The Keep (1983)
Michael Mann’s The Keep (1983) is a cinematic “curate’s egg” that often leaves viewers with mixed feelings. In visual terms, this supernatural horror film with science fiction overtones, is both striking and innovative. The sound design and soundtrack by Tangerine Dream are compelling but at the expense of the dialogue, which is often muffled and difficult to hear. Narratively, it is confusing and rushed. The editing further compounds this. The novel by F. Paul Wilson, upon which it is based, blends elements of gothic horror and classic vampire themes and juxtaposes them with the horror of World War II and the evils of the Schutzstaffel (SS). Mann has removed the traditional cinematic trappings associated with the “undead” and instead presents us with a stylised, science fantasy story in which the antagonist is a supernatural entity that feeds on evil. However, due to The Keep having a troubled production and last-minute re-editing, much of the film’s dramatic and narrative substance has been lost along the way. What remains is intriguing but flawed.
Michael Mann’s The Keep (1983) is a cinematic “curate’s egg” that often leaves viewers with mixed feelings. In visual terms, this supernatural horror film with science fiction overtones, is both striking and innovative. The sound design and soundtrack by Tangerine Dream are compelling but at the expense of the dialogue, which is often muffled and difficult to hear. Narratively, it is confusing and rushed. The editing further compounds this. The novel by F. Paul Wilson, upon which it is based, blends elements of gothic horror and classic vampire themes and juxtaposes them with the horror of World War II and the evils of the Schutzstaffel (SS). Mann has removed the traditional cinematic trappings associated with the “undead” and instead presents us with a stylised, science fantasy story in which the antagonist is a supernatural entity that feeds on evil. However, due to The Keep having a troubled production and last-minute re-editing, much of the film’s dramatic and narrative substance has been lost along the way. What remains is intriguing but flawed.
In 1941 in Romania, Captain Klaus Woermann (Jürgen Prochnow), arrives with his unit at an uninhabited castle, known locally as “the Keep”, located in the Dinu Pass of the Carpathian Mountains. The building is maintained by villagers, Alexandru and his two sons, who are paid from a longstanding trust fund. The interior of the “the keep” has numerous cross shaped icons made of nickel, embedded in the wall. One night two soldiers seeking hidden treasure remove one of the stone blocks in the wall, releasing an entity that kills them. After more subsequent deaths Woermann requests reinforcements but is shocked when SS officer, Erich Kaempffer (Gabriel Byrne), arrives with a detachment of his commandos. Kaempffer, ignores the supernatural nature of the deaths and suspects partisans. Local village priest, Father Mihail Fonescu (Robert Prosky), suggests the Germans consult the historian, Theodore Cuza (Ian McKellen), who has studied “the keep” in the past.
Filmed on location in Wales and at Shepperton Studios during late 1982, The Keep suffered several problems both during production and postproduction. Unseasonal weather damaged several sets thus delaying filming and adding to the budget. Then special effects supervisor Wally Veevers died before completing his work on the film. Veevers specialised in optical effects, often using bespoke equipment and techniques only known to him. Paramount Pictures refused to pay any additional costs to find an alternative and so his absence meant that many effects shots couldn’t be completed and had to be cut from the film. Then there were further problems while editing The Keep. Mann’s final cut was 210 minutes, featuring a great deal more character development and plot exposition. The studio naturally balked at what they regarded as a horror film being so long. So, Mann edited a second version which ran 120 minutes. Sadly, this was not well received by test audiences and so the studio took control and produced a rushed, final edit of 96 minutes.
It is this theatrical version which leaves so many viewers bemused. It is self-evident within the first 10 minutes of The Keep, that this is not a typical gothic themed, vampire horror film. Mann’s modern visual aesthetic, which we previously saw in his 1981 film Thief, is amped up here. Director of cinematography Alex Thomson (Excalibur and Legend) has a keen eye for contrasting colours as well as brightly backlighting characters and key scenes. Then there’s the pulsing electronic soundtrack by German band, Tangerine Dream, which utilises revised material from several of their previous albums. Hence, the film may well be set in 1943 but it has a very contemporary, industrial look and sound. Furthermore, the makeup and animatronics by Nick Malley along with Wally Veevers visuals effects avoid standard horror tropes. Blood and gore is replaced by desiccation. Wooden stakes through the heart with lasers.
Sadly, the last-minute re-edit renders many scenes incomplete, and the characters often appear to act with little or no clear motivation, due to the amount of material removed. Sir Ian McKellen’s performance as Dr. Cuza remains strong but sadly Alberta Watson as his daughter Eva and the criminally underrated Scott Glenn as Glaeken Trismegestus have their roles cut to a minimum. Many secondary plotlines are also lost in the theatrical edition of The Keep. Who exactly is Glaeken and why does Eva fall in love with him so quickly. What power does he have over her? Then there is the matter of the way the evil released inside “the keep” spreads to the village, like a disease and the locals soon start to turn on each other. It is worth noting that the author did not like Michael Mann’s interpretation and in 2006 collaborated with artist Matthew Dow Smith to produce a graphic novel version he felt was closer to his work.
The Keep was a commercial failure upon release, although it did garner praise for its visual aesthetics. Over the years, various interviews with those that worked on the film have raised a lot of interest among film fans. Sadly, there has yet to be a Blu-ray release of The Keep, although DVD copies remain in circulation. Occasionally, cable channels show a TV version of the film with a slightly different ending. However, director Michael Mann appears to have no interest in revisiting the film and producing a new edit closer to his original vision. Mann has indicated that the climactic battle in which the Nazis are killed off was indeed shot but lacked the required special effects to complete the scene. Paramount has not confirmed whether this or` any other unused footage still exists. Hence it seems likely that The Keep will remain an interesting but flawed cinematic project. Yet even in its existing truncated version it can still make for fascinating viewing.
The Uninvited (1944)
In 1937, while on holiday in Cornwall, London music critic and composer Roderick "Rick" Fitzgerald (Ray Milland) and his sister Pamela (Ruth Hussey) discover Windward House, an abandoned clifftop home. They decide to see if they can buy it from its current owner Commander Beech (Donald Crisp). He willingly settles for an unusually low price of £1,200. Rick and Pamela meet Beech's 20-year-old granddaughter Stella Meredith (Gail Russell), who lives with her grandfather after her parents death. Stella is strongly attached to the house, and its sale upsets her. Although Stella’s mother, Mary Meredith, fell to her death from the cliffs outside Windward House seventeen years earlier, Stella reflects fondly on her time there as a child. Commander Beech forbids Stella from going to Windward House, but Rick and Pamela feel sorry for Stella and indulge her visits. However, shortly after moving in Pamela and then Rick become aware of drafts on the staircase, cold spots in the studio room and ghostly weeping in the night.
In 1937, while on holiday in Cornwall, London music critic and composer Roderick "Rick" Fitzgerald (Ray Milland) and his sister Pamela (Ruth Hussey) discover Windward House, an abandoned clifftop home. They decide to see if they can buy it from its current owner Commander Beech (Donald Crisp). He willingly settles for an unusually low price of £1,200. Rick and Pamela meet Beech's 20-year-old granddaughter Stella Meredith (Gail Russell), who lives with her grandfather after her parents death. Stella is strongly attached to the house, and its sale upsets her. Although Stella’s mother, Mary Meredith, fell to her death from the cliffs outside Windward House seventeen years earlier, Stella reflects fondly on her time there as a child. Commander Beech forbids Stella from going to Windward House, but Rick and Pamela feel sorry for Stella and indulge her visits. However, shortly after moving in Pamela and then Rick become aware of drafts on the staircase, cold spots in the studio room and ghostly weeping in the night.
There is much to commend The Uninvited. It is a gentle, humorous romantic drama, punctuated with supernatural elements. The script by Dodie Smith and Frank Partos reflects Hollywood’s perceptions of archetypes and romance of the time. The lead character Rick (played effortlessly by Ray Milland) is fun and amusing with his quips and wry humour. Stella, the object of his affection and noticeably his junior, is young, naive and oblivious to the realities of life. She is also in danger, possibly from herself or may be from a malevolent outside force. Despite being studio bound, the story unfolds against sumptuously crafted sets, especially Windward House, with its palatial staircase and imposing rooms. All of which is superbly lit and photographed by Charles Lang. half of the film atmosphere derives from the excellent composed shots and clever use of visual effects, such as matte paintings and foreground miniatures.
However, as well as being a robust example of quality studio filmmaking from the era, there appears to be a lot of hidden narrative depth to The Uninvited. Is Stella's child-like demeanour simply a product of her parochial upbringing or are there hints at hereditary mental illness? Then there’s the curious manner in which Mary Meredith’s best friend, Miss Holloway, dotes upon her memory in an obsessive fashion. Was this more than a platonic friendship? Then there is the age gap between Rick and Stella. Although not unusual by the cultural standards of the time it does offer a point of contemplation. Is he looking for a wife or a daughter? It is possible that these themes are not actually present and it’s a case of watching a film from the forties with modern sensibilities. Yet it is worth remembering that filmmakers at the time were having to work within the confines of the Motion Picture Production Code and had to be creative if they wanted to tackle adult themes.
Whether you wish to contemplate the alleged deeper themes, or simply enjoy The Uninvited as a charming romantic, supernatural drama, either way it will entertain. Lewis Allen directs assuredly and the story spans its three act structure neatly and efficiently. The story has a strong female presence and is unusual insofar that the supernatural element is not continuously dismissed by the protagonists. There are no elaborate set pieces by modern standards. But the paranormal incidents that occur work well because of their subtlety. A bouquet withers due to the cold. An impromptu piano performance which starts upbeat and romantic, takes a sombre and morose turn. And then there are the household pets that eschew the supernatural. It is all so pleasantly old school, understated and very absorbing. The Uninvited is one to watch when you want a change from contrived jumps and scares that are on offer nowadays.
A Bay of Blood (1971)
Disabled countess Federica Donati (Isa Miranda) is strangled to death by her husband, Filippo Donati (Giovanni Nuvoletti). Filippo is subsequently stabbed to death by an unseen assailant, and his body is then dragged to the bay beside their mansion. The police investigate and find a suicide note written by the countess, but do not discover Filippo's murder. Real estate agent Frank Ventura (Chris Avram) and his lover Laura (Anna Maria Rosati) are plotting to take possession of the bay. When the Countess refused to sell her estate to them, the couple conspired with Filippo to murder his wife. The pair are unaware that Filippo is dead and cannot proceed with their scheme without his signature. Meanwhile, four local teenagers Duke (Guido Boccaccini), Bobby (Roberto Bonanni), Denise (Paola Montenero) and Brunhilde (Brigitte Skay) break into the seemingly deserted mansion, looking for fun. However, they are soon killed one by one. Are all these events connected?
Disabled countess Federica Donati (Isa Miranda) is strangled to death by her husband, Filippo Donati (Giovanni Nuvoletti). Filippo is subsequently stabbed to death by an unseen assailant, and his body is then dragged to the bay beside their mansion. The police investigate and find a suicide note written by the countess, but do not discover Filippo's murder. Real estate agent Frank Ventura (Chris Avram) and his lover Laura (Anna Maria Rosati) are plotting to take possession of the bay. When the Countess refused to sell her estate to them, the couple conspired with Filippo to murder his wife. The pair are unaware that Filippo is dead and cannot proceed with their scheme without his signature. Meanwhile, four local teenagers Duke (Guido Boccaccini), Bobby (Roberto Bonanni), Denise (Paola Montenero) and Brunhilde (Brigitte Skay) break into the seemingly deserted mansion, looking for fun. However, they are soon killed one by one. Are all these events connected?
A Bay of Blood (AKA Twitch of the Death Nerve) is a giallo, as the complexity of the prior plot synopsis may indicate to those familiar with the genre (I only summarised the first 30 minutes of the film). However, the film contains many of the tropes that would later become staples of the slasher genre, a decade later. There has been some debate among fans whether A Bay of Blood is indeed a proto-slasher but it has too many hallmarks of a giallo. The most obvious being that the murders are all due to human agency with real life motivations. Slasher films feature antagonists who kill through psychosis or sometimes, without motivation at all and often have supernatural abilities. Setting aside such debates, director Mario Bava certainly changed the trajectory of the giallo genre, taking a more violent and exploitative approach. The lavish visual style is still present, but the focus of the set pieces has changed from suspense to gore.
As well as being a giallo, A Bay of Blood is a rich slice of early seventies, Italian pop culture. Hence our quartet of hip and groovy teens arrive in a Dune Buggy, sporting flares and mini dresses and doing the shake to a particularly funky soundtrack by Stelvio Cipriani. As ever with Italian cinema, the production design and sets are creative and stylish. Mario Bava once again handles cinematography himself and composes some creative and dynamic scenes. The pastel shades and autumn colours of previous films such as Black Sabbath and Blood and Black Lace are replaced with starker lighting designed to reinforce the impact of the grisly set pieces. Special effects artist Carlo Rambaldi (who a decade later worked on Alien and E.T.) designed and executed the graphic death scenes. Two of which, the machete to the face and the couple having sex impaled by a spear, were subsequently “repeated” in Friday the 13th Part 2.
To the casual viewer, A Bay of Blood is a somewhat archaic whodunnit with a high and gory body count. They may also feel that the period trappings date the proceedings. However, to those who are more familiar with gialli or simply have a greater tolerance for material outside of the current mainstream, then A Bay of Blood is an interesting piece of genre history. The story is delightfully convoluted as well as implausible and the violence is flamboyant and stylised. Like most Italian films from this era, dialogue has been added in post-production, which gives such films a very unique soundscape. It is clear that this film was a major influence on American cinema a decade later and although not a slasher movie, it certainly established the foundations of that genre of film. A Bay of Blood is designed to be an assault upon the senses, rather than a logical, linear horror film. Viewed on such terms it can be very rewarding.
The Caller (1987)
A woman (Madolyn Smith) returns to a remote cabin in the woods carrying groceries. On the way she passes an abandoned vehicle, which she searches. She finds a broken doll in the glove box. On arrival at the cabin, she takes a shower and then calls her daughter. She then prepares a meal for a guest and goes to the garage only to find that her jeep has a puncture from a broken bottle. A mysterious stranger (Malcolm McDowell) prowls around outside the cabin, watching the woman through the windows. He then knocks, claiming that his car has broken down and asks if he can use her phone. He calls a local tow service and requests that his car is collected and repaired. The woman grudgingly allows the stranger to wait although she states she is expecting a guest. The two then converse and it soon becomes clear that they’re both sceptical of each other’s respective stories. A strange game of cat and mouse ensues with each alternately gaining the upper hand. Slowly the atmosphere becomes more tense.
A woman (Madolyn Smith) returns to a remote cabin in the woods carrying groceries. On the way she passes an abandoned vehicle, which she searches. She finds a broken doll in the glove box. On arrival at the cabin, she takes a shower and then calls her daughter. She then prepares a meal for a guest and goes to the garage only to find that her jeep has a puncture from a broken bottle. A mysterious stranger (Malcolm McDowell) prowls around outside the cabin, watching the woman through the windows. He then knocks, claiming that his car has broken down and asks if he can use her phone. He calls a local tow service and requests that his car is collected and repaired. The woman grudgingly allows the stranger to wait although she states she is expecting a guest. The two then converse and it soon becomes clear that they’re both sceptical of each other’s respective stories. A strange game of cat and mouse ensues with each alternately gaining the upper hand. Slowly the atmosphere becomes more tense.
The Caller comes across more like a stage play than a film. There are only two cast members and the first thirty minutes are exclusively confined to the cabin. Initially the guarded dialogue exchanges between the two characters seems to imply that maybe the stranger is a police officer and the woman a suspect in murder case. But it soon becomes clear, due to the contradictory dialogue and the curious behaviour of each character when the other is out of the room, that something much more arcane is going on. The screenplay by Michael Sloan strives to be “Kafkaesque”, but although intriguing, it isn’t clever enough. The two leads are good and strive to bring some dramatic focus to the proceedings. But by the second act, which takes place the following day when the stranger and the woman meet in town and resume their confrontation, it starts to become frustrating.
The denouement of The Caller is remarkably left field and radically alters the trajectory of the film in its closing scenes. Director Arthur Allan Seidelman, who has a background in theatre as well as film, handles the proceedings in a workmanlike fashion. The fact that this film was made by Empire Pictures may perhaps give some viewers a clue as to what may lie ahead of them. The ending does resolve the story, but it may not satisfy all viewers. Upon reflection such a story would have fared better as an episode of The Twilight Zone or The Outer Limits. If you are going to tackle a story which incorporates a substantial twist that tests your viewers suspension of disbelief, then you perhaps need to approach such material in a more subtle fashion. As it stands The Caller is a curiosity but not necessarily because it is compelling. After investing an hour of your time, you just want to see where it ends up.
Night of the Eagle (1962)
Norman Taylor (Peter Wyngarde) is a psychology lecturer whose career has taken off since he and his wife, Tansy (Janet Blair), returned to England from Jamaica. His students are doing well and he is socially climbing within the school’s administrative hierarchy. Some other members of the faculty are jealous of his success. One night he is shocked to discover curious artefacts hidden around his home and to learn that his wife is practising obeah. Tansy claims that the charms are responsible for his rapid advancement and also protect him, as she has found a similar but malicious item left in their home after a bridge evening. Norman, a consummate rationalist, demands that the charms are destroyed but Tansy warns him she is not responsible for what may happen next. The next day events take a turn for the worse. A student accuses Norman of rape and another threatens him with a gun due to his poor grades. During the night, a freak storm batters Norman’s cottage. Is it just bad weather or something more sinister?
Norman Taylor (Peter Wyngarde) is a psychology lecturer whose career has taken off since he and his wife, Tansy (Janet Blair), returned to England from Jamaica. His students are doing well and he is socially climbing within the school’s administrative hierarchy. Some other members of the faculty are jealous of his success. One night he is shocked to discover curious artefacts hidden around his home and to learn that his wife is practising obeah. Tansy claims that the charms are responsible for his rapid advancement and also protect him, as she has found a similar but malicious item left in their home after a bridge evening. Norman, a consummate rationalist, demands that the charms are destroyed but Tansy warns him she is not responsible for what may happen next. The next day events take a turn for the worse. A student accuses Norman of rape and another threatens him with a gun due to his poor grades. During the night, a freak storm batters Norman’s cottage. Is it just bad weather or something more sinister?
Night of the Eagle was released in the US by American International Pictures under the title Burn, Witch Burn. They added a narrated prologue about witchcraft still being prevalent today to the beginning of the film, along with a spell to protect the audience. They also made an addition to the closing credits with an onscreen question, “do you believe?”, which adds a more sensationalist tone to the film that isn’t required. Beyond these minor embellishments there are no differences between the US and UK versions. Veteran film and TV director, Sidney Hayers, handles the proceedings well and takes a serious tone, making good use of Reginald Wyer’s crisp and well-structured black and white cinematography. The film takes a measured pace and quickly builds a portentous atmosphere. The stone eagles that adorn the school are frequently visually referenced, implying that Norman Taylor is being watched and plotted against.
Night of the Eagle is loosely based upon Conjure Wife by Fritz Leiber. Adapted by Richard Matheson and Charles Beaumont, who frequently wrote for The Twilight Zone, with additional material by George Baxt, the screenplay is measured and reflects British society at the time, especially the social aspirations of the middle classes. This was Peter Wyngarde’s first leading role and his performance is key to the film’s success. The story and production strive to build the sort of atmosphere found in the works of Val Lewton and there are elements not too dissimilar to Jaques Tourneur’s Night of the Demon. However, the shocks that punctuate the slow burn storytelling are a little too brief and feel a little under done. The storm that assails Norman’s home, may have been conjured by an incantation hidden in the background noise of a tape recording that is playing. Yet this novel idea is over too quickly when the door bursts open, just as the recording is stopped.
Night of the Eagle is an interesting precursor to later films such as Rosemary’s Baby (1968) and The Stepford Wives (1974). There is a common theme shared between all these genre movies that the security and even mundanity of middle-class communities is in fact a facade, behind which something far more sinister lurks. The film also reflects the sexual politics of the times and depicts women who have to intercede in a “man’s world” outside of the usual channels and through unorthodox means. The ending of the film neatly resolves the story and makes the films point succinctly. The additions made to the US version hammer home this message further but in an unsubtle manner. Although Night of the Eagle may lack the grandeur and scope of some of its cinematic contemporaries, it still delivers an atmospheric tale, efficiently and charismatically.
Ghost (1990)
Banker Sam Wheat (Patrick Swayze) and his girlfriend, artist Molly Jensen (Demi Moore), move into a Manhattan loft apartment and begin to renovate. They are helped by Sam's friend and co-worker Carl Bruner (Tony Goldwyn). One night, after attending the theatre with Molly, Sam is fatally shot by a mugger who tries to steal his wallet. Sam is shocked to discover he is a ghost but refuses to move on to the afterlife because of his love for Molly. In the following weeks he observes his funeral and Molly’s unhappiness. However, when the mugger (Rick Aviles) who shot him breaks into their apartment and searches it, Sam suspects that his death was not just a robbery that went wrong. During his travels Sam discovers a fake medium, Oda Mae Brown (Whoopi Goldberg), who can hear him. Sam desperately tries to convince her to help him as he believes that Molly may be in danger.
Banker Sam Wheat (Patrick Swayze) and his girlfriend, artist Molly Jensen (Demi Moore), move into a Manhattan loft apartment and begin to renovate. They are helped by Sam's friend and co-worker Carl Bruner (Tony Goldwyn). One night, after attending the theatre with Molly, Sam is fatally shot by a mugger who tries to steal his wallet. Sam is shocked to discover he is a ghost but refuses to move on to the afterlife because of his love for Molly. In the following weeks he observes his funeral and Molly’s unhappiness. However, when the mugger (Rick Aviles) who shot him breaks into their apartment and searches it, Sam suspects that his death was not just a robbery that went wrong. During his travels Sam discovers a fake medium, Oda Mae Brown (Whoopi Goldberg), who can hear him. Sam desperately tries to convince her to help him as he believes that Molly may be in danger.
Ghost is unusual in so far that it is a mainstream, commercial studio film, that is entertaining, accessible, and well made. Do not be fooled by the PG-13 rating, Ghost is not a twee, overly sentimental family film. It works all the better for the fact that the story is portrayed in a more credible adult fashion. Although ostensibly a supernatural, romantic drama, it is tempered by some clever ideas, genuine tension, and some quite scary set pieces. The casting is sound and there’s a tangible sense of romance between leads. Whoopi Goldberg provides excellent comic relief, but she also gives a good performance as a jaded and cynical con artist. The direction, by Jerry Zucker, is measured and finds the right balance between the lighter and darker elements. This was his first dramatic movie. He had previously made several parody films such as Airplane! and The Naked Gun: From the Files of Police Squad!
One aspect of Ghost that works well is the lack of explanation regarding the supernatural elements. There is not an excess of religious connotations. Death results in the spirit either moving on to the afterlife or being dragged away by spectral figures. Some spirits, such as Sam, linger in the world for personal reasons. It is also interesting how spirits have limited abilities to interact with physical objects. Ghost also balances the romance and humour with a few solid shocks, such as the sinister figures that claim those who have died and are deemed evil. The villain’s death is also surprisingly shocking. All of which contribute to the film being well rounded and a good example of mainstream, studio filmmaking from the decade. If Ghost were remade today, I suspect it would be bereft of all these positive aspects and more of a cynical marketing pitch to a specific demographic.
House (1986)
Horror author Roger Cobb (William Katt) inherits his aunt’s house after she commits suicide by hanging herself. She raised Roger as a child when his parents died. Under pressure from his publisher to complete another horror book, Roger decides to move into the gothic property and write about his experiences in Vietnam instead. He hopes the process will be cathartic, not only for his PTSD but because his son Jimmy, vanished from the house without a trace. The trauma of which caused himself and his wife, Sandy (Kay Lenz), to separate. It’s not long before Roger is haunted by dreams of Vietnam and how he was forced to abandon a fellow soldier, Big Ben (Richard Moll), to die. After seeing supernatural apparitions are seen around the house, Roger attempts to photograph them with the assistance of his neighbour and fan, Harold (George Wendt). Is Roger succumbing to mental illness or is the house genuinely playing upon his fears?
Horror author Roger Cobb (William Katt) inherits his aunt’s house after she commits suicide by hanging herself. She raised Roger as a child when his parents died. Under pressure from his publisher to complete another horror book, Roger decides to move into the gothic property and write about his experiences in Vietnam instead. He hopes the process will be cathartic, not only for his PTSD but because his son Jimmy, vanished from the house without a trace. The trauma of which caused himself and his wife, Sandy (Kay Lenz), to separate. It’s not long before Roger is haunted by dreams of Vietnam and how he was forced to abandon a fellow soldier, Big Ben (Richard Moll), to die. After seeing supernatural apparitions are seen around the house, Roger attempts to photograph them with the assistance of his neighbour and fan, Harold (George Wendt). Is Roger succumbing to mental illness or is the house genuinely playing upon his fears?
Comedy horror is a difficult path to tread. Few films that try to blend these two genres really get it right. House however tries its best and the results are fairly successful. Directed by Steve Miner, House blends traditional haunted house tropes with comically grotesque apparitions and jump scares. It even touches upon the complex issues of PTSD and the trauma of the Vietnam war. It shrewdly doesn’t make the mistake of ramping up the gore and horror too much, preferring to favour the bizarre and grotesque instead. Hence, this neatly dovetails into the comedic elements making them comfortable bedfellows. On paper it all sounds somewhat incongruous, but it all comes out in the wash. Mainly due to the screenplay by Ethan Wiley hitting the right tone, good production values for an independent film on a mid-tier budget and a charismatic lead performance by William Katt.
House is a change of pace for director Steve Miner, who previously made Friday the 13th Part 2 and Friday the 13th Part III. The creepy ambience of the old house is well maintained and belies the modest budget. The studio bound Vietnam flashbacks don’t fare so well but are kept to a minimum. The make-up effects are inventive, especially the zombie version of Big Ben. Harry Manfredini provides a quirky score that bolsters both the shocks and the humour well. Although the story touches on several weighty issues, the overall tone of the film is light. It would have been a mistake to have jettisoned the levity and make this a darker and more serious exploration of Vietnam and missing children. As it stands, House is a droll, enjoyable comedy horror that isn’t too taxing on one’s nerves or patience. It does what it sets out to do well and sometimes that is sufficient.
Thirty-One Days of Horror Movies
It would appear that quite a few bloggers write horror movie themed posts throughout the month of October and the lead up to Halloween. Krikket over at Nerd Girl Thoughts has already planned a very interesting viewing schedule of 31 horror films and I am most interested to read her thoughts in the days to come. As a blogger I like a series of planned articles, as I find that it keeps me engaged and focused. So, I’ve decided to write 31 horror movie reviews over the course of October. There is no rhyme or reason to the list of films and they’re not in any specific order. Some are classics that I’ve had on my review “to do list” for a while. Others are titles that have been lurking, unwatched, on my media player for a while. “Thirty-One Days of Horror Movies” presents a golden opportunity to address these. Overall, there’s a broad spectrum of titles from around the world, which will hopefully provide a degree of variety.
It would appear that quite a few bloggers write horror movie themed posts throughout the month of October and the lead up to Halloween. Krikket over at Nerd Girl Thoughts has already planned a very interesting viewing schedule of 31 horror films and I am most interested to read her thoughts in the days to come. As a blogger I like a series of planned articles, as I find that it keeps me engaged and focused. So, I’ve decided to write 31 horror movie reviews over the course of October. There is no rhyme or reason to the list of films and they’re not in any specific order. Some are classics that I’ve had on my review “to do list” for a while. Others are titles that have been lurking, unwatched, on my media player for a while. “Thirty-One Days of Horror Movies” presents a golden opportunity to address these. Overall, there’s a broad spectrum of titles from around the world, which will hopefully provide a degree of variety.
The following list is provisional and dependent on whether I can find copies of some of the titles. Streaming services do offer some obscure and niche titles, but they are far from comprehensive. Due to the nature of some of the films on the lists, not all of the reviews will be especially in depth. There is only so much one can say about Willaim Lustig’s Maniac Cop, for example. But others may well lend themselves to more rigorous scrutiny, such as Onibaba and Witchfinder General. As ever with my cinematic musings, I hope that some of the reviews of the more niche market and obscure titles will encourage others to seek them out and watch them. However, there is still good material to be found in the mainstream, so I’ve included some more recent movies for balance. I will note accordingly which version of a film I have watched if there are multiple editions available, to avoid confusion.
Thirty-One Days of Horror Movies 2023:
Amityville: The Awakening (2017)
Black Sunday (1960)
The Bride (1985)
The Last Voyage of the Demeter (2023)
Maniac Cop (1988)
Maniac Cop 2 (1990)
Maniac Cop III: Badge of Silence (1993)
The Caller (1987)
The Uninvited (1946)
The Host (2006)
The Keep (1983)
The Boogeyman (2023)
A Bay of Blood (1971)
The Bad Seed (1956)
The Good Son (1993)
The Prowler (1981)
Onibaba (1964)
Talk to Me (2023)
The Nest (1988)
Witchfinder General (1968)
The Funhouse (1981)
Ready or Not (2019)
Two Evil Eyes (1990)
Death Valley (1982)
Halloween Ends (2022)
The Beyond (1981)
Terrified (2017)
The Sentinel (1977)
Night of the Eagle (1962)
Eyes of a Stranger (1981)
The Orphanage (2007)
The Conspiracy (2012)
Filmmakers Aaron (Aaron Poole) and Jim (James Gilbert) decide to make a documentary about online conspiracy theories Terrance G (Alan Peterson), mainly due to the amount of attention he attracts online. Terrance explains in detail how many global events all appear to be linked to an NGO called the Tarsus Club. Jim remains sceptical of such theories, but Aaron is more willing to accept them. During an interview, Terrance becomes agitated and points out a man whom he believes to be following him. A few days later Terrance vanishes. Aaron searches through various newspaper clippings left in Terrance’s apartment and finds a reference to a Time magazine article about the Tarsus Club written by Mark Tucker (Bruce Clayton). As the pair of journalists search for Tucker, they see the same man that was following Terrance. They are also menaced by a Black SUV that parks outside Jim’s house at night. Finally, Tucker contacts them online and it becomes clear that he has more to reveal about the Tarsus Club. Aaron suggests that they try to infiltrate the next meeting, but Jim is reluctant to do so, due to the possible danger.
Filmmakers Aaron (Aaron Poole) and Jim (James Gilbert) decide to make a documentary about online conspiracy theories Terrance G (Alan Peterson), mainly due to the amount of attention he attracts online. Terrance explains in detail how many global events all appear to be linked to an NGO called the Tarsus Club. Jim remains sceptical of such theories, but Aaron is more willing to accept them. During an interview, Terrance becomes agitated and points out a man whom he believes to be following him. A few days later Terrance vanishes. Aaron searches through various newspaper clippings left in Terrance’s apartment and finds a reference to a Time magazine article about the Tarsus Club written by Mark Tucker (Bruce Clayton). As the pair of journalists search for Tucker, they see the same man that was following Terrance. They are also menaced by a Black SUV that parks outside Jim’s house at night. Finally, Tucker contacts them online and it becomes clear that he has more to reveal about the Tarsus Club. Aaron suggests that they try to infiltrate the next meeting, but Jim is reluctant to do so, due to the possible danger.
The Conspiracy is very much a film of two halves. The first forty-five minutes sets up the story well as the two documentary filmmakers immerse themselves in the world of conspiracy theorists. We meet various personalities known within the conspiracy theory community, there are clips from their YouTube channels and we see online meetings via virtual chat rooms. Terrance G. is very plausible (and by far the most interesting character) who is cleverly offset and contrasted by occasional sound bites from an academic. His disappearance and the subsequent investigation by Aaron and Jim is suitably intriguing. Events begin to escalate as the journalists are followed by a black SUV and Aaron’s home is broken into. These events put a strain upon Jim and Aaron’s working relationship. When they meet Mark Tucker and he alludes to more powerful and sinister forces, the plot maintains a sense of credibility within its own internal logic. The Tarsus Club, initially represented as a political lobbying body and international business cartel, is not an inherently implausible plot device. So far, so good.
However, director and writer Christopher MacBride, takes the plot in a different direction during the second half of The Conspiracy. The faux documentary, through a plot conceit, switches to the use of hidden camera footage for most of the climax. Hence, we have a distinct change of tone as the film slips awkwardly into the found footage/horror genre as Aaron finds himself in jeopardy. Sadly, this transition doesn’t really work and negates the innovation of the first half. The main characters work adequately as documentary filmmakers because they are conduits for an exploration of conspiracy theories. Once they become protagonists in jeopardy, rather than just spectators, they’re too insubstantial to support such a plot twist. The ending, which implies a cover up, tries to reconcile the two different halves of this film but it struggles to do so in an acceptable fashion. It’s a shame because The Conspiracy begins with a lot of promise. Overall, it ends up being very average.
Nope (2022)
In Agua Dulce, California, the Haywood family trains horses for film and TV productions. One day at the Haywood ranch, small metal objects unaccountably fall from the sky. One of which, a nickel, kills Otis Haywood Sr (Keith David). His children, Emerald “Em” Haywood (Keke Palmer) and Otis “OJ” Haywood Jr. (Daniel Kaluuya), continue to run the business. However, due to the loss of a contract, they have to sell some of the horses to Ricky “Jupe” Park (Steven Yeun), who operates a Western theme park called Jupiter's Claim. One night, the Haywood’s notice the electricity supply fluctuating and their horses violently reacting to an unknown presence. They discover that something has been taking their horses and regurgitating inorganic matter, which OJ believes caused their father's death. The Haywood’s decide to obtain proof and subsequently ask electronics store employee and UFO enthusiast, Angel Torres (Brandon Perea) to set up surveillance cameras.
In Agua Dulce, California, the Haywood family trains horses for film and TV productions. One day at the Haywood ranch, small metal objects unaccountably fall from the sky. One of which, a nickel, kills Otis Haywood Sr (Keith David). His children, Emerald “Em” Haywood (Keke Palmer) and Otis “OJ” Haywood Jr. (Daniel Kaluuya), continue to run the business. However, due to the loss of a contract, they have to sell some of the horses to Ricky “Jupe” Park (Steven Yeun), who operates a Western theme park called Jupiter's Claim. One night, the Haywood’s notice the electricity supply fluctuating and their horses violently reacting to an unknown presence. They discover that something has been taking their horses and regurgitating inorganic matter, which OJ believes caused their father's death. The Haywood’s decide to obtain proof and subsequently ask electronics store employee and UFO enthusiast, Angel Torres (Brandon Perea) to set up surveillance cameras.
Nope is a contemporary telling of an old tale. It has many of the standard tropes you expect from the “creature feature” genre but with a contemporary spin. Just as George A. Romero’s Dawn of the Dead is also a vehicle for a critique of capitalism and consumerism, director Jordan Peele tackles a wealth of sociopolitical points via Nope. He dissects modern media culture, internet fame and the relationship between race and employment. There are no traditional white scientists, didactically explaining things and expediting the plot in received English. The protagonists are all blue-collar workers, who speak and act in a realistic manner. The cast are very good, and the characters are interestingly quirky. The screenplay’s innovation comes from showing a group of people who usually are not the traditional participants in such genre movies. Yet they figure things out on their own terms and the conspicuous absence of the military, local police or newspaper reporter is refreshing.
Nope also excels in depicting a truly original monster. One that is genuinely scary because of the nature of the threat. The digital effects are subtle and it is not until the climax of the film that the audience gains a clearer grasp of the nature of the creature. One sequence is reminiscent of a comparable scare in The Borderlands (2013) and some viewers may consider this a step too far. However, if you’ve made it this far then I would argue that you’re pretty much onboard with wherever Nope is going to go. Although it can be argued that being 30 minutes shorter may have helped proceedings. There is an entire subplot involving Ricky “Jupe” Park, who was a child actor in a sitcom with a chimp called Gordy. This fascinating and tragic vignette seems a little incongruous in relation to the main story and may well have worked better as the basis for a separate film. Minor criticisms aside, Nope is creative, different and superior to much of current mainstream horror cinema. However, its niche approach may not be everyone's cup of tea.
The Return of “Walter Watches”
Anyone who writes regularly, sooner or later will have the following epiphany. The realisation that the post you consider your best work seldom finds an audience. Furthermore, the most inconsequential, disposable things that you have written on a whim, will often end up being the one article that gets a big response. It can be very frustrating but it is a reality of writing. It is with that idea in mind, I wish to move on to the matter of “Walter Watches”. In late March 2019, I took a picture of Walter sitting in his chair, watching a classic episode of The Twilight Zone. I subsequently Tweeted this image along with a descriptive caption. This gained a number of “likes” and retweets, so a day later I posted another. This time Walter was watching the film Krull (1983) and I added a humorous caption. Let’s just say I got more of a response for that one Tweet than I had for anything else I had posted over the previous nine years when promoting a blog post.
Anyone who writes regularly, sooner or later will have the following epiphany. The realisation that the post you consider your best work seldom finds an audience. Furthermore, the most inconsequential, disposable things that you have written on a whim, will often end up being the one article that gets a big response. It can be very frustrating but it is a reality of writing. It is with that idea in mind, I wish to move on to the matter of “Walter Watches”. In late March 2019, I took a picture of Walter sitting in his chair, watching a classic episode of The Twilight Zone. I subsequently Tweeted this image along with a descriptive caption. This gained a number of “likes” and retweets, so a day later I posted another. This time Walter was watching the film Krull (1983) and I added a humorous caption. Let’s just say I got more of a response for that one Tweet than I had for anything else I had posted over the previous nine years when promoting a blog post.
Such are the origins of “Walter Watches”. I continued posting pictures until the end of May 2019. I resumed again in January 2020 and continued until the end of February. During these two “seasons”, I selected a variety of cult and famous films for Walter (and his nephew Finwë) to comment upon. Because of my love of cinema and filmmaking, I must admit I did find this process entertaining. And obviously so did others, because “Walter Watches” continued to receive “likes” and retweets while it was “a thing”, as the kids say. Which brings me to the point of this post. Things are far from peachy at present, if you take a step back and take a long hard look at the world. It’s all a bit depressing. Hence, I have decided to bring just a little bit of fun and mirth back to social media with a third “season” of “Walter Watches”.
There are to be no changes in the format. If something isn’t broken, then there is no requirement to fix it. However, as well as being posted on social media, there is now a designated “Walter Watches” page here on Contains Moderate Peril. Walter’s sage wisdom and keen insights will be available here to view and ponder. I shall also be reposting all previous instalments for continuity. It should also be noted that last year we upgraded the TV in our lounge, so Walter now has the luxury of watching in 4K UHD. Whether this has any significant impact upon his musings, remains to be seen. As does whether Walter will consider requests from readers to watch specific things. We shall have to wait and see. Season three should begin by the middle of September. As the saying goes, “watch this space”.
Fallen (1998)
Detective John Hobbes (Denzel Washington) visits convicted serial killer Edgar Reese (Elias Koteas), prior to his execution. An unrepentant Reese poses a riddle for Hobbes then lapses into a strange language. He goes to his execution singing “Time Is On My Side” by The Rolling Stones. Shortly after, Hobbes receives an anonymous tip by phone of a murder. On arrival at the crime scene, Hobbes and his partner “Jonesy” (John Goodman) find that the murder victim has been killed in an identical fashion to those killed by Reese. Furthermore, the same riddle has been written on the wall. Despite warnings from his senior officer, Lieutenant Stanton (Donald Sutherland), not to pursue solving the riddle, Hobbes persists in his investigation. It leads to a highly decorated policeman who killed himself under mysterious circumstances and a pattern of events not dissimilar to those that Hobbes is currently facing.
Detective John Hobbes (Denzel Washington) visits convicted serial killer Edgar Reese (Elias Koteas), prior to his execution. An unrepentant Reese poses a riddle for Hobbes then lapses into a strange language. He goes to his execution singing “Time Is On My Side” by The Rolling Stones. Shortly after, Hobbes receives an anonymous tip by phone of a murder. On arrival at the crime scene, Hobbes and his partner “Jonesy” (John Goodman) find that the murder victim has been killed in an identical fashion to those killed by Reese. Furthermore, the same riddle has been written on the wall. Despite warnings from his senior officer, Lieutenant Stanton (Donald Sutherland), not to pursue solving the riddle, Hobbes persists in his investigation. It leads to a highly decorated policeman who killed himself under mysterious circumstances and a pattern of events not dissimilar to those that Hobbes is currently facing.
Fallen did not do well upon its initial release. It received mixed reviews from the critics and failed to recoup its production costs at the box office. However, not being commercially successful doesn’t mean that a film is bad. Sometimes it can be because a film is not marketed correctly and has failed to find its audience. Or that it was released at the wrong time and cinema goers may have been struggling with genre fatigue. If you want a textbook example of this consider the 1989 James Bond film Licence to Kill. This seems to be the case with Fallen (1998), directed by Gregory Hoblit. More recently, opinions have been revised regarding this film and it has developed a cult following. There is definitely more to it than the plot synopsis suggests.
Fallen is a character driven, performance lead, slow burn. An intellectual game of cat and mouse between Hobbes and his potentially supernatural adversary. There are a few minor action scenes but they are not the film’s raison d'être. Instead the script by Nicholas Kazan (who also wrote Matilda and Enough) explores the nature of the “daily” evil that the police face and how it impacts upon their lives. Hobbes is a morally upright man, who tries to do his best, both at work and at home where he looks after his special needs brother and young nephew. The theological elements are handled very discreetly and the protagonists gradual realisation that something potentially supernatural is afoot is managed well. The film doesn’t make the mistake of trying to force a romantic situation between Hobbes and the only major female character in the story.
I suspect that the subtlety of the supernatural elements in Fallen and a distinct lack of any overt genre sensationalism may have contributed to it not being a commercial success. There are similarities between this film and The Hidden (1987) which handles the theme of a transient killer moving from host to host far more graphicly. Such trappings are absent here by choice. However, if you have the patience to apply yourself to a thoughtful, understated, psychological thriller then Fallen has much to offer. The strong cast, especially Washington himself, holds your attention and although the ending may not necessarily be to everyone's liking, it at least brings the story full circle. This is thoughtful genre filmmaking with the emphasis on suspense and a requirement for audiences to think. The latter often alienates a percentage of viewers.
Meg 2: The Trench (2023)
Back in 2018 I wrote the following about The Meg in my review. “My interest doesn’t go so far as a sequel. This sort of movie is the equivalent of a greasy burger you buy at the funfair. It’s fine once in a while as an indulgence, despite the fact that you know it’s bad, but you would soon tire of them being a regular part of my diet”. Five years later, I foolishly thought it may be “fun” to give the sequel, Meg 2: The Trench (2023), a go. Especially in light of the fact that it’s directed by Ben Wheatley. Surely such a filmmaker would bring some creativity and a fresh perspective to this franchise? Nope. Turns out he didn’t. Meg 2: The Trench lacks everything that made its predecessor tolerable. This superfluous sequel is an uninspired, poorly written mess which confuses turning everything up to eleven with entertainment. It gets nowhere near “it’s so bad, it’s good” territory. Instead it makes the biggest mistake a film of this nature can do. It’s dull.
Back in 2018 I wrote the following about The Meg in my review. “My interest doesn’t go so far as a sequel. This sort of movie is the equivalent of a greasy burger you buy at the funfair. It’s fine once in a while as an indulgence, despite the fact that you know it’s bad, but you would soon tire of them being a regular part of my diet”. Five years later, I foolishly thought it may be “fun” to give the sequel, Meg 2: The Trench (2023), a go. Especially in light of the fact that it’s directed by Ben Wheatley. Surely such a filmmaker would bring some creativity and a fresh perspective to this franchise? Nope. Turns out he didn’t. Meg 2: The Trench lacks everything that made its predecessor tolerable. This superfluous sequel is an uninspired, poorly written mess which confuses turning everything up to eleven with entertainment. It gets nowhere near “it’s so bad, it’s good” territory. Instead it makes the biggest mistake a film of this nature can do. It’s dull.
Five years on from the first film, Jonas Taylor (Jason Statham) now works for Mana One Marine Research centre, which is currently exploring the depth of the Mariana Trench where the Megalodons and other unknown ichthyofauna live. Along with company director Jiuming Zhang (Wu Jing), Taylor takes two submersibles to an uncharted part of the trench and finds to his surprise an illegal mining operation on the ocean floor. They are ambushed by a mercenary named Montes (Sergio Peris-Mencheta) and forced to abandon their vessels and walk along the ocean floor to reach the unknown mining base. After contacting Mana One, they learn that the rescue submarine has been sabotaged. Furthermore, an explosion caused by the mining operation has breached the thermocline barrier and provided a means for three megalodons and other creatures to reach the surface.
Like its predecessor Meg 2: The Trench has solid production values. A lot of money has been spent on the production design and sets. Meg 2: The Trench is far from cheap and cheerful. The film also handles dialogue in two languages well, as several characters frequently switch between conversing in English and Mandarin. Sadly the screenplay is perfunctory and the dialogue predictable. Most of the characters are two dimensional and hence disposable. When the big reveal happens involving a team member who has betrayed their colleagues, it has no impact. There is also a conveyor belt of “red shirt” mercenaries who are regularly introduced, just to provide the various beasties something to chow down on. There is also a somewhat anachronistic comedic African American character, played by Page Kennedy, that feels it’s been cribbed from an eighties action movie.
The action scenes are competently constructed but like most “creature features”with a PG-13 rating, they are mostly bloodless and free from any real threat or dramatic weight. There is an attempt to try and make some of the deaths a little more creative to try and compensate for this. One character’s exosuit implodes and the visual effects handle this quite well. But the same problem from the first movie persists into the second. The Megalodons are so large they swallow people and things whole, which effectively mitigates any shock factor. The giant Octopus is handled more discreetly and as a result is a more interesting antagonist. However, this is the sort of movie where you know well in advance who will live and who will die. Not even Jason Statham’s pugnacious character can up the ante. Overall Meg 2: The Trench is a classic example of “the same but more” and a squandered opportunity. I was left sadly feeling “so what?” at the end.
Insidious: The Red Door (2023)
I was surprised to learn that a fifth film had been made in the Insidious franchise. However, I like this series sufficiently well enough to indulge a further entry, especially in light of the fact that the story has returned its focus on the Lambert family. It is also worth noting that lead actor Patrick Wilson who plays Josh Lambert in the first two films directs Insidious: The Red Door. Perhaps the story, which explores the emotional fallout of the previous events, appealed to him both in front and behind the camera. It is this approach to the fifth instalment which keeps things fresh and ensures that the film doesn’t solely revisit familiar territory. That also might also be the reason why this latest instalment didn’t quite get the same critical and commercial traction that previous entries did.
I was surprised to learn that a fifth film had been made in the Insidious franchise. However, I like this series sufficiently well enough to indulge a further entry, especially in light of the fact that the story has returned its focus on the Lambert family. It is also worth noting that lead actor Patrick Wilson who plays Josh Lambert in the first two films directs Insidious: The Red Door. Perhaps the story, which explores the emotional fallout of the previous events, appealed to him both in front and behind the camera. It is this approach to the fifth instalment which keeps things fresh and ensures that the film doesn’t solely revisit familiar territory. That also might also be the reason why this latest instalment didn’t quite get the same critical and commercial traction that previous entries did.
After the events of the first two films, Josh (Patrick Wilson) and Dalton Lambert (Ty Simpkins) are voluntarily hypnotised so that they forget their astral voyage to the Further. Ten years later in the present, Josh has never fully got his life back on track and has subsequently divorced Renai Lambert (Rose Byrne) and is estranged from his children. The family meet up at the funeral of Lorraine Lambert, Josh’s mother and Renai suggests Josh drive Dalton to the university as a means to reconcile. However, the trip ends in an argument that both regret. Dalton is studying art with Professor Armagan (Hiam Abbass) who asks her students to look deep into themselves for inspiration. Dalton discovers hidden memories that manifest themself through his art. His roommate Chris (Sinclair Daniel) soon discovers that Dalton can astral project and the pair wonder if this is the key to unlocking his secret past.
Insidious: The Red Door is a different beast from previous instalments. The first two films are about a family coming apart due to supernatural events, whereas this entry is very much about external events bringing people back together. There is a degree of sentimentality about fathers and sons but it is quite well handled. Josh and Dalton don’t hate each other. They just don’t know each other and the one shared experience that they have is a suppressed memory. This theme is the focus of the plot and hence the demons of the Further are relegated to a more of a supporting role. There are some solidly constructed jump scares, with one taking place in an MRI scanner. They are artfully lit and well constructed, yet they are not quite as impactful as in previous films. Possibly because they are not so pivotal to the story.
Insidious: The Red Door doesn’t suffer from an excess of characters and Dalton has a great foil in his roommate Chris. She is wise and open minded about events and the screenplay doesn’t feel obliged to turn their relationship into a romantic one. There’s a good sense of continuity, with prior characters turning up in inventive ways. Specs (Leigh Whannell) and Tucker (Angus Sampson) appear in a YouTube video and Elise Rainier (Lin Shaye) even manages to make a meaningful appearance. There’s also a poignant scene between Josh and Renai which succinctly explains the inevitable collapse of their marriage. Overall, I thought this to be quite a different sort of sequel but sadly, therein lies the problem. Many viewers wanted a more traditional exploration of the subject and expansion of the lore. Hence Insidious: The Red Door has met with a degree of ambivalence.
Holocaust 2000 (1977)
The commercial and critical success of The Exorcist upon its release in late 1973 led to an increase in major studios investing in big budget, star driven horror films. The Omen (1976) further established this horror renaissance, which moved away from the traditional gothic horror of Hammer Studios and Roger Corman’s AIP releases. Horror was now about evil and biblical predictions manifesting in the modern world. As ever, with any successful film or genre, there are those subsequent productions that seek to imitate and cash-in. Holocaust 2000 is such a film. A British-Italian co-production, it features Kirk Douglas (who does much of the film’s heavy lifting), several well known British character actors and some notably violent set pieces. It takes the fashionable theological threat of the Antichrist and also adds an interesting nuclear angle, where a fusion plant built to solve the energy crisis could prove to be a harbinger of doom.
The commercial and critical success of The Exorcist upon its release in late 1973 led to an increase in major studios investing in big budget, star driven horror films. The Omen (1976) further established this horror renaissance, which moved away from the traditional gothic horror of Hammer Studios and Roger Corman’s AIP releases. Horror was now about evil and biblical predictions manifesting in the modern world. As ever, with any successful film or genre, there are those subsequent productions that seek to imitate and cash-in. Holocaust 2000 is such a film. A British-Italian co-production, it features Kirk Douglas (who does much of the film’s heavy lifting), several well known British character actors and some notably violent set pieces. It takes the fashionable theological threat of the Antichrist and also adds an interesting nuclear angle, where a fusion plant built to solve the energy crisis could prove to be a harbinger of doom.
Industrialist Robert Caine (Kirk Douglas) is looking to build the world’s first nuclear fusion reactor in the Middle East to resolve the energy crisis. While visiting the proposed site with local politicians, journalist Sara Golan (Agostina Belli) shows him a hidden cave where early christians met. It is portentously destroyed during the groundbreaking ceremony. On returning to London Caine finds that his project is strongly opposed. His home is surrounded by protesters and his wife Eva (Virginia McKenna) states she will use her shares in Caine Industries to halt the plan. Eva is subsequently killed by a radical protester whose intended target was Caine himself. Despite this and other setbacks, Caine’s son Angel (Simon Ward) supports the project wholeheartedly and urges him to forge ahead. A chance encounter with a Monsignor (Romolo Valli) on a flight, gives Caine pause for thought. Is the project safe? Does Angel have an ulterior motive? Are there more sinister forces at work?
Director and writer Alberto De Martino was a seasoned Italian filmmaker, having worked as a second unit director for Sergio Leone. Like many genre directors of his time, he had an eye for visual composition and lighting. As ever with Italian genre cinema, the visuals often trump a film’s narrative. There are elements of this in Holocaust 2000. When it is revealed that Robert Caines son, Angel, is the Antichrist there is no explanation as to how this has happened. Also, will Caine’s second son equally be of note. Sadly the screenplay chooses not to explore these points. Instead it invests time and effort in building towards several set pieces. There is a notable dream sequence in which the seven fusion reactors built on towers, rise from the sea and transform into a seven headed hydra. There are some striking death scenes including a nasty accident involving helicopter rotors.
Although Holocaust 2000 treads very familiar territory it has sufficient innovation to keep viewers engaged and benefits greatly from the visual flair inherent in Italian filmmaking. The use of iconic British locations such as Bigbury-on-sea in Devon and Carlton House Terrace in London add to the atmosphere. The cast of solid British actors adds weight to the proceedings. The idea of the Devil using a fusion reactor to destroy the world is clever and the background stories of the energy crisis and the political turmoil in the Middle East are timely. The film is further bolstered by an Ennio Morricone soundtrack. However, several cultural tropes have aged poorly, such as the ageing man with a much younger lover. Kirk Douglas was 61 at the time where co-star Agostina Belli was 30. There’s a plot line where Caine pressurises Sara to have an abortion that feels archaic.
Holocaust 2000, like so many international films, was released in the US and other territories under several different names. It was called Rain of Fire in some prints and The Chosen when it was released in North America by American International Pictures. This version is shorter and has an alternative ending. Where Holocaust 2000 ends ambiguously with Caine fleeing back to Sara’s home in the Middle East, to raise their new child, The Chosen has a more definitive conclusion. Caine flies to Geneva where Angel is holding a board meeting and kills himself and everyone else with a concealed bomb. Sadly the editing and the hastily created miniature effects are poor, undermining the film’s climax. The original ending is the better of the two, reflecting the anxieties of the seventies after several nuclear accidents and the ongoing hostilities between the Arab world and Israel. Italian exploitation cinema doesn’t always try this hard, which makes Holocaust 2000 an interesting entry in the demonology genre.
The Deadly Mantis (1957)
Not to be confused with the Shaw Brothers martial arts film of the same name from 1978, The Deadly Mantis (1957) is a creature feature in the idiom of Them! (1954). Unlike that film’s mutant ants, the monster on this occasion is not the product of the atomic age but a giant prehistoric praying mantis that has been released from the polar ice caps. Exactly how a creature associated with more tropical regions came to be at the North Pole is never explained. In fact precious little is in The Deadly Mantis. The film’s overall scope is somewhat limited with a basic story, limited action scenes and a rather dull cast of generic characters. There is an over reliance upon stock footage from period military documentaries and previous Universal Studio feature films. The film’s biggest failing is the giant praying mantis which does most of its rampaging conveniently off camera. It’s all rather disappointing.
Not to be confused with the Shaw Brothers martial arts film of the same name from 1978, The Deadly Mantis (1957) is a creature feature in the idiom of Them! (1954). Unlike that film’s mutant ants, the monster on this occasion is not the product of the atomic age but a giant prehistoric praying mantis that has been released from the polar ice caps. Exactly how a creature associated with more tropical regions came to be at the North Pole is never explained. In fact precious little is in The Deadly Mantis. The film’s overall scope is somewhat limited with a basic story, limited action scenes and a rather dull cast of generic characters. There is an over reliance upon stock footage from period military documentaries and previous Universal Studio feature films. The film’s biggest failing is the giant praying mantis which does most of its rampaging conveniently off camera. It’s all rather disappointing.
In the South Seas, a volcano erupts and the subsequent seismic disturbance disturbs North Pole polar ice sheets, releasing a 200 foot praying mantis that has been trapped there since prehistoric times. The monster attacks a remote outpost of Red Eagle One, a military early warning station. Despite personally leading the search, Commanding officer Col. Joe Parkman (Craig Stevens) cannot account for the incident or find an elusive blip that appears on radar. After a transport plane is attacked, a curious claw-like object is found in the wreckage. When Doctor of palaeontology, Nedrick Jackson (William Hopper), is asked to identify it he deduces that it is a spur from an insect's leg. Possibly from some unknown species of praying mantis. Dr. Jackson and photographer Marge Blaine (Alix Talton) travel to Red Eagle One to conduct further research. Shortly afterwards, the monster attacks again before migrating south to warmer climates, endangering the USA.
Director Nathan Juran, who was a competent genre film maker, has very little to work with in The Deadly Mantis. The budget is low and the script is arbitrary. The monster appears and the protagonists are confused. Then an academic identifies the threat and expedites the plot. A plucky female character is thrown into the mix for “love interest”. The praying mantis itself attacks a few miniature buildings, a fishing vessel and some vehicles. Minor cast members are killed off camera. The acting is adequate but the dialogue is perfunctory. The film paints with broad brush strokes and its primary saving grace is that it doesn’t outstay its welcome. Perhaps its best achievement is highlighting how superior Them! (1954) and The Beast from 20,000 Fathoms (1953) are. Both of those films do more than the bare minimum and boast enjoyable screenplays and quirky characters.
Amityville 3-D (1983)
The Amityville Horror (1979) performed extremely well commercially upon release. Hence a prequel, Amityville II: The Possession (1982), was made three years later to capitalise on that box office success. Both films are allegedly based upon real events. The first film depicts the haunting of the Amityville house and the events that befell the Lutz family that moved in. The second explores the original DeFeo murders which took place earlier, although here the family is renamed Montelli. A third film, Amityville 3-D, was released in 1983 and is a curious sequel. Unlike previous instalments, it was an original story and did not attempt to mine the wealth of books associated with the Amityville case. It also jumped on the 3-D revival bandwagon that was popular at the time with such films as Friday 13th Part III and Jaws 3-D. It is a very workmanlike production, directed by Richard Fleischer.
The Amityville Horror (1979) performed extremely well commercially upon release. Hence a prequel, Amityville II: The Possession (1982), was made three years later to capitalise on that box office success. Both films are allegedly based upon real events. The first film depicts the haunting of the Amityville house and the events that befell the Lutz family that moved in. The second explores the original DeFeo murders which took place earlier, although here the family is renamed Montelli. A third film, Amityville 3-D, was released in 1983 and is a curious sequel. Unlike previous instalments, it was an original story and did not attempt to mine the wealth of books associated with the Amityville case. It also jumped on the 3-D revival bandwagon that was popular at the time with such films as Friday 13th Part III and Jaws 3-D. It is a very workmanlike production, directed by Richard Fleischer.
After exposing a pair of mediums who have been using the Amityville house for bogus seances, investigative journalist John Baxter (Tony Roberts), decides to buy the property as he is getting divorced and needs a new home. His photographer friend, Melanie (Candy Clark), takes several pictures of John and real estate broker Clifford Sanders (John Harkins) at the house. Shortly afterwards Sanders dies in the attic under mysterious circumstances. When Melanie develops the photos she finds the images of Sanders are distorted and she takes the film and camera to Dr. Elliot West (Robert Joy), at the Institute for Psychic Research. Susan (Lori Loughlin), John’s daughter, is keen to see the alleged haunted house but her mother, Nancy Baxter (Tess Harper), does not want her to stay there. Paranormal events begin to escalate and it becomes clear that a malevolent force is at work.
Amityville 3-D begins by establishing protagonist John Baxter as a dyed in the wool sceptic, who writes about lurid cases in an equally lurid magazine. Initially after buying the Amityville house, all the subsequent supernatural events happen to others. When Baxter asks why he hasn’t experienced anything, Melanie portentously exclaims “maybe the house has other plans for you”. After a deliberate, slow paced first act, several of the lead characters die and it is clear to Baxter that the house is a malign influence. Eventually Dr. West and his team are called in to investigate the Amityville house and its infamous well. This culminates in a climax filled with 3-D special effects with everything bar the kitchen sink being hurled at the camera (including a stuffed swordfish). The story is neatly concluded with an opening for a sequel, yet nothing is really explained beyond a cursory reference to the house being built on an Native American burial ground.
Amityville 3-D starts as a low key supernatural tale with the emphasis on scares, rather than gore. The first death scene harks back to the swarm of flies that attacked Rod Steiger in the first film. The next few set pieces revolve around gusts of freezing wind, a free falling elevator and a bathroom wall that moves. Then at the start of the third act, it all becomes somewhat grimmer with one cast member burnt to death. The climatic demon is also somewhat left field. It’s all somewhat inconsistent as if the production couldn’t quite decide what to do with its competent cast of character actors. There are cinematic nods along the way to The Omen and Poltergeist. The 3-D cinematography leaves the 2.35:1 image a little blurred at the left and right of the frame. The film plays out against a suitably eerie soundtrack written by British composer Howard Blake of The Snowman fame.
Needful Things: Extended TV Cut (1993)
Fraser C. Heston’s 1993 adaptation of Stephen King’s Needful Things did not fare well upon release. Despite having a robust cast of character actors and good production values, it was neither a critical nor commercial success. In more recent years there has been a growing critical reassessment of the film and its lack of success has mainly been attributed to audience fatigue. The eighties and nineties saw a wealth of King adaptations on both the big and small screen. It is also worth noting that condensing the sprawling and character filled books of Stephen King is an incredibly difficult thing to achieve within the parameters of a two hour movie. Which is why the TV miniseries has often proved a more successful format. Which brings me to the extended version of Needful Things that was prepared for television shortly after its theatrical release.
Fraser C. Heston’s 1993 adaptation of Stephen King’s Needful Things did not fare well upon release. Despite having a robust cast of character actors and good production values, it was neither a critical nor commercial success. In more recent years there has been a growing critical reassessment of the film and its lack of success has mainly been attributed to audience fatigue. The eighties and nineties saw a wealth of King adaptations on both the big and small screen. It is also worth noting that condensing the sprawling and character filled books of Stephen King is an incredibly difficult thing to achieve within the parameters of a two hour movie. Which is why the TV miniseries has often proved a more successful format. Which brings me to the extended version of Needful Things that was prepared for television shortly after its theatrical release.
The plot of Needful Things is straightforward. A new antique shop opens in the quiet coastal town of Castle Rock and its charismatic owner, Leland Gaunt (Max von Sydow) has an uncanny ability of discerning his customer needs and providing them with some item that is their heart’s desire. Yet these transactions are often dependent upon a “small service” to be carried out and it is not long before the seeds of discontent are sowed in Castle Rock. As arguments become feuds and feuds end in murder, Sheriff Alan J. Pangborn (Ed Harris) becomes increasingly suspicious of Leland Gaunt and his shop “Needful Things”. As ever with Stephen King, the literary strength of this story stems from the plausibility of his characters and the credibility of small town life that he depicts. These sumptuous details that exist on the page usually have to be cut to the bone when adapting for film. It certainly was a criticism levelled at the theatrical release of Needful Things.
However, shortly after a disappointing box office release, Cable TV network TBS commissioned distributor Columbia Pictures and director Fraser C. Heston to create a longer miniseries edit of three hours, that could air in a four-hour TV time slot with commercial breaks. Hence an hour of previously unused material was added back into the film which mainly extends or appends existing scenes. We see far more of the relationship between Sheriff Pangborn and his fiance, Polly Chalmers (Bonnie Bedelia). There is more exposition of Leland Gaunt manipulating young Brian Rusk (Shane Meier) and the feud between Wilma Jerzyck (Valri Bromfield) and Nettie Cobb (Amanda Plummer) goes through several stages of escalation before ending in murder. The most standout new material is an entire subplot about Cora Rusk (Lisa Blount) who becomes infatuated with a bust of Elvis Presley.
Director Fraser C. Heston integrates the new material skillfully into the extended TV cut subtly changing the pacing and making this version of Needful Things a much slower burn. It remains very much Max von Sydow’s film and the atmosphere increases noticeably when he is on screen. His performance is effortlessly sinister and charming. As this was a version prepared for nineties television there have been some concessions made to that medium. Some profanity has been replaced with alternative, less extreme dialogue but the violence from the theatrical edit remains. The extended TV cut is also presented in an aspect ratio of 4:3 to fit the television sets of the time. Fraser C. Heston has stated that this longer edit is not a director's cut and that he prefers the theatrical edit. Although still flawed, it certainly provides an alternate take on one of Stephen King’s best stories.
Dead Heat (1988)
Throughout the eighties, two of the most commercially successful genres in Hollywood were buddy cop movies and horror films. Therefore it was inevitable that someone, somewhere would eventually combine them. Dead Heat is a comedy action movie with both horror and science fiction elements. If you think such an eclectic blend of themes is a little incongruous, then watching the movie will validate your assumption. All things considered, Dead Heat is a bit of a mess. However, despite its faults, of which there are several, it remains quite an enjoyable film. A textbook example of the over the top eighties action movie, utterly removed from established police procedures and indeed reality. It is also one of two feature films directed by renowned film editor, Mark Goldblatt, whose credits include Rambo: First Blood Part II, RoboCop and Terminator 2: Judgment Day.
Throughout the eighties, two of the most commercially successful genres in Hollywood were buddy cop movies and horror films. Therefore it was inevitable that someone, somewhere would eventually combine them. Dead Heat is a comedy action movie with both horror and science fiction elements. If you think such an eclectic blend of themes is a little incongruous, then watching the movie will validate your assumption. All things considered, Dead Heat is a bit of a mess. However, despite its faults, of which there are several, it remains quite an enjoyable film. A textbook example of the over the top eighties action movie, utterly removed from established police procedures and indeed reality. It is also one of two feature films directed by renowned film editor, Mark Goldblatt, whose credits include Rambo: First Blood Part II, RoboCop and Terminator 2: Judgment Day.
“Loose cannon” LAPD cops, Roger Mortis (Treat Williams) and Doug Bigelow (Joe Piscopo), are hot on the trail of a gang that are robbing jewellery stores. After a chaotic shootout the gang are shot dead and the subsequent autopsies by coroner Dr. Rebecca Smythers (Clare Kirkconnell) indicates that they were dead prior to the robberies. Doug and Roger follow a lead to Dante Pharmaceutical, a company owned by millionaire industrialist Arthur P. Laudermilk (Vincent Price). While investigating the company headquarters, Roger is attacked by another animated corpse. After suffocating in a decompression chamber, Roger is resurrected via an experimental machine that Rebecca and Doug have discovered in a secure laboratory. However, Roger’s new lifespan is only twelve hours, giving him little time to complete his investigation.
Dead Heat telegraphs exactly what sort of film it is within the first ten minutes. The reanimated thieves are dense comic foils to the cool detectives who endorse their clichéd credentials by driving around in a convertible and playing “upbeat rock music” (according to the Blu-ray subtitles). Treat Williams is the suit wearing straight guy, where Joe Piscopo is the “chews with his mouth open”, uncouth sidekick with a mullet. The latter of the two lead characters will either irritate or amuse you. The jokes are a bit hit and miss and due to the brevity of the theatrical edit, the story line doesn’t quite add up. There are several other versions of the film with some additional scenes that do make the plot a little more linear. However, the action scenes are suitably excessive and the prosthetic effects are very well realised. Sadly, many of them did not make it into the US theatrical version in their entirety due rating restrictions at the time.
Dead Heat is fast paced and never dull, with Treat Williams doing much of the heavy lifting. Veteran character actor Darren McGavin also delivers, despite the screenplays shortcomings and his limited screen time. Keye Luke (Gremlins) and Robert Picardo (Star Trek: Voyager) also have cameo appearances. But the standout scene of the entire film is when Roger and Doug follow a lead to a Chinese restaurant which has a prototype resurrection machine. This results in a multitude of items on the menu coming back to life and attacking our heroes. It is filled with old school, practical effects and is both unpleasant and droll. So if you can accommodate the plot holes, the tonal inconsistency and Joe Piscopo’s “love him or loathe him” performance, then Dead Heat may well amuse you. It is very much a product of its time and is the sort of film that would struggle to find a backer these days.
Nightmares (1983)
Due to the commercial success of George A. Romero’s Creepshow in 1982 and the Twilight Zone: The Movie in 1983, there was a resurgence of anthology horror films in the eighties and nineties. Nightmares is one of many “portmanteau movies” that followed and is neither the worst, or the best that the genre has to offer. Originally conceived as a pilot for a NBC TV show, the completed film was deemed too “intense” for television and eventually released theatrically with an “R” rating. Judged by today’s standards, it is not especially violent and the strongest content is in the first chapter of the four part story. Written by Jeffrey Bloom and Christopher Crowe, both of whom have a background in popular seventies television, Nightmares has the look and feel of a TV production.
Due to the commercial success of George A. Romero’s Creepshow in 1982 and the Twilight Zone: The Movie in 1983, there was a resurgence of anthology horror films in the eighties and nineties. Nightmares is one of many “portmanteau movies” that followed and is neither the worst, or the best that the genre has to offer. Originally conceived as a pilot for a NBC TV show, the completed film was deemed too “intense” for television and eventually released theatrically with an “R” rating. Judged by today’s standards, it is not especially violent and the strongest content is in the first chapter of the four part story. Written by Jeffrey Bloom and Christopher Crowe, both of whom have a background in popular seventies television, Nightmares has the look and feel of a TV production.
The first story, Terror in Topanga, follows a homicidal patient who escapes from a mental institution and attacks a police officer. Meanwhile, chain smoking housewife Lisa (Christina Raines) drives to the local store to buy cigarettes. Will their paths cross? The second chapter, The Bishop of Battle, follows teenager J.J. (Emilio Estevez) obsessive battle to reach the mysterious thirteenth level of a video game in his local arcade. J. J. learns that all is not quite as it appears. The third chapter, The Benediction, stars Lance Henriksen as priest Frank MacLeod, who leaves his parish after a crisis of faith. He is stalked on a remote desert road by a black pickup truck that has murderous intent and potentially supernatural origins. The final chapter, Night of the Rat, features a suburban family (Richard Masur, Veronica Cartwright and Brigette Andersen) being menaced by a particularly large and intelligent rat.
Nightmares is efficiently directed by veteran filmmaker Joseph Sargent. However, the inherent problem with portmanteau films is ensuring that all stories are equally engaging. Sadly that is not the case here. Terror in Topanga is the most efficient of the four chapters. It sets out its stall and delivers a suitable climax to its story arc. But the next instalment, The Bishop of Battle is a major tonal shift from horror to fantasy and an obvious and uninspired tale. The Benediction offers a variation on an established theme (see Duel or The Car) but is carried by the presence of Lance Henriksen. Night of the Rat, which was intended to be the bravura ending to Nightmares, is somewhat stilted due to a weak script and an unlikeable lead character. Yet despite these inconsistencies Nightmares doesn’t out stay its 99 minute running time. It manages to get its pacing right. Something other anthologies often fail to do.
When viewed with a contemporary eye, Nightmares has some interesting points of interest. Setting aside the trope of the escaped murderer, Terror in Topanga uses smoking as a central plot device. Something that seems somewhat archaic today. The Bishop of Battle provides a window not only on arcade culture from the eighties but touches upon hardcore punk, with songs by Black Flag and Fear. The Benediction features a truck stunt that was used heavily in the marketing of the film. Such a thing would nowadays be done digitally, but here it is a physical effect and more impressive for it. Overall, Nightmares now serves mainly as a nostalgic reminder of the popularity of the anthology genre during the horror boom of the eighties. It is an amusing diversion for those well disposed towards such material and may play better to those who grew up during this era.
