Grave Encounters 2 (2012)
Sometimes you have to admire persistence. I really didn't think that Grave Encounters merited a sequel but apparently, it's financial returns indicated otherwise. So today I found myself watching Grave Encounters 2 with a certain sense of déjà vu because like the first movie, it tries to do something different and only partially succeeds. Once again, the writers (The Vicious Brothers) manage to jump the shark at the midway point and the movie ceases to innovate and just ticks boxes. The only major difference this time round is we get a little more of everything, because it is a sequel. So, there's more jumps, more ghosts and more violence. Is there more entertainment? May be.
Sometimes you have to admire persistence. I really didn't think that Grave Encounters merited a sequel but apparently, it's financial returns indicated otherwise. So today I found myself watching Grave Encounters 2 with a certain sense of déjà vu because like the first movie, it tries to do something different and only partially succeeds. Once again, the writers (The Vicious Brothers) manage to jump the shark at the midway point and the movie ceases to innovate and just ticks boxes. The only major difference this time round is we get a little more of everything, because it is a sequel. So, there's more jumps, more ghosts and more violence. Is there more entertainment? May be.
The movie starts with a series of faux YouTube reviews of the original Grave Encounters. This is a fun way to start proceedings because not all the vloggers give favourable opinions. Then we meet indie horror film maker Alex (Richard Harmon) and his respective crew, who is convinced that the movie is in fact true. The more he digs for clues, the more his theory is validated. It is this first half of the story that works the best. Alex receives anonymous tip-offs via text and email from Deathawaits6. He also tracks down the producer of the first film and via a hidden camera, uncovers a chilling secret. As with the first movie, although the cast is mainly comprised of a bunch of unpleasant characters, they do all ring true.
It takes thirty-eight minutes before the action arrives at the asylum. Curiously enough as the spooky stuff starts my interest in the movie took a sharp dip. The gadgets, cameras and technological paraphernalia used by such reality shows are all present here and this does embellish the proceedings to a degree. A thermal imaging camera is used this time, introduced via a rather obvious and crass gag. There are also some further explorations of the building's ability to change shape and alter its layout. Whilst running in panic, one character turns a corner into a corridor but their friends take the same turn only to find a brick wall.
However there reaches a point in the story, not unlike the original, where the writers take too many liberties with the audience’s suspension of disbelief. Again, the first-person narrative give ways to material that feels much more like conventional third person cinema. The moment that happens the main selling point for the production is lost and mediocrity sets in. Grave Encounters 2 also ends with a rather more violent incident that seems a little out of place with what has previously transpired. It's rather gloating and mean spirited. The final resolution of the plot is somewhat obvious and worryingly paves the way for a third instalment.
I found myself reminded of Book of Shadows: Blair Witch 2 when watching Grave Encounters 2. Both sequels attempt to do something tangential to their predecessors, rather than rinse and repeat but both seem to get lost after initial bursts of creativity. Overall I would say that I enjoyed Grave Encounters 2, more than the first part, mainly because of its self-referential and self-deprecating first act. As I said at the beginning, persistence can be an endearing quality. Although I really am getting exasperated with the found footage sub-genre, one should acknowledge effort, even if it is misplaced. The Vicious Brothers have tried more so than other film makers to experiment and even managed to raise a wry smile. Their tongue must have been planted firmly in their cheek when one of the characters describes Hollywood as "the film Mecca of the world".
Grave Encounters (2011)
I had high hopes for Grave Encounters after I saw the Trailer on You Tube six years ago. It got quite a lot of attention online, due to it jumping on the found footage bandwagon and by cashing in on the popularity of supernatural reality TV. The movie poster takes great pains to reference that fact. Shows such as Ghost Hunters and Most Haunted still pull in big TV ratings. Even I've been guilty of watching them in the past. So the idea of a TV crew investigating the paranormal and genuinely encountering it sounded very promising. Alas, Grave Encounters fails to reach it's potential in my opinion, although my primary objection hinges on a very subjective preconception. One that other viewers may not share.
I had high hopes for Grave Encounters after I saw the Trailer on You Tube six years ago. It got quite a lot of attention online, due to it jumping on the found footage bandwagon and by cashing in on the popularity of supernatural reality TV. The movie poster takes great pains to reference that fact. Shows such as Ghost Hunters and Most Haunted still pull in big TV ratings. Even I've been guilty of watching them in the past. So the idea of a TV crew investigating the paranormal and genuinely encountering it sounded very promising. Alas, Grave Encounters fails to reach it's potential in my opinion, although my primary objection hinges on a very subjective preconception. One that other viewers may not share.
The first act sets the scene very well with the documentary crew arriving at the Collingwood Psychiatric Hospital where unexplained phenomena has been reported for years. Front man Lance Preston (Sean Rogerson) is a self-obsessed individual and more than happy to contrive material just to make a good show. He bribes the caretaker to make false anecdotes and colludes with medium Houston Gray (Mackenzie Gray) to get the right shots and dialogue. After setting up their equipment and getting locked in for the night a series of progressively more disturbing events begin to unfold. At first these are the standard sort of ambiguous happening that are common place on these reality shows. Doors are slammed, object are moved and footsteps are heard. The movie works very well up to this point.
After an incident with EVP and the female crew member having her hair pulled, the team are genuinely startled. It is obvious that up to this point they have never truly believed in their work. So they decide to leave the building and are forced to break through the locked front doors. It is at this point in the plot that a perfectly adequate concept is abandoned for something much more ambitious. Instead of the finding the drive and grounds on the other side of the entrance, the crew finds yet more hospital corridors. The subsequent search reveals that the building is in some sort of Möbius loop and that despite the passage of time, it remains dark outside.
It is this very bold and possibly over reaching idea that I found to be the main problem with Grave Encounters. If this had been made as a traditional horror movie, shot from a third person perspective, then such a plot shift may well have been acceptable. Because Grave Encounters is shot as a faux documentary, such a major jump in the scope of the plot simply strains one’s sense of disbelief too much. If the movie had confined itself to just a single night with some low key supernatural encounters, it may well have been a superior piece of work. As it is, it jumps the shark within the idiom of the genre, offering predictable and clearly telegraphed shocks, culminating in a rather obvious ending that steps into the realms of the occult.
People have criticised Grave Encounters for its two-dimensional characters, bad dialogue and cheap digital FXs. I think this is somewhat missing the point because these have always been the mainstay of the horror genre over the last six decades. For me the film fails because it over reaches itself and ends up falling between two stools. One critic labelled it the "bastard child of The Blair Witch Project and House on Haunted Hill" which certainly sum ups what the film makers where trying to achieve. My advice is to only watch this movie if you are prepared to be forgiving. Grave Encounters in spite of its poster tagline, is neither one of the scariest or memorable movies of the year. It is adequate but flawed.
Poltergeist (2015)
Tobe Hopper's original Poltergeist was in many ways a socio-economic satire of the Reagan era. A bold statement about consumerism, the American Dream and the notion that the so-called "perfect life" was built upon a lie. However the central characters in the 1982 film and were benign and essentially likeable. Although they were social climbers they were tempered by some of the more compassionate aspects of seventies pop culture. The family at the heart of this remake are subtly different. The Bowen's are suffering both financially and emotionally due to the foibles of the economy. Where the original movie was about US notions of family aspiration, this remake is about the failure of retail therapy and taking comfort in "things".
Tobe Hopper's original Poltergeist was in many ways a socio-economic satire of the Reagan era. A bold statement about consumerism, the American Dream and the notion that the so-called "perfect life" was built upon a lie. However the central characters in the 1982 film and were benign and essentially likeable. Although they were social climbers they were tempered by some of the more compassionate aspects of seventies pop culture. The family at the heart of this remake are subtly different. The Bowen's are suffering both financially and emotionally due to the foibles of the economy. Where the original movie was about US notions of family aspiration, this remake is about the failure of retail therapy and taking comfort in "things".
Sam Rockwell and Rosemarie DeWitt offer convincing performances as Eric and Amy Bowen. Their economic plight is something most people can relate to. Kennedi Clements is engaging as young Madison Bowen. Her character remains at the heart of the supernatural events and the centre of the story. Gone is the engaging eccentricity of Zelda Rubinstein and the enigmatic medium has now been replaced by Jared Harris. Carrigan Burke, a TV reality show paranormal investigator, is simply not such an enjoyable character and although Harris' performance is fine, he just isn't as interesting as his predecessor. Plus of course there's the issue of his hat.
Sadly the emotional underpinning that was present in the first movie due to Steven Spielberg’s presence, is not so prevalent this time round. Much of the updated, modern variations of the storyline and production seem just arbitrary. Beyond being just different they don't really bring that much new to the table. The original movie made sense set against the political background of the time. The fear that television is essentially a bad and pervasive influence upon society, has not been replaced with a suitably similar contemporary theme. TV sets are no longer a metaphorical conduit this time round, merely a convenient portal. If Poltergeist had swapped television for another problematic medium such as the internet, perhaps the movie would have worked better and had more substance.
For those looking for a functional PG-13 jump-fest (which remain very much in vogue at present) then Poltergeist provides an adequate fix. It is directed by Gil Kenan in a very contemporary fashion and boasts good production values for a genre movie of medium budget. It certainly does not do any harm to the franchise but sadly it doesn't do anything radically different either. More thought should have been spent on the updating of the story which focuses mainly upon the physical changes of the last thirty years. Poltergeist should have been rooted in current socio-political concerns of our time to give it more substance. As it stands the overall differences are perfunctory and the film lacks a thematic anchor.
Poltergeist is currently available on DVD and Blu-ray in both the theatrical version, rated PG-13 and as an extended edition. The theatrical release runs for 93 minutes, whereas the longer version is 101 minutes. The differences are mainly extended scenes or alternative takes and focus on the character development of the family. They offer no additional horror material and have no impact upon the rating whatsoever. For the purpose of this review I watched the extended edition, on the grounds it offered a fuller narrative and thus a potential superior viewing experience over the standard theatrical print.
The Devil Rides Out - Restored and Altered
The Devil Rides Out was restored by StudioCanal and released on Blu-ray in 2012. Based on Dennis Wheatley's famous novel, the film is considered to be one of Hammer studios the finest works, made at the height of their success. The story centres around a group of friends who meet for a reunion, only to discover that one of their circle has fallen into the clutches of a satanic cult. The Duc de Richleau (Christopher Lee) and Rex Van Ryn (Leone Greene) soon find themselves up against cult leader Mocata (Charles Grey), who is not disposed toward releasing his new acolyte Simon Aron (Patrick Mower). The Devil Rides Out features an intelligent screenplay by Richard Matheson and strong performances by Christopher Lee and Charles Gray. As ever with Hammer movies, the production designed is polished and looks more lavish than it is. Unfortunately, the films poor box office returns outside of the UK, meant that the studio declined to make any further adventures of the Duc de Richleau.
The Devil Rides Out was restored by StudioCanal and released on Blu-ray in 2012. Based on Dennis Wheatley's famous novel, the film is considered to be one of Hammer studios the finest works, made at the height of their success. The story centres around a group of friends who meet for a reunion, only to discover that one of their circle has fallen into the clutches of a satanic cult. The Duc de Richleau (Christopher Lee) and Rex Van Ryn (Leone Greene) soon find themselves up against cult leader Mocata (Charles Grey), who is not disposed toward releasing his new acolyte Simon Aron (Patrick Mower). The Devil Rides Out features an intelligent screenplay by Richard Matheson and strong performances by Christopher Lee and Charles Gray. As ever with Hammer movies, the production designed is polished and looks more lavish than it is. Unfortunately, the films poor box office returns outside of the UK, meant that the studio declined to make any further adventures of the Duc de Richleau.
What makes The Devil Rides Out so enjoyable is its brooding atmosphere, period charm and luxurious sets. It is a well-paced horror film with an emphasis upon plot and character. It encapsulates all the finest qualities of Hammer studios. It may not be particularly shocking or horrific by today's standards but it certainly has an unsettling ambience to it. This is a story from a time when the UK was still a predominantly Christian nation and the notion of one’s immortal soul being in peril, was not such an abstract concept as it is in these secular times. Unfortunately, due to budgetary restrictions and technical limitations, the movies visual effects do look somewhat dated.
Because of this very issue, during the restoration of the optical elements from The Devil Rides Out, it was decided to enhance certain sequences, to bring them in line with the original vision of Hammer and director Terence Fisher. Matte lines have been removed and colour regraded on composite shots. More controversially some footage has been added or replaced. The spider sequence now includes holy water being thrown and the lightning strike on the satanic alter has been more convincingly recreated. The most notable change is the additional lighting to the arrival of the Angel of Death. A back-light has been added to Death's entrance into the library and when he removes his mask, a flaming blue background has replaced the original black.
I have a great love for Hammer films and am very supportive of StudioCanal in their undertaking to restore so many of these classics. I therefore do not wish to be sidetracked by a debate of the rights or wrongs of these enhancements. However, I do feel that it was a mistake not to include an original print of the movie on this particular Blu-ray release as a bonus. The new effects work could easily have been included via seamless branching. Let us hope that StudioCanal listen to fans and reflect upon the debate that has arisen. Overall this is the finest presentation of The Devil Rides Out we are ever likely to see. It still has much to offer both old and new fans alike.
Mirrors (2008)
Mirrors is a remake of Korean horror film Geoul Sokeuro. However, I am not familiar with the original movie, so I cannot compare the two. There is a popular consensus among horror fans that most US remakes of Asiatic genre movies are frequently inferior to the originals. Atmosphere, tension and the unique cultural ambience are substituted by violence and clumsy shocks. It would appear that upon its release the critics felt that Mirrors was no different. So I watched the film with very low expectations. Furthermore, director Alexandre Aja back catalogue is a somewhat mixed bag with remakes of such titles as The Hills Have Eyes and Piranha.
Mirrors is a remake of Korean horror film Geoul Sokeuro. However, I am not familiar with the original movie, so I cannot compare the two. There is a popular consensus among horror fans that most US remakes of Asiatic genre movies are frequently inferior to the originals. Atmosphere, tension and the unique cultural ambience are substituted by violence and clumsy shocks. It would appear that upon its release the critics felt that Mirrors was no different. So I watched the film with very low expectations. Furthermore, director Alexandre Aja back catalogue is a somewhat mixed bag with remakes of such titles as The Hills Have Eyes and Piranha.
Kiefer Sutherland plays an ex-cop coming to terms with an accidental shooting. He's a recovering alcoholic who's estranged from his wife and family. Taking a job as a night watchman in a derelict department store, he soon discovers that an evil force seems to reside in the mirrors that line the walls. It would appear that he is required to carry out a task for this malevolent entity and failure to do so will place his loved ones in jeopardy.
There is a very intriguing premise at the heart of this film, regarding the cultural fascination and fear of our own reflection. The idea of our own image acting independently to ourselves and even harming us is creepy. It is handled in the initial stages of this film quite well by French director Alexandre Aja. But once the plot explores the reasons behind these events, the explanation becomes a little more formulaic. Towards the end, the story does pick up with the introduction of the concept that all reflective surfaces could be potentially dangerous. This results in some quite creative set pieces.
The cast is adequate and the performances are satisfactory. Sutherland and Paula Patton are an sympathetic couple. Julian Glover makes a small appearance as the ubiquitous old man that expedites the plot. The production design is suitably moody and atmospheric. The CGI effects are not excessive and the prosthetics are exceptionally unpleasant. The film includes a death scene that is particularly grim, involving the victim’s breaking their own bottom jaw. There is also a rather graphic throat cutting at the beginning of the movie.
I was pleasantly surprised with Mirrors, finding it entertaining and somewhat scary. The film has a very European sense of style and pace, with is a "sting in the tail" which is unusual for a mainstream studio picture. It's certainly no master piece but is not exactly the dog’s dinner it's been labelled. The unrated edit of the movie (which is the version I watched) is certainly violent but the director seems to have a penchant for such things. It's a shame in a way because with a little more emphasis on suspense Mirrors could have been a better movie.
Village of the Damned (1995)
The original 1960 version of Village of the Damned is regarded as a classic of science fiction film genre and it remains one of the creepiest movies of its kind. The mixture of nuclear age paranoia and “evil children” reflect the social concerns of the decade. The 1995 remake directed by John Carpenter, trades subtlety for more explicit chills and violence. That is not to say it doesn’t show the director’s usual creative flair and the basic premise of the story remains effective, drawing on the original 1960 screenplay and John Wyndham’s novel, The Midwich Cuckoos. However, despite being stronger in content than the original film, Carpenter’s movie actually has a softer tone overall and opts for a less bleak and somewhat incongruous ending.
The original 1960 version of Village of the Damned is regarded as a classic of science fiction film genre and it remains one of the creepiest movies of its kind. The mixture of nuclear age paranoia and “evil children” reflect the social concerns of the decade. The 1995 remake directed by John Carpenter, trades subtlety for more explicit chills and violence. That is not to say it doesn’t show the director’s usual creative flair and the basic premise of the story remains effective, drawing on the original 1960 screenplay and John Wyndham’s novel, The Midwich Cuckoos. However, despite being stronger in content than the original film, Carpenter’s movie actually has a softer tone overall and opts for a less bleak and somewhat incongruous ending.
In the tiny, idyllic town of Midwich, a strange mist causes the entire population to fall asleep, and when everyone awakes the town physician (Christopher Reeve) discovers that ten women, including his wife and a local teenage virgin, have mysteriously become pregnant. Their children are all born on the same day, with matching white hair and strange glowing eyes. They grow at an accelerated rate, thus raising Reeve's suspicion that they are not of earthly origin. The children can control minds and wreak havoc with the power of their thoughts, so of course they must be destroyed. Now before you shout "xenophobia", it should be noted that attempts to communicate with the aliens are made, yet prove fruitless. The alien children wish to dominate over man.
Village of the Damned is driven by a measured cast of character actors, such as Kirstie Alley, Mark Hamill and Peter Jason. The depiction of a close-knit community is credible as the town inhabitants struggle to understand what has happened to them. There are some superficial updates to the narrative, one of which alludes to the government doing more harm than good during their clumsy intervention with the aliens. The effects work by the KNB EFX group is relatively minimal and the emphasis is still very much on tone and atmosphere. Sadly, despite several well-conceived ideas Village of the Damned never seems to assert itself in any particular way. It struggles to find its tone, which is unusual for John Carpenter.
Ultimately it is Christopher Reeve who dominates this somewhat superfluous remake with sufficient credibility to hold the viewer's attention. Once his character establishes how to break the alien children’s mind control there is a genuine sense of tension. This was his last major role before the tragic accident that led to his paralysis. As mentioned previously there’s a concession towards a more mainstream ending than the original film, which is a little weak. Yet despite its flaws, Carpenters version of Village of the Damned is still intriguing and shows the occasional flash of innovation. However, if you want chills of a subtler nature, check out the original version. It runs twenty minutes shorter and is twice as spooky.
Crooked House (2008)
The BBC has a history of supernatural dramas broadcast over the festive season. During the seventies and eighties, they have frequently adapted classic ghost stories by such authors as M. R. James, Charles Dickens, and Hector Hugh Munro aka Saki. In late 2008 BBC Four broadcast Crooked House; a three-part ghost story shown on consecutive nights from 22nd to 24th December. It was written and co-produced by actor and writer Mark Gatiss, of The League of Gentlemen fame. The three inter-linked episodes form a portmanteau story, influenced by the works of M. R. James and Amicus compendium horror films of the seventies.
The BBC has a history of supernatural dramas broadcast over the festive season. During the seventies and eighties, they have frequently adapted classic ghost stories by such authors as M. R. James, Charles Dickens, and Hector Hugh Munro aka Saki. In late 2008 BBC Four broadcast Crooked House; a three-part ghost story shown on consecutive nights from 22nd to 24th December. It was written and co-produced by actor and writer Mark Gatiss, of The League of Gentlemen fame. The three inter-linked episodes form a portmanteau story, influenced by the works of M. R. James and Amicus compendium horror films of the seventies.
The plot centres on the ghostly history of Geap Manor, a recently demolished Tudor mansion. The stories are relayed by local Historian (Mark Gatiss) to local resident Ben (Lee Ingleby), who has discovered an old door knocker from the manor house. The first story, "The Wainscoting", set in the late 18th century, centres around Joseph Bloxham (Philip Jackson), who has boughtand started renovating the Manor. It would appear that he has greatly profited from an investment which ruined his fellow speculators. Strange noises are heard behind the newly installed wainscoting, along spectral blood stains. Is this due to the timber coming from the gallows known as “Tyburn Tree”?
The second vignette, "Something Old", takes place in the twenties, while Geap Manor hosts a decadent costume party. During the evening Felix de Momery announces his engagement to Ruth, much to the surprise and annoyance of his Grandmother (Jean Marsh) and his friends, Billy and Katherine. It is not long before a ghostly bride stalks young Ruth, forcing a long-kept family secret in to the open. In the final contemporary set tale, "The Knocker", Ben foolishly puts the knocker from demolished Geap Manor on his own door. Recently split from his partner, his modern suburban home proves no protection from sinister forces from the past and the spirit of Sir Roger Widdowson.
Writer and actor Mark Gatiss has produced not only a loving homage to the portmanteau genre but constructed a thoroughly creepy and unsettling drama. Crooked House displays a sound knowledge of history with a lot of detail and period slang which embellishing the proceedings. However, unlike other writers, he successfully balances narrative ambiguity with the need to shows enough of the supernatural to appeal to a broader audience. Performances, production design, soundtrack and visual effects are all of the calibre audiences expect from the BBC. Crooked House is a throwback to a genre that has become quite a rarity in recent years. I was strongly reminded of the TV series Hammer House of Horror. Crooked House successfully bridges the divide between old and new producing a drama that is pitched perfectly for a modern audience.
The Haunted Palace (1963)
Despite being marketed as yet another Gothic Horror based upon the works of Edgar Allan Poe, The Haunted Palace is in fact a lose adaptation of The Case of Charles Dexter Ward, by H. P. Lovecraft. The film's title is merely taken from a poem by Poe and is an example of the clever promotion often associated with the movies of Roger Corman. The poster's tagline as ever focuses on the more sensational aspects of the storyline, although audiences’ expectations are not exactly met. Yet there is often a great deal of merit to be found in Corman's output from this decade and as ever The Haunted Palace, like so many of his other movies transcends its modest budget with a sumptuous production design and atmosphere.
Despite being marketed as yet another Gothic Horror based upon the works of Edgar Allan Poe, The Haunted Palace is in fact a lose adaptation of The Case of Charles Dexter Ward, by H. P. Lovecraft. The film's title is merely taken from a poem by Poe and is an example of the clever promotion often associated with the movies of Roger Corman. The poster's tagline as ever focuses on the more sensational aspects of the storyline, although audiences’ expectations are not exactly met. Yet there is often a great deal of merit to be found in Corman's output from this decade and as ever The Haunted Palace, like so many of his other movies transcends its modest budget with a sumptuous production design and atmosphere.
Charles Dexter Ward (Vincent Price) and his wife Ann (Debra Paget) travel to Arkham to take custody of a palace he's inherited. Its previous owner was his great grandfather, Joseph Curwen, who was burned at the stake by local villages for practicing the black arts. Upon arrival the locals are hostile to Ward with the exception of Dr. Willet (Frank Maxwell). Many of the villagers are afflicted with birth defects that are attributed to a curse that Curwen made as he died. Ward soon finds that a portrait of his ancestor bears a striking similarity to himself. It is not long before he finds his own identity under threat from the malignant spirit of Curwen, who seeks revenge and to resume his ungodly pursuits.
The Haunted Palace certainly has some noteworthy aspects. This was the only time that iconic horror actor, Lon Chaney Jr. appeared in a Roger Corman movie. Although his role is somewhat under developed, his presence is still tangible and suitably creepy. As ever, the production does a great deal with very little. The set designs by Daniel Haller are intricate and have an authentic feel. Many were built in forced perspective to create the illusion of scale. Floyd Crosby's cinematography is stylish and make great use of the widescreen format. There are is also some simple but eerie makeup effects by Ted Coodley,
After a captivating opening, The Haunted Palace embarks upon a story of possession, revenge as well as arcane rituals. There are quite a lot of elements from Lovecraft's source text, including the infamous Necronomicon. The concept of the Elder Gods seeking earthly form by cross breeding with humans is quite bold for the times. The movie also has some quite strong death scenes. One villager is dragged into the fireplace and burnt alive at the hands of his own mutant son. Another hapless local is immolated in the streets, resulting in a grim incinerated corpse. The film has a sinister ambience, especially during the scene when Ward and his wife are menaced by a group of deformed villagers.
Sadly, the final act fails to sustain this momentum and the ending is somewhat abrupt and predictable, especially with regard to the inevitable twist. It also fails to account for the fate of certain characters. It's a shame because this production strives to do something different from other Corman horror movies. It excels in many aspects of the production but simply over reaches itself at the end and cannot adequately bring events to a satisfactory conclusion. However that is not to say that the movie isn't entertaining and frequently demonstrates low budget creativity. Many of today's horror directors today could benefit from a close study of Corman's approach to film making and his innovative techniques.
The Damned (1963)
The Damned starts as a delinquent youth drama (a popular theme at the time) and then over the proceeding ninety minutes morphs into a menacing sci-fi plot that climaxes in a full blown conspiracy. It's a most unusual and experimental film that cannot easily be pigeon-holed, yet the same could be said about many other movies by veteran film director Joseph Losey (Boom!, Figures in a Landscape). It proved to be somewhat too "different" for Hammer studios who commissioned the movie and they subsequently shelved The Damned for two years. It was finally released in a heavily edited form under the alternative title of These are the Damned.
The Damned starts as a delinquent youth drama (a popular theme at the time) and then over the proceeding ninety minutes morphs into a menacing sci-fi plot that climaxes in a full blown conspiracy. It's a most unusual and experimental film that cannot easily be pigeon-holed, yet the same could be said about many other movies by veteran film director Joseph Losey (Boom!, Figures in a Landscape). It proved to be somewhat too "different" for Hammer studios who commissioned the movie and they subsequently shelved The Damned for two years. It was finally released in a heavily edited form under the alternative title of These are the Damned.
Set on the Dorset coast an American tourist Simon Wells (Macdonald Carey) on a boating holiday along England’s south coast, is assaulted by a gang of hoodlums led by the charismatic King (Oliver Reed). King's sister Joan (Shirley Anne Field) tries to make amends with Wells but incurs the wrath of her Brother. Both Wells and Joan escape the gang and hide in a network of caves and bunkers on the coast. They discover a group of strange children who have been kept isolated from the world by the military, in what appears to be some sinister government experiment. It soon becomes clear that military are not going to allow them to leave and risk the security of their top secret operation.
The Damned runs at its own pace and which is somewhat sedyte. Yet the shift between storylines midway through the proceedings is bold and quite compelling. The film explores several themes that would later be the foundation for other more notable movies, such as Stanley Kubrick’s A Clockwork Orange (1971). The most outstanding facet of this film is its overall tone. Government conspiracies where not such a common place plot devices at the time and the notion of sacrificing children for an advantage in the Cold War, made the distributors uncomfortable. The bleak ending further muddied the waters. Such material is far from controversial today but at the time this was quite radical.
It should be noted that this film is not a third instalment in the cinematic adaptation of John Wyndham's The Midwich Cuckoo. The story is based on the novel Children of the Light by H L Lawrence. It is alleged that Losey completely rewrote the script and that as well as being a statement about the Cold War, it was also a veiled criticism of his Hollywood blacklisting. Whether that is true or not remains to be seen. The Damned is mostly certainly an interesting curio with is wistful introspection and existential crisis. Dated in many respects (especially the opening song) it is still tonally a very experimental piece, especially if seen in its fully restored ninety seven minute running time.
The Terror of the Tongs (1961)
In 1910, Hong Kong is in the grips of the powerful Red Dragon tong, a secret society that extorts revenue from merchant seamen, deals in both opium and slave trades and savagely slaughters all those who offer opposition. A merchant sailor, Captain Jackson (Geoffrey Toone), swears revenge on the nefarious clan after they brutally murder his first officer and daughter. Hammer's The Terror of the Tongs strives to offer a lurid period drama but falls somewhat short of the mark due to a clumsy script, an indifferent hero and a conspicuous lack of authentic Asian actors. Apart from Burt Kwouk, most of the cast are Europeans sporting rather poor prosthetics. Christopher Lee manages to bluff his way through his role as Tong leader Chung King, through the force of his acting skills. French actress Yvonne Monlaur (Brides of Dracula) is not as successful as a mixed raced serving girl.
In 1910, Hong Kong is in the grips of the powerful Red Dragon tong, a secret society that extorts revenue from merchant seamen, deals in both opium and slave trades and savagely slaughters all those who offer opposition. A merchant sailor, Captain Jackson (Geoffrey Toone), swears revenge on the nefarious clan after they brutally murder his first officer and daughter. Hammer's The Terror of the Tongs strives to offer a lurid period drama but falls somewhat short of the mark due to a clumsy script, an indifferent hero and a conspicuous lack of authentic Asian actors. Apart from Burt Kwouk, most of the cast are Europeans sporting rather poor prosthetics. Christopher Lee manages to bluff his way through his role as Tong leader Chung King, through the force of his acting skills. French actress Yvonne Monlaur (Brides of Dracula) is not as successful as a mixed raced serving girl.
However despite its shortcomings The Terror of the Tongs is still somewhat entertaining with its highly stylised view of the Chinese underworld. Frankly expecting anything like historical accuracy from such a studio as Hammer is a mistake. They were far more focused on shock, titillation and appealing to adult audiences baser needs. Thus we have a rather sixties interpretation of what an early twentieth century gambling den looks like. Also the violent activities of the Tongs are somewhat understated. Merchants have their fingers cut off with hatchets while others that cross the Red Dragon are stabbed but it is far from graphic. Indeed the infamous bone scraping torture scene in which Milton Reid uses long needles to inflict pain upon an incapacitated hero is very restrained, resulting mainly in reaction shots.
As ever with Hammer movies, The Terror of the Tongs benefits greatly from a set design that implies a far more lavish production. Despite being very studio bound, the movie has an engaging production design bolstered by a few robust matte paintings to make the dock sequences more credible. James Bernard's score is evocative as well as exciting and brings a degree of polish to the proceedings. Hammer continued to make several more of these historical dramas in parallel to their established horror franchises over the years and they often made for a welcome alternative to the restrictions of the Gothic Horror genre. The Terror of the Tongs is a somewhat workman like entry in Hammer's back catalogue and is more than likely of interest to the fans of the studio rather than casual viewers.
Alligator (1980)
After the commercial success of Jaws in 1975, there followed a wealth of low budget creature features, hell bent on separating the viewing public from their hard earned cash. At one point every conceivable species of animal featured in a movie in which it went on the rampage and dined on B list actors and sundry extras. Many of these films left no lasting impression and vanished into obscurity (only to be resurrected a decade later during the eighties video boom). However even in this desert of cinematic mediocrity, a few examples stood out as an oasis of independent creativity. Alligator is one of these. It has stood the test of time because it’s smart and has a good pedigree.
After the commercial success of Jaws in 1975, there followed a wealth of low budget creature features, hell bent on separating the viewing public from their hard earned cash. At one point every conceivable species of animal featured in a movie in which it went on the rampage and dined on B list actors and sundry extras. Many of these films left no lasting impression and vanished into obscurity (only to be resurrected a decade later during the eighties video boom). However even in this desert of cinematic mediocrity, a few examples stood out as an oasis of independent creativity. Alligator is one of these. It has stood the test of time because it’s smart and has a good pedigree.
Firstly, the screenplay written by genre luminary and indie film-maker John Sayles is witty and satirical. The characters are likeable, with amusing foibles. The story makes sly digs at the very formula of the genre, itself. The dialogue is smart and extremely quotable. Secondly, director Lewis Teague knows exactly how to handle the material. The film has a stark and grimy eighties feel to it. The protagonists are not “beautiful people” (as they would be if the film were remade) and the production design is realistic, reflecting the Reagan era. For the bulk of the movie, the giant alligator preys on the poor in a rough neighbourhood. The authorities don’t really care until the creature moves uptown.
The film has a solid cast of quality character actors. Robert Forster delivers a sympathetic performance as a world weary detective, living in bachelor squalor, fighting male pattern baldness and City Hall politics. Victor Gazzo plays his harassed boss and Henry Silva excels as a flamboyant, misogynist, Great White hunter. There is also a nice cameo by Bart Braverman (anyone remember that TV series Vegas?) as a sleazy tabloid journalist (is there any other kind?) who gets the scoop of his life at a hefty price. All characters are well defined and credible due to John Sayles’ intelligent and smart screenplay.
The story is fairly straight forward and starts with an unwanted pet Alligator being flushed down the toilet. After eating illegally dumped medical waste loaded with growth hormones, the reptile grows to an exceptional size and soon goes looking for a suitable food supply. However it is the quirky characters and subplots that make the film so enjoyable. Henry Silva's urban safari is particularly amusing. Dean Jagger plays the corrupt CEO of a pharmaceutical company who "owns" the local Mayor. Their exchanges of dialogue, especially at a fateful wedding party, are very well observed.
Now for a modest budget film, the special effects are quite good. The beastie of the title is kept suitably hidden for the first third of the film. Later, the attack scenes are carefully crafted to maximise shock and hide the short comings of the animatronic reptile. In wider shots a full size Alligator is used on scaled down sets, to good effect. The death scenes are fairly brutal but not excessive. Alligator also breaks the Hollywood mainstream taboo, of killing a child on camera. It even has the cheek to do it in an amusing way. Alligator has a broad streak of gallows humour running through its ninety odd minute running time.
Alligator is very much a product of its time, reflecting the best aspects of independent film making that came from the US during the late seventies. Its intelligence and humour make it more than just your average creature feature. It not only entertains but provides an interesting socio-economic snapshot of the times. The screenplay and casting once again prove that when you have a solid script and the right actors, you’ve won half the battle already. The minimalist special effects work to the film’s advantage and allow the viewers to immerse themselves in the story and performances. When the shocks come they have far more impact as you actually care about the central characters.
Leviathan (1989)
There was a glut of undersea action film in 1989. The only one that really had any credibility was James Cameron’s The Abyss. Although it was not a box office success, the film gained a following over time and was substantially improved by the release of the special edition in 1993. Leviathan conversely, is one of the forgotten titles from that aquatic sub-genre. The plot follows a team of undersea miners that find a sunken Russian vessel. A case of recovered vodka turns out to be a genetic mutagen, resulting in crew members mutating into an aquatic human hybrid. It’s all conspicuously derivative and the embodiment of the term formulaic. Yet despite these flaws it does have a few virtues that merit a viewing, if you’re feeling undemanding.
There was a glut of undersea action film in 1989. The only one that really had any credibility was James Cameron’s The Abyss. Although it was not a box office success, the film gained a following over time and was substantially improved by the release of the special edition in 1993. Leviathan conversely, is one of the forgotten titles from that aquatic sub-genre. The plot follows a team of undersea miners that find a sunken Russian vessel. A case of recovered vodka turns out to be a genetic mutagen, resulting in crew members mutating into an aquatic human hybrid. It’s all conspicuously derivative and the embodiment of the term formulaic. Yet despite these flaws it does have a few virtues that merit a viewing, if you’re feeling undemanding.
Competently directed by George Pan Cosmatos, the movie features a solid cast of support actors. Peter Weller, Richard Crenna, Daniel Stern, Hector Elizondo, Ernie Hudson and Meg Foster all do the best they can. The creature effects are handled by the Stan Winston Studios, the production design is convincing and the film looks far from cheap. So what went wrong? Well the whole enterprise reeks of studio interference; story re-writes and post production editing. Fangoria reported heavily on the animatronics for this film at the time of filming, yet precious little is visible in the final cut. Also one character dies off screen and is explained away with a few lines of dialogue.
These clues point to a major shift of direction somewhere in the films production. Perhaps the studio thought that suspense was a better option than a gorefest. But Leviathan is no Alien and simply doesn’t have a compelling enough narrative to pursue that angle. So what we are left with is a failed entry in an obscure sub-genre, which is still mildly entertaining. However any film with a Jerry Goldmsith score can’t be all bad. So if you set your expectations low, or feel like playing film cliché bingo, you may find this aquatic escapade an adequate way to fill one hour and forty minutes.
Dracula (1958)
Following the 2012 restored release of The Curse of Frankenstein, Hammer, Icon Film Distribution and Lionsgate jointly produced a Blu-ray restoration of another British classic. This time it was the 1958 version of Dracula directed by Terence Fisher. This is one of Hammer's finest films and not only gets a superb High Definition transfer but also sees the restoration of two lost scenes. Dracula literally re-invented the horror genre and the depiction of vampires in film. It also established the studio as a key player within the industry and made international stars of Peter Cushing and Christopher Lee. This new restoration finally does justice to the source material presenting it as it deserves to be seen.
Following the 2012 restored release of The Curse of Frankenstein, Hammer, Icon Film Distribution and Lionsgate jointly produced a Blu-ray restoration of another British classic. This time it was the 1958 version of Dracula directed by Terence Fisher. This is one of Hammer's finest films and not only gets a superb High Definition transfer but also sees the restoration of two lost scenes. Dracula literally re-invented the horror genre and the depiction of vampires in film. It also established the studio as a key player within the industry and made international stars of Peter Cushing and Christopher Lee. This new restoration finally does justice to the source material presenting it as it deserves to be seen.
The release contains two versions of the film, both of which can be accessed via seamless branching on the Blu-ray disc. There is the 2007 BFI restoration plus the new 2012 Hammer restoration, which adds additional footage that has been unavailable for decades, as well as the original UK title card. The additional footage comprises two of the scenes that were originally censored by the BBFC in 1958. The material was restored to the film from the infamous “Japanese reels” validating the long-held notion that more explicit prints existed for the far eastern market. The scenes depict Dracula’s seduction of Mina, which was considered too overtly sexual for the times. Then there is the infamous face clawing scene from Dracula’s final demise.
The film also boasts an outstanding commentary track from Hammer historian Marcus Hearn and author and critic Jonathan Rigby. For those who have an interest in Hammer Studios or cinema in general this is an extremely informative and enjoyable narrative. Both speakers have a wealth of interesting and relevant anecdotes. They offer a keen insight into the British film industry of the time and its relationship with the BBFC and the press. There is also an excellent discussion of each actors respective acting techniques. As a result I learned of Peter Cushing's famous finger acting; the repeated gesture of raising his index finger to emphasise an important point. I will always look out for it now.
Dracula is a vibrant, beautifully constructed movie with intelligent performances and a literate screenplay. The production design is outstanding as is the lush cinematography. The proceedings are further embellished by James Bernard's dramatic score which compliments the tense atmosphere and bouts of horror. It should be noted that what was once considered to be a pushing the boundaries of what was acceptable within the confines of a "X" certificate, now merits a more sedate "12" rating from the BBFC. Certainly Dracula will strike some people as being somewhat tame by today's standards. However if it viewed with an appropriate sense of historical context, Dracula is a fine example of British cinema at its best.
The Curse of Frankenstein (1957)
The 2012 Blu-ray release of Hammer Studio's The Curse of Frankenstein is a visual delight. The use of Eastman colour and the outstanding cinematography by Jack Asher are sumptuous and the new restoration does the film justice. This unique British horror movie introduced a new visceral style and brooding quality to the genre back in 1957. Despite a modest budget the creative production design evokes a truly Gothic horror atmosphere. The studio also introduced graphic violence along with a strong undercurrent of sexuality. These lurid aspects of the film proved particularly successful with the post war audience and became an integral part of the marketing campaign.
The 2012 Blu-ray release of Hammer Studio's The Curse of Frankenstein is a visual delight. The use of Eastman colour and the outstanding cinematography by Jack Asher are sumptuous and the new restoration does the film justice. This unique British horror movie introduced a new visceral style and brooding quality to the genre back in 1957. Despite a modest budget the creative production design evokes a truly Gothic horror atmosphere. The studio also introduced graphic violence along with a strong undercurrent of sexuality. These lurid aspects of the film proved particularly successful with the post war audience and became an integral part of the marketing campaign.
Previous versions of Frankenstein have tended to depict the Baron as misguided and ultimately overwhelmed with the magnitude his endeavours. Peter Cushing’s charming, obsessed and menacing Victor Frankenstein is an unusual and far more interesting exploration of the role. He seduces the maid, betrays his wife and blackmails his best friend Paul Krempe (Richard Urquhart). He is a far from a sympathetic character yet despite all this, Cushing still manages to make the audience pity him at the end. There is also an extraordinary performance from Christopher Lee, as the “monster”. Despite having no dialogue and little character development he still manages to convey an air of despair and confusion.
Some aspects of The Curse of Frankenstein have nominally dated. There is a tendency towards melodrama and the pace is somewhat leisurely but it’s still a potent and morally ambiguous film. It has a dour and morbid tone to it, which is reflected in the way it handles scenes of horror. The removal and disposal of a head in acid, along with the purchase of human eyeballs from morgue are depicted in a somewhat clinical and ghoulish manner rather than sensational. What The Curse of Frankenstein ultimately achieved was establish a clear blue print for future Hammer horror movies. They may well have become more explicit and lurid overtime but they always managed to maintain a degree of class. It was a winning formula that changed the genre permanently.
Them! (1954)
Although the realities of the nuclear age where far from pleasant, for Hollywood it was a source of box office gold. Never mind radiation poisoning, cancer and birth defects; the atomic age was good for business. It meant super powers, mutations and giant big monsters. Such terrors offered a clumsy metaphor for the dangers of atomic energy and a source of terror, thrills and drama on the big screen. Them! was one of the first movies in this idiom and became a blueprint for the genre that followed in its wake. Featuring a colony of out sized ants, that initially terrorise New Mexico but eventually migrate to Los Angeles, Them! leaves a trail of destruction and dead B actors in its wake.
Although the realities of the nuclear age where far from pleasant, for Hollywood it was a source of box office gold. Never mind radiation poisoning, cancer and birth defects; the atomic age was good for business. It meant super powers, mutations and giant big monsters. Such terrors offered a clumsy metaphor for the dangers of atomic energy and a source of terror, thrills and drama on the big screen. Them! was one of the first movies in this idiom and became a blueprint for the genre that followed in its wake. Featuring a colony of out sized ants, that initially terrorise New Mexico but eventually migrate to Los Angeles, Them! leaves a trail of destruction and dead B actors in its wake.
Originally planned to be a 3D release, Them! was shot in 4:3 ratio and not Cinemascope to accommodate the process as well as the special effects. However due to technical and budgetary reasons the 3D process was dropped. The black and white film stock lends a faux documentary quality to the proceedings. The story is fast paced and not excessively complex. Lead performances by the great James Whitmore and James Arness are sincere and engaging. As you would expect the full size animatronic ants are somewhat dated by contemporary standards, yet they have their own unique charm and are shot in a way that gives them character. Their sound effects also add to the ambience.
On watching Them! It’s clear to see the influence the film had on James Cameron when he made Aliens. There are several thematic parallels, such as a traumatised child who has lost their parents and a secret lair where the Queen is laying her eggs. There are also Marines with flamethrowers clearing out the infestation. The more you watch old Hollywood B movies from the fifties, the more you'll find the source material that recent blockbusters have plundered. Sadly they usually only take the simplest of ideas and jettison any associated wit, style and drama.
Them! is still a very entertaining ninety four minutes, as long as you accept it for what it is and are aware of the context of the times. The entire genre of fifties monster movies is very interesting from a sociological point of view. They reflect the public concern over the atom bomb and the lack of understanding about the consequences of its use. They also provide a useful insight insight into how the major film studios where always willing to cater to emerging trends. Science Fiction and Horror where always considered to be second rate genres, yet over the next two decades where to prove two of the most lucrative forms of revenue. They also provided a springboard for a great deal of emerging talent.
Lake Mungo (2008)
Do not be fooled by the marketing and artwork for Lake Mungo. It is not a found footage movie but in fact a faux documentary. If you are looking for cheap scares, loud noises and unpleasant imagery, then you will be disappointed. Lake Mungo is not your standard exploitation fodder. If however you like well constructed movies that create a genuine sense of disquiet, then Lake Mungo is a must see. Once again Australian cinema has managed to produce an innovative and thoughtful entry to a popular sub-genre. The film demonstrates a great understanding of the mechanics of a ghost story and how they should be handled.
Do not be fooled by the marketing and artwork for Lake Mungo. It is not a found footage movie but in fact a faux documentary. If you are looking for cheap scares, loud noises and unpleasant imagery, then you will be disappointed. Lake Mungo is not your standard exploitation fodder. If however you like well constructed movies that create a genuine sense of disquiet, then Lake Mungo is a must see. Once again Australian cinema has managed to produce an innovative and thoughtful entry to a popular sub-genre. The film demonstrates a great understanding of the mechanics of a ghost story and how they should be handled.
The story centres around the Palmer family whose teenage daughter Alice drowned on a family holiday. The movie is shot in the style of a TV documentary, with talking heads, home video footage and recorded phone calls to the emergency services. The performances are very understated and very plausible. The opening scenes quickly establish a very credible depiction of a family coming to terms with loss. Performances by the three leads (Rosie Traynor, David Pledger and Martin Sharpe) are universally good as the Palmers. Shortly after Alice's funeral paranormal activity starts to happen within the house. The Mother is plagued by a recurring dream and the Father sees a manifestation of Alice. Matters are further confused by some photographic evidence that may indicate that Alice is not dead.
All these events are handled in a very understated and measured fashion. As the story progresses and the strain takes its toll on the Palmer family, we are introduced to a medium Ray (Steve Jodrell). Unlike other movies, this is a very sympathetic depiction of the profession and it adds a very different aspect to the narrative. The interview sessions and seances do not necessarily produce the results the viewer expects but like so many elements of Lake Mungo, these subtle sub-plots all have relevance and are tied up as the story progresses. There are several false positive events that occur as the film proceeds (one that particularly reminded me of Ghostwatch) which muddy the waters. This really helps add a credible element of doubt with the audience.
The pivotal plot moment occurs when Alice's Mother discovers her daughter’s secret. It is a terribly sad turn of events and it is purposely ambiguous in some of its details. One of the major themes of Lake Mungo is that of the transition of Alice Palmer; from a happy, outgoing teenage girl to a desperate and burdened soul. As well as the unsettling supernatural atmosphere, there is a great sense of tragedy to the movie. It also plays upon a parents fear of being powerless to help their child. Furthermore, even as the story reaches a point where you think it’s done, there are still several further twists in store. These widen the scope of the events and introduce some bolder ideas.
Lake Mungo is a film about grief, secrets, unfinished business and predestination. It conclusion is satisfactory and very melancholy. Alice Palmer is a very sympathetic character and there seems no justification for what happens to her. Like many things that occur in life, there is a great deal that is not explained. This is not because the writers are trying to be manipulative but because this is just the way of world. Director Joel Anderson maintains a steady pace and does not take liberties with the viewer’s suspension of disbelief. As the credits roll over a montage of photographs there is a further surprise, implying that the false positives we saw earlier were in fact genuine. It is a clever embellishment to end on and a validation of the movies merits.
The Manitou (1978)
After the commercial success of The Exorcist in 1973, the low budget independent horror films of Hammer and American International fell into decline. The major Hollywood studios started financing more expensive genre movies. Twentieth Century Fox scored a box office hit with The Omen in 1976 proving once again that the supernatural was financially viable. Subsequently several independent film financiers realized that they would have to invest in bigger budget projects if they wished to compete. William Girdler’s 1978 adaptation of the bestselling horror novel, The Manitou, was one such example of this.
After the commercial success of The Exorcist in 1973, the low budget independent horror films of Hammer and American International fell into decline. The major Hollywood studios started financing more expensive genre movies. Twentieth Century Fox scored a box office hit with The Omen in 1976 proving once again that the supernatural was financially viable. Subsequently several independent film financiers realized that they would have to invest in bigger budget projects if they wished to compete. William Girdler’s 1978 adaptation of the bestselling horror novel, The Manitou, was one such example of this.
The Manitou by Graham Masterton is an eminently enjoyable piece of pulp horror fiction despite its outrageous premise. However adapting such a book for the big screen can test an audience’s suspension of disbelief. It would appear that critics and cinema goers alike struggled with the plot of The Manitou upon its release. The story is about a 400 year old re-incarnated Indian Medicine Man called Misquamacus, who is growing in a tumour on a woman’s back. Her ex-boyfriend, a fake medium, turns to a contemporary Indian Medicine Man for help. The use of x-rays by the hospital staff cause birth defects in Misquamacus, resulting in him being born deformed.
Despite the bizarre nature of the plot, the production managed to assemble an impressive cast. Tony Curtis plays the lead role of Harry Erskine, with Michael Ansara as John Singing Rock and Susan Strasberg as Karen Tanday. There is a cameo appearance by Burgess Meredith as the anthropologist and Native American History expert Dr. Snow. The screenplay by director William Girdler and cast member John Cedar is a fairly good adaptation of the source novel, remaining true to the overall plot. The first act of the movie features some pleasant location work set in San Francisco. However once the story moves to the hospital where surgeons attempt to remove Karen Tandy’s tumour, the film becomes an entirely studio bound production for the remainder of its duration.
The Manitou is very much a movie of its time, with an extremely seventies production design. Flared trousers and shirts with unfeasibly large collars abound. The plot explores the clash between modern technology and ancient supernatural forces. As a result a great deal of the hardware on display, such as the hospital computer system and surgical laser are now somewhat archaic. The soundtrack by the ubiquitous Lalo Schifrin is steeped in the musical style of the time. The infamous birth scene created by the Burman studios is suitably ghoulish. Felix Silla best known as Twikki in Buck Rogers and Joe Gieb both play Misquamacus at various points during the film. Sadly some of the optical effects at the movies climax are a little lacklustre.
The Manitou despite its clumsy racial politics is never genuinely disrespectful of Native American culture and the central characters although verging on caricature, are still likeable. If you can look beyond the far-fetched nature of the initial premise there is an entertaining movie to be found. Sadly The Manitou was met with a lukewarm reception from both critics and the public upon its release and failed to live up to box office expectations. The proposed sequel based upon Graham Masterton’s second novel was subsequently abandoned during pre-production.
Lifeforce (1985)
It’s funny how the very name of certain films will get a noticeable response. Especially when talking to fans of genre movies and connoisseurs of the obscure and cult. If you mention Lifeforce to a film buffs of a certain age you’ll more than likely get one of following three reactions.
• Oh that’s the one where that woman wanders around naked all the time.
• Didn't that star Peter Firth? (Usually said with a degree of incredulity)
• That was one seriously fucked up movie.
It’s funny how the very name of certain films will get a noticeable response. Especially when talking to fans of genre movies and connoisseurs of the obscure and cult. If you mention Lifeforce to a film buffs of a certain age you’ll more than likely get one of following three reactions.
• Oh that’s the one where that woman wanders around naked all the time.
• Didn't that star Peter Firth? (Usually said with a degree of incredulity)
• That was one seriously fucked up movie.
Now all of these are true and totally justified. Remember that we are talking about a film featuring a naked female space vampire who’s found on a spaceship in Halley’s Comet, brought back to earth where she zombiefies half the population of London and confounds Shakespearean actors and an ex Double Decker (click here for clarification).
Before we proceed, let us quickly reflect upon the history of this cinematic oddity. Lifeforce was the last of a three picture deal between Canon Films and celebrated director Tobe Hooper. The other two films were a remake of Invaders from Mars and The Texas Chainsaw Massacre 2. Canon films had become big on the back of a string of cheap action films made in the early eighties and where now looking to hit the big league. Lifeforce was supposed to cater to the public’s appetite for both sc-fi and horror which were extremely marketable genres at the time.
The movie was originally filmed and promoted under the title The Space Vampires, based upon Colin Wilson’s novel. Cannon Film spent over $25 million on the production intending to create an international blockbuster. In an attempt to distance themselves from their own low budget past, the film’s title was changed to Lifeforce to try and avoid any exploitation connotations. However what was originally envisaged as sci-fi horror filled with American and European stars ended up as a curious over blown B movie with a distinctly British cast and flavour.
On paper the basic premise for Lifeforce was sound. Tobe Hooper was (and still is) a director with a reputation and the market was ripe for a blockbuster of this kind. Remember that Aliens came out the following year and was a massive commercial success. However Lifeforce was not destined to be a comparable movie. The production was extremely problematic. There were financial issues, continuous revisions to the screenplay, casting changes, further re-writes, arguments between the producers and the director, arguments between the producers and the effects team, arguments between the producers and the cast. Finally it ended with arguments between producer and producer.
After much blood, sweat and tears Tobe Hooper produced an initial cut of the film clocking in at 128 minutes. This was then trimmed down to 116 minutes, removing much of the early material set on-board the space shuttle. Due to poor test screenings the US version was further reduced to 101 minutes. This turned an already confused film into an incoherent mess. These factors along with the lack of any US actors of note (apologies to Steve Railsback) doomed the film. The critics turned on it with relish, the film tanked and Canon films moved a step closer to bankruptcy.
Let us take a few moments to reflect upon some flaws that can be found in Lifeforce. Remember that this movie was originally conceived to be a big budget, star driven, cinematic blockbuster. Consider the following:
• Since when have Frank Finlay, Peter Firth and Michael Gothard been A list box office stars?
• Why do the security guards try to apprehend the naked female space vampire by offering her a half-eaten biscuit?
• Why did the costume department think that SAS officers wear roll neck sweaters and flasher macs?
• Who thought casting Nicholas Ball was a good idea?
• Who the fuck wrote this dialogue?
• Exactly how big did the production designers think the space shuttle was?
• If a corpse sits up as you are about to carry out an autopsy, wouldn’t it be prudent to make like Scooby Doo?
• Why do the UK military have Bloodhound anti-aircraft missiles deployed on Blackheath, when they are supposed to be fighting a communicable contagion?
• Why does Mathilda May spend the whole film naked. Really, why? I mean I dig naked women (usual caveats and small print applicable) but this really has no relevance.
• Why is Halley’s Comet green?
Lifeforce has to be seen to be believed. The dialogue is appalling and yet the film is littered with British character actors of good standing. The effects work, particularly Nick Maley’s animatronics are superb. Henry Mancini’s score is also very effective and is wasted on such drivel. Yet this utter train wreck of a film still exudes a morbid fascination and can be compelling viewing. Furthermore you can see brief references and flashes of inspiration derived from wider genre works. The ending in particular has an uncanny similarity to Nigel Kneale’s Quatermass and the Pit. Yet Lifeforce ultimately fails because the producers, Menahem Golan Yoram Globus simply had no idea how to handle such material and a production of this size.
Once you have seen Lifeforce, you will begin to understand the reactions I listed at the start of this post. It's a film that stays with you for a long time after viewing. You may frequently find yourself musing on it and ending your thought process with the phrase “what the fuck?” Finally I’ll leave you with some dialogue from the film. It may entice you into watching it. I regularly do so, although I’m not entirely sure why.
Colonel Tom Carlsen: She’s resisting. I’m going to have to force her to tell me. Despite appearances, this women is a masochist. An extreme masochist. She wants me to force the name out of her. She wants me to hurt her. I can see the images in her mind. You want to stay? Otherwise wait outside!
Colonel Colin Caine: Not at all. I’m a natural voyeur.
NB The DVD and Blu-ray versions of Lifeforce currently available in the US and Europe, feature the 116 minute international print as well as the shorter theatrical release.
Zombi 2 (1979)
If you are a fan of horror movies then sooner or later Lucio Fulci’s Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh-Eaters and Woodoo) will appear on your radar. For good or ill, this movie looms large within the genre and has a mixed reputation. Even by current cinematic standards, this movie is a gore-fest and it still has the ability to make viewers squirm. It is a curious phenomenon that a relatively low budget and obscure Italian cash-in on George Romero’s Dawn of the Dead, has managed to achieve such an infamous, iconic and cult status.
If you are a fan of horror movies then sooner or later Lucio Fulci’s Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh-Eaters and Woodoo) will appear on your radar. For good or ill, this movie looms large within the genre and has a mixed reputation. Even by current cinematic standards, this movie is a gore-fest and it still has the ability to make viewers squirm. It is a curious phenomenon that a relatively low budget and obscure Italian cash-in on George Romero’s Dawn of the Dead, has managed to achieve such an infamous, iconic and cult status.
The film was released by Blue Underground on Blu-ray on 25 October 2011 with a 2K transfer. An alternative Blu-ray edition was released by UK distributors Arrow Films with a brand new high definition restoration of the original negative, recently. Both versions come with a wealth of interesting extras and documentaries about the movies production and chequered history. It’s rather ironic that a movie that at one time was labelled a “video nasty” in the UK and banned, is now subject to such a conscientious high definition transfer and scholarly analysis.
The relative merits of Zombi 2 ultimately come down to personal taste. I know fellow horror fans who hate the movie with a passion. It was rather interesting that Mark Gatiss’ recent Horror Europa documentary chose to not dwell on this or any of the director’s other movies. Personable I like the film although I do not consider it to be a cinematic masterpiece. Yet despite its obvious exploitation roots, Zombi 2 does have moments of creativity. The underwater zombie and its subsequent shark attack are truly surreal. The infamous splinter in the eye scene still shocks and it’s actually quite suspenseful. The film soundtrack by Fabio Frizzi and Georgio Cascio is very evocative and suits the movies ambience perfectly.
I have not yet seen the new UK restoration of the movie but I have seen the Blue Underground release. Zombi 2 has never looked so good and the lush tropical locations and mud caked, blood soaked, decaying corpses are extremely vivid. The high definition image does show some of the shortcomings of Gianetto De Rossi’ make up effects but considering the budgetary constraints and the environment the movie was shot in, he and his team worked miracles. To review this film in a formal fashion really is somewhat redundant. It has survived over thirty years of censorship, hyperbole and controversy and has proven to be indifferent to both criticism and praise. My advice is not to just see it but to “experience” it and then make your own mind up accordingly.