Ghost Story (1981)
Ghost Story is a deliberately superficial adaptation of the novel by Peter Straub. If you’ve read the book and are expecting a verbatim retelling of the plot, then you will be disappointed. It’s complex narrative structure and the abundance of characters do not immediately lend themselves to mainstream film making. However, if you like tales of the supernatural and solid performances from Hollywood legends, then this may well be for you. John Irvin has always been a workman like director and has therefore often been overlooked. Films such as Hamburger Hill and When Trumpets Fade show a great deal of focus and a clear understanding of the mechanics of cinema.
Ghost Story is a deliberately superficial adaptation of the novel by Peter Straub. If you’ve read the book and are expecting a verbatim retelling of the plot, then you will be disappointed. It’s complex narrative structure and the abundance of characters do not immediately lend themselves to mainstream film making. However, if you like tales of the supernatural and solid performances from Hollywood legends, then this may well be for you. John Irvin has always been a workman like director and has therefore often been overlooked. Films such as Hamburger Hill and When Trumpets Fade show a great deal of focus and a clear understanding of the mechanics of cinema.
Released in the early eighties during the peak of the slasher boom, Ghost Story fell squarely outside that sub-genre and offered the public a more traditional supernatural story. The initial intent was to produce an atmospheric movie built upon performances and suspense. Yet the studio, in their infinite wisdom, felt that there was a need for high profile shocks, so make up effects master Dick Smith was brought onboard to bring the story’s undead antagonist to the screen. Yet despite creating a broad range of ghoulish specters, much of his work never made it to the final edit. What remains is still exemplary and suitably grim, but one gets the sense that punches are being deliberatley pulled.
The plot focuses on the “Chowder Society”, an gentlemen’s club comprising of businessman Ricky Hawthorne, lawyer Sears James, Dr. John Jaffrey, and Mayor Edward Charles Wanderley. The four ageing men regularly meet, dine and swap tales of the sinister and supernatural. When Mayor Wanderley’s eldest son David falls to his death from a luxury apartment, the only clue is an enigmatic woman that he allegedly had a whirlwind romance with. David’s brother Don, soon finds himself in a similar relationship with a beautiful stranger who seems to know not only a lot about him, but the other surviving members of the “Chowder Society”. Don begins to question the woman’s identity and gradually becomes aware of a dark secret that his Father and friends are harbouring.
Ghost story is blessed with an outstanding cast comprising of John Houseman, Douglas Fairbanks Jr, Melvyn Douglas and the great Fred Astaire. They all bring a degree of dignity and gravitas to the proceedings. It is also worth noting that the actors who play the “Chowder Society” in their youth are very well matched. Alice Krige brings a suitably sinister quality to her performance and exudes malevolence. Sadly despite much promise, the screenplay by Lawrence D. Cohen is a little hit and miss in places, as is the editing. One aspect of the plot involving two human familiars in league with the vengeful spirit is never satisfactorily explained. However, as well as strong performances, Ghost Story sports handsome cinematography by Jack Cardiff and a sumptuous score by Philippe Sarde.
The public and critics alike were divided over Ghost Story at the time of its release. Despite good production values and a strong cast, it never really found a suitable market. Younger viewers found the pacing too slow and senior audiences, although attracted by the old stars, were repelled by its “unpleasantness”. Despite its studio heritage it can be argued that Ghost Story is simply a vignette, masquerading as a feature film. Yet irrespective of its flaws, forty five years on the film does now appear to have found a more forgiving fan base. For the horror aficionado Ghost Story has a terrific pedigree as well as an intriguing reputation of being a cinematic throwback, bravely trying to straddle the old and the new.
The Ruins (2008)
The Ruins is similar to both The Mist and Cloverfield , which were released around the same time, in so far that it is rather bleak and unrelenting movie. And like the aforementioned films, its strength lies in the manner in which it tackles the subject of people facing their own death in a credible fashion. In The Ruins the protagonists when faced with the prospect of their own demise quickly descend in to panic and resolutely refuse to face facts. Although these are negative themes that may not be to everyone’s tastes, they make The Ruins both gripping and genuinely scary.
The Ruins is similar to both The Mist and Cloverfield , which were released around the same time, in so far that it is rather bleak and unrelenting movie. And like the aforementioned films, its strength lies in the manner in which it tackles the subject of people facing their own death in a credible fashion. In The Ruins the protagonists when faced with the prospect of their own demise quickly descend in to panic and resolutely refuse to face facts. Although these are negative themes that may not be to everyone’s tastes, they make The Ruins both gripping and genuinely scary.
Four Americans on holiday in Mexico meet up with a German Tourist on his way to join his archaeologist brother, who has recently discovered a new Mayan ruin. Taking the opportunity to see some of the countries heritage first hand, they decide to head off in to the jungle. On arrival they find a Mayan pyramid that is covered in vines and creepers. It would appear that the locals are not too happy with them trespassing and they find themselves herded at gun point in to the ruins. It soon becomes apparent that the ancient temple harbours a deadly secret and that the siege outside is the least of their problems.
Author Scott Smith’s screenplay, adapted from his own novel, effectively depicts American middle class twenty somethings. The characters are well defined and not as unlikeable as one has come to expect from this genre of movie. Trainee doctor Jeff (Jonathan Tucker) is by far the most sympathetic character who keeps his head while his colleagues fail to grasp their situation. Director Carter Smith builds tension in a measured fashion and takes a traditional approach to revealing the films antagonist. There is also only a minimal amount of explanation regarding its predatory nature. He does not however hold back on the shocks, particularly in the unrated version. One scene rivals Misery for leg related trauma.
The Ruins despite its modern setting owes a lot to such films as The Day of the Triffids, Invasion of the Body Snatchers and The Descent. It plays on primeval fears of isolation, hidden predators as well as the alien and abstract nature of plants. The film benefits from a very subtle score that avoids punctuating the shocks and therefore making them melodramatic. The plausible characters behave as they should. As ever in life the most intelligent and sympathetic martyr themselves to save their less worthy friends. Despite having an ending that is somewhat formulaic The Ruins is still a rewarding horror film and is most certainly a cut above the standard of the genre. For the best results, watch late at night in a darkened room. Just ensure that you’re not sitting next to any pot plants.
In the Mouth of Madness (1995)
The arcane and esoteric works of author H P Lovecraft have often inspired horror directors. Sadly many of the films that have been made in homage to the Cthulhu Mythos have failed to capture its nightmarish mix of madness and mythology. John Carpenter's In the Mouth of Madness is not directly based on any of Lovecraft's specific works but screenwriter Michael De Luca draws his inspiration from many of this recurring ideas and concepts. He then adds a further homage to British writer Nigel Kneale, adding themes that are prevalent in his Quatermass series. Where others have failed, Carpenter successfully crafts a film that alludes to the baroque and eldritch qualities of the Cthulhu Mythos.
The arcane and esoteric works of author H P Lovecraft have often inspired horror directors. Sadly many of the films that have been made in homage to the Cthulhu Mythos have failed to capture its nightmarish mix of madness and mythology. John Carpenter's In the Mouth of Madness is not directly based on any of Lovecraft's specific works but screenwriter Michael De Luca draws his inspiration from many of this recurring ideas and concepts. He then adds a further homage to British writer Nigel Kneale, adding themes that are prevalent in his Quatermass series. Where others have failed, Carpenter successfully crafts a film that alludes to the baroque and eldritch qualities of the Cthulhu Mythos.
In the Mouth of Madness begins with John Trent (Sam Neill), an insurance investigator who has recently been "sectioned", telling his story to the resident psychiatrist. Hired to track down horror author Sutter Cane by his publishers, Trent finds the trail leads him to the town of Hobb's End. This is poses a perplexing problem as the town is fictional and shouldn't exist outside of the Cane’s novels. Using a hidden map on the cover of Cane’s book, Trent travels to Hobb’s End and watches the town collapse into madness, murder and monstrous transformations: the contents of Cane's novels manifesting in the material world. Furthermore this blight wants to spread! The dark forces working through Cane's text have designs to engulf the entire world.
In the Mouth of Madness is a surprising return to form by Carpenter during a time when his film making was very hit or miss. It is thoughtful, minimalist and has the brooding traits of a Lovecraft story along with the "science versus the ancient world" themes common in Kneale's work. There is clever imagery, some radical plot twists and a lot of black humour. However this is not a gorefest and the emphasis is on atmosphere and performances to create a disturbing tale. Sam Neil drives the narrative forward with a compelling lead performance. The viewer needs to watch very closely because the devil is very much in the detail leading to a thought provoking climax.
Overlooked at the box office, In the Mouth of Madness improves greatly with a second viewing. It's more an eerie vignette and a cunning critique of the horror genre, than a traditional horror. It’s not designed to shock or terrify, preferring to build a sense of disquiet. The cast such as David Warner and Jürgen Prochnow are well versed in the genre. The production design and physical effects are perfect for the tone of the film. This is very much a movie that leaves the viewer reflecting upon what they have seen. Certainly for those who are more patient and disposed towards the thoughtful, it's a rewarding experience. But that’s hardly surprising because John Carpenter’s work on a bad day (which this movie is not) is always more interesting than many of his peers on a good one.
Legion (1990)
Since the late eighties Morgan Creek productions have dabbled with multiple genres whilst pursuing box office success. At times, they have been successful with such populist movies as Young Guns and Robin Hood: Prince of Thieves. However, for every film that proved financially viable there were often two more that failed to gain an audience. Yet, despite having the business acumen to commission the best writing and directing talent available, co-founders James G. Robinson and Joe Roth have often been at odds with such creative individuals, resulting in many troubled productions. Horror writer and director Clive Barker endured an arduous experience while making Nightbreed, which was based upon his own novella. It was such a negative experience, resulting in a movie that was far from his initial vision, that Barker effectively quit film making. A similar experience befell William Peter Blatty when he was given an opportunity to film a direct sequel to The Exorcist based upon his novel Legion.
Since the late eighties Morgan Creek productions have dabbled with multiple genres whilst pursuing box office success. At times, they have been successful with such populist movies as Young Guns and Robin Hood: Prince of Thieves. However, for every film that proved financially viable there were often two more that failed to gain an audience. Yet, despite having the business acumen to commission the best writing and directing talent available, co-founders James G. Robinson and Joe Roth have often been at odds with such creative individuals, resulting in many troubled productions. Horror writer and director Clive Barker endured an arduous experience while making Nightbreed, which was based upon his own novella. It was such a negative experience, resulting in a movie that was far from his initial vision, that Barker effectively quit film making. A similar experience befell William Peter Blatty when he was given an opportunity to film a direct sequel to The Exorcist based upon his novel Legion.
I first saw The Exorcist III in 1990 at horror movie festival, prior to its UK release. There was a discussion before the screening regarding the major alterations that the studio had been forced upon the director. Upon viewing the theatrical edition, it became very apparent where narrative changes had been made and the entire final act suffered a tonal change and an utterly redundant exorcism sequence. It was clear that there was a better movie struggling to get out but Morgan Creek productions had simply wanted to pursue as broad an audience as possible. Thus, subtlety and intelligence were replaced by spectacle and gore. As the movie was subsequently released across multiple territories, critics universally reflected similar sentiments. The film failed financially and went down in cinematic history as a curious misfire in a troubled franchise.
After years of internet speculation by writer and director William Peter Blatty, a restored edition of The Exorcist III was finally released in 2016 by Scream Factory. The Blu-ray Collector’s Edition features a 2K scan of the original theatrical print of the movie as well as a director’s cut, retitled Legion. This new version is far closer to Blatty’s original vision and loses most of the re-shot material including the climatic exorcism conducted by Father Morning (Nicol Williamson). Sadly, the missing footage could not be found in the archives and so the Blu-ray producer Cliff MacMillan had to find alternative sources. “We turned to VHS tapes of the film’s dailies to assemble the director’s cut. However, even some of that footage was incomplete, so scenes from the theatrical re-shoot were used to fill in the gaps. This director’s cut is a composite of varying footage quality from the best available sources”. However irrespective of these technical obstacles, Legion is still a radically different movie to The Exorcist III and is compelling viewing even in this presentation.
What becomes apparent whenever watching any of Blatty’s movies is that he has a knack for dialogue. Legion is no exception. The banter between Lt. William F. Kinderman (George C. Scott) and Father Dyer (Ed Flanders) is extremely dry and witty, verging on the Chandleresque at times. It also establishes their deep friendship which is pivotal to the plot. New material further embellishes this aspect of the film. Legion now avoids obviously telegraphed unpleasantries and chooses to focus more upon a narrative driven disquiet. Alternative takes are used of Brad Dourif performance which alters his portrayal of the Gemini Killer. It is subsequently far subtler and brooding. Jason Miller is also now absent as Father Karras. Some of the heavy-handed dream sequences relating to the murdered child Thomas Kintry have also been deleted. The ending is now far more abrupt and devoid of any spectacle. It’s feels tonally more in tune with the rest of the film and has a greater impact.
Overall this new cut of the movie is more succinct and less strident. The minimalist shocks and lack of effects work lends a greater focus upon the themes of the story. This is essentially a theological thriller, rather than a Grand Guignol. Legion is a superior movie altogether when compared to its theatrical counterpart and a superior sequel to The Exorcist per se. Despite some cast changes it follows on from the original movie quite logically. Given the difficulty in reassembling this cut of the movie and the overall indifference of Morgan Creek, the current version of Legion is the best we are likely to see. As such it should appeal to all serious horror fans who enjoy character driven and cerebral entertainment. It also offers an interesting opportunity for aficionados of film restoration.
Murders in the Zoo (1933)
Murders in the Zoo was made towards the end of the first, post sound horror boom and just before the rigorous enforcement of The Motion Picture Production Code came into effect in 1934. The latter point is relevant because despite its age and being very much a product of its time, this movie has a grisly streak running through it. Had it entered production a year later I suspect it would have been a lot tamer both visually and thematically. Murders in the Zoo begins and ends with scenes that certainly leave an impact and stay with the viewer. Most casual movie viewers probably consider pre-war cinema to be theatrical in its acting style and somewhat tame, but that is not the case with Murders in the Zoo and many other movies from this time. Until tighter regulation was introduced, there was a brief period between 1928 and 1934 when movies were as violent and lurid (in principle) as contemporary cinema. All the things that are deplored today in certain quarters, where equally decried then.
Murders in the Zoo was made towards the end of the first, post sound horror boom and just before the rigorous enforcement of The Motion Picture Production Code came into effect in 1934. The latter point is relevant because despite its age and being very much a product of its time, this movie has a grisly streak running through it. Had it entered production a year later I suspect it would have been a lot tamer both visually and thematically. Murders in the Zoo begins and ends with scenes that certainly leave an impact and stay with the viewer. Most casual movie viewers probably consider pre-war cinema to be theatrical in its acting style and somewhat tame, but that is not the case with Murders in the Zoo and many other movies from this time. Until tighter regulation was introduced, there was a brief period between 1928 and 1934 when movies were as violent and lurid (in principle) as contemporary cinema. All the things that are deplored today in certain quarters, where equally decried then.
Lionel Atwill stars as the wealthy zoologist and big game hunter Eric Gorman. We meet him at the start of the movie in the jungles of French Indochina. Initially it appears that Gorman is assisting his colleague, Taylor. Perhaps he’s had an accident and Gorman and his two “native bearers” are providing emergency first aid. Gorman is certainly busy with a needle and thread. But the dialogue takes a sinister turn. It would appear Taylor has shown too much interest in Gorman’s wife Evelyn (Kathleen Burke), kissed her and lied to Gorman about it. And so Gorman has sewn Taylor’s mouth shut and bound his wrists behind his back. He then abandons him in the jungle and leaves him to his fate. Later locals inform Gorman at his camp, that his friend has been eaten by Tigers.
This powerful opening clearly establishes the story arc for Murders in the Zoo. Returning to the US with a collection of animals for the municipal zoo, Gorman subsequently discovers that his wife intends to leave him for another man, Roger Hewitt (John Lodge). Gorman takes advantage of a gala fundraising event at the Zoo to poison Hewitt and subsequently blame his death on a Green Mamba that he has recently donated. However, the zoos resident toxicologist, Jack Woodford (Randolph Scott), doesn’t care to be blamed for the snakes escape and suspects that Gorman is not telling the truth. Jack’s assistant and fiancée Jerry Evans (Gail Patrick) also doesn’t trust Gorman. When Evelyn Gorman discovers that her husband has a mechanical Mamba head in his desk filled with venom, she realises that her husband is a murderer. However Gorman has no intention of allowing his wife to inform the authorities, so he pushes her into the Alligator pit at the zoo. Can he cover his tracks or will Jack Woodford uncover his secret?
Murders in the Zoo runs for just over an hour, yet packs quite a lot in during that time. Lionel Atwill excels as the psychopathic Eric Gorman who swings quickly from homicidal maniac to passionate lover. The movie hints quite heavily at an abusive relationship and sexual violence. The death of Evelyn is quite shocking and Gorman’s inevitable demise is also equally powerful. Performances are in the acting idiom of the thirties and are somewhat theatrical but this was the prevailing style. Once again it is best for contemporary viewers to remind themselves of the context of the times, so they can see beyond the somewhat dated trappings of the production. I found Atwill’s visual acting ticks, such as his slow burn sinister looks, endearing and a reminder of how many actors of the time came from a theatrical background. The film also attempts to offset the gruesome aspects of the plot with liberal doses of humour. Charlie Ruggles plays the zoo’s press agent. The hilarity stems from the fact that he’s a “comedy drunk” (a standard trope at the time) who is also afraid of all the animals.
Effectively directed by the versatile A. Edward Sutherland, who could turn his hand to musicals, comedies and dramas, Murders in the Zoo is efficient horror thriller. It isn’t for everyone and I wouldn’t recommend such a film to casual viewers. But for horror aficionados, this is an unusual and quite hard-hitting piece of pre-code film making. It is also notable for several scenes in which the cast clearly interact with live animals, in a manner that wouldn’t be countenanced today. Randolph Scott handles a live Mamba on two occasions and Charlie Ruggles “boops the snoot” of a Lion. There’s also a sequence at the movies climax, when the animals are released from the cages and some of the big cats fight among themselves and they’re definitely not playing. Murders in the Zoo has recently been released on Blu-ray as part of the Universal Horror Collection: Volume 2. It is a beautiful print and will certainly be of interest to hardcore movie collectors.
Mimic: The Director's Cut (1997)
When I first saw Mimic in 1997, I was impressed by the fact that it offered a different perspective on the monster movie genre and that it seemed to have moments of greater depth than you'd expect from such material. Later on when I became more aware of the works of writer, director Guillermo del Toro, I learned that this movie had had a troubled production and that Miramx had imposed specific requirements upon the final cut of the film. This explained some of the movies inconsistencies and hinted at a far more ambitious artistic endeavour by del Toro. Initially Mimic was conceived as a thirty minute short and part of a three part anthology movie. However it along with the sci-fi film Imposter were both deemed to be of sufficient merit to be developed into feature length productions.
When I first saw Mimic in 1997, I was impressed by the fact that it offered a different perspective on the monster movie genre and that it seemed to have moments of greater depth than you'd expect from such material. Later on when I became more aware of the works of writer, director Guillermo del Toro, I learned that this movie had had a troubled production and that Miramx had imposed specific requirements upon the final cut of the film. This explained some of the movies inconsistencies and hinted at a far more ambitious artistic endeavour by del Toro. Initially Mimic was conceived as a thirty minute short and part of a three part anthology movie. However it along with the sci-fi film Imposter were both deemed to be of sufficient merit to be developed into feature length productions.
Initially Mimic appears to be just a standard creature feature, yet it soon becomes apparent that there’s more depth to the story than is usual for the genre. Cockroaches are spreading a fatal virus among the Manhattan's infants. Entomologist Susan Tyler (Mira Sorvino) genetically engineers the Judas Breed, a large insect that releases an enzyme that kills off the disease-carrying roaches by speeding up their metabolism. The Judas breed is also designed to only have one fertile male, which remains in quarantine, thus condemning the species to alleged oblivion. Naturally things do not work out as planned and three years later, Health Inspector Dr. Peter Mann (Jermey Northam) along with his detective friend Josh (Josh Brolin) become aware of increased deaths among the illegal immigrant and homeless communities.
Where Mimic stands out from other run-of-the-mill genre offerings, is its unusual characters and greater depth of narrative. The creation of a genetically modified Judas breed is played out against the struggles of our husband and wife protagonists attempts to have a baby. There is also an engaging sub-plot involving a shoe shine man and his autistic Grandson. The boy’s savant ability to identify shoe sizes at a glance, is cleverly utilised as he is the first to witness the mimics of the title. Unable to place them within the context of his world he refers to the one he sees as Mr. Funny Shoes. Mimic is another member of that rather exclusive cinematic club in which the death of a child is shown on screen.
The recent director's cut of Mimic adds an additional six minutes of footage to the existing print. Guillermo del Toro has striven to alter the overall feel of the film through additional editing and the use of colour filters. The audience does not necessarily gain any new insights into the story but the characters feel more rounded. The underground sequences have a more atmospheric feel to them and a stronger sense of menace. The revelation that the insects have learned to mimic the appearance of humans has a greater impact this time round. The tone of the movie, particularly the humour now takes on a distinctly darker hue. Overall the director's cut of Mimic is a refinement of the theatrical print.
Mimic was del Toro's first major US feature. If he made this now, I believe it would be a far more experimental picture. This revised improved version still remains a curio, rather than a classic; a hybrid mixture of the director's lyrical and cerebral approach to horror, along with the trappings of a more commercial picture. It is an odd blend but none the less very watchable. The film benefits from strong performances, especially Charles S. Dutton as a world weary transit policeman. There are also some solid shocks and jumps to be enjoyed. Yet even in this new format Mimic doesn't quite achieve the heights of the directors later works. However, del Toro even under these circumstances is still a far more inviting and enthralling prospect than your average horror hack.
The Last Man on Earth (1964)
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
The Last Man on Earth is an American Italian co-production, that was filmed in Rome, with some location shots taken at Esposizione Universale Roma. Made on a modest budget, apart from Vincent Price, the cast are all Italian. However, the constraints of the production at times work in the films favour, offering a far more measured and therefore credible view of the apocalypse. There is one flashback scene where the are some brief shots of the dead being thrown into pits by the military and burned. This low-key depiction, works well and has a greater sinister ambience than big budget set pieces of the 2007 remake. Price gives a solid performance as the lost and forlorn lead character. Sadly, the English voice dubbing done in post-production is weak and at times undermines the drama. The solid black and white cinematography by veteran cameraman Franco Delli Colli, is an asset to the production.
As a horror movie of its time, The Last Man on Earth is adequate fare. However, on a thematic level it works far better as a study of human loneliness. The scenes where Morgan finds a dog and tries to entice it to him because he is so desperate for companionship are well conceived. Sadly, the animal is injured and will inevitably succumb to the vampire virus, so he is forced to kill it. Touchingly he then buries the dog. Unfortunately, despite adapting his own novel, writer Richard Matheson was disappointed in the finished film, finding it lacklustre and poorly directed. He subsequently changed his name on the movie credits. Although The Last Man on Earth is a somewhat small scale adaptation of a book with a much broader scope, it is not without its virtues. It offers viewers the essential essence of the source text and allows time to reflect upon the narrative’s themes.
Friday the 13th (2009)
The original Friday the 13th (1980) movie was a box office success due to a perfect storm of events. Overall the film is cheap, functional and the only real element of note are Tom Savini’s grim prosthetic effects work. But this is the nature of horror cinema. It is a genre that can be produced quickly and cheaply. That is not to say that Friday the 13th is without its merits. It has a grim sense of honesty and there’s even an attempt at a narrative twist at the end. It is very much a product of its time and that is reflected in its subtext and themes. Cinema often ends up mirroring, directly or indirectly, the prevailing socioeconomic trends of the time. So it is logical to suggest that if you wish to successfully reboot such material, you need to recalibrate the premise to suit the needs and expectations of contemporary audiences. However, in the case of this new version of Friday the 13th director Marcus Nispel has opted not to do this. Instead he just gives audiences a distillation of the most basic elements of the franchise, on a higher budget.
The original Friday the 13th (1980) movie was a box office success due to a perfect storm of events. Overall the film is cheap, functional and the only real element of note are Tom Savini’s grim prosthetic effects work. But this is the nature of horror cinema. It is a genre that can be produced quickly and cheaply. That is not to say that Friday the 13th is without its merits. It has a grim sense of honesty and there’s even an attempt at a narrative twist at the end. It is very much a product of its time and that is reflected in its subtext and themes. Cinema often ends up mirroring, directly or indirectly, the prevailing socioeconomic trends of the time. So it is logical to suggest that if you wish to successfully reboot such material, you need to recalibrate the premise to suit the needs and expectations of contemporary audiences. However, in the case of this new version of Friday the 13th director Marcus Nispel has opted not to do this. Instead he just gives audiences a distillation of the most basic elements of the franchise, on a higher budget.
Overall Friday the 13th suffers from perfunctory direction and a lazy, uninspired screenplay. There is a brief opening scene where Pamela Voorhees (Nana Visitor), is beheaded by a camp counsellor, after she goes on a killing spree at Crystal Lake summer camp. Yet this one good interesting idea is promptly abandoned. Exactly what her motives are is glossed over. Thirty years later a group of teenagers seeking marijuana growing in the woods are attacked by her son Jason and all are murdered, except for one who resembles his mother. Several weeks later, a second group of teenage “fun lovers”, arrive at Camp Crystal lake and promptly embark upon a competition to see which one of them is the biggest asshole. They subsequently fall foul of crazy Jason. A game of cat and mouse subsequently ensues but it’s all devoid of tension or originality. When Jason changes his burlap sack for the iconic hockey mask, it is presented for the audience’s edification in the same way as Batman donning his mask and suit for the first time. It’s all somewhat risible.
The teenage victims that are the sacrificial goats of this franchise, have never really been of any particular interest (apart from Tommy Jarvis). They continue to be superfluous in this instalment. The only difference this time round is that they are more obnoxious than ever and most of the breasts on display are now “cosmetically enhanced”. Overall, the focus of the franchise has always been the enigma of Jason Voorhees himself. He started off as a delusion of a homicidal mother, then changed into a deformed, shed dwelling, gimp before evolving into the lumbering, unstoppable, killing machine sporting a hockey mask, that we know and love today. Whatever you may think about the convoluted and contradictory lore, it has always been clear that Jason Voorhees is more than just a man. Yet in this movie he rendered down to just an oversized, brain damaged murderer. He lacks any “je ne sais quoi” and is less interesting and threatening than Michael Myers or even Victor Crowley. Such a flaw is fatal and relegates this remake to the status of just another slasher.
By the time the Friday the 13th franchise found its feet, in the middle eighties, the formula was clear and simple. In the first act, put some teenagers in peril and have a few jump scares and red herrings along the way. In the second act, start to pick them off one by one with various creative death scenes. Ensure there’s a chase and showdown between crazy Jason and “the final girl” at the denouement. Rinse and repeat. Add levity to taste. When it worked, it worked well. Friday the 13th Part 3 being a prime example. This cinematic recipe could have been easily repeated in 2009 and given a postmodern veneer. It could have been Jason versus millennials. Yet despite such an open goal and an audience lining up to hand over their money, this 2009 version fumbles the opportunity. The murders and set pieces are darkly lit and uninspired, the characters are contemptible and gags fall wide of the mark. For example, a black character is axed to death in a “woodpile”. If Friday the 13th is ever to rebooted again, Paramount Studios need to do far better than this.
The Tower of London (1939)
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is an interesting film, in that it is clearly a historical drama but in spite of this, it was marketed as a horror movie. This is mainly due to the presence of Boris Karloff who plays a club footed executioner. Universal studios were keen to focus upon his role and ensured he featured prominently on the theatrical posters, wielding an axe in a menacing fashion. The film does feature several ghoulish scenes set in the dungeons beneath the Tower of London but essentially this is just a competent retelling of Shakespeare’s Richard III. However, rather than adapt the bards prose, this film offers a more of a historically accurate narrative, as Richard of Gloucester claims the throne of England in 1483 by eliminating all other heirs. The movie embellishes the political intrigue by having Richard remove a figurine from a dollhouse resembling the throne room, every time he kills an enemy.
The Tower of London is a well written and concise drama, which manages to expedite the historical plot without it feeling like a history lecture. Richard, Duke of Gloucester (Basil Rathbone) exudes both charm and malevolence as he plots and schemes. He is assisted by executioner and assassin Mord (Boris Karloff) who idolises his master and facilitates his plans. Vincent Price has a suitably unctuous role as Duke of Clarence. The drinking contest between him and Richard is a delightful scene, which Price and Rathbone mainly ad libbed. The production values are good and the sets have a sense of period atmosphere. There are some brief scenes set in the torture chamber and although far from graphic, they are quite bleak and psychologically quite cruel. However, it should be noted that this is very much a case of the 15th century as interpreted by a Hollywood studio. Even the depiction of squalor is oddly stylised and sanitised.
When Boris Karloff made Son of Frankenstein he signed a deal with Universal to make an additional two feature films. His role in The Tower of London was written specifically for him by screenwriter Robert N. Lee. Although the part is somewhat limited within the scope of the story, Karloff certainly demonstrates his acting skills. During a scene in which Richard, Duke of Gloucester orders the murder of the twin nephews, Karloff brings a subtle degree of hesitation to his performance. He briefly pauses outside the room and reflects upon what he has been charged to do. A brief pang of guilt passes his face before being replaced with grim resolve. Sadly, the role of Mord is not as prominent as the studio inferred. My late Father remembered seeing this film in the cinema when he was ten and recalled that many in the audience expect the film to be a pure horror movie. Apparently in the screening he saw, there were chants of “ we want Boris” as viewers became bored with all the historical intrigue.
As well as being a period costume drama, The Tower of London was also provided a degree of wartime propaganda. The film starts with an opening title card that strives to clearly draw a parallel between Duke of Gloucester’s rise to power and that of Hitler in Germany. Another interesting aspect of the production are the battle scenes. Despite using quite a lot of extras, bad weather destroyed a lot of the props and so a lot of the action were shot at close quarters, giving them a very intimate quality. John Boorman used the same technique forty years later in Excalibur. The director Rowland V. Lee was also keen to maintain a degree of authenticity with the production and wished to use period music. Sadly this was disputed by the studio and so a lot of stock music from previous Universal films were used. All things considered, The Tower of London is an entertaining historical drama that deserves a reappraisal. It certainly makes for an interesting alternative perspective on these events, rather than a traditional adaptation of Shakespeare’s Richard III.
The Curse of La Llorona (2019)
Patricia attacks her and is arrested by the police. Patricia's sons, Carlos and Tomas are then taken to a child-services shelter, where Anna assures them they’ll be safe. However, that night, the boys are attacked by a spectral woman in a white dress and are later found drowned in a river. When Anna is called out to the scene she brings her own children, Chris and Sam, who wait in the car. Patricia, accused of her sons' murders, screams that it is Anna's fault and that they were taken by "La Llorona". Sam leaves the car to hear what his mother is discussing and is grabbed by the wrist by the same woman that attacked Carlos and Tomas. A red mark is left on his arm. The next day Anna interviews Patricia while she’s in custody. She reveals that she has prayed to "La Llorona" for the return of her own children and to take Anna’s instead.
Set during 1973 in Los Angeles, social worker Anna Tate-Garcia (Linda Cardellini) visits Patricia Alvarez (Patricia Velásquez) due to her sons’ truancy from school. When Anna finds the children locked in a closet, Patricia attacks her and is arrested by the police. Patricia's sons, Carlos and Tomas are then taken to a child-services shelter, where Anna assures them they’ll be safe. However, that night, the boys are attacked by a spectral woman in a white dress and are later found drowned in a river. When Anna is called out to the scene she brings her own children, Chris and Sam, who wait in the car. Patricia, accused of her sons' murders, screams that it is Anna's fault and that they were taken by "La Llorona". Sam leaves the car to hear what his mother is discussing and is grabbed by the wrist by the same woman that attacked Carlos and Tomas. A red mark is left on his arm. The next day Anna interviews Patricia while she’s in custody. She reveals that she has prayed to "La Llorona" for the return of her own children and to take Anna’s instead.
The Curse of La Llorona is part of the The Conjuring Universe franchise, although its links to it are somewhat tenuous. The film features a brief appearance by Tony Amendola as Father Perez, who previously featured in Annabelle (2014). However, beyond this reference The Curse of La Llorona is very much a standalone production. Directed by Michael Chaves who has a background in short films and web series, it is handsomely photographed and features some interesting visual compositions The seventies setting doesn’t really contribute much to the proceedings other than remove a lot of modern technology and hence further isolate the Tate-Garcia family. The supernatural set pieces are inventive both in their construction and execution. There’s a nice scene where a child sees the weeping woman but only through her clear umbrella. The emphasis is upon jump scares and ghoulish imagery, as opposed to violence and gore. However, beyond its technical merits The Curse of La Llorona is somewhat lacking.
Despite the presence of Linda Cardellini who does her best as a single mother facing a supernatural threat, the script by Mikki Daughtry and Tobias Iaconis is perfunctory and uninspired. It moves from A to B efficiently but without any originality. The central characters are all archetypes and have little or no depth. Despite touching upon some interesting ideas, many are all squandered. For example Anna Tate-Garcia is a widower whose husband was a Hispanic police officer. Given the time in which the movie is set, this could have been explored further. Another plot point that falls by the wayside is why former priest Rafael Olvera (Raymond Cruz) left the church. Was it a question of bureaucracy or methodology? And then there is the “weeping woman” herself. I have no problem with the horror genre keeping their antagonists as an enigma but this one is especially vague and her actions somewhat illogical.
One of the selling points of The Curse of La Llorona is that it offers a Hispanic perspective on the supernatural and the scope to examine cultural traditions. Horror films too often focus on European Christian dogma and their interpretation of ghosts and demons. But the interesting crossover between Catholicism and traditional Hispanic superstition that is alluded to, is again neglected. The production seems more focused on contriving jump scares but they really only work as a technical exercise and don’t actually do much for the overall story being told. Therefore, many genre fans will consider The Curse of La Llorona to be “filler”. Formulaic and serving a basic purpose but not attempting to do anything out of the ordinary. It’s a shame in a way as with a bit more thought and possibly just an additional ten minutes or so, this could have been a far more rewarding film with something new to offer.
Prophecy (1979)
During the seventies, Hollywood started looking to ongoing societal and political concerns as a source of material for movies. Hence, the energy crisis, terrorism and global pollution quickly found themselves being subsumed into hastily written screenplays, in attempt to be topical, commercially successful and relevant. Prophecy based upon a novel by David Seltzer tackled not only the issue of pollution but also the ongoing disenfranchisement of Native Americans. Paramount studios went so far as hiring an established director of note, John Frankenheimer. In many respects this movie should have been a bigger success with a reasonable budget, robust cast and studio support. Sadly it did not fare well, either critically or at the box office due to obvious flaws in the production. Despite his outstanding body work, (Birdman of Alcatraz, The Manchurian Candidate) Frankenheimer was not the best choice of director for a genre movie such as this and he was also going through a period of alcoholism.
During the seventies, Hollywood started looking to ongoing societal and political concerns as a source of material for movies. Hence, the energy crisis, terrorism and global pollution quickly found themselves being subsumed into hastily written screenplays, in attempt to be topical, commercially successful and relevant. Prophecy based upon a novel by David Seltzer tackled not only the issue of pollution but also the ongoing disenfranchisement of Native Americans. Paramount studios went so far as hiring an established director of note, John Frankenheimer. In many respects this movie should have been a bigger success with a reasonable budget, robust cast and studio support. Sadly it did not fare well, either critically or at the box office due to obvious flaws in the production. Despite his outstanding body work, (Birdman of Alcatraz, The Manchurian Candidate) Frankenheimer was not the best choice of director for a genre movie such as this and he was also going through a period of alcoholism.
Dr. Robert Verne (Robert Foxworth) accepts a job from the Environmental Protection Agency to investigate a dispute over potential pollution between a logging company and a Native American tribe in Maine. Dr. Verne's wife Maggie (Talia Shire) accompanies him on the trip. She is pregnant but has not yet told her husband as he is conflicted about bringing children into such a problematic world. On arrival in the remote logging town, the mill director Bethel Isley (Richard A. Dysart) is inclined to blame all problems on the local Native American community. Especially the disappearance of several tourists and search and rescue workers. However, he extends all possible courtesy to Dr. Verne, showing them around the paper mill plant and providing them with a remote woodland cabin so he can test the water. The local Native American community leaders, John and Ramona Hawk (Armand Assante and Victoria Racimo) appeal to Robert and his wife that they are not a community of drunks but are being poisoned. They tell of illness, premature death and of children born with birth defects. But Ramona’s old grandfather speaks of Katahdin, a spirit that “is part of all things created” who has awakened to protect the tribe.
Being a seventies movie Prophecy is guilty of a practice that is happily not so common these days. Namely, casting actors of the wrong ethnicity into specific roles. Having a “known name” on a movie poster is one thing but it’s somewhat eggerious when a production casts racially appropriate actors for minor roles but does not do the same for major characters. The issue here being Armand Assante, an actor of Italian descent, playing a Native American. Despite this decision, the cast perform well. The relationship between Robert Foxworth and Talia Shire is plausible, although “of the time”, especially in the way that he listens to her but doesn’t hear what she’s really saying. Richard A. Dysart gives a good supporting performance, as the die hard company man. His character reflects a lot of the entrenched prejudices that were all too common at the time. The script introduces several interesting themes such as attitudes on ecology and the risk of a baby with birth defects but these plot lines are sadly abandoned when the monster turns up. Prophecy was also one of the first major studio movies to be filmed in “Hollywood North”. Vancouver became a regular substitute for parts of the US and a centre of film production hence forward.
But the main problem with Prophecy is not so much the inconsistencies in the script, which is a common issue in genre movies but the way the central monster is filmed and revealed. The basic design by The Burman Studios is sound but the way it is lit and shot is not flattering. The Xenomorph in Alien is essentially a man in suit but it is shown in a way that often minimises this. The mutant Bear in Prophecy is not handled with such care. Neither Frankenheimer or his crew had much experience of dealing with these sorts of issues and although the editing by Tom Rolf does much to try and correct the problem, it doesn’t always work. The monster was originally conceived to be a chimera and have attributes of multiple animals; just as a human foetus exhibits similar traits during its development. But this proved potentially too complex, so the scope of the special effects were reduced. Frankenheimer also decided to secure a lower rating and so removed some of the more violent scenes. Hence the movie feels that there is content missing and the gore has been toned down to a minimum.
Prophecy could have been a far better movie under different circumstances. If the Native American aspect of the plot was explored further and there was a degree of ambiguity as to whether the monster was just a mutant or Katahdin the avenging spirit, then the story would have been a little more engaging. The issue of Maggie’s pregnancy and the problems she could face is another aspect of the plot that could have provided more human drama. Then there is the matter of Katahdin itself. Irrespective of the way the special effects were shot, the more violent scenes should have remained in the film. As it stands, the theatrical cut of the movie is a little anticlimactic. However, Prophecy is still entertaining and an interesting reminder of a time when big studios were still prepared to explore the horror genre in different ways, with robust budgets and high production values. Something that doesn’t happen quite as often these days. The ending that hints at a potential sequel naturally didn’t happen.
Malignant (2021)
Madison Lake (Annabelle Wallis) returns home to her husband, Derek Mitchell (Jack Abel), after her pregnancy causes her to be ill at work. During an argument, Derek hits Madison's head against a wall. Madison locks herself in the bedroom to avoid him and falls asleep. She later wakes up to find Derek dead, after having a dream of someone entering their house and violently killing him. The killer, who is still in the house, attacks Madison. The next morning, Madison wakes up in a hospital and is greeted by her sister, Sydney (Maddie Hasson). She is told that her baby didn't survive the attack. After being interviewed by police detective Kekoa Shaw (George Young) and his partner Regina Moss (Michole Briana White), regarding Derek’s death, Madison returns home. As there was no sign of forced entry into the house and Derek was known to be an abusive spouse, the police suspect that Madison is the murderer. Madison continues to experience vivid waking dreams in which a mysterious figure commits murder.
Madison Lake (Annabelle Wallis) returns home to her husband, Derek Mitchell (Jack Abel), after her pregnancy causes her to be ill at work. During an argument, Derek hits Madison's head against a wall. Madison locks herself in the bedroom to avoid him and falls asleep. She later wakes up to find Derek dead, after having a dream of someone entering their house and violently killing him. The killer, who is still in the house, attacks Madison. The next morning, Madison wakes up in a hospital and is greeted by her sister, Sydney (Maddie Hasson). She is told that her baby didn't survive the attack. After being interviewed by police detective Kekoa Shaw (George Young) and his partner Regina Moss (Michole Briana White), regarding Derek’s death, Madison returns home. As there was no sign of forced entry into the house and Derek was known to be an abusive spouse, the police suspect that Madison is the murderer. Madison continues to experience vivid waking dreams in which a mysterious figure commits murder.
Once again, while reviewing a contemporary horror film, I am forced to repeat myself which probably doesn’t make for especially engaging reading. Never mind, ultimately this is not my fault. So, for the record, here we go again. The trouble with being an avid fan of something is that it ultimately brings a great deal of familiarity with that which you enjoy. Over the years I have seen a great many horror films. Classic, cult movies and obscure niche market titles. I read extensively, liking to know about specific film productions, the technicalities of film making and what titles are venerated and why. All of which brings me a great deal of pleasure. However, it also means that because of my analytical approach to viewing horror films, along with a substantial amount of personal knowledge, I tend not to be surprised, perturbed or wrong footed by many of the films that I see. This can sometimes diminish my enjoyment somewhat.
With this comprehensive caveat out of the way, James Wan’s Malignant may well scare the occasional or casual viewer of horror films. They may also find the main plot device to be unusual. Sadly, if you’ve seen Basket Case (1982), The Dark Half (1993) or recollect the scene from Total Recall (1990) involving Kuato, then much of what Malignant has to offer will seem less impressive. Furthermore, for a film to succeed and to engage its viewers, it requires them to suspend their sense of disbelief. Horror fans by default can be more accommodating than other genre enthusiasts regarding this, because horror so often deals in supernatural concepts and extreme themes. However, if the horror genre abuses this goodwill they’re granted by their audience, they end up losing them. I believe this is the case with Malignant.
There are some good aspects to Malignant. The lighting is very atmospheric, and the action scenes are dynamic. The camera is seldom still and is not content to confine itself to traditional linear movements. Some of the violence is quite unpleasant, especially if you have an aversion to open fractures. But there are two specific failings that director James Wan makes. The first is clumsy plot exposition and some frankly quite hokey dialogue. Certain characters seem to have no purpose beyond delivering a slab of story content and advancing the plot. The second is regarding the film’s own internal logic. It is set ostensibly in the real world. Yet what happens is often so left field or over the top, that it stretches even the most accommodating viewer’s suspension of disbelief. The story’s implied “happy ending” simply doesn’t ring true as there would be far too many questions and consequences, arising from the events of the film itself. As a result, Malignant is an interesting misfire.
Solomon Kane (2009)
I had the pleasure of seeing Solomon Kane at the Empire Leicester Square upon its initial release. I remember at the time how I found it very refreshing to see an independent horror film that treated its underlying material with the respect it deserved. The genre was somewhat in the doldrums at the time, awash with soulless remakes and endless franchise sequels, produced by cynical studios that were ultimately contemptuous of the material they utilised and the fans that watched it. Although not a literal adaptation of the series of short stories by Robert E. Howard, Solomon Kane successfully captured their spirit and broadened their scope to accommodate both the horror and fantasy genres.
I had the pleasure of seeing Solomon Kane at the Empire Leicester Square upon its initial release. I remember at the time how I found it very refreshing to see an independent horror film that treated its underlying material with the respect it deserved. The genre was somewhat in the doldrums at the time, awash with soulless remakes and endless franchise sequels, produced by cynical studios that were ultimately contemptuous of the material they utilised and the fans that watched it. Although not a literal adaptation of the series of short stories by Robert E. Howard, Solomon Kane successfully captured their spirit and broadened their scope to accommodate both the horror and fantasy genres.
I have seen the film several times since then and my enjoyment for it has not abated. It still strongly reminds me of the heyday of the Hammer studios in the way that the production looks more expensive and sumptuous than it actually cost. Solomon Kane had a modest $40 million budget but at first glance you would not tell, with its striking gothic production design, beautiful locations and cinematography by Danish cinematographer Dan Laustsen (Crimson Peak, Brotherhood of the Wolf). The film has a very distinctive European look and feel. It sports a rich and memorable soundtrack by composer Klaus Badelt. This is why the horror genre can so often make a silk purse out of a sow’s ear, because it used what resources it has creatively and effectively.
M. J. Bassett directs efficiently and economically, as they did in their previous film Wilderness. The story is well paced and the narrative is relatively lean. There is a strong supporting cast including Pete Postlethwaite, Alice Krige and Max von Sydow. Their presence adds weight to the proceedings and covers some of the shortcomings of the somewhat concise screenplay. The action scenes are well choreographed, being violent but not excessively explicit. The CGI and other physical FX work are perfectly acceptable, although opinion is somewhat divided over final "demon" at the films conclusion. As far as I’m concerned it is functional and serves it purpose as a climatic and narrative "MacGuffin".
Many reviews at the time praised the production but were critical of what they saw as a very generic product. However true that may be of the story's central premise, the film is elevated by James Purefoy's strong lead performance. Seldom are characters this well fleshed out in genre movies. Ultimately Solomon Kane biggest asset is that it does exactly what it sets out to do and provides audiences with 109 minutes of fantasy/horror adventure. There are no postmodern one liners or annoying comic relief; just an honest old fashioned genre film made in an appropriate tone. It’s a shame that the movie never managed to kick-start the franchise that it was obviously hoping to create.
Phenomena AKA Creepers (1985)
For those unfamiliar with the work of Italian director Dario Argento, Phenomena may not necessarily be the best place to start. It is somewhat excessive movie even by the film makers own standards. Yet if approached with the right mind set, then it can be a very rewarding film. Mainstream American cinema often has a clear and linear framework. It is constructed in an established fashion and despite adopting techniques and styles from other countries, is frequently somewhat conservative in its presentation. Italian cinema, especially the work of Argento, focuses very much on visual aesthetics. Framing, the use of colour, editing and atmosphere often take priority over narrative and logic.
For those unfamiliar with the work of Italian director Dario Argento, Phenomena may not necessarily be the best place to start. It is somewhat excessive movie even by the film makers own standards. Yet if approached with the right mind set, then it can be a very rewarding film. Mainstream American cinema often has a clear and linear framework. It is constructed in an established fashion and despite adopting techniques and styles from other countries, is frequently somewhat conservative in its presentation. Italian cinema, especially the work of Argento, focuses very much on visual aesthetics. Framing, the use of colour, editing and atmosphere often take priority over narrative and logic.
Phenomena centres on Jennifer Corvino (Jennifer Connelly), the daughter of a famous actor who starts at an exclusive girl’s school in Switzerland. She befriends Doctor MacGregor (Donald Pleasance), a disabled entomologist who is helping Police with their enquiries regarding a serial killer. The Doctor also has a Chimpanzee. I mention this as it is an integral plot device. It should also be noted that Jennifer is a somnambulist and has a telepathic link with insects. It is not long before Jennifer crosses the path of the serial killer, yet because of her strange gifts suspsicion falls on her.
On paper the plot does sound somewhat ludicrous and I’d be lying if I said it doesn’t come across that way in the film. However Phenomena is beautifully shot on location in Switzerland and manages transcends its storyline through its audio visual excesses. Argento uses crane shots and stedicams to construct audacious and shocking set pieces, which are beautifully grotesque. European cinema always seems to depict acts of violence in a far more horrific way than the US. It is hard to put a finger on what the exact difference is. Colour and sound play an important part in the construction of Phenomena. The music veers from soft choral motifs, to burst of eighties metal. Night scenes are bathed in blue hues and blood is often splattered against lighter colours that starkly contrast it.
If you have a curious nature, a liking for the horror genre and an interest in European cinema, then this film is certainly a “baptism of fire”. Just to re-iterate the plot contains a killer dwarf, flesh eating insects, bad Scottish accents and a chimp with a cut throat razor. The final twenty minutes are quite gruelling but it is also an exquisite assault on your senses and for that reason alone I feel compelled to recommend Phenomena. Try and avoid the US release of the film which was renamed Creepers. This version was heavily edited from one hundred and ten minutes down to eighty two. Most of the violence is missing and the bizarre plot is rendered even more incomprehensible.
Phenomena features a soundtrack by long time Argento collaborators Goblin and their musical style contributes greatly to the film. The main theme is repeated in subtle variations throughout the course of the story. Although very much a product of the time, their unique European ambiance is still quite striking and the complete opposite of a traditional melodramatic orchestral score. This combined with the ambient sound effects and cacophonous sound mixing adds an extra dimension to Argento’s work and reflects his established aesthetic. One way or another Phenomena is a movie that leaves a lasting impression
The Beyond (1981)
Known in Italy as “E tu vivrai nel terrore! L'aldilà” which literally means “And you will live in terror! The afterlife”, The Beyond is the second entry in the so-called “Gates of Hell” trilogy by director Lucio Fulci. However, all three films are not connected in any way and simply share supernatural themes and graphic violence. Something Lucio Fulci became synonymous with in the latter part of his career. The Beyond is one of the director’s better films, in so far as it has good production values and is set in rural Louisiana. It has a lot of visual flair and a great soundtrack by composer Fabio Frizzi. However, the story is not a traditional linear narrative. Instead, after establishing a basic premise of a hotel built on one of the seven gates of hell and a vengeful dead warlock, The Beyond becomes mainly a series of elaborate and ghoulish set pieces, designed more for visual impact rather than logical sense.
Known in Italy as “E tu vivrai nel terrore! L'aldilà” which literally means “And you will live in terror! The afterlife”, The Beyond is the second entry in the so-called “Gates of Hell” trilogy by director Lucio Fulci. However, all three films are not connected in any way and simply share supernatural themes and graphic violence. Something Lucio Fulci became synonymous with in the latter part of his career. The Beyond is one of the director’s better films, in so far as it has good production values and is set in rural Louisiana. It has a lot of visual flair and a great soundtrack by composer Fabio Frizzi. However, the story is not a traditional linear narrative. Instead, after establishing a basic premise of a hotel built on one of the seven gates of hell and a vengeful dead warlock, The Beyond becomes mainly a series of elaborate and ghoulish set pieces, designed more for visual impact rather than logical sense.
Starring English actress Catriona McColl (Hawk The Slayer), as the beleaguered hotel owner Liza Merril and New Zealand ex-pat David Warbeck (A Fistful of Dynamite), as Dr. John McCabe, The Beyond quickly descends into mayhem. An odd job man has his eye gouged out by the zombified corpse of a dead warlock. An architect researching the hotel’s original plans, falls from a step ladder and has his face eaten by tarantulas. Dead bodies from the local morgue get up and attack the living. It’s all very grim, ghoulish and bombastic with lurid makeup effects by Gianetto De Rossi. Fulci turns everything up to eleven, the proceedings are handsomely shot and not a moment is wasted. However, despite the director taking it all very seriously, the cast are not so committed. There’s a scene towards the end when David Warbeck escapes in a lift from advancing zombies. While reloading his gun you briefly see him putting a bullet directly into the end of the gun barrel for a joke.
Following its initial release around Europe, critical opinion on The Beyond was polarised. Many found it gory and confusing. Forty years later, retrospective criticism has been a lot kinder, praising the film’s surrealistic qualities, production design, musical score and cinematography. Some have gone on to claim that Fulci made the proceedings intentionally disorienting, as part of a subtle commentary upon traditional cinematic style. I am not so sure that is the case and believe that Fulci simply was content to create a horror film that focused on style over narrative. Cinematic analysis aside, The Beyond is a striking piece of Italian horror and does manage to hold your interest, despite its lack of internal logic. Spiders tend not to eat people’s faces but it’s cool when they do. And for those expecting a happy ending, think again. The denouement is bleak but suits the tone of the film perfectly.
El Orfanato AKA The Orphanage (2007)
Laura García Rodríguez is adopted from an orphanage as a child. 30 years later, adult Laura (Belén Rueda) returns to the now closed orphanage, accompanied by her husband, Dr. Carlos Sánchez Rivera (Fernando Cayo), and their seven-year-old son, Simón (Roger Príncep). They plan to use the orphanage as a facility for disabled children. In the meantime, Simón talks about a boy named Tomás. He draws pictures of his new friend as a child wearing a sack mask. A social worker, Benigna Escobedo (Montserrat Carulla), visits Simón, as he has been adopted by Laura and Carlos. Simón is HIV positive. Angered by Benigna's unscheduled visit, Laura asks her to leave. She later finds Benigna in the orphanage's coal shed, but Benigna gets away. Simón becomes more enamoured with his imaginary friends but becomes angry when he learns from Tomás that Laura is not his birth mother, and he is terminally ill.
Laura García Rodríguez is adopted from an orphanage as a child. 30 years later, adult Laura (Belén Rueda) returns to the now closed orphanage, accompanied by her husband, Dr. Carlos Sánchez Rivera (Fernando Cayo), and their seven-year-old son, Simón (Roger Príncep). They plan to use the orphanage as a facility for disabled children. In the meantime, Simón talks about a boy named Tomás. He draws pictures of his new friend as a child wearing a sack mask. A social worker, Benigna Escobedo (Montserrat Carulla), visits Simón, as he has been adopted by Laura and Carlos. Simón is HIV positive. Angered by Benigna's unscheduled visit, Laura asks her to leave. She later finds Benigna in the orphanage's coal shed, but Benigna gets away. Simón becomes more enamoured with his imaginary friends but becomes angry when he learns from Tomás that Laura is not his birth mother, and he is terminally ill.
El Orfanato includes many of the classic hallmarks of supernatural cinema. There is a suitably gothic building, near to a beach. The cliff has secret caves that flood at high tide. Then there are the ghosts themselves who remain hidden for much of the film. Director J. A. Bayona uses sound and sleight of hand to build the atmosphere. There are a few shocks, that although not excessively graphic, are jolting due to their skillful execution. Children are represented honestly and credibly, and the story does not shy away from showing both their inclusionary and exclusionary proclivities. Too many US films depict children in a saintly manner, especially when a dying child is used as a plot device. Both Belén Rueda and Fernando Cayo excel as parent’s dealing with an impossible situation. Again, the emotional strain upon their relationship is shown realistically.
Screenwriter Sergio Sánchez touches on several classic themes that frequently occur within the horror genre. The stigma of deformity and of difference, as well as the cruelty of children. This is depicted both in the way Simón is treated when others find out about his illness and in a subplot regarding his ghostly friend Tomás. The story also deals with regret, guilt and a mother’s love. However, all of which is handled in an intelligent, nuanced and remarkable unsentimental manner. Instead, we are present with genuine tragedy, pathos and melancholy. Despite such bleak subject’s cinematographer Óscar Faura imbues the proceedings with great beauty. The conclusion is quite radical and not what you would call a “Hollywood ending”. Yet it is an emotionally honest outcome. El Orfanato is a fine example of “kinder horror” and an exceedingly well-crafted film that conspicuously avoids the contrived sensibilities of US cinema. It is an emotionally raw and moving film but also a very rewarding one.
The Last Voyage of the Demeter (2023)
Based on a single chapter, the Captain's Log, from Bram Stoker's classic 1897 novel “Dracula”, The Last Voyage of the Demeter takes place aboard a Russian schooner which is chartered to carry a private cargo of unmarked wooden crates, from Carpathia to London. The film details the strange events that befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a terrifying presence on board their ship. When it finally founders and wrecks near Whitby Harbour, the ship is found to be derelict. There is no trace of the crew. (IMDb synopsis)
After some research, it becomes clear that this film’s journey from concept to final release has neither been easy or straight forward. Numerous writers have tinkered with the script and multiple directors have been associated with the project over the last decade. The film was completed in 2021 and has been awaiting a cinematic release ever since. Such issues can often lead to a studio losing confidence in a film. However, The Last Voyage of the Demeter is a perfectly serviceable horror adventure, albeit one that owes a lot to Alien. Yet many horror films follow a pattern and explore common themes. Ultimately it comes down to providing a new perspective. The Last Voyage of the Demeter achieves this and offers an entertaining two hours. Is it perfect? No. Is it poorly made, dull and lacking in suspense? No. If you paid a lot to see it at the theatre then you may be a little underwhelmed. But as an evening’s scary home entertainment, it is fine.
Based on a single chapter, the Captain's Log, from Bram Stoker's classic 1897 novel “Dracula”, The Last Voyage of the Demeter takes place aboard a Russian schooner which is chartered to carry a private cargo of unmarked wooden crates, from Carpathia to London. The film details the strange events that befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a terrifying presence on board their ship. When it finally founders and wrecks near Whitby Harbour, the ship is found to be derelict. There is no trace of the crew. (IMDb synopsis)
After some research, it becomes clear that this film’s journey from concept to final release has neither been easy or straight forward. Numerous writers have tinkered with the script and multiple directors have been associated with the project over the last decade. The film was completed in 2021 and has been awaiting a cinematic release ever since. Such issues can often lead to a studio losing confidence in a film. However, The Last Voyage of the Demeter is a perfectly serviceable horror adventure, albeit one that owes a lot to Alien. Yet many horror films follow a pattern and explore common themes. Ultimately it comes down to providing a new perspective. The Last Voyage of the Demeter achieves this and offers an entertaining two hours. Is it perfect? No. Is it poorly made, dull and lacking in suspense? No. If you paid a lot to see it at the theatre then you may be a little underwhelmed. But as an evening’s scary home entertainment, it is fine.
So, in light of this, I find it odd that many critics have been negative about the film and what I would define as overly critical. I wrote a review of the horror film Countdown a few years back and made the point that not every film can break new ground or be a masterpiece. Countdown was perfectly adequate for what it was and what part of the market it catered for. The same can be said about The Last Voyage of the Demeter. So, what exactly do some critics expect? Film quality, artistic merit and even entertainment in general all exist on a spectrum. Just like the books we read, the music we listen to and the food we eat. I do wonder if some critics have the capacity and intellectual rigour to temper their expectations and contextualise them. Everything seems to be presented as a binary choice these days. That apparently now includes one’s assessment of a film.
With all of that in mind, what does The Last Voyage of the Demeter have to offer? The production values are good, especially the location work in Malta at the start of the film. The digital effects depicting the schooner and storms at sea are credible. The creature effects, which are a mixture of prosthetics and CGI, are creepy. The cast are competent, and it is an advantage that many are not household names. I felt the international nature of all the actors to be appropriate to the story and the nature of ships crews from the era depicted. I enjoyed lead actor Corey Hawkins’ London accent and felt that Liam Cunningham brought appropriate gravitas as the ship’s ageing Captain. The film may have benefited from just a slightly quicker pace and a reduction of the running time by ten minutes. But the last thirty minutes are quite tense. Also, there’s a classy and subtle score by composer Bear McCreary.
Some have raised the point that because the outcome of the story is known in advance, like that of Apollo 13, that it mitigates any suspense and sense of immersion. I don’t believe that is the case at all. It certainly wasn’t with regard to Ron Howard’s film about the ill fated apollo mission. The Last Voyage of the Demeter still manages to maintain a degree of freedom in the way it resolves certain plot elements. It is as creative as it wants about the death of the cast members. I also suspect that many viewers are not aware of the connection with Bram Stoker’s Dracula. Although a literary classic, I don’t think it is by default appealing to modern audiences. So many viewers may not consider the film a “fait accompli”. Caveats and argument about the subjective nature of movie criticism notwithstanding, The Last Voyage of the Demeter is an entertaining and creative concept, offering a different variation on a known cinematic theme. Set your expectations and enjoy accordingly.
Phantasm (1979)
A teenage boy and his friends face off against a mysterious grave robber, known only as the Tall Man, who employs a lethal arsenal of unearthly weapons. (IMDb synopsis) NB. This summary fails to capture the essence of Phantasm and does not do it justice. However, to delineate the plot in greater detail is difficult and counterproductive. Phantasm is not only a film to be watched but one to be experienced.
There is a bizarre, dreamlike quality to Phantasm. After watching it for the first time, you may not remember the specifics of the story, but certain scenes will linger in the memory, in the same way you may recollect snatches of a nightmare following a disturbed night’s sleep. Like so many independent films, made on small budgets by aspiring professionals, it is filled with creativity and innovative ideas that more than make up for its modest production values. Phantasm revels in its surreal imagery and grotesque set pieces and avoids the trappings of a traditional linear and logical narrative. It is a horror film that eschews the genre conventions of the time, in the same way that Dark Star (1974) flew in the face of traditional science fiction films. Although now part of a curious franchise, this original works perfectly well as a standalone film and has developed a substantial cult following among both film fans and high-profile film makers.
A teenage boy and his friends face off against a mysterious grave robber, known only as the Tall Man, who employs a lethal arsenal of unearthly weapons. (IMDb synopsis) NB. This summary fails to capture the essence of Phantasm and does not do it justice. However, to delineate the plot in greater detail is difficult and counterproductive. Phantasm is not only a film to be watched but one to be experienced.
There is a bizarre, dreamlike quality to Phantasm. After watching it for the first time, you may not remember the specifics of the story, but certain scenes will linger in the memory, in the same way you may recollect snatches of a nightmare following a disturbed night’s sleep. Like so many independent films, made on small budgets by aspiring professionals, it is filled with creativity and innovative ideas that more than make up for its modest production values. Phantasm revels in its surreal imagery and grotesque set pieces and avoids the trappings of a traditional linear and logical narrative. It is a horror film that eschews the genre conventions of the time, in the same way that Dark Star (1974) flew in the face of traditional science fiction films. Although now part of a curious franchise, this original works perfectly well as a standalone film and has developed a substantial cult following among both film fans and high-profile film makers.
Told predominantly from the perspective of 13-year-old Mike, Phantasm is a film about grief, the mortality of friends and family and coming to terms with our own existential dread. The film starts with the funeral of a family’s oldest brother, Tommy. Mike has also been raised by his two brothers since the death of his parents. Hence loss is very much a key theme in Phantasm. Because of Mike’s age, it can be argued that Phantasm also alludes to transitioning from a child to an adult. Mike frequently checks on his older brother Jody and observes his activities such as his drinking in a bar and his sexual dalliances with a woman he meets there. This seems to both intrigue and shock Mike. Is the Tall Man’s transformation of the dead into malignant dwarf slaves, a metaphor for Mike’s concerns about becoming an adult? Such ideas and themes are present to ponder, should the viewer see fit to do so.
Alternatively, one can focus on the film’s visual imagery which is vivid. The briefly glimpsed hooded dwarves that scuttle in the shadows. The sleek but deadly silver spheres that patrol the marbled lined corridors of the Morningside Funeral Home. Then there is the imposing and esoteric presence of Angus Scrimm as the Tall Man. One of the cinema's most incongruous but memorable villains. Phantasm, ostensibly a horror film, also has a wealth of interesting ideas and concepts that hail more from the science fiction genre. The Tall Man appears to be an interdimensional traveller, using the corpses of the recently deceased to create homunculus that can survive and work in the extreme heat and increased gravity of his own world. Furthermore, the interdimensional gateway seems to work via sound and vibration. The Tall Man also appears to have transformative abilities, appearing alternatively as the Lady in Lavender.
The 2016 restoration and 4K remaster of Phantasm is quite a revelation. All previous copies that I have viewed have been too dark and terribly pan and scanned, thus greatly diminishing the film’s visual flair. The current Blu-ray release offers a clear image at the correct aspect ratio, as well as the original mono sound mix and a new 5.1 remix. The soundtrack by Fred Myrow and Malcolm Seagrave greatly adds to the film’s atmosphere with its haunting electronic music. The resulting franchise that has followed in the wake of Phantasm is a curious beast. None of the films quite match the innovation of the original or recapture its haunting quality. They are mainly a showcase for the director, Don Coscarelli, to experiment with his respective ideas about the Tall Man’s origins and the silver spheres. Hence, I recommend curious viewers to initially content themselves with the original, as it offers more than enough to reflect upon.
Maniac Cop (1988)
In New York City, a waitress is attacked by muggers on her way home. When she seeks help from an officer on the beat, he breaks her neck. When the same officer (Robert Z’dar) commits further murders, Lieutenant McCrae (Tom Atkins) is assigned to investigate. He is told by his superiors to suppress eyewitness accounts that the killer is wearing a police uniform. However, he passes this information to a journalist, in an attempt to protect civilians. Ellen Forrest (Victoria Catlin), suspects that her husband Jack (Bruce Campbell) may be the “Maniac Cop”, as the press are calling him, and follows him to a motel, only to discover he is having an affair with fellow officer Theresa Mallory (Laurene Landon). Ellen is subsequently murder by the killer and Jack is arrested under suspicion of murder. McCrae believes Jack has been framed and speaks to Mallory, who can provide Jack with an alibi. Mallory is then attacked by the Maniac Cop while working undercover as a prostitute. McCrae and Mallory fight off the killer, who escapes mysteriously unharmed, despite being shot several times.
In New York City, a waitress is attacked by muggers on her way home. When she seeks help from an officer on the beat, he breaks her neck. When the same officer (Robert Z’dar) commits further murders, Lieutenant McCrae (Tom Atkins) is assigned to investigate. He is told by his superiors to suppress eyewitness accounts that the killer is wearing a police uniform. However, he passes this information to a journalist, in an attempt to protect civilians. Ellen Forrest (Victoria Catlin), suspects that her husband Jack (Bruce Campbell) may be the “Maniac Cop”, as the press are calling him, and follows him to a motel, only to discover he is having an affair with fellow officer Theresa Mallory (Laurene Landon). Ellen is subsequently murder by the killer and Jack is arrested under suspicion of murder. McCrae believes Jack has been framed and speaks to Mallory, who can provide Jack with an alibi. Mallory is then attacked by the Maniac Cop while working undercover as a prostitute. McCrae and Mallory fight off the killer, who escapes mysteriously unharmed, despite being shot several times.
Maniac Cop is a great “high concept” idea, made at a time when the slasher genre was running out of steam and writers were striving for a new angle. The story is modest in scope and efficiently handled, especially the idea of an honest cop being thrown to the wolves for the sake of political expediency. Director William Lustig has previous experience with both gory slashers such as Maniac (1980) and gritty urban crime movies like Vigilante (1982). Unfortunately, the film’s ambitions are hampered by the budget. The various murders by the “Maniac Cop” are not that gory, apart from a prison flashback sequence. In one scene a cop is shot by a member of the public, who panics when they are pulled over while driving. The squib blows the entire blood bag out of the back out of their hat and as the stunt man falls to the ground you can see the electrical cabling coming out of their costume. Obviously, there wasn’t the budget to reshoot the scene, so it was left in despite its noticeable flaws.
Low budgets often go hand in hand with independent horror films. It often drives filmmakers to be very creative. However, sometimes a low budget can hamstring a film no matter how. The strongest aspect of Maniac Cop is the cast, who are all genre stalwarts who are more than comfortable with the hardboiled dialogue. The film also benefits from a very atmospheric score by Jay Chattaway, which has a memorable motif that is often played in an off-kilter fashion. The story, by genre veteran Larry Cohen, is well conceived but after spending time and effort setting the story up, there’s simply no money left for a satisfactory payoff. Hence Maniac Cop runs out of steam in the third act and has a somewhat weak ending. Perhaps the best thing that Maniac Cop achieves is laying the groundwork for a bigger budget and superior sequel that was made two years later.
The Sentinel (1977)
During the seventies, the success of several disaster movies indirectly started a trend for all-star casts. Then when the horror genre became a bankable commodity once again and Hollywood started pouring money into such productions, the casting of famous actors both old and new continued. Hence Michael Winner’s 1977 adaptation of The Sentinel, based upon the book by Jeffrey Konvitz, features multiple stars from forties and fifties Hollywood. Their presence adds some gravitas to the production but like so many of the director’s other films, there is an unseemly and somewhat unpleasant quality to The Sentinel. Perhaps a different director could have brought the various elements of the story together more successfully. Winner creates both atmosphere and shocks, but it is all a little too knowing. He also commits a cardinal sin at the film’s climax. Casting disabled actors for shock value as the denizens of hell.
During the seventies, the success of several disaster movies indirectly started a trend for all-star casts. Then when the horror genre became a bankable commodity once again and Hollywood started pouring money into such productions, the casting of famous actors both old and new continued. Hence Michael Winner’s 1977 adaptation of The Sentinel, based upon the book by Jeffrey Konvitz, features multiple stars from forties and fifties Hollywood. Their presence adds some gravitas to the production but like so many of the director’s other films, there is an unseemly and somewhat unpleasant quality to The Sentinel. Perhaps a different director could have brought the various elements of the story together more successfully. Winner creates both atmosphere and shocks, but it is all a little too knowing. He also commits a cardinal sin at the film’s climax. Casting disabled actors for shock value as the denizens of hell.
Alison Parker (Christina Raines) is a fashion model who suffers from neurosis, which has led to several suicide attempts. When she moves into a Brooklyn Heights brownstone, she notices that the top floor apartment is occupied by a blind priest, Father Halliran (John Carradine), who continuously sits at the window. Overtime, Alison starts suffering from fainting spells and insomnia. She also hears unexplained noises. Her neighbours are also somewhat odd, including the eccentric, elderly Charles Chazen (Burgess Meredith), and the female couple Gerde (Sylvia Miles) and Sandra (Beverly D'Angelo). She even attends a bizarre birthday party for Chazen's cat. Alison decides to share her concerns with the rental agent Miss Logan (Ava Gardner) but is perplexed to be told that her and the blind priest are the building’s only tennants. Alison's boyfriend Michael (Chris Sarandon), who is a lawyer, contacts a corrupt detective called Brenner (Hank Garrett), to investigate what is happening.
The all-star cast of “Hollywood legends” certainly adds to the allure of The Sentinel. The fact that such actors as Burgess Meredith, Ava Gardner and Jose Ferrer get to play such baroque and grotesque characters is intriguing. The screenplay, which was adapted by both Jeffrey Konvitz and Michael Winner, retains many of the themes from the original book such as hidden trauma and the stigma of attempted suicide. The make-up effects are unpleasant but exemplary, created by industry legend, Dick Smith. This was the age of the big budget horror film with studios eager to recreate the box office success of The Exorcist and The Omen. Hence The Sentinel seeks to replicate many of the horror tropes seen in those movies. Overall, this is a professionally made picture with good quality production values. Yet despite all this, the various elements don’t quite seem to fit and the film feels off.
The best and most revered horror films are those made by people who understand the versatility of the genre and how it can be successfully used to explore complex themes and make intelligent commentary on the human condition. The Exorcist and Dawn of the Dead are two fine examples of this. However, Michael Winner is a divisive film maker. Often with his films, there comes a tipping point where the viewer may consider is he genuinely subverting the genre and its themes to do something original, or is he mocking the material and the audience? I can’t help but feel that Winner was not the right sort of director for The Sentinel. He claimed that he was inspired by the paintings of Hieronymus Bosch but that is a poor excuse for exploiting the disabled. The Sentinel could have been a better film in different hands. As it stands, its questionable excesses diminish it.