Ghost Stories (2017)
Adapting a stage play into a feature film can be a difficult task. If done poorly you’re left with a movie that feels stilted and confined due to its theatrically designed narrative. However, that is not the case with Ghost Stories, whose portmanteau format is inherently cinematic to begin with and has more than a whiff about it of the Amicus compendium horror movie from the seventies. Furthermore, the film adaptation provides even greater scope for genre references and homages to other classic supernatural movies. Director of photography Ole Bratt Birkeland creatively expands and embellishes the central story against a wider visual canvas. The shocks and scares are lovingly contrived, skilfully executed and genuinely unsettling. The film also maintains a very foreboding tone.
The Borderlands (2013)
I audibly groaned when I discovered that The Borderlands was a found footage movie, as this is a genre that really has been flogged to death of late. However, I subsequently found out that the movie had seen the involvement of writer James Moran, albeit in a non-credited capacity, which piqued my interest. A subsequent positive review by UK critic Mark Kermode led me to seek out a copy of the film and I must concur with his sentiments. Low budgets often produce binary results when it comes to movies. They can either be derivative, formulaic and safe or they can revisit an established idea but do so with innovation and flair. The Borderlands strives to do something more with the confines of the genre and is a little more than the some of its parts.
Don't Be Afraid of the Dark (2010)
Don’t Be Afraid of the Dark is a remake of the cult television movie from 1973. Directed by comic artist Troy Nixie and written by Guillermo del Toro, this new version is an old school supernatural horror film, with an emphasis on scares rather than shocks and gore. That’s not to say that it doesn’t have its ghoulish moments and it is plain to see why this film didn’t secure the PG-13 rating it initially sought. What is unusual about Don’t Be Afraid of the Dark, is its traditional approach to its subject matter. It is a far cry from the found footage horror movies such as Paranormal Activity that were dominating the box office at the time. In many ways it’s a homage to the halcyon days of studios-based horror from the likes of Amicus, Hammer and American International Pictures. The initial theatrical release of Don’t Be Afraid of the Dark was delayed due to the sale of Miramax pictures in 2010, and the film did not secure a US and UK distribution deals until late 2011. Despite the having Guillermo del Toro associated with the production, the movie didn’t gain the traction it deserved.
Insidious: The Last Key (2018)
Insidious: The Last Key is the fourth instalment of the franchise, but it’s actually the sequel to a prequel. If you wish to watch these movies in chronological order order then 3, 4, 1, 2 is the correct sequence. However, it is not essential to be au fait with the lore of the series to follow the plot of Insidious: The Last Key, although there are a few in-jokes for fans. The film begins with a prologue that gives us the backstory of Elise (Lin Shaye), our psychic who protagonist. Her childhood is far from happy as she lives next to the state prison where her abusive father is the executioner on death row. Young Elise and her brother encounter several paranormal incidents, the last leaving Elise possessed. Her mother Audrey rescues her but dies in the process. The film then moves on to 2010, where Elise gets a call from a scared man currently living in her old house. Despite reservations, she agrees to meet him and confront the supernatural forces behind the haunting. Her two assistants, Tucker (Angus Sampson) and Specs (Leigh Whannell), accompany her and encounter a growing series of well executed but somewhat formulaic set-pieces.
Black Sheep (2006)
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
Feast (2005)
Feast is a low budget horror movie in which a remote redneck bar in Nevada, comes under siege from a group of carnivorous desert dwelling beasts. It’s hardly an original story but as always, the devil is in the detail. Where Feast differs from other similar films is that it offers you all the stereotypical characters and tropes that you expect to find in such a genre movie and then goes in completely in the opposite direction. The film is competently directed by John Gulager in a very contemporary style, with fast edits, deliberately obtuse protagonists and a liberal dose of gallows humour. Once the premise has been set, Feast does not waste a moment of its ninety-minute running time.
Insidious: Chapter 3 (2015)
Although I enjoyed Insidious: Chapter 2 it was somewhat constrained by the events of the first movie. It did it best to creatively extricate itself from the corner its predecessor had painted itself in to, but it didn’t really leave much scope for a direct sequel. Hence the producers wisely elected to follow the movie up with a prequel that explored an earlier case that crossed the path of psychic Elise Rainier (Lin Shaye). This change in direction proved surprisingly beneficial for the franchise providing an opportunity to meet new characters and a new antagonist. Despite being the third entry in the series, Insidious: Chapter 3 maintains the standard set by chapters one and two and proved to be a hit at the box office and with fans alike.
The Mists (2007)
Frank Darabont achieved both critical acclaim and mass appeal with his adaptations of The Shawshank Redemption and The Green Mile. In 2007 he returned once again to the work of Stephen King with his film version of The Mist. It’s a sideways step away from human drama into a more genre piece, yet it still retains a very traditional story at its heart. Once you look beyond the superficial elements of "creature feature" plot, you get yet another well written character study by an ensemble cast, again focusing on how the human condition deals with extreme situations. The particular route it takes and some of the themes it explores may not be to everyone's taste. However, it still focuses on characters and performances. It is also a movie that ends with a somewhat unexpected plot development, that some viewers may find a little extreme. It is one of those film related twists that if known in advance, greatly diminishes once enjoyment of the film.
Season of the Witch (2011)
After years of war, two 14th century Crusaders (Nicholas Cage and Ron Perlman) returns to a homeland devastated by the Black Plague. The church, deeming sorcery to be the source of the outbreak, tasks the knights to transport an accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence. A priest, a grieving knight, a disgraced trader and an altar boy who dreams of becoming a knight, join the mission across a hostile wilderness. The group soon finds itself at odds with each other over the fate of the girl. When the embattled party finally arrives at the abbey, a horrific discovery jeopardises the knight's pledge to ensure the girl fair treatment, pitting them against an inexplicably powerful and destructive force. Will good or evil triumph?
The Purge: Anarchy (2014)
The Purge: Anarchy is an example of the curious and rare cinematic beast, a sequel that is superior to its predecessor. This time round the movie makes a greater effort to explore the themes associated around its premise and takes to the streets to show the impact of the purge upon the working class. It’s a far more political movie and all the better for it. You can’t have a story about a national event designed to implement social engineering in the most visceral of manners and try and keep it free from social commentary. Furthermore, The Purge: Anarchy features a far more agreeable and accessible group of protagonists this time round, creating a far more plausible sense of trepidation for audiences. The film is also more violent than the first instalment given the scope of its narrative.
Ouija (2014)
It boggles my mind that the American multinational toy and board game company Hasbro, currently holds the copyright and patent to a device that is essentially designed to communicate with the dead. How a tool of spiritualism became a commercial toy that was then marketed to a strongly Christian nation is a blog post in itself. However, this post is about the 2014 horror feature film based upon the Hasbro game. Hasbro like many leisure companies, has in recent years looked at ways to expand its business portfolio. Subsequently, in 2009 it set up a film division and licensed TV shows and movies based upon its toy and game back catalogue. Like their traditional products, these forays into film and television have proven lucrative. If you haven’t noticed, we’re already up to our fifth Transformers movie, with several more in pre-production.
Insidious: Chapter 2 (2013)
James Wan is a clever film maker who knows and fully understands the mechanics of his trade. Perhaps a little too well, because therein lies the problem with Insidious: Chapter 2. It is a succession of well-crafted set pieces that seamlessly follows on from the previous movie. Yet it is a little too enamoured with its own cleverness. I found myself frequently praising the director after a well-constructed shock, instead of revelling in the unease a horror movie is supposed to create. A great deal of scares and jumps are due to the clever sound design, superb editing and the creepy score by by Joseph Bishara, who previously collaborated with director James Wan on the first movie as well as The Conjuring. Fortunately, the film still provides viewers with a family that are likeable and an ensemble cast that help lift the story beyond its somewhat formulaic limitations. As I've mentioned before, Wan has an eye for depicting families.
Insidious (2010)
Shortly after moving to a new house, parents Josh (Patrick Wilson) and Renée Lambert (Rose Byrne) life is shattered when their eldest son Dalton (Ty Simpkins) slips into a coma. Doctors are unable to explain their son’s medical condition and the family subsequently assailed by a series of supernatural happenings. Eventually, Josh’s Mother Lorraine (Barbara Hershey) invites paranormal investigator, Elise Rainer (Lin Shaye) and her team, to help the family. Her investigations soon determine that Dalton has the gift astral projection and has become trapped in “the further” by a demonic force. Lorraine reveals that Josh had a similar when he was a young, that he has subsequently forgotten about because it endangered his life. Can he revive his gift, enter "the further" and rescue Dalton before he his lost forever?
Imagining the Worst
I was technically not old enough to see Outland when it was released in the UK in 1981. The film was rated AA, a now defunct certificate, which required the viewer to be 14 years or older and I was 13. I have strong memories of feeling quite tense going into the cinema. My expectations were based purely on what I had read in the press and from seeing the trailer just once, a few weeks prior. That is how it was before the internet age. You had less advance knowledge of a movie. Furthermore, at this point in time I had not become so inured to cinematic violence, as my viewing habits back then were very much dictated by my parents and the fact that there were only two televisions in our home. Although we had a VCR, we hadn’t yet got bitten by the renting bug. So, I went into the movie theatre expecting to be shocked by Outland based on the movies marketing which promised a head explosion. However, it turned out to be a thoroughly entertaining space western. Yet I vividly remember my sense of relief that its hadn’t been as shocking as I had imagined it would.
The Pact (2012)
The Pact is an enjoyable, yet simultaneously frustrating small budget independent horror movie. The UK poster is a prime example of this, as it clearly indicates that the film is of the horror genre but contains imagery that is not seen in the movie at all. The very title itself doesn't really have any bearing on the story. However, there are still aspects of the film that are noteworthy and overall The Pact shows more promise than a lot of the competition. The story is a traditional favourite of the horror genre. Annie (Caity Lotz) returns to her mother home to attend her funeral. On arrival, she finds that her sister has gone missing and that all is not as it seems at the family home. Family secrets and supernatural goings on slowly emerge.
The Purge (2013)
Despite having a very interesting premise, The Purge squanders its potential early on in the proceedings, leaving viewers with a rather turgid and formulaic home invasion movie. Written and directed by James DeMonaco, the film touches upon many themes and ideas that could have been developed into a more cerebral and thrilling experience. Sadly, The Purge quickly loses the audience as the main characters makes illogical decisions and test viewers “suspension of disbelief”. Rather than exploring the social and moral implications of its core idea, the production opts for clichéd jumps scares and a smattering of violence. The Purge is ultimately more of a frustrating movie than a bad one, which is all the more annoying.
The Woman in Black (2012)
James Watkins’ 2012 adaptation of The Woman in Black is quite a radical adaptation of Susan Hill’s story, yet it still manages to remain true to its central themes. Jane Goldman of Kick-Ass, X-Men: First Class fame, has crafted a screenplay which is both innovative yet strangely traditional. She boldly revises the central character from contented husband to desolate widower; a move that adds a very bleak under current to the story. The more ghoulish elements of the narrative have been greatly enhanced and the film works the best when the eponymous character makes an appearance via jump scares. Despite a modest budget of $15 million, The Woman in Black went to make over $127,730,736 worldwide making it the most financially successful British horror film in 20 years.
Dark Skies (2013)
Consider the Bourbon biscuit. It comprises of two dark chocolate biscuits sandwiching a chocolate fondant. It is a straight forward recipe made from standard elements. Yet multiple companies manufacture the Bourbon biscuit and they're all slightly different in texture and taste due to minor variations in the base ingredients. You can make the same point about baked beans. Dark Skies is the cinematic equivalent of these products. It is competently made, offers what you know and expect in a slightly different fashion. That doesn't sound such a bad thing, does it? Well let me put it another way. It's generic and predictable.
Sinister (2012)
Scott Derrickson’s Sinister is a curious blending of genres and classic plot devices. It certainly has some interesting ideas at the centre of its plot. Ethan Hawke plays a true-crime writer Ellison Oswalt, looking for his next big story and desperate to find fame again. After discovering a box full of Super 8 home movies in the attic of his new house, matters start to take a turn for the worst. The films appear to depict the real murders of several families and investigations lead to a series of strange unsolved crime and the possible involvement of supernatural forces. Could a pagan deity known as Bughuul, who allegedly preys upon the souls of children, be responsible? Is Oswalt’s own family in danger? Do bears conduct their personal business in deciduous forests?
The Raven (2012)
The Raven is a high concept movie in which author Edgar Allan Poe discovers that a serial killer is copying his literary work. It mixes a traditional Gothic sense of style with postmodern depictions of violence and has a quirky, erudite and fun screenplay. The film has a strong streak of gallows humour running through it and a solid cast. It is however an unbalanced production that never quite hits its stride, despite its fast pace. Like director James McTeigue's earlier film V for Vendetta I suspect that The Raven may be another slow burner, finding its audience over time rather than initially.