GOTH: The Game of Horror Trivia Video Review

Hello, Addicts! Kristin Battestella aka Kbatz here with a special Video Review of my awesome Thrift Find Goth: The Game of Horror Trivia!

 

In Addition to Goth: The Game of Horror Trivia, briefly I also mention some Lovecraftian and atmospheric games including Arkham Horror, Pandemic: Reign of Cthulhu, Betrayal at the House on the Hill, and The Grimm Forest.

Be sure to check out more of our Game Reviews at Horror Addicts.net, and don’t forget you can get interactive, answer trivia questions, and tell us what kinds of Horror Media you would like to see – by Horror Addicts for Horror Addicts! – on our Facebook Group.

 

 

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FRIGHTENING FLIX BY KBATZ: The Phantom of the Opera (1943)

The Phantom of the Opera Can’t Go Wrong

By Kristin Battestella

This 1943 universal color spectacle adaptation of Gaston Leroux’s tale is probably the one I remember most from being a kid- and it was the first with which I introduced my niece. Though a little of its time, this rousing adaptation is still delightful.

After being dismissed from the Paris Opera and unable to sell his musical works, Erique Claudin (Claude Rains) murders the music publisher and takes to the bowels of the Paris Opera House. From there he terrorizes opera patrons, earns his ghostly nickname from the staff, and threatens the lives of the cast unless the beautiful understudy Christine DuBois (Susanna Foster) is allowed to sing. Christine, however, is unaware of The Phantom’s obsession with her, as she is already torn between the dashing opera lead Anatole Garron (Nelson Eddy) and Inspector Raoul D’Aubert (Edgar Barrier).

The action, tragedy, and suspense from director Arthur Lubin (The Incredible Mr. Limpet) and Oscar nominated screenwriter Samuel Hoffenstein (Laura) are well paced and no less thrilling, but the format here does stray from the standard Universal Horror monster greatness we expect. Is it horror per se? No. And yet despite the heavy musical content with full opera numbers, you can’t really classify our tale as a musical either. This may sound negative, but I like this in between balance, I really do. This is a serious music film with creepy undertones and even kinky subtext. Extra understudy rivalries and witty competing men add to the great suspenseful crescendos in both the onscreen operas and the climatic action. This isn’t simply a remake of the silent version- some of the sets may be the same but this take is a twist all its own. Yes, perhaps the mask reveal is not as famous as the 1925 Phantom of the Opera’s silent cinematic moment- but it is still a whopper nonetheless. Even knowing what is to happen, I’m still entertained every time. I mean, that chandelier!

Susanna Foster (Star Spangled Rhythm) as would be diva Christine DuBois is perhaps not the gorgeous as we traditionally think of beauty today, but she’s still lovely nonetheless. Not one, but three men are enamored with her- and we believe it through Foster’s old-fashioned on screen presence, operatic weight, classy delivery, and great strength against all these men telling her the music is everything and there’s no need for a normal life. Not all viewers today might like or even be able to tolerate her high notes, but Christine’s innocence and charming nightingale win out. She is naive and on the cusp of something great and we understand why The Phantom wishes to protect and pedestal her thanks largely in part to Christine’s sympathy and pity for him. Four time Oscar nominee Claude Rains (Notorious, Casablanca, Mr. Skeffington, Mr. Smith Goes to Washington) is of course, so sad to start- dismissed from the company, unable to publish his compositions, and penniless thanks to his sponsorship of Christine. Claudin’s down on his luck and we can certainly relate to him now more than ever, but even so, he’s no less pathetic in his multi-layered, latent, and implied obsessions with Christine. Even as things turn murderous, we empathize with the disfigurement that pushed Claudin over the edge. He’s just misunderstood, really! Those angry mobs pursuing The Phantom made him snap! It’s twisted, and stalkerishly endearing; there’s no vision but Christine’s success nor any length to get it.

Stage and voice phenom of the day Nelson Eddy is without his usual Sweethearts and Rose Marie co-star Jeanette MacDonald for The Phantom of the Opera, but he and fellow suitor Edgar Barrier (The Pride of the Yankees) create a fine romantic layer and love triangle to keep things interesting for Christine DuBois. Both suave and debonair in their professions, the guys also add some needed humor and subtext to balance the darker sequences of the film. However, some of the fun is also a little annoying- again especially in comparing what we normally expect from a Universal Horror film. Honestly, I find The Phantom much more interesting, for we do get to see a little more of him without Christine. Unfortunately, Anatole and Raoul are a little one dimensional and underdeveloped since we only see them in friendly battle for their lady. Eddy and Barrier are by no means bad, but they deserved more with which to work.

Thankfully, the art decoration, set décor, fashions, costumes, and Technicolor spectacle of The Phantom of the Opera are just wonderful. The Oscar winning art design is indeed colorful and bright- today we seem to always do period films in drab, muted big satins and layers. The men all look great- not a lot of pups today can pull of a cape, Victorian epaulettes, or Opera extras. Yes, the style is a little too Victorian or more English in tone- everyone has French names but nobody speaks with French accents- and some may find those similar names or the sporadic French flair confusing without subtitles. Parisian style, however, also comes through in the period décor and quintessentially French tale: candlelight, gas lamps, cigars, the operatic compositions themselves. The scoring onscreen and off is wonderful of course, from the biggest notes to the softest, bittersweet strings. I’m not really sure if the supporting cast did their own vocals or instruments playing, but so what? Again, that up there singing might be too dated for some contemporary audiences, but it is an opera after all.

In addition to those subtitles, the DVD has a sweet hour-long retrospective about The Phantom of the Opera in all its film incarnations and a companion audio commentary. Fans of the tale in any variety have already tuned in to this 1943 version of course, but any and all classics fans, music on film connoisseurs, or the opera obsessed can certainly give this 90 minute spin a viewing. It’s entertaining and simple enough for younger audiences without loosing the zest and thrills of other adaptations and is perfect for a classroom comparison, too. Spend some time with The Phantom of this 1943 Opera tonight.

FRIGHTENING FLIX BY KBATZ: Mirrors and Superstitions!

 

Mirrors and Superstitions!

By Kristin Battestella

I don’t know about you but I won’t purchase a second hand mirror thanks to these reflective frights!

Dark Mirror I stumbled upon this 2007 thriller late one night on IFC and enjoyed the unique aspects here. It’s so nice to see a non-blonde or idiot buxom pretty perfect lead in Lisa Vidal (New York Undercover). An ethic mom with issues like sneaking a smoke, possible marriage trouble, unemployment, and creepy neighbors- we haven’t seen the likes of this realistic well-roundedness in a horror film in sometime. The intriguing twists on cameras, mirrors, flashes, glass, and illusions are well done- not overly excessive but better than other similar films like Mirrors and Shutter.  Even Feng Shui gets involved in the twisted mythos here. The spooky L.A. house design also has some non-Sunny SoCal flaws, complete with hidden objects, altered reflections, deadly history, deceiving twists and turns and an unreliable narrator hosting the entire picture. What exactly are we seeing? What is real and what isn’t? Some of the storyline is a little confusing, and not all the acting is stellar, but the freshness here is entertaining and thoughtful throughout.

Mirror Mirror – Ironic country music and frightful orchestration accent the bloody period introduction of this 1990 teen creeper. Yes, that’s a generic title complete with a barebones DVD and no subtitles, but the spooky mix of antiques, hats, and shoulder pads make for a gothic mid century meets eighties style. Like dentistry, the innately eerie mirror aspects pack on the macabre along with blue lighting, distorted demonic voices, gruesome dreams, and bugs laying on the atmosphere. The 30-year-old looking teens in too much denim are mostly tolerable thanks to relatable new kid in town outsider feelings and feminine spins. Rainbow Harvest (Old Enough) is perhaps too wannabe Lydia from Beetlejuice and there is no sign of authority or investigation whatsoever, but the dark tone, a bemusing Yvonne De Carlo (The Munsters) handling the research, and the neurotic Karen Black (Burnt Offerings) make up any difference. This is a solid R, but the blood, nudity, water frights, and dog harm are done smartly without being excessive. The familiar Carrie, Teen Witch, and The Craft designs will be obvious to horror viewers, but it’s a fun 90 minutes of out of touch parents and teachers, high school cliques, and escalating creepy crimes. The titular evil from the other side takes hold for a wild finish – but never, ever put your hand down that garbage disposal, ever!

Oculus – Family scares, guns, and glowing eyes creepy get right to it as siblings are trying to both remember and forget their past tragedy in this 2013 mindbender full of askew dreams, unreliable memories, statues covered in sheets, and one cursed antique mirror. I would have preferred leads older than their early twenties – clearly appealing to the young it crowd – and despite an understandable awkward or instability, Karen Gillan (Guardians of the Galaxy) and Brenton Thwaites (Gods of Egypt) are too wooden at times. Fortunately, the more mature Katee Sackoff (Battlestar Galatica) and Rory Cochrane (Empire Records) and child support Annalise Basso (The Red Road) and Garrett Ryan (Dark House) do better. The non-linear past and present retelling, however, is confusing – the parallel plots aren’t quite clear until the paranormal investigation brings everything together in one location with elaborate equipment, carefully orchestrated timers, and fail safes for a night of ghostly activity. The video documentation makes for smart exposition at the expense of a larger cast or showing the accursed historical events – replacing the tried and true research montage for today’s audiences without resorting to the found footage gimmick. There are no in your face camera effects or zooms with booming music when the frightful appears, and the viewer is allowed to speculate on the seen or unseen reflections, there or maybe not whispering, and distorted blink and you miss them doppelgangers. Is there a psychological explanation or is this all supernatural? Although the recollections or flashbacks of the crisscrossing events should have been more polished – are we watching two, four, or six people as this battle replays itself? – the paranoia builds in both time frames with canine trauma and alternating suspense. Yes, there are Insidious similarities, the product placement and brand name dropping feels unnecessary, and the uneven plot merge cheats in its reflection on the warped or evil influences at work. The finale falters slightly as well, however, there is a quality discussion about the titular manipulation, and the time here remains entertaining as household horrors intensify. WWE Studios, who knew?

The Witch’s Mirror – Oft spooky actor Abel Salazar (The Curse of the Crying Woman) produced this black and white 1962 Mexican horror treat with Isabela Corona (A Man of Principle) as a creepy housekeeper amid the excellent smoke and mirrors and titular visual effects. From a macabre prologue and illustrations to Victorian mood, candles, and rituals, El Espejo de la Bruja has it all – love triangles, jerky husbands, revenge, betrayals, grave robbing, and ghoulish medicine. The plot is at once standard yet also nonsensical thanks to all the sorcery, implausible surgeries, ghosts, fire, even catalepsy all building in over the top, soap opera-esque twists. The sets are perhaps simplistic or small scale with only interior filming, but this scary, play-like atmosphere is enough thanks to wonderful shadows, gothic décor, and freaky, sinister music. Several language and subtitle options are available along with the feature and commentary on the DVD as well – not that any of the dubbing, subtitles, or original Spanish completely matches. The audio is also messed up in some spots, but the script is fun and full of cultish summonings and medical fantasies. Maybe this one will have too much happening for some viewers, as every horror treatise is thrown at the screen here. However, this is a swift, entertaining 75 minutes nonetheless and it doesn’t let up until the end.

You Make the Call, Addicts!

Doppelganger – The opening Drew Barrymore suckling scene feels a little too carried over from Poison Ivy, but the follow up blood and screams with mom Jaid Barrymore add to the 1993 kitschy. The very dated style, light LA grunge feeling, and passé cast are way over the top, and vampire lovers are removed from an onscreen script rather than a shoehorned in plot necessity like today. Thankfully, Sally Kellerman (M*A*S*H) is bemusing and so is the “Hey, it’s Danny Trejo!” moment, but seriously, George Newbern (actually the Adventures in Babysitting guy) isn’t Paul Rudd? Sadly, the slow motion soft core wanna-be shots don’t work until more blood and creepy aspects enter in- symbolic windows bursting open and yes, growling winds just make things laughable. It’s all too quick to get to the sex and titillation- casual lesbian on the dance floor motifs and forced use of the word ‘twat’ feel more awkward than cool.  The scares are obvious, and poor music choices, sound mixing, and bad dialogue re-dubs don’t help as Barrymore comes off more like a PMS queen or mental bitch rather than an innocent girl with a slutty, killer lookalike. Though the plot itself is too thin, things becomes more interesting when the murder investigation raises a few questions. Unfortunately, even the FBI agent (Dan Shor aka Billy the Kid from Bill and Ted’s Excellent Adventure) lays the smack on really thick! Barrymore doesn’t have a full command on the dry dialogue scenes, either. However, despite the baby doll dresses and old lady headscarf, teen Drew is looking flawless. I’m sure there’s a male audience that can have fun with that, the unintentional camp, and the cheap entertainment value here- except for the finale. Good Lord, what happened there?!

FRIGHTENING FLIX BY KBATZ: Recent Horror Ladies

Recent Lady Horrors

By Kristin Battestella

 

These contemporary pictures provide a little bit of everything for our would be ladies in peril – be it camp, scares, ghosts, or morose thrills.

 

The Love Witch – Artist, witch, and murderess Samantha Robinson’s (Doomsday Device) romantic spells go awry in this 2016 comedy written and directed by costumer/producer/Jill of all trades Anna Biller (Viva). Rear projection drives and teal eye shadow establish the tongue in cheek aesthetics while cigarette smoke, colorful lighting schemes, purple capes, and nude rituals accent flashbacks and sardonic narrations. Magic has cured our dame Elaine’s nervous breakdown after her husband’s death, and she’s starting fresh in a quirky tarot themed apartment inside a sweet California Victorian complete with a bemusing chemistry set for making potions with used tampons. Kaleidoscopes, rainbow liners inside dark retro clothing, blurred lenses, and spinning cameras reflect the “vodka and hallucinogenic herbs” as magic bottles, local apothecaries, and pentagram rugs set off the pink hat and tea room pastiche. Our ladies are so cordial when not plotting to steal the other’s husband! Her dad was cruel, her husband had an attitude, and her magic guru is in it for the sex, but she’s spent her life doing everything to please men in a quest for her own fairy tale love. When is Elaine going to get what she wants? She’s tired of letting the childlike men think they are in control, but she puts on the fantasy each man wants nonetheless, impressing a literary professor with her libertine references as the to the camera elocution and intentionally over the top Valley acting mirrors the courting facade. Psychedelic stripteases tantalize the boys onscreen, but the actresses are not exploited, winking at the customary for male titillation while instead providing the viewer with a sinister, if witty nature and classic horror visuals. Different female roles as defined by their patriarchal connections are addressed as ugly old eager dudes tell matching blonde twins that stripping or a rapacious sex ritual will be empowering – because a woman can’t be content in herself or embrace sexuality on her own terms unless there is a man to ogle her – while our man eater must break a guy down to the emotional baby he really is for her gain. It isn’t Elaine’s fault if men can’t handle her love! A man not in love can be objective while one wanting sex will excuse anything, and the shrew wife or female black subordinate are put out to pasture for an alluring white woman – layering the women in the workplace and racial commentaries as similar looking ladies must switch roles to keep their man. Tense evidence creates somber moments amid police inquiries, toxicology reports, and occult research – so long as the casework doesn’t interfere with their lunch order, that is. Is this woman really a witch or just a bewitching killer in both senses of the word? Is it batting her eyelashes lightheartedness or is she really an abused, delusional girl masking her trauma as a blessed be? The serious topics with deceptive undercurrents and feminist statements will be preachy and heavy handed for most male audiences with uneven pacing and confusing intercuts. However the fake blood in the bathtub, renaissance faire ruses, and melodramatic humor combine for a modern Buffy trippy satire dressed as a retro gothic That Girl homage that takes more than one viewing to fully appreciate.

 

My Cousin Rachel – Rachel Weisz (The Constant Gardener), Holliday Grainger (The Borgias), Ian Glen (Game of Thrones), and Simon Russell Beale (The Hollow Crown) begin this 2017 Daphne du Maurier mystery with happy strolls on the beach and fun bachelor times be it lovely greenery, carriages in the snow, or reading by the fire. The epistle narration gives a hear tell on the titular marriage via secret letters recounting illness and a wife forbidding correspondence before final, unfortunate news leaves the estates to heir Sam Claflin (The Hunger Games) on his next birthday – not the unseen widow said to be so strong and passionate. She’s a suspicious enigma for the first twenty minutes before a cross cut conversation introduces the charismatic storyteller, where the audience isn’t sure who is more uncomfortable or telling the truth despite the captivation. Divine mourning gowns, black satin, and lace veils add to the half-Italian allure amid more period accessories, libraries, old fashioned farming, candles, and top hats. Between would be scandalous horseback rides, church whispers, and awkward tea times, our once vengeful youth is smitten by Rachel’s progressive charm. Interesting conversations on femininity break Victorian taboos, for childbirth is the only thing a man knows about a woman and if she has a foreign remedy she must be a witch. Is Rachel wrapping her wealthy cousin around her finger? Can she when he is forbidding her work giving Italian lessons? Rachel is dependent on his allowance, and at times they both seem to be recreating the late benefactor and husband between them – the awkward new master wearing the dead man’s clothes and she the woman he didn’t think he needed. Such romance and heirloom Christmas gifts could be healing for them both, but viewers except the other gothic shoe to drop amid holiday generosity, seasonal feasts, and group songs. Overdrafts at the bank, raised allowances, a history of previous lovers and duels – Rachel puts on her finest grieving widow pity with a child lost and an unsigned will that would leave her everything. Is she orchestrating a careful seduction or is he a foolishly infatuated puppy despite clauses about remarriage or who predeceases whom? The ominous nib etching on the parchment leads to cliffside shocks, birthday saucy, blundered engagements, drunken visions, and poisonous plants. The suspicions turn with new illnesses and financial dependence, as Rachel goes out on the town and says what she does is nobody’s business. After all, why can’t she have a life of her own if the estate is now hers? Why should her independence be defined by a man’s piece of paper? We relate to Rachel, but she can only cry wolf and fall back on her sob story so many times… While this isn’t as creepy as it could be – audiences expecting horror will find the pace slow – the drama and mood are well done amid the wrong conclusions and written revelations. Were the suspicions warranted? The finale may not be satisfactory to some, but the unanswered questions and ultimate doubt remain fitting. 

 

What say you, Addicts?

A Dark Song – Psalm warnings, beautiful skyscapes, and an old house with no heating paid for up front set this 2016 Irish tale amid the train station arrivals and others backing out on this specific plan with west facing rooms, twenty-two week diets, and purified participants having no alcohol or sex. More fasting, dusk to dawn timetables, serious interviews on why, and reluctant rules of the procedure build the cryptic atmosphere as the price for this dangerous ritual rises – speaking to a dead child isn’t some silly astral projection, angel psychobabble bollocks, basic Kabbalah, or easy Gnosticism you can find on the internet. The isolated manor with salt circles and invocations feels seventies cult horror throwback, however the metaphysical talk and extreme meditation bring modern realism as tense arguing, religious doubts, and questions on right or wrong match the bitterness toward the outside world. Hallucinations, sleep deprivation, and vomiting increase while physical cleansings and elemental phases require more candles and blood sacrifices. Some of the slow establishing and ritual minutia could have been trimmed in favor of more on the spooky half truths, suspect motives, need to be pure, and distorted state of mind. Black birds hitting the windows and missing mementos don’t seem to get the waiting for angels and forgiveness rituals very far for the amount of time that has passed, and heavy handed music warns us when something is going on even as more should be happening. A third character also seeking something he cannot find may have added another dynamic rather than two extremists getting nowhere, and short attention span audiences won’t wait for something to appear in those first uneven forty minutes. After all, with these symbols painted on the body and awkward sex rituals, wouldn’t one suspect this is just some kind of scam? Untold information, vengeance, backwards baptisms, near death extremes, and knife injuries meander on the consuming guilt and mystical visions before demons in disguise make for an obvious finale treading tires when the true angels, spirits, and goodness revelations were there all along. Maybe more seasoned hands were needed at the helm or a second eye to fix the pacing and genre flaws, for the quality pieces suffer amid the bleakness. This really shouldn’t be labeled as a horror movie, but it doesn’t capitalize on its potential as a psychological examination and surreal stages of grief metaphor either.

 

Skip It!

Shut In – Widowed Maine psychologist Naomi Watts (The Ring) is trapped in a storm while being haunted by little Jacob Tremblay (Room) in this 2016 international but already problematic PG-13 paint-by-numbers crammed with the isolated blonde, ghosts, kids horrors, weather perils, and one spooky basement. Accidents and home movies on the cell phone also laden the start before the lakeside locales, snowy blankets, and paraplegic burdens. The grief and inability to care for an invalid teen is understandable, and our step-mom considers sending him to a facility. However, the frazzled woman increasingly replacing her sick son with a younger therapy patient and the creepy temptations on holding the invalid under the bath water become hollow thanks to the obligatory it was just a dream jump cuts. Unnecessary technology and time wasting glances at watches and clocks are also intrusive – the camera focuses on dialing 911 with the finger poised over the send button and intercutting person to person like a traditional phone call flows much better than up close Skype screens. Weatherman warnings and news reports as the research montage lead to flashlights outside, icy footprints, and car alarms, but again the tension falls back on textbook raccoon scares with round and round scenes outside in the snow or inside on the phone doing little. Maybe one doesn’t think straight in the panic, but most of those frosty searches include shouting for a deaf mute boy who can’t hear you nor answer back. The psychology is also common fluff, i.e. teens have difficulty with divorce, you don’t say – Skyping Oliver Platt (Chicago Med) provides better therapy, so we know what’s going to happen to his character! Besides, all the shadows in the hallway, hidden wall panels, unexplained scratches, locked doors opening by themselves, and ghostly little hands in the bedroom yet the women still end up talking about a man. Fading in and out transitions mirror the sleeping pills and drinking, but such shifts break the world immersion before the storm even hits. When the doctor says her bloodwork indicates she’s being drugged, mom doesn’t even care – because the twist is for the audience not the main character. Lanterns, black out attacks, and video evidence right before the power failure could be good, but random people arrive despite blocked roads and the oedipal sociopath jealously provides a dumb chase finale as the stalker conveniently sing songs “Hush Little Baby” so we know where he is when he’s coming for you. Good thing that foreboding blizzard talked about the entire movie stops in time for the lakeside happy ending that apparently has no legal, medical, or parental consequences.

FRIGHTENING FLIX BY KBATZ: SCHOOLGIRLS AND FAMILY FEARS!

 

School Girls and Family Fears!

By Kristin Battestella

 

Back to school season can’t save these recent or retro kids, teachers, and families from the macabre at home!

 

The FallingGame of Thrones‘ Maisie Williams leads a group of hysterical English schoolgirls in this 2014 period mystery complete with creepy folk tunes, beautiful landscapes, and old time school bells. The similarities with Picnic at Hanging Rock are also apparent with latent BFFs, a budding blonde, the awkward brunette, the chubby girl playing an instrument, and a science girl in glasses. They sit outside with umbrellas with their pretty teacher, swans, and stopped watches while resentful older crones roll their eyes, and its discomforting to see virgin girls in pigtails discuss orgasms and solving one’s pregnancy problems via spells, knitting needles, and a medical book – with icky tips from your brother, too. Maisie’s Lydia talks sophisticated but remains a little girl hiding in a nursery cupboard perhaps unaware of why she wants her pretty friend to herself. She browbeats her smoking, washed up mother – the unrecognizable Maxine Peake (Silk) – and is too full of herself to consider her mother’s reasons. There should have been more of the adult perspectives bolstering the school and religious structure against the natural, tree loving girls growing up too soon. These teens are trying to be shocking, rebellious, and acting out vicariously – regrets, sexual activity, unhealthy obsessions, and experimentation escalate into fainting fits and faux orgasmic hysteria. Unfortunately, unnecessary music video styled transitions, subliminal strobe inserts, and modern meta interference detract from the repression and grief while external music and spinning cameras make the fainting spells laughable. Did they practice falling? How many flopping on the floor takes were there? Characters calmly step over the girls on the floor, and bemusing “thud” closed captioning accents Lydia’s falling and taking everything off the table with her. The middle aged women have a good laugh over these young kids thinking they are older and misunderstood, and faculty debates on science and attention seeking are much better – are the occult, local lay lines, nearby supernatural trees to blame? Do you ostracize one or hospitalize the entire class? Faking or follower questions layer the second half alongside school consequences, perception versus reality, lesbian whispers, and sexual violence. Although the medical testings feel glossed over, the intercut eye twitching, body language, and question and answer psychiatry suggest more – as do other shockers dropped in the last ten minutes. Writer and director Carol Morley’s (Dreams of a Life) long form narrative does get away from itself, and this try hard can’t always be taken seriously. However, this tale both glorifies femininity and vilifies budding women and the spinster the way society both pedestals and shames, adding enough food for thought to some of the inadvertent chuckles.

 

Goodnight Mommy – Lullabies and divine outdoor locations quickly turn ominous with dark caves, deep lakes, nearby cemeteries, and underground tombs accenting this 2014 Austrian psychological scare featuring twin boys and a mother under wraps. Despite the bunk beds, wise viewers will of course immediately wonder if there are really two sons – one always hides or jumps out while the other calls, and their mother only acknowledges one boy amid talk of an accident and a separation. Mirrors, windows, blurred portraits, and odd artwork embellish their cool mod home, and eerie visuals heighten the freaky surgery bandages, prying peering, twisted dreams, and creepy bugs. Close the blinds, no visitors, total quiet – the twins become increasingly suspicious when such strict recovery rules and more unusual behaviors don’t compare to sing-a-longs and loving tapes made pre-surgery. Naturally, English audiences have to pay attention due to the German dialogue and subtitles, however viewers must also watch for silent moments and visual clues as this TV host mom’s obsession with her surgery results increases and the boys’ talking back turns into some rough encounters. The sons research videos online and find strange photos while hidden baby monitors and timer tick tocks up the suspense. Who’s right? Who’s overreacting? What if we could see things from the opposite point of view? They want proof she is their mother and contact the local priest, but these seemingly innocent boys play some gruesome games, too. The situation becomes more and more claustrophobic, becoming trapped indoors and locked in one room with homemade defenses and cringe-worthy torture done with something as simple as the magnify glass with sunlight trick. The audience is swayed with evidence one way before being presented with new unreliability, familial violence, and pyromaniac tendencies in a fiery topper. At times, this feels more like a sad drama than a horror movie and some elements might have needed a bit more clarification. However, the horrible stuff herein and debating on the what ifs lasts long after the viewing, and this is a fine isolated tale using slight of hand power of suggestion for its slow burn unraveling.

 

The Hearse – Divorced teacher Trish Van Devere (The Changeling) deals with nosy realtor Joseph Cotten (Citizen Kane) not to mention ominous headlights, dark roads, phantom winds, visions in the mirror, and a freaky uniformed chauffeur in this 1980 spooky. There is an initial proto-Lifetime movie feeling and the picturesque Golden Gate Bridge vistas remain just another driving to the horrors montage as our jittery dame heads to the recently bequeathed home of her late aunt for the summer. The Blackford neighbors, however, are unwelcoming gossips, and the minister says any standoffishness must be her imagination. Of course, her shorts are very short and despite a flirtatious sheriff, cat calls while jogging, and compliments about the resemblance to her aunt, all the men must help her roadside and make women driving jokes while doing so. Those trees just jump out into the road! Thanks to whispers of past pacts with Satan, they don’t expect her to stick around long, either. The then-edgy music knows when to be quiet, adding to the isolation, crickets, and woman alone creepy. Covered antiques, leftover fashions, period pictures, and attic relics invoke a museum mood – an intrusion by the living justifying the faulty electric, slamming doors, creaking stairs, rattling pipes, and ghostly faces in the window. A music box plays on its own while a mysterious necklace, ironic radio sermons, and the titular highway pursuits escalate along with footsteps, intruders, and shattering glass. The tracking camera pans about the house in an ambiguous move that’s both for effect and someone – or something – approaching. Likewise, reading the diary of her devil worshiping aunt alongside a new whirlwind but suspicious romance creates dual suspense – which can certainly be said for that Hearse when it pulls up to the front porch and opens its back door. The black vehicle, white nightgown, and choice reds increase with candles, coffins, and funerary dreams. Pills and long cigarette drags visualize nerves amid bridge accidents, disappearing bodies, rowdy town vandals, and gaslighting decoys. The solo reading aloud and talking to oneself scenes will be slow to some viewers, and at times the car action is hokey. The mystery can be obvious – it feels like we’ve seen this plot before – yet the story isn’t always clear with low, double talk dialogue. However, it’s easy to suspect what is real with interesting twists in the final act, and the adult cast is pleasing. Well done clues keep the guessing fun, and several genuine jump moments make for a spirited midnight viewing.

 

 

The House on Sorority Row – Pranks and murders on campus, oh my! This 1983 cult slasher opens with a risky pregnancy, pulsing heartbeats, and emergency scalpels before trading the stormy past and blue patinas for some sunny eighties happiness. Everything is so young, beautiful, and babealicious when you graduate from college! It’s still fun to see retro cars or rad vans, huge cameras, records, waterbeds, fluorescent fashions, and colorful wallpaper – though there’s too much teal and pink for my tastes. Coiffed older women also look quite forties with floppy satin bow shirts and stockings, visually creating a generational divide to represent the living in the past mentalities or old fashioned thinking – they’ll be no goodbye parties, beer, or horny and useless frat boys in this house! While there is no chubby gal with glasses, there are some ugly guys used for humor and splatter, and in true eighties horror movie requirement, there is a girl too old to be in pigtails alongside the sex and boobs. Why don’t these graduated girls just leave instead of pranking the old lady that wants them to abide the rules of her house? Not to mention they are some pretty poor party hosts – one should always wait to kill somebody till after the festivities so arriving guest don’t interfere in your getting rid of the body blundering. Creaking rocking chairs, nursery rhyme music, creepy jester dolls, and a nasty looking cane perfect for bludgeoning accent the good girl versus bad girl slaps, gun play, and deserved turnabouts. Granted, there are some chuckles thanks to stupid actions, some identity of the murderer obviousness, and an overall tameness on what is now a cliché genre formula. Perhaps the one by one kills are predictable – there’s a dame alone in the dark basement, because, of course – however the suspense, shadows, and unseen killer editing are well done. The primary location intensifies the bathroom traps, warped mothering, and well paced pursuits while surprise color, angles, and apparitions add to the solid final act. Although the gore isn’t elaborate for the sake of it, there are some bloody, creative moments, and this fun, half a million dollar ninety minutes does everything it sets out to do without resorting to today’s in your face spectacle.

 

Orphan – Grieving couple Vera Farmiga (The Conjuring) and Peter Sarsgaard (Flightplan) adopt the precocious Isabelle Fuhrman (The Hunger Games) in this 2009 thriller with bloody pregnancy gone wrong dreams, snowy landscapes, a frozen lake, isolated woods, tree house perils, and mod cabin architecture. These yuppies eat off square plates, but nun C.C.H. Pounder (The Shield) is stereotypically reduced with the same old black person in horror sage and sacrifice treatment. Other trite genre elements such as evil foreigners, the internet research montage, useless police, and false jumps complete with the cliché medicine cabinet mirror ruse are lame and unnecessary – as are the dated Guitar Hero moments and a jealous son with a porn magazine stash like it is 1999. The twisted horror suspense builds just fine with realistic threats and mature family drama amid the escalating child shocks. The Sign Language and silent subtitles create a sense of calm and innocence for the youngest deaf daughter, contrasting her mother’s drinking temptations as the old fashioned dressing Esther says everything their parents want to hear. She wants to sleep next to her new daddy, and the couple is intimately interrupted with who’s watching photography and peering perspectives – not to mention that is some luxury playground equipment with crazy bone-cracking injuries! There’s Russian roulette, razor blades, vice grips, vehicular close calls, and fiery accidents. The adoption history doesn’t add up and the children are clearly terrified by their titular sister, but of course dad doesn’t believe his wife’s theory that Esther is at fault. Do you confront your new daughter or take her to a therapist? At times, the adults act stupid just to put the kids in peril, and these two hours feel a little long – how many disasters are going to happen before someone gets a clue? This isn’t as psychological as it could be, dropping its uniqueness for a standard house siege and apparently leaving more pushing the envelope elements on the page to play it safe. However, the female familial roles are an interesting study with surprises and an unexpected reveal. Choice gunshots and broken glass accent the silence and maze interiors, using the home, weapons, and weather for full effect. Though partly typical and not scary, the dramatic interplay, thriller tension, and wild performances give the audience a yell at television good time.

 

FRIGHTENING FLIX BY KBATZ: Brimstone

 

Brimstone a Disturbing yet Must See Parable

by Kristin Battestella

 

I want to write an entire opus on the 2017 European co-production Brimstone, starring Guy Pearce as a hellbent minister and Dakota Fanning as Liz, the mute midwife afraid of him. The layered statements from writer and director Martin Koolhoven (Schnitzel Paradise) are heavy handed and uncomfortable – many may find Brimstone at best over long at two and a half hours plus and at worst, the picture will be trigger inducing to sensitive audiences. However, with those caveats said, I don’t really want to summarize much else nor especially spoil this western thriller, as it is best to go into this must see genre bending parable cold.

The bleak narration and biblically steeped onscreen chapter titles hit home the seasoned frontier, rough childbirth, and rustic farms. The white church and cross atop the steeple stand out as a sense of order amid the natural wilds, and sermons warn of false prophets, wolves among the sheep, and hellish retributions worse than one can imagine for those who stray into lawlessness. Breach births mean choosing between the mother or the child, creating an ostracizing, easy to manipulate divide. Is such a delivery up to God or the midwife’s fault? Whispers of evil doing can quickly sway a community to fear and violence. Fiery calls for retribution and paying for one’s sins add to the fear and grief of an unbaptized stillborn not finding salvation. Reverse persecution is disguised as divine, and the wolf in sheep’s clothing is almost the devil himself indeed. Why be afraid of a reverend and not welcome him into your home? The foul afoot need not be said, and Brimstone doesn’t underestimate the audience, letting the drama play out with gruesome animal paybacks, abductions, and torturous injuries. The simmering suspiciousness allows the audience a sense of stillness, time to focus on the characters while the iconography builds suspense. The man in black before the burning building or dragging a girl in white through the mud and calling her unclean are allowed to speak for themselves. Brimstone uses a western setting of creepy brothels, servitude, and no justice for working women to tell a medieval morality play – an already damned purgatory epic a la Justine’s virtues made vice with shootouts, dead horses, and all the abuses we can infer. Brimstone’s pursuits may be taking place in an abstract limbo, beyond time and space with different girls who are one and the same, perpetually chased by the same terror with precious few other devil or angel on the shoulder characters. The out of order segments change the settings as they advance the tale, behaving more like acts themselves where the audience is at first unsure if this is what happened before or what comes next. Brimstone keeps viewers interested enough to see how the vignettes tie together; we trust the unique constructs are part of the juxtaposition highlighting how the code of the brothel and the rules of the fanatical minister aren’t very different and both inescapable can even be one and the same. Obey the nastiness of the patriarchal for body and soul or you are guilty and will be punished. Whatever the origin of her sinful behavior, a girl should be ashamed – it’s her fault that menstruation makes her Little Red Riding Hood fair game. Once there is blood there is no innocence, and the vicious cycle continues with twisted irony, fateful orchestrations, and sins that cannot be out run. We’d like to think this was just how it was ye olde back then, but not much has changed has it?

Many actors today simply would not take such a role, but Guy Pearce puts on an incredible presentation in Brimstone as this extremely unlikable manipulator. Our foreboding minister justifies his grooming righteousness with warped scripture, remaining nameless beyond his title or fatherly names – respected monikers advantageously misused along with creepy chapter and verse and touchy feely, uncomfortable familiarity. He knows when Liz is hiding near him and taunts her on how she as such a terrible murderess can sleep at night. This minister has come to punish her and will use her husband and daughter to do it. He immediately expresses a shuddering attachment to her little girl, and after initially claiming his actions are of God, this minister festers into an unstoppable, almost immortal embodiment of the sins made flesh carrying him. Hellbent and beyond salvation, this Big Bad Wolf howls and embraces his brutal scourge. I’m not often disappointed in Pearce’s work despite learning early on thanks to superior quality like The Adventures of Priscilla Queen of the Desert, L.A. Confidential, and Memento (For shame on those who discovered Memento and Christopher Nolan so late, and why is Snowy River: The McGregor Saga still not properly available in the U.S.?) However, this may be his darkest, finest performance, and it’s surprising no awards followed. Likewise, Dakota Fanning (The Secret Life of Bees) looks the pioneer part. She’s kind in an unforgiving landscape, mute and disliking guns, but strong and we immediately root for her survival at every struggle, be it a neighbor’s cold shoulder or a freezing last stand. There’s never a doubt that she’s in the right, doing what she has to do – her lack of a heard voice lets her actions speak louder than words. Emilia Jones (Utopia) as the younger Joanna is also a spirited girl who learns of her own strengths the hard way. Despite all the abuse and persecution in Brimstone, these ladies are not victims. The Minister believes a woman can’t out run what a man has in mind for her and she will pay the price for her resistance, but Joanna flees to the frontier for her freedom. She continues to outrun evil in all its disguises whether it is a losing battle or not, and Liz repeatedly take matters into her own hands, refusing to surrender regardless of all that’s taken from her.

The ensemble behind the leads in Brimstone really is a supporting cast helping or hindering, well-intentioned or misused, stepping stones and catalysts. Carice van Houten’s sorrowful mother and helpless wife Anna is completely relatable. The audience wants to protect her from her husband or see her stand up and do something for Joanna, but her weakling mother who can’t do anything contrasts the strong woman alone daughter we see later. This minister’s wife won’t do her wifely duty, thus she needs to be gagged in an iron mask for not holding her tongue and whipped until she can gain the Lord’s favor. Hers is a pathetic existence, and this bittersweet role is the complete opposite of Van Houten’s Game of Thrones ruthless. Fellow Thrones star Kit Harrington is also featured in Brimstone for Chapter Three – perhaps mostly for the financing incentives and audience appeal after several casting changes – for his accent is terrible and he looks a little too pretty boy modern rather than a gritty cowboy. Although we don’t doubt his anti-hero outlaw’s earnest or sincerity toward Joanna, his masculine intrusion is the first of many would be hopeful sparks used against her. Fortunately, Carla Juri (Wetlands, but more importantly, the gal plays ice hockey!) is a fun and feisty prostitute when it comes to the disagreeable male clientele. She’s tender with Joanna, and they plan to leave together as mail order brides after one too many pimp abuses. Viewers hope for their escape from the cathouse – even if we know better. The leaning toward lez be friends because of male hatred innuendo and sacrificial BFF turns may be slightly cliché, but the ladies are likable and charming with turn about twists right up to the end.

 

Brimstone is visually aware of its bleak tale, contrasting the gunfire, outhouses, hangings, and blood on snow with birds chirping, hymns, and the sunshine. Fine cinematography accents the international locations with overhead angles and camera work that knows when to move but also how to be still and let the action happen. The sign language, costuming, horses, and wagons add authenticity, and the color schemes don’t feel digital or over saturated. The natural outdoor palette and interior patinas reflect the chapters being told – a rustic harvest autumn, the hot summer and barren saloons, the budding fertile spring of a New World congregation, and a frigid, snowy twilight with cleansing water bookends. Ironically, Brimstone was shot in relatively chronological order with Three first, then Two, and later chapters One and Four, and the impressive looking blu-ray release includes lengthy behind the scenes interviews and detailed sit downs with numerous cast and crew members. Brimstone is recognizable as a western yet when and where it takes place isn’t definitive. There are no cowboys in white hats or other familiar archetypes, only a desolate mood and lawless atmosphere that doesn’t shy away from the period brutality. While not horror per se, Brimstone has many horrific scenes to match its warped attitudes, telling its difficult to watch tale in its own time with no genre limit to stop it from going too far – a refreshing lack of cinema restraint which again, for many audiences, will cross the line. Brimstone is difficult to watch, yet there’s little vulgarity, no unnecessary visuals, and no major nudity. Corsets and pantaloons invoke enough saucy, leaving the story and characters to tell the numbing brutality instead of today’s desensitizing flash in the pan in your face style. However, I must say I don’t think I’ve ever seen that kind of… um… creative… use of intestines in a movie, ever.

So many Hollywood movies go through the motions, and Brimstone’s negative stateside reviews may be because American audiences aren’t accustomed to this kind of hardcore storytelling. Period piece horror dramas transcending genre like Brimstone such as Bone Tomahawk and The Witch are being made, however, their statement-making frights inexplicably remain elusive festival finds outside mainstream release. Spoilers aside, I didn’t cover all the details here simply because I didn’t take many review notes. I was too busy paying attention to the not for the faint of heart as Brimstone strips the viewer mentally and emotionally with its offensive no holds barred. Maybe rather than shying away from the viewing conversation, we should be embracing a quality motion picture that wouldn’t be any good if it didn’t push us to our limits as Brimstone does.

 

FRIGHTENING FLIX BY KBATZ: BONE TOMAHAWK

 

Bone Tomahawk is a Wonderfully Horrific Western Road Trip

by Kristin Battestella

 

For audiences that don’t like westerns or straight, terse drama, the opening half of the 2015 genre bender Bone Tomahawk will be too slow. However, for viewers seeking gritty period pictures and horror films set in unique places, this is definite yes!

While tending to the crazed and wounded outlaw Purvis (David Arquette), Samantha O’Dwyer (Lili Simmons) is abducted by a mysterious, hear tell tribe of nameless, ruthless cave dwellers the local Native Americans fear and avoid. Nonetheless, Bright Hope Sheriff Franklin Hunt (Kurt Russell), his elderly deputy Chicory (Richard Jenkins), and local gunslinger John Brooder (Matthew Fox) mount a rescue. However, foreman Arthur O’Dwyer (Patrick Wilson) is also determined to join the mission to save his wife despite a broken leg that has kept him off the work trail. It’s a dangerous ride with raiders, injuries, and rough terrain testing the posse’s prayers, convictions, and mettle – yet more primitive, gruesome, bone chilling horrors are in store…

 

Not Your Average Western

Flies buzzing” is the first caption of writer and director S. Craig Zahler’s (The Incident) two hour and thirteen minute festival darling, and those words set the tone for the throat slicings, body crunching, and bleak western horrors viewers aren’t supposed to see coming. This is just the lawless ways of the 1890s frontier – robberies and thieving never mind those skulls on torches and Indian burial grounds. The people in this era were gun belt wearing badasses, nothing more than the Wild West is supposed to be happening, right? Howling wolves and spooked horses invoke a western realism, and we expect to see this ironic but charming Old West gritty. The nearby Bright Hope pioneer town provides quaint Victorian interiors, polite men escorting women at night, and a laid back, boots up, playing checkers comfort. However, Bone Tomahawk has no rousing music and sweeping pans or thriving, progressive hustle and bustle to its town. Despite respectful and articulate mannerisms, there’s a gruff to these voices. The empty edge of white civilization is relatively silent with no ritzy to its saloon and a drunken piano player in need of whiskey to finish his ten cent tunes. Although side actions are told rather than seen, that hearsay unreliability adds to the lack of knowing what really occurred, and excising this surplus action builds surprise for when abrupt shootouts and violent confrontations do happen. Suddenly, missing livestock, mysteriously empty jail cells, and torn up bodies add to this isolated town’s crimes and scares.

Arrows in the dark and shadowy figures suggest Indian suspects to the frontier folk, but even friendly Native American scouts fear this no language, nameless troglodyte tribe with behaviors more beast-like than of men. Although everyone looks the part in Bone Tomahawk and we believe these rugged but civilized men forming a revenge posse can handle what’s out there, these old fashioned heroes on white horses are facing some untold, cave dwelling ruthlessness. Bone Tomahawk is very well acted with quality players audiences may not expect would do this kind of seemingly smaller western or horror fair. Hopefully, one recognizes a good script when he sees it, for time is taken to get to know these excellent characters as individuals. Strong banter and a period sense of courage add dimension among the not so unblemished men before the primitive horrors add new terror to the traditional western rescue. Prayers about the campfire, dry humor, personality – viewers quickly come to like these boys, and we’re rooting for them in a pursuit already struggling against the usual trail perils such as gangrene, raiders, and dead horses. There’s a simmering, on edge at night when the posse bed downs. We don’t know what’s going to happen next any more than they know what awaits in the dark. Will such ongoing strain and the agony of travel get to one of them? The exhaustion and hopelessness add tension, arguing, pointing fingers – this is a terse, escalating journey whether the troglodyte horrors are ahead or not. Difficult group decisions must be made amid cynical thoughts and suspicions on what heavy tolls are inevitably happening to the captured. Of course, those horrors are worse than the rescuers of Bone Tomahawk could ever imagine. Survival is slim all around, yet they forge on to face the intense man versus man, man versus nature, and man versus himself battles.

Nail-biting pocket watch ticking and ominous horns blowing in the wind make the audience pay attention as Bone Tomahawk switches from bright tumbleweeds, dangerous expanse, and western perils to dark caves, trapped interiors, sudden sieges, otherworldly screeching, and harrowing wounds. Yes, there is an hour and a half onscreen before the film horrors arrive – that’s the length of most quick horror productions. One could also argue there is no need for an entire movie’s worth of western study ahead of such horror. Some viewers may want to see the western in itself alone without a horror finale or vice versa. There are several flaws in the final act regarding logistics and implausibilities as well, but the onscreen terrors in Bone Tomahawk forgive any contrivances. We appreciate the deaths, sacrifices, and final cigars before the goodbyes more because we are totally invested in seeing these characters through whatever comes at them in final forty minutes. All that has happened is summed up in few terrifying sentences – arousing all our fears of violation, injury, and desecration and leaving all the heroics we have previously seen for naught. The unpleasant nudity will not be soon forgotten by anyone who sees this movie, and a countdown of kills adds to the hopelessness. Who’s next? The tedium of waiting is at times far worse, and silly discussions fill the interim between the unknown time when life and death is imminent. The horror and fantastics may be tough for the realistic western audiences to accept, however, Bone Tomahawk is a brilliant and complete before, during, and after emotional experience with rubber necking can’t look away and a realistically cringe worthy not often seen in today’s cinema.

A Fine Ensemble

Despite a calm exterior and seemingly quiet post, Sheriff Kurt Russell (Overboard) has the mustache to match the grit in Bone Tomahawk. Franklin Hunt is a wise, relaxed, old fashioned lawman who’s good at his job but nonetheless indulges his old deputy when a stranger’s manner is suspicious. Sheriff Hunt doesn’t think there’s much hope in rescuing those abducted, and his wife objects to the journey, too. However, he is going to see his mission through regardless. Hunt prepares as best possible – he knows they need to care for themselves, their horses, and keep their wits about them to trump any thieves or beasties and do what needs to be done. Polite even when the circumstances turn barbaric, Hunt also knows Arthur O’Dwyer shouldn’t come on this rescue with a broken leg, yet he doesn’t bother asking for the objection. Russell gives a wonderfully poignant performance, and it’s bittersweet to see a man unchanged, doing what he sets out to do, and keeping his word whether the beholden are there to know his convictions or not. Likewise, Patrick Wilson (The Conjuring) has become a pleasing go to horror actor. Arthur’s a strong foreman not used to being laid up at home thanks to injury – nor his doctor’s assistant wife being on top in the bedroom. Arthur doesn’t share his emotions well and has difficulty talking with her, but his love and tenderness are unquestionable. He rides on this mission, learning how to handle his broken leg and show his tears while on the move. Wilson brings to life Arthur’s contradictory behaviors as the desperate husband comes to rely more on opium than prayer to go forward. How can he continue as his injury worsens? We may not think of such breaks, splints, and pain as being so difficult today, but in this wilderness, love is not enough to mount a rescue – or is it?

Arrogant and vain but no less witty and likable gunslinger Matthew Fox (Lost) is the suave, white suit wearing sophisticate of Bone Tomahawk. John Brooder says he’s the most intelligent man there and this rescue needs his smarts, fast shot, and fancy gunnery. Though not always as right as he thinks he is, there is a grain of truth to his tactics when it comes to making camp or taking defensive positions. Unfortunately, his suspicions on outsiders, potential theft, and his shoot first, ask questions later mentality doesn’t always help. Eventually, there are consequences to this quick draw attitude, and while he has good reason to hate certain Indians, Brooder gains sad respect for his horse and learns to trust his compatriots. By contrast, aged deputy Richard Jenkins (Six Feet Under) is not on his game but Chicory will continue to do his duty nonetheless – even if he can’t figure out something as simple as how to read a book in the bathtub without getting the paper wet. He talks too much, sometimes adding dry humor and reflection or philosophical speculation, but again, such seemingly random conversation helps fill the idle and take one’s mind off the impending horrors. Chicory is slightly off his rocker yet remains the voice of reason and moral center of the group – a lovely audience anchor pondering what we too are thinking. Although their scenes may seem slightly out of place, humorous but ruthless and hands on killer David Arquette (Scream) and expert throat slitter Sid Haig (House of 1000 Corpses) have some warped fun to open Bone Tomahawk, and their offbeat charm bookends the horror.

Fine older white men though they are, Bone Tomahawk is unfortunately a picture populated with precious few women. Despite being a respectable wife and doctoring assistant named Sam, Lili Simmons (Banshee) is nude fifteen minutes into the movie and feels out of place compared to the more developed male characters. Broadly swinging the pendulum from tender wife to bitchy snob, Sean Young’s (Blade Runner) uppity, domineering mayor’s wife is addressed on the situation instead of her little husband. These frontier women are tough pioneers yet remain sickly or put in their place with sex from their man, and even with these injun abducting the womenfolk fears, the audience sees too little of them to feel a personal investment. Big shocker – the few African American stable hands and servants are killed early in Bone Tomahawk, and Mexican moments or brief Spanish words are treated with xenophobic suspicion. Horses are more important than questioning the death of foreigners, but there are onscreen arguments about whether such reactions are right or wrong, fortunately utilizing the ills of the time for layered social commentary. More importantly, Bone Tomahawk makes the distinction between its horror neanderthal savages and local Native Americans, recognizing this is not normal tribe behavior whilst also implying the Manifest Destiny trespassing of the so called Bright Hope should have left the area alone. Locals knew to steer clear, but did the supposedly smart and superior white man? Nope.

 

Must See Looks

Old fashioned suits, cowboy hats, and late Victorian décor add to the frontier town woodwork and simplicity in Bone Tomahawk. Proper beds and an oil lamp patina with quills, books, a magnify glass, and period ephemera create a would be civilized and golden interior. I almost wish this was a television series to revisit and explore! However, natural sounds, horses, creaking wood, and swinging saloon doors add a lawless atmosphere alongside the beautiful, but untamed outdoor scenery. Precious few weeping strings and fiddlery accent choice bittersweet moments and echoing gunshots. While animal action, well edited attacks, and on the move tracking shots do capture the restlessness when it happens, Bone Tomahawk is a simple tale simply shot with no need for the sweeping panoramas and whirlwind camerawork often seen in expansive westerns or period pieces going for scope rather than inward terror. Gruesome frontier surgeries, scalping, disemboweling or worse provide enough horror gore while the briefly see beastly men leave room for the audience to imagine more fears. Their natural camouflage, animal trophies, horned masks, and primal, swift moving resistance to bullet grazes completes the disorienting civilized versus uncivilized frights. Subtitles are necessary for any whispering, but the Bone Tomahawk blu-ray release also provides plenty of deleted scenes, featurettes, and film festival Q&As with cast and crew. Unfortunately, it is just baffling when finely crafted pictures such as this are overlooked by the major movie awards. Tsk tsk.

Though worth seeing for the uniqueness alone, this R/Unrated horror is not for everyone. Instead of a cheap slasher with teens in minimum Victorian dressings, this is a niche western brimming with scares we don’t expect. Granted, Bone Tomahawk has many of the same flaws seen again and again with a one and the same writer/director who has no soundboard on what to do or not do. The lengthy run time could have been trimmed further and some scenes should have been more swiftly paced. Bone Tomahawk is also oddly structured as two halves of two different movies – leading with a western character study uninteresting to audiences expecting fast shootouts, boobs, and horror a minute. In fact, most viewers will be unaccustomed to having time dedicated to such full embodied and well developed characters. However, we should embrace this kind of ingenuity not bury it and push pictures like this to fringe audiences, and I would rather have a few slow scenes with extra time to achieve a cinematic vision than a butchered PG-13 picture sacrificing its meaty for maximum cinema screenings and more almighty millions. Despite a blink and you missed it limited box office release, Bone Tomahawk is currently available on several rental and streaming options. Go into Bone Tomahawk cold for full immersion into the fine performances, western drama, Deliverance effectiveness, and entertaining horror.