FRIGHTENING FLIX BY KBATZ: Technological and Vehicular Terrors!

Technological Terrors and Vehicular Perils

by Kristin Battestella

Fasten your seat belts for these retro road rage terrors and ominous vintage vehicles.


The Car
 – Empty desert roads, dusty wakes, mountain tunnels, dangerous bends, and perilous bridges spell doom for run over bicyclists in this 1977 ride accented by Utah scenery, vehicular point of views, and demonic orange lighting. Regular rumbling motors, honking horns, and squealing tires are devilishly amplified as this cruiser uses everything at its disposal to tease its prey while up close grills and red headlights create personality. No one is safe from this Lincoln’s wrath! Rugged, oft shirtless single dad deputy James Brolin (The Amityville Horror) takes his daughters to school on a motorcycle, insisting they wear helmets because of course he can’t or it would hide that suave seventies coif and handlebar mustache. The hitchhiker musician hippie moments are dumb, however roadside folks don’t live long and witnesses aren’t helpful on plates, make, or model when people are getting run over on Main Street. What brought on this evil? Suggestions on the small town past with alcohol, domestic violence, and religious undercurrents go undeveloped alongside brief suspects, red herrings, and personal demons. Despite Native American slurs, it’s nice to see Navajo police officers and foreboding tribe superstitions as the phantom winds, cemetery safe havens, terrified horses, and school parades reveal there’s no driver in the car. Giant headsets, operators plugging in the phone lines, retro vehicles, and yellow seventies décor add to the sirens, decoys, roadblocks, radio chatter, and sparkling reflections from distant car mirrors as the real and fantastic merge thanks to this tricked out, mystically bulletproof, unnatural, and evil classic roaming about the rocky landscape. Although the editing between the unknown killer menace and asking why public fear is well filmed tense with foreground and background camera perspectives setting off turns around the bend or approaching headlights; some of the video is over cranked, ridiculously sped up action. It’s an inadvertently humorous high speed effect amid the otherwise ominous idling, slow pushes off high cliffs, and fiery crashes – our titular swanky flips but remains unscathed and it doesn’t even have door handles! Rather than embrace its horror potential or call the army and get some tanks or tractor trailers with passenger priests on this thing that no garage can contain, our police go it alone with a lot of dynamite for a hellish finale against the preposterous road rage. If you expect something serious you’ll surely be disappointed, but this can be an entertaining shout at the television good time. Besides, no matter how stinky, today you know we’d be on The Car: Part 12 with a different hunk per sequel battling the star Lincoln.

 

Killdozer!– Embarrassingly splendid outer space effects, red fireballs, and glowing blue rocks establish this 1974 science fiction horror television movie. Lovely sunsets, oceans, and island construction are here too for seriously deep voiced and strong chinned Clint Walker (Cheyenne) and the baby faced Spenser for Higher Robert Urich – who have some terribly wooden dialogue and tough scene chewing at hand. Our metallic humming meteorite whooshes its life force into the titular machinery, making the controls work by themselves amid fun point of view shots as the blade’s teeth inch closer to its target. Deathbed confessions are too fantastic to be believed when there’s work to be done, and the nasty foreman never takes off his hard hat even after the latent BFF gets really into the sensitive subtext over his fallen friend and tells nostalgic stories of how they swam alone together at night. Big K.D., meanwhile, destroys the radio – plowing over camp regardless of the caterpillar’s cut fuel line or some dynamite and fuel cans in its wake. But you could lose an eye on those huge ass walkie talkies with those dangerous antennas! Camera focuses on its little headlights a la eyes are also more humorous than menacing, and the puff puff choo choo out its smoke stack backtalk makes the supposedly evil facade more Little Engine that Could cute. Tight filming angles and fast editing belie the slow chases through the brush as everything is really happening at about ten miles an hour yet no one is able to outrun this thing, just crawl in front of it until crushed. Stereotypical Africa coastal comments, Irishman jokes, and a treated as inferior black worker always at the helm when something goes wrong also invoke a sense of white man imperialism getting what it deserves as they argue over on the job negligence and burying the bodies. Everybody’s testy, nobody shares information, and there’s an obligatory useless self sacrifice before the hard heads finally come together to destroy the indestructible with another rig, machino versus machino. Despite an occasionally menacing moment, this idiocy is more bemusing than fearful for an entertaining midnight movie laugh.

 

Night Drive – Valerie Harper (Rhoda and The Mary Tyler Moore Show) stars as a pursued murder witness in this 1977 television thriller – though I’m not sure about the Night Terror and Night Drive title switch a roo. The supporting cast is very after school special dry, yes. Everyone is a non-believing idiot or ass, and it’s tough to accept Harper as a fearful, neurotic, absent-minded, non-funny housewife. For an under 80 minute movie, the pacing is also slow to start with a lot of seemingly nothing happening – most of the scenes are silent and solitary, too. Fortunately, things get interesting when the highway horrors hit, and who can’t feel for a mom we love in peril? Sure, the filmmaking is a little dated or unintentionally comical – I think the station wagon has a lot to do with that! However, desolate roadways and abandoned curbside locales keep things atmospheric. Today we take for granted how easy it is to get from one place to another thanks to GPS, Bluetooth, cell phones, or cars that can dial 911 or tell us where to go.  As a result, some basic suspense sequences here have the viewer holding one’s breath or shouting at the television, and it all makes for an entertaining little show.


Road Games
 – Stacy Keach (Mike Hammer) and Jamie Lee Curtis (Halloween) get right to the big rigs, radio chatter, hitchhikers, meat factories, seedy hotels, and nude strangulations in this 1981 Australian trek complete with rival green vans, dingoes in peril, and ominous coolers in the backseat. Classical music, harmonicas, idle word games, and poetry quotes pepper the boredom of the open road alongside mocking others on the highway – the packed station wagon, a nagging wife passenger, bratty kids in the backseat, and naughty newlyweds. Radio reports about a killer on the loose add to the shattered windows, jamming on the brakes, squealing tires, and suspicious shortcuts while our van man dumps unusual garbage and digs holes in the middle of the Outback. Interesting rearview mirror angles and well done rear projection make up for some of the talkativeness, for all speculation about our mystery driver has to be out loud because we have so few characters amid the cliff side hazards and chases through the brush. Does he have sex with his female victims before he kills them and chops them up? Is this just a bemusing puzzle to occupy the time or is the sleepless sleuthing and overactive imagination getting the best of our truck driver? Down Under road signs, truck stops, and country locales accent the arcade games, cigarette machines, and patchy phone calls to the clueless police as the engines rev up with dangerous high-speed chases, motorcycles, decoys, and abductions. Lightning strikes, rainbows, sunsets, headlights, and car alarms set off the tense zooms as the cops accuse our heart on his sleeve driver – and the suspicious banging in the back of his overweight haul. This isn’t full-on horror as some audiences may expect, but hanging pork and red lighting do a lot with very little. Perilous curves and speeding accidents bring the race right into the city streets with alley traps, crushing vehicles, and a tasty fun finish.


For More SF Horrors, Revisit:

Tales from the Darkside Season 3

Island of Doctor Moreau (1977)

Kong: Skull Island

FRIGHTENING FLIX BY KBATZ: Perilous Weather!

Perilous Weather and Viewing! By Kristin Battestella

Lighting, mountains, bears, and storms – some of these horror movies are just as dangerous as the dark skies onscreen!

A Lonely Place to Die – Beautiful but perilous vistas, thunder, and misty but dangerous mountains – a risky place to whip out the camera! – open this 2011 hikers meet kidnappers parable starring Melissa George (Triangle), Alec Newman (Dune), and Ed Speleers (Downton Abbey). Eagles and aerial views quickly degrade into mistakes, hanging frights, and upside down frames. Ropes, gear, risk – people cause disaster among the otherwise still, respected beauty where they aren’t supposed to be resulting in cuts, scrapes, and falls. Weather interferes with their plans to climb the next killer facade but wishing one could paint the lovely forest and rocky scenery uncovers mysterious echoes from an ominous pipe and a trapped little girl. The hikers split up – several take the longer, safer route back to the nearby town – however there’s a more difficult path called Devil’s Drop that one couple brave climbing to reach help faster. Unfortunately, short ropes and sabotaged equipment create shocking drops and fatal cliffs. They aren’t wearing helmets so we can see the heroics, but no gloves against the sharp rocks, rough trees, and burning ropes, well that’s as dumb as not having a satellite phone. Unnecessary fake out dreams, annoying shaky cams, and distorted points of view detract from both the natural scary and the mystery of who else may be out there – fear on people’s faces is always more powerful than effects created for the audience. Guys with guns encountering more crazed men all in black with yet more kidnappers in pursuit also break the isolated situation too early. Unknowns snipers would better layer the environmental fears, raging river perils, terrain chases, and gunshots. Attacks from an unseen culprit are much more terrifying than knowing what poor shots they are even up close and with scopes. Injuries, screams, thuds, and broken limbs provide real menace, and we really shouldn’t have met the killers until they are over the victims asking them how much the price of their nobility hurts or what good compassion did for them today. Although double-crossing criminals playing the mysteries too soon compromises the good scares and surprise fatalities, fiery sunset festivals progress the mountain isolation to a ritual village suspicious. Fireworks and parades mingle with hog masks and alley chases – again suggesting people are where they shouldn’t be as the hiking dangers become congested public confrontations. While the crooks’ conspiracies get a tad ridiculous when innocent bystanders are killed in plain sight, this is a unique natural horrors cum kidnapping thriller remaining tense and entertaining despite some of those shout at the TV flaws.

You Make the Call, Addicts!

Dead of Winter – Lovely snow-tipped trees, mountains, and chilly rivers begat hiking perils, rock tumbles, ropes cut, snowy crashes, and hungry wolves in this 2014 Canadian geocaching terror. Of course, there are bus driving montages, DUI histories, annoying music, getting gas in middle of nowhere clichés, and ridiculously hammy dialogue like “Is your cock ever soft?” “Only in your mommy!” WTF. One jerk films everybody in a camcorder point of view even as they clearly all have chips on their shoulders, but the sardonic documentation is forgotten as we quickly meet the cliché, overly excited nerds, angry lesbians, and the dude bros who want to watch amid nighttime scenery, windshield wipers, and the increasingly icy road. Although people are bundled up for this snowy treasure hunt, their faces are still Hollywood exposed as the teams run to and fro in the woods following creepy clues in a kind of humorous montage before no phone signals, a bus that won’t start, garroting logger cables, and explosions. If they’re stranded two hundred miles and at least four days walk from anywhere, why doesn’t anyone stay near the fiery bus for heat and signal fires? Everyone continues following the increasingly bizarre geocache reveals such as a gun with no bullets and a stopwatch promising screams in ninety seconds despite falling snow showers, waterfalls, and damaged bridges. One dumb ass know it all thinks a creaking old wood bridge with over a foot of snow on top the buckling boards is safe so they all go for it because he says there’s a quarry shortcut and a convenient cabin nearby, too. Somebody has to take a dump in the snow, it’s obvious who’s going to die next – cough one lesbian and the black guy cough – and the hip acting hampers the finger-pointing group divisions. Thanks to the straightforward rather than herky-jerky filming, we can see the bloody hangings, torn limbs, and splatter gore, but arrows and crossfire reveal the killer far too soon when a movie about a treasure hunt shouldn’t give up its reward until the end. Head scratching cutaways, airplane rescue fake-outs, and whining about missing pizza further break audience immersion as no one complains about blisters, cold, or frostbite on their gloveless hands. No one is tired – least of all the driver who drove all night and then drank all day who says he’ll stay up on watch while the others sleep. They didn’t follow the river but are later glad to have handy flashlights and booze to drink as they joke about eating the tubby jerk first rather than addressing any real cannibalism horror. Jealously, one person that is not so mysteriously absent, a knife plus a pen and suddenly anybody can do an instant tracheotomy – it takes an hour for someone to realize this was planned revenge thanks to some prior competition because geocaching is a mad competitive and dangerous sport! The riddles and underground hideouts run out of steam with sagging contrivances and overlong, predictable explanations. This is watchable with entertaining horror moments, however the cliché points and outlandish but wait there’s more on and on will become too laughable for some. Our survivors may have beaten the horror hunt, but everyone apparently forgets they’re still stranded in the wilderness before the fade to black. Oops.

One to Skip

Backcountry – From packing in the parking garage and highway traffic jams to embarrassing sing a longs and a Cosmo quiz for relationship backstory, this 2014 Canadian survival thriller from writer and director Adam MacDonald (Pyewacket) has plenty of cliches for this city couple in the woods. Sunlit smiles, peaceful canoe pretty, and happy hiking montages can’t belie the ominous when the audience enters in with full knowledge of the impending horror. At the country rest stop, a ranger warns them of bad weather and closed, out of season trails, however our big man insists he doesn’t need medical kits or a map. He ignores minor injuries, mocks his inexperienced girlfriend’s preparations, leaves his ax behind, and lights a fire before leaving it to go skinny dipping. Not only do these actions completely contradict everything Survivorman taught us, but these people also don’t know they are in a scary movie. A sudden stranger at their campsite creates obvious jealousy and inferiority complexes but weird accents, racist questions, contrived dialogue, and stereotypical characterizations interfere with the attempted tension. Fortunately, askew angles on the trail, going off the path doubts, isolated nature sounds, and lookalike trees invoke better suspense as the camera blurs and pans with confusion or pain thanks to disgusting toenail gore. Up close views inside the cramped, not so safe tent build fear alongside snapping branches and bear footprints, but of course this guy doesn’t believe the supposedly overreacting woman who wants to go home when she hears something amiss. No dumbass, it isn’t acorns falling on the outside of the tent, and you should have never taken her phone and left it in the car! It takes a half hour for the innate wilderness horrors to get going, but the suspense is continually interrupted by the obnoxious behavior – wasting water, blaming her for their situation when it is clearly his fault, and her apologizing after confessing he is a loser just trying to impress her. Why couldn’t they have gone on an easier hike when she never wanted to go in the first place? Proposal excuses aren’t enough when you continually ignore dead carcasses nearby and claim it was just a raccoon that ate your food. Drinking the mini champagne bottles is not going to help their situation! Despite well-done heartbeats, ringing in the ears, and tumbling down the ravine camera views, there’s simply not enough character development and story here to sustain the wait for the superbly bloody, frenetic bear attacks in the finale. Gore, scares, screams, growls, and maulings fall prey to a just missed ’em helicopter rescue opportunity as our final girl inexplicably becomes an expert runner, rock climber, and field medic before pretty deer and dumb luck save the day. Is this uplifting music and girl power ending just a dream of what she wishes happens because otherwise, it is ridiculously unlikely. Where Pyewacket expressly defies the horror tropes checklist, this does nothing but adhere to it – becoming only worth watching if you want to yell at the people or fast forward to see them get what they deserve. ¯\_()_/¯ The bear isn’t the villain, human superiority is!

Camp Country

Stormswept – Grand columns, bayou scenery, candles, thunder, ghostly gusts, and possessions start this almost seventies feeling 1995 romp starring Kathleen Kinmont (Renegade) amid realtors avoiding a house of horrors disclosure and muddy accidents. The chandeliers and staircase grandeur can also be seen in North and Southbut there are spiders, covered furniture, and flashes of past boobs, blood, and some kind of skeleton dildo thingie. Saucy paintings abound, naughty books contain graphic ejaculation or cunnilingus art, and red four-poster beds await. This is obviously low budget Skinemax style – so despite the eerie atmosphere, some scary filming, ominous silhouettes in rain slickers, and frightful reflections in the window, one can’t tell if everyone is going to die or have sex, probably both. Four women and two men are Marilyn Chambers numbers! It takes too long for the crew to get stranded at the plantation, but the film within a film chases feature girls in white shirts and no bras while playing into girl on girl fantasies with let’s get off your wet clothes talk and accidental towel drops. I laughed out loud at that, I really did! Although the dated midriffs, acid wash jeans, giant old portable phone, and faxed paperwork are bemusing, most of the sexual dialogue is uncomfortable. The men say once a guy has sex with another man he’s a homosexual but it’s okay for the women to experiment for them as it doesn’t make them lesbians. Truth or dare demands the women kiss, word association games start with “pink” – it’s disturbing the way actor turned luxury rehab guru Justin Carroll’s director character has these women trapped, doing what he wants and not caring if anyone is upset by the sex chats. Whooshing storm effects live up to title and there’s a torture history binding everyone to the house, but not much sense is made of this evil spirit driving one and all to sex and kill. The overlong wet dream confessions and lez be friends scenes embrace the step above soft core rather than exceed that lower rung with the horror. I almost wish this could be redone to be more quality. Hidden people in the basement, secret diaries, murders – but our actress has never had an orgasm and it’s more important for the manipulative director to hypnotize her into touching herself in front of everyone like Showgirls thrashing in the pool. She recalls painful abuse and incest memories, but he tells her she need not be guilty over masturbating with her brother and can go ahead and have her ultimate sexual fantasy about Alex Trebek. O_o o_O I thought this was supposed to be a horror movie! While terribly laughable and base level entertaining, I just… insert Nathan Fillion confused gif here. Is there even a saucy ghost or is this what happens when you lock messy horny people in the house on a stormy night?

Revisit More Dangerous Weather Viewing:

Water Perils

Witches and Bayous

Forest Frights

Odds and Dead Ends : Gothic influences in Wes Craven’s Shocker

When people think of Wes Craven and supernatural slasher films, they think of A Nightmare on Elm Street. Perfectly justified, of course, as Freddy is one of the biggest icons of horror cinema. However, often overlooked however is his 1989 film Shocker, for some justifiable reasons including awful 80s CGI and an incredibly messy second half with little regard for laws of its own unreality. But at its core, and especially for the first third of the film, the gothic elements of the story are undeniable, and it’s a genuinely interesting case of a modern ghost story in the urban gothic vein.

There are gothic influences all over the film, but what tipped me off was the police invasion of Pinker’s TV shop. We head past the initial lobby of televisions playing visions of war and death and enter a dimly lit series of dusty hallways, hardware packed into the shelves on either side. We’ve dispensed with the creaky castle library and entered a modern equivalent of television sets. Noises in the dark. Turn around. Nobody there. We feel a presence nearby but can’t see them. This is classic haunted house stuff going on here.

And then we get the big tip-off as to the influence. We get a POV shot, very Hitchcockian (thinking especially of Norman Bates peering through the peephole into Marion’s room in Psycho), of Pinker’s eye up to a gap in the shelf, peering into the shop. The monster’s hiding in the walls. A policeman stands guard nearby. Nothing. And then hands shoot through the shelves, catches him. He’s pulled back against the shelves, and the whole thing pivots in on a hinge. The cop is dragged inside and the shelf snaps back in line, never to be considered again.

A few minutes later Jonathan (the MC) and his father appear, none the wiser save for a smoking cigarette on the floor. And then they discover the horrible truth when they see blood pooling out from underneath the shelf, like those ghostly legends of old mansions where the walls drip red. Breaking their way in they find cats flayed and dead-on hooks, red lighting from the cinematography department reinforcing the demonic aspect. And then there’s the body in the middle of the room, throat cut, blood on the floor.

This is classic gothic stuff. The secret passageway in the walls is complete Scooby-Doo, Agatha Christie, even some Sherlock Holmes (I’m thinking here of The Musgrave Ritual in particular). The Cat and the Canary did it as well. We’re in the middle of a slasher movie, and we’ve got secret panels and hiding places? We might even claim that these secret passages go even further back, to the origins of the gothic, in Walpole’s The Castle of Otranto, the story we take the term ‘gothic’ from in its now traditional literary application.

And yet somehow it doesn’t feel out of place, doesn’t feel corny, because we can understand that Craven is deliberately drawing upon these influences to create a gothic atmosphere. This is important, as it subtly clues us into the paranormal parts of the film that come into play when he is electrocuted in the chair, turned into a horror version of the Phantom Virus from Scooby-Doo and the Cyber Chase (those movies were great, Cyber Chase an underappreciated meta gem of Scooby-Doo lore for the final third act).      If the ghost aspect had come out of nowhere, we might have complained that it was too much of a shift from straight serial killer to paranormal horror, but here these elements help to ease the transition over. Not much, because it’s still a jolt switching subgenres, but it helps nonetheless. I’m not sure how the blood pooled all the way from the chair to spread under the shelf because it’s a hell of a long way. Perhaps this is faintly paranormal in origin, the cop’s spirit doing what it needs to do to alert the living to its final resting place in a bid to stop his killer? Most likely it’s a goof and I’m reading way too much into it, but it’s certainly a possible reading if you wanted to go that far.

Let’s also remember that, even after the electrocution, the film is in essence a ghost story. Whereas in centuries before a spirit might have inhabited a suit of armor, or roamed the walls of the courtyard in which they were executed, here we have a modern updating, inhabiting the electricity that we have harnessed for our own ends. This criticism of our device-ridden society which wasn’t as prevalent when the film came out, but certainly on the rise, was inherent in genre storytelling of the time. Cyberpunk arose as a subgenre a few years before to question our reliance on technology.

And a few years after Shocker, we see the influx of films from Asia that combined a malevolent spirit and technology to demonstrate new fears of a society rapidly flying into the future. Films like Ringu, One Missed Call, Shutter, Noroi, even The Eye to a certain extent (the elevator scene is my example here, with the apparition not appearing on the security camera), would be films that take this concept and run with it, infusing into their tales a very gender-based morality tale of using a stereotypically male industry (technology) and using it as a vehicle for the classic avenging female spirit of folklore.

Could one orient Shocker as a modern gothic gateway to these tales? I suspect most would argue against it, but as has been critiqued in countless essays, articles, and books, there is not one film history, but multiple readings of film histories. As it stands, the genre itself is also fluid and a very pliable concept in itself. I’m not using any of these arguments to state that Shocker is a great film, because although fun, it’s most certainly hovering just in the ‘mediocre’ range of horror films. However, that these more traditional elements find their way into divisive and forgotten films might go some way to showing that it’s not just the revered masterpieces of regarded canon that have interesting literary facets to their makeup.

-Article by Kieran Judge

-Twitter: KJudgeMental

FRIGHTENING FLIX BY KBATZ: Tomb of the Dragon Emperor

What went Wrong with The Mummy: Tomb of the Dragon Emperor

by Kristin Battestella

Director Rob Cohen (Dragonheart) takes up the mantle from producer Stephen Sommers, director of The Mummy and The Mummy Returns, for the 2008 sequel The Mummy:Tomb of the Dragon Emperor as Rick O’Connell (Brendan Fraser) and his wife Evelyn (Maria Bello) come to the rescue when their son Alex (Luke Ford) discovers the entombed Dragon Emperor (Jet Li). Once unleashed, however, the only person who can stop the resurrected Emperor is Zi Yuan (Michelle Yeoh) – the sorceress who cursed him.

Ancient Chinese mounds, swords, armor, and dynastic motifs accent the assassination plots, stabbings, raids, and conquest in the opening prologue. The enslaved building of The Great Wall, life after death texts, and forbidden romance betrayals, unfortunately, are a lot like the opening of the First Film, right down to the same Mummy music cues. Then again, the elemental powers, ancient libraries, tormented generals, and immolating curses nonetheless make for a great tale – one viewers forget isn’t it’s own adventure once Tomb of the Dragon Emperor restarts with our previous heroes now unhappy with post-war quiet and in a rut despite luxury living. Their son’s discoveries of Chinese monoliths and the Emperor’s tomb come easy and don’t feel super epic thanks to the back and forth editing between the bored O’Connells and grave robber skeletons. There’s little time to awe at the 2,000-year-old frozen in time clay army when the more interesting plot elements are glossed over for set pieces treated as more important than the wonder. We can’t enjoy the dragon crossbows, booby traps, or tomb chases because The O’Connells were apparently doing secret espionage work in the interim that we didn’t get to see, either. Instead, some Lara Croft: Tomb Raider – Cradle of Life Eye of Shangra-La gem points the way to eternal life, with Tomb of the Dragon Emperor both embracing the Asian history yet feeling xenophobic with evil uniforms, double-crossing enemies, and contrived western interference repeating the prior films’ M.O. Chases through the streets with fireworks and New Year run amok are fun, but long, hollow fight sequences that do nothing to advance the plot make Tomb of the Dragon Emperor feel longer than it is. There’s no sense of the scope or magical powers despite Himalayan treks, avalanches, mystical healings, and a revived Emperor who himself is asking what this is all for anyway. After the first hour, it’s not quite clear what’s happening with everything including a three-headed dragon thrown at the screen in the last half hour. With a hop, skip, and jump, we’re at a Great Wall spectacle raising rival dead armies in a Lord of the Rings easy meets CGI versus CGI a la The Phantom Menace that rapidly loses its touch.

Fly fishing in the English countryside is not quite Rick O’Connell’s thing, and Brendan Fraser’s once proactive, rugged adventurer is now an out of touch, corny old man with outdated weapons and unheeded advice. It’s weird to see our favorite couple now arguing about their parenting and contemplating mistakes made – and not just because Maria Bello (The Dark) replaces Rachel Weisz as Evelyn in Tomb of the Dragon Emperor. After writing two successful novels about their mummy adventures, she’s hung up with writer’s block on the promised third book, but Evie doesn’t have much to say or do once the characters are forgotten in the nonsensical action. Bello looks great in the period frocks and initially the camera accents that forties tone with coy smiles and under the hat brim poise, but this Evie does indeed seem like a different person. It would have been interesting if Bello had instead been a second wife and resented step mom competing with Evie’s memory. Although the kid in peril was one of the problematic parts of The Mummy Returns, Luke Ford (Hercules) is now the grown up Alex rebelling against his parents yet conveniently following in their archaeology footsteps. Unfortunately, immortal hang ups and young love opposites attract can’t save the character from falling completely flat, and Uncle Jonathan John Hannah is a nightclub owner who spends most of his barely-there comic relief with a yak while pilot Liam Cunningham (Hunger) is merely convenient transportation. It’s a pity we only really see Jet Li’s (Romeo Must Die) warlord at the beginning and the end of Tomb of the Dragon Emperor. For most of the picture, the eponymous bad guy – who doesn’t get any other name despite the historical possibilities – is just a resurrected, stilted, CGI thing more like an automaton robot rather than the feared man in charge. His powers over the elements are small scale or convenient, manipulating snow or fire and shape-shifting as needed without any real countdown or ascension of power as anchored by Arnold Vosloo’s Imhotep in the First Film. For the finale we get Li’s fine action skills as expected, but he never really has the chance to be the true villain of the piece. Likewise, Michelle Yeoh (Tomorrow Never Dies) is relegated to glossed over bookends. Her immortal Zi Yuan witch lives in Shangri-La, and 2,000 years of magical pools are quickly explained away before a great but too brief one on one battle between our ancient foes – which is all we really want to see in Tomb of the Dragon Emperor.

While some of the fiery terracotta effects don’t look so great on bu-ray, Tomb of the Dragon Emperor does well with tangible sand, statues, tents, and archaeology tools. The grand English estates match the vintage cars, antiques, typewriters, gloves, fedoras, and stoles. Temples in the mountains, Asian architecture, and snowy panoramas create a sense of adventure while chariots and molten horses coming to life invoke danger. Unfortunately, the shootouts, attacks, and explosions are super loud and cliché music cues are noticeably out of place. To start, Tomb of the Dragon Emperor feels very forties styled in a Universal homage, but then the action becomes hectic and modern messy with stereotypical seventies zooms when it comes to the kung fu. The camera, the people, and the fantastics are all moving at the same time and it’s tough for the audience to see anything, and those contrived yetis – yes, yetis – are embarrassingly bad. Today, Tomb of the Dragon Emperor could have been a direct to streaming off-shoot adventure – after all they’re still making those direct to video Scorpion King movies. The Mummy: Tomb of the Dragon Emperor breaks from the more familiar theme with a bait and switch title caught between two masters. Tomb of the Dragon Emperor seeks to take the series in a new direction whilst also keeping its ties to the previous films. If this had no connection to The Mummy and embraced its own dynastic legends and lore, Tomb of the Dragon Emperor could have been a fun action adventure. Perhaps it can still be entertaining for youth able to separate it from the legacy of the First Film. Otherwise, the flawed, thin story, and try hard of The Mummy: Tomb of the Dragon Emperor is just window dressing reaching for an adventurous charm that isn’t there.

 

Revisit More Mummies Including:

Gods of Egypt

Mummy Movies!

Tomb of Ligeia

 

 Gargoyles a Review :  Bernie Casey’s Unsung Role 

Gargoyles : A Review or Bernie Casey’s Unsung Role

by James Goodridge    

Premiering as a television movie the evening of November 24, 1972, on the CBS Network Thursday Night Movies series, Gargoyles was amazing in that a generation of preteens have fond memories of having the bejeezus scared out of them back then.

Considering the glaring budget constraints that showed in the production, it is considered a frightful oldie but goodie. Directed by B.W.L. Norton, written by Elinor and Stephen Karpf, music by Robert Prince and doing the best he can, costume designer Tom Dawson the story is set in the American southwest.

Anthropologist/paleontologist Dr. Mercer Boley (Cornel Wilde of the cinematically provocative Naked Prey 1966) and his daughter Diana played by Jennifer Salt (Who would years later in 2011 would be a producer/showrunner for American Horror Story) are invited to Willie’s Museum run by Uncle Willie played by Woodrow Chambliss, (If you stood at the intersection of TVland and Metv and threw a rock you would hit a TV Western he was in. You have seen him on a dozen shows and never knew his name.)

A young Scott Glenn appears as dirt biker James Reeger. Low and behold Grayson Hall of Dark Shadows has a part as Mrs. Parks the Motel owner always with a glass of something in her hand, Dark Shadows had ended the year before in 1971 on ABC. 

Then you have Bernie Casey. Uncle Willie is incinerated after an attack on his museum during which the Boleys escape with the bones of a fellow gargoyle that’s when we first glimpse them. Their purpose: every 500 years they appear on the earth’s surface to hatch gargoyle eggs.

I must say I can’t remember when I first saw this movie and confess never paid attention to the opening or closing credits but loved whoever the actor was who portrayed “The Gargoyle” so it was a shock for me to find out on IMDb, that it was Casey.

 Bernie Casey’s (6/8/39 – 9/19/17) initial fame was as a high hurdler during the U.S. Olympic trials in 1960. Then as a wide receiver for the NFL’s L.A. Rams and finally the San Francisco 49ers from the mid-’60s. 

Catching the acting bug over the years he appeared in Hit Man (1971), Dr. Black and Mr. Hyde (1975), The Martian Chronicles (NBC 1980), Spies Like Us (1982) and Deep Space Nine season two, guest-starring as Calvin Hudson in “The Maquis” part one and two episodes just to name a few.

The subplot about a Gargoyle with a thirst for knowledge of the surface world to me is along with that 70’s feel it has is a good grindhouse gem to watch.

While Mr. Casey didn’t have what one would call range as an actor I would give it to him in Gargoyles in that under Mr. Dawson’s make up work he was able to give the character life.

Black History Month : Black Devil From Hell / a Review

     Black Devil Doll From Hell or Chester Turners Revenge

  A Review by James Goodridge

“This is bad, very bad … but I love it,” I say to myself while clicking through a cornucopia of videos, reviews, soundtrack music, and other snippets, but not the full-length movie Black Devil Doll From Hell or BDDFH. Now I have a macabre love for B movies be it Sci-Fi or Horror the more absurd (see Scream Baby Scream 1969) or Grind House the better. With some low budget movies watching them you get a sense that they were made for the quick buck, but some have a feel that passion was injected into the movie kind of an Ed Wood radiance.

BDDFH was written, directed, music scored and produced by Chester Turner. Starring Shirley Jones, it was filmed in 1984 in Chicago for under $10,000 using a video camera, a VCR and a Casio organ for soundtrack music.

The ’80s were an era of mobile video freedom for people to create, a challenge to would-be amateur filmmakers. Mr. Turner took up the challenge. The plot surrounds Helen Black(Jones) a God-fearing woman who buys a three-foot doll with Rick James corn rolls from a strange gift shop, not aware that the doll is possessed by the devil. Later in the slow-paced movie, the doll comes to life and attacks her in the shower. For the rest of the movie, we’re tormented by devil doll’s old hustler voice harassing Helen as she has succumbed to his power, going on the prowl to pick up men for sexual gratification. Obie Dunson plays the Preacher in some scenes.

Years later, Turner said he stayed up three days and nights writing the script. Maybe I’m wrong because I had a hard time following parts of the movie and there is barely a plot. Now I must say that the doll itself is creepy, one of those old ventriloquist dummies with the huge eyes and to Turner’s credit you do get a visceral sense of unease.

The Casio droning on in the background makes you wish it would stop. Scenes lingering too long, stiff acting and bad lighting doom this labor of love Chester Turner produced. Selling the movie on VHS from the trunk of his car then making sales pitches in-person to video store owners generated limited profits for Turner and Jones (they were in a relationship at the time) and soon the movie was forgotten with Turner and Jones moving on to create Tales From the Quadead Zone (1987).

Over the decades,  social media has not been kind to BDDFH with would-be reviewers piling on with bad reviews. I came across one reviewer on YouTube using a racial slur when talking about Ms. Jones’s looks. But a documentary Adjust Your Tracking (2013) and a Daily Grind House article in 2013 revived interest in BDDFH. It is now the holy grail when it comes to VHS tape collectors with a tape selling between $ 419 to $1,000 online.  

Internet detective work helped me come across a Q & A segment at the 2013 Austin Film Society Festival featuring Turner and Jones. The movie now in cult status, Turner answered questions with humbleness and grace while Jones is reserved and matter of fact. Both feel vindicated, Turner still has the master copy and was redistributing it on DVD. In 2001

A non-related remake of BDDFH was released on DVD. A soft porn splatter movie mess, the best I can say about it is that… I’ll get back to you a few years from now maybe with some kind words.

At the end of the day Turner and Jones chased their dream with passion.

FRIGHTENING FLIX BY KBATZ: Family Haunts and Fears

Family Haunts and Fears 

by Kristin Battestella

These families are less than comforting for each other when it comes to ghosts, cults, and suburban frights.

Before I Wake – Mike Flanagan (Oculus) directs Kate Bosworth (Blue Crush), Thomas Jane (Dreamcatcher), Annabeth Gish (The X-Files), and Jacob Tremblay (Room) in this 2016 Netflix dark fantasy drama. In spite of the never working, always home in their mansion rich blonde white people, we hope for the couple who lost a child now making a fresh start by adopting a very special but sleepless eight year old. Group therapy’s been helping our fellow insomniac mom cope – getting the psychological metaphors out of the way while showing how our husband and wife have reacted differently to such grief. Their new son, sadly, takes out his books and flashlight to stay up all night, sneaking some serious sugar because he fears the man who eats people when he sleeps. Strange images increase about the house, and instead of the typical jerky husband, it’s nice to have a trying to be helpful doctor. The therapist, however, dismisses mom’s encounters with creaking doors, breaking glass, and ghostly figures as lucid dreams or sleep deprived waking hallucinations. Our couple is always in front of the television not talking about how they can inexplicably see and touch their late son in tender moments giving and taking away before he disappears in their arms. Naturally, they take advantage of this gift, putting on the coffee to stay up while their current dreams come true son sleeps. He can help them heal, and with such fanciful graphics, one almost forgets how they are deluding themselves by using his dreams to fix their reality. When mom drugs his milk and cake with child sleeping pills, we know why. Dad may bond with the boy, but it’s unique to see a multi-layered woman both experiencing the horror and contributing almost as a villain who thinks she’s right. The monster may not be super scary for audiences accustomed to terrifying effects, but this is about kids fearing unconscious ghouls and waking nightmares not scaring viewers. Previous foster parents are committed after talking of demons when the boy’s dreams come true, but he doesn’t know what he’s doing – unlike the adults who realize, do it anyway, then justify their response as mercy. If he can’t wake up, they can’t defeat the black vomit and flesh consuming monsters. Unfortunately, convenient hospital connections provide old records and birth mother details while the caseworker never notices the ongoing file is lifted by the subject. Confining the boy leads to a house of horrors with moths in the stairwell, cocoons, creepy kids, gouged eyes, and bathtub bizarre – which are all fine individually. However, the story backs itself into a corner by resorting to a state of mind scary at the expense of the personal fantasy, unraveling with explaining journals and a parent sugarcoating someone else’s memories so obvious Freudian questions can do the trick. With this thick case file, how did no child psychologist figure this out sooner – especially with such legalese and real-world missing persons? Rather than essentially letting mom get away with sacrificing people to overcome her grief, the finale explanation should have been at the beginning to further appreciate the boy’s torment. Despite a kind of, sort of happy non-ending, the parents dealing with a child dreamer plot makes for a mature reverse Elm Street mixing family horrors and fantastics.

Death at Love House – Couple Robert Wagner (Hart to Hart) and Kate Jackson (Dark Shadowsare writing a book on Lorna Love and stay at the Old Hollywood starlet’s creepy manor in this 1976 television movie. Gothic gates, winding drives, old fountains, and broken statues accent the past torrid and vintage bus tours, and there’s a freaky shrine, too – the preserved corpse of our beauty lying in a glass coffin. Of course this print is obviously poor, but the retro Hollywood scenery, Golden cinema looks, and seventies California style make up any difference. I wish we could see the arches and wrought iron better, but the VHS quality kind of adds a dimly lit ominous to the Mediterranean villa as retro commercials provide a vintage patina. Housekeeper Silvia Sydney (Beetlejuiceisn’t very forthcoming about enchanting portraits of the starlet, and newsreels of her funeral show a man in a cape with a black cat among the mourners. Malleus Maleficarum spell books on the shelf, sacrificial daggers, and crusty director John Carradine (Blood of Dracula’s Castle) suggest Lorna was more evil than lovely, and talk of mirrors, souls, passion, and rivals like Dorothy Lamour (Road to Bali) add to the character unto herself à la RebeccaWithout over the top visuals or in your face action for the audience’s benefit, the performances here carry the scandalous scares – jumping at the horrors as thunder punctuates terrifying encounters in the dark. Apparent heart attack victims, destroyed pictures, and warnings to leave Love House lead to locked doors, gas mishaps, and steamy showers while phonographs provide chilling music as Lorna seems to be looking out from the silver screen film reels with her hypnotic power. Bewitching dreams relive the past and wax on eternal youth as the ghostly obsessions grow. At times, the spiral stairs, red accents, and swanky are more romantic, but phantom ladies at the window and rumors of fiery rituals create sinister. Our husband is said to be going through the scrapbooks but he’s not getting any work done, remaining in denial about the basement tunnels, cult altars, pentagrams, and mystical symbols. Although the Mrs. seems calm somehow once the truth comes out, too, the creepy masks and wild reveals make for a flaming finish. There are too many tongue in cheek winks for this to be full-on horror nor can one expect proper glam and glory in such a brisk seventy-four-minute network pace. However, this is good fun for a late-night Hollywood ghost story full of meta vintage.

Kill List– Financial arguments, unemployment, and stressed parents shouting open British director Ben Wheatley’s (High-Rise) 2011 slow burn while fade ins and outs create a disconnected passage of time amid his mundane routine, tearful phone calls in her native Swedish, and brief playtime with their son. Clearly they are trying to keep it together just for him, but recession talk and conversations about their military past make dinner with friends more awkward. Despite some wine, laughter, and music; tensions remain alongside bloody tissues, mirrors, and creepy occult symbols. Foreboding rainbows, eerie skies, and contracts signed in blood lead to fancy hotels, mysterious clients, guns, and stacks of cash. This sardonic, violent lifestyle is normal to our hit men – want a hot tub, put on a nice suit and kill a few people to make money for your family! Things should be looking up, but past mistakes, religious conflicts, and hits gone wrong interfere with the fine dining, friendly chatter, stakeouts, and casually executed executions. The deliberate pace may be slow to some, however full moons, hallway zooms, and binocular views set off the lying in wait preparations, silencers, and worship regalia. Thumping body bags miss the dumpster and victims aren’t surprised their time has come, but off screen implications disturb both our hardened hit men. They are the righteous torturers breaking knee caps and bashing hands! Dead animals, blood splatter, off list hits, dirty crimes, and graphic skull work are not for the faint of heart as the kills become messy and out of control. Ominous women in white, blood stains, infected cuts – this violence is going far beyond their normal work but there’s no getting out here. Nothing good can come from this dreary potboiler as the kills increase from ironic to curious and ultimately brutal in a final act providing throwback shocks and a sense of realism straying into unreliability. Night gear observations at a fancy estate begat torches, chanting, robes, and masks. If you’ve seen enough cult horror, the ritual foreshadowing is apparent, however there’s a warped cleansing to the rain, drumbeats, and sacrifice. Gunfire, tunnels, knife attacks, screams, and unknowns make for gruesome turnabouts that bring the consequences home in a silent, disturbing, grim end.

Voice from the Stone – It’s post-war Tuscany and dilapidated castles for nurse Emilia Clark (Game of Thrones) in this 2017 tale opening with church bells, toppled statues, and autumn leaves. Letters of recommendation and voiceovers about previous goodbyes are unnecessary – everything up until she knocks on the door is redundant when the Italian dialogue explaining the situation is enough. Her charge hasn’t spoken in the seven months since his mother’s death, and sculptor dad Marton Csokas (Lord of the Ringsis frazzled, too. Our nurse is strict about moving on from a family, and although her unflinching English decorum feels like you can see her acting, this may be part of the character fronting when she wonders if she is qualified for the case. The mute son is likewise an obedient boy if by default because it takes speaking to object, and he listens to the walls to hear his dead mother. Period furnishings, vintage photos, mirrors, and candles enchant the interiors, but the stone and stucco are spooky thanks to taxidermy, strange old ladies, creaking doors, winding stairs, and broken tiles atop the towers. Wooded paths, overgrown gardens, and old bridges lead to exploring the flooded quarry, cliffs, family crypts, and stone effigies. This estate has been in the late wife’s family for over a thousand years, and forty generations are buried beneath the rocks. Noises in the night provide chases and dead animal pranks as our nurse listens to the walls to prove it’s just the settling house, rattling winds, or bubbling pipes talking. Progress with the boy takes time while billowing curtains and melancholy phonographs linger over somber scenes as she grows too attached in wearing our late mother’s clothes. Unlike her, our nurse sits docile and silent when posing for his sculpture before fantasizing some saucy as he carves. She can care for father and son – talking to portraits of the Mrs. and listening to tombs to further ingratiate herself into this family. Desperate, she hears her now, too, in eerie interludes and spooky dreams that add aesthetics yet feel like weird seventies horror movies nonsensical. Wet perils and violent slaps begat illness, but questions on whether this fever is real or psychological unravel with fog, wheezing, heartbeats, and buried alive visions face to face with the dead. Although some may dislike the ambiguous nonanswers and stilted style or find the derivative Rebecca or Jane Eyre mood and outcome obvious, the slow burn period setting makes this an interesting piece for gothic fans not looking for outright horror a minute.

 

For more Frightening Flix, revisit our Horror Viewing Lists including:

Haunting Ladies

Witches and Bayous, Oh My!

Mirrors and Superstitions

Black Horror Month : Sugar Hill/A Blacxploitation Gem

 

Sugar Hill: A Blaxploitation Gem

Review by Valjeanne Jeffers

Sugar Hill (1974) is a cult classic, a gem of the Blaxplotation era, and among a small cadre of flicks, such as Blacula, that combined horror with commentary on racism and oppression. Movies of the 1970s were resoundingly pro-black, and nothing if not conscious.

The movie begins with a Voudon dance performance, and an introduction to Diana “Sugar” Hill (Marki Bey), a photographer who is engaged to club owner, “Langston” (Larry Don Johnson). Unfortunately, a local gangster “Mr. Morgan,” (Robert Quarry) has his heart set on buying Langston’s popular Club Haiti. When Langston refuses to sell, Morgan sends his thugs to murder him. Sugar asks the matriarch of her family, “Mama Maitresse,” (Zara Cully) a Vodoun Priestess, to help her take revenge. After much pleading, Mama Maitresse agrees and calls upon the powerful Loa, Baron Samedi. Together Baron Samedi (Don Pedro Colly), Sugar and an army of Zombies slaughter Sugar’s enemies.

Sugar is a sexy, charismatic heroine. The Baron himself is surprised by her boldness, “You’re not afraid of me!” It is this fearlessness that sways him to grant her wish for vengeance and place an army of zombies at her disposal. She is the original Blaxploitation feminist. Strong, and self-possessed: a butt-kicking mama, who is ready and willing to take care of business; even if it means spilling blood. Yet, as was often characteristic of 1970s movies, Sugar is all too willing to give her heart to the right man. When her former lover, appropriately named “Valentine” (Richard Lawson) gets too close to solving the murders, Sugar tells Baron Samedi, “Stop him but don’t kill him,” for she’s already falling back in love with him. 

This movie is rich with archetypes of the African Diaspora. Morgan and his cronies are virulent racists who throw around the word “coon,” and other racial slurs. His only black employee “Fabulous” (Charles Robinson) accepts their treatment with a tolerant grin; although ironically he is second-in-command to Morgan. Destroying Morgan and his men is a symbolic blow against oppression.

Sugar’s slain lover’s name, “Langston,” subtly alludes to the famed African American writer and poet, Langston Hughes. Baron Samedi is a powerful Voudon Loa, usually found at the crossroad between the worlds of the living and the dead, with a taste for tobacco and rum. In Sugar Hill, he’s artfully portrayed, right down to his cigar and top hat. Beside the Baron, stands Mama Maitresse. Mama Maitresse is over 100 years old. She depicts the honored elder: ancient and revered. The zombies Sugar commands, are actually slaves, who have been resurrected from the dead. There are repeated references to slavery throughout the movie. 

And Morgan’s men don’t just go after black folks. They bully and exploit anyone that stands in their way—black, white and Latina. Thus, Sugar Hill portrays a struggle between the powerful and powerless. During a scene when one of Morgan’s men extorts money from a group of seamen, “You’ll pay for your jobs,” he bellows, “or starve!” Baron Samedi stands nearby, looking none too pleased. Moments later, Sugar is there. “Hey!” she says, “you and friends killed my man! I’m passing sentence. And the sentence is death.” At her command, the zombies chop him up—with machetes no less.

Sugar Hill holds its own among the best Black Horror films of the70s, films like Blacula and Dr. Black and Mr. Hyde. The chemistry between the characters, excellent typecasting and acting, make thoroughly enjoyable viewing, even beside the slick special effects of the 21st century. Filmmakers of today could take a page or two from Sugar Hill, and others from the 1970s. Especially if they want to create a thriller with a message.  

_____________________________________________________________________________________________________________

Valjeanne Jeffers is a graduate of Spelman College, a member of the Carolina African American Writer’s Collective, and the author of eight books. 

Valjeanne was featured in 60 Black Women in Horror Fiction. Her first novel, Immortal, is featured on the Invisible Universe Documentary time-line. Her stories have been published in Reflections Literary and Arts Magazine; Steamfunk!; Griots: A Sword and Soul Anthology; Genesis Science Fiction Magazine; Griots II: Sisters of the Spear; Possibilities; and The City. Book I of The Switch II: Clockwork was nominated for the best ebook novella of 2013 (eFestival of Words), and her short story Awakening was published as a podcast by Far Fetched Fables. Preview or purchase Valjeanne’s novels at www.vjeffersandqveal.com

Decade in review : A look back at 10 Years of HorrorAddicts.net

The Decade In Review

by Kate Nox

As we end our month of 10iversary celebration we offer a review of some of the content you have enjoyed and may want to take another look at.

Being a relatively new editor here at HorrorAddicts.net I find myself amazed at the scope of our horror blog. As a reader, you are part of a horror community from 192 countries around the world. From the United States to Togo, The United Kingdom to Antigua, Finland to Brazil,  readers are tuning in to check out what HorrorAddicts.net has to offer. On a regular basis, our staff reviews both blog statistics and your communications to make sure we are giving you what interests you most.  

At HorrorAddicts.net. We do our best to research and promote diverse and innovative voices. Among the most viewed entries of our past is an article entitled,  African American Horror Writers by David Watson. 5,123 of you enjoyed this feature.

We also try to bring you innovative content such as when we gave you the Next Great Horror Writer Contest and encouraged writers to advance their craft. You tuned in to read the author’s new material. Jonathan Fortin of El Cerrito, California was the contest winner and was awarded prizes including a  book contract from Crystal Lake Publishing. You were treated to all sorts of new reading experiences through the episodes of the contest.

One feature you have told us you really like are listicles. I’m with you on this. Give me a list comparing anything and I gotta read it! Among these, you enjoyed: Slasher Horror Books, and 1920’s Horror Books also written by David Watson.  

We are here to give authors for authors as well as readers. We are happy to share reviews and help authors get the word out about their books. You can always count on HorrorAddicts.net to give you book reviews such as those written by Chantal Boudreau on Arithmophobia by Ruschelle Dillon and by Stephanie Ellis on Ghost of Manor House by Matt Powers.

We often hear from our readers that one of the best things about our blog is finding and reading new authors. Sapphire Neal and Naching T. Kasa have done a great job of connecting us  with writers and personalities through their interview columns such as 13 Questions with Julie Hoverson and Chilling Chat: Episode 171 | Loren Rhoads

When you looked for the best in horror Movies you were directed to great film watching by Kristin Battestella and her Frightening Flix in Dracula 2000 and The Phantom of the Opera (2014).

For Indie Films you tuned into Crystal Connor and her Live Action Reviews such as the ones she did on  Welp and Never Tear Us Apart,

We gave you Extreme Transgressive Theatre like Salo (or The 120 Days of Sodom)  and The Human Centipede (First Sequence)

You enjoyed our coverage of the music scene in MUSIC REVIEW – Live show: Freakangel + Neonsol + Advance with Jeffery Kohld Kelly and with our new music feature like Merrill’s Musical Musings: Zwaremachine Review with R.L. Merrill.

We’ve had several writers who entertained you with Fiction Series.  Jesse Razorr gave you the frightening fairytale,   My Darling Dead. Russell Holbrook’s  Logbook of Terror travels kept you running in fear. Lionel Green continues to take us around the world through his investigations in THE BIGFOOT FILES and Kieran Judge always thrills with his inquiries into Odds and Dead Ends. 

Kenzie Kordic unnerved you in Kenzie’s Konspiracies  and D.J Pitsiladis kept you awake at night with his Nightmare Fuel

We also entertained in the Non-Media Areas of your life

We brought you cooking with Dan Shaurette in Morbid Meals We brought you Fashion advice from Mimielle who gave you My Melancholy Life. Kbatz gives you lots of haunting ideas for Krafts in her fun Kbatz Krafts Daphne Strasert brings you lots of spooky fun with her Ghastly Games

A few others I’d like to point out for their contributions to our decade of blogging are Christopher Fink writing as the Horror Seeker who gives us a variety of tales and information.  A.D. Vick has shared important information in articles such as The Passing of Sir Christopher Lee, and Cortney Mroch entertains us with Haunt Jaunts.

To take a look at any of the above, just click the link and enjoy. And, as always, please use the comment section to let us know what you like and to make suggestions for future blogging.

FRIGHTENING FLIX BY KBATZ: Classic Horror Titans!

 

 

It’s our Frightening Flix Horror Titans of Yore come to celebrate our HorrorAddicts.net anniversary!

Alfred Hitchcock Primer Video

The Birds

Christopher Lee Delights

Edgar Allan Poe Video Revisit

Jean Rollin Saucy

Mario Bava Special

The Oblong Box and Scream and Scream Again

Peter Cushing Passion

Silent Film Scares

Vincent Price Maestro

 

FRIGHTENING FLIX BY KBATZ: The Ghost and Mrs. Muir

 

The Ghost and Mrs. Muir a Delightful Little Ghostly Romance

Reviewed By Kristin Battestella

I really dislike modern repetitive romantic comedies with that hint of tearful seriousness and sap sap sap. However, classic romances with fun and paranormal do wonders- and I can’t help myself, I’m watching the 1947 treat The Ghost and Mrs. Muir yet again!

Widow Lucy Muir (Gene Tierney) – along with her daughter Anna (Natalie Wood) and beloved maid Martha (Edna Best) – leaves her in-laws and takes a cottage on the Whitecliff coast. Unfortunately, Mrs. Muir soon discovers the late owner Captain Daniel Gregg (Rex Harrison) already inhabits the seaside escape. Captain Gregg agrees to keep his hauntings to a minimum for Anna’s sake and soon helps Lucy financially by collaborating on his memoirs with her. Could it be there is something more between them? Unfortunately, artist Miles Fairley (George Sanders) also romances the Widow Muir, and he is a ‘real’ man after all, much more able to return Lucy’s affection than the ghostly Daniel. But which does she really love?

Though played a little spooky to start- a widow moving into a mysterious cliffside house all alone– director Joseph L. Mankiewicz (Cleopatra, Guys and Dolls) and writer Philip Dunne (How Green Was My Valley, The Robe) keep Josephine Leslie’s source tale progressive and fun. Instead of wasting time on major ghostly special effects or uber kinky relationships as today’s films might, time is taken to know the characters and enjoy the mix of the living and the dead while the romance blooms. Even as much as I love creepy fair, it’s simply wonderful that The Ghost and Mrs. Muir remains simple, innocent, and not totally spooky. Yes, the corporeal barriers and introductory scares might be enough to get a viewer in the door- but the interplay of the cast carries the film. The focus on two shot debates and fore blocking camerawork shows that these two people can hotly interact, inhabit the same space, even coexist and fall in love, but sadly not actually be together-especially when that two-shot becomes a jealous three-way scene. The lovely dilemma and heart of The Ghost and Mrs. Muir is allowed to play itself out on screen instead of being squashed by ghostly glitters or Meg Ryan’s lips. And what an ending!

Tragically, Gene Tierney (Laura, Leave Her to Heaven) didn’t make very many films and is more well known today for her health issues and off-screen romances if at all. Fortunately, she did indeed leave us with a set of classics! The turn of the century costumes on Tierney look great, adding period flavor, grace, and an element of change as Lucy herself sways between men over the years. Tierney really is just lovely inside and out- even if the presentation is a little too post-Victorian by way of the forties for some viewers. However, there’s also a fine modern contrast, for Lucy-being a single mother disbelieving in such paranormal ‘fiddlesticks’- is in many ways ahead of her onscreen time. She defiantly calls out the ghostly instead of being the little widow in black and blossoms as a woman because of it. Although I’m not sure about Tierney’s accent amid all the really English folks, her tone is still proper and classy nonetheless. Not many actresses today can handle material like this- not without it getting cliché like those aforementioned run of the mill contemporary romances. I also confess, penning a book to save the finances of one’s house is perhaps the dream of every down on his luck writer, and it’s just another fun, personal and endearing element I love in The Ghost and Mrs. Muir.

Oh, that crusty and delightful Rex Harrison! Though initially seemingly a silhouetted menace with a great bellowing voice, Captain Gregg is built up carefully and creepily toward a sweet and stormy reveal. We expect Daniel to be so upper class and debonair ala My Fair Lady, but Harrison’s rough around the edges opposite to Lucy and near swashbuckling style is wonderful. His dialogue, delivery, and no holds barred attitude are somehow also suave; Gregg compliments Lucy on her figure and quotes poetry! The way the grizzly ghost mellows is utterly bittersweet, and it’s all done without losing any charm or gruff. Of course, George Sanders (Rebecca, All About Eve) is also his usually slick and exceptional self. We might not find either man uber attractive or Team This and Team That in today’s standards, but the juicy choices and whirlwind escapades both men offer is just that- an onscreen delight. Sanders just as easily sweeps the viewer away by painting scandalous portraits of Lucy in a bathing suit as we are also charmed by Harrison’s dreamy soliloquies. Edna Best (The Man Who Knew Too Much) is a little annoying as the stereotypical English maid who always talks so sassy, knows what’s what, and makes no Cockney about it! However, she earns her stripes as the film progresses. Little Natalie Wood (The Searchers, West Side Story) is also a somewhat goofy, but her fans will enjoy seeing her 10-year-old charm.

The black and white photography of The Ghost and Mrs. Muir hampers the visuals a bit, but the silver screen layers also add plenty of atmosphere. The ghostly lighting, candles, gas lamps, creepy paintings, and the shadows created work beautifully. The fake long shot stills are obvious, yes, but understandable. Besides, the sweet cottage interiors are more Victorian mansion than cottage as we would think of it, and the seaside locations are dynamite. The great ghost laughter, the usual glory of storms and wind, and Bernard Herrmann (Psycho, The Devil and Daniel Webster) crescendos add the audio icing. The paranormal hints and hijinks still work, and I love how the darkness surprises us into never knowing quite where the Harrison appearing and disappearing tricks are. Turn of the century cars, glorious feathers, furs, hats, and gloves! Sigh, but those bathing suits! Those are a definite no.

Yes, I’m sure a lot of this can be merely quaint or hokey to some, but fans of the cast or classics in general surely already know and love The Ghost and Mrs. Muir. Fortunately, there’s also nothing so ghostly or romantic to dissuade younger viewers, and recent audiences of contemporary paranormal or standard romance should most definitely try this treat ASAP.

For more Lighthearted Classics, revisit:

I Married a Witch

Bell, Book, and Candle

Gothic Romance Video Review

FRIGHTENING FLIX BY KBATZ: Our Favorite Horror Movie Reviews!

 

Follow these links to reminisce with our HorrorAddicts.net Anniversary look at some of our Favorite Frightening Flix Reviews! 

Black Death

Brimstone

Bone Tomahawk

Crimson Peak

Eden Lake

The Exorcist

House of Usher

Only Lovers Left Alive

Phantom of the Opera (2004)

The Wicker Man (1973)

 

 

Nightmare November : Is Freddy’s Dead really that bad?

If you ask me, “Freddy’s Dead – The Final Nightmare” gets a bad rap. Why is this? Why do fans object to this film so much? Well, to be fair it is the most disconnected from the rest of the series, having now abandoned the Alice storyline which had been the running canon – from Nancy to Kristen, to Alice, each of the heroines passing the torch down the line keeping the narrative fresh. But Freddy’s Dead might have taken too wide a step off the path for fans to accept and understand, and the choice of going 3D didn’t do it any favors either. However, I do believe this film does have its moments and is worth another look from fans of horror and the franchise alike! Let’s check it out!

For those not in the know, -SPOILER ALERT- The story follows the “last” of the Elm Street children, John Doe… no, really, that’s his name, played by Shon Greenblatt, a wandering amnesia stricken insomniac who is sent back to Springwood by Freddy for unknown reasons – reasons we find out later are for Freddy to find his daughter and escape the bonds of Springwood. Along the way, it’s more or less a typical run-through of victims for Freddy, with some creative and over the top death scenes, though the body count is kept to a relative minimum. The film culminates with Freddy being brought into the real world and having the final showdown with his daughter in a somewhat campy manner, even for Freddy’s antics. Not too bad, but I can see why fans might not have taken to it at the time.

As a seasoned member of the Nightmare on Elm Street team, Rachel Talalay makes her directorial debut in the 6th installment, addressing the question of who Freddy Krueger was before he was caught, giving us a bit more exposition than what Marge did for Nancy in part 1. It was the familiar fable about Freddy from parts 1 through 5, and it’s here where I find the first improvement. Usually exposition tends to water down a character/story, but in my opinion, it plays out well, giving us enough to carry the story forward with something new. That’s one of the better qualities of the film; it takes chances with a well-loved, well-established character. And like Jason Goes to Hell, or Halloween 3, and other films that tried to break from the patterns set, it was not as well-received as they had hoped.

We all know who Freddy is at this point, so there’s really nothing to hide. We can only learn more! Pop culture at the time had forced New Line’s hand to tease Freddy a bit, making him a bit more humorous in his antics, but again, in my opinion, I think it worked out well enough… not perfect mind you, but this is Freddy Krueger! One of the few slasher villains with a personality, arguably the best and most colorful! While the comedy at times did cloud over the intended horror, I feel it works for the character(s). It has been one of the discerning traits of Freddy. Having that strong personality has helped him become the icon of horror he is today.

So, why do we watch these films? For the kills, of course! Slasher films are known for their ever-inventive style of death scenes and here, well you can’t deny that they are memorable. While the violence is toned down a bit it’s not without imagination. From Carlos’s death by nails-on-a-chalk-board, this scene spends several minutes with its build-up leading to Carlos’s demise. It’s fun and terrifying, really putting you in Carlos’s perspective. How about Spencer? Who can forget the power glove? While I might gag at the shameless product placement, it is nonetheless creative. Again, the scene spends several minutes in its own element before giving us what we came to see! The lack of a body count, too, allows a bit more time to expand on the ones that got the axe (glove) making their scenes that much more unforgettable. Another quality here, that apart from a few throughout the franchise, all these characters are memorable, I my opinion. It’s a relatively lean cast with a few recognizable faces, such as Breckin Meyer, Lisa Zane, Yaphet Kotto, and some interesting cameos by Tom Arnold, Roseanne Barr, and Johnny Depp. Ha! Freddy gets one over on Glenn again during a bizarre twist on a familiar PSA. The scene gets a chuckle out of me every time! And while the acting is by no means Oscar-winning it is believable; you can tell the actors are having a good time, and I think that’s all you can ask for in any film.

It wraps up rather abruptly with a slideshow recap of the five previous films while the credits roll, with a perfect song by Iggy Pop to end, well “end” the franchise. Would’ve been nice to have a “Spoiler Alert” back then! But here it is!

As a kid, I had a bad habit of watching franchise films out of order, and Freddy’s Dead was one of the first I ever saw! I guess part “6” wasn’t exactly the best jumping on point, ha! So many songs have been written around Nightmare on Elm Street either for the films themselves or in general from The Fat Boys to Will Smith, to Tuesday Knight’s intro from Part 4.

It’s amazing to see what an influence these films had on not only the fans but the industry itself. Hell, New Line was on its last leg before Wes came along. It was a dare from the start, and New Line has been known since then as the house that Freddy built. And that’s another element that we can appreciate in Freddy’s Dead, it was a dare! As I say, it took chances, something that movies and studios today just don’t do anymore. It has survived some turbulent times, such as the writers’ strike of 1988 and being developed in a dying company. Could this, as well as being handled by some of the best in writing, directing, and effects have fostered this one of a kind creativity? I will say this, it has been a great inspiration for myself, as well as countless others, so I think it’s fair to say that Freddy’s Dead isn’t that bad. Again, I may be bias, but The Final Nightmare will always be something special to me. If I could ask the fans to give it another chance with a little more open appreciation for what it is, I think we can all remember that Every town has an Elm Street!

Horror Seeker: Are You Scared? Top 5 Countdown

These days, it’s sad to say that horror has lost a few nuances in subtlety. While there are a few outliers, mostly those of the independent realm that still manage to terrify with atmosphere and story, the jump scare has no doubt taken the place of genuine creativity and effort to scare us. It is indeed a shame; while jump scares are nothing new, and when used appropriately they can be effective, it is but one tool, not the ONLY tool by any means. This over-reliance on the exhausted trope may have even left the average moviegoer numb and impatient to any sort of suspense building element a film might have to offer. So, I am here to remind you of, and hopefully share something new, the chill in your spine. That feeling that makes you check the windows twice at night, and make you second guess looking into the dark again. This is by no means a complete list, only a collection of some of my favorites. So, without further ado…

5: FRIDAY THE 13TH VIII – Jason Takes Manhattan

Arguably, the most questionable addition to this list hence why it comes in at number 5, Jason Takes Manhattan is regarded as one of the more discombobulated installments of the franchise, and for good reason. Taking Jason away from Crystal Lake might not have been the best of choices, but this deep into the story there might not have been much left to explore. So, why not give him a “proper” sendoff and bring Jason to the Big Apple? New York has always been the go to for any film/character in good standing.

Unfortunately, it didn’t really live up to the title. Spending only 36 minutes of an hour and forty run time in the big city, it was kind of a letdown, I think most would agree. It is well known that a number of scenes were cut, but it was not without its moments. One I think everyone remembers is Julius’s death – Jason’s one-punch knockout! But that was just a WOW moment, really.

I’d like to talk about one of the many times we see Jason as a boy, in this case, his ghost, played by Tim Murkovich. It is one of the many times boy-Jason makes an appearance, probably the most in any film, however, he hold a certain level of eeriness to him. Waterlogged, and soggy, Jason appears as a harbinger of doom of sorts, preceding Jason’s actual presence. Kind of like his force-ghost, if I can get away with that! But the moment that stands out is one that is thrust onto us nearly without warning. As our survivors (what’s left of them) drive madly down the alley trying to escape Jason, they, or rather our heroine Rennie, is confronted by the boy-ghost. It is not so much his presence, nor the scene, but rather the camera work/editing that sells this one.

The scene begins at a high pace as they drive off in a commandeered police cruiser after having narrowly escaped Jason’s grasp. Your heart is pumping and continues to increase as everyone in the car is screaming, panicking, lost in their own madness and terror, when suddenly Rennie barrels down the alley toward a waiting apparition, one that only she can see. The scene instantly cuts to her perspective; void of any sound except for the abusive drums as she grows closer. It then borrows a modified soundbite from Psycho, bringing us uncomfortably close to the boy’s deformed, patient stare. For that moment, he is looking at you – I mean YOU! And you can feel it. It only lasts a split second, blink and you’ll mercifully miss it, but for those who don’t, it is one of the few times you can actually feel his presence next to you. This is, of course, my experience. What’s yours?

4: CREEPSHOW II – The Hitchhiker

Creepshow, Tales from the Crypt, there’s nothing quite like it, is there? You don’t really see too much of the horror miniseries these days, but these tales are still worth their weight in blood. If you’re not familiar, I highly recommend them.

SPOILER WARNING just in case. In this particular story, our adulterous woman is in a hurry to get home to her husband, unaware of the lonely man thumbing for a ride on the side of the road; not that she’d have picked him up anyway. Her night takes a turn for the worse when she accidentally runs him down and leaves him for dead. It is here the horror truly begins, opening up what may very well be one of my worst nightmares.

While calming her nerves, she continues on, soon coming to a stop to further calm herself down. Here she notices a figure approaching; a broken stagger of a man, bloody, but alive? – it can’t be… It may have been her own eyes playing tricks on her, until the same hitchhiker then appears in her window, his mangled body leaning desperately in the car as he thanks her for the “ride”.

These films were definitely played up for exaggeration, being derived from the comics of the respective names, but it’s in this short’s persistence and focus that the horror works. The unrelenting vengeful force that just won’t die no matter what you do. No gun, or tactic, or car, in this case, will help you, as the hitchhiker is run over again, and again, and again, and again, and again, and… it goes on! Truly brutal, and in his frantic, almost spell-binding mantra we are taken for a horrifically graphic trip in its own cartoony, over the top way. Goes without saying, thanks for the ride, lady!

 

3: PUMPKINHEAD – Ed Harley meets Haggis the Witch

Haunting; if I had to put this scene in a word, it’s that. When Ed Harley’s boy is killed by some obnoxious teenagers, he seeks retribution through a local witch known for such malevolent things. We don’t know very much about Haggis (the witch), only that the locals are somewhat uneasy about her presence. They know that she’s capable of some terrifying acts; everyone has stories, some have even seen things, such as Ed Harley has when he was younger. It was the memory that had stuck with him, and the same that had brought him here.

The setting hits all the beats for what one might think of when picturing a witch’s home, minus the bubbling caldron. A lone decrepit house lost in the woods, off the grid, severely weathered. Inside, Haggis sits in front of a fire, looking as though she hasn’t moved in decades. Candles are lit all around, and numerous creatures populate the area; rats, spiders, snakes, even an owl, all of which are keeping a close eye on anyone who might enter.

The witch’s makeup and presence are one of the best I’ve ever seen on screen. It doesn’t try to reinvent the mythos; Haggis looks like any old-timey witch, but it’s the effort put into the roll that sells it so perfectly. Florence Schauffler was 68 years old at the time, but her appearance looked as though she were 680. We don’t know as her backstory is mostly left to the audience’s imagination. It is one of the few times where I clamor for a prequel. Who is this woman? Where did she come from? So many questions raised by this brief encounter.

It is a perfect depiction of the consequences when the need for revenge consumes you completely. Presenting itself almost as a fable parents might tell their kids; a cautionary tale on anger and vengeance. It is a hauntingly atmospheric scene, quiet and unnerving in the way it draws the air out of your lungs as even you are afraid to move, worried that Haggis might see.

 

2: PET SEMETARY – Zelda

This was a tough call, as this scene/character has bothered me my whole life. Anyone who has seen this movie and remembers the disturbing performance by Andrew Hubatsek who portrayed Rachel’s sister Zelda. Among many elements, I feel that the fact that Zelda was played by a man only added to the disturbing nature of the character, and the scenes she was in. Though not a monster, or demon of sorts, she is a ghoulish entity which the MicMac grounds use against Rachel, and it is terrifying!

Even to this day, I get chills when I so much as hear her (well, his) voice in my head. It’s one of two movies I have a hard time watching in the dark alone, and that’s saying something. Like many great scenes, it’s a perfect storm of performance, set up, atmosphere, and cinematography that make it work. I don’t know about anyone else, but I can never forget that twisted look; Zelda’s deformed frame writhing on the bed, misshapen and tortured by fate. Unfortunately for her, she was stricken with spinal meningitis which, in the film is exaggerated of course, but is cringing nonetheless.

Zelda is nothing but Rachel’s haunting memory of her departed sister, so she bares no harm other than what Rachel’s guilty conscious weighs on her. Once again, we as the viewer are brought uncomfortably close to her twisted form as Zelda continuously taunts Rachel with a promise of sorts. In a way, it seems like she’s hoping Rachel will suffer the same fate one day as penance for letting her die. The words are repeated again, and again – yelled in fact, like… I don’t even know what to compare it to! All I know is to this day; it still terrifies me to open a door to a bedroom I’m not familiar with. What’s in there? Is Zelda dead yet? Wondering if she’s going to run up to me screaming, “NEVER GET OUT OF BED AGAIN! NEVER GET OUT OF BED AGAIN!”

 

1: TEXAS CHAINSAW MASSACRE – Sally and Franklin

After Leatherface’s jarring debut on screen, having just killed three of Sally’s friends, she and her brother franklin are left to wait, and wonder what’s become of them. This final entry wins not for its monster, or blood and gore, but it’s prolonged suspense. The clip below is the best I could find, but the scene is another few minutes longer with Sally and Franklin desperately calling out for their friend Jerry before venturing into the darkened woods.

I go back to Alfred Hitchcock and his definition of suspense. There’s a difference between a bomb going off, and knowing the bomb will go off. Which is more suspenseful? It is the same here; we have already witnessed the horrors that befell Sally’s friends, and what awaits her and Franklin. We know they won’t escape, we know everyone’s dead, we know what is waiting in the dark – WE know! And that is the key element here. We, as the audience know what is to come, we just don’t know when, or how, and I think that is more terrifying than anything. The scare, or the pop if you will, is the catharsis of the moment, and the longer the suspense is, the more it is dragged out, the bigger the pay off. This scene accomplishes this very well!

From the beginning, we learn of Franklin’s condition. A helpless, scared invalid; burden, really, on the group that we struggle to feel sorry for. That is until we get a feel for his point of view. He feels sorry for himself, and it kind of sad to watch. Over time, you do feel bad and begin to empathize with him. Though not entirely idolized as a character, it is his fear you feel resonating from the screen. You can tell how scared he is, how desperately he just wants his friends to come back, and it only gets worse when he realizes the keys are gone, and that they can’t leave even if they wanted to.

The scene is beautifully scored with an ominous droning aura that sounds like it belongs in a cave. But it is looming horror, the pending nightmare that patiently, oh so patiently awaits them. Honk the horn all you like, scream your head off, wait until daylight if you make it that long. Hell, another thing this film does well, is it takes away the security of the light, as most of the horror happens during the day, so you don’t even have that to fall back on.

So many great moments and it bears repeating that I feel it’s a lost art. Subtlety has been forgotten in cinema, unfortunately. The sad thing is, a jump scare will always get a reaction no matter how prepared you think you are, but it’s only as scary as me screaming BOO in your ear when you’re not expecting it. Great for a laugh, but not for a scare, and certainly won’t stay with you as these scenes have done for me. What do you think? Share some of your favorites I may have overlooked! Thanks for reading!

This is The Horror Seeker

THE CROW Twitter Watch Party – Tonight

RFBANNER

Horror Addicts, in honor of the new book release, Requiem in Frost, HorrorAddicts.net and Jonathan Fortin would like to invite you to a Twitter Watch Party! We’ll be watching the dark and brooding beauty of 1994’s The Crow, beginning at 8 pm PST tonight.  So, pop your popcorn, take a seat, and get your tweet on.

WHO: Jonathan Fortin and HorrorAddicts.net

WHAT: THE CROW Twitter Watch Party

WHERE: Twitter

WHEN: Tonight at 8:00 PST

Stay Spooky!

THE CROW Twitter Watch Party

RFBANNER

Horror Addicts, in honor of the new book release, Requiem in Frost, HorrorAddicts.net and Jonathan Fortin would like to invite you to a Twitter Watch Party! We’ll be watching the dark and brooding beauty of 1994’s The Crow, beginning at 8 pm PST on Tuesday, October 1st.  So, pop your popcorn, take a seat, and get your tweet on.

WHO: Jonathan Fortin and HorrorAddicts.net

WHAT: THE CROW Twitter Watch Party

WHERE: Twitter

WHEN: Tuesday, October 1, 8:00 PST

Stay Spooky!

FRIGHTENING FLIX BY KBATZ: Jean Rollin Saucy!

 

A Saucy Jean Rollin Primer by Kristin Battestella

French director Jean Rollin’s horror films have any and all manner of vampires, witches, subtitles, boobs, and saucy. What’s not to love?

Fascination– Writer and director Jean Rollin uses eerie zooms and haunting camera speeds to provide wonderful turn of the century style and Old World feelings for this 1979 French saucy. Phonographs and period music, ominous sounds, flowing white frocks, frilly lace, feathered hats, graceful mannerisms, candles, decorated interiors, natural visuals, and a great castle locale contrast the morbid slaughterhouse, vivid red colors, blood, rogue, symbolic lips, scythes, black robes, and blonde/brunette or good girl/bad girl expectations. Talk about a sexy grim reaper! It does help to know your français, sure, but the fine performances and talk of death taking the form of seduction add extra panache and gothic allure even amid any translation discrepancies on the available English subtitles.

The laid back mood may be tough for modern American audiences, but the curious characters and simmering atmosphere is soon set with crimes, betrayal, and a siege situation – not to mention how the boobs are out early and often. We’re immediately intrigued in how one man is going to survive being locked in a house with blonde Brigitte Lahaie (I as in Icarus) and brunette Franca Mai (Zig Zag Story), let alone five more cultish women and a blindfold! Though there’s a lot of skin and tender kissing, the saucy scenes may also be a whole lot of nothing for those who are expecting more full-on porn. This pretty Victorian via seventies French lesbianism won’t be for everyone but the kinky sucks the viewer in for the disturbingly delightful fashions, sinister switch, and sophisticated chic.

Lips of Blood – French Director Jean Rollin gets right to the mausoleums, Winnebagoes, shrouded bodies, coffins, and rituals in this more upscale than his usual 1975 tale. A somber score, beautiful but spooky memories, and a mysterious woman in white are immediately eerie while a colorful, swanky party and retro fashions create drama and a sophisticated foundation. Blocked childhoods, an overprotective mother, and castle ruins may be real or imagined add to the secret cemetery passages, hidden tunnels, and questions regarding perfume, scent, and memory. Naturally, there’s nudity both male and female complete with a bonus photography session, seventies bush, and masturbation. However, the saucy isn’t as rampant here, and this has a more put together story compared to Rollin’s usually thin plotlines. Although there is a bit of walking around filler, blue street lights and a moonlight ambiance anchor the after hours aquarium pursuits with an abandoned about the city feeling – there’s a dead body in the water fountain and The Shiver of the Vampires is playing at the late night movies, too. Mysterious men follow on the subway while bells, alarms, abductions, and straight jackets intensify the bats, toothy vampire nurses, and undead who help one and hinder or kill another. Phone the mayor the hungry, naked, vampire chicks are loose so gather the staking posse! Though rushed in the end, the unique finale is well edited with an interesting mix of doubt, mystery, character drama, and a sexy creepy. Who’s the worse villain – entombed vamp ladies or the village torch mob? And who knew coffins would float so well? Did we know this?


The Nude Vampire – Hooded rituals in science labs make for some unique disrobings, blood vials, and colorful beakers to start this 1970 French saucy from writer and director Jean Rollin. Although I could do without some of the now tame but up close, lingering nipple shots and overlong gyrating and dancing – continental seventies staples though they are – the black and white noir mood is well lit with candles and torchlight alongside striking red, purple, orange, and pretty people treating the eye. The interracial nudity is also surprising for the time, and the seemingly suave, exclusive clubs veil more kinky, sinister, creepy animal masks, and dangerous gunplay. There isn’t a lot of gore or blood, however, a simmering string score, evening streetlights, and cobblestone streets invoke an Old World mood to anchor the rare blood disorders, cult rites, and disturbing deaths. Unfortunately, the production is somewhat small scale and not as lavish as viewers might expect with minimal locales and poor editing. This picture is quiet, slow at times, even boring when precious minutes are wasted on meaningless walking here and there or out there plot exposition that feels tossed in after the fact. Thankfully, there are some great stairs, columns, and marble to up the decadent atmosphere, and the overall sense of bizarre helps the undercooked statements regarding immortality, blood possibilities, man’s stupidity, and the superstition versus science comeuppance. The story could have been better, but this is a fun viewing and we’re not really meant to notice the thin plot over all the titular shapely now are we? 

 

Requiem for a Vampire – Clown costumes, shootouts, daring car chases, and dangerous roads lead this 1971 Jean Rollin juicy before two chicks on a motorcycle roam the countryside leaving dead bodies and torched cars in their wake. The spoken English track and Anglo subtitles don’t match, however, there is hardly any dialogue until the latter half of the picture when we finally find out what’s afoot. Some may dislike this silent style, but grave diggers and thunder create an intriguing, off-kilter spooky atmosphere. Scares, screaming ladies – we don’t know the details but we’re on their side as rituals and titular bloodlines escalate. Of course, colorful castles and seemingly hospitable cults providing purple furs on the bed for some lesbian touchy feelys add to the bushy babes and bemusing euro shtick. Granted, the first half-hour could be tighter, and the bare-bones plot should have gotten to the naughty sooner rather than all that running here and there. The sexual statements are iffy as well, even erroneous, for one wants to be a vampire/lesbian while the other doesn’t want to be and gets a man instead – having sex with a woman still means you are a virgin and can still claim to a man that you haven’t made real love yet! Some saucy scenes are also more graphic than others are, with uncomfortable to watch slaves in chains and more violence against women. I’m not sure about the oral sex bat (um, yeah) but the good old toothy bites mixing supernatural pain and pleasure are nicer than the rough stuff. Bright outdoor photography, pleasant landscapes, sad but eerie abandoned buildings, silhouettes, and well lit candlelight patina with gruesome green and creepy crimsons accent the dark graveyards and frightening dungeon traps, too. Once you get passed some pacing flaws and the uneven smexy, this is a fine looking and bizarrely entertaining vampire ode.

The Shiver of the Vampires – Pallbearers and a black and white graveside set the 1971 Jean Rollin mood before colorful castle ruins, overgrown greenery, and edgy music both embrace the heady and keep the medieval flair with torches, goblets, and candelabras. Howling winds, red lighting, and askew camera angles accent torture chambers and sacrifices, creating a surreal dreamscape with saucy vamps in ye olde but tie-dye dresses. The bride in white contrasts those mourning in black while gruesome skulls belie the cathedral architecture, canopy beds, and rustic yet cozy fireplaces. She’s too distraught for the marital bed – but our bride strips downs when a hippie woman humorously pops out of the grandfather clock and they lez be friends no questions asked. Sheer clothing doesn’t cover the perky naughty bits, so they need all those furs to keep those caressing ladies warm. That poor lonely groom gets left out in the cold! More camera panning, vampire opportunists stepping in and out of the frame, and overhead shots parallel the us versus them debates and whirlwind talk of undead religions and vampire persecutions. Although flashbacks add to the dreamy tone, they also confuse the wild library scene and talk of past crusades, former vampire slayers, and predestined deadly fates. But hey, killer nipple spikes! Yes, the premise is thin with strung together coming to and going fro or looking cool, meandering scenes. Rather than one vampire perspective or the young couple viewpoint, the focus constantly resets. Who’s dead? Who’s alive? Who’s undead? Rival vampire hierarchies at first seem tempting, but twists and true colors ultimately show. Granted, you can say that if you’ve seen one Rolling vampire movie, you’ve seen them all. However, had there been seriously proper writing, The Nude Vampire, Shiver of the Vampires, and Requiem for a Vampire could have been a fine trilogy. Fortunately, the nicer production values keep this bizarre romp brimming with an Avante Garde but no less creepy atmosphere.

Film Review: Scary Stories to be Told In The Dark | A story to be told!

It had been some time since I had read these books, and all the while it hadn’t clicked until I got home. Scary Stories to Tell in the Dark is an honorable adaptation of Alvin Schwartz collection of flash fiction tales, perfectly complimented by Stephen Gammell’s amazing artwork. While the stories themselves are simple enough, able to quench any horror fans quick fix for a chill, they are not without a sense of eeriness, and the transition to the big screen was very well done and deserving.Scary Stories to Tell in the Dark (2019)

It is a refreshing tale, and a clever blend of the stories contained therein the trilogy Scary Stories. In my opinion, this is a great way to adapt an existing product. While the stories themselves are a series of flash fiction I’d liken to Goosebumps, they act like a bucket of ingredients for the filmmakers to dig in and see what mixes and what doesn’t. The canvas for the film is somewhat generic; though I wouldn’t call them the token group, they are relatively standard. The loner, the outcast, the bullies… the list is familiar, but they are excellent performances delivered by a budding cast with no real major star power to distract. Their talents are allowed to breathe and take hold on their own merit, which I enjoyed very much!

Creative is the keyword here, and this film certainly delivers with some interestingly creepy and cringe-worthy sequences. A few noteworthy mentions I must give are firstly to “Twisty” Troy James! Aptly named, as he took the contorting roll of the Jangly Man to an eye-opening performance! Hell, I wasn’t sure at the time of viewing if that was a person, but knowing that now, it was beyond impressive! The second goes to the segment in “The Red Roomwhich had me wanting to leave the theater. A rather disturbing creature that, well, hugs you to death, ha! You can find this creature in the third book, featured in “The Dream”. This scene was my favorite, well-paced and handled very well. I do wish the rest of the film was handled as such. Slow and quiet, building on the suspense rather than building up to the next jump scare. It got tired after the first few times.

These really are minor gripes that don’t hurt the film too much; it’s pretty clear that this film wasn’t meant to be anything to change the landscape of the genre, it is a perfect end of summer film. At an hour and fifty-one minutes, the pace moves right along feeling nicely wrapped up, at least for this one. No doubt there will be a sequel in the future, rightfully so as there’s so much more material to be mined within the books. I am looking forward to More Scary Stories! Check them out; which stories would you like to see featured in the sequel?

Until next time, this is The Horror Seeker! 

Press Release: Queen Mary Movies (reminder)

Queen Mary’s 2019 Movie Night Summer Series

Presents FREE Outdoor Film Events at the Queen Mary

WHAT:

The Queen Mary is proud to present the 2019 Movie Night Summer Series, welcoming the community to sit back, set up a picnic with friends and family, and soak up the silver screen under the summer night sky. Each movie night will offer guests an immersive cinematic experience with assorted food trucks themed to the film, full bars for those age 21 and over, and the legendary ship and Long Beach Harbor as backdrops. Taking place on select Thursday nights each month May through August and located on a grassy lawn adjacent to the Queen Mary, film titles include Mamma Mia! (2008), a double feature of Indiana Jones – Raiders of the Lost Ark (1981), Temple of Doom (1984), Grease (1978), and double feature Beetlejuice (1988), Edward Scissorhands (1990). The movie nights are open to all ages and free to attend. Date Night Packages are available for $75 per couple and include a reserved couch for two, one bottle of signature Queen Mary Champagne, assorted snacks, and more!

WHEN:

  • August 22, 2019, 6 p.m. – 12 a.m.: Double Feature: Beetlejuice & Edward Scissorhands

WHERE:

The Queen Mary Seawalk (lawn adjacent to the ship)

1126 Queens Hwy, Long Beach, CA., 90802

TICKETS:

General Admission: Free

Date Night Package Upgrade: $75 per couple

PARKING:

$10 per vehicle on-site.

# # #

About the Queen Mary

Located in the Port of Long Beach, the Queen Mary, an Urban Commons property, features a rich maritime history, authentic Art Deco décor, and stunning views of the Pacific Ocean and Long Beach city skyline. At the time of her maiden voyage in May of 1936, she was considered the grandest ocean liner ever built. The Queen Mary’s signature restaurants include Sir Winston’s, Chelsea Chowder House, Promenade Café, Observation Bar, as well as, a weekly award-winning Royal Sunday Brunch served in the ship’s Grand Salon. History buffs enjoy the ship’s museum with various daily tours, and currently, the ship is featuring their newest exhibition, Their Finest Hours: Winston Churchill and the Queen Mary. The Queen Mary features 35,000 square feet of event space in 13 remarkable Art Deco salons as well as a tri-level, 45,000-square- foot Exhibit Hall. The Queen Mary boasts 347 staterooms including nine suites. For more information or for reservations, visit www.queenmary.com or call (800) 437-2934. The Queen Mary is located at 1126 Queens Highway in Long Beach.

FRIGHTENING FLIX BY KBATZ: Ciao, Horror!

Ciao, Horror! By Kristin Battestella

These Italian set and produced chills provide retro horror and unique creepiness to spice up your staycation.

Blood and Roses – Mel Ferrer (Falcon Crest) leads this 1960 French/Italian Carmilla influenced production brimming with lovely outdoor locations and lookalike relatives mixing romance and Karnstein history. Though the currently gathered descendants scoff at vampire myths and stories of peasants taking stakes into their own hands centuries ago; familiar names, 500 year old Mircalla voiceovers, and a costume party in a ruined abbey add period piece mood to the modern suits, fifties frocks, and swanky cocktails for a slightly baroque blend. While not as lavish as the later Hammer pictures, this is indeed colorful thanks to quality titular motifs, white wedding dresses, and red fireworks. Peppering creepy words accent the smoke, crosses, tombs, heartbeats, and vampire spirits ready to possess anew. Mirrors, screams, and zooms make for some suspenseful moments – unseen vampire deceptions escalate over the discovery of bodies with neck wounds. However, there is a symbolic sensuality, implied saucy, and very Bava-Esque pretty in the surreal, black and white dream sequence winking with water, sanitariums, naked mannequins, and nurses with bloody hands. It’s a bittersweet, medieval feeling with all kinds of lesbian vampire shade, blonde versus brunette rivalries, and so close you want to be her Single White Female innuendo. Director Roger Vadim (Barbarella) certainly liked his statuesque blondes, and there are fine personality changes for his then-wife Annette Stroyberg (also of Vadim’s Les Liaisons dangereuses) as the bewitching, possessed Carmilla – she’s minuet dancing, can’t work the record player, and horses misbehave around her. Elsa Martinelli (Hatari!) is also divine in several portrait-like stills paralleling Carmilla’s feminine desire to be loved as much as her necessity for blood. Different edited or longer versions affect the plot here, but the dubbed seventy-four minute edition is currently available on Amazon Prime. While it won’t be scary for modern audiences, this sophisticated and creepy but no less tender tale is impressive and worth seeing.

The Church – Three films claim to be Demons 3 in the somewhat confusing Italian Demoni series. Fortunately, this 1989 Dario Argento produced stand alone sequel opens with galloping knights versus witches, scary organ music, demonic signs, prophecy, torches, and head chopping slaughter. So what if it is kind of small scale, the helmets look like spray painted buckets, and kids literally have baskets on their heads! Crosses, stonework, church bells, Gothic spires, and gargoyles bring the medieval ecclesiastic yet sinister atmosphere to the modern day prayers, Biblical quotes, maze-like catacombs, and dusty library tomes. The titular temple was built to sanctify mass burials and keep evil caged below, and the tale sticks almost exclusively to the sanctuary setting as Indiana Jones temptations for buried treasure lead to coded parchments, architectural clues, suspicious altar sounds, and ghostly horses. A crusty old bishop, the new librarian reading backwards Latin, an art restorer cleaning morbid murals, the rebellious custodian’s daughter – innuendo, icky saucy, and nasty behaviors increase as evil seeps out over this interesting variety of trapped people also including a school trip, one bickering old couple, and a couture photo shoot. Even dripping water becomes suspect once the bloody spouts, blue smoke, booby traps, gruesome deaths, and reptilian hands spread evil manifestations and infestations. Frightening confessions, decaying bodily possessions, literal bleeding hearts – today’s audiences may not appreciate the slow burn one by one, but knowing it is just a matter of when adds to the robes, stained glass, rituals, and chanting. How can one fight the bestial Satan when he’s entered the hallowed itself? Although the past and present connections can be confusing and remain unexplained beyond a happened before and will again warning, the skeletons, gory bodies, wings, and horns make for a very wild finale. This picture is not shy with its imagery nor its parallels – the demons only escape because human corruption was already there, using unleashed horrors to remind us that it’s safer to leave well enough alone. 


The Ghost – Skulls, storms, candles, deathbed cripples and melancholy music to match immediately set the Gothic mood and Scotland 1910 period stylings of this colorful 1963 Italian haunt starring Barbara Steele (Black Sunday). The dubbing is off kilter – the occasional dubbed Scottish accent is especially bemusing – and the innate video quality isn’t the best. However, syringes, séances, poisons, and risky medical research mixed with black magic possibilities add to the up to no good atmosphere and twilight surreal. Illicit meetings, gin, revolvers, straight razors – the scheming lovers are getting desperate and antsy waiting for those in the way to die. Steele is divine in white furs and lace to start before switching to black mourning veils for the reading of the will. It’s tough not to hear her voice, but some sensuous melodrama accents the suspenseful tone, tolling bells, howling dogs, and foreboding Psalm 23. Is the missing key to the safe in the dead and buried’s coat pocket? Eerie sounds, shadows, and wheelchairs moving on their own escalate to ghostly callings and spooky music box playing while the hysterics, a suspect housekeeper, and creepy apparitions intensify the macabre treasure hunt even when there is only one person onscreen. Contemporary viewers may find the ninety-five minutes slow, and this is rough around the edges – a derivative scandal and haunting that should have been tighter. Too many late but wait there’s more twists border on preposterous, yet the increasingly trippy specters do make for a few surprises. The audience dislikes the phantom, but turnabout upon the adulterers is fair play with chilling irony, mysticism, double crossings, crypts, and coffins. We know a set up is coming, but it’s tense good fun in getting there thanks to some ambient captions such as “Sound of someone knocking,” “Creaking Door,” “Sound of Footsteps,” and “Clap of Thunder.” Oh yeah. 

Macabre – It’s murder and passion via New Orleans in this atmospheric 1980 Italian swanky from director Lamberto Bava. The colorful locale is part of the plot with river boats, historic architecture, street corner jazz, and romantic melodies. The lush décor is both tacky seventies with velvet curtains and tawny patinas as well as of old thanks to gilded wallpaper, candelabras, and cluttered antiques. Cigarettes, cocktails, and pearls set off the easy to slip out of satin as illicit phone calls make mom leave the kids to babysit themselves during her dalliance. Moaning and heavy panting overheard by the white knuckled blind neighbor are intercut with child terrors, bathtub horrors, shattered glass, bloody beams, and vehicular shocks before an institution stay and return to the love nest becomes suspicious self love with altars to the deceased, ghostly footsteps, and unseen phantom encounters. Through the banister filming, windows, mirrors, and similar posturing add to the naughty mother and creepy daughter duplicity while our blind virginal musical instrument repair man must listen to the saucy and toot his own horn, so to speak, as the silent awkwardness and martini music provide emotion with little dialogue. The narrative may over-rely on the score, meandering on the pathetic situation too much, but there’s enough weirdness balancing the mellow thanks to the cruel temptations and nasty bedroom suggestions as white negligees become black sheers and candlelit interiors darken. The effortless jazz switches to pulsing, scary beats as some serious unexplained ghost sex, undead voodoo, or other unknown witchcraft escalates the decapitation innuendo and like mother, like daughter warped. Our blind audience avatar hides to not be seen, others unseen can sneak passed him, and we’re all unable to see behind closed doors – layering the suspense, voyeurism, and two fold bizarre amid bedroom shockers, ominous tokens, overcast cemeteries, and one locked refrigerator. The saucy, nudity, and gore are adult sophisticated without being vulgar in your face tits and splatter a minute like today, and tense toppers don’t have to rely on fake out scares. Granted, there are timeline fudges, some confusion, and laughable parts. It’s probably obvious what’s happening to most viewers, yet we’re glued to the screen nonetheless with ironic puns, turnabouts, kitchen frights, and titular twists. I guess edible and sexual horrors don’t mix!

For more Foreign Horror Treats, check out Our Mario Bava Essentials!

Los Angeles, CA (Wednesday, July 10th, 2019): Genre distributor TERROR FILMS is pulling out all the stops ahead of the official premiere of Hell House LLC III: Lake of Fire, which will debut exclusively on SHUDDER this fall.

For the third and final installment of Stephen Cognetti’s Hell House LLC franchise, they are releasing the official poster for Hell House LLC III: Lake of Fire as both a jpeg and an animated version – with movement and sound!
Terror Films’ President Joe Dain has talked about the cast of Hell House LLC III, recently. Dain said: “first we announced that most of the original cast was coming back for the third installment. We’ve hinted at the development of The Abaddon Tapes, a limited series that would explore the origins of the hotel’s evil history. We announced the one-day theatrical event for the original Hell House LLC and now we’re dropping this badass animated poster for HELL HOUSE LLC III: Lake of Fire. The fans deserve all of this and much more for helping us make this franchise such a huge hit.” Both posters are available now!

A release date for the third and final installment will be announced soon. The official trailer drops in the coming weeks, along with a few sneak peek clips.  The official poster is below but if you’re having trouble finding or viewing the animated version you can check it out on both the TERROR FILMS and HELL HOUSE LLC official Facebook pages.

ABOUT SHUDDER: AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers and the supernatural. Shudder’s expanding library of film, TV series, and originals are available on most streaming devices in: the US, Canada, the UK, Ireland and Germany. To experience Shudder commitment-free for 7 days, visit ​www.shudder.com​.

ABOUT TERROR FILMS: TERROR FILMS is a genre distribution company specializing in the release of the best indie horror films across the globe with content available on over 20 platforms across 50 countries. To learn more, visit www.terrorfilms.com.

Haunt Jaunts: ScaryRentals.com, Would You Use It to Book a Room If It Really Existed?

Several months ago I watched a horror movie on Netflix called Truth or Dare. Which I believe first aired on Syfy in 2017.Door with an unlucky 13 on it

Here’s the premise of the movie:

Eight college friends head to a “Haunted Rental” for Halloween. But when they replay the game that made the house infamous, they awaken an evil spirit intent on stealing their souls.

It wasn’t one of my favorites. (In fact, I’m not even sure I finished watching it.)

However, the “Haunted Rental” part? That totally caught my eye. Especially when the characters talked about how they found the haunted house they all gathered at on a site called ScaryRentals.com.

The first thing I thought when I heard that was, “OMG, that’s a brilliant concept. Is it real?”

Of course, I had to see. Sadly, no.

The producers missed out on a chance to promo more of their movie. Because oftentimes that’s a fun way for books and movies to engage with viewers/readers more. Create a website people can visit for extra tidbits. Although, maybe they didn’t have a budget to indefinitely host a website?

It’s been my intention for years to add a Spooky Stays section to the Boo-K It! part of my site, Haunt Jaunts. I’m an affiliate marketer for both Expedia and Hotels.com, both of which book rooms in some allegedly haunted hotels. Might as well try to earn a little website maintenance money in the process, right?

But have I done it yet? Nope. Kind of like how I mean to write about all of my paranormal travels, but never do. (Something I discussed in my “Haunted Jaunts with Courtney Mroch” intro post here on HorrorAddicts.net.)

Anyway, I know of a lot of haunted places sites. There are also a lot of “most haunted hotel” type lists, some of which are specific to AirBnB and VRBO rentals.

However, the closest “Scary Rentals” type website that I know of is Haunted Rooms. They have a pretty comprehensive list of haunted hotel rooms and such available in each state.

Before I travel anywhere, I always Google “haunted hotels + city name.” If they’re convenient to where we need to stay, I’m able to afford them, and they have vacancy, I book it!

So I’d totally use a site like ScaryRentals.com. What about you?

FRIGHTENING FLIX BY KBATZ: Gods of Egypt

Too Many Glaring Marks Hamper Gods of Egypt (not just the White Washing)

by Kristin Battestella

Thief Bek (Brenton Thwaites) helps the exiled god Horus (Nikolaj Coster-Waldau) reclaim his Eye from the evil God of the Desert Set (Gerard Butler) in order to save his girlfriend Zaya (Courtney Eaton) from the underworld. Along the way, both mortals and gods face several fantastical obstacles and adventures as they seek the help of Ra (Geoffrey Rush). Unfortunately, thanks to an abundance of poor pacing and inferior special effects that can’t compensate for the muddled storytelling, pondering mythology, and misguided point of view; the whitewashing controversy from director Alex Proyas’ (The Crow) 2016 Gods of Egypt is just one of many problems.

An opening prologue and panoramic special effects are nothing but empty show when Gods of Egypt needed to start its story with either the gods themselves or the mortal quest. Instead, the omnipresent narration from our thief knows more about the gods then they do, leaving the tale padded with messy embellishments, unreliability excuses, superfluous scenes, and epic fakery. Assassination coups in front of the gasping crowd seem more like a play the gods put on for mere mortals – CGI gold birds and black jackals parkour in a reason-less fight because Gods of Egypt didn’t begin at the right point in the story and then compounds the timeline further by restarting a year later. Transparent graphics and always on the move cameras call attention to themselves – every scene is panning and sweeping with people coming or going but the visual distractions don’t disguise the muddled storytelling or the jarring, unrealistic, embarrassing, and noticeably pale casting. Poor writing from Matt Sazama and Burk Sharpless (of Dracula Untold and The Last Witch Hunter infamy) likewise dumbs down the mythical and over-relies on effects rather than explaining its world or developing any characters – leaving Gods of Egypt a loosely strung together montage of random cool scenes featuring a magic carpet ride spaceship, underworld deserts, serpents chases, temple gauntlets, and talking rock monsters. It takes an hour for the mortal to round up the gods for some risky mission…because they couldn’t unite and do it themselves? What should be a straightforward quest treads tires thanks to a lot of walking here or there with no idea where the inept heroes are going or why. Viewers can’t take the fantastic risks seriously amid the quips, cliches, and convenient in the nick of time actions leaving no weight or consequences. Serious deaths are short or quickly forgotten unless there’s a need for underworld special effects, which kind of copy Lord of the Rings. Are they trying to get back Horus’ Eye? Are they trying to save the gal who’s actually doing alright in the underworld? Are they trying to stop Set from being badass? Whatever the messy crusade, a literal deus ex machina from Ra leaves no point to it any of it.

Apparently, personal vengeance isn’t enough motivation for Nikolaj Coster-Waldau’s Horus. After he’s usurped, he drinks over it until our thief comes along to inspire him to make jokes while running away from CGI serpents. There’s no room to breathe life into the character, and despite this apparent star vehicle, there’s more for Nikolaj fans on Game of Thrones. Gerard Butler (300) has a great introduction as Set, but when he opens his mouth that lovely Scottish lilt becomes laughably out of place. His scenes seem like they are from a different movie, and Set only interacts with everyone else in a few scenes. For supposedly being the villain who rules over all in fear, most of Set’s speeches are sarcastic quips on said badassery, and he doesn’t actually do a whole lot beyond changing what he wants and why from scene to scene. Brenton Thwaites (Oculus) is a thief but also a lover – a blasé cool cat who thinks he’s better than the gods. Bek’s narrative frame and speaking out loud when he’s alone is purely to hit the audience on the head, and it’s the wrong perspective on the story for us to follow him. Bek’s stealing the Eye of Horus for his dead babe is a more important story than the vengeful gods? Really? This entire storyline could have been red penciled to strengthen the core, for rather than any god realizing his humanity redemption arc, the story unbelievably bends to suit Bek’s good at everything Mary Sue. Sadly, Chadwick Boseman (Black Panther) as Thoth – the God of Wisdom who’s more camp like Vanity Smurf rather than clever – appears once an hour in Gods of Egypt to kneel to the white people and joke about liking big butts and he cannot lie. Yes, seriously. Horus’ lover Hathor is played by Elodie Young (Daredevil), and she looks too young indeed as she easily passes between the gods to help or hinder when convenient. Courtney Eaton (Mad Max: Fury Road) likewise wears inaccurate but skin bearing costumes as the sacrificial girlfriend used for man pain, and Bek isn’t even that broken up over her because he can talk to her in the underworld and really just wants to trick the gods into bringing her back. Rufus Sewell (Tristan and Isolde) is here too as Set’s creeper architect, and Geoffrey Rush’s (Elizabeth: The Golden Age) Ra is some kind of Lear meets Gandalf because the all seeing, all knowing ruler of all Egypt above and below is an old, bald, white guy. Gods of Egypt has a large and big name ensemble that deserved more but unfortunately, everyone here is hopelessly out of place.

Gods of Egypt has epic music, fiery motifs, giant gods, and traditional Egyptian iconography. The picture is bright and colorful with golden palaces and steamy reds. Unfortunately, all the sweeping comes in wide pans and distance shots. The chariot escapes, fatal arrows, fake jungles, and slow motion is downright laughable, and Gods of Egypt will look very, very bad within five years thanks to the poor graphics. It’s obvious these visuals, regal dangers, and any sexiness are toned down for mainstream appeal, but the overdone CGI close-ups make it seem as if all the people were filmed at different times and then inserted into the frame together. Slowed panoramas show one good action move, but then the rest of the fight choreography is a whole lot of nothing leaps or parry embellishments. People fly through the air or slam against the walls as the camera follows their swoops up, down, or sideways, and it all makes Gods of Egypt look too fake and fantastic – doubly so when again considering how the point of view unevenly or conveniently goes back and forth between mortals experiencing the fantastic and gods coming down from high. The eponymous folks die pretty darn easy and the Mary Sue nobodies achieve some really unbelievable feats! If every slow motion moment spectacle was cut from Gods of Egypt, you’d save fifteen minutes, no lie, as the continued over-reliance on special effects borders on a partially animated feature culminating in big battles and more slow motion falling without the people or gods having learned a thing. I want to skip over all the weak incidental CGI transitions, which can’t build a world better than the simplicity of courtly strife nor compensate for the poor storytelling.

Had Gods of Egypt been firm in its own myth and magic and took a stance on whether this was going to be about gods or men, it might have been really cool. Instead, the picture is presented from the wrong perspective at the wrong point in the story and doesn’t put on the right point of view thanks to graphics being more important than the personal quest making it impossible to suspend viewer belief. Gods of Egypt’s two hours plus never develops the world into one deserving of that time and remains ridiculously overlong for a thrill ride action adventure. Embarrassingly white, modern, and out of place people contribute to the glaring storytelling problems. Rather than any rewrite clarification on its mythology or a more multi-ethnic cast, Gods of Egypt underestimates our knowledge of omnipresent Egyptian lore with its superficial spectacle bang for its blockbuster buck, expecting viewers to go along with the poor slight of hand when 300 (which Hollywood is apparently still trying to recreate) and Stargate did it better. Unfortunately, Gods of Egypt is painfully unaware that the audience won’t sit still for frustratingly bad visuals, jarring whitewashing, noticeable movie machinations, and no clear story.

Press Release : Terror Films and BingeWave

Los Angeles, CA – (Friday, June 21st, 2019): Terror Films is teaming up with BingeWave to provide a theatrical experience for a slate of fifteen indie horror films, from the Terror Films’ library.

The list of films includes Terror Films’ top performers. Films to show via BingeWave: The House on Pine Street, Hell House LLC, and Savageland. Also to host on BingeWave, Terror Films will bring their original titles Trace and Patient Seven. The complete list of films is shown in the promotional poster found here.

Terror Films’ President Joe Dain had something to say of the partnership. Dain said: “this is a fantastic opportunity for our filmmakers to not only have their films screened in a theatrical setting and tap into a new fan base, but it also provides a unique marketing strategy to drive more awareness and traffic to the many digital platforms these films are available on.” Soon, there will be more ways to see the Terror Films’ slate, on the big screen.

BingeWave CEO and founder Devin Dixon also spoke of this theatrical partnership. Dixon recently said: “BingeWave is excited to partner with Terror Films in bringing horror films to a new cinematic-like experience. We envision this partnership benefiting the horror fan by creating a stronger and more vibrant film community, access to amazing content and more affordable ticket prices – especially in big cities like New York.” Horror fans will have more opportunities to see these films, in the Big Apple and beyond.

The screening events will take place in various cities and venues across the country. Screenings will also occur over the next 6 months, with each title’s release date and venue promoted across social media and the official BingeWave website.

To Learn More About Terror Films, visit: https://www.terrorfilms.net

And here: https://www.facebook.com/TerrorFilmsLLC/

To Learn More About BingeWave visit: https://www.bingewave.com

And on Facebook: https://www.facebook.com/bingewave/

FRIGHTENING FLIX BY KBATZ: Witches and Bayous, Oh My!

 

Witches and Bayous, Oh My! By Kristin Battestella

This trio of somewhat obscure retro pictures has the spooky mood, atmospheric locales, and bemusing magic needed for a little late night enchantment.

Mark of the Witch – A noose, mud, frock coats, and ye olde speaketh set the scene for this 1970 tale of 300-year-old witches and revenge on a Texas college campus, oh yes. Certainly, there are bemusing production values – false eyelashes on the witch, modern dental work seen in her over exaggerated delivery, more bad acting, and super windblown curses amid lengthy filler credits, off-key folk tunes, uneven sound, and cutting corners close camera work that’s just too up close. Fortunately, more natural conversations are casual fun alongside occult books, superstition and psychology studies, and ‘spook seminars’ recounting how those who exorcised and persecuted witches ended up suffering horribly themselves. Not to mention there’s a professor descended of those originally cursed who knows more than he’s saying. Colorful fashions, pigtails, and cigarettes add nostalgia as far out dudes play the sitar and ask hip chicks about their zodiac signs. Palm readings and Ouija boards lead to messing with a black magic tome and laughing at spells with belladonna and bat’s wings. They can substitute some dried rosemary for the fresh sprig in the recipe, right? Invocations, witch’s runes, candles, and wine goblets create an eerie ritual mood along with storms, possessions, and high priestess warnings. Things get slow when the embodied witch learns about our world – the telephone and coffee percolator are explained before campus tours and unnecessary music montages. And look at those classic station wagon ambulances! The men argue about ordering more books so they can learn how to excise the witch’s spirit from the coed, but she’s getting down with the fiery spells, demon summonings, and luring boys to the grove at midnight for some satanic saucy. Again, some action is laughable thanks to bizarre, poorly edited make out scenes and a certain tame to the potions, pompous explanations, repetitive rites, and psychedelic light show driving out of the evil spirit. There isn’t a whole lot to the actual revenge, yet eerie sound effects keep the cackling, daggers, and automatic writing interesting. This could have been totally terrible but the good premise doesn’t go far enough, either. Though neither stellar nor scary, this is both bemusing and creepy for a late night viewing if you can take the bad with the good.

Necromancy – Orson Welles (Chimes at Midnight) and Pamela Franklin (Satan’s School for Girls) star in this 1972 oddity also later known as The Witching with varying editing and runtimes. Hospital room scares and dead baby traumas restart the tale several times when an unsettled bedroom says everything needed before the husband’s job transfer to an isolated town called Lilith. His new boss is occult-obsessed and insists his dead son is only resting, but our wife doesn’t believe in life for a life rituals reviving the dead. The town name, however, gives her the creeps – as does talk of her having potential gifts thanks to being born with a veil. Although the outdoor filming is super bright, retro phones and a packed station wagon add to the desert drives, dangerous curves, and explosive accidents. A doll from the wreckage has fingernail clippings in its pocket O_o and the sense of bizarre increases with nearby funerals, dead children in coffins, burning at the stake flashes, disappearances, and tombstones. Older, castle-like décor – trophy heads, demonic imagery, magic tomes – pepper the spooky Victorian homes alongside women both seventies carefree yet medieval inspired with old fashioned names. There are however no children in town, pregnant women have to leave, and our couple moves into the same place as the recently, mysteriously departed. These devil worshiping townsfolk in white robes prefer hiding in the past with time stopped and have no interest in the present thanks to goblets filled with bitter red liquid, astrology, ESP, and tarot. It’s awkward when you invite someone new to a party and ask them to join your coven! Mismatched fade-ins, crosscuts, zooms, and askew angles accent the hazy rituals, devilish lovers, and brief nudity. However, such editing both adds to the eerie and allows for more weird while making it look like creepy, lecherous, self-proclaimed magician Welles filmed his asides separately. He’s upfront about the occult, terrifying yet luring the Mrs. as the messy visions, wolves, and injuries increase. Freaky basements, rats, seduction, voodoo dolls, dead bodies, bats – is what she’s seeing real? Have any of these encounters actually happened? Despite shades of The Wicker Man foreshadowing, it takes a bit too long to get a clue even as the poison mushrooms, skeletons, and rituals gone wrong become more bizarre. Fortunately, there are some fun twists to keep the somewhat obvious and slightly nonsensical warped entertaining. Season of the Witch – A spring thaw reflects the cold marriage and empty nest that drives housewife Jan White (Touch Me Not) to witchcraft in this 1973 feminist leaning thriller from George A. Romero (Night of the Living Dead). Repressed dreams with through the peephole distortions, cages, and dual mirror reflections match subtle wedding ring moments and not so subtle slasher style violence. There’s a lingering sexual guilt, a her fault, asking for it societal mentality festering because women weren’t supposed to talk to or about their slap happy husbands much less get their kit off and question sense of worth after motherhood. These upscale housewives are trophies gussied up just to drink – but our Joan lets her hair down, goes for a tarot reading, admits her fears and sexual curiosities. Moans and naughty innuendo add to a sensuous, pretty in its own way seventies color with patterns, fringe fashions, and bright makeup. The psychoanalysis is of the time, as are dated ladies gossip and erroneous witchcraft clichés – buy a how-to book and a silver chalice and boom you have empowered yourself scandalous! Although some obnoxious acting and muddled meta conversation is poor, there is a teatime frankness on the emerging seventies lifestyles and well put occult discussions countering the stereotypes. It’s an interesting culture clash when these still fifties-esque hypocrites want to be the seventies kids doing grass. If the MILF wants kicks and it’s a joke to the stud, who is using whom? Neither the extreme repression or the escalating wanton is healthy, nor is replacing a crap marriage for the latest risque, dangerous vogue. Yes, this is a desperately bare production, and cheap editing leaves the ninety-minute version looking more like leftovers than a polished film. Fortunately, the bizarre accents the changing women’s attitudes and sexy, suspenseful encapsulation of the era. Instead of today’s curious young thang, the realistic cast delivers some fine feminine nuggets here. But really, the character’s name is “Joanie” Mitchell? Hehehe.

 

The Witchmaker – The picture may be a little flat for this 1969 slow burn also called The Legend of Witch Hollow, but vintage swamp scenery, moody moss, weeping willows, shallow boats, and Louisiana cemeteries set off the bayou murders. Mellow music and swimming babes in white lingerie begat violent kills with ritual symbols, dripping blood, binding ropes, upside down hangings, and slit throats. The disturbing is done with very little, but eight women have been killed in last two years, thus intriguing a parapsychologist investigator and his team of sensitives, psychic students, and skeptical magazine writers. It’s $21 for their three boat trips, supplies, and six people renting the no phone cabin for five days – I’ll take it! Old townsfolk fear the culprits are immortal witches who need blood to stay young and warn the guests of snakes, quicksand, and gator-filled marshes. Early electrical equipment, radios, and technical talk on waves and magnetic fields balance the somewhat dry acting and thin dialogue as more bikini clad psychic women rub on the sunscreen while our ominous warlock watches. Although the nudity is relatively discreet with the skimpy suggestion doing more, the maniacal laughter and slow motion running while clutching the boobies is a bit hokey. Thankfully, lanterns, hidden rooms beneath the floor, underground tunnels, and satanic rituals sell the macabre. Crones with gross teeth and dominant spells must recruit these psychics to the coven for invigorating body and soul trades as the scientific talk gives way to candles, seances, chanting, and fog. Green lighting, red sheer dresses, and skimpy blue nighties are colorful spots among ominous witnessing, creepy statues, torches, and demonic altars. The investigating team buries victims amid out of control powers, hypnosis, and screams while the witches enjoy a little necking, decoy dames, knives, and fiery brandings. Granted, the male investigators are limp leads, just the facts fifties cops out of place compared to the ladies feeling more of the sixties Hammer lite. A third woman does nothing before being used as bait in the men’s plan which goes awry of course. The raising of the coven is more entertaining – all kinds witches, warlocks, cool cats, and unique characters manifest for some wine, feasting, and whips for good measure. The red smoke, music, dancing, romance, and chases lead to a blood pact or two before one final romp in the mud. Overall, this remains tame, and the plot should have gotten to the more interesting coven action in the latter half sooner. However, the unpolished aesthetics and retro feeling keep this late night drive-in eerie fun.

Press Release: Queen Mary / Free Movies

 

Queen Mary’s 2019 Movie Night Summer Series

Presents FREE Outdoor Film Events at the Queen Mary

WHAT:

The Queen Mary is proud to present the 2019 Movie Night Summer Series, welcoming the community to sit back, set up a picnic with friends and family, and soak up the silver screen under the summer night sky. Each movie night will offer guests an immersive cinematic experience with assorted food trucks themed to the film, full bars for those age 21 and over, and the legendary ship and Long Beach Harbor as backdrops. Taking place on select Thursday nights each month May through August and located on a grassy lawn adjacent to the Queen Mary, film titles include Mamma Mia! (2008), a double feature of Indiana Jones – Raiders of the Lost Ark (1981), Temple of Doom (1984), Grease (1978), and double feature Beetlejuice (1988), Edward Scissorhands (1990). The movie nights are open to all ages and free to attend. Date Night Packages are available for $75 per couple and include a reserved couch for two, one bottle of signature Queen Mary Champagne, assorted snacks, and more!

WHEN:

  • August 22, 2019, 6 p.m. – 12 a.m.: Double Feature: Beetlejuice & Edward Scissorhands

WHERE:

The Queen Mary Seawalk (lawn adjacent to the ship)

1126 Queens Hwy, Long Beach, CA., 90802

TICKETS:

General Admission: Free

Date Night Package Upgrade: $75 per couple

PARKING:

$10 per vehicle on-site.

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About the Queen Mary

Located in the Port of Long Beach, the Queen Mary, an Urban Commons property, features a rich maritime history, authentic Art Deco décor, and stunning views of the Pacific Ocean and Long Beach city skyline. At the time of her maiden voyage in May of 1936, she was considered the grandest ocean liner ever built. The Queen Mary’s signature restaurants include Sir Winston’s, Chelsea Chowder House, Promenade Café, Observation Bar, as well as, a weekly award-winning Royal Sunday Brunch served in the ship’s Grand Salon. History buffs enjoy the ship’s museum with various daily tours, and currently, the ship is featuring their newest exhibition, Their Finest Hours: Winston Churchill and the Queen Mary. The Queen Mary features 35,000 square feet of event space in 13 remarkable Art Deco salons as well as a tri-level, 45,000-square- foot Exhibit Hall. The Queen Mary boasts 347 staterooms including nine suites. For more information or for reservations, visit www.queenmary.com or call (800) 437-2934. The Queen Mary is located at 1126 Queens Highway in Long Beach.

FRIGHTENING FLIX BY KBATZ: Island of Dr. Moreau (1977)

Dangerous Adventures Make the 1977 Island of Dr. Moreau by Kristin Battestella

AIP’s 1977 adaptation of H.G. Wells’ The Island of Dr. Moreau directed by Don Taylor (Escape from the Planet of the Apes) pairs down the half man half animal mad science to its core themes with claustrophobic symbolism and strong performances anchoring the beastly adventures as shipwrecked Andrew Braddock (Michael York) is taken in by the isolated scientist Dr. Paul Moreau (Burt Lancaster). Also on the beautiful but dangerous island are Moreau’s enchanting adopted daughter Maria (Barbara Carrera) and his crusty assistant Montgomery (Nigel Davenport). Braddock, however, discovers there are more monstrous inhabitants – victims of Dr. Moreau’s twisted experiments – leading to a struggle of wills, abominations, and control.

The silent vast and empty blue ocean open The Island of Dr. Moreau with a tiny boat and one small, desperate survivor bearded and thirsty. Epic music mirrors the hope of this green, lush island oasis, but hanging vines, uneven terrain, and booby traps belie this paradise said to be one thousand miles from nowhere. Fenced in buildings with food, bedding, mosquito netting, books, and fresh clothing appear civilized, however dangerous animals are said to roam the island and one should never leave the compound after dark. Idyllic pets and pleasant races in the woods lead to strange sounds in the night and “muffled roaring.” Viewers think we see something amid the rustling leaves but we don’t know what. Hunched creatures, creepy servants drinking from puddles like animals, and more “special” types of people on this island are in need of Dr. Moreau’s care – and his laboratory is complete with a menagerie of wild cats, cages, and shackles. Rearing horses, chases, fear of the unknown, and unanswered questions are difficult for men who like to know and control all when exploring the natural or unnatural boundaries they should not. The once lovely island locales become increasingly congested environs as the external out of control science closes in on the body sacred thanks to serums, syringes, and surgery. Why would a doctor create such suffering animals now made partially people? Are the hairy inbetweens and experimentation in the name of science worth the loss of one’s morality? The civilized man must defend himself in caves where unwelcome, monstrous, man made creatures have their own laws – not to walk on all fours, not to eat flesh, no taking of life. Gunshots scare away fierce offenders, for these animals given speech and rules remain controlled through fear. Will these hybrids remember what humans told them to say and do if they regress to their innate ways? After all, to study nature, one has to be as remorseless as nature, which has its own sense of justice, selection, and violence to match our undeniable ability to destroy. Dangerous tiger attacks, mercy killings, and angry mobs with torches lead to blood and pain in well paced action as power devolves into anarchy. Although The Island of Dr. Moreau’s symbolism is apparent, the sentiment doesn’t hit the audience over the head thanks to a multi-layered cycle of man made monsters and men made gods.

Dr. Paul Moreau showed signs of brilliance in his youth and loves to converse about emerging technology, but Burt Lancaster’s (From Here to Eternity) extensive academic has been here in his own paradise for eleven years. His colleagues opposed his work, criticizing his theories on the nature of good and evil, to which even Moreau agrees he doesn’t have all the answers. Fortunately, he admires Braddock’s intelligence, explaining to him the need to help his fellow human beings by controlling all stages of life whilst also keeping him at the compound and withholding the details of his trial and error experiments to save mankind. Moreau thinks what he is doing is just – making his work all the more frightening when the results aren’t as he hoped. The doctor gets angry with his whip when his creations remain animalistic. He speaks to his subjects about the law from his rocky pulpit, lording over those punished in his house of pain with his white suit and halo-like hat almost as if Elmer Gantry turned to dastardly mad science. Moreau thinks he can tell an animal he is human and it will understand. He wants his flock to obey Braddock – Moreau needs a successor to continue his delivery of science from cruel butchery and dissection. However, Braddock is a man who doesn’t do what he’s told, and Moreau is determined to use his tough love science to prove Braddock’s true nature. Unfortunately, Moreau is threatened by his own cause, unaware his do as I say not as I do superiority does not give him reign over his creations. Formerly of The Lady Vain, the situation goes from bad to worse for Michael York’s (The Three Musketeers) rugged seaman Braddock. He’s curious about the island, reads, questions where everyone came from and if there are nearby places. He walks the coast and repairs his damaged boat – the audience is on his side as the handsome hero uncovers the askew science. Alas, Braddock is too inquisitive for his own good, in over his head and meddling where he shouldn’t. He must learn to abide by this island’s rules or he will be punished for his interference. Braddock becomes desperate to remember who he is and where he comes from in all this upside down, and The Island of Dr. Moreau is a fine two-hander between its leading men – father and son figures where the elder won’t get his way thanks to the new, stronger man. Though often sweaty and shirtless when proving his macho, Braddock becomes embarrassed by his animal instincts. Ultimately, he buttons up his clothes when these dire circumstances force him to show he can behave like a civilized man. Barbara Carrera’s (Never Say Never Again) stunning image of beauty Maria, however, answers only to Dr. Moreau’s commands. He raised her, and initially, she keeps her distance despite Braddock’s romantic interest. Although the tender, sensuous explorations are well done, viewers know we shouldn’t trust the frolicking strolls along the beach as she gives in to her passion. Carrera doesn’t really have a lot to do, but Maria’s an innocent young woman, a blank slate being shaped by her in the wrong father figure and a lover who would take her away from the island when she’s afraid to go. Nigel Davenport (A Man for All Seasons) as Dr. Moreau’s gruff assistant Montgomery also has less to do than in the novel, but his cryptic attitude adds to the sinister isle orchestrations. He tells Braddock to get over the shock of it all, for he sleeps better on this island than anywhere else. Ironically, this man who chooses to be subservient because he lacks humanity becomes a problem once he does show sympathy.

Safari hats, white linen suits, and lacy women’s frocks match The Island of Dr. Moreau’s turn of the century talk of fantastic flying machines and underwater vessels. Candlelight, lanterns, gramophones, longhand journals, leather volumes, and pistols add vintage to the emerging gear, telescopes, globes, and specimens in jars. Laboratory equipment, medical beds, and giant needles create disturbing science alongside creepy teeth, gross smiles, and distorted faces making the audience recoil. Granted, some of the animal make up is weak compared to contemporary designs – the noses, wild hair, and horns could be laughable but they are not thanks to the serious abomination implications. One red scarf becomes a symbolic bright spot in the otherwise earthy palette while foreboding shadows around the buildings instill fear thanks to the natural and unnatural sounds beyond the halos of seemingly civilized light at the compound. Pans over the mountains capture the divine Caribbean locales, but the point of view more often looks out the windows or in past the verandas as if the cameras themselves won’t leave this little oasis. Overhead spins parallel the disorienting jungle alongside well done chases and unseen monstrosities amid dangerous but beautiful bears and big cats in cages. Animal claws and growling effects set off disturbing mobs and vicious attacks before a fiery finale with blood on all hands accenting both the messianic savior visuals and Judas retribution hangings. While the classic horrifics and big performances make Charles Laughton’s 1932 adaptation Island of Lost Souls, the 1996 Marlon Brando and Val Kilmer version is a little too messy despite being more faithful to the novel than the excised bookends here. With its horses, weapons, upside down tone, ravishing brunette, intelligent spark, revealing pace, and primitive design; this Island of Dr. Moreau at times feels more like the original Planet of the Apes. Perhaps we are due for another fully realized Wells interpretation, however, I fear that today’s over reliance on CGI talking animals, motion capture special effects, and spectacle transformations would miss the point of the piece.

Even if such shock value isn’t as important as the scientific harbingers, the bitter parable with man meets beast violence here can still be uncomfortable for some audiences. This well known story of half animal, half human would also seem to get old eventually – audiences aren’t meant to be surprised anymore by the monstrous warnings of combining man and beast for one’s own gain. Nonetheless, The Island of Dr. Moreau remains a relevant conversation starter in today’s era of cloning, stem cells, and healthcare debates, and this well done adventure with fine performances is worth a fresh look.

Live TWEET Event – @horroraddicts13 June 11th

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To celebrate the release of Kill Switch we’ll be watching our favorite tech-goes-homicidal movie, Terminator, and live tweeting during it.

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FRIGHTENING FLIX BY KBATZ: Hush…Hush, Sweet Charlotte

Hush… Hush, Sweet Charlotte a Delicious Gothic Treat by Kristin Battestella

Director and producer Richard Aldrich capitalized on Whatever Happened to Baby Jane? with the chilling but no less sophisticated Southern Gothic examination of murder, gossip, and madness in 1964’s Hush…Hush, Sweet Charlotte.

After Charlotte Hollis’ (Bette Davis) father Big Sam (Victor Buono) insists she break off her dalliance with the married John Mayhew (Bruce Dern), Charlotte enters the cotillion covered in blood. Decades later, Charlotte remains an infamous murderess and recluse, living alone save for housekeeper Velma Cruther (Agnes Moorehead). The state of Louisiana plans to tear down the crumbling Hollis House to build a bridge, and with Doctor Drew Bayliss’ (Joseph Cotten) help, cousin Miriam Deering (Olivia de Havilland) returns to convince Charlotte she must leave. Unfortunately, ghostly violence terrorizes the women, blurring past crimes, contemporary suspicions, and deadly delusions.

Happening jazz, dancing, and 1927 good times hide the illicit schemes, secret elopements, and vicious murder opening Hush…Hush, Sweet Charlotte. We think we’ve seen a cold-hearted kill thanks to intercut chopping, gruesome slices, and screams, but is this crime all it seems? Wind chimes and silent shocks lead to 1964 cemeteries and youthful rhymes detailing the chop chop legend of headless lovers as boys sneak in the desolate ballroom ruined by passion, scandal, and insanity. Construction vehicles rumble nearby, yet there’s a certain gentility to the venomous shouts. Everyone says miss or sir, using full names and regional colloquialisms despite the ten day eviction notice, paranoid conspiracies, suspicious old enemies, and secrets coming back to haunt one and all.

Talk of an innocent teen girl having a dirty affair with a married man and calling each other bitches was shocking dialogue at the time, but there are also regrets, tears, and wishful thinking of an inheritance that should have been well spent instead of wasted on the lonely, dilapidated decades.

The dramatically paced conversations are layered with talk of the past, current states of mind, double entendres, and shade – creating zingers and storytelling comforts before wardrobes that open by themselves, slashed clothing, crank letters, and unforgiving threats quicken the pulse. Creaking doors, cleavers, and severed limbs scare the women – our eponymous character may be a little mad, but others are experiencing the frights, too. Crimes of Passion magazine reporters are excited that now in the sixties they can play up the murder’s sex angle, and there’s no one to trust amid phantom figures strolling the grounds and ghostly harpsichord playing. Storms, lightning, and winds blowing across the balcony lead to breaking windows and shattered mirrors. Today we have crazy versus ghost horrors, but they are often teen light rather than sophisticated dramas with performances free to carry the murderous motives behind the frights.

Hush…Hush, Sweet Charlotte provides superb scenes with heavyweight talent, and revelations in the final act place the viewer within the footsteps, physical bouts, and shocking violence. The southern gentility degrades into cruel intensity as the sense of dread escalates without any need for in your face jump scares. Deaths we’ve seen happen are said to have happened entirely differently, and the women do what has to be done thanks to the men’s messes – be he builder, destroyer, father, doctor, or lover. Beckoning echoes and tormenting serenades are twisted, sad, and delicious all at once thanks to eerie masks, gunshots, headless suitors, and nightmares. Delusions revisit the original crime while chilling visuals, bitch slaps, and dead bodies rolled up in the carpet contribute to the hysteria. These dames won’t suffer for the lies, blackmail, and cruelty anymore, but the can’t take it with you and what was it all for pain serves up a few more frights before the madness is all said and done.

Is Bette Davis’ (All About Eve) Charlotte a crazy killer, abused, or just misunderstood? She’s mad, one minute, pushing planters off the balcony at construction workers, but demure in white, crying, and heartbroken the next. Charlotte’s an unreliable old woman dealing with trespassers and losing her home. She doesn’t need sympathy or company, just help in saving Hollis House. At times she is very sharp, but she’s also caught in the moment of her lover’s murder, dressed up and waiting for a dead beau. She knows the townsfolk think she got away with murder, however the audience likes her moxie. We’re on her side when the sheriff insists she only acts loony because it’s what’s expected of her, and we pity Charlotte’s sobbing sing-alongs to their song.

She wakes up in the night, for her fantasies are only real in the dark.  Charlotte used to be positive she wasn’t crazy, but now she isn’t so sure thanks to ghostly visions, medication, and nightly damaged she swears she didn’t do. Mad murderess or not, she is certainly scared, and the family pride, fatal disgrace, gossip, and the irony of letting go make for a sad vindication. Olivia de Havilland’s (The Heiress) cousin Miriam Deering tries to make it easier for Charlotte to leave, reminiscing and sharing fond memories of sliding down the banister. She makes Charlotte laugh, telling her not to pay any attention to trash rags, old rivals, or nasty letters but come back to reality. Unfortunately, Miriam can’t stop the state’s eviction, and she’s always looking out for herself first. Charlotte says her public relations job “sounds dirty,” and past tattle tales on who was the poor relation or favored daughter make Miriam wish she had never come back. Nonetheless, she increasingly takes over the household, packing and making Charlotte say goodbye to Hollis House whether she is ready or not.

According to Joseph Cotten’s (Duel in the Sun) Dr. Drew Bayliss, Charlotte has nothing more than a persecution complex. He insists the state’s condemned order is solely about the bridge construction and not Charlotte’s infamy – although he has looked into committing her but doesn’t have enough evidence. Drew calls himself an old man who missed out, regretting choosing his career and breaking off his past romance with Miriam. She, however, insists he’s too quick with his compliments and intentions. He flirts with her as he did in their youth, preying upon her even as he wants to protect her – giving her a handgun in case there are any more trespassers. Unfortunately, only more memories of the past come back and Drew wonders if Charlotte isn’t creating her own company and reliving her debutante days with newly fixed delusions. Surprisingly, only Agnes Moorehead (The Bat) as loyal housekeeper and sassy defender Velma Cruther received hardware for her performance in Hush…Hush, Sweet Charlotte – a shiny Best Supporting Actress Golden Globe contrasting her crusty, cranky self. Velma dislikes Miriam, mocking her before sulking behind a column and muttering comebacks between her chores. Although initially humorous, Velma isn’t stupid. She tries phoning for help and confronts Miriam outright when told she’s being dismissed with the month’s wages. Velma only takes her orders from Charlotte, and the imminent tearing down of Hollis House does not mean she won’t be needed when the manor’s gone. Velma sees through Miriam’s high and mighty behavior in several taut confrontations that become scrumptiously physical.

Certainly there are a few superfluous characters – utility players dispensing exposition yet detracting from the taught hysteria, but Mary Astor (The Maltese Falcon) makes the most of her brief time as Jewel Mayhew, the widow of Charlotte’s mutilated lover. Although Charlotte suspects Jewel is out to get her, she’s not afraid to tell Miriam and her vicious tongue off in public. Jewel is gravely ill and ready for the truth to be heard. Victor Buono (King Tut in Batman, people!) mostly appears in the prologue as Charlotte’s stern father Big Sam, but his threatening presence lingers throughout the film. He disapproves of some lothario like the married Bruce Dern (The ‘burbs) intending to elope with Charlotte and ruin the family legacy he has rebuilt – and his orchestrations ironically cause exactly what he was trying to prevent in memorializing the Hollis name. Unfortunately, George Kennedy (Earthquake) appears too briefly as the foreman ready to bulldoze the manor standing in the way of his bridge project. He’s tried being kind to Charlotte and objects to her shooting at his crew. It might have been interesting to have seen him appear more as a physical reminder of the ten day requisitions countdown, for at times the need to vacate for the tear down is almost forgotten in Hush…Hush, Sweet Charlotte’s crazy horrors.

Art Direction, Cinematography, and Editing nominations abound for Hush…Hush, Sweet Charlotte thanks to excellent gray scale schemes, symbolic shadows, scary silhouettes, and askew camera angles that remain sharp on 4K screens. Overhead visuals peer into the scene with our point of view in tight for the harsh, angry faces or panning wide to capture the empty, stage-like mansion interiors. Choice zooms, distorted up shots, and foreboding down angles accent the spinning ceiling fans – we feel the congested southern heat despite breezy lace curtains, open windows, wispy willows, and dangling moss. Trees and balconies are high, but Hollis House is dimly lit with few candles at the dinner table and dark strolls on the veranda leaving room for those disturbing severed heads, phantom hands, and great horror effects. The expansive locales mean every scene takes its time, laid back with people made small in the Louisiana inside out lifestyle. There’s no rush to walk down the long corridors as mishaps belie the grand staircase and grandfather clocks tick tock. Barking dogs and silent pauses add to the atmosphere alongside the nominated Score with its angry crescendos, sad melodies, and bittersweet lyrics. Hush…Hush, Sweet Charlotte has ye olde big newspapers with thick headlines, flashbulb cameras, and $2.50 for a cab drive after which he’s told to keep the change! There’s a firmly sixties mood thanks to the big cruising cars, hats, gloves, white suits, and cigarettes – however the grandeur is also trapped in time with tall columns, wallpaper, tea in the garden, chandeliers, telegrams, leather libraries, and looming large family portraits. And bench car seats mean we see some good old fashioned slide across!

 

Hush…Hush, Sweet Charlotte has always seemed a little less beloved than it’s exceptional predecessor Whatever Happened to Baby Jane? and video options remain slightly elusive thanks to unavailability on Netlix and a limited edition blu-ray. Some audiences may find the psycho biddy style too camp – at times there’s certainly over the top inducing laughter to the scary. At two hours and fifteen minutes, Hush…Hush, Sweet Charlotte may also be too long and not all out horror enough for viewers accustomed to contemporary, formulaic slashers. For others there may not be full rewatch value once one knows how it ends, but Hush…Hush, Sweet Charlotte is worth repeat viewings for all the graceful clues and nuances amid the Southern Gothic terror – remaining a gripping, can’t look away master class of chilling moments and staple performances.

Odds and Dead Ends: Scene Analysis – Michael’s escape in ‘Halloween’ (1978)

Most of us have probably seen 1978’s Halloween a million times. When we think of the film’s beginning, we think either of the opening credits, with the long track into the pumpkin’s eye, or the famous long-take opening scene. However, the murder of Judith Myers is just back-story for the film as a whole. The story really begins with Michael Myers, now twenty-one, escaping from Smith’s Grove Hospital. This is the scene I want to examine, taking it step by step, shot by shot, and looking at how Carpenter constructs this famous, if often overlooked, scene.

First to notice is the weather. This isn’t necessary for the scene from a storytelling standpoint, but it adds to the atmosphere, if in a slightly clichéd fashion. It’s an additional air of menace. It’s not up to King Lear levels of pathetic fallacy, but it’s still there, ever present throughout the scene. It also adds some visual interest, in much the same way that Ridley Scott would do four years later, with the shimmering water on the walls of the Tyrell building in Blade Runner. Of final note for the weather, compare the slashing of the windscreen wipers in the rain as a visual foreshadowing for Michael’s slashing knife, with a similar shot in Psycho of Marion Crane driving through the rain, with her windscreen wipers foreshadowing Norman Bates’ knife slashing through the shower. Remember that Psycho is a movie which obviously had a profound influence on Halloween and the budding slasher subgenre.

In the car, we are introduced to Loomis, Michael’s doctor. Pleasance plays him as a brooding and serious, if superstitious, man, bordering on obsession. Alongside we have Marion, who is not only dismissive of the patients she looks after but woefully underprepared, having done “only minimum security” before. This conversation between them not only brings us up to speed as to Michael’s condition, “he hasn’t spoken a word for fifteen years,” but also sets up a motif that will play throughout the movie. Those that don’t take Loomis and Myers seriously, end up attacked and often dead. Loomis says for Marion to “try to understand what we’re dealing with here. Do not underestimate it.”

The line “Do not underestimate it” is one of the most important lines in the scene, and perhaps the entire film, and the following remarks of “Don’t you think we could refer to ‘it’ as ‘him’?” “If you say so,” is crucial to our understanding of Myers. He is not so much a man as a manifestation of evil inhabiting the body. Before we even see the old Myers, he has been taken to a realm beyond the human, back into the land of something much older and more terrifying. Loomis wants Myers trapped forever, but the law, thinking that he is still ‘him’, wants him moved. In later scenes, Loomis shouts that he warned everyone about Myers but nobody listened. Only Loomis, who truly understands what Myers is, knows to keep him locked up. The dialogue between Loomis and Marion is expertly written to give exposition, build character, and raise tension, all in small, economical snippets, and all at the same time. This exchange should be studied further by any screenwriting student to see just how brilliant it is.

Then the headlights illuminate the patients in the white robes walking around in the rain, an eerie sight in itself. The music kicks in, the famous piano and synth combo, which warns of impending danger. We’ve had the build-up, our fears raised, and now the film begins to play on them. When Loomis gets out of the car to open the main gate, a figure clambers onto the roof. Myers strikes when Loomis is out of the way. This begins the cat-and-mouse that the two will play throughout the film. That the rear lights paint Myers in a blood-red glow as he climbs onto the car is symbolic of his intent. He means murder.

What is interesting about this scene is that we begin to see Myers’ method of killing. He isn’t just a hulking mass, but he is quiet, methodical, and will only use brute force if he needs to. When Marion first rolls the window down to see who is on the roof, he brings his hand down to attack her. Only after she drives the car into the ditch, closes the window, and scurries to the other side, does he take to smashing the window. He is like a cobra, striking when he needs to but holding back otherwise.

When Myers does smash the window, it’s interesting to see how Carpenter constructs the scare. He uses Hitchcock’s theory of suspense (affectionately known as his ‘bomb theory’), in that he alerts us to the looming threat of Myers smashing the window before Marion is alerted to him. His hand appears in shot, giving the audience a moment of ‘he’s behind you!’ before it disappears for a few seconds. The tension is raised as we wonder exactly when the attack will be, and then a second or two later, the payoff. This simple, few-seconds scare, is a full construction, methodically thought out in all its beats, has rises and falls in its narrative, and is light-years apart from the false scares of many horror movies.

In horror movies today, one might expect Michael to kill the nurse before escaping. However, this original Michael doesn’t need to kill Marion, because his goal is the car. He attacked Marion when she was inside the vehicle, but now that she’s fled, he doesn’t need to pursue her. She isn’t a threat. This is something that the new movie, Halloween 2018, also subtly picks up on, in that Myers doesn’t just kill indiscriminately; he specifically targets. Evil has its own agenda, and it is perhaps something which makes Michael scarier. If he was just a killing machine, you could deal with it. But there is thought behind his eyes, calculated thought, and death is just one part of it.

In the final moments of the scene, we have Loomis’ line, “the evil has gone”. Described as ‘evil’ for the first time, we have Loomis’ superstitions on full display, and our understanding of the scene catches up. That was Myers, as we feared, and not just a random patient, and the sinking feeling in our stomachs ramps up as it drops another notch. All the precautions Loomis asked for, all the connotations of a silent, deadly mass of inhumanity, that we were given in the car,  has all come to fruition. So awful is this realisation that Loomis doesn’t stay around for much more than “are you alright?” to Marion, before rushing off. Once he knows she’s not in danger, she is disregarded. The evil must be stopped at all costs.

This is a perfect example of a well-constructed scene, with its personal rises and falls, and specific story construction. Attention is paid in all areas to ensuring that the filmmaking and storytelling come together in a beautiful composition with every subtlety pulling its weight. Carpenter has created a wonderful scene that sets loose upon the film a carnage that will terrify us long after the credits have stopped rolling.

-Article by Kieran Judge -Follow him on Twitter: KJudgeMental

Bibliography

Blade Runner. 1982. [Film] Directed by Ridley Scott. United States of America: The Ladd Company.

Halloween. 1978. [Film] Directed by John Carpenter. United States of America: Falcon International Productions.

Halloween. 2018. [Film] Directed by David Gordon Green. USA: Blumhouse.

Psycho. 1960. [Film] Directed by Alfred Hitchcock. United States of America: Shamley Productions.

Shakespeare, W., 2000. King Lear. Second ed. UK: Heinemann.

Press Release: Play or Die

Samuel Goldwyn Films has announced that the company has acquired North American rights to the horror movie PLAY OR DIE, directed by Jacques Kluger. The film stars Charley Palmer (DUNKIRK), Roxane Mesquida (“Now Apocalypse”), Marie Zabukovec (INTERRAIL), Thomas Mustin (RAW), and Igor Van Dessel (RACER AND THE JAILBIRD). PLAY OR DIEwill be available through On-Demand and on Digital platforms July 2.

In the story, Lucas and Chloe are two passionate gamers. They decide to participate in Paranoia, a very exclusive escape game. After solving the first riddle, they make it to the location of the finale in an abandoned mental hospital, hidden deep in a frightening forest. There, four other participants are waiting for them. Together, they soon realize that only one of them will get out alive.

PLAY OR DIE was directed by Jacques Kluger and co-written with Amiel Bartana. The film is based on the best-selling novel “Puzzle” by Franck Thilliez and published by Fleuve Editions. The film was produced by Jacques Kluger (Kluger Partners), Nexus, and Nadia Khamlichi & Gilles Waterkeyn (Umedia).

The deal was negotiated by Meg Longo on behalf of Samuel Goldwyn Films and Gregory Chambet at WTFilms – on behalf of the filmmakers.

FRIGHTENING FLIX BY KBATZ: Water Perils!

Water Perils! by Kristin Battestella

If you aren’t afraid of water, you may be after these moist movies and wet frights.

Cowabunga!

The Reef Sunrises and sunsets, stunning blue water panoramas, and lovely reef life create coastal bliss for this 2010 Australian fright loosely based on a true story. Shark teeth foreshadowing, statistics about the likelihood of shark attacks, and an inexperienced crewman aboard invoke the ominous to come alongside natural water fears, racing to beat the tide, trouble raising the anchor, and leaky rafts. Capsizing thuds, flooding, and underwater hectic don’t need any herky jerky action cam as the innate water movement makes the audience feel like we are there amid the missing keel, sinking hull, no supplies, and outdated distress beacon. It’s frightening when viewers can just make out the shark silhouette beneath the surface for themselves, but headless turtle shocks and false suspense moments go for cheap thrills. Instead of keeping us on edge with every chop in the water, over the top music tells the audience when something bad is happening.

Unlikable characters inspire little conflict amid a lot of childhood friends and lookalike blonde cliches – they are completely unprepared for any aquatic disaster and there’s no sense of ocean vast, the slow passage of time on the water, sunstroke, or thirst. These helpless followers holidaying on this deliver the yacht job are also over reliant on their macho, supposedly world water traveling leader who messes up tide times, can’t find north, and thinks they can maybe swim to an island perhaps twelve miles away. Wishy washy, don’t know they are in a horror movie stupidity compounds the uneven pacing as the strong girl, suddenly in tears, stays behind while others risk this uncertain swim before she changes her mind thirty seconds later so they wait in the possibly shark infested seas. The women rightfully call out the guy who orchestrated the trip under false pretenses before apologizing that its not his fault but yes it is. Weak men say they are tired and laugh over sex stories, breaking the swimming scenes to stop and stand on reef rocks rather than shape any kind of epic endurance risk.

Fortunately, seeing the nonchalant great white cruising past the hysterical people as they flounder and panic both justifies the yell at the television aspects and makes the viewer recoil. Mirage visions of land and thought they saw something paranoia frays the group as one by one they must leave the dead behind in the ocean. The fatal attacks are well done, and eventually – disturbingly – those remaining can see land but can’t get to it. Despite loose characterizations and an uneven narrative in need of taut focus – again all the negatives in low budget horror appear due to one writer/director wearing too many hats – overall this is well filmed with several quality sequences featuring fine scenery and practical shark work perfect for a late night scarefest.

You Make the Call, Addicts!

Black RockChildhood friends Kate Bosworth (Blue Crush) and Lake Bell (Boston Legal) revisit a Maine island with co-star/director Katie Aselton (The League) in this 2012 survival tale from writer Mark Duplass (of the 2014 Creep). Hip music, packing inventories, and crass jokes join the scenic drive to the horrors, but one has invited the other two ladies without telling each one, lies about having cancer, and admits she wants an we’re all dying anyway last hurrah.

Fortunately, the speedboat, cold water, and barren coast are already chilling as the women revisit a childhood map with old forts and time capsules. There are no distinguishing characteristics such as jobs or even last names, but it’s easy to see why the two similar brunettes dislike each other – none of them really seem like friends but they go along with their pushy blonde leader anyway.

Despite tough hiking and mosquito complaints one brunette can’t get over the other sleeping with her douche boyfriend six years ago. They shout and nearly come to blows as the blonde between them insists she isn’t taking sides just as she confers with one and not the other. Instead of discussing their problems, the conversation is of men and childhood lesbian crushes amid try hard cursing every other word.

Of course, there are three suspicious dishonorably discharged soldiers turned hunters on this island and the women are obviously their game. Fireside flirtations with drunken blow job talk reveal the once shy brunette as a tease liking attention who thinks a make out session will suffice. Unfortunately, these guys don’t play by the rules or take no for an answer, and assault becomes a typical plot point as each trio falls into bullying peer pressure from its strong arming leader. Our sexually dominate alpha male has a meek black follower and his white pal is perhaps so in love with his commander that he is impotent without the rifle he uses against the women. Rather than exploring catty women snapping in the isolated horror, men hit and bind them while the helpless girls say they fear rape – putting the sexual violence back in the minds of the weak trying to prove they are real men.

Though directed by a woman with an understanding of shit men, this is written by her husband as a male fantasy. These women are called cunt slut bitch and said to be getting their deserved symbolic impalings and kicks in the crotch for denying the superior war-fighting male his pleasure. Graphic gunshots, action filming, and chases in the woods are well done, and up close camerawork draws in the fear or intimidation. However, the mixed message on whether the violent men or the teasing woman is at fault takes away from the tense women’s point of view.

The jealous blonde insists they can’t escape and dislikes her previously at odds pals working together when they don’t need her to fight back – which becomes more male viewer titillation as the lookalikes strip off their wet clothes, panties and all, in the itchy woods with killer men in pursuit! The brash gal with the masculine nickname quivers as her once meek pal slaps her, and the cheek to cheek, heavy breathing, and hair pulling is almost sex scene coy. They walk around in the woods naked, bonding while making spears, yet for all the girl power, this becomes less about defending oneself over an assault and more about two women psyching each other up to slit a guy’s throat. Instead of a horror movie by women, for women, this becomes a bizarre he said, she said. It’s worth a viewing discussion, but it skews toward male tropes disguised as a women’s piece.

Versus

Lake EerieA widow moves to a too good to be true lakeside house in this 2016 ghost and genre bender. The white chic and bright windows should be quaint, but creepy furniture, old pictures, phonographs, and 1969 décor draft an increasingly spooky atmosphere. Old archaeology, retro phones, and voices on the radio add more bizarre while no cell reception, power outages, and doors opening or closing by themselves escalate the tension. Ghostly winds blowing out the candles and phantom figures in the hallway make not knowing where everything is and searching for the matches or kitchen knife heavy – simple but effective fears amid sandy footprints in the house, locked drawers, and undiscovered museum relics.

Concerned dad Lance Henriksen (Pumpkinhead) is only in a few scenes, but quirky neighbor Betsy Baker (The Evil Dead) knows a bit too much about the forty year vacancy, experiments, ancient amulets, and Egyptian mysticism. Attic searches and nightly visions create twists, and the inter-dimensional fantastic isn’t all it seems. Exposition told rather than seen, however, becomes suspect mumbo jumbo – the fantastical technicalities, time limits, and mystic jewelry get a little too preposterous. The dark underworld finale is silly, tossing in a nonsensical maze that unravels all the spooky happenings that were doing just fine. Rocking camera pans, loud music, and ghostly POV strobes are unnecessary annoyances. Poorly delivered voiceovers contribute to the amateur acting, and rather than help hide the weak performances, the directing and editing calls attention to them. This family production certainly isn’t perfect and ends up falling apart as it goes on – it’s obvious from the start but might have enough intrigue and fun bemusement if you can take this ghost cum mystical story twist for what it is.

FRIGHTENING FLIX BY KBATZ: Forest Frights!

Forest Frights! by Kristin Battestella

Here’s a round up of wooded perils and forest fears – as if the ticks weren’t bad enough!

Bird Box Foreboding radio reports, risky rapids, blindfolds, and children not allowed to talk belie the lovely rivers and still forests of this 2018 Netflix thriller directed by Susanne Bie  (The Night Manager) starring Sandra Bullock (Practical Magic), Sarah Paulson (American Horror Story), Trevante Rhodes (Moonlight), John Malkovich (Shadow of the Vampire), and B.D. Wong (Awake).

Nothingness point of views from behind the blindfold accent the backpacks, lead lines, titular pets, riverside boats, and rowing toward the dangers unknown. If you look you will die, and mom means business as fog and water perils add to the lack of sight unease. Five years before, our mom-to-be is arguing with her sister and painting art full of disconnected, lonely people.

These women have realistic conversations with layered dialogue and familial quips, but the relatable doubts about motherhood and everyday big decisions degrade into mass crowds, suicide reports, sudden hysteria, and panic as something seen by some but not others results in slow motion car accidents, road rage, and shocking deaths. Unlikely strangers fearing demons or religious judgment and arming themselves are thrust together amid busy signals, screaming cell phone calls, no media, and no military help. Is this some new biological warfare making people see something that kills themselves?

Birds sense the danger and a faint growling, but cameras are to no avail and our family on the river will only remove their blindfolds when huddled under blankets as the story goes back and forth between their journey with static on the radio and our previously housebound survivors concerned with rationing and the pregnant women among them. It’s tough to think about baby names when electricity, supplies, and shotgun shells won’t last. No one was prepared for the apocalypse to happen that day. Do they let others inside their abode or listen to voices on the riverbank saying it is okay to take off the blindfolds? Desperate runs to the nearby supermarket for essentials such as canned goods, toilet paper, diapers, booze, and electronics use GPS only, with windows blacked out, tape over the cameras, and proximity sensors to warn when something comes near.

The slow burn suspense allows time for these disparate strangers to forge late friendships amid fears they are all going to die and debates about living versus surviving in these topsy-turvy circumstances. Some briefly consider staying in the supermarket – leaving others behind while they maintain all they need despite the escalating violence outside. Whiskey talking admits how bleak the situation is while others hope things may get better.

However, five years later our mother is still rowing toward the unknown possibility of safety as the family dangers on the boat increase. Of course, a few people do some foolish things, and there may have been other options than taking the most dangerous course of action. The supposedly helpful birds are useful or forgotten as needed alongside somewhat obvious metaphors about the people being who’s actually box-bound and resorting to new, heightened senses. Understandably, the tension escalates when outside influences are let in – one by one people are lost as suspicious newcomers knock and hopeful possibilities end with appropriately blunt gunfire and shootouts. Training to survive without sight becomes paramount while terror in the home, outdoor separations, and family sacrifices test the temptation to look.

Thanks to the courage and drama here with frights real and fantastic, there’s no need for any spoon fed twist, toppers, scary movie cliches, or bombastic  horror in your face. The multi-layered studies and suspense are well-interwoven, progressing naturally as the isolated settings allow the performances and storytelling to carry the must see intensity.

It Comes at Night Gas masks, bodies in the wheel barrow, and backyard executions open this 2017 thriller as rough and bearded Joel Edgerton (Loving) does what he has to do for his wife and son. It’s excellent to see an interracial family front and center – horror needs to stop being blonde babes all the time – but we know things won’t bode well for the family dog! The lone lantern light and shadows traveling through the expansive but boarded up log cabin add a certain sadness to match the sans electricity, long dark hallways, plastic sheeting, and one red door to enter or exit.

Pictures of good times line the walls – the days before this unexplained plague necessitated rifles, the defending of one’s castle, and shoot first ask questions later mentalities. What do you do when another family of three is in need of food and shelter? Flashlights, outdoor sweeps, and night time blues aide the tense family protection amid gory dream scares, body horror, and tied up intruders. Interrogations provide talk of precious water, sickness in the city, going off the grid, and trading for supplies. Men can understand these desperate measures when seeing to their families, but can they trust each other? A family conference votes to welcome the new trio in their secure homestead, yet the skeptical, suspicious, on guard feelings remain thanks to the desolate roads, car crashes, and gunshots outside.

There are rules to the home, too: they eat together, always travel in pairs, and never go out at night.The families bond over chores and even laugh when reminiscing about desserts or liquor, but barking, noises in the woods, and sleepwalking encounters keep everyone on edge. Testy accusations lead to separations and putting others at risk to save one’s own family. No one here is a bad person, but such extreme situations make good people do terrible things.

This claustrophobic parable remains tense and doesn’t overstay its welcome – but it didn’t need the extra horrors or double dream fake outs as the social examination scares and siege stress are enough. Although the unexplained elements continue the debate after the picture ends, it also seems like important staples go unclarified. Were they sick all along? Is there something supernatural at work or not? Some audiences may find the lack of answers a waste, but the subdued chills and bleak statements remain intriguing.

The Passion of Darkly NoonThe titular Brendan Fraser stumbles injured upon the unwittingly tempting Ashley Judd and her mute but charming boyfriend Viggo Mortensen in a surreal wood for this 1995 psychological thriller. While the DVD has low volume and an odd aspect ratio, there’s a golden glow and crisp country white to match the pretty outdoors and should be quaint cottage. Minimal music parallels the natural cricket sounds and rainstorms – but the idyllic springs and hidden grotto are no match for ostracized Judd’s tight tops, tiny dresses, and sweaty mellow.

“Extremist Ma and Pa picked my name from the Bible,” Fraser stutters over past cult persecutions. We don’t see the trauma he recounts but immediately sense the disturbed attraction and late blooming Oedipal complex as “Lee” remains buttoned up in the heat and standoffish, not hearing the notion to leave strict religious groveling for not necessarily sinful ideals.

There’s much to explore, a fresh start on a new homestead, but he’s too distracted by the nineties Skinamax. The naughty atmosphere rises with obsession turning into mea culpa harm, but Viggo (“He is Vigo! You are like the buzzing of flies to him!”) does well with no dialogue as the tensions mount. Backwoods colloquialisms add to the kooky yet friendly characters, but what’s with the literally flaming, giant, glittering shoe floating down the river? A Circus, elephants, apples, religious stewing – viewers must be in the right mood to digest this slow burn symbolism.

Hear tell of who’s crazy; a witch, or the monster of the woods adds to the secrets and rival testimonies. Is it an evil bewitchment when your husband has a heart attack over a tempting woman appearing in the forest? Fear mongering, curses for one’s sins, justice, punishment – where’s the happy medium beyond the escalating blood, barbed wire, and bizarre visions?

The brooding drama becomes increasingly unreliable as this purgatory cycle repeats, for each fanatical person entering this Eden-like grove ruins it a little more. A savage siege leads to red warpaint, hellish flames, and howling in a fine performance from Fraser, who is perhaps more known for his comedies rather than dramas. While this could have been totally horror or straight steamy, some serious, tender, or scary scenes are dated, laughable, and bemusingly infantile. Fortunately, this character study on passion as both sex and sacrifice is an interesting in limbo morality play with saucy fun and tempting extremes perfect for a late night trippy.

Pyewacket – Playing the daughter, Nicole Munoz (Defiance) invokes the eponymous evil to kill mom, Laurie Holden (The Walking Dead) in this 2017 Canadian parable featuring creaking forests, goth rebels, and can’t take it back terrors. Our widowed mother is doing her best to keep it together and wants a fresh start, but moving is the worst thing for a teen with awkward crushes and an inseparable BFF.

Relatable conversations on support versus instability, transferring schools, driving, and bad influences endear both ladies to the audience – even her friends insist parents are just as screwed up as teenagers. Music is in the background rather than overwhelming viewers, a realistic rather than Hollywood choice. As the camera follows this goth gang through the school hallways. We’re the fifth member of the group and caught in the middle from the backseat as the vengeful spell casting looms.

Pizza, a relatively small cabin, mom needing a weekend job, and say hey, a Latina lead, yes please – it’s as if writer and director Adam MacDonald (Backcountry) had a list of horror cliches and insists on how not to incorporate them. Although it’s not expressly said to be Halloween, fallen leaves, pumpkins, cawing crows, sage, chants, binding rituals, and blood bowls and owl motifs accent the occult primer. Despite the careful preparation and craft materials, there’s an underlying sense of a not listening teen doing something she shouldn’t – especially when mom apologizes and the gals bond over memories of the deceased. Her friends think this is all just acting out for attention, but soon enough indeed our daughter regrets the ritual. Unfortunately, a locked door can’t keep out Pyewacket. Ominous knocks and creepy attic access escalate to vehicular frights, and innocuous shots – shadows about the house, rustling in the woods – become suspect while we wait for the subtly disturbing entity.

Overhead slow spins and gradual zooms build unease as friends disappear before the camera shakes with unreliable delirium thanks to unfinished rituals, unexplained appearances, and darkness. Is this evil trickery mounting or is a scared teen roaming in the disorienting woods? Are forgiveness and reverse spells enough to put everything right when this festering horror was summoned in spite of, “be careful what you wish for,” warnings? Visions of the dead, distorted vocal inflections, rattling doorknobs, and pleas to be let in provide terror as this freaky manifestation is revealed. Some may not like the quick finale, but knives, gasoline, fiery mistakes, and a bitter comeuppance create a creepy atmosphere that does what it is says on the tin. Those skinny pants, however, are not going to look good in a few years.

Live Action Reviews! by Crystal Connor: The Tokoloshe…Where She Goes it Follows.

 

PlotlineBusi, a destitute woman with seriously repressed emotions, lands a job as a cleaner at a run down hospital in the heart of Johannesburg. Desperate for money so she can also relocate her younger sister, she learns to cope despite the predatory and corrupt hospital manager.

However, when Busi discovers an abandoned girl in the hospital, one who believes she’s tormented by supernatural forces, she must also face her own past demons in order to save the child from the monster that pursues them both relentlessly…

Who would like it: People who enjoy global folklore and mythology, foreign films and subtitled movies, movies with double meanings and a diverse cast of characters.

High Points: Very original story line with a parallel plot lines. Strong acting and a smart, resourceful female lead

Complaints: Half of the movie is spoken in English and the other in Xhosa (?) and there are no subtitles for the native language.

Overall: I really enjoyed this film and I like people looking for something a little different, something more in their horror entertainment will like it too.

Stars: 3 1/2 Stars

Where I watched it: Was provided a review link.

***

Master Imaginationist and Instagram photographer Crystal Connor is the Chief Imagineer working for the Department of Sleep Prevention’s Nightmare Division. A Washington State native she loves anything to do with monsters, bad guys (as in evil-geniuses & super-villains.  Not ‘those’ kind her mother warned her about), rogue scientific experiments, jewelry, sky-high high-heeled shoes & unreasonably priced handbags.

When she’s not terrorizing her fans and racking up frequent flyer miles by gallivanting all over the country attending fan conventions and writer’s conferences she reviews indie horror and science fiction films for both her personal blog and HorrorAddicts.net

She is also considering changing her professional title to dramatization specialist because it so much more theatrical than being a mere drama queen.

http://wordsmithcrystalconnor.com

http://www.facebook.com/notesfromtheauthor

Download your free copy of …And They All Lived Happily Ever After! from Podiobooks.com and see why the name Crystal Connor has become “A Trusted Name in Terror!” 

http://podiobooks.com/title/and-they-all-lived-happily-ever-after

Irish Horror Writers Interview With Sean Murray

Irish Horror Writers Month – An Interview with Sean Murray

Tell us a bit about yourself? Name, State or country?

Hello, my name is Sean Murray and I am from New York.

What is your connection to Irish Heritage?

My family is from Cork.   I live far away in the US.  I haven’t visited yet, but I plan on it!

 

How and when did you start writing?

I started writing at the age of 14, short stories and lyrics. The themes usually leaned heavily toward the macabre.  After writing many songs for bands such as HERSISTER and Black Cat Sessions, I switched gears and began writing screenplays.

Why write Horror?

I’ve been a fan of the genre since I was a kid. In all forms:  movies, books, magazines and beyond.  I write other stuff as well, but horror is my usual output.  I’ve always been drawn to explore the darkness.

What inspires you to write?

Ideas flow through my head all the time, I’m not sure what it is that makes me write, but just being alive is inspiring. I don’t know why I feel the need to write stuff out,  I just do it.

Does being Irish inspire any part of your writing?

I feel that is connected in ways that are really hard to explain, but yeah. Certain characters and settings are based on my personal cultural experiences.

What scares you?

What scares me most is the fragility of life. How any one of us can go at any given time.  Life can change in the course of a second, and to me that is terrifying.

Who is your favorite author?

Mary Shelley. Frankenstein was emotionally brutal.  For me that’s where horror works best-when it’s emotionally driven.

What is your creative process like? What happens before you sit down to write?

I write everyday, usually at night. I get ideas all the time, and I let them spin throughout my mind over the course of the day.  When I hit the keyboard in the evening, I refine those ideas.  For me the process is pretty smooth, as I’ve already worked the idea out in my head.

Tell us about your current projects.

Interment – a horror film, currently in post production, which will be released later in the year. This film is also my directorial debut.

Unto Decease – currently filming.

What have you written and where can our readers find it?

Interment , which will be released in April, 2019. This is a horror film which was                                                   produced by MDMN Films. https://www.imdb.com/title/tt865664

 

___________________________________________________________________________________________

Sean Murray is an actor/writer-director from upstate NY.  Early roles in horror films such as “Sociopathia”, and When Blackbirds Fly” led to a desire to work behind the camera as well as in front of it.  After serving as assistant director on the films “A Line Between All Things”, and “Crush”, Sean focused on directing.  The feature film “Interment” is Sean’s directorial debut, and will be released later this year!

Kbatz is Going to NJ Horror Con!

 

Yes it’s true! Your Friendly Neighborhood Kbatz is going to the New Jersey Horror Con and Film Festival March 29-31. 

 

All local macabre folk are invited to join us and book your tickets at Newjerseyhorrorcon.com!

However, if you are one of our far away Horror Addicts, you can still take part in all the con shenanigans in several ways:

Chat long form about the NJ Horror Con with us on our HorrorAddicts.net Online Writers Conference Thread or follow along in our Horror Addicts Facebook Group. Remember to bookmark NJ Horror Con on Facebook too for instant photos and celeb announcements!

 

During Con weekend, look for raw videos on my Kbatz youtube and check in on our HorrorAddicts.net blog for photos and post write ups. We can talk about all our NJ Horror Con treats come Podcast Season, too!

See you soon!

MOVIE NEWS: The Unseen

MOVIE NEWS

La Vergne, Tennessee – The Unseen is an upcoming invisible man film from director Geoff Redknap (Cabin in the Woods). This title had its World Premiere at Montreal’s Fantasia Film Festival, this past Summer. Now, The Unseen is set to show on DVD and Digital, through United States’ film distributor Monarch Home Entertainment.

The Unseen stars Aden Young (“Rectify,” 2013) as Bob Langmore. He has a strange condition, in which his body is slowly disappearing. Dissolving away, Bob reaches out to his family with time running out. However, his former wife, Darlene (Camille Sullivan) tells him that Eva (Julia Sarah Stone) is missing, leading to Bob’s desperate search for a reunion.

Monarch Home Entertainment will begin the film’s launch later this month. On February 26th, The Unseen will be available in the U.S., on DVD; this release has not been rated. The Unseen will also be available in a widescreen format, for film fans. And, director Redknap says that his influences include H.G. Wells’ The Invisible Man: “I did take some ideas from….H.G. Wells’…work” and some of those influences can be seen in the film’s official release trailer, found here.

 

FRIGHTENING FLIX BY KBATZ: The Haunted Palace

The Haunted Palace is a Creepy Little Treat.

By Kristin Battestella

In all my Vincent Price, Roger Corman, AIP, and Poe celebrations, it’s been quite tough to find The Haunted Palace again.  Though this 1963 tale borrows much more from Lovecraft than it does Poe, all the creepy, freaky moods and twists are here in fine form.

In the 18th century, Arkham townsfolk burn the warlock Joseph Curwen (Price) for using the Necronomicon and local women in sadistic experiments- but Curwen vows to return and curses the village descendants. 100 years later, Charles Dexter Ward (also Price) and his wife Anne (Debra Paget) inherit Curwen’s mansion and return to the New England ruin. Dr. Willet (Frank Maxwell) informs the couple of the town’s twisted history, but the rest of the villagers fear Ward as local strange occurrences and bizarre deaths increase.  They use their deformed children to frighten Anne, and she begins to suspect the spirit of Curwen is indeed trying to take over her husband.  Unfortunately, their caretaker Simon (Lon Chaney, Jr.) knows more than he’s saying…

Writer Charles Beaumont (The Twilight Zone, Premature Burial, The Masque of the Red Death) teams with director Roger Corman (House of Usher, The Pit and the Pendulum) for this Lovecraftian adaptation that got unfortunately shoehorned into American International Picture’s Edgar Allan Poe cycle. Yes, it’s based on H.P. Lovecraft’s The Case of Charles Dexter Ward more than any reaching at Poe titles or poetry- which might automatically put off the Poe faithful or the Lovecraft purists alike. However, the spooky moods and sinister atmosphere are here from the onset, with great traditional jumpy moments and heck, it’s actually scary in some scenes.  Even if you expect the smoke and mirror twists, it’s still dang suspenseful as the sinister past increasingly takes hold.  Indeed, the Necronomicon back story and Cthulhu allusions could be better explained, and the revenge plotlines are similar to later films like The Abominable Dr. Phibes.  There’s reused fire filmmaking for the finale and the end is somewhat abrupt, too, but overall, this is an entertaining and scary little picture.

Naturally, the resemblance between Curwen and Ward is uncanny! Our Man Vincent differentiates the two men nicely to start, allowing a slow possession to brew. The naughty implications, man handlings, and great outbursts build perfectly as the Victorian gentleman Ward becomes increasing overtaken with the ruthless warlock Curwen.  The tender scenes and inner torment as Ward realizes the takeover is happening are well done, too.  Again, I don’t see any over the top acting. Price’s subtle inner conflict and physical alterations are quite the opposite in fact. The pacing on the possession is good, but I do wish the film were a bit longer, as Debra Paget (The Ten Commandments with Price) as Ward’s wife Anne does become a bit typical. She’s active, suspects, and doesn’t scream too much, but it just seems like they ran out of time in developing her suspicions on Curwen overtaking her husband. Of course, Paget looks wonderful- and looks good scared, that’s not always an easy thing to master.  The Wards also sleep in the same bed, whoa! Anne ends up the good little woman, but their tender relationship and its explosive breakdown are well done, and it adds an extra personal dimension to the twistedness at hand.

Instead of the usual stock company throwaways, the supporting village men in The Haunted Palace lift up the horror here. Lon Chaney, Jr. (The Wolf Man) is perfection as the creepy and most definitely not so innocent caretaker Simon.  Of course, he knows more about Curwen than he lets on to the Wards, and his scary introduction is great. Frank Maxwell (Our Man Higgins) does fine work as the would be voice of reason among the otherwise superstitious townsfolk, but again, I wish there were more of his Dr. Willet and town scaredy cat Elisha Cook Jr. (The Maltese Falcon, House on Haunted Hill). Leo Gordon (McLintock!) is also a lot of fun, as are the weird, deformed, and disturbed village descendants. Oh, girls with no eyes or freaky eyeless men and worse shouldn’t be so scary, but when used in full force here, it’s downright frightening.

Although the Cthulhu- like tentacles and dungeon scenery leave something to be desired, the other period styles and designs establish The Haunted Palace wonderfully. The spider web motifs over the credits will be dang freaky for arachnophobes, and the opening colonial mayhem looks on form. The fog and lightning create all the atmosphere needed, and eerie music tops off the titular mansion’s décor, red candles, and sweet candelabras.  Those dungeons, however, are a little too dark to see- even when its daylight. Of course, the video is due some restoration, and the matte paintings supposedly providing scope are fairly poor, but that is to be expected.  Thankfully, the Victorian standards, ornate frocks, and wispy nightgowns more than make up the difference.

Unfortunately, The Haunted Palace is dang tough to find. Netflix is mum and its double bill DVD release with Tower of London is downright elusive. For Price Fans, Corman completists, and old school horror fans, however, The Haunted Palace is well worth the hunt.  Catch it whenever you can or delight again on a spooky late night whenever you need that hint of Lovecraft. Or Poe for that matter, hehe.

Movie Review: Pooka! On Hulu

Review: Pooka! On Hulu

Reviewed by Sumiko Saulson

Stars: 4 of 5

Pooka is a strangely haunting Christmas horror tale about an out of work actor, Wilson Clowes portrayed by Nyasha Hatendi.  Hatendi is an African American actor born in the USA but raised in Zimbabwe, the USA and the UK who is fluent in three languages – English, French, and Shona. He gives a nuanced performance as mentally troubled and alcoholic washed-up actor Wilson Clowes.

Wilson is very much down on his luck when he gets the offer of a lifetime – a job voicing the adorable dark-furred, giant-eyed new holiday sensation Pooka! A child’s stuffed animal that speaks and movies like a Furbie or Teddy Ruxpin, the gimmicky holiday toy speaks in either a naughty or a nice voice, telling the child sweet or entirely wicked things. It seems to be a reference to Santa’s naughty or nice list, but pooka is an alternate spelling for púca, a type of Celtic woodland fey creature.

Although the film never explicitly says that Pooka is the creature from Irish lore, it looks and acts like the creature and bears its name. Púca are spirits that can be either beneficial or harmful to humans they encounter, they are like gremlins – full of mischief – but are also known to help farmers by assisting with chores. They have the power of human speech, and can take on human form, imitating them as changelings.

The toy manufacturer encourages Wilson to really get into character and put his all into Pooka. He dresses in a giant Pooka costume and acts in commercials in addition to voicing the toy, and he eventually becomes complete obsessed with the thing and the costume. It initially seems that he is having some sort of nervous breakdown, but as the toy skyrockets to fame and becomes the seasonal “it” thing, it becomes increasingly obvious that something dark and very supernatural is going on.

Then, Wilson meets a girl. Melanie Burns (Latarsha Rose) and her son Ty (Jonny Berryman) meet Wilson in a Christmas tree lot in one of those made-for-television magic moments seen in Lifetime movies and Tyler Perry films about black family love. The scene is so evocative of those types of films that one momentarily forgets this is a horror film and is drawn into the melodrama revolving around Melanie, Wilson, and Ky. Melanie, a spiffy black businesswoman, is a real estate agent and a single mother who has left Ky’s abusive father. Will she fall in love with the hard-luck case in spite of his relative poverty? Will he be the perfect stepfather for Ky? Will true love conquer all?

Then you remember, no. Of course, it won’t. This is a horror movie. And that’s about when Wilson starts to hallucinate all the time, rant and rave, and completely fall apart. The more Wilson declines, the more Pooka rises, so that the actor’s career is on an upswing as he enters his nervous breakdown.

Since the costume and Wilson act and interact separately and together, it is not clear at times whether the evil emanates from the creature or the actor.  The actor is contractually forbidden from letting anyone know that he is the one and only Pooka, and he lives with the costume, acting increasingly psychotic and dangerous.

A series of violent episodes occur between Pooka and Wilson’s roommate, a stranger in a bar, and finally involving a woman he has begun dating named Melanie and her child Ky. Ky loves Pooka and Wilson at first – but then Wilson begins acting more and more like Ky’s abusive and absent father, a man Melanie broke up with for being abusive.

Then, a malfunction makes the creature act bizarre, saying the line “look at all the pretty lights” repeatedly for no reason. Is Wilson making Pooka malfunction, or is it Pooka making Wilson malfunction? That is a question that isn’t answered until the end of the movie, when the meaning of the phrase “look at all the pretty lights” is revealed. But when the toy is taken off the market, Wilson plummets further and further into madness and becomes increasingly dangerous.

The movie deals more than passingly with the subjects of domestic violence and child abuse, but remains primarily in the horror mode despite brief excursions into the Twilight Zone and Lifetime holiday movies about broken families. In a way, the Oyxgen/After School TV Special romance between Melanie and Wilson is what is most brilliant about the film. One can’t help but cape for the man and his nascent romance with the likeable Melanie before it all goes to hell.

An episode of the holiday-themed web horror anthology Into the Dark, Pooka is currently running on Hulu as a single horror film. Although it started as a webcast, the production values of it are television quality, and it comes off as a PBS or BBC quality production in terms of pacing, acting, direction, and technical quality.

Movie Review: Sorry to Bother You

Review: Sorry to Bother You on Hulu

Reviewed by Sumiko Saulson

Stars: 5 of 5

Sorry to Bother You is a dark comedy sci-fi horror film currently available on Hulu wherein we gradually learn that Oakland, California resident Cassius “Cash” Green, who seems to be living in the present, is actually in a future dystopia where those in debt sell themselves into slavery by signing up for a lifetime of servitude with a company called WorryFree. Cash is played by hot newcomer Lakeith Stanfield. Stanfield made his debut in on the indie film circuit 2013 and subsequently appeared in serious biopic films like Selma, Snowden, and Straight Out of Compton, but is becoming a fixture in horror films. He appeared in Purge: Anarchy, Get Out, and played the hero L in the controversial Netflix live-action take on Death Note.

Sorry to Bother You is saturated in blackness with Tessa Thompson as the love interest Detroit, Terry Crews as the financially beleaguered uncle, Jermaine Fowler and Omari Hardwick and as supporting cast members, and Danny Glover in a near-cameo appearance as Langston, the guy who teaches Cash to use his “white voice,” and Forest Whittaker as a human/horse hybrid called an equisapien. Directed and written by Boots Riley. Asian American actor Steven Yeun plays Squeeze, the overly woke union organizer who makes a play for Cash’s performance artist girlfriend Detroit after Cash begins to sell out.

The film handles issues regarding capitalism, usury, and the internal struggle many Americans face when deciding whether or not to maintain personal integrity or sell out to protect and feed one’s family with humor, grace, and a dark edginess reminiscent of the original Robocop, Johnny Mnemonic, Tank Girl and other black comedies in capitalist future dystopias.

I wouldn’t categorize it as horror if it wasn’t for the equisapiens. About halfway into the film, Cash’s descent into the dark wells of corruption takes a turn for the terrifying. It starts out with the selling out, of course. The telemarketer’s uncle is in debt and considering selling himself into a lifetime work contract that is essentially slavery to get out of it. Cash, a telemarketer, discovers he has an opportunity to save his uncle. All he has to do is join forces with WorryFree and become fine with selling other people into slavery. To complicate matters, his girlfriend has joined forces with Squeeze in protesting the poor wages at the telemarketing company they work at and boycotting WorryFree as their indentured servitude contacts are slave labor. Will he uphold the beliefs Detroit and he seemingly hold dear, or protect his family?

All of these questions are still being answered when things take a turn for the Weird Fiction neck of the woods.  While questioning his own morality, Cash attends a party hosted by the CEO of WorryFree and uncovers a terrible secret: equisapiens! They are genetically engineered horse people WorryFree intends to use to get around labor laws that restrict their complete and other disregarding human rights for contract employees. Only, there is some suggestion that these equisapiens might actually be contract employees! Now, we’re stepping into the Twilight Zone, or maybe an Outer Limits episode where Forrest Whittaker is an equisapien instead of a voice announcer.

The movie has a slower pacing like most Sundance Film Festival circuit indie art films do. It had a very short run at the major theaters before bouncing to Hulu. But it is thoroughly enjoyable and I strongly recommend checking it out.

FRIGHTENING FLIX: Revisiting Poe Video Review

Kristin Battestella aka Kbatz (and a special feline guest) discusses new appreciations in revisiting the short fiction of Edgar Allan Poe including The Fall of the House of Usher and The Tell Tale Heart in addition to comparing and contrasting the Vincent Price and Roger Corman Poe Film Adaptations.

 

 

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FRIGHTENING FLIX BY KBATZ: Poe Excursions!

 

An Excursion in Poe

by Kristin Battestella

 

A little bit of Edgar can be found in anywhere – if you know where to look.

 

Edgar Allan Poe’s The Oval PortraitStormy nights, carriages, red velvet, and antiques accent this loose 1972 adaptation alongside candles, staircases, ominous housekeepers, late relatives, and ghostly piano playing. The titular painting, apparitions, and haunted house atmosphere come early with eerie music, lovelorn letters, and fainting ladies. However the inaccurate Civil War costumes, shabby uniforms, off kilter voices, and dark print make it difficult to tell who’s Union or Confederate. The echoing overlays, visions of past couples, and angry artist can’t overcome the lookalike characters, soap opera stylings, and rip off plots. Sure Poe’s tale is thin, but here the new wife shocks everyone by coming down the stairs in Rebecca’s clothes – and yes that’s the late subject’s name. More people keep arriving, but the ghostly possessions are put on hold for flashbacks with rally calls, cavalry, and a soldier on the lamb that look borrowed from another picture. If this scandal is where the story starts, why not begin there? Of course, there’s also confusion between this movie and another with the same cast called One Minute Before Death, and the bookends make it seem like the two movies are combined into one on top of weak scripting, fly by night production, and jumpy flash cuts between the back and forth that never lets the forbidden love build. The muddled dialogue and stalling gothic romance feel like part of the story is missing – compromising the illicit, funerals, and grave robbing before more hysterics, wills, and tacked on ghosts. Though watchable – bemusing even thanks to the overlong, nonsensical dancing with the corpse finale that’s probably followed by some good old fashioned necrophilia – this could have been a better, faithful adaptation of Poe’s story instead of some kind of two for the price of one messy that doesn’t go together.

 

The Fall of the House of UsherThere’s not a lot of information available on this elusive 1949 British adaptation of Poe’s famously flawed siblings. The opening here is weird, with Brit pimps in their boys club chatting up their Poe favorites. When the story moves into the tale itself, however, solid dialogue from the book, lovely period décor, and bizarre designs put on the right demented atmosphere. Piano interludes, candlelight, unique photography, and one very creepy crazy mama add to the fun. Yes, today’s audiences may feel the plot meanders a bit with seeming slow or quiet scenes. Fortunately, the fade-in editing, ticking clocks, and slow-burning wicks encapsulate the tomb-like mood. This actually does what an adaptation should do- I want to go read the source again! It’s a bit dry, but this one is worth the Poe study or classroom comparison for the scares and macabre it gets right.

The Raven He’s hamming it up and quoting death as his talisman – Bela Lugosi is creepy as ever behind his doctor’s mask and a suave god complex for this 1935 Poe based hour. The bearded, raspy, demented looking Boris Karloff (also of the unrelated 1963 mash-up of the same name with Vincent Price and Peter Lorre) is trying to reform his criminal ways, but Lugosi’s twisted doctoring wrenches that! This quick plot wastes no time thanks to car accidents, desperate medicine, titular quotes, mad love, and torture gear. Though not a full-on, proper adaptation of the famed poem, great shadows, interiors, organ music, furs, fedoras, and screams accent the obsessed with Poe layers and madcap style. A large ensemble can make it tough to tell who is who, and we don’t see much of the Poe-esque devices or their violence compared to the torture porn we expect today. However, the time here is steeped in an entertaining interwar gothic atmosphere – the wild contraptions are fun yet there are poignant moments and comeuppance amid the haunted house attraction mayhem. Edgar aficionados and fans of the cast will enjoy the uncanny charm here.

 

Spirits of the DeadI’m not really a Jane Fonda fan, but she looks superb in this colorful 1968 Italian anthology with designs from Edgar Allan Poe. Perfect locales, music, horses, castles, and foggy coasts set an ethereal, dreamy mood for the first tale here. The period costumes and sixties fusion might be a bit too Barbarella, and some will be put off by the spoken French and reading subtitles. Yet Fonda fans will enjoy the suggested kinky and ménage taunts- even if it’s her brother Peter (Easy Rider) sparking the obsessions. ‘Metzengerstein’ is more sauce than scares, but it might have made a nice fantasy movie by itself.  By contrast, ‘William Wilson’ adds Italian occupation and religious motifs for the second installment.  Iffy kid acting, look a likes, and flashbacks can be confusing to start and some of the butchery won’t be for everyone. However great fashions, sweet cadavers, autopsy educations, and historical brutalities are scary good- not to mention a dark-haired, poker playing Brigitte Bardot (And God Created Woman) to keep the questions on one’s conscious and duality from getting too dry. Terrence Stamp (Billy Budd) is a wonderful drunkard in the almost too trippy ‘Toby Dammit’ finale, but cool Roman amusement, bizarre locations, and weird play within a play production keep the plot from being too nonsensical. Though the final ten minutes get tough, the well-edited and intense driving scenes make for a fitting overall conclusion.  Not all will enjoy the near-psychedelic period and foreign sensibilities, but this is some twisted fun for fans of the players and all involved.

 

Tale of a Vampire – A delicious Julian Sands (Warlock, people, Warlock) leads this 1992 brooding character study brimming with “Annabel Lee” and Poe references to match the bleak back alleys, dark morgues, abandoned blue buildings, and dreary British mood. Despite the underlying urge to bite, predatory love, black cats, creepy vampire beds, and sucking on some bloody fingers, this isn’t a gorefest thanks to multilayered social awkwardness, melancholy, loss, and conflict. This lovelorn vampire spends his time in the rare books section of a sweet old library – you use that card catalog! The plot is unfortunately very slow, the isolated characters have no sounding board, and confusing flashbacks of lookalike women and lost bliss don’t explain much. The centuries ago golden patinas are well shot, however the uneven pacing and flawed constructs interfere with the storytelling. We should have seen the past to start, using that previous to accent the current torment and slightly unreal, demented fairy tale tone. Why is the audience more sad than creeped by this thirsty stalker? Fine performances carry the drama once the characters actually interact by quoting history and poets in insightful two-handers. “’Tis better to have loved and lost” and all that. Lighting and shadow schemes add to the mysterious rivals, for good love or ill pain possibilities, and strange seductions. Can it really be love if a vampire’s idea of romance is to consume the life of his lover? It’s oddly pleasing to see this kind of twisted vampire bite symbolism rather than teenage moon eyes, and this simmer builds to a fine finale with some interesting surprises. While not scary, the Gothic romanticism and Victorian waxing on forever and death not being the end of love provide a solid helping of morbid and memento mori.

 

FRIGHTENING FLIX BY KBATZ: Bell, Book, and Candle

Bell Book and Candle is still Great, Witchy Fun

By Kristin Battestella

 

We may think all the young adult fantasy books, Potter-esque films, and shows like Charmed have cornered the magic market onscreen, but classics like 1958’s Bell Book and Candle have kept the kooky comedy and witchy situations innocent and fun all along.

Over Christmas, good natured New York witch Gillian Holroyd (Kim Novak) grows a little tired of her witchy ways and Aunt Queenie’s (Elsa Lanchester) magical games. When Gil falls in love with publisher and upstairs neighbor Shep Henderson (James Stewart), she uses her cat Pyewacket to cast a spell. Shep must fall in love with Gil and thus not marry her former rival and college classmate Merle Kittridge (Janice Rule, 3 Women). While all the love blossoms, Gil’s warlock brother Nicky (Jack Lemmon) assists writer Sidney Redlitch (Ernie Kovacs) in his new book ‘Magic in Manhattan’. Will Shep’s publication of the book expose the Holroyds’ witchy ways and ruin Gil’s romance with Shep?

Based upon the play by John Van Druten (Gaslight, Cabaret), director Richard Quine (Sunny Side of the Street) and screenwriter Daniel Taradash (From Here to Eternity) craft a charming look at the power and hijinks of magic and love. We often allude to love being like a bewitching spell in lyrics and poetry. Even though a spell is cast in Bell Book and Candle, we’re never quite sure where the magic ends and the true love begins. The fanciful and fun take on possible love from socially at odds groups-humans and witches-is lighthearted and still enjoyable today. We can make all the modern and hefty allusions we want about mixed romances or stereotypes about practitioners of witchcraft, but it’s nice to just take in a sweet movie with none of those pretenses. There are a few lighting effects, camera tricks, and the proverbial smoke and mirrors, but more than anything Bell Book and Candle allows its players the time and space to show the magical fun.

Yes, Jimmy Stewart (Harvey, It’s A Wonderful Life, Mr. Smith Goes to Washington, Rear Window, Anatomy of a Murder, need I go on?) is a little too old to be a leading man here against Kim Novak, but he’s still delightful as the straight man publisher caught in the magical mix of spells and romance. We believe a charming witch could get Shep all flustered, confused, and tongue-tied due to Stewart’s loveable slip-ups. His mix of enchantment and clueless nonsense when confronted with the world of witchcraft must have been great fun then-as it still is now to the modern viewer. Stewart’s old, and perhaps his performance is a bit Capra-esque old fashioned, but it’s a fun turn nonetheless. As wonderfully fooled as Shep is, Jack Lemmon’s Nicky is wickedly slick. His magic is all in good fun, too, but he can’t resist the spotlight. Nicky’s ill-attempted exposé writing collaborations mix the crazy ambition with the sardonic blend of wit and drama contemporary audiences expect from the late star of Grumpy Old Men and The Odd Couple. In a way, there is a touch of passing the torch between the graying Stewart and energetic Lemmon. Both men handled the romance, seriousness, and comedy of their roles before and after Bell Book and Candle with a style and class not often found in today’s young acting crowd.

Though not as famous as her male counterparts, its fun to see Kim Novak paired with Jimmy Stewart again after Alfred Hitchcock’s suspense filled Vertigo the same year. Novak’s good witch longing for love does take some getting used to after her deceptive dame in Vertigo, but her husky voice and dynamite eyes adhere to the femme and witchy vibe we expect. Her costumes are hip, with mostly spooky black or eye-catching reds- but what’s with the high, almost white hair? There’s not many close ups of Novak for some reason, but the ones we’re given are breathtaking. Fun effects and cat motifs add to Gil’s already enchanting ways, too. We believe her when she says she has the power to get things done, yet we feel for her wishes for normalcy. Likewise, Elsa Lanchester’s (The Private Life of Henry VIII, Bride of Frankenstein, Witness for the Prosecution) Aunt Queenie is great fun as the elder, kooky and mischievous sprite helping with some good natured interference and match making. Comedy maven Ernie Kovacs (Our Man in Havana, North to Alaska) is also a delight as author Sidney Redlitch – an ‘expert’ of modern witches among us who fails to see the warlocks right under his nose.

Part of Bell Book and Candle’s charm is its fun fifties color and style: the cigarettes, quirky music, Oscar nominated high-end fashion and nonchalant, cute effects. The high life of mid century New York is a delightful time capsule, and the pillow talk approach to witchcraft is in a way modern but no less sweet. However, part of this charm also irrevocably dates the portrayal. It’s 1958- the innocence of the post war years would soon be lost. Some of the whirlwind two-week romance is a little too innocent with no innuendo before the quick marriage talk, and even the colorful styles and titled fedoras would be on the fashion outs in a few years’ time. It’s as if the onscreen attitudes and styles are a final fifties hurrah before the turmoil and realizations of the sixties.

Now I’m sorry to say that I don’t know anything about current Wiccan and religious practices; but naturally modern pagans and witches looking for some seriousness and accuracy won’t find it in Bell Book and Candle. While not deliberately offensive, the clean cut fifties stylings goes for the traditional broomstick stereotypes. It’s great if you like films with some witchy fun, but there’s no realistic portrayal here. Classic film fans, however, can also enjoy the similar I Married A Witch (1942) starring Veronica Lake- both films are often attributed as the inspiration for the beloved television series Bewitched. Modern romantic fans tired of the same inane plots over and over will be charmed, too. Youthful audiences who still enjoy enchanting tales like Bewitched or Hocus Pocus can take in Bell Book and Candle at Halloween, Christmas, or any time of year.

Live Action Reviews! by Crystal Connor: The Appearance

 

liveaction

Master Imaginationist and Instagram photographer Crystal Connor is the Chief Imagineer working for the Department of Sleep Prevention’s Nightmare Division. A Washington State native she loves anything to do with monsters, bad guys (as in evil-geniuses & super-villains.  Not ‘those’ kind her mother warned her about), rogue scientific experiments, jewelry, sky-high high-heeled shoes & unreasonably priced handbags.

When she’s not terrorizing her fans and racking up frequent flyers miles by gallivanting all over the country attending fan conventions and writer’s conferences she reviews indie horror and science fiction films for both her personal blog and HorrorAddicts.net

She is also considering changing her professional title to dramatization specialist because it so much more theatrical than being a mere drama queen.

http://wordsmithcrystalconnor.com

http://www.facebook.com/notesfromtheauthor

Download your free copy of …And They All Lived Happily Ever After! from Podiobooks.com and see why the name Crystal Connor has become “A Trusted Name in Terror!” 

http://podiobooks.com/title/and-they-all-lived-happily-ever-after

 

 

 

 

 

 

Horror Seeker: Is “IT” for better or worse?

Pennywise is possibly Stephen King’s most iconic character, having been brought to life first in the 1990 TV miniseries IT, played brilliantly by Tim Curry. So, it was no surprise to hear about the reboot that came out last year, and I have to say I was happy enough with it. I think my anticipation got the better of me then, as the amazement of the film has all but worn off, but it was enough of a spur for me to pick up a copy of the book and get it read before the next chapters is released which is scheduled for Sept. 6 of next year.

Now, I could go on about the exhausted complaints about the 2017 film, or give you a nostalgic love letter as to why the original is better- it really is-, but I’d rather talk about the potential that Chapter 2 could have in store for us.

First off, no story is worth anything without its characters, and IT is arguably one of the most laborious efforts to flesh them out. However, I feel this is where the book and the 1990 miniseries win over the reboot. Believability. The characters, right down to the simple extras, I was convinced that there was something serious going on. Well, okay, not everything was so serious; of course the scene in the library and Curry’s imposing, yet hilarious laugh. But it all worked, at least as far as I’m concerned. It’s said, you don’t want to work with animals or children in film, for obvious reasons, but I felt young Bill’s pain, I empathized and feared for Ben and Mike, and Henry Bowers, good God, has to be one of the coolest young antagonists out there. That was enough for me to lend credibility to the rest (Richie, Beverly, Eddie, and Stan). As far as the 2017 rendition goes though, while I enjoyed the movie enough, it felt more like a group of kids trying really hard to impersonate these characters, if that makes sense. Stan’s Jewish, yeah we know. Richie is a motor mouth, Eddie is paranoid about being sick, and so on. Now, I know they’re just kids, and that’s how kids behave, but to me, it felt a little too forced.

And lets not forget to address the clown in the room! Not for nostalgic loyalty alone, but I give it to Tim Curry any day, taking nothing away from Bill Skarsgard. Just as quotable, just as memorable, and even more accurate to the appearance of Pennywise, but again, believability. You wouldn’t let your kid near either of these two, right? But, be honest about which one you’d be more nervous around. Skarsgard was unnerving, Curry was unassuming. And that, I feel played more into Pennywise’s goal of luring kids in. I called the characters in the 1990 version victims, but the 2017 one- stupid!

Now, it’s lost potential seeing as how the cast is set, and really the only one I’m looking forward to seeing is James McAvoy as adult Bill, but wouldn’t it have been a fantastic turn-a-cast if they were able to round up the children actors of the miniseries to play the adults of the Losers Club? They’re the perfect age, perfect timing! Oh, what a lost opportunity if there ever was one. But, speaking of returns, you have to wonder, will Tim Curry cameo? I’ll leave that for anticipation.

But there is an undeniable silver lining in the upcoming Chapter, and that is that it will take place in present day. This, I am hoping will give Pennywise, as well as the story itself room to evolve, as it will be stepping outside of IT‘s known universe, perhaps (I know that King’s books are latent with references to Pennywise here and there, so if I missed something please let me know). This move alone will hopefully justify IT‘s re-imagining, cause why else remake a movie (if not for the cash grab) than to take it someplace else? IT could restore my interest in remakes, but that’s an article for another time.

One last note I’d like to discuss, one that was brought to my attention by a friend and that is, can people- namely kids- relate to the story today? This may be something that hurts the story as a whole, because while people in 1990 could relate better to those in the late ’50s, getting into trouble and going places where they weren’t supposed to, do kids today really share the same attitudes and behaviors? I’m sure some do, they’re kids, but one of the aspects of the book I think I missed out on, which is why I didn’t find IT all that scary, was I grew up in the late 80’s/early 90’s. A changing environment, and even more so today. People aren’t the same as they were 30, or even 60 years ago. I think, while the themes of the story might still stick, the atmosphere not so much. This may be a challenge for Chapter 2. Make IT scary, make IT fun! Either way, I’ll be seeing IT, won’t you? You’ll die, if you try not to. You’ll die if you try…

FRIGHTENING FLIX BY KBATZ: Krampus (2015)

Krampus is Disappointing Holiday Horror Fare

by Kristin Battestella

 

If you think your December is bad, consider the anti-Saint Nick killer of the 2015 horror comedy Krampus. Though starting strong with relatable holiday family sarcasm and budding snowbound scares, this PG-13 combination tale never embraces its unique monster potential and fizzles into disappointing, pedestrian fare.

Young Max (Emjay Anthony) wants his parents (Adam Scott and Toni Collette) to have some Christmas spirit again. Unfortunately, arguments with his visiting Aunt Linda (Allison Tolman), Uncle Howard (David Koechner), and his nasty cousins make Max tear up his ridiculed letter to Santa Claus – creating an invitation for the evil, ancient spirit of Krampus to descend their chimney instead…

 

Writer and director Michael Dougherty (Trick ‘r Treat) starts Krampus with promising seasonal satire and jovial Bing Crosby holiday tunes winking at the December mad dash shopping. The out of hand festiveness increases thanks to crying kids on Santa’s lap, stressed and glum employees, and fighting customers tasered by security while the crowd videos it all on their smartphones. A Christmas Carol is on the television, mom’s obsessing over the perfect crème brulee, and the War on Christmas peppers the news – Krampus is up front about its holiday honesty with debates over Santa being a cheap marketing ploy to sell Coca Cola and cruel tales of his crashed sleigh and Big Nick eating his reindeer to survive. Arguments at the table worsen every year, and the hope of the holidays being like they used to be can’t be overcome by one’s DNA. The destruction of an admittedly preposterous letter to Santa summons a thunderous snowstorm and blackout – no heat, water, or electricity and twelve crabby people. The usual holiday tiffs turn into worse bleak as mysterious snowmen surround the isolated house and thumps on the roof aren’t the sleigh they expected. Scary attacks from under the snowbanks and jack in the box decoys create suspense as do abandoned trucks, echoes lost in the blizzard, and footprints suggesting an upright goat walking on its hind legs. While under siege, the family re-discovers sentimental ornaments and recalls late relatives – there’s nothing like a monster attack to bring everyone together at Christmas! Gunshots break the silent holiday night and people go missing as the sub-zero temperatures drop. These are realistic scares, and the family asleep about the fire will soon be privy to the evil coming down the chimney with baited hooks and sinister presents to lure children for punishment rather than giving. Initially accurate wisecracks and understandable difficulty in believing Krampus is at work help the self-aware mix of interior drama and terrors amok. Unfortunately, Krampus is surprisingly lacking in its own folklore flair and descends into a busy, supposedly cognizant but unintentionally laughable lag trading what should be innate fears and the uniquely sinister for rowdy action or juvenile delays. The misleading comedy label becomes an excuse for silly animated accessories, undercutting the terror of Krampus waiting within the walls ready to emerge and abduct. Shooting at what they don’t understand, falling asleep when they must stay awake, not heeding the Krampus tale when they hear it – perhaps a united spirit or singing a carol might vanquish the monstrous invasion, but Krampus instead divides its family in a hollow finale asking for a do over on the sorry not sorry.

Likable dad Adam Scott (Parks and Recreation) isn’t traveling for work but he’s still on business calls, creating a supposed marital strain and leaving his son to watch Charlie Brown alone. Tom’s sardonic wanting to get the holiday over with turns into action as the scares mount, and he uses his town knowledge for a fighting advantage and plan of attack to proactively protect his family. Sadly, the adults in Krampus are under developed clichés –ironic place holders learning how to make sacrifices for a happy holiday just because the plot says so. We never know what Tom’s job is, where they live, or why the marriage is troubled, compromising any relatability the stars have. Toni Collette’s (United States of Tara) Sarah tries to make Christmas perfect by having everything super clean, but her decorating is considered to be “Martha Stewart threw up in here” over the top. She has some moxie when her kitchen or fancy food are criticized, but her angel on top of the tree saccharin doesn’t add the spirit Krampus needs. Though too brief, Krista Sadler (Lena Rais) provides Old World strength and wisdom as the German-speaking grandmother Omi, and she respects the past when cultural ethnicity and traditions mattered instead of celebrations without meaning. Omi crosses herself once – the only time Jesus is referenced in a Christmas parable about sacrifice – and does what needs to be done but Krampus remains too modern and mainstream bland, generic rather than Germanic. The titular potential is neutered by stagnant characters who never really learn but drop in quick succession – almost as if they knew the ninety minutes were up and an absolutely wrong time and place joke was due to deflate any meaningful foothold. I almost want to see Krampus from his point of view, watching as his nasty influence and take rather than give plan reveals everyone’s true colors.

Emjay Anthony’s (Chef) Max wears a bow tie, annoyingly repeats everything his grandmother says, and claims he’s smart and old enough to know what’s happening – never mind that his torn up and tossed to the wind letter is what brought the wrath of Krampus upon them. At thirteen he’s too old to believe in Santa Clause, and Max even gets in a fight defending the Jolly One before writing him seeking help for his family. If Max truly wanted Christmas to be as it was, he could have gone ahead with their traditions and reminded everyone of their holiday memories instead of bitching over his letter to Santa being read aloud. That’s the worst thing that has ever happened to him? That embarrassment is worth cursing your family to damnation? Unfortunately, Max thinks he can fix his fault by asking for a reset, and Krampus sacrifices its Scrooge scared straight possibility in favor of the very millennial blasé it warns against. Likewise, daughter Stefanie LaVie Owen (The Carrie Diaries) is irrelevant alongside too many gross, mean, disposable cousins and a baby who’s initially forgotten in a tricked out Hummer named Lucinda. I think the family dog gets more screen time than some of the non-speaking kids! Sarah’s sister Allison Tolman (Fargo) is made little woman simple while her redneck husband David Koechner (The Office) forges an odd friendship with Tom. He has useful skills and calls it like it is, but Krampus makes him smart or stupid as needed. Conchata Ferrell’s (Two and a Half Men) Aunt Dorothy gets through the scares with some peppermint schnapps – Krampus liking schnapps is never mentioned, boo – and her drunken sarcasm should be the only requisite quipping comedy. Unfortunately, Krampus goes overboard with ill timed laughs and puns in all the wrong places. Does this bitter family deserve what Krampus brings? We never know them as anything more than script proxies, so the audience can’t be sure.

Blowing snow, aerial shots, and weather effects give Krampus a fitting brr alongside holiday music and other bells, chimes, and diegetic sounds of the season. Fine blackout schemes and blue patinas work well – a chilly to contrast the yellow firelight and candlelit glows. While the leaping from house to house and rooftop flying effects are messy CGI, the thumping landings and howling echoes match the horned silhouette, giant hooves, and beastly furry cloak. Brief binocular sightings, unseen creatures attacking under the snow, and abandoned, frosty homes with trashed wreaths and destroyed fireplaces invoke fitting fears alongside trees on fire and ruined presents. Krampus uses practical designs and doesn’t reveal the full enormity of the monster – leaving the caressing, pointed nails and long, too close for comfort tongue to suggest the sinister. There’s minimal technology as well – tablets and smartphones are used until their power dies – but the gingerbread men effects are poor, even stupid along with unnecessary jesters and animated toys, hectic attic battles, confusing flue action, and intercut household sieges. Krampus himself doesn’t do very much as his trying to be humorous but ultimately laughable little minions run amok. The notion of his Santa mask having something hidden underneath is disappointing up close, and minimally used evil elves abducting children, a sack of souls collected by Krampus, and his ghoulish sleigh are better reversions on the theme. The retro animated flashback is also an old school anchor for Krampus, showing the bleak loss of seasonal spirit and giving in terrible times with a sad narration and the scared reaction of one little girl. Unfortunately, the fiery finale leaves some audiences confused, and the production mistakenly relies on alternate scenes or commentaries – absent on the rental blu-ray, naturally – and companion books to explain Krampus when a film must take care of itself.

 

Instead of wasteful ignorance and apathy, perhaps a prayer or some faith could have given Krampus a stronger battle of wills? The neither here nor there tone inadvertently embraces both anti-religion by not mentioning anything creche yet also admonishes audiences for treating Christmas like a going through the motions date on the calendar. A straight forward family holiday drama or full on horror one or the other decision may have served Krampus better – breathing room to trust its own dark, sardonic allegory instead of dampening good horrors with a humorous overload. What’s supposed to be so funny about Krampus anyway? This is a divisive, anti-Home Alone, and Krampus’ need for commercial safety, weak jokes, and trite action combines for an uneven parody and try hard “oops my bad” disappointment that inexplicably underutilizes its own ominous folklore.

FRIGHTENING FLIX by Kbatz – Kong: Skull Island

Despite Narrative Flaws, Kong: Skull Island is a Rip Roaring Good Time

by Kristin Battestella

 

Without a doubt the 2017 MonsterVerse cum 2014 Godzilla prequel Kong: Skull Island has its flaws. One shouldn’t expect perfection or deep thoughts with this fun jungle ride brimming with action and big monsters. But heck yeah let’s over-analyze the shit out of it, shall we?

Bill Randa (John Goodman) recruits ex-SAS tracker James Conrad (Tom Hiddleston) and anti-war photographer Mason Weaver (Brie Larson) to join the secret government group Monarch’s expedition to the elusive Skull Island alongside Lieutenant Colonel Preston Packard’s (Samuel L. Jackson) elite helicopter escort. Landsat officials and mission science teams use seismic charges to map and study the island – awakening ancient monsters friend and foe, government conspiracies, and personal vengeance as the team rescues crashed World War II veteran Hank Marlow (John C. Reilly) from the fantastic isle protected by King Kong.

 

Kong: Skull Island’s opening World War II crash transitions to newspapers, archive footage, and period photography on the mysterious Monarch organization as audio quotes from Truman and Kennedy lead to bleak 1973 DC protests and ironic quips about the screwed up time in Washington. Monarch needs funding to mount this satellite mapping expedition and its under the rug search amid ominous whispers of ship eating monsters and Bermuda Triangle fantastics surrounding this uncharted Pacific island. Fiery explosives reflect in the aviator glasses, animals flee the seismic bombs, and distorted music is drowned out by the destruction. People who think they are so big are made small by Kong’s giant hands and teeth – an excellent introduction with superb monster graphics and motion capture. Warped gunfire and thumping helicopter blades add foreboding to the mighty monster silhouettes as separated civilians, stranded scientists, and angry military argue who takes orders from whom. Nixon winks, geek references, and “Hold on to your butts!” keeps the old school cool coming early and often alongside minute to minute action montages with diegetic classic rock, first person shooter video game angles, and intriguing camera shots. Skull Island is an embarrassment of riches with too much to see in one viewing thanks to wild giant spider impalements and more well done personal horror vignettes with blood, gore, and brain splatter nods to Cannibal Holocaust and Evil Dead. Slow motion over the shoulder fears, creaking animal approaches, that giant log come to life – aren’t walking sticks bad enough?! The rush to repair a salvaged airplane turned riverboat adds more flying monsters and aerial fatalities to the adventure. Kong is an angry mother, but he didn’t do anything wrong in protecting his home from the dangerous creatures man has stirred, and the mission only has its bombing in the name of science to blame. Fortunately, culture shock jokes create lighthearted fun, since it’s more of a cold war with summers off, a man on the moon is eating Spam after sipping Tang, and The Cubs are never going to win the World Series. Likewise the excellent graveyard sequence combines all Skull Island’s divided and united people with scene stealing visuals, action, and monsters. Retro picture flashes and rewind clicks accent gritty zooms and intense monster filming with green gas heightening the sense of smelly vomit, skulls, bones, and gas masks. Deadly cigarettes, flames, lighters, and fumes add to the swords and machine guns poised atop the triceratops skull as man comes to regret the cruel and violent destruction he has caused.

Of course, Skull Island is also a very messy movie with an uneven dual focus. This should be either a Vietnam, horrors of war, military monster Apocalypse Now with a photographer and a scientist OR the scientific monstrosity adventure a la Jurassic Park with one ex-SAS tracker but not BOTH plots giving nobody their fair share. The us versus them scientists in blue and military in green sitting on opposite sides of the briefing is never capitalized upon but redundantly introduces everyone by name after the port of call arrivals already suffice. Likewise, conflicting, convoluted information dumps on hollow earth inklings, monsters exist proof, nature taking back the planet subtext, and more conspiracies are lost amid who’s doing the suspicious underground mapping or using dangerous seismic charges – and none of it is as important as the visual destruction despite precious little time to enjoy the awe-inspiring views. Increasingly intrusive hip highlights and filler montages distract viewers with busy, loud hyperbole, and fine jokes aren’t needed to alleviate tension because intercutting between separated characters walking to and fro for action fodder never leaves the audience with anyone long enough to appreciate their peril. Casual wonder, superficial dear family letters, and featherweight Icarus speeches can’t keep up with the up up up piecemeal quest, soldiers rightfully spazzing over the giant monkey are paid dust in favor of repeated clicks west or evac north fluff, and one trek in the wrong direction for a dead man proves pointless on top of unnecessary revenge. What should be somber shipwreck history and ancient monster worship become tossed aside double talk, and the science dialogue, monsters, and mission objectives change as people act stupid from scene to scene as needed. Littering the narrative with so many excuses that we just don’t care how each group of people and their monster attacks tie together is incredibly annoying because there is so much more potential to the friend or foe ominous and native people glossed over with photos and peace signs. Slo mo hold me back man tears turn laughable thanks to all over the place point of view voiceovers with no time for a breather properly addressing the nonsensical. Quotes about an enemy not existing until you make one get squashed between more meandering, on the nose rock montages while blow torches are convenient in one scene but forgotten the next. Our two women never talk to each other, and Skull Island can’t stick to telling its story well because it’s so desperate to appeal to as many bang for its buck viewers as possible – leaving the World War II radiation and ancient cave paintings hodgepodge to do nothing but set up the inevitable sequel.

 

All the people should have been listed in the blurb at the bottom of the Skull Island poster because no one character is fully developed – least of all top billed Tom Hiddleston as tracker James Conrad, who spends more time giving repetitive exposition on clicks, radius, or distance and unnecessary let’s go, no time to waste obviousness. It’s also noticeable that the character concept was changed when T. Hiddy was cast – perhaps in a Legendary twofer contract with Crimson Peak or during filming, for the grimy shirt jaded and gritty bearded wanderer is traded for a sunshine blonde matinee idol buff. It’s like a different guy shows up for the mission! When meeting Conrad in the bar, he’s ruthless with a cue stick. However, on the island, he’s the team negotiator, going from a rugged bad ass asking for five times the mercenary money to…Tom Hiddleston. Viewers see him as himself in Skull Island and The Night Manager rather than his Loki visage – maybe because it looks like he’s wearing his own clothes again onscreen – but someone should have been in charge of his eye candy fitness as his increasing muscles or shrinking wet shirt vary throughout the adventure. The mysteriously decommissioned tracker also suddenly cares, sneaking into restricted areas to check out the bombs and question the mission even though Conrad never gets to use this seemingly new found good guy muster. His great line, “I suppose no man comes home from war, not really,” and brief mentions of his lost father – Tom, please, no more characters with daddy issues! – go unredeemed save for dad’s handy lighter to rectify a lifetime of searching for something you can never find. Instead of calm, problem solving Conrad challenging Packard, our expert tracker gets lost and seeks higher ground before taking charge anyway after useless self sacrifices. Despite his name, there’s very little Heart of Darkness to Conrad, yet the character remains overly serious and that divine accent feels out of place – taking longer and prettier to say his exposition in a different, formal rhythm amid all the fast, casual slang. Although he has the best gas mask glory moment in Skull Island and some of the samurai choreography is reminiscent of the first advance in 300, our would be hero has no winking Indiana Jones moment nor does he take off his shirt. Why hold back when you can go all the way? But hey, those biceps aren’t enough to forgive the fact that Conrad wears a gun in a shoulder holster and never uses it!

With our rugged man and Brie Larson (Room) as anti-war photographer Mason Weaver, Skull Island feels very The People That Time Forgot. However, Weaver doesn’t cry out for her camera’s safety or click away as much as she perhaps should. She never runs out of film and such gear perils or mishaps could have been an ongoing gag, but Conrad seems to look out for her camera more than she does. There is rightfully no overt romantic plot further crowding Skull Island with unnecessary saccharin, yet their feeling each other out banter should have been utilized more – Weaver interrupts Conrad’s hero zoom by motioning for him to move over on the helicopter seat and he does. All these charming, award winning thespians have so little room to breath, leaving Weaver with lame one liners and nothing to do. The “Bitch, please!” retort for her to have several seats isn’t the right response, but her trite platitudes won’t get all these macho men pointing guns at each other to stand down either. Fortunately, her outfit isn’t uber skimpy, and Larson’s modern earthy look is perhaps the most seventies style in the cast. Weaver goes from skeptical equals Pulitzer to island believer saving injured animals too quickly with no depth to her island connections if any before ending by saying she will expose their information rather than keep this precious ecosystem secret. She could have been a hippie tree hugging activist woman alone in tune for peace with Kong, but Weaver’s touching moments with the ape are too few and far between. Whether there is some kind of native spirit and island good to counter the evil creatures below isn’t explored, and while all the scientists pick up guns, Weaver shoots with her camera only – a nice statement that just leads to her getting rescued by Conrad in every dangerous situation. A brief moment of her refusing a gun and more of her resourceful ingenuity as with Conrad’s handy lighter would have added better character strength and humor. Sadly, Skull Island has both Weaver taking pictures to expose Monarch and John Goodman’s (The Big Lebowski) underutilized Bill Randa recording film for his secret organization’s posterity. What is the point of having both such rival documentarians on the trip when they never even have the chance to object to each other onscreen?

 

But why you gotta be mean like that to Kong, Nick Fury? Despite the Vietnam withdrawals underway and orders to head home, Samuel L. Jackson’s Colonel Packard isn’t ready for the war to end. He wonders what this the fight was all for – accepting this final mission without considering the families and day jobs waiting for his Sky Devils stateside. Packard resents the camera and the media’s influence on the war as more dangerous than a gun, and objects to calling the battle lost. He’s upset at Kong for destroying his helicopter team, blaming the ape and demanding payback when he’s the one who ordered them to fly through the island’s nonsensical storm front. There’s room for more psyche, but other plot contrivances compromise Packard’s fanatical. His insistence on taking out Kong instead of the more deadly skull creature continues even when his reason for pursuing one over the other is proven more fatal, and Packard gets around the island just fine without the obligatory SAS tracker, gutting any tension the two are apparently supposed to have. After aimlessly walking for half of Skull Island, Packard needlessly divides the group when they actually come together, and any deeper hates the monster because he hates himself guilt about man’s supposed superiority is never fully explored. Certainly the Lieutenant Colonel did nothing wrong in ordering his men and defending his homeland from the horrors of war, but he takes the extinguishing the wrong monster too far and doesn’t learn from any of the mission’s bureaucratic stupidity, ultimately using napalm to flush out more creatures than he can handle. Likewise his soldiers – family man macguffin Toby Kebbell (Control), headband wearing Thomas Mann (Me and Earl and the Dying Girl), and letters to his mama Jason Mitchell (Straight Outta Compton) don’t listen to local information on avoiding island perils. At once they decide it’s all for one and one for all while telling others they will be left behind if they don’t like the plan, and none of them go against the Colonel even when he is wrong and the chain of command has broken. Although dead pan Shea Whigham (Boardwalk Empire) eating in the face of giant apes is good levity, the too crowded Skull Island keeps these military men stereotypically hip with shirtless photo sessions and no questions asked until after the fact rather than developing any killer edge e.g. Predator.

There are simply so, so, so many superfluous people in Skull Island that you can argue almost anyone doesn’t really need to be here. Landsat fraidy cat John Ortiz (Fast & Furious) deserves more than ticking the Hispanic check box with his own personal homage to Jurassic World. This looks like a diverse ensemble with representation from all walks of life, but it isn’t diversity if each monster fodder minority has five cliché lines while the white people save the day. Geologist Corey Hawkins (24: Legacy) and biologist Jing Tian (The Great Wall) look like they filmed their scenes separately from everyone else. Their brief conversations happen with no one else around and they don’t really interact with anybody on the island – simultaneously missing the opportunity for statements on the struggles of a well educated black man with a radical theory while nonetheless desperate to appeal to Asian markets with an intelligent but meek biologist who barely speaks. Hawkins’ Houston Brooks objects to the titular craziness with almost the exact same words as Mann’s Slivko, and eventually, the scientists are told to go back to the boat – which they easily find and operate without Conrad holding their hands. The post-credits scene likewise has them repeating Randa’s words on the monsters to come while again telling us not much of anything on Monarch’s intentions. Fortunately, John C. Reilly’s (Chicago) kooky World War II castaway Hank Marlow is the most dynamic character in Skull Island. He’s happy these new found people are real because he’s more than ready to get home to beer, hot dogs, and the Chicago Cubs, becoming the only fish out of water in this crazy habitat that receives any narrative payoff. I also dare say Marlow’s opening cross cultural duel turned bond with Japanese singer Miyavi as Gunpei Ikari and their subsequent hear tell eight attempts to leave the island during their forced twenty-eight year sabbatical may have been the more dramatically interesting tale – “Darmok and Jalad at Tanagra” and all that.

 

Fine gunfire, brief World War II designs, aerial action, and impressive photography also pepper Skull Island. A variety of cool ships accent the beautiful, tropical, misty, hot locations from Hawaii, Australia, and Vietnam amid lovely waters, deadly swamps, and killer jungles keeping everyone good and sweaty. There are dangerous rocks, mountains, vegetation, and animals, too – but that giant water buffalo thing has a cute nose! Unique patinas, golden sunsets, neon, bright blues, red lighting, and choice zooms set off every frame in Skull Island, and a fiery haze makes the night time battle with Kong befitting of the island’s devilish face shape. However, despite all the old school touches, Skull Island doesn’t feel as aged as it could be. A 1973 Life Magazine and a record player don’t a la the past when everybody looks so today. The money here is rightfully spent on the badass ape kids will dig, but younger audiences probably won’t notice the early computers, retro televisions, dark room photography, old reel frames, slide projectors, or rotary phones and period references. Fortunately, these creatures are so big that director Jordan Vogt-Roberts (The Kings of Summer) must pull the camera back – we can see the well choreographed rumble without hiding behind panoramic swoops and hectic editing. Kong breaking free from a shipwreck’s chains is a fine homage, and the deleted scenes with more platoon camaraderie and a bristling introduction between Conrad and Packard should have been kept. Of course, Skull Island is available in different video editions with seller and regional behind the scenes exclusives. An official comic book also continues the adventure, but I wish the background material or what happens next wasn’t relegated to extras or waiting on another picture in the franchise. Although, ironically, Skull Island might have made a great limited television series with fulfilled episodes dedicated to our mad military man, lost tracker, photographer, castaway, or scorned scientists.

Kong:Skull Island seems like it began with storyboards of cool things for Kong and company to do with everything else as filler to meet the feature length duration. There’s no time to stay on Skull Island and explore its myths or monsters, and this does indeed feel like one mere stepping stone toward the inevitable Godzilla vs. Kong anticipation in 2020 thanks to postscript MonsterVerse revelations. Though entertaining, the forties bookends are abrupt and in between viewers are spoiled for choice of eye candy. Skull Island is meant to be a monster money maker and it shows with this sweet but shallow action. It wants to be man versus man, man versus nature, and man versus himself, but superficially potlucks all the deep possibilities. Thankfully, Skull Island is not a film meant for critical eyes and that isn’t necessarily a bad thing. Despite its narrative flaws, there’s just so much fan service that Kong: Skull Island was bound to be an enjoyable success.

 

FRIGHTENING FLIX by Kbatz: Mummy Movies!

Unwrapping a Mummy or Two!

By Kristin Battestella

 

Seen any good mummy movies lately?

 

Blood from the Mummy’s Tomb – Based upon Bram Stoker’s The Jewel of Seven Stars novel, this 1971 Hammer outing gets right to the saucy, sexy mummies, colorful jewels, tombs, and classic Egyptian designs not through spectacle of production but via subdued lighting, firelight, soft music, foreboding curses, and a silent, dreamy start. The intriguing father and daughter dynamic between Valerie Leon (The Spy Who Loved Me) and Andrew Kier (Quartermass and the Pit) is both endearing and suspicious – straight jackets, psychics, ominous constellations, cluttered museums, and sinister relics likewise contribute to the visual mixing of old, Egyptology styles and early seventies designs. Pleasing hysterical fears, snake scares, uneasy reunions, and power struggles unravel the reincarnation tale nicely. It is tough, however, to see some of the night sky transitions, and the simmering 94 minutes may be too quiet or dry for today’s speedy audiences. Subtitles would help with the exposition as well – especially for the fun homage character names like Tod Browning that may be missed otherwise. Brief nudity, one by one deaths, the collecting of killer artifacts, and a resurrection countdown also feel somewhat rudimentary at times, predictable before snappy and missing some Hammer panache in cast or direction. Considering the on set death of director Seth Holt (Taste of Fear) and the departure of Peter Cushing – both briefly discussed in the DVD’s features – the film’s flaws are certainly understandable. Besides, this is still most definitely watchable with an enjoyably moody atmosphere and fun, subjective finish.

 

The Curse of the Mummy’s Tomb – Hammer producer Michael Carreras (Maniac) wrote and directed this 1964 sequel to The Mummy, and it’s a well shot piece with plenty of Egyptian color, tombs, flashbacks, artifacts, humor, and film within a film carnival spectacles. The 1900 designs are also period fine, but some scenes are obviously on-set small scale and lacking the expected all out Hammer values, making this follow up feel like some one else’s beat for beat B knock off rather than an authorized continuation. Opening blood and violence, characters at each other’s throats in fear of the eponymous threat, brief debates on traveling sideshow exhibitions, and scandalous belly dancing can’t overcome the slow, meandering pace while we await the well wrapped and perfectly lumbering Mummy violence. Jeanne Roland (You Only Live Twice) is very poorly dubbed, and beyond the over the top, annoying, love to hate Fred Clark (How to Marry A Millionaire) as a sell out American financier, the rest of the cast is interchangeably bland with no chemistry. The somewhat undynamic writing is uneven, with twists and mysteries either out of the blue, too tough to follow, or all too apparent. Though the sinister deaths aren’t scary, it’s all somehow enjoyably predictable because we’ve seen so many rinse and repeat Mummy films. This isn’t a bad movie, but it takes most of its time getting to the Mummy scenes we want to see – and we can see a lot of fact or fiction Egyptology programming today. It’s not quite solid on its own and feels sub par compared to its predecessor, yet this one will suffice Mummy fans and fits in perfectly with a pastiche viewing or marathon.

 

The Mummy – Karloff, Karloff, Karloff! The drawn, crusty, and dry opening makeup and mummification designs looks dynamite- accenting OMK’s tall, imposing, sullen, and stilted presence. His silent up close shots are indeed hypnotic and powerful- even if modern audiences might find this one more fanciful fantasy than truly frightful. Even though there is some tell, not shown off-screen action, the plot is well paced, with nice dialogue and support from Zita Johann (Tiger Shark) and Edward Van Sloan (Dracula). Some of the 1932 style or mannerisms, foreign languages, and customs of the time might be strange to us now, but the mysteries and iconography of Ancient Egypt look delightful. An action packed pseudo silent styled flashback also works wonders. The CGI spoiled may of course find things here slow and dated compared to the 1999 The Mummy, but seeing a film done when Egyptology was arguably at its height allows a little more of all that onscreen glamour and gold to shine through. Actually, I am usually completely against it, but I’d love to see this in color- at least once anyway. Sweetness!

The Mummy (1959) – Hammer perennials Peter Cushing and Christopher Lee team again for this well paced if somewhat familiar plot. Though he looks like the Creature from the Black Lagoon in some scenes and is styled more like a Bond henchman doing the evil deeds of late Victorian villain George Pastell (also of The Curse of the Mummy’s Tomb); Lee’s reanimated and mummified priest Kharis is dang menacing but no less tragic in his violence and lost love. His overbearing stature works wonders against the intelligent and suave archaeology gentleman Cushing- whether he’s in the dirty wraps or decked out in great Egyptian costumes, color, and brightness. The sets, however, could use some work, as the exteriors are a bit, well, plastic looking instead of mighty stonework monolith. Yvonne Furneaux (Repulsion) is also a lovely but slightly lightweight façade that’s a little out of place with Cushing’s take action and dueling wit. Fortunately, the musical charms accent the Egyptian suspense and cap off the scares beautifully. Toss in some humor and great fun and this version equals total entertainment.

 

The Mummy’s Curse – Stay with me now – this 1944 hour long Universal sequel marks the final appearance by Lon Chaney Jr. as Kharis after The Mummy’s Tomb and The Mummy’s Ghost, which follow the 1932 original and The Mummy’s Hand. Got that? Of course, the timeline and locales are all over the place at this point anyway! We open with a French sing along to set the inexplicably changed Louisiana setting here before getting to the expected accursed mummy swamp recovery, investigating archaeology professors, and screaming dames. It’s amusing to see all the fearful and faux French accented locals, and reused stock footage from prior Mummy films creates further humor. But why is this exact same story being told to us again? Again but in a Louisiana swamp? A swamp that lies below a conveniently abandoned chapel where the Mummy hides? Fortunately, once the audience takes these leaps, Chaney’s resurrected and deadly, limbering monster can be enjoyed thanks to well done shadows, lighting, and crisp black and white photography. Virginia Christine (Tales of Wells Fargo) also has an excellent entrance as the revived Ananka, with eerie music, stilted movement, and great horror editing. Despite the spooky bayou atmosphere, this isn’t as scary movie as it should be – somehow Chaney’s crippled, dragging Mummy seems sad and used more than frightening. Poor thing misses a victim or two thanks to them, you know, walking away from him! Thankfully, the quick fun here is still watchable for fans, especially in a Mummy or Chaney viewing marathon.

 

The Mummy’s Hand – Be he curse protector or resurrection accomplice, George Zucco (Dead Men Walk) is slick as ever in this 67 minute 1940 Universal sort of sequel that’s otherwise lacking in the expected Mummy stars such as Karloff or Lon Chaney, Jr. These different characters create more remake than follow up feelings, and after awhile, these Mummy films do seem somewhat the same anyway. There’s a little too much humor and bumbling rivalries away from the titular action for this installment to be scary, too. Who has the money for the expedition? Who doesn’t want the archaeology to happen? What’s pretty daughter Peggy Moran (King of the Cowboys) doing pointing a gun at folks? Wallace Ford (The Rogue’s Tavern) is also an unnecessarily fast talking swindler sidekick for by the numbers Dick Foran (The Petrified Forest), and the then-modern Cairo pre-war styles and colloquialisms slow the plot down when there’s no time to waste. Fortunately, despite the black and white photography, the opening Egyptian flashback provides the expected regalia and spooky curses. Perhaps this entry is typical or nondescript in itself, but its fun for a classic marathon. When we finally do get to the tomb robbing action and Tom Tyler (The Adventures of Captain Marvel) as the murderously lurking about Kharis, this becomes a pleasant little viewing with a wild finish.

Alfred Hitchcock Basics – A Video Primer

Happy Birthday Alfred Hitchcock!

Good Evening, Horror Addicts!

Kristin Battestella aka Kbatz here again with a video review breakdown on some of our Alfred Hitchcock Favorites! From The Lady Vanishes, Lifeboat, Notorious, and Spellbound to Psycho, Rear Window, Vertigo, and The Birds – if you haven’t seen one or two, here’s why you should!

 

 

Don’t forget YOU can be part of the conversation on our Facebook Group or revisit some of my Horror Addicts.net Hitchcock reviews here.

 

By Horror Addicts, For Horror Addicts!

 

FRIGHTENING FLIX BY KBATZ: The Skeleton Key

Swift Ending Almost Saves The Skeleton Key

By Kristin Battestella

If it’s supposed to be scary, I’ll watch just about anything –even though I heard bad things about The Skeleton Key. The 2005 thriller stars Almost Famous alum Kate Hudson, but the initial $30 price tag was a bit much for a film widely regarded as a disappointment.

I did however like The Skeleton Key when I saw it on TV recently-it was a relatively low investment, of course. Not stellar, a few too many clichés, but I liked it. As if she could play nothing else and milking all her Oscar nominated glory, The Skeleton Key casts Hudson as Caroline, a former roadie trying to become a nurse. Since her father’s death, Caroline has moved from one elderly center to the next, trying to find closure. She takes a position caring for Ben (John Hurt), who has recently had a stroke. At first she butts heads with Ben’s wife Violet (Gena Rowlands), but Caroline fines shades of romance in New Orleans lawyer (Tom Uskali).

Naturally it was fascinating to see a film set in New Orleans before Hurricane Katrina, but the voodoo element has been done to death. I was unsure how a haunted New Orleans house movie would play out-a la The Others-but we never get to see, since Director Iain Softley resorts to digging up weird voodoo stereotypes. I know nothing about voodoo but what I’ve seen on Dark Shadows, and some of the clichés were obvious to me. Despite its PG-13 rating, I can see how The Skeleton Key must have offended the real Louisiana population.

The acting is just fine, but again we resort to Kate Hudson in skimpy clothes and talking about music. The Skeleton Key does a lot of resorting where it should be going forth. Gena Rowlands is perfect as the aging Southern belle Violet. You easily suspected she is up to no good from the beginning, but I never expected Violet’s end to come as it did. John Hurt-infamous for the scene in Alien– is also delightful as Ben. The stroke victim expertly says what he needs to through his eyes, actions, and struggles. One of the better sequences has the partially paralyzed Ben out on the roof top. Oiy!

Despite its clichés and redundancy, I was surprised by The Skeleton Key’s ending. Maybe because I was sick and out of it or not on my sharpest note, but writer Ehren Kruger’s twist ending may be just that. I suspect Kate Hudson accepted the role based on the end of the script alone. Good, but unhappy-the ending is slightly sinister. At the conclusion, Hudson sounds a lot like her mom Goldie Hawn. Her closing husky delivery completes the creepy.

I don’t recommend The Skeleton Key for prudes or people who otherwise might be offended religiously-although I’ve certain seen more offensive material. Nor would I say The Skeleton Key is a thinking man’s movie. I was interested enough to keep watching and guessing how things would play out, but rewatchability dips significantly once you know how the film ends.

The Skeleton Key– despite a swift resolution- is a relatively safe and formulaic piece for fans of safe movies. I even dare say it’s safe for mature tweens, maybe even 10 and up. Kate Hudson collectors will enjoy no doubt, but if you are seeking serious spooks, southern haunts, or voodoo mayhem, I can definitely recommend better. Fans are better off investing in a simple classic like Hush Hush Sweet Charlotte. Only die hard Kate Hudson lovers should pay full price for The Skeleton Key. Briefly intrigued audiences can still tape it off TV.