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AS ABOVE SO BELOW (2014) movie review

October 19, 2018, 7:13 am
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As Above So Below (2014 ) d. John Erick Dowdle (USA) (93 min)

Other than its intriguing setting, that of Les Catacombes de Paris (where much of the principal photography was actually lensed), there isn’t much new on display in this found-footage Young Female Indiana Jones meets The Descent, with a dose of “Oh, by the way, don’t desecrate the remains of six million dead French or you’ll have to face your own personal demons” and the shapeshifting traps of Cube (minus any rational explanation).


Dowdle (in his Poughkeepsie Tapes/Quarantine POV element) scripted the pulpy plot with his longtime producer/brother Drew. Their slapdash results concern young Scarlett Marlowe (Perdita Weeks), an earnest, orphaned, British ace archeologist and alchemy scholar fluent in six languages (including two “dead” ones) with two PhDs and a black belt in Krav Maga for good measure, searching for the mythical Philosopher’s Stone which supposedly contains the key to eternal life. Her travels take her from Iran to Paris, where she teams up with an American documentarian (because how else are we going to film all this), a former fellow explorer, and a team of urban spelunkers, all outfitted with seemingly indestructible and waterproof helmet-cams.


Once the group descends below the surface, they are subject to all manner of bizarre goings-on, none of which make a lick of sense and all of which are explained on the fly by our resident superwomanbrainiac while the audience’s eyes roll further and further into our collective heads.


The rest is all Harmless Cheap Thrills ‘R’ Us, complete with shaky-cam and a splash of jump-scare CGI, which is fine if that’s all you’re looking for. Amazingly, it’s somehow inconsequential enough to entertain while only being slightly insulting.


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NEITHER THE SEA NOR THE SAND (1972) movie review

October 20, 2018, 5:03 am
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Neither the Sea Nor the Sand (1972) d. Fred Burnley (UK) (110 min)

Upon meeting handsome lighthouse keeper Hugh (Michael Petrovitch) while on vacation on Jersey Island, Anna (Susan Hampshire) decides to leave her loveless marriage and dives headlong into a passionate love affair. Unfortunately for both of them, the young man collapses during an afternoon seaside stroll and is pronounced dead by the local sawbones, only to rise in the morning as though nothing had happened. But something has happened; the question at hand is whether Anna is willing to keep her new lover at any cost.


I’d not heard much about this slow-burn genre effort, except for seeing it listed years ago in Phil Hardy’s Encyclopedia of Horror Movies. Having finally acquired a copy and with no expectations except a few friends declaring it “worthwhile,” NtSNtS is decidedly one of the more curious genre efforts I’ve experienced this month, if not this year. While it traffics in supernatural subject matter (a corpse returning to life and ambling about), not much effort is expended in actually scaring or disturbing the viewer. Not even like a swing and a miss, but rather that it was never the point.


More of a meditation on loneliness and grief than your standard walking dead flick (although our reanimated gent does bump off one character in a didn’t-see-that-coming auto accident), with a somber, brooding atmosphere hanging over the proceedings throughout. That said, it's a perfect candidate to spring on your doomed love/romance novel-addicted friends who swear they don't like zombie movies.


Fine performances, including Frank Finlay as Hugh’s uptight older brother, and rural coastal settings keep viewer interest for the most part, but it’s unlikely to satisfy anyone looking for escapist chills and thrills. Screenplay by Gordon Honeycombe, based on his novel, with “additional dialogue” by Rosemary Davies.


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TRICK 'R TREAT (2007) Blu-ray review

October 21, 2018, 7:02 am
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Trick ’r Treat (2007) d. Michael Dougherty (USA) (82 min)

Writer/director Dougherty and producer Brian Singer deliver a blood-soaked candy basket to horror fans everywhere with this cleverly structured, EC comics-flavored anthology piece, offering up four interlocking stories all taking place in the same neighborhood over the course of Halloween night. With stalwart high-profile ensemble members as Anna Paquin, Brian Cox (both X-Men 2 veterans, which Dougherty scripted and Singer directed), Leslie Bibb, and Dylan Baker lending able support, this is a well-acted and gorgeously photographed celebration of all things midnight and monstrous.


Despite the long and fumbling path that Warner Brothers took with the film’s distribution, i.e. no theatrical release despite wildly enthusiastic critical reviews and film festival audience response (I was fortunate enough to see it on the big screen when it screened in Chicago), it has since become a word-of-mouth smash on home video and an October favorite, providing the happy ending Dougherty and Co. deserve.


Shout! Factory brings this October favorite to high-def with a Collector’s Edition Blu-ray packed with supplements that should have fans drooling in anticipation. A quartet of new mini-docs, “Tales of Folklore and Fright” (the origins of the project), “Tales of Mischief and Mayhem” (production stories), “Sounds of Shock and Superstition” (scoring the film), and “Tales of Dread and Despair” (its infamously clunky distribution) properly celebrate The Little Horror Anthology That Could, with the effortlessly cheerful Dougherty revealing the endless challenges he and the TrT creative team faced bringing his passion project to life.


There are also oodles of never-seen-before storyboard and concept art offerings, as well as the animated 3-minute short film, “Seasons Greetings,” which originally introduced the burlap-headed stocking-footed character of “Sam” (played by 9-year-old Quinn Lord in the feature) to audiences in 1996.


The audio commentary (featuring Dougherty, composer Douglas Pipes, concept artist Breehn Burns, and storyboard artist Simeon Wilkins) has been ported over from the original 2009 DVD release, along with the 30-min “Lore and Legends of Halloween” featurette exploring the origins of the holiday and the source of its ensuing traditions. Also included are FX comparison shots for select scenes, deleted scenes with optional commentary by the director, and the theatrical trailer.




Trick’r Treat is available now on Blu-ray from Shout! Factory and can be ordered HERE:

https://www.shoutfactory.com/product/trick-r-treat-collector-s-edition?product_id=6863


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RESIDENT EVIL: THE FINAL CHAPTER (2016) movie review

October 22, 2018, 12:41 pm
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Resident Evil: The Final Chapter (2016) d. Paul W.S. Anderson (UK/USA) (107 min)

It’s been a longtime joke around the Doc’s office that the Resident Evil flicks are of the rare type that you actually forget them while you’re watching them, with characters and plot points so inconsequential that they are barely even introduced. (I revisited the first three flicks back in 2015 as part of the October Challenge and can't remember a thing about them, even after going back and reading my reviews for same.) The trend continues here. Consider the opening of this latest installment: Following a cursory recap of the nefarious history of the uber-evil Umbrella Corporation, their zombie-making T-Virus, and the subsequent worldwide apocalypse that ensued (i.e. the previous five films), Alice (Milla Jovovich) wakes up amidst the wreckage of a city. Seconds later, she is attacked by an unexplained flying dragon-like beast that provides about four minutes of thrills before being predictably offed in shamelessly badass fashion by our gorgeously attired, pleasingly weathered, husky-voiced hero. Face out and onto the next level, er, scene.


Credit should grudgingly be given to writer/director (and Mr. Jovovich) Anderson for kinda sorta tying all the loose threads together for what actually looks like it could be a concluding chapter to the longest running female-driven action/horror franchise in history, as well as the most successful film series based on a videogame. It’s not the reunion tour of “hey, I thought you were dead” characters from the previous installments (that would be RE: Retribution), but there are a number of familiar faces on display for longtime fans. Iain Glen is back at main baddie Dr. Isaacs, ditto Ali Larter’s Claire Redfield and Shawn Roberts as blonde thug Wesker while the CG zombie hordes play mostly as background scenery throughout.


There are a numerous opportunities for Jovovich to kick ass and look fantastic doing it (which is, presumably what people paid their two bits to see), lots of explosions and CG blood splatter, and an array of new faces to serve as cannon fodder. The whole thing wraps up back at “The Hive,” with the ticking clock being Alice and the Red Queen’s scheme to foil the UC courtesy of an antivirus that must be released before the last human outpost is overrun by the undead.

That damn dragon thing was pretty cool.

Glen acquits himself quite well in the hand-to-hand combat scenes for a guy pushing 60 and seems to be having the time of his life, while Jovovich pushes herself to the physical limits, her curled lips and impeccably manicured eyebrows accenting every bullet round and drop-kick she doles out.


It’s all disposable nonsense, but with a half-dozen films earning over a billion dollars in worldwide receipts, it’s clearly a recipe that works.


Long live Alice.


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BLOOD BEAT (1983) Blu-ray review

October 23, 2018, 12:37 pm
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Blood Beat (1983) d. Fabrice A. Zaphiratos (France/USA) (87 min)

A Christmas family gathering goes hilariously sideways in this Wisconsin-lensed supernatural thriller that assembles a hodgepodge of random horror elements, tosses them into a burlap sack, swings it around a few dozen times before hurling it over the neighbor’s fence with a note attached saying, “See what you can do with this.” For one-off writer/director Zaphiratos, said elements include psychic abilities, vengeful ghosts, tea sets on waterbeds, girlfriends who say “no” to nooky, deer-hunting parties complete with authentic field dressing, white leggings on healthy Midwestern farm girls, kitchen poltergeists, girlfriends who say “yes” to nooky at the most inappropriate times, more psychic abilities, and haunted samurai armor/swords.


It’s an inexplicable phenomenon among fright fans, the ability to appreciate and enjoy schlocky, low-budget, wrongheaded filmmaking, the type of cinema that would send most audiences scrambling for the exit or the remote control. Yet, for a certain breed of cinephile, this is a magical experience, as anticipated and welcomed as anything of “legitimate” quality, oftentimes more so. Perhaps because while competence passes the time, well-intentioned INcompetence is infinitely more memorable (for reasons both good and bad), and when I settle in to be transported for 90 minutes, I’m always hoping for something memorable.


As detailed above, Blood Beat offers any number of bizarre ingredients, though it’s unclear whether Zaphiratos had a plan or if he was just winging it as he went along (my money is on the latter). He clearly doesn’t know how to stage or create any kind of dramatic tension, as evidenced by numerous scenes where our resident psychic/artist matriarch Cathy (Helen Benton) blankly stares at her various family members while they scream, “Stop it! Get out of my mind!” Did Benton know she was supposed to change her facial expression?


On the other side of the fence, her nooky-minded son Ted (James Fitzgibbons) spends a fair amount of time chasing his crazytown lady love Sarah (Claudia Peyton, who obliges us with some gratuitous if ill-tempered nudity) around the joint, but he and his fresh-faced sister Dolly (Dana Day) spend an uncomfortably abundant amount of time getting their hands all over one another as well. (This family is CLOSE.) Meanwhile, Cathy’s deerslaying boyfriend Gary (Terry Brown) spends his time getting turned down for marriage proposals and dealing with bum automobiles, when dead neighbors aren’t showing up on his doorstep, that is.


To be fair, this isn’t Grade-A Turkey, as the first half consists of mucho head-scratching set-up, amusing in its own right if hardly thigh-slapping WTF material. But once food starts literally flying off the shelf and ghostly glowing blades start swinging and stabbing the locals, it’s “game on” in the best possible way.


Vinegar Syndrome, responsible for unearthing this little-known curiosity, pours with a heavy hand from the supplement tap, providing a full-length audio commentary track from Zaphiratos, as well as a 20-minute interview, neither of which provide a lot of answers but they do offer a peek into our creative’s non-sequitar mind, full of half-finished thoughts and random observations.


There’s also a sit-down with Chicago-based cinematographer Vladimir Van Maule, who discusses the challenges of shoestring-shooting up north with a “visionary” at the helm. There’s also the “um, okay” inclusion of a 30-minute version of the film, sans dialogue and with musical accompaniment by Nervous Curtain and Horror Remix, and the 15-minute “L.U.N.C.H.,” a short film from William Zaphiratos, Fabrice's son. A still gallery of behind-the-scenes photos rounds out the package.


Blood Beat is available now from Vinegar Syndrome on Blu-ray and can be ordered HERE:

https://vinegarsyndrome.com/shop/blood-beat/


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CREATURE FROM THE BLACK LAGOON (1954) movie review

October 24, 2018, 5:43 pm
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Creature from the Black Lagoon (1954) d. Jack Arnold (USA) (79 min)

A team of scientists (led by Richard Carlson, Richard Denning, and Julia Adams) head into the wilds of South America in search of a mythical “living fossil,” a scaly humanoid amphibian that could serve as a missing link between land and sea creatures. The testy love triangle between the eggheads provides the melodrama until the monster makes its presence (and its ardor for the lone female member of the expedition) known, leading to a fierce battle of wits and sheer animal instinct that will leave the Amazonian waters red with blood....


The last of Universal’s classic movie monsters was the brainchild of producer William Alland who blatantly riffed on King Kong’s storyline of a legendary beast sought out by civilized man for selfish designs, with screenwriters Harry Essex and Arthur Ross working alongside director Arnold (It Came from Outer Space, Tarantula, The Incredible Shrinking Man) to create an onscreen antagonist so fantastic and anthropomorphized that audiences could not help but empathize.


Though makeup department head Bud Westmore received sole credit, it quickly became common knowledge that the memorable monster design came from the skilled mind of Millicent Patrick, brought to life by suited performers Ben Chapman (on land) and Ricou Browning (swimming sequences). The famous aquatic ballet between Adams (or, more accurately, her swimming double Ginger Stanley) and the lovestruck Gill Man remains one of the most iconic sequences in horror history. Credit to Scotty Welbourne and James C. Havens for their excellent underwater photography, made all the more challenging for being shot in 3D.


Creature’s famous three-note trumpets-blaring theme music was composed (uncredited) by Universal staff composer Herman Stein, with additional contributions from his studio staff colleagues Henry Mancini and Hans J. Salter, as well as cues from Universal’s stock music library.


One of the best sci-fi/horror efforts of the 1950s, this is must-see material for any card-carrying genre fan.


Trivia: Browning would play the Creature again for the underwater sequences of the two sequels that followed, Revenge of the Creature (1955) and The Creature Walks Among Us (1956) before going on to create the hit television show Flipper in 1964.


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ESTIGMA (aka STIGMA) (1980) Blu-ray review

October 25, 2018, 9:54 am
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Estigma (aka Stigma) (1980) d. Jose Larraz (Italy/Spain) (86 min)

Angry young man Sebastian (Christian Borremeo) has powers and, as such, he has problems. Whenever he gets angry at people, tragedy befalls them and, well, being an angry young man, he is surrounded by a lot of tragedy. Are these all coincidences or is he actually causing these deaths? If the latter, is there any way he can control his emotions so that he doesn’t murder everyone he comes in contact with, knowing they will eventually disappoint him?


I would like to imagine Larraz (Vampyres, Symptoms, Black Candles) and co-writer Sergio Pastore had something more on their minds than simply cranking out another, sleazier Carrie rip-off, but I don’t know if that’s just wishful thinking since they squander a premise admittedly rich with potential and turn it into a bizarre love triangle between Sebastian, his older brother Jose (Emilio Guiterrez Caba), and his sexy blonde girlfriend Angela (Alexandra Bastedo) who seems to enjoy the company of both.


After the inevitable occurs, she continues to see Sebastian, hoping that he can change his ways and “be good.” Along the way, Sebastian starts to receive visions that perhaps his “curse” is derived from a previous life, a reality that takes up a distractingly prominent portion of the third act, providing a reveal that is less interesting (however taboo) than the main conceit of controlling one’s authentic emotions at the risk of destroying all he or she loves. (Equally frustrating is seeing Helga Liné squandered in the role of Sebastian's promiscuous mother.)


Purely from a genre appreciation standpoint, there are some engaging set-pieces and there’s a fair amount of female flesh on display (this is Larraz, after all), but it all feels more hollow than his other efforts, which could account for its lesser-known status. Dorado Films has taken the plunge, however, and released it to Blu-ray (paired with the equally below-the-radar Emma, Puertos Oscuras) and recruited Berwyn’s own Bryan Martinez to provide an enthusiastic commentary track celebrating the film’s merits.


Even if you don’t agree with every feather he puts in Larraz’s cap, the track definitely highlights the positives as opposed to the alternative (which is presumably why he got the call) and Martinez of The Giallo Room fame is a chatty and amiable host, making for an excellent viewing companion. (His enjoyably nasty short “My Friend Lisa” is also included as an extra.)


Estigma is available now from Dorado Films on Blu-ray and can be ordered HERE:

https://doradofilms.video/?upc=828637050065


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[REC] 4: APOCALYPSE (2014) Blu-ray review

October 26, 2018, 6:40 am
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[Rec] 4: Apocalypse (2014) d. Jaume Balaguero (Spain) (95 min)

Angela (Manuela Velasco), our charming heroine reporter from the initial outbreak documented in [Rec] (and who also put in a surprise final-reel appearance in its 2009 sequel), is rescued from the besieged apartment block by officer Guzman (Paco Manzanedo) whereupon both are quarantined aboard a repurposed oil tanker in order to contain the demonic virus. More importantly, an antivirus has been developed and is ready for testing, but when the test subject (an infected monkey) escapes its cage and bites the crew’s cook, the stage is set for yet another flurry of hyper-furious flesh-munching zombies decimating everything in sight.


After teaming up for the first two installments of the highly successful series, co-directors Paco Plaza and Balaguero decided to divide and conquer, with Plaza tackling the zippy and rewarding prequel [Rec]3: Genesis solo while Balaguero wrapped up the franchise with this (presumably) concluding chapter. Both also opted to drop the found-footage approach which had characterized the story until that point, which irked some fans, though I appreciated how each director found ways to maintain the POV approach from time to time. (I particularly enjoyed Plaza’s solution to the “Why do they keep filming?” dilemma.)


The problem, if there is one, with Balaguero’s offering is that while it ably continues the plotline begun in 2007 and serves up plenty of frenzied and bloody undead action, it fails to distinguish itself as anything special or unique. Instead, it serves as the very epitome of mercenary, efficient-but-uninspired sequelizing, answering questions no one asked and stretching out a story for the sake of squeezing out a few more bucks.


It’s not that it’s a bad film; on the contrary, it’s highly entertaining with spirited performances, great effects, and several splattery set-pieces, but in the final equation it’s just another zombie movie. ("But it's on a boat!!") From a franchise that began with such promise and innovation, I think we all just expected a little more.


[Rec] 4 is available now on Blu-ray from Shout! Factory as part of their [Rec] Collection, with a making-of featurette and the theatrical trailer the sole extras, and can be ordered HERE:

https://www.shoutfactory.com/product/the-rec-collection?product_id=6833


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THE DEVIL LIVES HERE (2015) Blu-ray review

October 27, 2018, 6:26 am
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The Devil Lives Here (2015) d. Rodrigo Gasparini / Dante Vescio (Brazil) (80 min)

Three teens head off into the countryside to meet up with their friend Apolo at his family’s remote honeybee farm for a little R&R... and perhaps a little occult raising of the dead. You see, every 9 months, as the legend goes, the spirit of a long-dead slave named Bento threatens to slip through the veil, and Apolo’s trusty service hand – who used to perform rites to keep the unquiet spirit at rest – has recently passed away. The kids treat the occasion as an opportunity to party and get frisky (because this is a horror movie), but as the shadows grow long, spooky things start to spin into reality with not only Bento’s restless spirit making its presence known but that of the sadistic Honey Baron (Ivo Muller) who lorded over Bento’s family in life.


The above description should have served as the groundwork for an enjoyable screamfest, rich with native Brazilian lore and nods to Candyman and Evil Dead, but the slapdash script (credited to Rafael Bailu, but “created by” M.M. Izidoro – whatever that means – with a story credit for Guilherme Aranha as well) lays out a perfectly serviceable cabin-in-the-woods adventure and then proceeds to blow everything up in the final act where not one single character behaves accordingly and almost nothing is explained as things lurch to their requisite blood-soaked climax. We get gore and screeching and demonic possession and hot teen coupling and surprise deaths (or kinda deaths, since everyone comes back for at least one more scare). But nothing feels earned and viewers are more in danger of scratching a hole in the top of their heads than they are of being frightened to death.


Not content to use nightmare logic, co-directors Gasaparini and Vescio tell their story in a straightforward, if atmospheric way, as though the nonsense made sense, which it decidedly does not. It’s as though the pair watched some 1980s Italian cinema or David Lynch flicks and said, “Oh, we don’t need a narrative arc,” which is all good and fine, but the energy of such an endeavor should ideally tip an audience off that we’re journeying to an illogical plane so that we can go along for the proverbial ride. It’s an unfortunate decision, since the production values are strong and the performances – however erratic – are deeply invested.


I suspect the film will prove more entertaining on repeat viewings, with expectations properly managed, but the initial voyage is frustrating, one where we are constantly asking ourselves if we missed something somewhere.


The Devil Lives Here is available now on Blu-ray and DVD from Artsploitation Films and can be ordered HERE:

http://www.artsploitationfilms.com/film/the-fostering-o-diabo-mora-aqui/


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BELL FROM HELL (1973) DVD review

October 28, 2018, 6:28 pm
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Bell from Hell (aka La Campana del Infierno (1973) d. Claudio Guerin Hill (Spain)

In an era when Spain’s genre output consisted primarily of Paul Naschy’s hirsute efforts and Jess Franco’s loopy zoom lenses, this atmospheric psychological horror offering from Claudio Guerin Hill (with uncredited assistance from Juan Antonio Bardem – more on that in a second) provides a splash of fresh blood. A dark and twisted tale of revenge and madness whose bleak tone never lets up, Hill and screenwriter Santiago Moncada (All the Colors of the Dark, Hatchet for the Honeymoon) also work in a vivid condemnation of the petty bourgeois during the last years of the Franco regime.


A young man Juan/John (Renaud Verley) is released from an asylum and returns home to his wheelchair- bound Aunt Marta (Creepshow’s Viveca Lindfors) and her three daughters who had him declared insane after his mother’s suicide in order to steal his inheritance. Prior to arriving, he stops off to work for a spell at a slaughterhouse, quitting after he “has learned enough.” (These unsettling scenes feature authentic cattle slaying – performed by Verley himself! – and will likely upset animal activist viewers to no end.) From there, the labyrinthian plot unfolds with elements of bondage, incest, and rape, culminating in a twist-upon-a-twist ending that will confound the most sharp-minded (although things do become clearer upon a second viewing – Hint: Keep an eye on the old forest hermit).


The most intriguing – and for some, off-putting – element of Bell from Hell is the lack of anyone to root for, as all the characters are pretty despicable. Hill and Moncada shade Verley’s character as a sociopathic psycho in some scenes, then as a savior in others (as when he rescues a young girl from sexual assault at the hands of four “respectable” men out on a hunting trip). We are obviously meant to identify with John, but witnessing his often sadistic practical jokes on those around him tests our sensibilities. Aunt Marta is film’s villainous heavy, but when John wheels her out into a field and unleashes a swarm of bees while she dozes, one can’t help wonder if the punishment truly fits the crime.


The elder sisters are also of dubious moral character; Maria (Christine Betzner) being a sexual wanton and Teresa (Nuria Gimeno) an uptight conniving lady who falsely testified against John in court (accusing him of attempted rape in order to have him institutionalized). But again, as we watch John dole out his elaborate scheme of vengeance, our sympathies are torn. The closest thing to an “innocent” within the family is Esther (Maribel Martin, familiar to fans from 1969’s La Residencia and 1972’s The Blood Spattered Bride), and even she flirts with incestuous inclinations.


But the film’s artistic merits, especially Hill’s atmospheric visual panache, carry the day. The recurring images of a church bell slowly moving towards town, ultimately raised to its place in the cathedral tower, have a mythic solemnity. The haunting refrains of young girls singing “Frère Jacques” – combined with Moncada’s invocation of Saki’s short story, “The Open Window” – are also quite effective. While there are no supernatural elements on display here, there is an obvious and oppressive Gothic tone that holds sway throughout.


The indelible imagery within the basement of John’s mother’s house – tricked out as a makeshift abattoir – are among the most memorable in European horror. While there is an absence of explicit flesh and blood (save for the unfortunate cattle), the exploitation elements are decidedly in place – the result being a case of art-house sleaze. In a macabre footnote, Hill jumped or fell to his death from the constructed bell tower on the final day of shooting – the footage eventually assembled by his mentor, the uncredited Bardem (whom I suspect is the one responsible for the cryptic motorcycle sound cue at the picture’s close).


On the other other hand, an oft-heard complaint (one that I initially voiced myself) is the obtuse and unsatisfying conclusion of the should-be climactic scenes of revenge. We have anticipated John’s payback the entire picture, yet for Hill to offer up the resolution that he does seems to go against everything the director was building towards. Perhaps the young artist decided that inconclusive was preferable to overt, or perhaps Bardem was working with what he had.


Whatever the case, the final 20 minutes of Bell almost undo all that came before, waylaying our affections for what has gone before. You’ll have to judge for yourself as to how it sits with you; Personally, while initially frustrated, after several viewings I now thoroughly enjoy the film’s ambiguous tone.


In 2005, after years of obscurity and bootleg prints, Pathfinder Home Entertainment released Bell from Hell on DVD, but with unfortunately mixed results. On the plus side, it is presented in a cleaned-up 16x9 Anamorphic letterbox print that looks terrific at first glance. There are English, French and Spanish language audio options, a stills gallery, Spanish opening and closing credits, and an informative essay on the film and its participants by author Chris Desjardins., who repeats much of the same information in his somewhat dry and halting audio commentary.


However, purists beware: Pathfinder’s version is not without its significant flaws. (Many thanks to Video Junkie’s Will Wilson and John Bernhard at Mobius for pointing me in the right direction.) In comparing the UK VHS release to the DVD, one can instantly see that the framing is way off, with the bottom overmatted and a large portion of image missing on the right side of the frame. Also, the on screen title is The Bells, which is a bit odd. But more alarming are the missing three scenes, right around the 47-minute mark, all of which contain pertinent information. On the DVD, the scene of John dancing with Esther cuts to the dinner table sequence. Missing are:

1) a scene of John and Esther horsing around near the beehives

2) a scene with Maria on a swing while John and Esther talk about his sexual history with the older sisters, Esther provocatively adding “I’m the only one left” with a flirtatious glint in her eye. Cut to inside the house...

3) where Aunt Marta says to Teresa, “After the verdict, we’ll sell the house,” illuminating her true intentions, and there is also mention of the locks on the cellar door having been changed. This then cuts to the turtle on the dinner table with the DVD picking up this scene up in progress.

(Oddly enough, Mill Creek Entertainment’s “Chilling Classics 50 Pack” full-frame version retains these scenes intact, though there are obvious trims in the slaughterhouse scenes and, as one might expect, the print and sound are of inferior quality.)

http://www.dvdcompare.net/comparisons/film.php?fid=7130


In conclusion, even in its incomplete state – which is all that seems to be available for the time being – there is much to recommend Bell from Hell, especially for fans of Euro-Shock horror; from Hill’s incredible frame-filling flair to the well-crafted performances across the board to the subversive socio-political commentary. It is unfortunate that its young director met such an untimely end, as his work here seems to indicate a wealth of untapped potential.


Bell from Hell is well-worth seeking out and available now on Amazon streaming or DVD and can be ordered HERE:

https://www.amazon.com/Bell-Hell-Renaud-Verley/dp/B0007GP7HI


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MANDY (2018) Blu-ray review

October 29, 2018, 9:35 am
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Mandy (2018) d. Cosmatos, Panos (USA) (121 min)

Since its premiere at the Sundance Film Festival, everyone seems to be going crazy for this art-house revenge flick from the son of George P. Cosmatos (Rambo: First Blood Part II, Tombstone) starring Nicolas Cage, and while I recognize there is plenty to admire, the overindulgent tone left a wicked aftertaste in my mouth both during and afterwards. With a pulsing, oversaturated color palette and (deliberately) lugubrious pacing, we are introduced to a couple (Cage, Andrea Riseborough) living a blissful existence in the backwoods (he’s a logger, she’s an artist) until a strange traveling cult-in-a-camper led by a long-haired Richard Lynch-looking gent named Jeremiah (an excellent Linus Roache) decides to kidnap Mandy with the help of their motorcycle-riding, escaped-from-the-Hellraiser-franchise Cenobites.


On paper, this all sounds enjoyably wacked-out and proves so in execution, but with too many scenes that go on much, much longer than needed, it becomes clear that we are witnessing an artist so in love with his own creation that he lacks the sense of how much is too much, sacrificing storytelling for the need to show just how Capital V-Visionary he is: We don’t lose ourselves in the story so much as we are entreated to respond, “Wow, this is SOOOOOOO different and unusual and WTF. Nice job, dude.” (Note: I have not yet seen Cosmatos’ debut feature, Beyond the Black Rainbow, but my understanding is that it shares a similar aesthetic.)


It’s also interesting then how the casting of Cage, so decidedly his own (and equally indulgent) onscreen animal, actually steals the focus away from being “A Panos Cosmatos Film” (which it clearly wants to be) to “that new weird Nicolas Cage flick where he’s got that cool chrome axe thingie.” Similarly, and while I try to avoid being prescriptive, judging the film before me instead of the one I might have rather watched, it seems a shame to have missed out on the opportunity to gender-flip the avenging angel roles so as to a) mess with audience expectations by killing off our headlining star and b) give us a clearer variation on a timeworn tale. (And yes, I get that the entire venture is attempting to tweak B-movie revenge tropes.)


If editor Brett Bachman had been allowed a firmer hand – there’s a great 85-minute movie inside the two-hour running time – I might have liked this so much more. What’s funny is that despite the length, there are still so many loose plot points that are never addressed (why Red needs a crossbow that he only uses once, why he has to get it from Bill Duke’s character, why his lumberjack is also an expert avant-garde metal-worker). I know, I know, I already hear the chorus of, “Man, it’s just a movie, just go along for the riiiiiiiide,” and maybe if our erstwhile auteur had spent a little less time wanking and wallowing, I wouldn’t have had time to think of such things because I wouldn’t have been bored out of my mind.


After all, when a friggin’ CHAINSAW DUEL fails to excite, maybe it’s time to take a step back and reassess... or maybe just admit that this ain’t my particular slice of cheese and say, “Hey, more for you, everyone.”


RJLE Films has released Mandy to Blu-ray, with 14 minutes of deleted and extended scenes and a cohesive, well-crafted, 22-minute behind-the-scenes featurette that provides, if not illumination, at least a sense of camaraderie and unified vision by all involved. We hear from Cosmatos, Riseborough (with her lovely natural British lilt), Roache, co-writer Aaron Stewart-Ahn, producers Daniel Noah, Josh C. Waller, and Elijah Wood (yes, that Elijah Wood), learning interesting tidbits like the fact that Cage was originally approached to play the Roache’s role of Jeremiah Sand, that Riseborough was always the director’s first choice, and that that is Belgium of all places standing in for the Pacific Northwest.


Mandy is available on Blu-ray Oct 30 from RLJE Films and can be ordered HERE:


https://us.rljentertainment.com/franchise/mandy/


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THE CHANGELING (1980) Blu-ray review

October 30, 2018, 1:25 pm
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The Changeling (1980) d. Peter Medak (Canada) (107 min)

This stellar haunted house tale usually takes a back seat to the big-budget envisioning of Stephen King’s The Shining, released the same year. But in many ways, Hungarian director Medak’s smaller film, loaded with creepy atmosphere and tightly fashioned suspense sequences, surpasses any axe-swinging histrionics that Stanley Kubrick and Co. dish out.


As grieving composer John Russell, recovering from the deaths of his wife and daughter (a harrowing pre-credits sequence), George C. Scott anchors the picture with a compelling strength and vulnerability. Roused by a murdered child’s spirit in the Seattle mansion where he has retreated, Russell’s utter conviction with which he seeks to uncover the mystery is riveting. There’s also the neat subplot of Melyvn Douglas’ duplicitous politician, whose backstory proves more and more integral to the house’s healing.


William Gray (Prom Night, Humongous) and Diana Maddox have crafted a marvelous script (based on musician Russell Hunter’s story), one that functions not only as a pure ghost story but equally well as a character study charting Russell’s journey back from the abyss of tragedy and loss. Medak, not always a master of subtlety (The Ruling Class, Species II, Zorro the Gay Blade), is absolutely the man for the job, creating and sustaining incredible tension throughout as well as delivering astonishing moments of release. (That séance scene.)


The film made a huge smash at the Genie Awards (Canada’s version of the Oscars), winning Best Picture, Actor (Scott), Actress (Trish Van Devere), Screenplay, Cinematography, Production Design, and two awards for Sound, yet has mysteriously still not achieved the same mythic status as other classic haunted house stories.


Severin Films does a terrific job bringing this oft-overlooked entry to a new audience via its recent Blu-ray release, packed to bursting with delectable side dishes to what is already an immensely satisfying main course. “The House on Cheesman Park: The Haunting True Story of The Changeling” will prove a bit of a revelation (for anyone who has not read Don Sumner’s essay in Hidden Horror) in that, yes, Medak’s movie is supposedly based on real-life events. Denver Film Society’s featurette details the late 1890s conversion of Mt. Prospect Cemetery to the glorious central Cheesman Park (with 2000-5000 bodies still in place at the park’s opening!) and the strange goings-on at Henry Treat Rogers Mansion, located on the edge of the park. (Hunter’s stay at the mansion supposedly inspired his story.)


Cinephile extraordinary David Gregory shares the microphone with Medak and producer Joel B. Michaels (recorded on what would have been George C. Scott’s 90th birthday, October 18, 2017) for an incredibly informative and convivial commentary track, one filled with warm memories for the entire cast and crew, in spite of several challenges, including the fact that the enormous house/set was constructed on a sound stage at Panorama Studios. The famously temperamental star was apparently on his best behavior, except for one occasion where an errant stagehand upended Scott’s in-progress chess game (played against himself), sending him into a rage that lasted the rest of the day.


There are also interviews with music arranger Kenneth Wannberg, art director Reuben Freed, and Mick Garris, who hired Medak to direct the Masters of Horror episode “The Washingtonians,” and capped by “The Psychotronic Tourist: The Changeling,” which takes us on a whirlwind 15-minute tour (hosted by author and genre enthusiast Kier-La Janisse, with Michael Gingold, Ryan Nicholson, Clinton McClung, and Ted Geoghegan doing the actual footwork) of the film’s locations peppered with oodles of background information, some fresh, some familiar from the other extras, and all enjoyably presented in polished and professional manner. A stills/poster gallery and TV/theatrical trailers round out the package.


The Changeling is available now on Blu-ray from Severin Films and can be ordered HERE:

https://severin-films.com/shop/changeling-bluray/


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TALES FROM THE HOOD (1995) Blu-ray review

October 31, 2018, 12:32 pm
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Tales from the Hood (1995) d. Rusty Cundieff (USA) (98 min)

Stack (Joe Torry), Ball (De’aundre Bonds), and Bulldog (Samuel Monroe, Jr.) sneak into the local funeral parlor, seeking to recover a rumored drug stash held by “professional and courteous” mortician Mr. Simms (Clarence Williams III). Before the transaction takes place, however, Simms insists on leading the trio on a tour of the establishment, getting the stories straight from the corpses’ mouths.


This ambitious omnibus from director Cundieff (Fear of a Black Hat) and executive producer Spike Lee fuses elements of horror, comedy, and social commentary, all depicted from an African-American point of view. The script by Cundieff and producer Darin Scott (From a Whisper to a Scream, Stepfather II) tackles numerous hot-button issues within a genre context, including police brutality, domestic violence, racism, and gang violence. As our mysterious organ-playing host, former Mod Squad star Williams steals the show with his over-the-top portrayal, exuding comic zeal and menace from every strand of his Don King hairstyle.


The first tale, “Rogue Cop Revelation,” deals with an idealistic black cop (Anthony Griffith) who witnesses the brutal slaying of a civil rights activist (Tom Wright) at the hands of his racist squad mates (led by professional B-movie heavy Wings Hauser). On the anniversary of the crime, the spirit of our murdered crusader returns for vengeance, spelling plenty of red for the white in blue.


The next story, “Boys Do Get Bruised,” concerns an abused young boy (Brandon Hammond) who blames his frequent bruises upon the “monster in the closet” (David Alan Grier, playing well against comic type in an unsympathetic role). When a kindly schoolteacher (Duane Whitaker) attempts to intervene, the stage is set for a slippery, voodoo-inspired showdown, with Paula Jai Parker caught in the middle as the boy’s conflicted mother and enjoyably twisted effects by Screaming Mad George (who also provided the wraparound segment's final monster moment).


In a yarn all-too-relevant in today’s political climate, the third offering, “KKK Comeuppance,” features an unrepentantly racist candidate (Corbin Bernsen, in a turn clearly modeled on Klan leader David Dukes but who might remind viewers of a certain current U.S. president) who inadvertently incurs the wrath of the spirits of murdered slaves in the form of bloodthirsty dolls. Brought to life through the Chiodo Brothers’ stop-motion animation, these pint-sized terrors are quite memorable and vicious, but no more upsetting than Roger Guenveur Smith as Duke’s black image-maker, working against his own people’s interest.


A violent gang member’s (Lamont Bentley) attempted rehabilitation is the subject of the final chapter, “Hard Core Convert,” a combination of A Clockwork Orange and Boyz N the Hood, with Rosalind Cash (The Omega Man, Death Spa) malevolently authoritarian as program head “Dr. Cushing.” The historical imagery flashed before our test subject’s eyes, with newspaper clippings of lynchings, KKK rallies, and burning crosses married to contemporary sequences of black men shooting black men, prove admittedly tough to watch. But then again, that’s the point and Cundieff is not about to let anyone off the hook.


While the social angle is none too subtle and the onscreen brutality occasionally overwhelms the sense of fun that Cundieff appears to be striving for, the film remains an accomplished injection of diversity into a notably pale genre.


Hood makes its high-definition debut courtesy of Shout! Factory in a Collector’s Edition packed with gruesome goodies. Cundieff and Scott reunite for a good-natured and reflective audio commentary, layering in behind-the-scenes memories with the challenges of bringing their politically charged genre effort to light. There’s also Thommy Hutson's handsomely produced, hour-long making-of documentary, “Welcome to Hell,” assembling many of the major players before and behind the camera, with a pair of TV and theatrical trailers topping things off.


Tales from the Hood is available now on Blu-ray from Shout! Factory and can be ordered HERE:

https://www.shoutfactory.com/product/tales-from-the-hood-collector-s-edition?product_id=4806


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HALLOWEEN (2018) movie review

November 1, 2018, 11:55 am
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Halloween (2018) d. David Gordon Green (USA) (106 min)

Truth be told, I have never been a huge fan of the Halloween franchise. Like most horror fans (and cinephiles in general), I hold the original in high esteem both for its skillful execution on a minimal budget and its lasting effectiveness despite an endless stream of imitators, but I never really bought into the “Strode-Myers-Lloyd-Thorn Family Curse” storyline introduced in Halloween II and extrapolated over another three decades. The key to Halloween ’78 was its brilliant combination of the simple and the mythic, the commonplace and the unimaginable, with a spritz of supernatural flavoring its final moments.


Unlike many of my brethren, I didn’t care what else Michael Myers got up to after he disappeared from the Strode’s front lawn – the shivers arose from the fact that He Was Still Out There. The sequels that followed seemed occupied with Michael playing in the same extravagant body-count/creative-kill sandbox as his brutish cinematic cousin Jason Voorhees, as well as endlessly attempting to explain Unexplainable Evil. For the record, I did enjoy Halloween H20: 20 Years Later because it ignored the previous five sequels and brought things back to basics, with a frightened, alcoholic, and still-traumatized Laurie Strode finally facing her greatest fear via a well-told storyline and an extremely satisfying (for me) finale. The less said about Halloween: Resurrection which, among its many other crimes, undid said finale, the better. And while I know Rob Zombie’s iterations have their myriad defenders, I am not one of them.


Which brings us to Halloween (2018).

First off, it should be acknowledged that Green and his creative team have taken on an inherently challenging endeavor – there was no way to please everyone considering the franchise’s already divisive fanbase. Credit must be given then considering that (for the most part) the film works relatively well, with Easter egg-type nods to the 1978 original that don’t feel overly cute or slavish while still attempting to deliver a 21st century slasher for a 21st century general audience. After all, let’s not fool ourselves: the underlying reason to revive the series is to MAKE THAT SWEET, SWEET MONEY. Universal Studios, Miramax, and Blumhouse all share “presenting” credits and there are no fewer than 15 producers listed in the credits. A lot of people were praying for a payday on this one, and I can’t imagine they aren’t pleased with the results ($135 million domestic and counting after three weeks, from a production budget of $10 million).


The basic plot, as devised by co-screenwriters Danny McBride, Jeff Fradley, and Green (and which eliminates all references to previous Halloween films save the original), is as follows: Michael Myers, captured hours after taking his balcony tumble with Dr. Loomis’ six slugs in his chest, has been returned to Smith’s Grove Mental Hospital where he has resided for the past 40 years. As fate would have it, he is slated to be moved to another facility (on October 30), leaving his current caretaker, Dr. Sartain (Haluk Bilginer), chagrined at losing his patient.


Meanwhile, Laurie Strode (Jamie Lee Curtis, steely under a stringy white wig), still scarred from the events of that fateful October night, has retreated from society and now spends a hermit-like existence just outside Haddonfield, having assembled a small arsenal of firearms for protection in the meantime, should her assailant ever show his Shatner-masked face again. These plot points are clumsily revealed via the interactions of two “investigative reporters” (Rhian Rees, Jefferson Hall) who apparently still think there is an audience for a decades-old murder spree that claimed four, count ’em, four people total. (I mean, YAWN.) We also learn that Laurie has an estranged daughter Karen (Judy Greer) and an honor-role granddaughter Allyson (Andi Matichak) with whom she maintains a covert relationship.


It’s no great spoiler to say that the hospital transfer does not go as planned and Michael (played primarily by James Jude Courtney, with occasional work by the original Shape, Nick Castle) is soon terrorizing Haddonfield’s sleepy streets. Why he feels obliged to once again take aim at the Strode clan is still a mystery, though it could just be that he’s annoyed at the “one that got away,” and the reacquisition of his trademark navy blue jumpsuit and mask are wildly convenient at best, but Green is trying to play fair yet still give the people what they want, so such sticking points are best let go.


The biggest difference between 1978 Michael and 2018 Michael is rather than relying on surprise and sneaking up behind people with a sharp knife, this time around our 60-year-old killer is blessed with superhero-level strength, able to shatter skulls and destroy squad car interiors without breaking a sweat. (I guess they forgot to mention his extensive workout routine or Smith’s Grove’s expert team of personal trainers.) I lost track of how many times Michael smashes someone’s head against an immovable object, but they are manifold and myriad.


This aspect of our antagonist seems mostly inspired by the Zombie films and/or the F13 franchise, or it could just be that this is what Green thinks today’s horror fans need and want, and I’m not sure he’s wrong about that. It’s inconsistent, but maybe it’s right. The nasty bits are indeed nasty (the gas station sequence delivers several memorable images), and it’s far better than watching Tyler Mane attempting to punch through people with his knife hand.


There are several attempts at overt comedy, some of which work and some feel like bits that McBride, Green, and Fradley fell around the room laughing at themselves and then should have scrapped. But most of these seem character-based and none are deal breakers, so I’m willing to give it a pass, considering the film (correctly) takes itself seriously much of the time. Speaking of character, it’s worth mentioning that while we don’t spend a lot of time with our cannon-fodder supporting cast, most of them manage to make an impression, no small feat indeed. Among these, Will Patton fares best as Officer Hawkins, a weary Haddonfield badge who was present when they apprehended Myers in 1978 and still remembers who he’s dealing with.


One would be remiss to mention that John Carpenter (with his son Cody and collaborator Daniel A. Davies) returns to deliver an amped-up version of his original theme, along with a number of satisfying musical cues and stings. Say what you will about the old cuss: he’s still got it.


Ultimately, Halloween (2018) is 100 minutes of Michael Myers killing a crap-ton of people in graphic fashion en route to the inevitable showdown with Grandmother Strode and brood at her Haddonfield compound and on those points, it delivers. The three lead female characters have strength and flaws in equal measure, and it’s heartening to see them face their bloody fate without the aid of a heroic male dashing up the stairs with a revolver. (This time, the sisters are doing it for themselves, and that’s as it should be.) There are certainly quibbles to be had in terms of character motivation/action and pure plot contrivances but nothing so flagrant as to take me out of the story, and while I wished the filmmakers had had the courage to conclude their story with a legitimate conclusion (a la H20), I understand their rea$$$ons for choo$$$ing not to.

7/10


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2018 SCARE-A-THON FINAL RESULTS!!!

November 2, 2018, 9:30 am
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And that, friends and fiends, brings us to the end of yet another OCTOBER HORROR MOVIE CHALLENGE and Scare-A-Thon 2018!

As always, the Challenge itself is to watch (at least) 31 fright flicks over the course of those glorious 31 days that make up the month of October, 16 of which must be first time views. I am happy to report that we have accomplished that lofty goal and that along the way, thanks to the generous hearts and minds of fans like you, over $2000 has been raised for Resilience (formerly Rape Victim Advocates) with additional funds still coming in. (The Scare-A-Thon 2018 fundraising site will remain open for another week, so if you are so inclined…)

https://resilience.salsalabs.org/supportresilience/p/scareathon/index.html

My thanks to everyone who participated in some way, whether it be reading the reviews, making a contribution, watching alongside, or just stopping by to chat here or on Facebook. It makes the long nights go by so much easier knowing that one’s efforts are noticed and appreciated. Hope you have found a few new suggestions for future movie nights along the way.

Below are the 31 “official” features viewed (with links to the full-length reviews), as well as 14 additional titles receiving the capsule treatment. (Only so many hours in the day!) Beyond that, there are a bevy of additional factoids you might get a kick out of… or at least feel better about your own OCD tendencies.

Enjoy!

Challenge Stats:
Total Movies Watched: 45 films
First Time Views: 17
Scare-A-Thon Pledges/Donations to date: $2007

Bonus Stats:
Total Time: 3872 min
Average Length: 86 min
Longest Movies: mother! (122 min), The Killing of a Sacred Deer (121 min)
Shortest Movies: Curse of the Cat People (70 min), The Old Dark House (72 min)
Oldest Movie: The Lodger (1927)
Newest Movie: Halloween (2018)

Movies Watched Solo: 28
Commentary Tracks: 12

Sources:
Blu-ray/DVD review screeners: 16
Cinema: 10
Public Library: 7
Personal Library: 7
Streaming Services: 2
Borrowed from Friends: 2
Redbox: 1

Favorite Discoveries:
mother!, The Killing of a Sacred Deer, Blood Beat

Favorite Revisits:
Ginger Snaps 2, Raw, [Rec], [Rec]2, The Old Dark House, Goke: Body Snatcher from Hell, Wicked Wicked, Bell from Hell, The VVitch, The Changeling, Creature from the Black Lagoon

Sequels: 12
(Ernest Scared Stupid, [Rec]2, [Rec]4, Howling IV, Grave Encounters 2, Survival of the Dead, Curse of the Cat People, Ginger Snaps 2, Sleepaway Camp II, Resident Evil: The Final Chapter, Revenge of the Creature, Creature Walks Among Us)

Remakes: 2
(The Grudge, House on Haunted Hill)

Anthologies: 3
(Ghost Stories, Trick ‘r Treat, Tales from the Hood)

Based on Videogames: 2
(Rampage, Resident Evil: The Final Chapter)

Most Viewed Directors:
Jaume Balaguero (3), Paco Plaza (3), Jack Arnold (2)

Countries Represented: 10
(USA, UK, Ireland, France, Belgium, Canada, Japan, Spain, Brazil, New Zealand)

SUBGENRES:
Psycho Killers 7
Ghosts/Hauntings 8
Religious Horror (Satan/possession/demons) 3
Science Gone Awry 2
Monsters 5
Animals Attack 0
Psychic Powers 1
Vampires 2
Killer Kids 1
Zombies 7
Enemies from Space 1
Cannibals 1
Werewolves 2
Scary Clowns 1




THE "OFFICIAL" CHALLENGE FILMS (with links to full-length reviews):

1. RAW

2. RAMPAGE

3. ERNEST SCARED STUPID

4. MOTHER!

5. SURVIVAL OF THE DEAD

6. THE HOWLING IV: THE ORIGINAL NIGHTMARE

7. GRAVE ENCOUNTERS 2

8. [REC]

9. THE OLD DARK HOUSE

10. THE CURSE OF THE CAT PEOPLE

11. CLUB DREAD

12. THE BRIDE

13. GOKE: BODY SNATCHER FROM HELL

14. THE MAFU CAGE

15. THE CHILDREN

16. GHOST STORIES

17. CHILD EATER

18. AS ABOVE, SO BELOW

19. NEITHER THE SEA NOR THE SAND

20. RESIDENT EVIL: THE FINAL CHAPTER

21. TRICK 'R TREAT

22. STIGMA

23. BLOOD BEAT

24. CREATURE FROM THE BLACK LAGOON

25. [REC] 4: APOCALYPSE

26. THE DEVIL LIVES HERE

27. BELL FROM HELL

28. MANDY

29. THE CHANGELING

30. TALES FROM THE HOOD

31. HALLOWEEN (2018)




AND THE REST! (capsule reviews)


[Rec] 2 (2009) d. Balaguero, Jaume / Plaza, Paco (Spain) (2nd viewing) (85 min)

A great follow-up, one that deepens and expands upon the virus’ mythology in completely unexpected ways that don’t conflict with the original’s concept.





Gags (2018) d. Krause, Adam (USA) (2nd viewing) (89 min)

Attended the Green Bay premiere, which was something special considering the entire film centers around “Gags the Green Bay Clown.” Great crowd, great fun.





Ginger Snaps 2: Unleashed (2004) d. Sullivan, Brett (Canada) (2nd viewing) (94 min)

Another fantastic sequel, never feeling like a retread but instead striking out in a different direction than imagined without ever feeling like it’s not a completely justified storyline. Extra points for an early performance from Orphan Black’s Tatiana Maslany as the weird and magnetic Ghost.





The Lodger: A Story of the London Fog (1927) d. Hitchcock, Alfred (UK) (3rd viewing) (68 min)

While I still favor John Brahm’s 1944 telling of the story with Laird Cregar, Hitchcock does a fine job building and sustaining our interest, wondering whether our hero is in fact our killer. (Music Box of Horrors)





Sleepaway Camp II: Unhappy Campers (1988) d. Simpson, Michael A. (USA) (3rd viewing) (80 min)

Watching it at 5am, I enjoyed it slightly less this time around, but still consider it the best of the SC franchise. (Music Box of Horrors)

(Full Blu-ray review can be found HERE.)





Body Melt (1993) d. Brophy, Philip (New Zealand) (2nd viewing) (81 min)

This zany New Zealand tongue-in-cheek critique of the health/fitness industry never quite approaches the dizzy heights of countryman Peter Jackson’s early efforts; time and again, just when it seems like a scene is building up to a big explosive, messy, melting climax, it fizzles out. It’s still gooey fun, but not as gooey or fun as it should be. (Music Box of Horrors)





Wicked, Wicked (1973) d. Bare, Richard L. (USA) (3rd viewing) (95 min)

Shot in “Duo-Vision,” this high-spirited psycho killer movie employs the split-screen technique not for a few simple scenes, but for the entire running time! Goofy and campy and marvelous on the big screen among the faithful. (Music Box of Horrors)





House on Haunted Hill (1999) d. Malone, William (USA) (2nd viewing) (93 min)

Malone’s remake of the William Castle classic is performed to the hilt by a great ensemble (Geoffrey Rush, Famke Janssen, Peter Gallagher, Ali Larter, Jeffrey Combs, Taye Diggs, and Chris Kattan) with some killer practical effects that are so effectively polished… they look like CGI. Hmmmm.

Available now from Shout! Factory:

https://www.shoutfactory.com/product/house-on-haunted-hill-collector-s-edition?product_id=6860





The Killing of a Sacred Deer (2017) d. Lanthimos, Yorgos (UK/Ireland) (1st viewing) (121 min)

Still wrapping my head around this one. It’s an incredible horror film that knows it’s a horror film but keeps mischievously acting like it’s not a horror film. Discomfiting and disturbing throughout.





Revenge of the Creature (1955) d. Arnold, Jack (USA) (3rd viewing) (82 min)

Otherwise known as “the other half of the King Kong story we were telling.” Always enjoyable. Would love to see the original and this as a double bill on the big screen in 3D.





The Mothman Prophecies (2002) d. Pellington, Mark (USA) (2nd viewing) (118 min)

Having just spent six weeks in West Virginia and visiting the Mothman Museum in Pt. Pleasant on the way home, this was a must-see this month. Extra points for creating a cohesive script from John Keel’s rambling book by the same name.





The Creature Walks Among Us (1956) d. Sherwood, John (USA) (3rd viewing) (78 min)

The one where the Creature inexplicably looks like a football lineman, wears man-clothes, and gets his gills swapped out for lungs. The monster parts are fun, and the melodrama between Jeff Morrow and Leigh Snowden as his sassy wife is fun for another reason.





The Grudge (2004) d. Shimizu, Takashi (USA) (3rd viewing) (91 min)

I remembered this being a genuinely effective and scary remake of Shimizu’s own Ju-On. On a revisit, it’s… fine.





The VVitch (2015) d. Eggers, Robert (USA) (3rd viewing) (92 min)

Brilliant film, made all the more brilliant by getting to watch it on the big screen as part of DePaul University’s annual “Horror of the Humanities” program, hosted by the brilliant Peter Steeves. Oh, and brilliant writer/director Eggers showed up as well for a Q&A! Brilliant!




DOCUMENTARIES:


Halloween: A Cut Above the Rest (2003) d. Smith, Stephen (USA) (2nd viewing)

Watched in prep for the new David Gordon Green release. Sterling, insightful examination of a groundbreaking flick.





John Carpenter's The Thing: Terror Takes Shape (1998) d. Matessino, Michael (USA) (1st viewing)

Imagine a world in which this had been the enormous hit it deserved to be and Carpenter went on to be one of our most influential and successful directors across all genres. I know, right?




CIVILIAN:


Eighth Grade (2018) d. Burnham, Bo (USA) (1st viewing)

Got to watch this in the cinema with an actual group of 8th graders there on a field trip. The squirm factor was palpable and amazing. Highly recommended.


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SUSPIRIA (2018) movie review

November 13, 2018, 11:07 am
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Suspiria (2018) d. Luca Guadagnino (Italy/USA) (152 min.)

When I heard that Dario Argento’s masterpiece concerning a coven of witches holding sway over an acclaimed German dance academy was being remade, I was not overly offended due to the fact that the 1977 film is so very much an exercise in style and WTF-ery. Like the ballet school at its center, the movie’s framework is but a front, an opportunity to let imagination run wild and not concern oneself with plot or character so much as the next eye-popping set-piece waiting in the wings. No one was going to try to out-Argento Argento, so I was looking forward to seeing what the inherent black magic plotline might entail.


Unfortunately, this iteration of Suspiria and its creators clearly want so badly to be taken seriously as a film tres prestigieux that it forgets its true purpose: maintaining interest and entertaining viewers. Yes, there are memorable moments amidst the handsome production values, but the glacial pacing, meandering narrative, and distant performances kept the phrase “art-house twaddle” reverberating in my head. As fascinating a performer as Tilda Swinton is, she’s given little to do in the key role of Madame Blanc except fix her unwavering gaze upon her lithe and limber charges, intoning abstruse lines with great import. As Susie Bannion, our ostensible lead, Dakota Johnson tries in vain to be mysterious, instead coming off as a shallow and empty vessel (no wonder the witches want her); perhaps that’s what Guadagnino was going for, but it doesn't make it any more compelling for the audience.


Akin to Mandy, i.e. that other exercise in self-indulgence currently earning a lot of goodwill amidst the horror faithful, there is a praiseworthy two-hour movie to be culled from the 152-minute running time. (Say what you will about Argento’s nonsensical plotting and bizarre touches, his picture MOVES.) Any sense of tension is dissipated by scenes that all go on… and on… and on. Even the scenes of horror (yes, there are a few) become redundant, losing all dramatic power, stretched out and saggy like an overused rubber band.


Then there’s the Dr. Klemperer character.


Since screenwriter David Kajganich elects not to have Susie attempting to uncover the mystery from within the academy, a “detective” character is required, one attempting to reveal what's happening for the audience’s sake. Presumably by design, our “hero” here is a feeble old man, whom we suspect may not be up to the task at hand. After all, he can barely get down the street with his shuffling, limping gait. Nevertheless, he’s all we’ve got, so we align our sympathies and hope for the best. In a shorter, tighter-edited version of the piece, such dramatic tension might actually pay off. But since Guadagnino is in no great hurry and Kajganich is busy weaving other threads, we forget that Klemperer is even carrying on an investigation until the film cuts back to him and reminds us: “Oh, that’s right. He’s still in the movie.”


There is some emotional weight to be gleaned from Klemperer; we are intended to empathize with his efforts to do a good thing, atoning for his lack of action in the past (oh, yes, there is backstory and lots of it), but the pacing does us no favors in this regard. One might wonder, “Why are we giving so much attention to this seemingly incidental character,” to which I offer the two-word reply: “Stunt. Casting.” (I’ll let you figure that one out on your own, since it was one of the few surprises to be had, but if you’ve been following the internet at all, you probably already know what I’m talking about.)

Art. House. Twaddle.

Meanwhile, it's never shown what the hell our witches are actually doing, if they are good or bad, etc. They simply seem to be preoccupied with being witches (and dining in restaurants, drinking wine, and occasionally in-fighting about who's running the show). In a 2.5 hour movie, it might be helpful if at some point we know what the intent of our focal group of dramatic characters is, i.e. WHAT THEY WANT. By comparison, I don't know that we know what they are doing in the Argento flick, but we at least have dogs tearing people's throats out and rooms full of razor-wire to distract us.


Again drawing comparisons to Mandy, I think Suspiria 2018 is a movie with much to appreciate on repeat viewings (and to be fair, it took me several to “get” the original), with expectations properly managed and knowing what one is in for. On a first go-round, however, it simply feels like too many tiers on an epic wedding cake, designed to impress and mystify rather than satisfy.


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Fool's Views (11/1 - 11/12) (with Turkey!)

November 14, 2018, 7:34 am
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Who's hungry?

Welcome back, everyone!

Usually, my November reports start off with the obligatory, “After the madness that was October…” but this year actually wasn’t too bad. Maybe I’m finally starting to get the hang of this Scare-A-Thon thing after nearly a decade? Thanks to everyone for their incredible support – financial and emotional – and looking forward to next year already.

Perhaps due to the lack of burnout or maybe it was just the caliber of Blu-ray and DVD screeners coming my way, but I felt inspired to attempt a new Challenge for the month. As longtime readers know, November has been the occasion for the watching of many a Turkey, particularly on the Friday following Thanksgiving aka Turkey Day at Kitley’s Krypt, which will be celebrating its 16th annual outing this year and I hear the line-up is a doozy. Back in the days of the IMDb horror message boards (R.I.P.), there used to be something called the Annual Turkey Hunt, where participants watched as many bad horror flicks (with a 4.0 rating or lower) as possible, with additional points for trifectas (watching three or more films from the same low-grade director).

I have not done the Hunt for years, due to the fact that the 4.0 rating scale is no longer a reliable indicator for finding a true Turkey. For me, there is still an intrinsic “quality” rating scale based on actual moviemaking competence, which does not have a correlation to the inherent “awesomeness” that a flick might have thanks to its INcompetence. The Giant Claw (4.3) and Dracula, Prisoner of Frankenstein (4.2) are not “good” movies by any stretch, but they are AWESOME Turkeys. So, rather than agonizing through truly bad (which usually means boring) flicks, I’m electing to enjoy a month of “so bad its good” material, as well as the usual assortment of “legit” Horror and Civilian stuff as well. Hope you dig.

Enjoy!

HORROR:


The Addiction (1995) d. Ferrara, Abel (USA) (3rd viewing)

Intellectually stimulating vampire flick shot in sterling black-and-white in and around Ferrara’s NYC stomping grounds has a lot going for it, although decidedly cerebral in its approach despite the primal desires on display. Screenwriter Nicholas St. John is more interested in exploring survivor guilt and communal sin than stakes and hammers as we follow philosophy doctorate candidate Lili Taylor struggles with her newfound need for the red stuff following an encounter with vampiress Annabella Sciorra. Released the same year Larry Fessenden’s Habit and covers similar metaphorical terrain (as the “hooked” titles might indicate), though the stylistic approaches are different enough to make for a very satisfying double feature. Available now on Blu-ray from Arrow Video, with audio commentary and retrospective interviews with the cast and crew.

https://mvdb2b.com/s/AddictionThe/AV152





Cabin Fever (2016) d. Z, Travis (USA) (1st viewing)

On the making-of doc, the producers come right out and say it: “We felt like there wasn’t any more money to be made with doing another sequel, so we decided, ‘Why not just go back and remake the original?’” I mean, there you have it, in case you were wondering. The unfortunate thing (well, the first thing of many) is that no one seems to have any interest in doing anything new with the premise – it’s very nearly a scene-for-scene retread, with a slightly less-comic bent and minus the marquee value of Rider Strong. The gore effects are actually less impressive, the acting less authentic, the surgically enhanced boobs less tantalizing, the direction more perfunctory, with more money going into executive producer Eli Roth’s undeserving pockets. It’s not the worst thing in the world, but it’s one of the least necessary. Available now on Blu-ray from IFC Midnight and Shout! Factory.

https://www.shoutfactory.com/product/cabin-fever?product_id=4668





Entrails of a Virgin (1986) d. Komizu, Kazuo 'Gaira' (Japan) (1st viewing)

This one has been on my “to-watch” pile for a while, but with a title like that, the time never seemed exactly appropriate. Finally sat down with it and, yep, wow. The basic plot follows the subjects and crew of a sexy photo shoot to a secluded cabin for a little post-show nibbling and nonconsensual necking (and, um, actual wrestling, complete with pile drivers). After about 30 minutes of squirm-inducing softcore action, a mud-covered giant shows up and tears everyone to pieces using various anatomical appendages. It’s as insane and oogey as it sounds, and not one to watch with the kids. Or the parents. Or, well, anyone.





Paranormal Activity: The Ghost Dimension (2015) d. Plotkin, Gregory (USA) (1st viewing)

It’s funny how the PA series, which started off so simple and effective, has evolved into a special effects-heavy soap opera tangled up in its own labyrinthine demonic mythology. In its sixth installment, we’ve now got an ancient VHS camcorder that allows us to see the activity through its lens, discovered by a new family in the same house where the original shenanigans took place and with their little daughter the target of the malevolent forces. Total junk-food horror, polished and pre-digested for easy consumption.





Sleepwalkers (1992) d. Garris, Mick (USA) (1st viewing)

I had never heard anything positive about this slice of shapeshifting ’90s cheese until my pal Gavin Schmitt vehemently declared that it was wholly underrated and well worth my time. Um, no. So much morphing and underwhelming latex in the service of a bizarre (and incestuous) mother-and-son team (Alice Krige, Brian Strause) of kinda sorta vampires who have their eye on cute girl Madchen Amick for their next meal. The last 15 minutes are entertaining in their sheer insanity, but the rest so lame and/or dumb, it got me wondering just how the hell Mick Garris ever convinced anyone (especially Stephen King, who wrote the original screenplay, his first not based on any pre-existing material) that he was the man to bring King’s oeuvre to life over and over again. (The Stand, The Shining, Riding the Bullet, Desperation, Riding the Bullet, Quicksilver Highway, etc.), much less be considered a “Master of Horror.” And yet, here we are. Available now on Blu-ray from Shout! Factory, with commentary and interviews with Garris, Krige, Krause, Amick, and effects man Tony Gardner.

https://www.shoutfactory.com/product/sleepwalkers-collector-s-edition?product_id=6878





Suspiria (2018) d. Guadagnino, Luca (Italy/USA) (1st viewing)

***CLICK HERE FOR FULL MOVIE REVIEW***




TURKEY CHALLENGE 2018


Attack of the Killer Tomatoes (1978) d. De Bello, John (USA) (2nd viewing)

Inspired by the enjoyably silly sci-fi classics of the 1950s, this scattershot effort predates Airplane in terms of the absurdist, joke-a-second approach to laughs and, for the first 30 minutes, it’s surprisingly strong. Then we realize that there’s only so much mileage you can get out of murderous foodstuffs and the strain starts to be felt. Remember folks: Dying is easy, comedy is hard, it’s always good to have a killer third act in your back pocket, and “Puberty Love” ain’t it. Available now on Blu-ray from MVD Rewind.

https://mvdb2b.com/s/AttackOfTheKillerTomatoes2DiscSpecialEdition/MVD0703BR





Return of the Killer Tomatoes (1988) d. De Bello, John (USA) (1st viewing)

But wait, there’s more? To producer/director De Bello’s credit, he does take the story in a wildly different direction, one with a stronger narrative and less sight gag-based. He’s also got a stronger cadre of acting talent, in the form of veteran John Astin (playing a kooky mad scientist with a kooky mad plan for converting tomatoes into supersoldiers), Anthony Starke, the gorgeous Karen Mistal (as one of Astin’s early successes), and some young punk named George Clooney playing Starke’s wisecracking best friend. Available now on Blu-ray from Arrow Video.

https://mvdb2b.com/s/ReturnOfTheKillerTomatoes/AV057





Deadbeat at Dawn (1988) d. Van Bebber, Jim (USA) (1st viewing)

Van Bebber first came to my attention with his stellar experimental film/biopic The Manson Family, but this was his true calling card, a no-budget action flick where our writer-director-producer-star literally risks life and limb performing all manner of stunts and combat sequences in service of a story about a lowlife gang member trying to quit the life (which is tough to do when you’re also looking to avenge the death of your lady love). The grit and enthusiasm on display more than counterbalance the dialogue and plot’s rough edges. Available now on Blu-ray from Arrow Video.

https://mvdb2b.com/s/DeadbeatAtDawn/AV160





Lady Terminator (1989) d. Djalil, H. Tjut (Indonesia) (2nd viewing)

Dammit, this is more fun than any unabashed Terminator rip-off ought to be. Our muscle-bound cyborg killer from the uncertain future is transformed into a beautiful lady possessed by the spirit of the Queen of the South Seas, but beyond that, James Cameron’s script and storyboards are readily identifiable and that’s half the fun. Watching the frequently nude Barbara Anne Constable shoot up a discotech, chase her quarry down a highway in a cop car, turn a police station into a slaughterhouse, perform makeshift surgery on her own injured eye, etc. is one of life’s great joys, matched only by the robust-yet-tone-deaf line readings of our hero Christopher Hart (doing his best Michael Biehn) as he attempts to rescue our fair damsel-in-distress Claudia Angelique Rademaker. “Get the Panzer!” Hell, yes. Available on DVD from Mondo Macabro.

https://mondomacabro.bigcartel.com/product/lady-terminator





Night of the Lepus (1972) d. Claxton, William F. (USA) (2nd viewing)

Yep, it was only a matter of time before someone decided to make a giant killer rabbits movie. Thank god it was in our lifetime and they found enough money to convince actual Hollywood actors like Janet Leigh, Rory Calhoun, Stuart Whitman, and DeForest Kelley to partake in the madness. The effects consist of a few miniatures next to the stampeding slo-mo bun-buns and a whole lot of straight faces. Shout! Factory’s Blu-ray release is highlighted by two stellar commentary tracks by animals attack enthusiast Lee Gambin and pop culture historian Russell Dyball. Thumping good times.

https://www.shoutfactory.com/product/night-of-the-lepus?product_id=6743





Shocking Dark (1989) d. Mattei, Bruno (Italy) (1st viewing)

Remember that Indonesian Terminator rip-off you just read about? Well, this is the Italian Aliens/Terminator mash-up that you didn’t know you were missing in life. It’s not quite as much fun as Lady Terminator, but it’s just as derivative. One has to wonder what James Cameron’s lawyers were doing in 1989, because they must have been either really busy or really busy getting fired for letting these slip through the cracks. Available now in a fantastic high-definition presentation from Severin Films that includes interview with screenwriter Claudio Fragasso and Demons actress Geretta Geretta (who plays our badass “Vasquez”-type role here).

https://severin-films.com/shop/shocking-dark-bluray/





Sledgehammer (1983) d. Prior, David A. (USA) (1st viewing)

I mean, who doesn’t want to watch a completely nonsensical shot-on-video (SOV) slasher flick where the masked killer uses a big freaking hammer and can disappear and reappear at will? Oh, and there’s an epic co-ed food fight? And Ted Prior (Deadly Prey) takes his shirt off over and over again? Sign me up. Intervision/Severin give this turd the shiniest polish job you could ask for with two audio commentaries (one with Prior, the other with Bleeding Skull lads Joseph Ziemba and Dan Budnik) as well as an appreciation by Destroy All Movies!!! author Zack Carlson. You might need this in your toolbox.

https://severin-films.com/shop/sledgehammer-dvd/




CIVILIAN:


Days of Thunder (1990) d. Scott, Tony (USA) (2nd viewing)

“Hey, Tony, can we do Top Gun again, but with race cars this time?” “Sure, Tom, we can do that. You mean with the whole hotshot rises to the top, has a crisis of confidence, and then comes back to win it all in the final reel?” “Yeah, that. Is Hans Zimmer busy?” “Yeah, but we’ll just use the same score and use a very young and attractive Nicole Kidman to distract people.” “Oh, she’s cute. Maybe I’ll marry her. Do you think Randy Quaid, Robert Duvall, and Michael Rooker can be convinced to come aboard?” “Sure. Bruckheimer and Simpson are loaded and they owe us a favor.” “Oh, and get Cary Elwes to play the Val Kilmer part.” “But he’s terrible.” “Yeah, but he makes me look good.” “True.” “Cool. See you at the track.” “K, bye.”





Dear White People (2014) d. Simien, Justin (USA) (1st viewing)

I’m going to be that pale privileged guy who says how insightful and smart and edgy this flick was without having any real idea what the black experience is and comes off like a total woke poser, but I really liked it anyway.





Holy Motors (2012) d. Carax, Leos (France/Germany) (1st viewing)

In a film that is equal parts stunt and showcase, Denis Lavant is astonishing as an “actor” who plays roles in various people’s lives, transforming his appearance with latex, wigs, beards, etc., showing up for the important “scenes,” playing his part, then exiting to the next gig. Edith Scob (Les yeux sans visage) plays his trusty and dignified limousine driver, with marvelous support from Kylie Minogue, Eva Mendes, and Elise Lhomeau. Perhaps longer than it needs to be to make its point(s), but the effort is appreciated.





Reds (1981) d. Beatty, Warren (USA) (2nd viewing)

Bringing the story of journalist Jack Reed to the screen was no one’s idea of a blockbuster, but producer-director-star Beatty was at the height of his popularity and decided to cash it all in on an artistic gamble that earned him an Oscar for Best Director and two more for Maureen Stapleton (supporting actress) and cinematographer Vittorio Storaro. With Diane Keaton, Jack Nicholson, Edward Herrmann, Paul Sorvino, M. Emmett Walsh, Jerzy Kozinski, George Plimpton, Gene Hackman, and many others.





Shotgun Stories (2007) d. Nichols, Jeff (USA) (1st viewing)

Nichols’ (Take Shelter) debut feature packs a surprising punch tracking the simple lives of two warring lower-class families in small-town Oklahoma. Michael Shannon leads a cast of unknowns with unshowy grace and simmering rage.





Time Bandits (1981) d. Gilliam, Terry (UK) (2nd viewing)

The story may rest on the diminutive shoulders of a young boy (Craig Warnock) and a rowdy band of would-be robbers comprised entirely of dwarves (led by David Rappaport, Jack Purvis, and Kenny Baker), but the real fun is in the smirking supporting cast (John Cleese, Sean Connery, Michael Palin, Shelley Duvall, Ian Holm, Katherine Helmond, Ralph Richardson, and David Warner) having a grand old time in their walk-on roles. High-spirited fun that almost loses its verve in the final act but sticks the landing. Keep eyes open for a young and thin Jim Broadbent as the TV show host.


2018 Totals to date: 265 films, 170 1st time views, 122 horror, 33 cinema


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THE UNNAMABLE (1988) Blu-ray review

November 18, 2018, 9:38 am
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The Unnamable (1988) d. Jean-Paul Oulette (USA) (88 min)

Adapted from H.P. Lovecraft’s short story of the same name, writer/producer/director Oulette offers a slight variation on the standard “monster in the old haunted house” saga, mostly by virtue of its source material. Set at our author’s favorite bastion of higher learning, Miskatonic University, students Joel (Mark Parra), Randolph Carter (Mark Kinsey Stephenson), and Howard Damon (Charles Klausmeyer aka Charles King) discuss the legend of the strange goings-on at the residence of suspected warlock Joshua Winthrop (Delbert Spain). It seems Carter’s ancestor was the priest who discovered Winthrop’s body with his heart torn out by a strange, “unnamable” creature whose image is supposedly burned into the glass of the attic window.


After doubting Joel is dared to spend the night in the house (and is messily disappeared for his troubles), the narrative shifts to Howard, whose concerns now waver between trying to locate his comrade and securing the affections of sexy social climber Wendy (actress-turned-stuntwoman Laura Albert, who dutifully provides our requisite ’80s female nudity). Unbeknownst to him, Wendy’s friend Tanya (the exotically accented Alexandra Durrell) harbors a secret crush on our hero, but agrees to accompany her gal pal for a midnight jaunt to, guess where, Winthrop House with two horny frat dudes (Eben Ham, Blaine Wheatley). The stage is set for all manner of monstrous mischief and gory games.


While I never got around to experiencing this longtime staple of the VHS era firsthand, I remember the box art quite well and (correctly) guessed it to be a cheesy/fun romp in the Empire Pictures vein. There’s not a lot of new ground broken here, narratively speaking, but R. Christopher Biggs (billed as Art & Magic)’s creature makeup elevates the proceedings enormously, delivering one of the finest cinematic she-beasts of all time, right up there with Rob Bottin’s Meg Mucklebones from Legend. A bold statement, to be sure, but considering how many clearly masculine rubber monsters we have seen stagger across screens large and small, Biggs’ ghoulish applications (with makeup star-on-the-rise Camille Calvet providing able assistance) on the otherwise sexy, supple form of Katrin Alexandre are the primary reasons for the film’s enduring resonance and for this new Blu-ray release from Unearthed Films (under their newly formed “Unearthed Classics” arm).


Considering much of the action takes place in our proverbial old dark house, I can imagine that certain scenes might have been not only unnamable but unwatchable on VHS, so this newly restored 4K transfer is certainly cause for rejoicing, if for no other reason than to be able to see Biggs’ excellent creature design and gore FX. For their inaugural “Classics” release, Unearthed has certainly done themselves proud in this regard and fans should absolutely pick it up. However, there are a few quibbles that deserve mentioning, for full disclosure’s sake.


In the “oversights” column, there are no subtitles available and the outside packaging lists the running time as 76 minutes when it’s closer to 88. More troubling, however, is the strange, distracting echo on all of the film’s sound effects (footsteps, doors opening and closing, heavy monster breathing, screams) so that they are all heard twice, clearly a technical defect which is unfortunate considering the time presumably taken for a “5.1 DTS-HD Surround Sound.” I highly recommend watching it on the second audio option (2.0 Stereo Sound PCM), which is quite clear and does not have the same echo effect or, if you are so inclined, you can do the “Vintage Grindhouse” experience, which adds a layer of hiss to replicate the “VHS experience.” (I’m not that guy.)


Extras include an enthusiastic, jokey, chatty, cross-talking audio commentary featuring the crowded room of Klausmeyer, Stephenson, Albert, Ham, Biggs, and Calvet which doesn’t offer a lot of insight but everyone’s clearly having such a good time that it’s hard not to get caught up in it. After all, how many commentary tracks have you listened to lately that culminate in wild applause at their conclusion? So, that’s fun.


There are also extensive interviews conducted by Jay Kay of the Horror Happens radio program, a series of Skype-type presentations with dual video windows and iffy sound recording (presumably perhaps the subjects’ laptop microphones). Our ears eventually adjust to it, but it proves decidedly off-putting at the outset. On the upside, Kay has absolutely done his homework and asks the intelligent, informed questions that fans of his HH show have come to expect, and the subjects are given ample time to respond. On the (potential) downside, we get the occasionally meandering results without the benefit of editing. To wit:

Klausmeyer/Stephenson 78 min (sound/delay is especially rough here)
Ham 31 min
Albert 46 min
Parra 33 min
Biggs/Calvet 60 min (my favorite of the bunch)


Tongdee Panumas’s stellar original Thai poster art by graces the slipcover of the limited edition release (first 2,000 copies), with the memorable VHS cover image on the regular disc packaging. (shown above)

The Unnamable is available now on Blu-ray and DVD from Unearthed Films and can be ordered at their website (scroll to the bottom) HERE:

https://www.unearthedfilms.com/store_regular.php


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HOUSEWIFE (2017 ) DVD review

November 19, 2018, 6:24 am
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Housewife (2017) d. Can Evrenol (Turkey) (82 min)

Two decades after her mother brutally killed her sister Hazel and father (an amazingly stylish pre-credits sequence), Holly (Clementine Poidatz) can still find no peace in her life and is increasingly terrified at the notion of starting a family of her own. She numbly endures lovemaking with her husband Timucin (Ali Aksoz) and has to urinate in sinks and tubs due to the trauma incurred by her sister’s toilet-related murder. When her former friend and lover Valery (Alicia Kapudag) returns, now a “family” member of the mysterious cult Umbrella of Love and Mind (ULM), Holly finds herself falling into a hallucinogenic realm where past and present crosscut and where charismatic leader Bruce O’Hara (David Sakurai) holds sway over her future.


One of the highlights of the 2017 Cinepocalypse film festival, Housewife has received precious little fanfare during its streaming and home video release and that’s a damn shame, because this is a terrific slice of body horror with a psychological twist, nimbly playing with time and expectations. Ignore the petty (and unwarranted) online criticisms of the Turkish-accented cast’s performances and enjoy Evrenol’s superlative artistic palette, with blues and reds flooding the screen (courtesy of cinematographer Taymen Tekin) accompanied by Antoni Maiovvi’s hypnotic musical score.


Those who enjoyed the director’s debut effort Baskin should enjoy the similarly mind-bending narrative; those who felt their minds got bent just a little too far will appreciate the relative restraint displayed this time around, with a haunting third act resolution that feels appropriately off-the-rails, apocalyptic yet entirely appropriate.


Housewifeis available now on DVD (on a regrettably bare-bones, extras-free disc) from RLJE Films and can be ordered HERE:

https://us.rljentertainment.com/franchise/housewife/


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PHENOMENA (1985) Blu-ray review

November 20, 2018, 3:57 am
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Phenomena (1985) d. Argento, Dario (Italy) (116 min)

Perhaps the only “insect detective” movie out there on the shelves, featuring a very young Jennifer Connelly (released one year before Labyrinth) as the daughter of a famous American movie star sent away to study at an exclusive Swiss girl’s academy, whose students just happen to be falling victim to a homicidal killer. But as this is an Argento movie, things are hardly what they seem.


The film opens at a full gallop, with a moody, haunting sequence of a young Danish tourist (Fiore Argento) in peril, then slows down to introduce Connelly’s character and her uncanny relationship with insects. Those familiar with Donald Pleasance primarily for his increasingly loony portrayals of Dr. Loomis in the Halloween series should check out his fine, subdued work here as a wheelchair-bound entomologist with a wavering Scottish accent, while Deep Red’s Daria Nicolodi adds another winning portrayal to her CV as the troubled Frau Bruckner.


Usually one with a fine ear for musical accents, Argento elects for a song score comprised of outside recording artists (including Bill Wyman, Motorhead, and Goblin), and while much of it works, it often calls attention to itself rather than complementing the onscreen action (particularly with Iron Maiden’s offerings).


The strong opening half hour is followed by a middle section riddled with kinetic fits and starts, with a bizarre, gory ending that has “kitchen sink” writ large upon it. (All eyes on the monkey.) Potentially a bit much for the uninitiated, but those accustomed to Argento’s lack of narrative logic and flair for the unexpected will enjoy the ride. Originally released in the US as Creepers in a criminally edited 83-min version, rendering an already challenging film nearly incoherent.


That problematic US cut is included as part of Synapse’s two-disc Blu-ray special edition, as well as the 110-minute “International” cut and the original 116-minute version, which sports a thoroughly entertaining and informative commentary track shared by Argento scholar Derek Bohtelo (The Argento Syndrome) and film historian and frequent commentary contributor David Del Valle. Other extras include Michele Soavi’s feature-length documentary Dario Argento’s World of Horror, which examines the director’s career up to and including Phenomena (we see him on set shooting with Connelly and Pleasance); considering I am one of those who believes the director’s best efforts concluded with Opera (1987) (with a brief return to form for 2000’s Sleepless), this may be the only Argento retrospective you ever need.


There is also a brief four-minute interview with Andi Sex Gang (whose “The Naked and the Dead” appears on the Phenomena soundtrack), as well as theatrical trailers for both versions of the film.


Phenomena is available now on Blu-ray from Synapse and can be ordered HERE:

https://synapse-films.com/synapse-films/phenomena-two-disc-blu-ray-edition/


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