Kbatz: Victor Frankenstein (2015)

 

Latest Victor Frankenstein Unfortunately Disappointing

by Kristin Battestella

 

I had hoped Gothic dramatizations and Victorian horror were making a comeback. Unfortunately, with the cancellation of Penny Dreadful, the less than welcoming reception of Crimson Peak, and the disappointing result of the 2015 Victor Frankenstein, the potential for dark romanticism and steampunk gone macabre trends seems over before it could really start.

The hunchbacked Igor (Daniel Radcliffe) is rescued from the cruel circus and healed by the visionary but radical Doctor Victor Frankenstein (James McAvoy). Dismissed from his medical college, Victor is reanimating small subjects and intends to create life with a new man-made cadaver. Unfortunately, Inspector Turpin (Andrew Scott) is following the gruesome trail back to Victor, and he objects to Frankenstein’s amoral and godless plans – which need Igor’s raw medical talents to be completed.

 

Victor Frankenstein is slow to start with more telling than showing when the waxing on man versus monster making could all be seen rather than told. These talkative delays underestimate the audience, compromising atmospheric immersion and period mood with “little did I know” narrative breaks. Where’s the Victorian carnival flair and underlying horror? Victor Frankenstein has a unique angle on this oft told tale, but the action is styled for the cool circus escape with unnecessary slow motion and leaping over a box being highlighted as more important than freakish servitude and characters in peril. Viewers can see Victor observing Igor reading medical texts – we can feel the characters if you let us instead of cutting corners with fast moving dialogue, hectic editing, and shaky camerawork. Victor Frankenstein isn’t really sure how it wants to present itself because the required flashy becomes more important the the man versus nature, man versus man, and man versus himself horror possibilities. Mischievous animal part thefts and science montages happen quick with little time to enjoy the mad science. Of course, Victor Frankenstein isn’t true horror, yet the soft romantic scenes and rags to riches drama feels at odds with the macabre. Debates on magic and superstition versus emerging science and technology make for better drama alongside failed science presentations and medical mistakes letting us know where each character stands. Although the hissing monkey prototype has some creepy moments and could be a sinister step to the monster making, these scenes come off as a laughable detour. Real science probables such as two hearts and four lungs and numerous design montages become too busy, hindering the grossly fantastic and the character drama. Is Victor Frankenstein about Victor’s mad descent or Igor’s misused intelligence? If this is about Victor’s coming to this ghastly point, the story should begin before his experiments and conclude with the onset of his creation. If Victor Frankenstein really is about Igor’s role in the monstrosity, then the science should be nearer completion. Instead, Victor Frankenstein meanders for over an hour before London on the lamb and double crossings throw more wrenches into the quick monster finish. Past reasons why come too late, and tacked on narrations do nothing to explain what Victor Frankenstein is about beyond an opening ending in hopes of a sequel.

With his slick ‘stache and Victorian finery, James McAvoy (X-Men: Apocalypse) looks the titular mad scientist with an ulterior reason for inspiring Igor. Arrogant Victor thinks he’s too intelligent, admitting he prefers his vanity to being called a criminal and will speak slowly when talking to lesser people. Victor gets too far ahead of himself in belittling believers, life, and theology. He’s too excited over his own experiments and uses a fast talking wit to confuse others into not questioning his brilliance. Unfortunately, this flippant, condescending double talk effect is exactly how the audience feels when watching Victor Frankenstein. It’s more interesting to see Victor educate and raise Igor almost like he would do the monster. He doesn’t care about charity just control – Victor needs Igor’s talent to finish his life and death projects while he takes the credit. He fixes Igor’s hump in a gross, back cracking pinning while sucking the fluids out through a tube in one erroneously forced and homophobic scene, and comedic dialogue perceiving them as friends jars against the feeling superior Victor using Igor for his own devious ends. We meet Victor Frankenstein after the doctor has already left any morality questions behind and made his leap to madness, leaving what could have been an intriguing science versus soul debate as stubbornly unlikable assery. Victor’s motivation is revealed too late and very little consequences follow his actions. McAvoy is left doing more shouting than anything creepy, and his Scottish accent bleeds through into a not necessarily British, just toned down affectation akin to the meh at hand.

Fortunately, Daniel Radcliffe’s (Harry Potter) Igor is developed as a real assistant rather than an idiot in Victor Frankenstein. Despite learning nothing but cruelty from people as a circus hunchback, Igor is also a self-educated amateur doctor who cleans up nice and tries to remain loyal thanks to Victor’s kindness toward him. Of course, this Victor Frankenstein can’t be told wholly from Igor’s perspective as promised when he is absent from several scenes and critical information is given without him. Igor’s narration also comes and goes – oddly returning for his moon eyes over a girl when the fantastic science is afoot. Igor is also able to run, swim, and scale a rock cliff just by putting on a back brace after having spent a lifetime as cripple…okay. Staying entirely in Igor’s point of view would have helped Victor Frankenstein tremendously as his voiceovers or journaling montages could explain the number of weeks or months passing while giving the audience his private observations on the increasing madness. Instead, Igor flip flops too much to be the viewer’s anchor and changes his tune on Victor’s plans – first he’s reluctant to proceed due to a financial deadline and wants to discuss the peril of creating man in his own image but then he feels obligated to Victor for giving him life thanks to metaphoric contrivances. Igor knows the jealous Victor has become an embarrassment, used him, and interfered with his romance. However, the two hearts and two brothers parallels between bad Victor and good Igor seem more important that Igor’s fresh perspective, and the idea of Victor being a positive benefactor raising up life through Igor ends up too muddle to save Victor Frankenstein. However, the hunchback does get the girl in a hammy but surprisingly not exploitive sex scene. How often can you say that?

The supporting players in Victor Frankenstein sadly also serve as little more than stereotypes, including Jessica Brown Finlay as the pretty acrobat turned beard Lorelei. Despite potential for a would be love triangle, Finlay only appears in a handful of scenes looking too modern, out of place, and too small in her swimming costumes – and it’s all so odd because she was so good on Downton Abbey. Lorelei is merely used as a brightly color standout when some symbolism is necessary before inexplicably disappearing for the finale. While Andrew Scott’s (Sherlock) Turpin is a shrewd inspector not falling for Victor’s spin, the intriguing idea of his pursuit of Frankenstein for religious beliefs rather than legal prosecution is dropped for a standard case of lawman with manpain. Scott also feels either out of his depth or too much for the material, for his scenes seem like they come from another movie. Turpin may also loose an eye or hand at some point – but he ends up still having them both later anyway. Whoopsie! Elder Frankenstein Charles Dance (Game of Thrones) does add an element of stern class in his sacrilegiously short screen time. One frigging scene! The Baron gives Victor a good talking to with a well-deserved chastising and slap, and Victor Frankenstein needed much more of these father and son aspects.

 

Victor Frankenstein has sweeping Victorian scene setters with colorful circus tents, exterior facades, and zooming in entries – and viewers can tell it is all unnecessary CGI. What’s happening under the circus tent and inside the laboratory are cool enough thanks to nighttime gaslight glows, crackling electricity, and large gears. Up close foggy streets, bleak hospital interiors, and horse drawn carriages accent more alongside period medical sketches, Victorian zoos, steam gizmos, disembodied eyes, and more creepy specimens in green tanks. Mirrors and reflections mimic the duality in Victor Frankenstein, and overlaying anatomy lines, diagrams, body labels, and human schematics do better than any trite slow motion. Unfortunately, the mad science blueprints are used onscreen early, then dropped for most of the picture until the final monster design montage – almost to cop out on not actually showing any of the monster work. Daylight scenes in Victor Frankenstein reveal the color, costumes, golden rooms, and would be splendors of the time like heat and running water, but the bare minimum period setting remains Victorian light rather than fantastic steampunk. Top hats, a crinoline, and a few big skirt twirls don’t hit home the costumes, and modern tattoos can be see when wearing those strapless gowns. Victor Frankenstein never even says the year, and despite its obviously expensive intentions, this feels low budget messy and unfinished. Stormy, gloomy Scottish atmosphere comes too late in the final act – where the raising of the monster is an orchestration in action set pieces followed by a spectacular destruction. All that fiery, confusing hurrying and Victor Frankenstein limps into over five minutes of credits with little to show for it.

This not a horror movie nor a character drama, but Victor Frankenstein isn’t really science fiction and has no fantastic to its creation either. The rush to be modern cool or more Hollywood than nineteenth century British sacrifices any Gothic feeling, and the condensed script or production changes on the fly lack period finesse. It’s tough to view Victor Frankenstein as what it is but rather what it could have been, and the cast, setting, and story deserved better. While serviceable for audiences who haven’t seen any other Frankenstein adaptation, Victor Frankenstein makes older audiences appreciate the panache of the Hammer Frankenstein films all the more. If you’re looking for the book you won’t find it – like a game of telephone, Victor Frankenstein starts with Mary, passes through Universal, and quotes Young Frankenstein before this disappointing result that never takes its original possibilities to the next level.

Kbatz: Dream House

Frightening Flix

Dream House A Mishmash of Wasted Talent.

By Kristin Battestella

 

Despite the digital cable’s one star warning, I settled in for a creepy night with this recent 2011 thriller. Unfortunately, the real life romance sparked on-set for stars Daniel Craig and Rachel Weisz really is the claim to fame here.

Editor Will Atenten (Craig) and his artist wife Libby (Weisz) have quit their jobs and purchased the country house of their dreams at last! As they settle in, local teens harass the couple and their young daughters for being unaware of the home’s murderous history. Friendly neighbor Ann Patterson (Naomi Watts) tries to be sympathetic to Will, but he slowly suspects his new home and family life are not what they appear to be…

Much acclaimed director Jim Sheridan (My Left Foot, The Field) ends up hampered by the multiple personality script and PG-13 rating enforced by the studio here. The location and accents are never explained, nor is whether the narrative is all just part of the ‘novel being written by the main character’ cliché. Dream House isn’t meant to be a full on scary horror movie, but it drops the ball on the mystery and suspense thriller vibes. Everything looks either too daytime normal with an unrealistically idyllic, no money worries happy family or evening can’t see dark and confusing everything thrown at the fan attempt. There’s not a lot of atmosphere to build suspense, and nothing happens for the first twenty minutes. This slow start is costly time in a 90-minute movie, and a too early twist halfway thru Dream House changes the entire purpose of the picture completely. The surprise is nothing shocking; Dream House is a lot like Shutter Island. You can see the snafu coming almost from the cold opening, and the viewers are left with nothing to care about except the famous players. I came into the film unaware of its history, but it’s no surprise that the stars disowned the end result and all subsequent promotions. From just a ho-hum picture about a family in a hew house to a crime history and a man on the case, the hints to something deeper and what could have been are there. Unfortunately, there’s not enough depth to make any of it worthwhile.

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Current James Bond Daniel Craig and beautiful Oscar winner Rachel Weisz (The Constant Gardener) make a lovely couple onscreen and off, but Dream House doesn’t lend their chemistry much to do. Both seem a little too soft spoken, even mumbly or shy, and the confusing plot doesn’t help clarify their intentions. Thankfully, they do match each other wonderfully- unlike most thriller movies today with couples too young to be believable or an old man with a hottie wife. Craig and Weisz are the right age and maturity, and their caring of young co- stars Claire and Taylor Geare feels genuine. They aren’t bad; I doubt any such skilled thespians could be so. However, the players just have so little to do in Dream House. You can see Craig’s effort at a conflicted father with layers and feeling for his family, but the mishmashed editing and presentation on Will’s state of mind confuses the onesided Libby further. Audiences are once again left wanting more of Craig while wondering how someone like Weisz would stoop to the do nothing perfect artist mom in a run of the mill pseudo haunted house show. Sigh. With all the focus on Craigweisz, Best Actress nominee Naomi Watts (21 Grams, The Ring) is somewhat unexpectedly decent as the pretty and mysterious neighbor who knows the history of what’s gone down- supposedly. Of course, she’s not given much else, and Marton Csokas (Lord of the Rings) is equally strapped as her jerky ex-husband Jack. Any well-versed mystery thriller viewer will see his lame part in Dream House coming a mile away.

Fans of the cast or the Daniel Craig and Rachel Weisz real life romance can have a good time with this film, and folks looking for something bad to watch for a drinking game or late night party can find something silly to enjoy. Unfortunately, there’s precious little here to appreciate otherwise. The players didn’t drop the ball, but somewhere along the line, someone really did a number to this Dream House.

Kbatz: Indoor Horror Scares

Frightening Flix

 

Indoor Horror Scares

by Kristin Battestella

 

Who needs to go on vacation when these rural horrors and at home perils are more than enough fright?

 

BugRetro telephone rings, an isolated and rundown motel, and blue neon lighting establish the would be rock bottom for beat up, lonely, straggly haired waitress Ashley Judd (Double Jeopardy) in this 2006 psychological scare directed by William Friedkin (The Exorcist). Unfortunately the solitary drinking, drug use, and one sided phone conversations become much worse thanks to the enigmatic and awkward Michael Shannon (Take Shelter) and his forthright perceptions on crickets and conspiracies. The smoke detector, a pizza delivery – even the disappearance of Agnes’ son years prior is newly suspect. Violent, intrusive ex-husband Harry Connick Jr. (Copycat) is equally solid thanks to meaty one-on-one dialogues, masculine tensions, and terse back and forth exchanges. There’s exposition, sure, but these conversations realistically rely more on past emotions and mistakes the characters already know. This is a messed up, small, and sad little world with more pronounced accents for the Oklahoma setting and a one room design that looks ten years older anchoring the dramatic first hour as the creepy crawlies, military history, and medical paranoia increase. Just because one can’t see the infestations that doesn’t mean they aren’t there, right? People flipping out over bugs invisible to the audience can be unintentionally humorous, granted. However, the well edited camera cuts and movements within the tiny stage space ala the Tracy Letts (Killer Joe) source play accentuate the increasingly crazy theories and jumping to conclusions extremes – which are in turn ridiculous and unbelievable. Even if there is a grain of truth impetus and misplaced maternal instincts realized too late, sparse uses of bite marks, blood, plastics, tin foil, and bug lights – as in dozens of bug lights and wall to wall tin foil shiny – isolate our lead pair within their conspiracy together. The zapper glow adds a surreal, padded room reflection where homemade madness trades one type of abuse and insanity for another. Let’s pull out our own teeth because the government put bugs in our fillings! Okay! This is not scare a minute slasher dicing horror as some viewers would expect but rather a freaky thinking person’s examination of mind and body fears and inside and out delusions all done without CGI and $250 million hyperbole. As to the slightly confusing post credit clips, I suspect the first is where Agnes’ mental breakdown began and the second is when her delusion passes the point of no return. Of course, I could be wrong, as it probably wasn’t the smartest idea to watch this particular movie while I had a hives breakout!

 

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Housebound – This 2014 New Zealand import isn’t as financially strapped as other low budget terrors, but this horror comedy does have plenty of old fashioned basement trappings, ominous neighbors, potential paranormal activity, unexplained voices, and one eerie abode with a bad history. Accents and place names might be tough for some and viewers have seen this type of isolated or laid up and monitored scary previously. Fortunately, the titular punishment leads to some new crazy versus supernatural spins along with lovely outdoor photography, old time radios, dated computers, dial up modems, tape recorders, Polaroids, and gasp corded phones. Shrewd exposition – calling into a paranormal radio show to tell an encounter – compliments the quick newspaper research, and a well designed lighting scheme with noir smoke, darkness, solitary lamps, and an aged, golden patina adds atmosphere. Is this merely clutter, leftover antiques, attic access, creaking doors, or something sinister? Clueless parents may seem annoying to start, but we come around to our bad girl with a ‘tude emo lead as the activity escalates. Though there are a few jump scares, this is not akin to today’s paranormal reality series or shock and awe shenanigans. The comedy is not gross out, laugh out loud either, but rather a generational quirky, kooky household objects, and battling bemusements – old toys are both creepy yet humorous. Disbelieving authorities, surprising movements, and other unexpected interference keep the eponymous limits from becoming stagnant as more pieces are added to the mystery. This puzzle is not in your face horror, but the majorly upticked final half hour puts everything perfectly on its ear and will have the audience holding its breath. And let me reiterate, there is no, repeat, no reason for a forthcoming stateside remake!

 

Late PhasesA pleasant, mature ensemble including Ethan Embry (Can’t Hardly Wait), Tina Louise (Gilligan’s Island), Karen Lyn Gorney (Saturday Night Fever), Dana Ashbrook (Twin Peaks), Tom Noonan (The Monster Squad), and Lance Guest (The Last Starfighter) battle the werewolves afoot as blind veteran Nick Damici (We Are What We Are) moves to a fishy retirement community in this 2014 tale. Headstone shopping, senior discounts – it’s expensive to die, and such issues acerbate the grief, discomfort, and difficulty adjusting to new surroundings nevermind ominous hooded visitors, suspicious animal attacks, or finding a gunsmith to make silver bullets no questions asked. Cranky encounters with nosy old ladies build humor and drama, investing the audience with a likable protagonist and quips about old people all smelling the same before dog door scares, shadows at the window, and werewolves breaking and entering. Granted, some will be put off by the hokey wolf suit. However, darkness, smart camera angles, and suspenseful canine versus lycanthrope action hide most of the monster design while good gore, echoes on the fallen telephone, and violent sounds on the other side of the wall add fear. Monthly preparations mount as neighborhood clues and a keen sense of smell could identify the wolfy during the countdown till the next full moon. The cops may be tired of answering elderly calls and family ditches their defenseless parents, but those left behind must grapple with religious redemption, Vietnam fallout, and haunting sacrifices – familiar topics not often discussed in horror. Yes, there are some flaws here with confusing logistics, poor editing, and weak effects. Fortunately, this grown up Silver Bullet and endearing last hurrah makes its scares and emotions felt with horror and mystery amid a refreshing real world honesty.

 

Leave it!

 

Red State This 2011 eighty-eight minutes establishes its small town mood quickly with bigoted protests, homophobia, and rebelling against redneck Middle America ignorance and hypocrisy. The too chill classroom and modern teens are however immediately annoying – three dudes spewing gay slurs and lame, compensating gang bang talk deserve what comes to them and the audience never has a reason to care. There are smartphones and porn sites, but mullets, back road car crashes, a trailer in the woods, cages, and sex being the devil’s business comments forebode a rural horror potential that instead gives way to misused hymns and Biblical quotes in uncomfortable cult dressings. Disturbing family congregation cheers and askew, from below camera angles are meant to reflect this warped, but the gross, in real time sermon steers the picture into heavy handed commentary. The first five minutes were already unnecessary and I really wanted to skip over this icky segment and turn the movie off all together in the first half hour. If I wanted to get disgusted by corrupt shit, I’d watch the news. Every fifteen minutes viewers are continually betrayed with a pulling the rug out bait and switch combining for some kind of clunky horror FBI raid meets zealot save the children siege. I see why stars like John Goodman and Melissa Leo were interested in the subject matter, but there’s no finesse in the attempted statements or falling flat scares. Hate crimes and horror really don’t mix. Trying to be witty dialogue ends up as corny misses – and I love Kevin Smith’s humor in Clerks and social winks in Dogma. Once again, a one and the same writer/director really should have had another person tell him you can’t squeeze a bigoted drama horror movie political action film together and expect something fulfilling. While I applaud the edgy approach and true indie notion of for the people by the people film making, the self promotional on demand distribution and lack of recognition here is not surprising. Not only does this toss in every taboo possible, but the wanna be shrewd controversial never makes up its messy mind.

Kbatz: Watery Vacation Frights

Frightening Flix

 

Watery Vacation Frights

by Kristin Battestella

 

These folks should have kept their toes away from these coastal horrors and icy vacations!

 

Bay CovePamela Sue Martin (Dynasty) Tim Matheson (The West Wing), Woody Harrelson (Cheers), Jeff Conway (Grease), Barbara Billingsly (Leave it to Beaver), and more familiar retro faces star in this 1987 television movie going by several titles. Full moons, chanting, cemeteries, churches, candles, confessions, and lightning immediately invoke an evil, medieval mood contrasting the eighties women’s business suits, shoulder pads, and complaining yuppies. All the denim, mod decor, jazz, and black satin slips go for a dated, trying to sexy mood, but that’s quickly left behind after our couple hears about a chance to invest their construction business in a nearby island fixer upper – moving from the big city and starting a family unfortunately blinds them from that suspicious bargain price! Eighteenth century history, hidden rosaries, creepy old books, dogs versus cats, and a locked basement accent the increasing strange old landlady, odd neighbors, generational residents, and mysterious figures in the window. Despite pretty greens, beach-side birds chirping, and smooth ferries; all black clothes, spooky quilts, torches, and an escalating colonial tone build to tales of burning at the stake and an abandoned puritan past. Fishy headstone dates, pentagrams under the general store, and missing pets divide husband and wife alongside work and home conflicts, mistrustful realtors, and explosive jeep accidents that look quite good even with a then television low budget. Phantom ye olde dressed kids, melodramatic slow motions screams, and up close soft focusing are however, a bit much, and the credits rush over a somewhat corny finale. While the gaslighting, sacrifices, and midnight deadlines proceed as expected with twists that won’t surprise most horror viewers, the crazy dreams, stormy nights, and hooded robes remain entertaining thanks to the likable cast and ghastly atmosphere.

 

Neverlake The modern amid old stone buildings, winding rural roads, and crisp hint of snow quickly turn to morbid Shelly poems, floating bodies, and dead trees for a teen on a Tuscan visit to her doctor father in this 2012 Italian production. While creepy kid shocks, hitting over the head Peter Pan motifs, juvenile fantastics, and redundant narrations seem pedestrian; the family dynamics, would be step mother, suspicious research, and locked doors accent the Etruscan studies, fragile statues, and ancient artifacts. Whispers on the lost healing powers of the Lake of Idols and exploring alone in the woods become foreboding thanks to sickly green water and nighttime warnings – not to mention the severe looking nearby hospitals, escalating injuries, and sudden operations. Although eerie dreams may be an excuse for visual horrors or shock music and “Ominous Ambiance” closed captions are bemusing, subtle ghostly sounds, natural winds, and watery phantoms work alongside talk of life giving rituals and fine Arezzo locations. Freaky dolls, minimal technology, cemetery visits, and ticking clock experiments add to the rogue archaeology, stolen relics, hidden rooms, serious reveals, and family twists. At times, however, the plot stalls, skipping over explanations and more interesting Etruscan ties while going overboard on other parallels – voiceovers feel tacked on as do the obviously sinister mechanics, obligatory child horrors, and mystical attempts. The need to return the effigies, household frights, and medical surprises are intriguing enough without the misleading video cover and slasher label. While easy to solve for wise horror viewers, this pace feels meant for a younger audience and doesn’t resort to overly trite Hollywood techniques. Though flawed, this directorial debut isn’t bad and can be a nice little spooky ghost story for teen viewers looking for a unique scare.

 

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The Prowler Cape May filming locations accent this 1981 slasher alongside classic star Farley Granger (Strangers on a Train), black and white World War II newsreels, big band music, and swanky cars. Unfortunately, Dear John letters turn Avalon Bay’s 1945 graduation dance into unexpected horror thanks to the titular mask wearing killer, battlefield get ups, pitchforks, and plenty of blood. While the 1980 switch brings a new dance with short shorts, bad flirting deputies, and feathered hair, the murderer is back on the loose attacking the disposable babes – good girl, slut, wallflower, frienemy. Despite dainty, braless frills and steamy shower boobs, some scenes here are laughable with a dated and not exactly stellar cast. The music isn’t bad, but the dancing is pathetic, plot holes and disappearing characters come and go, the deputy just looks around rather than radioing for help, and a few stupid people don’t know they are in a horror movie. Fortunately, the killer personality is unique, and interesting camera perspectives or the generally unseen beyond the retro get up filming accent very good effects from gore master Tom Savini (Dawn of the Dead) such as through the skull knives and poolside assaults with nasty yet realistic splatter. There are some false jump moments, but the tension raises and lowers organically without the need for amped up boos or crescendos. A creepy old man in a wheelchair, dark Victorian homes, cramped rooms, and covered furniture add to the chases, clues, desecrated graves, and fireplace shocks. The suspenseful stalking and shadowed silhouettes invoke more menace as the viewers guess who’s next. Though perhaps obvious at times with a slightly limp ending, unexpected turns and gunshot toppers compliment the early slasher staples at work – wise audiences can see the influence on Scream and other spoofs. Lone settings and individual isolation do better than large scale terrors here, making for some entertaining, shout at the television viewing. He has a pitchfork, honey, a chain on the door isn’t going to help! 

 

Don’t Go There!

 

Frozen – Not that one! Before there was Frozen, there was this 2010 ski resort escapade – which my husband said I probably wouldn’t like. Indeed there’s a lot going against this with obnoxious music, jerky attitudes, ski lift scams, a boyfriend proud to make his girl flirt to their advantage, and his jealous third wheel BFF. Playing in the snow, can’t ski montages, and kiddie mountain safety contribute to the trio’s awkwardness and lame arguing over skis or snowboards and cigarettes versus pot. The terrible slice of life dialogue and hollow conversation on the worst ways to die includes favorite cereals, Jaws, and Star Wars, because of course. Naturally, nobody goes skiing with their expensive phones, and nightfall and weather warnings are ignored so these yuppies can sneak passed quitting operators for one more huzzah. The mechanical creepy and equipment problems are ominous enough thanks to beautiful mountain snowscapes, bleak aerial photography, and up close overhead shots of dangerous gears, blades, and wires. Goggles, hats, and hoods invoke the brisk practical designs and chilly Utah locales while the lights out, howling winds, sleet, and thundersnow spell peril. Unfortunately, immature finger pointing and a going through the motions tone hamper the intriguing premise of being stuck on a ski lift for a week. Decoy snow truck rescues come too soon amid OMG boys admitting they are scared and people peeing themselves. The idea of jumping down is interesting, and frostbite, frozen appendages, critical gloves, and dropped gear are eventually addressed. However, the irony of breaking off an icicle to drink is never mentioned, nobody’s butt ever gets numb, and the danger is not as intense as it should be due to increasingly unrealistic turns. Though quality, painful screams and injury gore can’t overcome improbable wolf suspense and the stupidity of jumping legs first into an iced nighttime snowbank. You can’t use a snowboard to set a broken leg? Why didn’t they initially use their gear to zipline back down the lift instead of waiting to go by hand after its frozen? A big deal is made of smoking and matches to start but no one considers starting a signal fire? Can they still sue if they bribed the operator and were never really supposed to be there in the first place? Several intense moments can’t save this not very well thought out script – another pair of eyes to point out the unbelievable errors or a stronger cast could have made the chill zing. I would rather have had the bleak silence and the realism of not seeing the actors’ faces if it meant they actually zipped their hoods up all the way. Ultimately, the audience is given no reason to care and what should be a thrilling horror drama is more like a parable on how not to be a hipster skiing ass.

Safe Place: An Interview With Indie Horror Filmmaker Nick Hunt

Greetings HorrorAddicts.

Recently we had the extreme pleasure to interview indie filmmaker Nick Hunt. Nick Hunt is the writer and director for Safe Place which is going into production in February. If you ever wanted to have a little insight into what goes into getting an indie movie made then check out this interview:

What is Safe Place about?

mv5by2zmztnlntitodk5nc00ytgzltlizdctzmiwyti1ndhizgyzxkeyxkfqcgdeqxvynjyzodi0mjc-_v1_sy1000_sx1000_al_SAFE PLACE it is about this terrible tragedy that happens to this family man Chris Craven, where he loses his grip on reality and is forced into this life of fear and seclusion, he crosses paths with Lori and her 5 friends and when they find themselves in distress he wants to save them from themselves and the world outside, and will do it by any means necessary, even if it means taking them out of the world, one by one.

Where did the idea for Safe Place come from?

SAFE PLACE comes from a few different inspirations. The title was an inspiration from the actual government signs which basically are in front of buildings that can be a sanctuary of sorts during dangerous situations. The mv5bmjdhndjjywytnmrmmy00mzq5lwixzwetodlmmzmzywmyntnjxkeyxkfqcgdeqxvynjyzodi0mjc-_v1_sy1000_cr007721000_al_idea I gathered from that was well…what is the place that was supposed to be your escape from danger wasn’t safe at all, and was actually equally or even MORE dangerous. The rest is really a work of inspiration from the world outside. We all are individuals and we all have singular opinions which are what makes us human. The world isn’t a great place by any stretch, and some people have in other’s eyes warped views about the world, and exaggerated views. To some those aren’t exaggerated views, to some its reality. The violence, the turmoil outside isn’t something we as a society or as individuals can escape; we simply have to fight to make it out alive. The last part of inspiration really came from the fans. What do the fans want to see? I tried as hard as I could to still sit in that audience’s perspective’s chair and live as an audience member throughout all of this. We are evolving, we are changing, and what we want to see on the screen is changing. We want the emotional experience brought back to horror. Gone are the days you’ll see the clichés running rampant that you’re used to. SAFE PLACE strives to break barriers in a lot of different areas down to the way it’s written, the way it’s portrayed, the characters, the violence, the story, the effects, everything!!!

How long did it take to write the script?

The original script was written over 10 years ago and if I remember didn’t take that long, the rewrites an revisions of the screenplay since have been the longest and most arduous of the tasks making sure to get all of the emotional experiences, the tension and those characters right and realistic and true to my vision.

How did you get the money together to produce the movie?

mv5bywzjnju2ytktntcyns00yjy3lwi2yzetytu0nwq3njhhnti4xkeyxkfqcgdeqxvynjyzodi0mjc-_v1_sy1000_cr0012941000_al_Some of the money came from private sources and private investors, and we are still trying to procure the final remainder of the funding for things like marketing, film festivals, etc. The good thing is we save a lot of money by the fact we have 99% of our equipment and that’s a big expenditure we don’t have to really worry about which is a huge relief.

How did you get the cast together for the movie?

For this film I really sought out feedback from other filmmaking friends and looked for presence and positivity, people who popped, there was no auditioning; these people were mostly brought on sight unseen. I did that because I had a feeling about the group and I thought they personified who I was looking for, especially when my niche is giving opportunities and breaking barriers in horror for having strong female characters, strong LGBTQ characters, strong minority characters, and even giving talents that are disabled the ability to showcase, in a genre that’s usually pretty cut and dry. We have a cameo appearance shooting next month in December with Lloyd Kaufman who is of course is a legend in the business whom I simply reached out to through Facebook and wanted to be a part of SAFE PLACE almost immediately after hearing about it! My main actress is Ashley Mary Nunes (ALL THROUGH THE HOUSE, upcoming DEATH WARD 13) who is just kick ass and amazing, destined to be the next big scream queen; We have character actor Dominick Santarsiero portraying Chris Craven our antagonist, and the rest of the cast is led by a group of young and up and coming talent the likes of Yvelisse Cedrez, Katy Votapka, Timothy Noble, John Gettier, Nathaniel Matos, Nick Graffeo & more!

Where will the movie be made?

The movie will be shot in and around the Orlando and surrounding central Florida areas this February in a mere few months!

What did you do before you were a filmmaker?

Most of my career has been spent in customer service, hospitality and restaurant. I have worked as everything but a bartender, and am a great food service manager, and love to cook as a general hobby.

What are your favorite horror movies?

I love the original Fright Night, the F13 franchise, the Halloween franchise, the Child’s Play films, classic Lucio Fulci and Dario Argento, all the Universal Monster Movies, I love foreign horror like Cold Prey, Frontier(s), Martyrs, Calvaire, Inside. At the end of the day though, anything and everything. Way too many to list!

 

What inspires you?

Hunger. The underdog. I love seeing that hunger that someone personifies come up and fuel them. I have had a lot of hard times in my life. Seeing someone make their way through the fire and flames so to speak inspires me more than anything else. Courage is a big character trait in my book. That’s why it is so important to me that SAFE PLACE really brings into light strong female characters, strong LGBTQ characters, and strong minority characters. This is a new day and age and the film world needs to keep up. The horror world more than ever!

What is the hardest part about getting your movie made?

The no money part is a huge thing, asking people for money, offering incentives, the business side, never thought it was something I’m good at, but I’m finding I am. The rejection sometimes. We originally had a lot of issues with a realtor with the original main location for the house, some casting issues, people I had hoped for not being able to commit. Besides that some days I sacrificed eating to boost a post on Facebook, or did something equally. It’s hard out there when all you have is your passion, now I’m starting to see it’s not just MY passion, but others that are fueling this project as well.

When will people be able to see the finished product?

The tentative release date is October 27, 2017 the final Friday before Halloween next year!

Where can people find out more about the movie?

You can follow us/me on Twitter @safeplacefilm or you can head on over to Facebook.com/safeplacethemovie where you can see the trailer, hear songs from the soundtrack, and lots more!

http://www.imdb.com/title/tt5632104/?ref_=fn_al_tt_1

 

 

Kbatz: Lady Horrors!

Frightening Flix

 

Lady Horrors!

By Kristin Battestella

 

Because new, retro, foreign, zombies or witches – we all need some more ladies in our horror!

 

The House of the Devil – Creepy menus, cult statistics, and retro credits start this 2009 blu-ray featuring Jocelin Donahue (The Burrowers), Dee Wallace (The Howling), and Mary Woronov (Death Race 2000). Payphones, eighties rhythms, and old fashioned style add period flair alongside onscreen smoking, maps, feathered hair, and a big old cabinet television showing Night of the Living Dead. Even the giant Walkman and slightly corny music montage and dance about the house has a purpose in the narrative. Church bells, cemeteries, and an imminent eclipse lay the scary foundation, and rather than an opening scare fake-out, writer/director/editor Ti West (The Innkeepers) uses zooms and movement within the camera frame to create viewer intimacy, closing in from the chilly exterior and ominous windows as the suspicious phone calls lead to desperate babysitting jobs, desolate night drives, and a maze-like Victorian manor. Yes, our Samantha is at times very dumb and unaware she is in a horror movies thanks to plot holes a collaborator not wearing so many behind the scenes hats could have clarified. Mistakes and convenient contrivances in the somewhat tacked on final act also break the solitary point of view for the audience’s benefit. However, that finale free for all with ritual candles, hooded robes, and a sudden twist ending is in the seventies splatter spirit, and the simmering, silent build happens naturally over the film. Instead of hollow thrills a minute, the viewer is allowed time to suspect the scary attic, theorize on suspicious photos, and listen for every noise – we know something is supposed to happen but not when. Though this kind of approach may seem boring to some, this innate alone trickle let’s us appreciate the dark basement and the inopportune power outage for when the titular frights do happen. It’s nice to have something different from the mainstream horror trite, too – not to mention an $8 pizza! 

 

Hush – Writer and director Mike Flanagan (Oculus, Absentia) and his wife, co-writer, and star Kate Siegel place our deaf-mute author in a pleasant forest cabin for some writing, relaxation, and terror in this 2016 eighty minute Netflix original. Comfort cooking noise fades and unheard laptop tones switch to wild kitchen alarms – immediately establishing the common sounds taken for granted alongside subtitled Sign Language, feeling vibrations for sound, and hearing an author voice in your head brainstorms. Friends speak while they sign, breaking up the quiet for the viewer, and we must pay attention to writing onscreen such as book jackets and manuscript text. Understandably, phone technology and Facetime calls are important, but an over-reliance on gadgets in horror can be tiring and soon dated with wi-fi switches, lost connections, and cut power. Fortunately, the intimate home makes the audience accustomed to the hearing challenges before adding the muffled silence, unseen scares, unheard screams, and instant cyberstalking. Through windows or foreground focus and background action, we have the full perspective when the protagonist doesn’t. It is however a mistake to reveal the crossbow and Bowie knife wielding stalker so completely. We don’t need to know the sociopath motivation nor should the viewer feel for the killer or care if he has any personality, and removing his mask just creates limp assholery. The frightening unknown with footstep vibrations, hands at the window, and approaching shadows creates a better siege, and the mystery of who and why is lost in the contrived lulls and stupid mistakes while Maddie waits around for his taunts instead of fighting back. Why not set something on fire, smoke signal authorities? Having her inner monologue address the situation and the pros or cons in each course of action is also better than breaking Maddie’s point of view and using fake out possibilities. Although it’s a pity millennial viewers wouldn’t watch something that was all silent, the long periods with no dialogue, sound effects, and score crescendos do just fine in accenting these unique dynamics. While not perfect, this tale has enough thriller tense and innate woman alone in peril – and thus proves exactly why I must know where all the windows, entrances, and exits are in a given location and never sit with my back to any of them!

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Maggie Sad voicemails, outbreak news reports, desolate cities, quarantines, and martial law immediately set the bleak outlook for infected daughter Abigail Breslin (Little Miss Sunshine) and her gray bearded father Arnold Schwarzenegger in this 2015 zombie drama. Wait – Arnold? In a drama movie? About zombies? No choppers?! Nope, this is not an action horror movie, and gruesome gurneys, gangrene encounters, and blackened decay are not played for scares. Here the body horrors and social breakdowns go hand in hand – science can’t put a dent into the virus fast enough, and loved ones must wait as the vein discolorations and white out eyes spread toward heightened smells and cannibalistic tendencies. Minimal technology, chopping wood, rustic generators, cassettes, and older horseshoe phones accent the isolated farmhouse as insect buzzing, infected neighbors, and animal dangers mount. Younger siblings are sent away, and step-mom Joely Richardson (Nip/tuck) struggles with her faith, strength of conviction, and the promises they’ve made despite the deadly risks. How does a teenager keep it together when she has nothing better to do but sit around and die? Do you call friends for a last hurrah? This flawed father won’t send his daughter to die in quarantine with strangers, but he can’t give the painful lethal injection at home or make it a quick end, either. Creepy doctor visits amplify the stigmas and paranoia regarding these in between infected, and nice teen moments soon give way to growls and necroambulist changes. Where is the line between siege removal authorities and family compassion? Someone has to take control and there’s no time for sympathy – just the inevitable breakdown of families desperate to stay together. Governator Arnold produced the film sans salary, and the off-type surprise provides heart wrenching results and must see performances. Granted, most audiences probably expected zombie action thrills a minute and there are unnecessary artistic shots, long pauses, and plodding direction at times. However, this is a strong story with hefty goodbye conversations, and it is surprising such realistically upsetting and horrible circumstances rather than horror went unnoticed. Without mainstream box office demands, indie releases are free to tell their story as it needs to be told, and this tearjerker delivers a great spin on the flooded and increasing derivative zombie genre. 

 

Picnic at Hanging RockThe Criterion blu-ray has almost two hours more features discussing this 1975 Australian spooky drama based on the Joan Lindsay novel about schoolgirls gone missing in 1900. The innocent white lace and valentine wishes are soon to be ill foreboding thanks to eerie music and budding whispers. These girls tighten each others corsets in parallel shots with mirrors, BFF poetry, latent suggestions, and repression abound. The seventies breezy fits the late Victoria ruffles, hats, and parasols – gloves are permitted to be removed for this excursion! Capable Aussie help and buttoned up British elite mark a strong class divide, and pretty mountain vistas, wild vegetation, and rocky mazes contrast the lovely yet out of place English manor. Straightforward, controlled camerawork captures the society at home, but surreal, swooning outdoor panoramas invoke Bermuda Triangle suggestions alongside dreamy voiceovers, rolling cloud rumbles, and red symbolism. Insects, reptiles, swans, disturbed bird migrations, fickle horses, watches stopping at noon – the metaphysical or transcendental signs imply something beyond mere coming of age and sexual awakening. Trance like magnetic lures radiating from the titular nooks and crannies stir these Gibson Girl naps, and askew slow motion reflects this layered beauty meets danger. The enchanting blonde, the nerdy girl with glasses, an awkward brunette, and the complaining chubby girl – standard horror stereotypes today – all talk as if they are up to something naughty with self-aware doomed to die chats before scandalously removing their shoes and stockings. A flirty French teacher, the severe math teacher in red reciting lava flow build up and volcano rising statistics with an uncomfortable kinky – we don’t see what happens. However, hearing the screams and watching the resulting hysterics make it creepier. Incomplete searches, Victorian speculation, and unreliable witnesses muddle the investigation, but most importantly, doctors assure the survivors are still chaste. Such delicate interrogations and polite society leave newspapers and angry townsfolk wondering while the school faces its own fallout with withdrawals, unpaid terms, drinking, and guilt. Yes, there’s some artistic license with absent families, poor forensics, and missing evidence ignored. Surprising connections, however, and good twists in the final forty minutes keep this damn disturbing – and it’s all done without gore or effects. The innate power of suggestion, period restraints, and our own social expectations drum up all kinds of unknown possibilities, and I don’t know how anyone doesn’t consider this a horror movie.

 

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The Witch – We don’t get many Puritan period pieces anymore much less ninety minutes plus of simmering 17th century horror as seen in this 2015 festival darling. Big hats, white collars, thee versus thou court room arguments, and family banishments immediately establish the ye olde alongside natural lighting and authentic thatch buildings for a rural, simplistic ambiance. Unfortunately, such exile to these empty, harsh, unyielding lands turns devotions to desperation with gray crops, bloody eggs, abductions, and babies in peril raising tensions in the humble hovel. Spooky forests, fireside red lighting, blood, nudity, ravens, and primal rituals suggest a dark underbelly only partially seen with hazy splices, shadows, and moonlight. The screen is occasionally all black and certain scenes are very tough to see, but such visual bewitching adds to the folktale surreal. Personal, intimate prayers are addressed directly to the camera, and we feel for Anya Taylor-Joy (Atlantis) as Thomasin when she apologizes for her sin of playing on the Sabbath. The scripture heavy dialogue and religious names are fittingly period yet remain understandable as coming of age children question how an innocent baby can be guilty of sin. Both parents’ faces are shadowed with hats, dirt, and impurity, yet snapping mom Kate Dickie (Red Road) gives Thomasin all the difficult work. Increasing dog problems, ram troubles, and creepy rabbits contribute to the toughness – the young twins chant oldeth nursery songs to the goats and claim there is a witch at work, but dad Ralph Ineson (Game of Thrones) isn’t totally forthcoming with his grief, hopeless trading, and family pressures. The isolated, starving couple argues, debating on sending the children away as the strain, zealousness, and fears mount. Ominous lantern light, alluring witchcraft, and almost ritualistic in itself bloodlettings stir the finger pointing hysterics while great performances hit home the wild bed fits and exorcism-esque prayers. Somebody has to be blamed. Where do you get help when evil would take advantage of such hypocrisy and social failings? It’s easy to imagine the fantastic or confuse apparitions of the dead as angels when the devil answers your pleas instead of Grace. Maybe one has to be familiar with Puritan history or Biblical texts to fully appreciate the struggles and references here. However, contemporary audiences should realize that there’s more to the horror film genre than today’s rinse repeat wham bam boo gore. Although a brighter picture would have been nice, the genuine designs here are much more pleasing than any digital overkill. Doubt, what you don’t see, and the power of suggestion escalate the horrors with maniacal laughter, screams, and one scary voice leading to a deliriously delicious finale. Why aren’t these niche indies that do film making right really the mainstream cinema?

 

Don’t forget you can read more of our Feminine Horror recommendations in the Horror Addicts Guide to Life!

Kbatz: Silent Film Scares!

Frightening Flix

 

Silent Film Scares!

By Kristin Battestella

 

Here are but a few early film frights to catch your tongue!

 

The Cabinet of Dr. Caligari – Sleepwalking, hypnosis, and a demented carnival atmosphere are just the beginning for this influential 1920 paragon. From the German intertitles complete with a madcap, unreliable narrator font to the eerie, off key merry go round score, the distorted perceptions and exaggerated visuals force the viewer to pay attention. Green patinas, teal evening scenes, golden up close shots, and opening and closing irises layer on the dream like retelling alongside askew, Expressionist angles and a stage like design – a play within a play to which we the audience are willingly privy. Contrasting triangles, shadows, lighting, and more surreal architecture parallel the lacking reality, for there is no external frame of reference and forced perspectives belie a fun house whimsy. The actors, makeup, and abstract period styles are fittingly macabre, and the stilted contortionist movements evoke a poetic but unsettling ballet where a misused seemingly innocent, forgotten pawn needlessly dies once his job no longer computes. Though very indicative of its early interwar time, this remains immediately progressive – man is misled, controlled, even compliant in his misdeeds but not willing to be responsible for his actions when it is easier to be led astray and defer your killing hand to the orchestrating puppeteer. Do we not let popcorn entertainment and social media dictate our needs because someone somewhere told us so? Are we living in a fantasy if we think otherwise? Maybe so. The mass sheep consequences are indeed frightening, and some may find it tough to view this picture objectively knowing the catastrophic calamities to come. The appropriately named Cesare, deadly predictions, a perceived loved triangle, escalating murders, and crazy case connections twist and turn while satirical police sit on high up stools like toy soldiers waiting to be told what to do – like us in our 9 to 5 cubicles. Ignorance is bliss, and that is mighty scary. This is must see genre at its finest thanks to heaps of real world fears and social commentary for horror fans and classroom studies.

 

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Dr. Jekyll and Mr. HydeThis 1920 John Barrymore silent classic still looks good, with fine style and design and eerie organ music to match. There’s a lovely level of atmosphere for a spooky event- project this baby on some creepy cloth and you’re set! Granted, it’s a little slow to start and long for a silent film at 80 minutes. The presentation itself is almost Victorian in establishing the parlor goodness before its hint of pre-code sauce- the dance and proposition of Nita Naldi (The Ten Commandments). The posturing and makeup for Hyde may seem hokey, there isn’t that much of a visual difference compared to today’s high tech effects transformations. Nonetheless, Barrymore (Don Juan) sells the depravity without over exaggerating as the era often dictates, and the result is quite timeless.  There aren’t many title cards, either.  As the film progresses, the good and evil torment steadily increases thanks to the freaky pictures and creepy performance. A must see. 

 

Fall of the House of UsherThis very early 1928 silent adaptation of Poe’s macabre tale is only 13 minutes. There are no inter cards to read, nor what we would call dialogue. The fashions are decidedly Roaring instead of Victorian, too.  The visuals are so out there-even nonsensical-that it’s almost tough to see Edgar in any of it.  Nonetheless, this moody piece is perfectly disturbed with great, haunting organ music and eerie, distorted photography.  It’s trippy, unexpected, and a little scary. This is another one of those old films that makes for a great demented projection during a spooky party or ghoulish gallery presentation. Though not for everyone, anyone who is a fan of early film experimentation or audiences who just like weird shows should definitely check this out.

 

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Faust – This 1926 F. W. Murnau biggie waxes on all the good and evil one can muster thanks to its Old World appeal, supernatural surreal, and timeless story. Familiar strings and sweeping orchestration ground the Expressionist horror framework with frenetic ills or melodic tender as needed while stunning images of angels both light and dark are fittingly disproportionate with oversized wings. So maybe the mounted skeletons may seem hokey, but the smoke and mirrors, creepy eyes, and evil horns make for superb overlays and superimposed shadows. Why do we toy with spectacular effects when each frame here is like a seamless painting – unlike contemporary, noticeably shoddy CGI. Ghoulish makeup, severe looks done with very little, dark hoods, rays of light, and religious iconography loom large, telling the tale with symbolic light and dark objects dueling for our attention – just like the delicate titular ballet. The battle for one man’s soul is set amid our earthly plague fears, and despite the torment and somewhat odd, dragging domestic humor, the acting is not over the top but subdued for the weighty subject. This macabre is closer to the past than the present, setting off the repentance questions and plague as divine retribution debate. His Old Testament gives no answer, and evil enters in on Faust’s doubts, trading decadence with quills to sign in blood, hourglass measures, alchemy, superimposed flames, and mystical books to match the thee and thou spells. Our deceiving little old man becomes more traditionally devilish looking with each lavish temptation, duplicitous with his immediate tricks of pleasure and unfulfilling youthful elixirs that cannot be sustained. Could you do good with such power? Flight and winds show not how high one goes but how far we will fall, and despite a somewhat overlong hour and forty minute full length edition, the grim sense of dread here snowballs as the looming evil drapes the bedchamber within his robes. Will innocence and love triumph and restore the divine? This stunning attention to detail not only makes me want to tackle Goethe again, but shows what can be done when time is taken to ensure a picture lasts 90 years rather than be a consumed and quickly forgotten 90 minutes. The multiple versions and assorted video reissues will bother completists, but we’re lucky to have these copies at all and horror fans and film students must see this still influential morality play.

 

The Hands of Orlac – Art and music meet the grotesque for this 1924 tale of pleas, surgeries, and will power. Precious few newspaper clippings and streamlined, made to look old intertitles accent the ominous locomotives, vintage vehicles, smoke stacks, and well done but no less hectic disaster filmmaking before the macabre executions and madcap medicine. Doctors in white coats with terrible news, a saintly woman in white, bleak black trees against the clouded white sky – rather than our beloved silver screen, the picture here is truly a black and white negative with bright, symbolic domestic scenes and nighttime outdoor filming. Overwhelming buildings loom tall, and the sharp, gothic arches of a sinister father’s house reflect his uncaring. Eerie superimposed faces, phantom feelings, and impatience to remove the bandages build toward the eponymous hysterics, but the simple agony of handwriting changes and crooked hands so skilled with a killer blade but unable to master the piano wonderfully increase the torment and self doubt. Is it the mind doing these fatal repeats or the appendages themselves taking over? The full near two hour restored version feels somewhat overlong, with melodramatic scenes and unnecessary transitions interfering with the anguish. At times, contrived fingerprint exposition and solving the crime clichés pull the rug out from under the horrific hands possibilities, but fortunately, the blackmail, murder investigation, and bittersweet love anchors the monstrous appendage swapping. Where today we would have all kinds of bent, hairy, or special effects to hit the viewer over the head with how evil these hands should be, it’s amazing how these wicked hands psyching out our pianist don’t look evil per se but actually fairly normal. With our contemporary pick and choose genetics and scientific advancements, the concept of these influential limbs out for themselves is perhaps more disturbing. Could you loose your art and livelihood when calamity takes your hands or would you use extreme science to restore your limbs, accepting the inadvertent trade of music for something more barbarous? This is an excellent must see both for the ghastly what ifs and the inner turmoil at work.

 

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The UnknownLon Chaney (The Phantom of the Opera) and Joan Crawford (Whatever Happened to Baby Jane?) star in this short but memorable 1927 silent from writer and director Tod Browning.  Similar to Browning’s Freaks in many ways, the grotesque yet tender and sympathetic love triangle here is fast paced and well edited with intense twists and a great, revitalized score.  Sure, it may be a Leap of Faith in taking Chaney as armless and the carnival set-ups are hokey- but trust me.  There’s no over the top acting, only perfect expressions and emotions all around. Crawford looks dynamite, too, with great eyes and readable lips that don’t need inter titles. It’s not all Chaney’s footwork and bravo to his double Paul Desmuke; their combination is strangely delightful to watch. It’s probably a tough concept for some contemporary, effects-obsessed audiences to comprehend, but hearing or reading words aren’t required for the viewer to receive the trauma here.  Yes, some of the essential plot points are fairly obvious today. However, the performances keep it splendid nonetheless. This hour is by necessity of the silent style yet also very modern in its own way. It’s definitely a must see for classic fans, lovers of the cast, and film makers or would be actors- who should definitely take a lesson on the big reveal here!

 

Wolf Blood – This 1925 silent hour plus is the earliest remaining onscreen lycanthrope picture, complete with Canadian flavor, old fashioned logging, spooky forestry, railroads, and jealous love triangles to match the desperate titular transfusion and its would be consequences. A befitting green hue graces the outdoor scenes while standard black and white reflects the bleak interiors and golden tints accentuate the high society parties. The focus is blurry at times, the print understandably jumps, and the music is surprisingly loud. However, the rounded iris close ups add a dreamlike quality, and the vintage jazz tunes and period fashions are a real treat. If you’re looking for a time capsule logging documentary, this is it! Flirtations, camp injuries, company rivalries, drunken dangers, and medical debates give the first half of the picture a purely dramatic pace, but the wolfy fears, mob mentality, and deadly possibilities build in the latter half. Fantastic medicine, superstitious leaps, dreams of becoming the wolf – this isn’t a werewolf film as we know it but the key pieces are here. How fast people turn on you once you have wolf’s blood! The wolf footage is also quite nice, with what looks like real mixed wolf or husky dogs. No, there is no werewolf transformation and it’s all a bit of a fake out in that regard, but the community fears and early man versus beast melodrama is still fun to see.