Category Archives: Thriller

Tribeca 2022: The Integrity of Joseph Chambers ***½

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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This psychological thriller has a slow burn, but really gets under your skin. Early one morning, a white-collar father of two (Clayne Crawford) rolls out of his warm bed and readies himself to go deer hunting. His half-awake (and concerned) wife reminds him he has never gone hunting by himself and has limited experience with firearms. Undeterred, he insists that the best way to get experience is to “just go out and do it.” After stopping at a friend’s house to borrow his pickup truck (and a rifle), he heads for the woods. What could possibly go wrong? Anchored by Crawford’s intense performance, writer-director Robert Machoian has fashioned a riveting tale infused with a dash of Dostoevsky and a dollop of Deliverance.

SIFF 2022: The Man in the Basement (***)

By Dennis Hartley

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

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Philippe Le Guay’s “neighbor from hell” thriller (scripted by Le Guay with Gilles Taurand and Marc Weitzmann)  stars one of my favorite contemporary French actors, François Cluzet (Tell No One). Cluzet plays a quiet fellow who buys the unused basement of an upper-crust couple’s Parisian apartment, presumably for storage . However, with the ink barely dry on the deed, the couple discovers to their dismay that he clearly intends to live in the cellar (sans plumbing). It gets worse when they discover his online persona is every progressive liberal’s nightmare. A slow-burner with a key takeaway: always check references!

SIFF 2022: Hinterland (**1/2)

By Dennis Hartley

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

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Stefan Ruzowitsky directed this expressionist police procedural set in post WWI Vienna. A PTSD-afflicted veteran (Murathan Muslu) who was a policeman before the war is drawn into the investigation of a serial killer who is picking off his former fellow POWs one-by-one. A cross between Babylon Berlin and Sin City (with a hint of Berlin Alexanderplatz), it’s stylish and visually arresting, but hobbled by slow pacing and a boilerplate murder mystery. Co-written by the director, along with Robert Buchschwenter and Hanno Pinter.

 

[Scary] Mask Required: 13 movies for Halloween!

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 30, 2021)

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(With apologies to Rod Serling for my frightfully tacky paraphrasing) Good evening, and welcome to a private showing of 13 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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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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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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Ed Wood – Director Tim Burton and his favorite leading man Johnny Depp have worked together on so many films over the last 20-odd years 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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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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The Incredible Shrinking Man – Always remember, never mix your drinks. And, as we learn from Jack Arnold’s 1957 sci-fi classic, 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 Everyman Grant Williams (Scott Carey), 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 aspect of the hapless protagonist’s transformation. To be sure, the film has memorable set-pieces (particularly Grant’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 Grant 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).

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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.

The Rocky Horror Picture Show – Speaking of Fay Wray…46 years 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 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 –Music video director Mary Lambert’s 1987 feature film debut is a mystery, wrapped in a riddle inside an enigma. Ellen Barkin stars as an amnesiac who wakes up on a runway in Spain, dazed, bloodied and bruised. She spends the rest of the film putting the jagged pieces together, trying to figure out who she is and how she got herself into this discombobulating predicament (don’t let your attention wane!).

Reviews were mixed when the film came out, but I think it’s high on atmosphere and beautifully photographed by Bryan Loftus, who was the DP for another one of my favorite 80s sleepers, The Company of Wolves. Great soundtrack by Marcus Miller, and a fine supporting cast including Gabriel Byrne, Julian Sands, and Isabella Rossellini. The script is by Patricia Louisianna Knop, who would later produce and occasionally write for her (now ex) husband Zalman King’s Red Shoe Diaries cable series that aired in the ‘90s.

Unfortunately, the film is out-of-print and not streaming, but I found this UCLA Film & Television Preservation Archive forum from 2019 featuring director Lambert, Ellen Barkin and Jodie Foster discussing the film at a screening (caution: spoilers!). I hope that the mention of a restored print indicates a Blu-ray reissue is in the offing.

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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 kills two birds with one parody, goofing on James Whale’s original 1931 version of Frankenstein, as well as his 1935 sequel, Bride 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.

Blu-ray reissue: Memories of Murder (****)

By Dennis Hartley

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

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Memories of Murder (The Criterion Collection)

Buoyed by its artful production and knockout performances, this visceral and ultimately haunting 2003 police procedural from director Joon-ho Bong (Parasite) really gets under your skin. Based on the true story of South Korea’s first known serial killer, it follows a pair of rural homicide investigators as they search for a prime suspect.

Initially, they seem bent on instilling more fear into the local citizenry than the lurking killer, as they proceed to violate every civil liberty known to man. Soon, however, the team’s dynamic is tempered by the addition of a more cool-headed detective from Seoul, who takes the profiler approach. The film doubles as a fascinating glimpse into modern South Korean society and culture.

The 4K digital restoration (supervised by cinematographer Kim Hyung Ku and approved by the director) and new 5.1 surround DTS-HD Master Audio soundtrack makes my Palm DVD copy superfluous. There are several commentary tracks; two from 2009 with the director and crew members, and a new one with critic Tony Rayns. Other extras include a new interview with Bong about the real-life crime spree the film was based on, a 2004 “making of” doc, deleted scenes, a 1994 student film by Bong, and much more.

Tribeca 2021: See For Me (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 12, 2021)

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This tight thriller starts out like another entry in the “blind woman in peril” genre (Wait Until Dark, See No Evil, Blink, etc.) but takes a few unexpected twists and turns. Directed by Randall Okita and written by Adam Yorke and Tommy Gushue, the story concerns a stubbornly independent, blind ex-skier (Skyler Davenport) who takes a cat-sitting job at an isolated mansion. And as we all know, nothing good ever happens at an isolated mansion.

Without giving too much away, suffice to say that there is a home invasion, and complications ensue. The young woman deals with her situation armed with a cell phone, her wits, and a young army vet/ace gamer (Jessica Parker Kennedy) who works for a blind assistance hotline. While not 100% original, it keeps you guessing right up to the very end.

SIFF 2021: The Spy (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 17, 2021)

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Swedish director Jens Jonsson’s WW2 drama is based on a “rumored” story regarding famous Norwegian-Swedish actress Sonja Wigert. After Sonja (Ingrid Bolsø Berdal) shuns the advances of German occupied Norway’s reichskommissar Josef Terboven (Alexander Scheer), he arranges to have her father arrested by the SS (as spurned Nazis do). Swedish intelligence offers to help free her father if Sonja agrees to get chummy with Terboven so she can gather intel (they are eager to find out if/when the Germans plan on invading Sweden).

The film drags in the first half, which is essentially a series of fetes and elegant dinners where Sonja flirts and mingles with high-ranking Nazis, but eventually delivers on its “spy thriller” billing with added layers of subterfuge and intrigue. While not destined to be mentioned in the same breath as Mephisto or The Last Metro, The Spy is a stylish (if workmanlike) genre entry. The screenplay was written by Harald Rosenløw-Eeg and Jan Trygve Røyneland.

Blu-ray reissue: Day of the Dolphin (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

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The Day of the Dolphin – Kino Classics

“Fa loves Pa!” This offbeat 1973 sci-fi film marked the third collaboration between Buck Henry and director Mike Nichols. Henry adapted the script from Robert Merle’s novel. George C. Scott is excellent in the lead role as a marine biologist who has developed a method for training dolphins to communicate in human language. Naturally, there is a shadowy cabal of government spooks who take keen interest in this breakthrough. I like to call this one a conspira‘sea’ thriller (sorry).

Kino’s 2020 Blu-ray reissue features a new 4k digital restoration, a new commentary track by film historians Howard S. Berger and Nathaniel Thompson, and interviews with screenwriter Buck Henry and cast members Leslie Charleson and Edward Herrmann.

Blu-ray reissue: Klute (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 21, 2019)

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Klute  – The Criterion Collection

In the fullness of time (good god, I’m old) it’s easy to forget that respected Hollywood icon Jane Fonda toiled away in films for nearly a decade before she began to be taken seriously as an actor (her starring role in then-husband Roger Vadim’s 1968 sexploitation sci-fi trash classic Barbarella certainly didn’t help), There were two pivotal star vehicles that signaled that transition for Fonda as a creative artist – They Shoot Horses, Don’t They? (1969) and this lauded 1971 Alan J. Pakula film.

Fonda is “Bree”, a New York City call girl trying to transition out of the game. She becomes reluctantly embroiled in an investigation being conducted by an amateurish private detective named Klute (Donald Sutherland). Klute has been hired by a Pennsylvania-based CEO (Charles Cioffi) who wants him to track down an employee (and friend of Klute’s) who never returned from a business trip. The only clues Klute has is a stack of intimate letters written to Bree by the missing man.

While there is a definite mystery-thriller element to the story, the film is ultimately a two-character study of Bree and Klute as they develop a tenuous romantic relationship. Fonda and Sutherland are both excellent; Fonda picked up a Best Actress in a Leading Role Oscar that year for her work.

The 4K transfer (from the original 35mm camera negative) is outstanding. Extras include a new interview with Fonda (conducted by Illeana Douglas), several archival interviews with Pakula, and a 26-page illustrated booklet with an essay by film critic Mark Harris

Creepy lodgers and seedy inns: 10 worst places to stay in the movies

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 26, 2019)

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“People come, people go. Nothing ever happens.” So says a character in the 1932 film Grand Hotel. Obviously, he never lodged in any of the dubious caravansaries on tonight’s top 10 list, where one-star Yelp ratings go beyond bad room service or a fly in the soup. So for a spooky Halloween movie night, I triple dog dare you to check in to one of these flops! As usual, I listed them alphabetically, not by ranking.

Enjoy your stay…?

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The film: Barton Fink

Where not to stay: The Hotel Earle

This is one of two films on my list involving blocked writers and eerie hotels (I’ll entertain anyone’s theory on why they seem to go hand-in-hand).

The Coen brothers bring their usual blend of gleeful cruelty and ironic detachment into play in this tale (set in the 1940s) that follows the travails of an angst-ridden New York playwright (John Turturro) who wrestles with his conscience after reluctantly accepting an offer from a Hollywood studio to move to L.A. and grind out screenplays for soulless formula films. Thanks to some odd goings-on at his hotel, that soon becomes the least of his problems.

The film is a close cousin to Day of the Locust, although perhaps slightly less grotesque and more darkly funny. John Goodman and Judy Davis are also on hand, and in top form.

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The film: Fear and Loathing in Las Vegas

Where not to stay: The Mint Hotel

Okay, so the hotel in this one isn’t so bad. It’s the behavior going on in one of the rooms:

When I came to, the general back-alley ambience of the suite was so rotten, so incredibly foul. How long had I been lying there? All these signs of violence. What had happened? There was evidence in this room of excessive consumption of almost every type of drug known to civilized man since 1544 AD… These were not the hoof prints of your average God-fearing junkie. It was too savage. Too aggressive.

Terry Gilliam’s manic, audience-polarizing adaptation of Hunter S. Thompson’s classic blend of gonzo journalism and hilariously debauched, anarchic invention may be too savage and aggressive for some, but it’s one of those films I am compelled to revisit on an annual basis. Johnny Depp’s turn as Thompson’s alter-ego, Raoul Duke, is one for the ages. My favorite line: “You’d better pray to God there’s some Thorazine in that bag.”

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The film: Key Largo

Where not to stay: The Largo Hotel

Humphrey Bogart stars as a WW2 vet who drops by a Florida hotel to pay his respects to its proprietors- the widow (Lauren Bacall) and father (Lionel Barrymore) of one of the men who had served under his command. Initially just “passing through”, he is waylaid by a convergence of two angry tempests: an approaching hurricane and the appearance of notorious gangster Johnny Rocco (Edward G. Robinson) and his henchmen.

Rocco takes the hotel residents hostage while they all ride out the storm. It’s interesting to see Bogie play a gangster’s victim for a change (in The Petrified Forest, and later on in one of his final films, The Desperate Hours, he essentially played the Edward G. Robinson character). The acting is superb. Along with The Maltese Falcon and The Asphalt Jungle, it’s one of John Huston’s finest contributions to the classic noir cycle.

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The film: The Lodger: A Story of the London Fog

Where not to stay: Mrs. Bunting’s Lodging House

Mrs. Bunting is a pleasant landlady, but we’re not so sure about her latest boarder. There’s a chance that he is “The Avenger”, a serial killer with a predilection for blonde women who is stalking the streets of London. Ivor Novello plays the gentleman in question, an intense, brooding fellow with a vaguely menacing demeanor. Is he or isn’t he? This suspense thriller has been remade umpteen times, but none of them can touch Alfred Hitchcock’s 1927 silent for atmosphere and mood. Novello reprised the role in Maurice Elvey’s 1932 version.

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The film: Motel Hell

Where not to stay: Motel Hello

OK, all together now (you know the words!): “It takes all kinds of critters…to make Farmer Vincent’s fritters!” Rory Calhoun gives a sly performance as the cheerfully psychotic Vincent Smith, proprietor of the Motel Hello (oh my, there seems to be an electrical short in the neon “O”. Bzzzt!). Funny thing is, no one ever seems to check in (no one certainly ever checks out). Vincent and his oddball sister (Nancy Parsons) prefer to concentrate on the, ah, family’s “world-famous” smoked meat business.

Despite the exploitative horror trappings, Kevin Conner’s black comedy (scripted by brothers Steven-Charles and Robert Jaffe) is a surprisingly smart genre spoof and well-made. The finale, involving a swashbuckling duel with chainsaws, is pure twisted genius.

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The film: Mystery Train

Where not to stay: The Arcade Hotel

Elvis’ ghost shakes, rattles and rolls (literally and figuratively) all throughout Jim Jarmusch’s culture clash dramedy/love letter to the “Memphis Sound”. In his typically droll and deadpan manner, Jarmusch constructs a series of episodic vignettes that loosely intersect at a seedy hotel.

You’ve gotta love any movie that features Screamin’ Jay Hawkins as a night concierge. Also be on the lookout for music legends Rufus Thomas and Joe Strummer, and you will hear the mellifluous voice of Tom Waits on the radio (undoubtedly a call back to his DJ character in Jarmusch’s previous film, Down by Law).

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The film: The Night of the Iguana

Where not to stay: The Hotel Costa Verde

Director John Huston and co-writer Anthony Veiller adapted this sordid, blackly comic soaper from Tennessee Williams’ stage play about a defrocked minister (Richard Burton) who has expatriated himself to Mexico, where he has become a part-time tour guide and a full-time alcoholic.

One day he goes off the deep end, and shanghais a busload of Baptist college teachers to an isolated, rundown hotel run by an “old friend” (Ava Gardner). Add a sexually precocious teenager (Sue Lyon, recycling her Lolita persona) and a grifter with a prim and proper exterior (Deborah Kerr), and stir.

Most Tennessee Williams archetypes are present and accounted for: dipsomaniacs, nymphets, repressed lesbians, and neurotics of every stripe. The bloodletting is mostly verbal, but mortally wounding all the same. Burton and Kerr are great, as always. I think this is my favorite Ava Gardner performance; she’s earthy, sexy, heartbreaking, intimidating, and endearingly girlish-all at once.

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The film: The Night Porter

Where not to stay: The Hotel zur Oper

Director Liliana Cavani uses a depiction of sadomasochism and sexual politics as an allusion to the horrors of Hitler’s Germany in this dark 1974 drama. Dirk Bogarde and Charlotte Rampling are broodingly decadent as a former SS officer and a concentration camp survivor, respectively, who are entwined in a twisted, doomed relationship years after WW2. You’d have to search high and low to find two braver performances than Bogarde and Rampling give here.

I think the film has been misunderstood over the years; it frequently gets lumped in with (and is dismissed as) Nazi kitsch exploitation fare like Ilsa, SheWolf of the SS or Salon Kitty. Disturbing, repulsive…yet weirdly mesmerizing.

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The film: Psycho

Where not to stay: Bates Motel

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 creepy taxidermy collection. And this is only the warmup to what director Alfred Hitchcock has in store for her later that evening.

This brilliant shocker from the Master has spawned so many imitations, I long ago lost count. Anthony Perkins sets the bar pretty high for all future movie psycho killers. Anyone for a shower?

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The film: The Shining

Where not to stay: The Overlook Hotel

“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.

Happy Halloween!