Category Archives: Horror

Blu-ray reissue: Gothic (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 24, 2024)

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Gothic (BFI; Region ‘B’ locked)

OK, full disclosure. In my 2012 review of Guy Maddin’s Keyhole, I wrote:

[Keyhole is} Reminiscent of Ken Russell’s Gothic, another metaphorical long day’s journey into night via the labyrinth of an old dark house. And, like Russell’s film, Maddin’s is visually intoxicating, but ultimately undermined by an overdose of art house pretension and self-indulgent excess.

One might read that and glean that I was underwhelmed by Ken Russell’s 1987 drama. At the time, perhaps I was. But I reserve the right to occasionally change my appraisal of a film…especially when it comes to certain filmmakers like, well, Ken Russell for instance (David Lynch comes to mind as well). Sometimes, you are not in the “right” receptive mood for a  specific filmmaker’s uh, aesthetic. Upon a repeat viewing or two, some films will sort of…grow on you.

At any rate, this “metaphorical long day’s journey into night via the labyrinth of an old dark house” has grown on me; particularly as a fascinating treatise on one of life’s greatest mysteries: where does creativity come from? In this case, what “inspired” Mary Shelley (Natasha Richardson) to create her classic novel Frankenstein?

Russell’s speculative history tale suggests that “the Creature” was born during the course of a wild weekend at the country estate of Lord Byron (Gabriel Byrne). Byron invites Mary Shelly and her famous poet husband Percy (Julian Sands) for a sleepover that turns into a druggy, debauched night of “horror” (whether real or imagined is  left up to the viewer). Kinetic performances all round from a cast that includes Timothy Spall and Myriam Syr.  Stephen Volk wrote the screenplay; the music is by Thomas Dolby. There was added poignancy to my recent viewing, in light of Julian Sands’ tragic passing last year (Natasha Richardson also left us much too soon).

BFI has assembled an extensive package, starting with a sparkling transfer that nicely highlights DP Mike Southon’s vivid photography and Michael Buchanan’s lush art direction (his resume includes Orlando and The Krays).  There’s a heap of extras, including a full-length 83-minute 2002 video work by the director called The Fall of the Louse of Usher (starring  Russell and his wife Lisi) and a rare 27-minute Russell short from 1957 called Amelia and the Angel.

(Note: This is a Region ‘B’ disc, requiring an all-region player).

Mask season: 25 movies for Halloween!

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 28, 2023)

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(With apologies to Rod Serling for my frightfully tacky paraphrasing) Good evening, and welcome to a private showing of 25 films. Each is a collector’s item in its own way—not because of any special artistic quality, but because each captures on a celluloid canvas, streaming in time and space, a frozen moment of a nightmare. And …Happy Halloween!

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Beauty and the Beast (1946)– Out of myriad movie adaptations of Mme. Leprince de Beaumont’s fairy tale, Jean Cocteau’s 1946 version remains the most soulful and poetic. This probably had something to do with the fact that it was made by a director who literally had the soul of a poet (Cocteau’s day job, in case you didn’t know). The film is a triumph of production design, with inventive visuals (photographed by Henri Alekan).

Jean Marais is affecting as The Beast, paralyzed by unrequited passion for beautiful Belle (Josette Day). This version is a surreal fairy tale not necessarily made with the kids in mind (especially with all the psycho-sexual subtexts). The timeless moral of the original tale, however, is still simple enough for a child to grasp: It’s what’s inside that counts.

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The Blair Witch Project – Love it or hate it, there is no denying the impact of this cleverly marketed horror flick. In the event that you spent 1999 in a coma, this is the one where a crew of amateur actors were turned loose in dark and scary woods, armed with camping gear, video cameras and a plot point or two provided by filmmakers Daniel Myrick and Eduardo Sanchez, who then proceeded to play creepy, “gotcha” mind games with their young troupe.

The result was surprisingly effective; after all, it’s the perception that “something” in the woods is out to get you that fuels nightmares-not a stunt man in a rubber monster suit lurching about in front of the camera. Arguably, you could cite The Last Broadcast (1998) or relatively more obscure 1980 cult flick Cannibal Holocaust as the progenitors of the “found footage” genre, but The Blair Witch Project took it to a an entirely new level.

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Bubba Ho-Tep – This 2002 tongue-in-cheek shocker from Don “Phantasm” Coscarelli could have been “ripped from the headlines”…if those headlines were from The Weekly World News. In order to enjoy this romp, you must unlearn what you have learned. JFK (Ossie Davis) is still alive (long story)…he’s now an elderly African-American gentleman (even longer story). He resides at a decrepit nursing home in Texas, along with Elvis Presley (midnight movie icon Bruce Campbell).

The King and the President join wheelchairs to rid the facility of its formidable pest…a reanimated Egyptian mummy (with a ten-gallon hat) who’s been lurking about waiting for residents to pass on so he can suck out their souls. Lots of laughs, yet despite the over-the-top premise, both Campbell and Davis’ portrayals are respectful; even poignant at times.

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Captain Kronos, Vampire Hunter – “What he doesn’t know about vampires wouldn’t even fill a flea’s codpiece!” This unusually droll Hammer entry from 1974 benefits from assured direction and a clever script by Brian Clemens (co-creator of The Avengers TV series). Captain Kronos (Horst Janson) and his stalwart consultant, Professor Hieronymus Grost (John Cater) assist a physician in investigating a mysterious malady befalling the residents of a sleepy hamlet…rapidly accelerating aging.

The professor suspects a youth-sucking vampire may be involved…and the game is afoot. Along the way, the Captain finds romance with the village babe, played by lovely Caroline Munro. The film was released at the tail end of Hammer’s classic period; possibly explaining why Clemens seems to be doing a parody of “a Hammer film”.

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Delicatessen– Love is in the air…along with the butcher’s cleaver in this seriocomic vision of a food-scarce, dystopian “near-future” along the lines of Soylent Green, directed with trademark surrealist touches by co-directors Jean-Pierre Jeunet and Marc Caro (The City of Lost Children). The pair’s favorite leading man, Dominique Pinon (sort of a sawed-off Robin Williams) plays a circus performer who moves into an apartment building with a butcher shop downstairs.

The shop’s proprietor seems to be appraising the new tenant with a “professional” eye. In Jeunet and Caro’s bizarre universe, it’s all par for the course (and just wait ‘til you get a load of the vegan “troglodytes” who live under the city). One memorable sequence, a comically choreographed lovemaking scene, stands as a mini-masterpiece of film and sound editing.

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Don’t Look Now – This is a difficult film to describe without risking spoilers, so I’ll be brief. Based on a Daphne du Maurier story, this haunting, one-of-a-kind 1974 psychological thriller from Nicholas Roeg (Walkabout, The Man Who Fell to Earth) stars Donald Sutherland and Julie Christie as a couple who are coming to grips with the tragic death of their little girl. Roeg slowly percolates an ever-creeping sense of impending doom, drenched in the Gothic atmosphere of Venice.

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Eating Raoul– The late great Paul Bartel directed and co-wrote this twisted and hilarious social satire. Bartel and his frequent screen partner Mary Waronov play Paul and Mary Bland, a prudish, buttoned-down couple who are horrified to discover that their apartment complex is home to an enclave of “swingers”. Paul is even more shocked when he comes home from his wine store job one day and discovers Mary struggling to escape the clutches of a swinger’s party guest who has mistakenly strayed into the Bland’s apartment.

Paul beans him with a frying pan, inadvertently killing Mary’s overeager groper. When the couple discovers a sizable wad of money on the body, a light bulb goes off-and the Blands come up with a unique plan for financing the restaurant that they have always dreamed of opening (and helping rid the world of those icky swingers!). Things get complicated, however when a burglar (Robert Beltran) ingratiates himself into their scheme. Yes, it’s sick…but in a good way.

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Ed Wood – Director Tim Burton and his favorite leading man Johnny Depp have worked together on so many films over the last several decades that they are surely joined at the hip by now. For my money, this affectionate 1994 biopic about the man who directed “the worst film of all time” remains their best collaboration. It’s also unique in Burton’s canon in that it is somewhat grounded in reality.

Depp gives a brilliant performance as Edward D. Wood, Jr., who unleashed the infamously inept yet 100% certified cult classic, Plan 9 from Outer Space on an unsuspecting movie-going public in the late 50s. While there are lots of belly laughs, there’s no punching downward at Wood and his decidedly off-beat collaborators; in a way the film is a love letter to outsider film makers. Martin Landau steals his scenes with a droll, Oscar-winning turn as Bela Lugosi. Also with Bill Murray, Sarah Jessica Parker, Patricia Arquette and Jeffrey Jones.

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Forbidden Zone – Picture if you will: an artistic marriage between John Waters, Max Fleischer, Busby Berkeley and Peter Greenaway. Now, imagine the wedding night (I’ll give you a sec). As for the “plot”, well, it’s about this indescribably twisty family who discovers a portal to a pan-dimensional…oh, never mind. Suffice it to say, any film that features Herve Villechaize as the King of the Sixth Dimension, Susan Tyrrell as his Queen and soundtrack composer Danny Elfman channeling Cab Calloway (via Satan), is a dream for some; a nightmare for others. Directed by Danny’s brother Richard.

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I Married a Witch– Clocking in at 77 minutes, Rene Clair’s breezy 1942 romantic fantasy packs in more wit, sophistication and fun than any ten modern “comedies” you’d care to name put together. I’ll tell you what else holds up pretty well after 80 years…Veronica Lake’s allure and pixie charm. Lake is a riot as a witch who re-materializes 300 years after putting a curse on all male descendants of a Puritan who sent her to the stake.

She and her equally mischievous father (Cecil Kellaway) wreak havoc on the most recent descendant (Fredric March), a politician considering a run for governor. Lake decides to muck up his relationship with his fiancé (Susan Hayward) by making him fall in love with his tormentor. All she needs to do is slip him a little love potion, but her plan fizzes after she accidentally ingests it herself. And yes, hilarity ensues.

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J-Men Forever!– Woody Allen may have done it first (What’s Up, Tiger Lily?) and the Mystery Science Theater 3000 troupe has since run the concept into the ground, but Firesign Theater veterans Phil Proctor and Peter Bergman did it best with J-Men Forever.

I am referring to the concept of re-appropriating footage from corny, no-budget B-films and re-dubbing the soundtrack with comic dialogue. I’ve been a devotee of this film since it aired on the USA Network’s after hours cult show Night Flight back in the 80s (alright, raise your bong if you remember that one).

The creators had a sizable archive from the old Republic serials to cull from, so they were not restricted by the narrative structure of one specific film. As a result, Proctor and Bergman’s wonderfully silly concoction about saving Earth from a nefarious alien mastermind called “The Lightning Bug” benefits from quick-cut editing, synced with their trademark barrage of one-liners, puns and double entendre, all set to a rock ‘n’ roll soundtrack. “Schtay high!”

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Mulholland Drive – David Lynch’s nightmarish, yet mordantly droll twist on the Hollywood dream makes The Day of the Locust seem like an upbeat romp. Naomi Watts stars as a fresh-faced ingénue with high hopes who blows into La-la Land from Somewhere in Middle America to (wait for it) become a star. Those plans get, shall we say, put on hold…once she crosses paths with a voluptuous and mysterious amnesiac (Laura Harring).

What ensues is the usual Lynch mind fuck, and if you buy the ticket, you better be ready to take the ride, because this is one of his more fun ones (or as close as one gets to having “fun” watching a Lynch film). This one grew on me; by the third or fourth time I’d seen it I decided that it’s one of the iconoclastic director’s finest efforts. Peter Deming’s cinematography is stunning. The truly fascinating cast includes Justin Theroux, Ann Miller, Michael J. Anderson, Robert Forster, Lee Grant, Chad Everett, Dan Hedaya, and, erm, Billy Ray Cyrus.

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Multiple Maniacs – Warning: This 1970 trash classic from czar of bad taste John Waters is definitely not for the pious, easily offended or the faint of heart. The one and only Divine heads the cast who became Waters’ faithful “Dreamland” repertory (Edith Massey, Mink Stole, David Lochary, etc.) in a tale of mayhem, filth and blasphemy too shocking to discuss in mixed company (you’ll never see a Passion Play the same way).

Watching this recently for the first time in several decades, I was suddenly struck by the similarities with the contemporaneous films of Rainier Werner Fassbinder (Love is Colder than Death and Gods of the Plague in particular). Once you get past its inherent shock value, Multiple Maniacs is very much an American art film.

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The Mystery of the Wax Museum (1933) – “Images of wax that throbbed with human passion!” Get your mind out of the gutter…I’m merely quoting the purple prose that graced the original posters for this 1933 horror thriller, directed by the eclectic Michael Curtiz (Adventures of Robin Hood, The Sea Hawk, Yankee Doodle Dandy, Casablanca, Mildred Pierce, King Creole, et.al.).

Beautiful (and busy) Fay Wray (who starred in King Kong the same year) captures the eye of a disturbed wax sculptor (a hammy Lionel Atwill) for reasons that are ah…more “professional” than personal. Wray is great eye candy, but it is her co-star Glenda Farrell who steals the show as a wisecracking reporter (are there any other kind of reporters in 30s films?). Farrell’s comedy chops add just the right amount of levity to this genuinely creepy tale. A classic.

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Night of the Hunter – Is it a film noir? A horror movie? A black comedy? A haunting American folk tale? The answer would be yes. The man responsible for this tough-to-categorize 1957 film was one of the greatest acting hams of the 20th century, Charles Laughton, who began and ended his directorial career with this effort. Like a great many films now regarded as “cult classics”, this one was savaged by critics and tanked at the box office upon its initial release (enough to spook Laughton from ever returning to the director’s chair).

Robert Mitchum is brilliant (and genuinely scary) as a knife-wielding religious zealot who does considerably more “preying” than praying. Before his condemned cell mate (Peter Graves) meets the hangman, he talks in his sleep about $10,000 in loot  stashed on his property. When the “preacher” gets out of the slam, he makes a beeline for the widow (Shelly Winters) and her two young’uns. A disturbing tale unfolds. The great Lillian Gish is on board as well. It’s artfully directed by Laughton and beautifully shot by DP Stanley Cortez.

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No Such Thing– Director Hal Hartley’s arch, deadpan observations on the human condition either grab you or leave you cold, and this modern Beauty and the Beast tale is no exception. TV news intern Beatrice (Sarah Polley) is sent to Iceland to get an exclusive on a real-life “monster” (Robert Burke), an immortal nihilist who kills boredom by drinking heavily and terrorizing whomsoever is handy.

After her plane goes down en route, her cynical boss (Helen Mirren) smells an even bigger story when Beatrice becomes the “miracle survivor” of the crash. The Monster agrees to come back to N.Y.C. if Beatrice helps him track down the one scientist in the world who can put him out of his misery.

The pacing in the first half is leisurely; dominated by the Monster’s morose, raving monologues, set against the stark, moody Icelandic backdrop (I was reminded of David Thewlis’ raging, darkly funny harangues in Naked). Once the story heads for New York, however, the movie turns into a satire of the art world (a la John Waters’ Pecker), as the couple quickly become celebrities du jour with the trendy Downtown crowd.

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Psycho – Bad, bad Norman. Such a disappointment to his mother. “MOTHERRRR!!!” Poor, poor Janet Leigh. No sooner had she recovered from her bad motel experience in Touch of Evil than she found herself checking in to the Bates and having a late dinner in a dimly lit office, surrounded by Norman’s unsettling taxidermy collection. And this is only the warm up to what Alfred Hitchcock has in store for her later that evening (anyone for a shower?).

This brilliant thriller has spawned so many imitations, I’ve lost count. While tame by today’s standards, several key scenes still have the power to shock. Twitchy Tony Perkins sets the bar for future movie psycho killers. Joseph Stefano adapted the spare screenplay from Robert Bloch’s novel. Also in the cast: Vera Miles, John Gavin, Martin Balsalm, and Simon Oakland.

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The Rocky Horror Picture Show – Speaking of Fay Wray…50 of years of midnight showings have not diminished the cult status of Jim Sharman’s film adaptation of Richard O’Brien’s stage musical about a hapless young couple (Barry Bostwick and Susan Sarandon) who have the misfortune of stumbling into the lair of one Dr. Frank-N-Furter (Tim Curry) one dark and stormy night. O’Brien co-stars as the mad doctor’s hunchbacked assistant, Riff-Raff.

Much singing, dancing, cross-dressing, axe-murdering, cannibalism and hot sex ensues-with broad theatrical nods to everything from Metropolis, King Kong and Frankenstein to cheesy 1950s sci-fi, Bob Fosse musicals, 70s glam-rock and everything in between. Runs out of steam a bit in the third act, but the knockout musical numbers in the first hour or so makes it worth repeated viewings.

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Rosemary’s Baby“He has his father’s eyes!” Roman Polanski put the “goth” back in “gothic” in this devilish 1968 metropolitan horror classic.  A New York actor (John Cassavetes) and his young, socially phobic wife Rosemary (Mia Farrow) move into a somewhat dark and foreboding Manhattan apartment building (the famed Dakota, John Lennon’s final residence), hoping to start a family. A busybody neighbor (Ruth Gordon) quickly gloms onto Rosemary with an unhealthy zest (to Rosemary’s chagrin). Her nightmare is only beginning. No axe murders, no gore, and barely a drop of blood…but thanks to Polanski’s impeccable craft, this will scare the bejesus out of you and continue to creep you out after credits roll. Polanski adapted the screenplay from Ira Levin’s novel.

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The Shining “Hello, Danny.” It has been said that Stephen King hated Stanley Kubrick’s adaptation of his sprawling novel about a family of three who hole up in an isolated Rocky Mountain hotel for the winter. Well-that’s his personal problem. I think this is the greatest “psychological” horror film ever made…period (OK that’s a bit hyperbolic-perhaps we can call it “a draw” with Polanski’s Repulsion).

Anyway…Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy, etc.

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The Shout – This unsettling 1978 sleeper was adapted from a Robert Graves story by Michal Austin and its director, Jerzy Skolimowski. The late John Hurt is excellent as a mild-mannered avant-garde musician who lives in a sleepy English hamlet with his wife (Susannah York). When an enigmatic vagabond (Alan Bates) blows into town, their quiet country life begins to go…elsewhere. This is a genre-defying film; somewhere between psychological horror and culture clash drama. I’ll put it this way-if you like Peter Weir’s The Last Wave (which would make a great double-bill) this one is in your wheelhouse.

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Siesta – Depending on who you ask, Mary Lambert’s 1987 thriller is either a compelling riddle, wrapped in a mystery, inside an enigma…or an unfinished film in search of a narrative. It was not well received by critics, but has a modest cult following, of which I am a card-carrying member.

Ellen Barkin stars as an American daredevil who wakes up on a deserted runway in Spain, dazed, bruised and confused. As she wanders about getting her bearings, pieces of her memory return. She encounters assorted characters in increasingly weird scenarios. The film lies somewhere between Carnival of Souls and Memento.

Also with Gabriel Byrne, Julian Sands (who passed away this year), Isabella Rossellini, Martin Sheen, Grace Jones, and Jodie Foster. Patricia Louisiana Knop (9½ Weeks) adapted the screenplay from Patrice Chaplin’s novel. Atmospheric score by Miles Davis. Long out-of-print on DVD, this is a film begging for a Blu-ray release (should any boutique reissue label folks be reading this…hint, hint!).

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Trollhunter – Like previous entries in horror’s “found footage” sub-genre,  Trollhunter features an unremarkable, no-name cast; but then again you don’t really require the services of an Olivier when most of the dialog is along the lines of “Where ARE you!?”, “Jesus, look at the size of that fucking thing!”, “RUN!!!” or the ever popular “AieEEE!”.

Seriously, though- what I like about Andre Ovredal’s film (aside from the convincing monsters) is the way he cleverly weaves commentary on religion and politics into his narrative. The story concerns three Norwegian film students who initially set off to do an expose on illegal bear poaching, but become embroiled with a clandestine government program to rid Norway of trolls who have been terrorizing the remote areas of the country (you’ll have to suspend your disbelief as to how the government has been able to “cover up” 200 foot tall monsters rampaging about). The “trollhunter” himself is quite a character. And always remember: while hunting trolls…it’s best to leave the Christians at home!

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Ugetsu Monogatari – Kenji Mizoguchi’s eerie 1953 ghost story/morality tale was adapted from several short stories by 18th-Century writer and poet Ueda Akinari.

The story is set in 16th-Century Japan, in the midst of one of the civil wars of the era. A potter of modest means and grandiose financial schemes (Masayuki Mori) and his n’er do well brother (Eitaro Ozawa) who fantasizes about becoming a renowned samurai warrior ignore the dire warnings of a local sage and allow their greed and ambition to take full hold, which leads to tragic consequences for their abandoned wives (Mitsuko Mito and Kinuyo Tanaka).

Beautifully acted; particularly strong performances by the three female leads (Mito, Tanaka, and the great Machiko Kyo as the sorceress Lady Wakasa). It’s a slow-burning tale, but if you just give it time the emotional wallop of the denouement will floor you.

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Young Frankenstein – Writer-director Mel Brooks’ 1974 film transgresses the limitations of the “spoof” genre to create something wholly original. Brooks goofs on elements from James Whale’s original 1931 version of Frankenstein, his 1935 sequel, Bride of Frankenstein, and Rowland V. Lee’s 1939 spinoff, Son of Frankenstein.

Gene Wilder heads a marvelous cast as Dr. Frederick Frankenstein (pronounced, “Franken-schteen”) the grandson of the “infamous” mad scientist who liked to play around with dead things. Despite his propensity for distancing himself from that legacy, a notice of inheritance precipitates a visit to the family estate in Transylvania, where the discovery of his grandfather’s “secret” laboratory awakens his dark side.

Wilder is quite funny (as always), but he plays it relatively straight, making a perfect foil for the comedic juggernaut of Madeline Khan, Marty Feldman, Peter Boyle, Cloris Leachman (“Blucher!”), Terri Garr and Kenneth Mars, who are all at the top of their game. The scene featuring a non-billed Gene Hackman (as an old blind hermit) is a classic.

This is also Brooks’ most technically accomplished film; the meticulous replication of Dr. Frankenstein’s laboratory (utilizing props from the 1931 original), Gerald Hirschfeld’s gorgeous B & W photography and Dale Hennesy’s production design all combine to create an effective (and affectionate) homage to the heyday of Universal monster movies.

SIFF 2023: Mother Superior (***)

By Dennis Hartley

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Submitted for your approval: A young woman in 1970s Austria hired as a live-in elder care nurse for a demanding Baroness is about to embark on a strange psychic journey, making an unscheduled stop at the corner of Sunset Boulevard and Hotel Terminus.  Writer-director Marie Alice Wolfszahn’s gothic chiller/Wagnerian nightmare is economically paced, well-acted and stylishly photographed, marred slightly by a “gotcha” dénouement that makes what proceeded it play like an extended Twilight Zone episode.

SIFF 2023: The Incredible Shrinking Man ***1/2

By Dennis Hartley

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Always remember, never mix your drinks. And, as we learn from Jack Arnold’s 1957 sci-fi classic (one of three special archival presentations at this year’s SIFF), you should never mix radiation exposure with insecticide…because that will make you shrink, little by little, day by day. That’s what happens to Scott Carey (Grant Williams), much to the horror of his wife (Randy Stuart) and his stymied doctors.

Unique for its time in that it deals primarily with the emotional, rather than fantastical aspects of the hapless protagonist’s transformation. To be sure, the film has memorable set-pieces (particularly Scott’s chilling encounters with a spider and his own house cat), but there is more emphasis on how the dynamics of the couple’s relationship changes as Scott becomes more diminutive.  The denouement presages the existential finale of The Quiet Earth.

In the fullness of time, some have gleaned sociopolitical subtext in Richard Matheson’s screenplay; or at least a subtle thumb in the eye of 1950s conformity. Matheson adapted from his novel. He also wrote the popular I Am Legend (adapted for the screen as The Last Man on Earth , The Omega Man  and the eponymous 2007 film).

SIFF 2022: The Passenger (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 23, 2022)

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I’m not really a gore fan, so I did not expect Raul Cerezo and Fernando González Gómez’s sci-fi/horror road movie to be so…fun. A self-employed shuttle driver and his three female passengers unwittingly take a parasitic alien onboard, and all hell breaks loose. Luis Sánchez-Polack’s screenplay is clever and frequently hilarious, with subtle undercurrents of social satire amid the mayhem. Think Lina Wertmüller’s Swept Away meets John Carpenter’s The Thing.

SIFF 2022: Juju Stories (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 23, 2022)

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Submitted for your approval…an anthology of three modern urban horror tales steeped in juju lore (directed by Michael Omonua, Abba T. Makama, and C.J. Obasi). It’s an uneven collection; the most compelling of the triptych is Obasi’s “Suffer the Witch”. The film is presented by the Surreal 16 Collective, described as “…an initiative that intends to create artistically minded films that move away from the reigning imperialism of Nollywood aesthetics and production practices”.

Blu-ray reissue: Brotherhood of the Wolf (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 18, 2021)

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Brotherhood of the Wolf (Shout! Factory)

If I told you one of the best martial arts films of the 1990s features an 18th-century French libertine/naturalist/philosopher and his enigmatic “blood-brother” (an Iroquois mystic played by future Iron Chef Mark Dacasos) who are on the prowl for a supernaturally huge, man-eating lupine creature terrorizing the countryside-would you avoid eye contact and scurry to the other side of the street?

Christophe Gans’ film defies category; Dangerous Liaisons meets Captain Kronos-Vampire Hunter by way of Crouching Tiger, Hidden Dragon is the best I can do. Artfully photographed, handsomely mounted and surprising at every turn.

The image quality on Shout! Factory’s Blu-ray, while not the revelation I had anticipated (and definitely not restored), is still a welcome improvement over the DVD. However, this edition compensates by packing in the extras, including 2 full-length “making of” documentaries, and 40 minutes of deleted scenes.

A conference of worms: Smoke & Mirrors (***) & Dune (**)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 23, 2021)

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I confess that I initially felt out of my depth tackling Jason Baker’s documentary Smoke & Mirrors: The Story of Tom Savini. I knew Savini was an actor, primarily from George Romero’s Knightriders (one of my favorite cult movies) and two Robert Rodriguez films: From Dusk Till Dawn (1996) and Planet Terror (2007). What I did not know (embarrassingly) was that despite 77 acting credits, he is more revered by horror fans and industry peers for his makeup artistry and (disturbingly) realistic special effects wizardry.

Perhaps I can be forgiven; looking up his special effects/makeup credits, it turns out I have only seen 3 out of dozens.  I am not averse to the horror genre per se, it’s just that I’m not a fan of slasher/gore films; I tend to avoid them altogether.

But since (to paraphrase Marlon Brando in The Godfather) “it doesn’t make any difference to me what a man does for a living” (with the proviso no one is harmed in the process), I plowed forward with an open mind and an impending deadline and found Baker’s film to be a surprisingly warm, engaging portrait of a genuinely interesting artist.

The big surprise is how soft-spoken Baker’s subject is; especially when his resume reads more like a slaughterhouse tour than a fun night at the movies: Dawn of the Dead, Friday the 13th, Maniac, Creepshow, The Texas Chainsaw Massacre 2, Trauma, Machete, et.al.

Savini grew up in a working-class Pittsburgh neighborhood and developed a talent for performing magic tricks at an early age. He also became obsessed with the 1957 Lon Chaney biopic Man of a Thousand Faces. He recalls experimenting with various household products to create his own horror makeup, to freak out his family and friends. Obviously, this kid was destined for a life on the stage …or in front of a movie camera.

The most fascinating elements of this predestination were Savini’s experiences in Vietnam, where he served as a combat photographer. Obviously, if your job assignment literally involves focusing on gruesome images day in and day out, it’s going to do a number on your head. Savini describes how he internally compartmentalized the real-life horror of what he saw as “special effects” (which he’d later draw upon for his film work).

Savini also recounts his collaborations with director George Romero, who gave him his first movie gig in his 1976 indie Martin (which was filmed in Pittsburgh). Savini not only acted in the film but created its prosthetic effects. Savini continued to perfect his craftsmanship in higher-budgeted Romero films like Dawn of the Dead and Creepshow.

Some of Savini’s friends and colleagues (Robert Rodriguez, George A. Romero, Alice Cooper, Sid Haig, Corey Feldman) also appear in the film; their consensus is that Savini is a nice guy…even if he makes his living giving us nightmares. In fact, there’s an overdose of people telling us how nice he is (puff piece territory). But he seems like a nice guy. Just attribute all that murder and gory mayhem to …smoke and mirrors.

“Smoke & Mirrors: The Story of Tom Savini” is streaming on various digital platforms.

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In an interview published by The Hollywood Reporter in April of 2020, David Lynch made these observations regarding Denis Villenueve’s (then) upcoming remake of Dune:

(Interviewer) This week they released a few photos from the new big-screen adaptation of Dune by Denis Villeneuve. Have you seen them?

I have zero interest in Dune.

Why’s that?

Because it was a heartache for me. It was a failure, and I didn’t have final cut. I’ve told this story a billion times. It’s not the film I wanted to make. I like certain parts of it very much — but it was a total failure for me.

You would never see someone else’s adaptation of Dune?

I said I’ve got zero interest.

If you had your choice, what would you rather make: a feature film or a TV series?

A TV series. Right now. Feature films in my book are in big trouble, except for the big blockbusters. The art house films, they don’t stand a chance. They might go to a theater for a week and if it’s a Cineplex they go to the smallest theater in the setup, and then they go to Blu-ray or On Demand. The big-screen experience right now is gone. Gone, but not forgotten.

Keep in mind, that interview was conducted during the initial lock-down phase of the pandemic. I don’t know about you, but I am still not “ready” to go back to movie theaters. As I wrote in an October 2020 piece about COVID’s effect on theaters:

…that is my personal greatest fear about returning to movie theaters: my innate distrust of fellow patrons. […] I can trust myself to adhere to a common-sense approach, but it’s been my observation throughout this COVID-19 crisis that everybody isn’t on the same page regarding taking the health and safety of fellow humans into consideration.

I’ve noticed a trend as of late where Hollywood studio marketing departments are insisting that you must see their latest blockbuster on the big screen, otherwise you’re just a fraidy cat, cowering in front of your pathetic little 40” flat-screen. Believe me, as a lifelong movie lover I am pulling for the exhibition arm of the industry and want to see them thrive once again, but to my knowledge, no amount of wishful thinking ever defeated a killer virus. As much as I am dying to see the new Bond movie on a big-ass screen, I’ve decided to hold off a while because for me, this is no time to die.

I suppose this long-winded prelude is my way of giving a disclaimer that the following review of Denis Villenueve’s long-anticipated adaptation of Frank Herbert’s Dune does not necessarily reflect the opinions of staff or management of Digby’s Hullabaloo, but those of a fraidy cat, cowering in front of his pathetic little 40” flat-screen.

To put your mind at ease, I’m not going to bore you with a laundry list of how the film does or doesn’t adhere to the author’s original vision in the source novel; mainly since it’s been 40-something years since I read it, and all I can remember is that it felt like homework. It just didn’t grab me like the universe-building works of Asimov, Zelazny, Niven, and similar sci-fi scribes my stoner friends and I were all into at the time.

Obviously, David Lynch is not a fan of his own 1984 adaptation; the first time I saw it 37 years ago I wasn’t either …but in the fullness of time, it has grown on me (as Lynch’s films tend to do). Yes, it has certain cheesy elements that even time cannot heal, but how can you possibly top Kenneth McMillan’s hammy performance as an evil, floating bag of pus, Brad Dourif’s bushy eyebrows…or Sting’s magnificently oiled torso?

It is evident off the bat that Villenueve’s adaptation (co-written by Jon Spaihts and Eric Roth) is more formalized than Lynch’s; he doesn’t leave his cast as much room to ham it up and distract from the business at hand; but rather uses them like chess pieces.

On the plus side, this makes the plot easier to follow. On the downside, Villenueve runs into the same challenge Lynch faced: there are simply too many characters in Herbert’s novel and not enough time within the constraints of a feature film to give anyone an adequate enough backstory to make you care what happens to them.

The cast is led by Timothée Chalamet as Paul Atreides, rising son of “good” Duke Atreides (Oscar Isaac) and Lady Atreides (Rebecca Ferguson). By decree of the Emperor (of Space? Still unclear to me after a forgotten read and two films), the House of Atreides has been given stewardship of precious “spice” mining operations on the planet Arrakis.

This does not set well with the former dominant House on Arrakis, led by “bad” Duke Harkonnen (Stellan Skarsgård, who appears to be channeling Lawrence Tierney in Tough Guys Don’t Dance). Duke Atreides’ new gig is further complicated by an insurgency of native “Fremen” (led by Javier Bardem, sans cattle prod) and ginormous worms.

I gave up comparing worm size in grade school, but Villenueve’s worms are more awesome than Lynch’s (there have been significant advancements in digital effects since 1984). Sadly, that’s the best thing I can say about Dune 2021 (or as I’ve nicknamed it, “Spice World 2”). It boasts impressive special effects and world-building, but otherwise, the film is a dramatically flat, somber affair with an abrupt “That’s it?!” denouement. I know sequels are in the works …but would it have killed them to give us a cliffhanger?

Dune” is currently in theaters and streaming on HBO Max

SIFF 2021: Too Late (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 10, 2021)

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I am not a big fan of gore movies, but despite my initial trepidation I ended up enjoying D.W. Thomas’ horror comedy. The Los Angeles stand-up scene provides the backdrop for this tale about a long-suffering talent booker and P.A. (Alyssa Limperis) who works for a demanding variety show host (Ron Lynch) who owns his own comedy club. He’s a real monster. No, seriously (I’ll leave it at that). Tom Becker (who is the director’s husband) wrote the frequently hilarious screenplay, which doubles as a clever metaphor for the dog-eat-dog world of stand up. As a former comedian, I have to admit they had me at “club owner who is a real monster”.

Blu-ray Reissue: Mystery of the Wax Museum [1933] (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 11, 2020)

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Mystery of the Wax Museum – Warner Archive Collection

“Images of wax that throbbed with human passion!” Get your mind out of the gutter…I’m merely quoting the purple prose that graced the original posters for this 1933 horror thriller, directed by the eclectic Michael Curtiz (Adventures of Robin Hood, The Sea Hawk, Yankee Doodle Dandy, Casablanca, Mildred Pierce, King Creole, et.al.).

Beautiful (and busy) Fay Wray (who starred in King Kong the same year) captures the eye of a disturbed wax sculptor (a hammy Lionel Atwill) for reasons that are ah…more “professional” than personal. Wray is great eye candy, but it is her co-star Glenda Farrell who steals the show as a wisecracking reporter (are there any other kind of reporters in 30s films?). Farrell’s comedy chops add just the right amount of levity to this genuinely creepy tale. A classic.

The film was considered “lost” until a lone, worn out print was discovered around 1970. It was originally filmed in the long-defunct Two-Color Technicolor process, adding to the challenge of an accurate restoration. Thank the gods for the UCLA Film and Television Archive and the Film Foundation, who tackled the project with their usual aplomb (with a little sugar from the George Lucas Family Foundation). The result is a glorious print that will make buffs wax poetic (sorry). Extras include the documentary Remembering Fay Wray.