggling so he can finally retire. His ship’s passengers also have reasons for leaving in a hurry. Dr. Webster (Nigel Stock), together with his daughter Unity (Suzanna leigh), is relocating due to his indiscretions with patients and illegal operations. Alcoholic pianist Harry Tyler (Tony Beckley) is aimlessly drifting from port to port. Eva Peters (Hildegard Knef) is fleeing from her husband with stolen bearer bonds which she intend to use to buy back her son from his evil clutches Caracas. Ricaldi (Ben Carruthers), a questionable lawyer, is pursuing Eva to retrieve the stolen bonds. First officer Hemmings (Neil McCallum) suggests that the ship should return to Freetown after an imminent Hurricane warning. The Captain asks the passengers and they are unanimous that they do not wish to return. However a mutinous crew, the bad weather and the instability of the explosives force everyone to abandon ship. The survivors find themselves adrift in a lifeboat surrounded by a strange carnivorous seaweed.
David Koepp is no stranger to genre cinema, having written the screenplay for such films as Jurassic Park, Spider-man and War of the Worlds. Where these titles are big budget, major studio productions, Cold Storage is a far more modest production with a smaller scope. Adapted from his own novel, the screenplay is by David Koepp and the film is directed by British film-maker Jonny Campbell. At first glance, Cold Storage seems a somewhat derivative science fiction horror film with a relatively modest budget, financed through a convoluted US and French co-production. Lurid green and red colours feature heavily in the marketing artwork and it is easy, after a cursory look, to write the film off as cheap, generic, direct-to-streaming filler. However, Cold Storage is prime example of why you should not judge a book by it’s cover, or in this case, a film by its posters and online advertising. It is in fact an amusing and fun endeavour that can fill an evening.
Despite being considered by many as an original story, The Abominable Snowman (1957) is in fact a remake of a made for television play, The Creature, that was originally broadcast in the UK in 1955. Hammer Films would often purchase the rights of popular TV programs and subsequently re-work them for mainstream, international cinema. Larger production budgets and fewer censorship restrictions allowed them to make their cinematic interpretations more lurid, thus commercially viable. Hence The Quatermass Xperiment, Quatermass II and Quatermass and the Pit were all given a big screen makeover and were commercially successful. The Abominable Snowman was written by acclaimed writer Nigel Kneale, who also wrote the original television drama and the aforementioned Quatermass trilogy. Although ostensibly marketed as a horror film this production is actually an interesting blend of psychological thriller and science fiction.
The Haunted Dolls House is a short film based on a story by M.R. James about a unique antique that is subject to supernatural phenomenon. Adapted by Stephen Gray and David Lilley, this is the third of three short films based upon James’ work that the pair have made. It stars Steven Dolton as Mr. Dillet, a collector of antique dolls houses, who acquires a bargain only to discover that it harbours a ghostly secret. Made on an extremely modest budget over the course of 2012 this clever, innovative and rather sinister adaptation is a fine example of short film creativity. It manages to offer a unique visual depiction of M.R. James’ classic story whilst capturing the unsettling quality of the author’s work. Like so many independently made short films it is clearly a labour of love, made with modest resources. It succinctly captures the spirit of the author’s work and is both innovative and rewarding.
A lot of people may know Luke Evans from the live action version of Beauty and the Beast or Peter Jackson’s The Hobbit trilogy. With his matinee idol good looks, charming Welsh demeanour and his “smoky” tenor singing voice, he projects a sense of old school stardom. Which brings us to No One Lives; a film which is a radical departure from his previous work. His performance is disconcerting to say the least and the film is somewhat unhinged. Directed by Ryuhei Kitamura, who made an interesting adaptation of Clive Barker’s The Midnight Meat Train, this cinematic outing is similarly replete with robust shocks and gore. There are some interesting ideas about the nature of violence, Stockholm Syndrome and whether one should deny or embrace one’s nature. However, these are ultimately minor asides. Philosophical musings in between bouts of surprisingly striking unpleasantness.
In the near future, Kepler 822, a research and drilling facility located at the bottom of the Mariana Trench, suffers a sudden and catastrophic structural failure. There are only six survivors. Mechanical engineer Norah Price (Kristen Stewart), Captain Lucien (Vincent Cassel), biologist Emily Haversham (Jessica Henwick), engineer Liam Smith (John Gallagher Jr.) and crew members Rodrigo (Mamoudou Athie) and Paul (T.J. Miller). As all the functional escape pods have been used and they are unable to contact the surface, the Captain suggests using pressurized suits to walk one mile across the ocean floor to the Roebuck 641 drill installation. There they will find more escape pods. However, it soon becomes apparent that the disaster was not caused by an undersea earthquake and that they are not alone as they make their journey.
In Buenos Aires, Clara (Natalia Señorales) hears voices emanating from the plughole in her kitchen sink. The voices seem to be plotting against her. Her husband Juan (Agustín Rittano) says the sounds are coming from next door. That night, Juan finds Clara’s dead body levitating in their bathroom, slamming against the wall by an invisible force. Meanwhile their neighbour, Walter (Demián Salomón), is experiencing supernatural occurrences while he tries to sleep. An invisible force repeatedly shakes his bed. After using a video camera to film these events, he sees a tall, cadaverous figure emerging from under the bed, standing over him as he sleeps. Across the road, Alicia (Julieta Vallina) is grieving for her recently deceased son, who was run over outside Walter’s house. Alicia's ex-boyfriend, police commissioner Funes (Maximiliano Ghione) calls Jano (Norberto Gonzalo), a paranormal investigator and the pair soon discover more supernatural occurrences in the area.
Black Sabbath (AKA I tre volti della paura) is a 1963 horror anthology film directed by Mario Bava. Although an Italian production, the film was co-financed by American International Pictures and as such was conceived to appeal to US audiences. Hence, the English dialogue edit of the film which was released in America differs significantly to the original Italian version. Despite the presence of the legendary Boris Karloff and the popularity of both anthology and gothic horror at the time,the film was only a modest success at the US box office and did not do well in Italy. However, in more recent years there has been a critical reappraisal of Black Sabbath, especially the Italian dialogue version. Many aspects of the film which are standard genre tropes today, were in fact novel at the time. Also despite the production mainly being studio bound, the film oozes style and has a striking visual aesthetic.
During 1836, in the town of Darkness Falls, Maine, an elderly widow Matilda Dixon is adored by the town’s children as she gives them a gold coin whenever they lose a tooth. One day, after a house fire, Matilda is left burned and sensitive to sunlight, so she starts wearing a china mask. When two children are reported missing, Matilda is blamed by some locals, dragged from her home and hung. She curses the town, stating that whenever a child loses their last tooth, she would come for it. If the child looks at her, she will kill them. The missing children are subsequently found, so the citizens cover up their unjust lynching. In 1990, young Kyle Walsh awakes one night to find Matilda Walsh standing over him. Kyle’s mother is killed and he is blamed for her death and institutionalised. 12 years later, Kyle (Channey Kley) is released and tries to warn the town of the imminent danger when lightning disables the power supply. He is ignored by all until the deaths begin.
Osgood Perkins has a distinct visual style and tone to his films. It is why his previous film, Longlegs, was such a welcome change from standard genre outings. It was atmospheric both visually and tonally, demonstrating a keen understanding of horror cinema. Hence he is the perfect director to helm this adaptation of a Stephen King short story. The plot is greatly expanded and the screenplay takes a lot of liberties with the source material but the main themes of your past being inescapable and the power of guilt remain front and centre. Due to the extreme and bizarre nature of much of the onscreen deaths, the film wisely has a strong streak of gallows humour running through it which is extremely well handled. Comedy can often be used to defuse or mitigate violence which can be narratively dishonest (think Fred Krueger). Here it adds to the cruel and capricious nature of the random deaths.
When reviewing Sting, one critic stated that the small scale setting and thus, low stakes (IE only a few peoples lives are at risk), made the film not especially memorable. I consider this to be a somewhat spurious criticism. It is the very fact that Sting takes place in such a commonplace environment, with the main characters being everyday people that makes it different. There is a clear focus on well defined characters and their backstory. Unlike so many contemporary films, I actually gave a damn about the protagonists in Sting. An integral aspect of the horror genre is the ability to take a well known and familiar trope and provide a different and absorbing spin on it .It would appear that some audiences have been belaboured over the head by so many overblown and bombastic blockbusters, that the very notion of depicting small, localised and intimate events in a film, seems to bamboozle them.
Some films are made with the intention of starting a franchise, others evolve into one after a surprise box office success and lucrative sequels. Alien (1979) falls into the latter category. A mid-budget science fiction horror film that was well crafted and then benefited immensely by being released at just the right time. Sadly, many franchises become derailed and enter into a death spiral due to competing artistic visions, cynical studio politics and cinematic ignorance. This has certainly afflicted all subsequent Alien films after James Cameron’s magnificent Aliens (1986). Sometimes, a franchise can correct its course and do something fresh with the source material. Prey (2022) is a fine example of this with director Dan Trachtenberg bringing fresh vigour and intelligence back to the Predator movies. I believe that was the intention with Alien Romulus (2024). Sadly, the road to hell is paved with good intentions.
Friday the 13th: The Final Chapter is a popular entry among fans of the franchise. This is mainly due to the return of makeup artist, Tom Savini, who creates several notable death scenes and a bravura ending for Jason Voorhees. There is also an attempt by writer Barney Cohen to have a more involving story compared to previous entries in the series. Director Joseph Zito, who previously directed the above average slasher movie The Prowler AKA Rosemary’s Killer (1981), brings a harder edge to the proceedings, making Jason more menacing than in the previous instalment. As ever, the film was dismissed by the critics but performed well at the box office. Producer Frank Mancuso Jr fully intended for this film to be a definitive end to the series, as he was becoming increasingly concerned that his association with the franchise was having a negative impact upon his career.
Set directly after the events of the previous film, Friday the 13th Part III is again about a group of friends staying near Crystal Lake who encounter Jason Voorhees as he embarks upon another killing spree. Shot in 3D the film has a less sleazy tone than its predecessors although the formula remains the same. The set pieces and death scenes are more elaborate and less clinical, taking advantage of the 3D picture format. The film marks the first appearance of Jason's signature hockey mask, which subsequently became a trademark of both the character and the franchise. Originally conceived to be an end to the series of films, Friday the 13th Part III performed extremely well at the box office, earning $36.7 million on a budget of $2.2 million. As a result, the franchise was given a stay of execution and a further sequel was commissioned.
Originally, Friday the 13th Part 2 was intended to be an anthology film based on the superstition associated with the date. However, after the popularity of the original film's surprise ending, the producers opted to continue the story and mythology surrounding Camp Crystal Lake. This eventually became the parameters which all future films would broadly work within. Friday the 13th Part 2 is a more polished production than the first movie, benefitting from twice the budget of the original. The quick turnaround meant that Paramount Pictures could continue to capitalise on the popularity of the slasher genre. However, there was growing social pushback against these types of films, from Christian lobby groups and other “concerned parties”. Hence, Friday the 13th Part 2 ran into problems with the MPAA ratings board and cuts were imposed. Something that would continuously plague the franchise over the years.
Writing any kind of review for the original Friday the 13th movie seems somewhat redundant, as it has been analysed and written about numerous times before. If you’re interested in the film’s production as well as its subsequent impact on US cinema at the time, then there is an excellent summary on Wikipedia. Having recently rewatched the entire franchise, courtesy of the Shout Factory’s Friday the 13th Collection Deluxe Edition, I have a few thoughts I’d like to share. The picture quality of all the films is very good, offering a lot more visual information compared to previous releases. The amount of “extras” included in the box set is prodigious. I suspect that these are the best versions that we’re ever likely to see. Fans hoping that one day all the cut footage will be found and re-integrated into each film are likely to remain disappointed. Some material has surfaced but sadly a lot of deleted and extended scenes have been destroyed.
George A. Romero's Day Of The Dead (1985) is a bleak and remorseless masterpiece. The final entry in his “Dead Trilogy”, its central theme is that in a world on the brink of destruction, man is still the biggest threat to his own existence. It is well scripted, clinically accurate in its observations on human nature and thought provoking, despite having its budget cut just weeks before production commenced. 40 years later it is revered as a genre milestone and is considered one of Romero’s finest works. Sadly, the 2008 “remake” directed by Steve Miner, who has a background in slasher and exploitation movies, takes a contrasting approach, to say the least. It certainly has very little to do with Romero’s film and one can’t help but assume that it is nothing more than a cynical cash in. Setting aside comparisons with the original, this is not in any way a standout zombie film in its own right.
Although I was unaware of it, there was a guerrilla marketing campaign for Longlegs which was focused on the internet rather than traditional television adverts. Hence the film gained a lot of interest prior to its release and as well as some some disproportionate expectations. Then immediately after its theatrical debut, the matter was further compounded by a possible excess of gushing praise as the film was “over reviewed”. Therefore I maintained a degree of scepticism about Longlegs and tempered my expectations prior to watching it. Any film that is hailed as the next Silence of the Lambs, featuring a “traumatising” performance by Nicholas Cage needs to be keenly scrutinised so that its cinematic merits can be carefully separated from the surrounding hyperbole. After viewing I found Longlegs to be a finely honed, atmospheric and precisely targeted horror thriller but not the genre milestone that some would claim.
As a rule, it is always a challenge to end a trilogy of films successfully. Writing a satisfying denouement to a standalone movie is hard enough. To be able to conclude all pertinent story arcs and themes that have been sustained over three feature films, to everyone’s liking is far harder to achieve. In the case of The Final Conflict (1981), the last instalment of The Omen trilogy, writer Andrew Birkin does manage to resolve all of the external, internal and philosophical stakes, which are the fundamental components of a cinematic screenplay. Unfortunately, it is done in an incredibly underwhelming manner, which left audiences feeling cheated. The last time good defeated evil evil in such an unspectacular fashion was in Hammer’s To the Devil a Daughter (1976). This is why, in spite of solid production values, The Final Conflict is the least popular of the films about the Antichrist, Damien Thorn.
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 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 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 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 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 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 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 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 Tractate Middoth (2013)
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The Tractate Middoth relocates the events of the story from the Edwardian era, to the early Fifties but apart from this change the production remains remarkably faithful to the text. We meet young librarian Mr. Garnett (Sacha Dhawan) who has a rather disturbing experience while searching for an old tome of Hebrew text for an irascible academic John Eldred (John Castle). It would appear that a mysterious third part may have an interest in the book. While recovering from his shock, with a dose of country air, Mr. Garnett meets Mrs. Simpson (Louise Jameson) and her daughter Anne (Charlie Clemmow). They tell a strange tale of a missing last will and testament that would make them heir to a sizeable inheritance. Unfortunately, the document has been written in an obscure book. Could it be the very same volume that lead to Mr. Garnett's supernatural experience?
This delightful adaptation blends the erudition and macabre atmosphere of M R James with the wit and intelligence of Mark Gatiss. The two complement each other very well. M R James's liking for comedic minor officials and bureaucrats is embellished by Mark Gatiss, leading to some clever observational humour and comic asides. However, this is not done to the detriment of the brooding atmosphere or the central supernatural plot. The thirty-minute adaptation has a minimum of superfluous CGI, keeping as much effects work as possible in-camera, thanks to the stylish cinematography of Steve Lawes. The prosthetics for the central ghost are suitably ghoulish and very much in accord with the original story.
The period feel is authentic and still maintains M R James cardinal rule that a good ghost story should always be set in the past and related by those who have indirectly experienced it. Performances are universally good ensuring that characters do not descend in to genre caricatures. The handsome production design and art direction reflect the architectural and topographical detail that is synonymous with all of James's short stories. It is to the director’s credit that the supernatural climax is effectively carried out in broad daylight without losing any dramatic impact. The final sting in the tail, although a whim of Mark Gatiss, is far from out-of-place.
As with the BBC adaptations from the seventies, this latest production has a distinguished pedigree, sporting such names as Una Stubbs, Eleanor Bron and John Castle. There is also a clear sense that everyone involved has a love and respect for the work of Montague Rhodes James. The Tractate Middoth is text-book example of the sort of quality television that can be produced when the right people are involved and deferred to. Mark Gatiss has spoken of the freedom afford to him by the BBC Arts Department and it is clear that their trust in him has paid off. The Tractate Middoth, is well paced and lovingly crafted, delightfully unsettling. There are several jolts leading to a classic Jamesian Wallop (Thank you Will Ross and Mike Taylor for coining that phrase).
In the year 1860, Baron Victor Frankenstein (Peter Cushing) faces execution by guillotine for the murders perpetrated by the creature he created. With the assistance of a hunchback named Karl (Oscar Quitak) he avoids death by beheading the priest who came to give him the last rites. The priest’s body is then mistakenly buried by the authorities. Three years later, Victor, now using the name Doctor Stein, has established himself as a prosperous physician in Karlsbrück, serving both affluent patients and the poor at a paupers’ hospital. Hans Kleve (Francis Matthews), a junior member of the medical council, recognises Victor and being an admirer, seeks to become his apprentice. Victor and Hans then undertake an experiment to transplant Karl’s living brain into a new, more refined body, rather than a grotesque monstrosity the Baron has previously made. Karl is eager to have a new healthy body, especially after encountering Margaret Conrad (Eunice Gayson), the charming new assistant at the hospital.
Exit 8 is a sophisticated and claustrophobic psychological thriller directed by Genki Kawamura, which skilfully transforms a minimalist indie walking-simulator game into a cinematic existential enigma. This overtly metaphorical film renders the repetitive nature and drudgery of modern working life into a physical environment in which the lead character is trapped and must find a way out. A random, brutal maze filled with an atmosphere of indifference to the lab rats that find themselves trapped within. Or is it their personal guilt that has put them there? Genki Kawamura’s psychological mystery draws inspiration from the Japanese video game of the same name, as well as from the cyclical nature of Groundhog Day and endless corridors of the Overlook Hotel in Kubrick’s The Shining. Although there are jump scares and some ghoulish imagery, this is not a horror vehicle. Instead this is a disquieting psychological drama with a strong sense of morality.
In 1968 the dilapidated freighter Corita hastily leaves Freetown to avoid a customs inspection. Captain Lansen (Eric Porter) has a cargo of dangerous explosives which he is smuggling so he can finally retire. His ship’s passengers also have reasons for leaving in a hurry. Dr. Webster (Nigel Stock), together with his daughter Unity (Suzanna leigh), is relocating due to his indiscretions with patients and illegal operations. Alcoholic pianist Harry Tyler (Tony Beckley) is aimlessly drifting from port to port. Eva Peters (Hildegard Knef) is fleeing from her husband with stolen bearer bonds which she intend to use to buy back her son from his evil clutches Caracas. Ricaldi (Ben Carruthers), a questionable lawyer, is pursuing Eva to retrieve the stolen bonds. First officer Hemmings (Neil McCallum) suggests that the ship should return to Freetown after an imminent Hurricane warning. The Captain asks the passengers and they are unanimous that they do not wish to return. However a mutinous crew, the bad weather and the instability of the explosives force everyone to abandon ship. The survivors find themselves adrift in a lifeboat surrounded by a strange carnivorous seaweed.
David Koepp is no stranger to genre cinema, having written the screenplay for such films as Jurassic Park, Spider-man and War of the Worlds. Where these titles are big budget, major studio productions, Cold Storage is a far more modest production with a smaller scope. Adapted from his own novel, the screenplay is by David Koepp and the film is directed by British film-maker Jonny Campbell. At first glance, Cold Storage seems a somewhat derivative science fiction horror film with a relatively modest budget, financed through a convoluted US and French co-production. Lurid green and red colours feature heavily in the marketing artwork and it is easy, after a cursory look, to write the film off as cheap, generic, direct-to-streaming filler. However, Cold Storage is prime example of why you should not judge a book by it’s cover, or in this case, a film by its posters and online advertising. It is in fact an amusing and fun endeavour that can fill an evening.
Despite being considered by many as an original story, The Abominable Snowman (1957) is in fact a remake of a made for television play, The Creature, that was originally broadcast in the UK in 1955. Hammer Films would often purchase the rights of popular TV programs and subsequently re-work them for mainstream, international cinema. Larger production budgets and fewer censorship restrictions allowed them to make their cinematic interpretations more lurid, thus commercially viable. Hence The Quatermass Xperiment, Quatermass II and Quatermass and the Pit were all given a big screen makeover and were commercially successful. The Abominable Snowman was written by acclaimed writer Nigel Kneale, who also wrote the original television drama and the aforementioned Quatermass trilogy. Although ostensibly marketed as a horror film this production is actually an interesting blend of psychological thriller and science fiction.
The Haunted Dolls House is a short film based on a story by M.R. James about a unique antique that is subject to supernatural phenomenon. Adapted by Stephen Gray and David Lilley, this is the third of three short films based upon James’ work that the pair have made. It stars Steven Dolton as Mr. Dillet, a collector of antique dolls houses, who acquires a bargain only to discover that it harbours a ghostly secret. Made on an extremely modest budget over the course of 2012 this clever, innovative and rather sinister adaptation is a fine example of short film creativity. It manages to offer a unique visual depiction of M.R. James’ classic story whilst capturing the unsettling quality of the author’s work. Like so many independently made short films it is clearly a labour of love, made with modest resources. It succinctly captures the spirit of the author’s work and is both innovative and rewarding.
A lot of people may know Luke Evans from the live action version of Beauty and the Beast or Peter Jackson’s The Hobbit trilogy. With his matinee idol good looks, charming Welsh demeanour and his “smoky” tenor singing voice, he projects a sense of old school stardom. Which brings us to No One Lives; a film which is a radical departure from his previous work. His performance is disconcerting to say the least and the film is somewhat unhinged. Directed by Ryuhei Kitamura, who made an interesting adaptation of Clive Barker’s The Midnight Meat Train, this cinematic outing is similarly replete with robust shocks and gore. There are some interesting ideas about the nature of violence, Stockholm Syndrome and whether one should deny or embrace one’s nature. However, these are ultimately minor asides. Philosophical musings in between bouts of surprisingly striking unpleasantness.
In the near future, Kepler 822, a research and drilling facility located at the bottom of the Mariana Trench, suffers a sudden and catastrophic structural failure. There are only six survivors. Mechanical engineer Norah Price (Kristen Stewart), Captain Lucien (Vincent Cassel), biologist Emily Haversham (Jessica Henwick), engineer Liam Smith (John Gallagher Jr.) and crew members Rodrigo (Mamoudou Athie) and Paul (T.J. Miller). As all the functional escape pods have been used and they are unable to contact the surface, the Captain suggests using pressurized suits to walk one mile across the ocean floor to the Roebuck 641 drill installation. There they will find more escape pods. However, it soon becomes apparent that the disaster was not caused by an undersea earthquake and that they are not alone as they make their journey.
In Buenos Aires, Clara (Natalia Señorales) hears voices emanating from the plughole in her kitchen sink. The voices seem to be plotting against her. Her husband Juan (Agustín Rittano) says the sounds are coming from next door. That night, Juan finds Clara’s dead body levitating in their bathroom, slamming against the wall by an invisible force. Meanwhile their neighbour, Walter (Demián Salomón), is experiencing supernatural occurrences while he tries to sleep. An invisible force repeatedly shakes his bed. After using a video camera to film these events, he sees a tall, cadaverous figure emerging from under the bed, standing over him as he sleeps. Across the road, Alicia (Julieta Vallina) is grieving for her recently deceased son, who was run over outside Walter’s house. Alicia's ex-boyfriend, police commissioner Funes (Maximiliano Ghione) calls Jano (Norberto Gonzalo), a paranormal investigator and the pair soon discover more supernatural occurrences in the area.
Black Sabbath (AKA I tre volti della paura) is a 1963 horror anthology film directed by Mario Bava. Although an Italian production, the film was co-financed by American International Pictures and as such was conceived to appeal to US audiences. Hence, the English dialogue edit of the film which was released in America differs significantly to the original Italian version. Despite the presence of the legendary Boris Karloff and the popularity of both anthology and gothic horror at the time,the film was only a modest success at the US box office and did not do well in Italy. However, in more recent years there has been a critical reappraisal of Black Sabbath, especially the Italian dialogue version. Many aspects of the film which are standard genre tropes today, were in fact novel at the time. Also despite the production mainly being studio bound, the film oozes style and has a striking visual aesthetic.
During 1836, in the town of Darkness Falls, Maine, an elderly widow Matilda Dixon is adored by the town’s children as she gives them a gold coin whenever they lose a tooth. One day, after a house fire, Matilda is left burned and sensitive to sunlight, so she starts wearing a china mask. When two children are reported missing, Matilda is blamed by some locals, dragged from her home and hung. She curses the town, stating that whenever a child loses their last tooth, she would come for it. If the child looks at her, she will kill them. The missing children are subsequently found, so the citizens cover up their unjust lynching. In 1990, young Kyle Walsh awakes one night to find Matilda Walsh standing over him. Kyle’s mother is killed and he is blamed for her death and institutionalised. 12 years later, Kyle (Channey Kley) is released and tries to warn the town of the imminent danger when lightning disables the power supply. He is ignored by all until the deaths begin.
Osgood Perkins has a distinct visual style and tone to his films. It is why his previous film, Longlegs, was such a welcome change from standard genre outings. It was atmospheric both visually and tonally, demonstrating a keen understanding of horror cinema. Hence he is the perfect director to helm this adaptation of a Stephen King short story. The plot is greatly expanded and the screenplay takes a lot of liberties with the source material but the main themes of your past being inescapable and the power of guilt remain front and centre. Due to the extreme and bizarre nature of much of the onscreen deaths, the film wisely has a strong streak of gallows humour running through it which is extremely well handled. Comedy can often be used to defuse or mitigate violence which can be narratively dishonest (think Fred Krueger). Here it adds to the cruel and capricious nature of the random deaths.
When reviewing Sting, one critic stated that the small scale setting and thus, low stakes (IE only a few peoples lives are at risk), made the film not especially memorable. I consider this to be a somewhat spurious criticism. It is the very fact that Sting takes place in such a commonplace environment, with the main characters being everyday people that makes it different. There is a clear focus on well defined characters and their backstory. Unlike so many contemporary films, I actually gave a damn about the protagonists in Sting. An integral aspect of the horror genre is the ability to take a well known and familiar trope and provide a different and absorbing spin on it .It would appear that some audiences have been belaboured over the head by so many overblown and bombastic blockbusters, that the very notion of depicting small, localised and intimate events in a film, seems to bamboozle them.
Some films are made with the intention of starting a franchise, others evolve into one after a surprise box office success and lucrative sequels. Alien (1979) falls into the latter category. A mid-budget science fiction horror film that was well crafted and then benefited immensely by being released at just the right time. Sadly, many franchises become derailed and enter into a death spiral due to competing artistic visions, cynical studio politics and cinematic ignorance. This has certainly afflicted all subsequent Alien films after James Cameron’s magnificent Aliens (1986). Sometimes, a franchise can correct its course and do something fresh with the source material. Prey (2022) is a fine example of this with director Dan Trachtenberg bringing fresh vigour and intelligence back to the Predator movies. I believe that was the intention with Alien Romulus (2024). Sadly, the road to hell is paved with good intentions.
Friday the 13th: The Final Chapter is a popular entry among fans of the franchise. This is mainly due to the return of makeup artist, Tom Savini, who creates several notable death scenes and a bravura ending for Jason Voorhees. There is also an attempt by writer Barney Cohen to have a more involving story compared to previous entries in the series. Director Joseph Zito, who previously directed the above average slasher movie The Prowler AKA Rosemary’s Killer (1981), brings a harder edge to the proceedings, making Jason more menacing than in the previous instalment. As ever, the film was dismissed by the critics but performed well at the box office. Producer Frank Mancuso Jr fully intended for this film to be a definitive end to the series, as he was becoming increasingly concerned that his association with the franchise was having a negative impact upon his career.
Set directly after the events of the previous film, Friday the 13th Part III is again about a group of friends staying near Crystal Lake who encounter Jason Voorhees as he embarks upon another killing spree. Shot in 3D the film has a less sleazy tone than its predecessors although the formula remains the same. The set pieces and death scenes are more elaborate and less clinical, taking advantage of the 3D picture format. The film marks the first appearance of Jason's signature hockey mask, which subsequently became a trademark of both the character and the franchise. Originally conceived to be an end to the series of films, Friday the 13th Part III performed extremely well at the box office, earning $36.7 million on a budget of $2.2 million. As a result, the franchise was given a stay of execution and a further sequel was commissioned.
Originally, Friday the 13th Part 2 was intended to be an anthology film based on the superstition associated with the date. However, after the popularity of the original film's surprise ending, the producers opted to continue the story and mythology surrounding Camp Crystal Lake. This eventually became the parameters which all future films would broadly work within. Friday the 13th Part 2 is a more polished production than the first movie, benefitting from twice the budget of the original. The quick turnaround meant that Paramount Pictures could continue to capitalise on the popularity of the slasher genre. However, there was growing social pushback against these types of films, from Christian lobby groups and other “concerned parties”. Hence, Friday the 13th Part 2 ran into problems with the MPAA ratings board and cuts were imposed. Something that would continuously plague the franchise over the years.
Writing any kind of review for the original Friday the 13th movie seems somewhat redundant, as it has been analysed and written about numerous times before. If you’re interested in the film’s production as well as its subsequent impact on US cinema at the time, then there is an excellent summary on Wikipedia. Having recently rewatched the entire franchise, courtesy of the Shout Factory’s Friday the 13th Collection Deluxe Edition, I have a few thoughts I’d like to share. The picture quality of all the films is very good, offering a lot more visual information compared to previous releases. The amount of “extras” included in the box set is prodigious. I suspect that these are the best versions that we’re ever likely to see. Fans hoping that one day all the cut footage will be found and re-integrated into each film are likely to remain disappointed. Some material has surfaced but sadly a lot of deleted and extended scenes have been destroyed.
George A. Romero's Day Of The Dead (1985) is a bleak and remorseless masterpiece. The final entry in his “Dead Trilogy”, its central theme is that in a world on the brink of destruction, man is still the biggest threat to his own existence. It is well scripted, clinically accurate in its observations on human nature and thought provoking, despite having its budget cut just weeks before production commenced. 40 years later it is revered as a genre milestone and is considered one of Romero’s finest works. Sadly, the 2008 “remake” directed by Steve Miner, who has a background in slasher and exploitation movies, takes a contrasting approach, to say the least. It certainly has very little to do with Romero’s film and one can’t help but assume that it is nothing more than a cynical cash in. Setting aside comparisons with the original, this is not in any way a standout zombie film in its own right.
Although I was unaware of it, there was a guerrilla marketing campaign for Longlegs which was focused on the internet rather than traditional television adverts. Hence the film gained a lot of interest prior to its release and as well as some some disproportionate expectations. Then immediately after its theatrical debut, the matter was further compounded by a possible excess of gushing praise as the film was “over reviewed”. Therefore I maintained a degree of scepticism about Longlegs and tempered my expectations prior to watching it. Any film that is hailed as the next Silence of the Lambs, featuring a “traumatising” performance by Nicholas Cage needs to be keenly scrutinised so that its cinematic merits can be carefully separated from the surrounding hyperbole. After viewing I found Longlegs to be a finely honed, atmospheric and precisely targeted horror thriller but not the genre milestone that some would claim.
As a rule, it is always a challenge to end a trilogy of films successfully. Writing a satisfying denouement to a standalone movie is hard enough. To be able to conclude all pertinent story arcs and themes that have been sustained over three feature films, to everyone’s liking is far harder to achieve. In the case of The Final Conflict (1981), the last instalment of The Omen trilogy, writer Andrew Birkin does manage to resolve all of the external, internal and philosophical stakes, which are the fundamental components of a cinematic screenplay. Unfortunately, it is done in an incredibly underwhelming manner, which left audiences feeling cheated. The last time good defeated evil evil in such an unspectacular fashion was in Hammer’s To the Devil a Daughter (1976). This is why, in spite of solid production values, The Final Conflict is the least popular of the films about the Antichrist, Damien Thorn.
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 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 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 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 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 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 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.
M R James: Ghost Writer (2013)
MR James: Ghost Writer is a sixty-minute documentary written and presented by Mark Gatiss, exploring the life of Britain's foremost ghost story writer. Gatiss, a long-time admirer of James, delves in to the life of the author from his devout Anglican upbringing and close-knit family life, through to his ascent to the summit of academia at King's college, Cambridge. The program seeks to discover what motivated this scholarly bachelor to create some of the most iconic and chilling ghost stories in English literature. By following in James’s footsteps, the documentary attempts to gain a greater insight in to the enigmatic author.
MR James: Ghost Writer is a sixty-minute documentary written and presented by Mark Gatiss, exploring the life of Britain's foremost ghost story writer. Gatiss, a long-time admirer of James, delves in to the life of the author from his devout Anglican upbringing and close-knit family life, through to his ascent to the summit of academia at King's college, Cambridge. The program seeks to discover what motivated this scholarly bachelor to create some of the most iconic and chilling ghost stories in English literature. By following in James’s footsteps, the documentary attempts to gain a greater insight in to the enigmatic author.
MR James: Ghost Writer explores in some depth the legacy of Mr James, emphasising his early life in Suffolk and the religious nature of his family. His academic prowess and near obsession with Medieval text and apocrypha clearly had an impact upon his writing, with much of the visual imagery from his writings being directly lifted from manuscripts he worked with on a daily basis. Only being familiar with James's work from a literary standing, I was greatly surprised by the great academic achievements of his life. His written treatise on illuminated Apocalypse manuscripts still remains an unparalleled achievement along with his rise to the office of provost and directorship of the Fitzwilliam Museum.
Despite the dry and formal nature of Victorian life, James was a surprising gregarious animal, taking an active part in college social life. Although he certainly reflected facets of the antiquarian characters that so often populated his stories, he was also a man of immense passion. His personal friendships were deep and of great importance to him, as correspondence with his inner circle demonstrate. His relationship with ex-pupil and illustrator James McBryde, succinctly demonstrates a profound platonic friendship of a type seldom seen these days. The documentary also addressed the impact of the "Great war" upon both James and the college and the subsequent way it influenced his later writing.
Perhaps the best aspect of Mark Gatiss's exploration of all things Jamesian, is the honest and fair way the subject of his "personal life" is explored. There is a trend in contemporary analysis to sometimes over zealously look for evidence modern schools of thought in those from prior eras. Several revisionist scholars seem to seize upon "examples" of a sexual subtext in the author's work and are then are happy to extrapolate this in to theories of suppressed homosexuality. Mr. Gatiss does not shy away from such notions but neither does he make any definitive conclusions. His interview with a former pupil of James whose father was also a close personal friend, perhaps sheds the most light upon the matter.
The visual and editing style of MR James: Ghost Writer is very compelling and follows a broadly linear narrative path, with many a tangential aside to explore illustrative points. Being a BBC commission project there a lot of use of footage from previous television adaptations in referencing James's literary work. The documentary effectively makes use of actor Robert Lloyd Parry, who recreates James celebrated readings of his stories at Christmas, to his fellow members of the " Chit Chat Club". Parry specialises in one-man performances of the work of M R James and provides some excellent readings from such stories as Canon Alberic's Scrapbook and A warning to the Curious.
Although it is an impossible task to definitively encapsulate a writer such as M R James in a single sixty-minute documentary, MR James: Ghost Writer certainly provides an interesting overview. Mark Gatiss has an obvious passion for the man and clearly identifies with him on many levels. However, this is far from an unobjective eulogy and depicts James as a man of his time with not particularly progressive attitudes on sexual equality or modernisation. I therefore whole heartedly recommend MR James: Ghost Writer not only established M R James fans but to wider scholars of the ghost stories who wish to learn more about one of the genres finest authors.
Music by John Williams is a documentary celebration of the famous composer and his illustrious body of work. It provides some interesting biographical background information as to how the man was born into a family of talented musicians. It then traces his rise from pianist for hire to the most well known film composer today. Along the way, anyone who is anyone in film and music appears to heap justifiable praise upon him and his body of work. It also features a continuous medley of John Williams’ greatest hits, as it catalogues his work in broadly chronological order. Music by John Williams is an upbeat and positive love letter to the composer and exactly what you would expect, when you consider that the documentary was produced by his friends and peers.
Despite being an analysis of the past there is a portentous air about Ken Burns and Lynn Novick’s Prohibition. A fascinating five-and-a-half-hour documentary produced for PBS in 2011. The history of this disastrous experiment, the banning of alcoholic beverages, is a textbook example of how the transactional nature of US politics can be effectively used upon “wedge” issues. Prohibition follows the format and style of Burns previous documentaries such as the Civil War (1990) and The War (2007) with the wider subject broken down and analysed according to protagonists, events and the political background. Specific historical figures and key players are followed throughout the documentary’s narrative, giving viewers a sense of focus. Hence we meet the hatchet-wielding Carrie Nation, Wayne Wheeler from the Anti-Saloon League and media savvy gangsters like Al Capone. It is interesting to note that some themes continue from Burns’ previous work, such as the political and cultural conflict between native-born Americans and European immigrants. The rural heartlands versus the big cities.
Joel Allen Schroeder's documentary Dear Mr. Watterson is a curious beast insofar that it takes some time before it decides exactly what it wants to focus upon. It begins by examining the cultural impact of the hugely popular comic strip “Calvin & Hobbes” and what it means to people around the world. However, little information is given about the creator, Bill Watterson beyond a very simple biography. Joel Allen Schroeder’s also makes no attempt to contact and interview the reclusive Mr. Watterson to find out more about the man and his iconic work. Instead, the documentary eventually settles into an assessment of Watterson’s work by other industry luminaries and a broader accounting of the overall decline of the newspaper cartoon as a social institution. The presentation is bright, stylish and there’s a lot of love for the subject but it takes some time before it commits to a specific approach.
“Kurt Vonnegut: Unstuck in Time” is a sprawling, non-linear eulogy to the to the life of writer Kurt Vonnegut, by Emmy-winning director Robert B. Weide (“Curb Your Enthusiasm”), who was a friend of Vonnegut's throughout the last 25 years of his life. Weide himself features heavily throughout the two hour running time, which is something Weide says he usually hates in documentaries. However, what unfolds is a story of a documentary maker who wanted to film his idol and was granted an opportunity to do so in the early eighties. The project was never completed and both Weide and Vonnegut continuously returned to it over the years as their friendship grew, leading to Weide eventually becoming Vonnegut’s personal archivist. However, despite this curious relationship, this is still very much a film about Kurt Vonnegut, the author, the social commentator and the man. It becomes quite clear why he is considered one of the most important writers of the 20th century.
Benjamin Franklin is in many ways the most interesting of the American Founding Fathers. A self taught man who went on to become a polymath. An inventor, accomplished writer and publisher. A diplomat who successfully held multiple public offices. A loyalist who went on to become a “reluctant revolutionary”. A slave owner who eventually became an abolitionist. A questionable parent who favoured specific children over others, as well as a negligent husband. Franklin was all these things, as Ken Burns’ documentary takes great pains to highlight. A broad cross section of historians tackle these foibles and contradictions from multiple perspectives. As Joseph J. Ellis states, Benjamin Franklin was “a Nobel-calibre scientist, the greatest prose stylist of his generation, and probably the greatest diplomat in American history”. His legacy is chronologically analysed over four hours in two distinct episodes.
Giuseppe Tornatore’s sprawling documentary Ennio, is a finely detailed and absorbing exploration of prolific and iconic Italian composer Ennio Morricone. Despite its very traditional approach to its subject matter, looking at Morricone’s career chronologically, intercut with celebrity talking heads, it still manages to convey the unorthodox, innovative and experimental nature of the composer. The 156 minute running time is not necessarily the impediment that one expects. Rather it is the sheer weight of the emotional impact that comes from Morricone’s music that is at times overwhelming. Archival footage and a new and comprehensive interview recorded just prior to the composer’s death in 2020 is intercut with a wealth of audio cues and concert footage from a broad cross section of his work. The result is most illuminating with regard to the man and his approach to composing. The conclusion backed by many of those interviewed is that Ennio Morricone has shaped the nature of film music and elevated it to an artform.
Gerry Anderson: A Life Uncharted is a documentary that focuses specifically on the man, rather than the shows that he created. If you are more interested in the latter then you would be better off watching Filmed in Supermarionation (2014), which provides a comprehensive overview of all productions, wrapped in a cosy blanket of nostalgia and fandom. Gerry Anderson: A Life Uncharted offers a more challenging viewing experience due to its honesty and candour. Gerry Anderson had a difficult childhood and suffered a bereavement early in life. During the course of this 88 minute exploration of his life it becomes clear that these traumas both drove his creativity as well as marred his own personal life. Furthermore, this documentary is also about a son looking for answers, as Jamie Anderson attempts to learn more about his father’s past.
Star Trek documentaries are very much like Bruce Lee documentaries, in so far as they’re both a saturated market and more often than not, new content frequently ends up covering the same ground. However, fans tend to watch anything new in the hope that they will find a few new nuggets of information. Brian Volk-Weiss’ new 11 part series, The Center Seat: 55 years of Star Trek, not only covers established facts about the iconic show but also expands upon them as well as providing a wealth of new information. Volk-Weiss has previously explored popular culture with documentaries such as The Toys That Made Us and The Movies That Made Us. The Center Seat: 55 years of Star Trek is an in-depth chronological study of the Star Trek franchise, from its creation at Desilu Productions in 1965 all the way through to the latest iterations, Star Trek: Picard and Star Trek: Discovery.
Shatner in Space is a 45 minute documentary about the 90 year old actor, William Shatner and his recent foray into space via Jeff Bezos’ Blue Origin sub-orbital spaceflight service. Considering the provenance of this entire undertaking, attitudes in general towards billionaires and the obvious publicity seeking hubris of sending a cultural icon into space, it’s easy to dismiss Shatner in Space as nothing more than a very, very expensive infomercial. However, the quiet dignity of Mr Shatner whose age and experience means that he draws a very different conclusion from his space flight than his fellow passengers, is utterly compelling and possibly a little profound. If you can endure the soulless polish of the scenes with an immaculately staged managed Jeff Bezos, then you’ll be rewarded with the philosophical musings of a man approaching the end of his life who is naturally curious about his own mortality.
I am not a fan of conspiracy theories, nor those who are heavily invested in them. There are many reasons to repudiate such ideas but for me the main one is just a simple observation on human nature. Any major conspiracy, plot or cover up requires large swaths of people to participate and remain quiet about the facts. Yet one of the most common attributes of the human condition is peoples total inability to shut up. Simply put, most conspiracy theories don’t hold water because someone would have blabbed. Hence, documentaries about how the moon landings were faked or how 9/11 was an “inside job” tend not to “butter any parsnips” with me. However, JFK Revisited: Through the Looking Glass is a surprisingly different beast. I was surprised by its measured approach and its inferred conclusion. Has old age mellowed the filmmaker Oliver Stone?
Television programmes that deal with the so-called supernatural, mysterious and the unexplained are commonplace these days. They fill the schedules of channels that used to broadcast quality wildlife, historical and scientific documentaries. All too often these shows focus on the sensational nature of their subject matter and lack any real objectivity, analysis and scientific rigour. The idea is not to impartially explore a subject to determine its veracity but to simply provide a degree of spectacle for as broad a viewing demographic as possible. However, that was not always the case. Back in 1980, Yorkshire Television produced Arthur C. Clarke's Mysterious World. A high profile exploration thirteen-part British television series looking at unexplained phenomena from around the world. The presence of Clarke, who introduced and book-ended the various subjects the show explored, brought a degree of impartiality and credibility to the proceedings.
Over the years I have seen many documentaries about World War II. Although I do not claim in any way to be an expert, I believe I have a good grasp on the causes and the course of that six year conflict. However, it recently struck me that I could not say the same about World War I. In my youth I watched a repeat showing of the BBC documentary series The Great War (1964) but I remember very little of its prodigious 26 episodes. The one thing that stood out were the interviews with veterans. So I was very pleased when perusing BritBox over the weekend to find the 2003 documentary The First World War, based upon the book of the same name by Professor Hew Strachan. This ten part analysis takes a global view of the conflict, rather than excessively focusing upon the Western Front and also debunks a lot of the apocryphal ideas and notions that have persisted over the years. I found it so compelling that I binged watched the entire thing over two evenings.
The music business is a strange, interesting and broad church. A spectrum of musical styles and personalities all fulfilling the needs of different markets. There are pop stars who are buoyant but ephemeral. Then there are singer/songwriters who take their work seriously as they express their critique of the human condition via their music. There are also style icons, novelty acts, indie bands, lounge crooners and a myriad of other niche acts, all doing their own thing. And occasionally there are enigmas. Artists and bands that fly in the face of prevailing trends and commercial interest, who do consider their work to be an artistic endeavour and an expression of themselves and as such, do not see the virtue of personal compromise or corporate interests. Esoteric musicians who reinvent themselves continuously as they grow and age. Constantly defying the expectations of both their own fans and naysayers. Sparks are such a musical entity and the subject of a fascinating documentary by director Edgar Wright.
Carl Sagan's seminal science documentary Cosmos: A Personal Voyage was initially broadcast in the US between 28th September and 21st December 1980. Six months later it was shown in the UK on BBC One throughout the summer of 1981. I was thirteen years old at the time and this science documentary series had a tremendous impact upon not only me but an entire generation. The complexity of some of the subjects explored and discussed by Carl Sagan often left me perplexed. However, I knew that there was something special about this show and the way it presented science in such a personal manner. Therefore, I found myself going to both my local and school library to further read about the topics raised in each episode. But perhaps the most standout aspect of the show was Sagan himself. His commentary delivered directly to the camera was both enthralling and lyrical. His love and enthusiasm was palpable and clearly bled through into every aspect of the show. His ability to communicate clearly, complex and at times esoteric ideas, was a revelation and in many ways a gift. Similar to that of Jacob Bronowski and David Attenborough.
There was a time when film making was seen as an artistic endeavour and the idea of the auteur director pursuing a vision was considered a romantic and even noble undertaking. Big multi-million-dollar productions were welcomed when they filmed on location, providing work and glamour to the local population. The might of the dollar would often grease the wheels of industry, making the impossible possible. Egos were massaged, and actors were indulged and treated like minor deities. Huge sets would appear in the middle of nowhere, like Victorian follies and luxury items would be flown around the world to placate the capricious nature of the various Hollywood stars. Money would flow like water, much to the dismay of the producers, sitting back in the offices in the US or Europe. But this era has now past. Big budget movies are still made but it is now driven by corporate accounting and artistic vision is no longer a primary consideration. It is now a rather soulless business process. Hence a movie such as Apocalypse Now would never be made today in the same manner that it was back in 1976 when the production started.
MR James: Ghost Writer is a sixty-minute documentary written and presented by Mark Gatiss, exploring the life of Britain's foremost ghost story writer. Gatiss, a long-time admirer of James, delves in to the life of the author from his devout Anglican upbringing and close-knit family life, through to his ascent to the summit of academia at King's college, Cambridge. The program seeks to discover what motivated this scholarly bachelor to create some of the most iconic and chilling ghost stories in English literature. By following in James’s footsteps, the documentary attempts to gain a greater insight in to the enigmatic author.
Wisconsin Death Trip is a strange, enigmatic, non-linear docudrama and that makes for compelling viewing for the open minded. It is based upon the 1973 non-fiction book Wisconsin Death Trip by Michael Lesy, which explores a collection of late 19th century photographs by Jackson County, photographer Charles Van Schaick. These are mainly taken in the city of Black River Falls. The authentic black and white pictures are further embellished by local news reports from the same period, predominantly taken from the Black River Falls newspaper. These articles emphasise the harsh aspects of Midwestern rural life under the pressures of crime, disease, mental illness, and urbanization. The book has been a source of influence over the years, with authors such as Stephen King and Rod Jones citing the impact its had upon their respective work. Film maker James Marsh has subsequently taken this curious microcosm of rural life and death and extrapolated it a compelling reflection upon mortality and the fragility of human existence.
Dean Haglund is best known for playing Richard Langly, one of the Lone Gunmen on The X-Files. In recent years has capitalised upon that role and has become closely identified with the realm of the paranormal and the world of conspiracy theories. The documentary The Truth Is Out There follows Dean as he travels the US and attempts to discover just what it means to search for the truth in a world where conspiracies theories, untruths and fake news abound. The documentary directed by Phil Leirness, humorously takes the viewer on a journey of discovery, talking to those who believe that the world is not what it seems.
Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production.
Star Wars Begins is a detailed documentary by film maker Jamie Benning that explores the creation of what is now considered to be the most iconic movie of the seventies; namely Star Wars. It features a wealth of deleted scenes, alternate takes, behind-the-scenes footage, bloopers, original on set audio recordings and a great deal of commentary by the original cast and crew. As far as I’m concerned, it is the most thorough and in-depth analysis of Star Wars I have yet to see. Frankly it beats hands down, any of the officially sanctioned documentaries that have appeared over the year on the various DVD and Blu-ray releases of the trilogy.
Indie Game: The Movie is a genuinely fascinating documentary not only about the machinations video games industry but also the blood, sweat and tears that go into any creative process. It is a film that really does give you pause for thought and encourages you to reflect upon what you may want in life. It clearly shows the true cost and the star reality of any labour of love. It should be required viewing in schools and colleges for any wannabe who dreams of being on a reality shows and achieving a fast path to their perceived heart’s desire. Such is the impact of the documentary’s message.
Despite having played a broad spectrum of games in my time, I've never really had much dealings with the Blizzard. Beyond owning Overwatch, a game I’ve long stopped playing and trying a free trial of both World of Warcraft and Hearthstone, I have little personal experience of their games. However, I am fully aware of their product range and their reputation within the gaming industry. Overwatch has taught me how well-conceived and polished their games can be. Blizzard may not be incredibly innovative, but they learn from others and produce titles with all the elements that work well. Sadly, I have no real affinity to their flagship MMORPG, as my point of entry with that genre was LOTRO. My interest in World of Warcraft mainly stems from a business perspective and the place it holds in gaming history. Overall my curiosity about the game, its community and culture is mainly academic. So, I finally got around to watching the documentary World of Warcraft: Looking for Group that showcased at Blizzcon in 2014 and was subsequently released on You Tube thereafter.
Certain groups just lend themselves to ridicule from the media and in popular culture in general, irrespective of whether they deserve it or not. Star Wars fans are a prime example of this. Their love of the lore, predilection for cosplay and hunger for collectables at first glance makes them an easy target. Film maker Mark Edlitz, takes a decidedly different approach in his documentary Jedi Junkies. Instead of finger-pointing and making cheap jokes, Jedi Junkies puts a very human face on a group of enthusiasts, showing their passion to be in essence, no different to that of sports fans or other more mainstream hobbies and pastimes.
After watching several hours of the documentary, The Vietnam War, one has to wonder at the utter inability of the US government of the time, to think outside the box during the period of that conflict. Seldom does a military, political, and social analysis of an historical event go this deep. During its eighteen hour running time directors Ken Burns and Lynn Novick cover a wealth of issues associated with this conflict, exploring it from multiple perspectives. Not only do they shine a light upon the hubris and folly of both respective governments, they manage to keep a very intimate and human perspective. Personal stories from both sides are told and if there is a common theme, it is sadly one of tragedy and regret.
Considering the mainstream popularity of gaming, there is a distinct lack of related content on television. Journalist, writer and social commentator Charlie Brooker attempted to address this in 2009 with Gameswipe but the show remained a one-off production. Then again in late 2013, he had another crack at the subject with the documentary How Videogames Changed the World, providing a broad overview on the genre, exploring key events and titles from the past forty years. As ever with Mr. Brooker, the commentary was intelligent and acerbic. There was also an interesting and diverse selection of talking heads who spoke from personal experience, rather than the usual scripted garrulous inanities.
Constance Marks’ documentary explores the story of Kevin Clash, the man who effectively "was" Seasame Street's Elmo until 2014. The film charts Kevin Clash's rise from his modest beginnings in Baltimore to his success as a globally famous character and a major player in the Henson family of puppeteers. The documentary manages to maintain a good balance between examining the mechanics of puppetry and focusing on the human impact of Kevin's work. Like so many documentaries of these type, it clearly shows that achieving your dreams always comes with a cost and is often immensely arduous. It also reveals the complexity of something we take for granted and possibly trivialise, namely puppetry. Filmed in 2011 the documentary does not cover Kevin Clash’s resignation from “Seasame Workshop” three years later.
Documentaries about the fans and fandom often lack any impartiality and frequently have their own agenda, be it positive or negative. Looking at the names associated with Comic-Con Episode IV: A Fan's Hope, it’s fairly clear from the outset that this is not going to be an overtly critical undertaking. Director Morgan Spurlock follows five attendees during San Diego Comic-Con 2010 as they endeavour to fulfil their ambitions. The fans are immediately presented in a fairly positive way and as the documentary proceeds the viewer gets the opportunity to form their own opinion about the lifestyles, choices and philosophies. The documentary is also interspersed with talking heads from known genre luminaries such a Joss Wheedon, Kevin Smith and Stan Lee, who provide some interesting and quite frank views on Comic-Con as well as the wider fan scene.
The documentary Mifune: The Last Samurai is both an exploration and celebration of the Japanese actor Toshiro Mifune (1920-1997), narrated by Keanu Reeves. Over the course of seventy minutes his life and body of work is critiqued by his industry peers as well as several cinematic luminaries such as Martin Scorsese and Steven Speilberg. The focus is very much upon the man himself, as his personality was integral to his acting technique. For those unfamiliar with classic Japanese cinema during its golden age, the documentary provides a broad and practical overview. It also includes a brief history of the chanbara (sword fighting) genre, as well as a concise and honest analysis of Mifune’s career.
The Complete Ghost Stories of M R James – Read By David Collings (2007)
The supernatural fiction of Montague Rhodes James is a major milestone in the history of the literary ghost story. His work tangibly helped shape the genre as we know it today, focusing on classic themes such as retribution, vengeance and other aspects of traditional mythology literature. The protagonists are often socially dysfunctional intellectuals who face peril due to their excessive curiosity. The very physical nature of horror often masquerades for deeper psychological issues. They also serve as an invaluable window into the socioeconomic structure of Edwardian Britain.
The supernatural fiction of Montague Rhodes James is a major milestone in the history of the literary ghost story. His work tangibly helped shape the genre as we know it today, focusing on classic themes such as retribution, vengeance and other aspects of traditional mythology literature. The protagonists are often socially dysfunctional intellectuals who face peril due to their excessive curiosity. The very physical nature of horror often masquerades for deeper psychological issues. They also serve as an invaluable window into the socioeconomic structure of Edwardian Britain.
In more recent years critics have tried to determine if the author’s personal life and idiosyncrasies are reflected in his written work. Is there a hidden subtext within the narrative, hinting at inner conflict and repression in James own life? It’s quite possibly so. Either way there is no doubt that M R James is one of the finest authors of short stories, this country has known. His influence is still seen today in the works of Brian Lumley, James Herbert and Clive Barker. Furthermore his stories still have the capacity to disturb the reader.
Recently I was pleased to discover a comprehensive audio book featuring the complete collection of M R James ghost stories, read by David Collings. Previously selected stories had been recorded in the middle Eighties by the great Sir Michael Horden. Sadly these are no longer available. The new recordings are presented in two volumes by Craftsman Audio Books. They contain all short stories in chronological order and are unabridged. Atmospheric music is used strategically to bridge the material.
David Collings reads the works of M R James as they’re meant to be heard. He is word perfect and his delivery is smooth and lyrical. He alternates between regional accents and Latin with polished aplomb. Collings must be an M R James aficionado as he brings out all the sly humour of the Edwardian text, adding charm and chilling nuance to every story. Although I am a strong advocate of reading for oneself this material lends itself strongly to the audio book format and is an utter delight. I cannot praise this collection enough and consider it to be the perfect way to while away the cold winter nights.
The Haunted Dolls House is a short film based on a story by M.R. James about a unique antique that is subject to supernatural phenomenon. Adapted by Stephen Gray and David Lilley, this is the third of three short films based upon James’ work that the pair have made. It stars Steven Dolton as Mr. Dillet, a collector of antique dolls houses, who acquires a bargain only to discover that it harbours a ghostly secret. Made on an extremely modest budget over the course of 2012 this clever, innovative and rather sinister adaptation is a fine example of short film creativity. It manages to offer a unique visual depiction of M.R. James’ classic story whilst capturing the unsettling quality of the author’s work. Like so many independently made short films it is clearly a labour of love, made with modest resources. It succinctly captures the spirit of the author’s work and is both innovative and rewarding.