Holocaust 2000 (1977)
The commercial and critical success of The Exorcist upon its release in late 1973 led to an increase in major studios investing in big budget, star driven horror films. The Omen (1976) further established this horror renaissance, which moved away from the traditional gothic horror of Hammer Studios and Roger Corman’s AIP releases. Horror was now about evil and biblical predictions manifesting in the modern world. As ever, with any successful film or genre, there are those subsequent productions that seek to imitate and cash-in. Holocaust 2000 is such a film. A British-Italian co-production, it features Kirk Douglas (who does much of the film’s heavy lifting), several well known British character actors and some notably violent set pieces. It takes the fashionable theological threat of the Antichrist and also adds an interesting nuclear angle, where a fusion plant built to solve the energy crisis could prove to be a harbinger of doom.
Amityville 3-D (1983)
The Amityville Horror (1979) performed extremely well commercially upon release. Hence a prequel, Amityville II: The Possession (1982), was made three years later to capitalise on that box office success. Both films are allegedly based upon real events. The first film depicts the haunting of the Amityville house and the events that befell the Lutz family that moved in. The second explores the original DeFeo murders which took place earlier, although here the family is renamed Montelli. A third film, Amityville 3-D, was released in 1983 and is a curious sequel. Unlike previous instalments, it was an original story and did not attempt to mine the wealth of books associated with the Amityville case. It also jumped on the 3-D revival bandwagon that was popular at the time with such films as Friday 13th Part III and Jaws 3-D. It is a very workmanlike production, directed by Richard Fleischer.
Needful Things: Extended TV Cut (1993)
Fraser C. Heston’s 1993 adaptation of Stephen King’s Needful Things did not fare well upon release. Despite having a robust cast of character actors and good production values, it was neither a critical nor commercial success. In more recent years there has been a growing critical reassessment of the film and its lack of success has mainly been attributed to audience fatigue. The eighties and nineties saw a wealth of King adaptations on both the big and small screen. It is also worth noting that condensing the sprawling and character filled books of Stephen King is an incredibly difficult thing to achieve within the parameters of a two hour movie. Which is why the TV miniseries has often proved a more successful format. Which brings me to the extended version of Needful Things that was prepared for television shortly after its theatrical release.
Dead Heat (1988)
Throughout the eighties, two of the most commercially successful genres in Hollywood were buddy cop movies and horror films. Therefore it was inevitable that someone, somewhere would eventually combine them. Dead Heat is a comedy action movie with both horror and science fiction elements. If you think such an eclectic blend of themes is a little incongruous, then watching the movie will validate your assumption. All things considered, Dead Heat is a bit of a mess. However, despite its faults, of which there are several, it remains quite an enjoyable film. A textbook example of the over the top eighties action movie, utterly removed from established police procedures and indeed reality. It is also one of two feature films directed by renowned film editor, Mark Goldblatt, whose credits include Rambo: First Blood Part II, RoboCop and Terminator 2: Judgment Day.
Nightmares (1983)
Due to the commercial success of George A. Romero’s Creepshow in 1982 and the Twilight Zone: The Movie in 1983, there was a resurgence of anthology horror films in the eighties and nineties. Nightmares is one of many “portmanteau movies” that followed and is neither the worst, or the best that the genre has to offer. Originally conceived as a pilot for a NBC TV show, the completed film was deemed too “intense” for television and eventually released theatrically with an “R” rating. Judged by today’s standards, it is not especially violent and the strongest content is in the first chapter of the four part story. Written by Jeffrey Bloom and Christopher Crowe, both of whom have a background in popular seventies television, Nightmares has the look and feel of a TV production.
Crawl (2019)
It is no secret that the film industry relies on a handful of common tropes as the mainstay of their cinematic output. It uses timeless themes, storylines and archetypes that have featured in folk tales, plays and literature throughout history. Hence their familiarity with audiences around the world. Where the skill in filmmaking lies is to take a common, well known idea and interpret it in a new and innovative fashion. Akira Kurosawa took Shakespeare’s MacBeth and retold the tale through the prism of Japanese feudalistic culture. The result, Throne of Blood, is considered a masterpiece. Similarly, The Lion King retells the same story through the medium of animation and anthropomorphic wildlife. All of which proves that the key to successfully retelling a familiar tale is to be creative with regard to setting, presentation and perspective.
Speak No Evil (2022)
The plot of Speak No Evil is an exploration of what can happen when someone driven by a cultural urge to be polite and avoid any form of confrontation, encounters a psychopath who exploits their very nature. Speak No Evil is a very European psychological horror and I stress that point because this film will not necessarily play well to audiences who are not so familiar with such institutionalised deference or passivity. Danish writer and director Christian Tafdrup skilfully and slowly builds the tension, but the plot contrivances of the final act do somewhat mitigate its credibility. Hence realism gives way purely to threat and suspense. If you’re the sort of viewer who can countenance that different cultures, age groups and political leanings can dramatically impact upon one’s behaviour, then you may well get through Speak No Evil. If you struggle to come to terms with the poor decisions made in an episode of Scooby Doo then Speak No Evil will leave you screaming at your TV.
Tales of Terror (1962)
Directed by Roger Corman, Tales of Terror is an anthology horror film based upon three short stories by Edgar Allan Poe. “Morella”, “The Black Cat” and “The Facts in the Case of M. Valdemar”. Adapted by Richard Matheson, the screenplay offers a ghoulish tale of revenge, a humorous story of a drunk who murders his wife and her lover and a sinister story of a mesmerist who hypnotises a terminally ill man at the point of death. Deftly produced and looking far more sumptuous than you’d expect from such a modest budget film, Tales of Terror benefits from a strong cast of old school, Hollywood character actors. The anthology format affords each story a fairly prompt and ghoulish climax and as ever with the films of Roger Corman from this period, visual creativity and innovation elevate the proceedings above the standard exploitation fare of the time.
Scream and Scream Again (1970)
I first saw Scream and Scream Again as a teenager while watching late night television. I was expecting the usual sort of lurid, seventies, exploitation horror and much to my surprise was met with something quite different. The film left a marked impression upon me and so I decided to re-watch it recently. This second viewing only further compounded my sense of surprise. Scream and Scream Again was clearly marketed as a horror film upon release but it strays more into the science fiction genre. I was reminded of Don Siegel’s Invasion of the Body Snatchers and there is a further hint of conspiracy thrillers such as The Parallax View. Although a low budget film, quickly made to meet production schedule and fill a gap in the market, Scream and Scream Again has an intriguing premise and is presented in an engaging format, with three seemingly separate stories coming together to form a rather sinister conclusion. There are more ideas here than you’ll find in many big budget contemporary movies.
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.
Resident Evil: Welcome to Raccoon City (2021)
I have seen 2 of the 6 films in the Resident Evil cinematic franchise. Beyond the actor Colin Salmon getting diced into cubes by some laser grid, I cannot recollect anything specific about those movies. That is how much of an impression they made upon me. My interest in the first film came from George A. Romero’s initial association with the production. However, when he left the project my attention waned. I eventually saw Resident Evil (2002) when it was released to the home media market and that was the end of the matter. It was an adequate, quick fix of entertainment and nothing more. As I had no major association with the video game franchise beyond playing Resident Evil: Code Veronica on the Dreamcast, I subsequently didn’t keep up with the subsequent movie beyond the first sequel. However, the franchise went on to gross $1.25 billion at the box office over the next 14 years.
Halloween Kills (2021)
Director and co-writer David Gordon Green scored a major hit with his direct sequel to John Carpenter’s 1978 masterpiece, Halloween. He managed to bring a fresh perspective and modern sensibilities to the slasher genre and furthermore gave us a very entertaining and tense horror film. It was a superb bookend to the original film and the only real criticism that could be levelled at it was the confusing decision to call it Halloween, just like the original, rather than something that clearly indicated that it was a sequel. Irrespective of this the film fared very well both with critics and audiences, becoming a box office hit. However, financial success all too often begets further demand. Hence a film that was originally intended to be a standalone and definitive sequel, suddenly morphed into the first instalment of a new trilogy. Halloween Kills is the second instalment of this new story arc and compared to its predecessor it is far less coherent and relevant.
Bloodbath at the House of Death (1984)
During the early eighties Kenny Everett was one of the most popular comedians on UK television. His mix of “zany” characters, slapstick and innuendo filled the gap between traditional comedians and their sketch show format and the anarchy of the new alternative comedy scene. Therefore his foray into feature films in 1984 was a logical progression of his growing success. Bloodbath at the House of Death was conceived as a satire on the Hammer Horror genre, although the script by Barry Cryer and Ray Cameron touched upon everything from An American Werewolf in London, Alien, The Amityville Horror, The Legend of Hell House and The Entity. Featuring a solid cast of British character actors and a cameo appearance by the great Vincent Price, on paper the film had all the trappings of a potential box office success. Sadly, it failed to meet expectations and was savaged by the UK press who used it as a means to attack Kenny Everett for his perceived transgressions.
Night of the Animated Dead (2021)
George A. Romero’s Night of the Living Dead is a true genre milestone that is praised not only by horror film fans but mainstream critics alike. If you are interested in watching an intelligent, well researched and entertaining documentary about the film’s provenance and cultural impact then I thoroughly recommend Birth of the Living Dead (2013) by Rob Kuhn. It tells you pretty much all you need to know about why this classic film is so important. As for Night of the Living Dead itself, it still holds up well after 53 years. It is the immediacy and relatability of the premise and overall story that still makes the film relevant. The zombies are purely a “MacGuffin” and the real focus of the plot is how people behave under pressure in life threatening situations. It’s a film about how we can react to the same situation differently and how cultural baggage and the need for people to be “right”, hinders co-operation and thwarts progress.
The Legend of Hell House (1973)
There is a school of thought that the key to crafting a good horror or supernatural film lies with creating an atmosphere that impacts upon the viewer’s mind and emotions, rather than relying solely upon visual effects, gore and spectacle. Director Robert Wise clearly demonstrated this in his 1963 film The Haunting, based upon Shirley Jackson’s book The Haunting of Hill House. In many ways the film is seen as vindicating this particular theory. The Legend Of Hell House, made a decade later, is another example of this approach to genre film making. Directed by John Hough and written by Twilight Zone veteran and cult author Richard Matheson, it is another meticulously crafted piece of cinema with a focus on increasing tension and a sense of disquiet. Rather than intermittently scalding the viewer with jump scares, the film’s atmosphere is more akin to placing the audience in water and slowly bringing them to a boil.
Army of the Dead (2021)
One of the biggest issues associated with modern film production is creative interference by the studios financing them. Despite employing known writers and directors who have an established track record and creative style, all too often control is taken from these individuals and changes are imposed upon the production, usually to the detriment of the overall film. Hence, you can understand why more and more filmmakers are taking their work to Netflix and similar platforms. Streaming services are apparently far more accommodating and understanding. Martin Scorsese himself made his last film The Irishman, for Netflix. However, such creative freedom can be a double edged sword. Some directors need to be tempered, the same way that some writers need a good editor. There is often a fine line between creative freedom and self indulgence.
Flight of the Living Dead (2007)
Sometimes just the name of a film is sufficient to sell it to you. I originally discovered this zombie crossover movie thanks to film critic Mark Kermode's video blog from the 2008 Cannes Film Festival. He reported on how the film festival was also a major marketplace for independent movie makers trying to find international distribution for their products. Flight of the Living Dead was one of the lurid flyers he was given. Writer and director Scott Thomas claimed at the time that despite the obvious plot similarities with Snakes on a Plane, his film was not intended to be a quick cash-in on Samuel L. Jackson’s sleeper hit from 2006. The basic concept and the pre-production phase of Flight of the Living Dead supposedly pre-dates the aforementioned exploitation movie. Considering how long it can take for a small independently funded movie to find a distributor this may well be true.
Harry Price: Ghost Hunter (2015)
I was somewhat perplexed by this curious, one off, TV drama from 2015. Firstly, this is not a biography of the well known and controversial British psychic researcher. Secondly, despite being based upon a novel by Neil Spring, Harry Price: Ghost Hunter doesn’t follow the source text. Instead we are offered an original story in which Harry Price is requested to investigate a series of alleged supernatural events, surrounding a politician’s wife. If judged purely upon its own merits this is quite an enjoyable ninety minutes drama. The production benefits from strong performances, subtle period detail and a story that doesn’t overreach itself. I suspect that Harry Price: Ghost Hunter was intended to be a pilot for a TV series that was never commissioned, which is a shame. There’s a lot of potential in the material and the period setting is ideal for exploring the supernatural, as there was a surge of public interest in spiritualism in the wake of World War I.
His House (2020)
If you are labouring under the erroneous assumption that the horror films are apolitical and devoid of wider social commentary, then I suggest you go and watch Dawn of the Dead, Get Out or Pan’s Labyrinth. The horror genre has for many years been addressing social issues and cultural foibles. So the timely arrival of His House comes as no major surprise. Immigration has become more than a point of debate in recent years, having been usurped and subverted by tabloid hyperbole and populist rhetoric. However, this horror thriller film written and directed by Remi Weekes indulges in none of the negative traits associated with the subject. It intelligently weaves social themes into an atmospheric and disquieting genre tale. Although in many ways the ground that His House treads is classic ghost story territory, it is both the perspective of Sudanese culture and the trauma of their migrant journey that make this such a fresh and engaging film.
As Above, So Below (2014)
The found footage genre is predicated on the concept that the material the audience watches is supposed to be filmed from real life. This therefore presents a challenge for actors as their performances have to appear like everyday social interactions. Most people are not great orators with extensive vocabularies, in real life. Watch any wedding video or vox pop on a news broadcast and you’ll quickly become aware of the gulf between how people express themselves in reality and the stylised, contrived manner in which actors deliver dialogue. Hence, during the first act of As Above, So Below I became aware that the cast were “acting”. They were using dramatic techniques commonly used in conventional film but which stands out far more in this genre. This changed as the film progressed and the story became more deliberately chaotic. But it was noticeable during the initial set up to the story. It’s not something I’ve noticed before with other found footage movies. But in many ways, As Above, So Below is quite different compared to other genre examples