Monday, October 20, 2014
Sunday, October 19, 2014
Radio crime reporter, Bob Hope and his assistant Willie Best find themselves travelling to Cuba in order to protect Paulette Goddard from a murder threat and ghosts and zombies with a haunted castle she has inherited.
The Ghost Breakers (1940) is a successful horror comedy not quite on par with Abbott & Costello Meet Frankenstein, but still a highly enjoyable viewing experience. There's plenty of Scooby-Doo like shenanigans, a creepy zombie and ghost, and a number of guest stars ranging from Richard Carlson to Paul Lukas and Anthony Quinn. The castle set is great, and this movie was one of the inspirations for Disney's Haunted Mansion.
Gremlins 2: The New Batch (1990) moves its story from a small town to a state of the art skyscraper in Manhattan, where Gizmo gets wet spawning more mogwais who eat after midnight turning into gremlins, which get wet spawning more gremlins and so on. This time things are complicated by an on site genetics lab where some of the gremlins are able to ingest formulas that merge them with spiders, bats, vegetables, and electricity. There's even a gremlin who increases his intelligence and becomes voiced by Tony Randall. Much of the original cast is back and together they must keep the gremlins contained within the building until they can develop the means to destroy them.
Somehow, I've never seen this movie until now. It was a real mixed bag for me. While I admired the social commentary and satire, sight gags, and the numerous homages to various pop culture touchstones, the gremlins themselves were really irritating. Joe Dante decided to go for a more cartoony approach than in the first movie, and Rick Baker came up with a lot of individualized gremlins that fit the bill, but their silly slapstic and screaming was like trying to watch an hour and a half of Tazmanian Devil cartoons if you removed Bugs Bunny from them. Gizmo was strangely absent from most of the movie with much of his screen time a build up to a one note bit based off of a movie scene, much like Gizmo's race car scenes from the original movie, only here it's not nearly as endearing.
Saturday, October 18, 2014
Baron Boris von Frankenstein (Boris Karloff) creates the means of ultimate destruction and summons all of earth's monsters (except one) to his island castle in order to announce his discovery and his retirement as leader of the Worldwide Organization of Monsters, a role he plans to pass on to his clueless, human, nephew Felix. This leads to a number of the monsters and Frankenstein's assistant, Francesca, scheming to get their hands on the secret formula for themselves.
Mad Monster Party (1967) was created by the same people that brought us Rudolph the Red-Nosed Reindeer and other beloved holiday classics. Like Rudolph, Mad Monster Party was created using stop motion animation on miniature sets with characters designed by Jack Davis. There are also a number of musical numbers.
Unlike Rudolph, and most of the other Rankin/Bass classics, Mad Monster Party has never won me over. I love stop motion animation and think it's a perfect choice for this film. I love the character designs and the sets too. I just think the characters themselves and the story (written by Harvey Kurtzman and Len Korobkin) are a bit flat and uninteresting, especially for a feature length movie that was clearly padded out to extend its running time with several scenes in the middle that serve no other purpose. This is similar to my reaction to A Nightmare Before Christmas. Both of these movies feature lots of things that appeal to me and I feel that I should love them, but I don't. The biggest problem here is that Felix is such an unlikable dweeb that it's hard to root for him and harder to believe in the romance that develops between him and Francesca.
I'm a big fan of Rankin/Bass, but as much as I want to love this movie, it just doesn't do much for me beyond the visuals.
Andy (Alex Vincent) receives a "Good Guy" doll named Chucky for his sixth birthday little knowing that his new best friend is really the soul of a voodoo practicing serial killer (Brad Dourif) inhabiting the doll until he can transfer his soul to the first person he revealed himself to in this form -- Andy.
I haven't seen Child's Play (1988) since it's opening weekend and I don't think I've ever seen any of the sequels. On its own, this film holds up really well. It maintains a sense of logic that is absent from many genre films these days and the suspense isn't built upon people being stupid. In fact a few characters catch on the what's going on pretty quickly, but how to convince anyone who can do anything that a living killer doll is responsible for a pair of violent crimes which are being attributed to Andy. The film really revolves around the relationship between lonely Andy and his mother, and Andy and Chucky instead of a gimmick, which makes almost heartbreaking when Andy realizes that Chucky never really was his friend to the end.
Friday, October 17, 2014
After the still birth of their third child, a couple (Vera Farmiga, Peter Sarsgaard) decide to adopt nine-year old Esther (Isabelle Fuhrman) an adorable, polite and precocious child hiding a dangerous secret which tears her new family apart.
Orphan (2009) is one of those movies that depends on characters acting stupidly in order to sustain its running time. It also chalks up a lot of obvious creepy bad seed child moments that don't challenge the audience either. In spite of all of that, I actually enjoyed this movie quite a bit. The adult characters are all played by very talented actors, but it's really Isabelle Fuhrman and Aryana Engineer as the younger, deaf daughter, Max, who make this movie worth watching. Not only do they both give outstanding performances, but their onscreen relationship is what holds the whole movie together and makes what otherwise would have been a completely mundane movie rise above it's clichés into something that kept me, at least, engaged throughout.
Thirteen-year old Lila (Cheryl Smith) the beloved singer in a church, receives a letter from a woman named Lemora (Lesley Gilb) telling her that she needs to come visit her gangster father before he dies. Lila leaves the reverend she lives with to do so, because she feels it's the good Christian thing to do. Her trip is like one long weird fairy tale journey into the haunted forest, or through the underworld. The town where she needs to catch her bus is populated by the dregs of human society, and the bus is meant for her alone. The bus is assaulted along the way by strange, formerly human creatures. From there Lila is dropped into the hands of witches and vampires including a batch of creepy undead children. Lemora is an odd, distant, cold, beauty like one of Disney's evil queens by way of Dracula's daughter, and her interactions with Lila are a predatory lesbian seduction. Each time Lila's will is tested, she takes strength in her beliefs as a Christian to turn away from sin, leading one to suspect that this movie is really a cautionary tale for teenagers thinking of running away from home made by a religious organization. That is until the end of the movie.
Lemora: A Child's Tale of the Supernatural (1973) is an odd movie. It's pretty amateurish in its production, screenwriting, and much of its acting, but it never seems laughable. In fact it's really compelling to watch. The various creatures on screen have pretty rough make-up, so that I couldn't honestly tell you how many different types of monsters there are. There could be vampires, werewolves, and whatever those things were that attacked the bus, or they could all be vampires. Instead of being a detriment, this is a real strength. The no frills make-up seem to make these creatures a bit disturbing, as does the choice of sound effects applied to them to create their growling and snarling. Likewise, the vampire children, who look like normal kids, only their laughter is too loud and obviously not coming from them, making it far creepier. The one touch to make the kids physically monstrous is a nice surprise, and not over the top. Lesley Gilb as Lemora is the best part of the movie. There's a very quiet stillness to her predatory role, making her seem like a spider slowly trying to draw her prey across her web to where she can snatch it. She never even seems to blink, adding a further hypnotic element to her performance.
I think people will either love, or hate this movie, but it will stick with them either way.
Thursday, October 16, 2014
Hammer tackles the story of Dr. Jekyll and Mr. Hyde in The Two Faces of Dr. Jekyll (1960), in which the obsessed scientist played by Paul Massie uncovers a means of unleashing his inner dark side in the form of Mr. Hyde (also Paul Massie).
Hammer played against expectations by making Jekyll the hirsute unattractive one and Hyde the clean cut handsome one. While Hyde is a loathsome, sadistic, sociopathic, hedonist and completely unlikable, Jekyll's no one to root for either. He cares nothing for anyone except his experiments. His inattention to his wife has driven her into the arms of his alleged friend, Paul Allen (nicely played by Christopher Lee) who also sponges off Jekyll's generosity, using the scientist to pay off his own huge gambling debts. There are no characters to sympathize with, or root for here. The bulk of the supporting characters are criminals, drunks, prostitutes, and self centered hedonists like Hyde, including a young Oliver Reed.
Terrence Fisher's direction is up to his usual high standard with nice use of color and staging that takes advantage of the depth of the sets by using foreground, middle ground and background to tell the story. Unfortunately all of the colorful Can-Can girls and other visual spectacle cannot elevate this movie beyond a well made curiosity. Attempts at suggesting a love story, and setting up a tragedy are wasted because the love is between back stabbing adulterers, and tragedy befalls characters who seem to deserve what they get. The problem really comes down to neither of Dr. Jekyll's two faces being part of a character we care about.
On her 21st birthday, Janet (Gloria Talbott) visits her benefactor (Arthur Shields) and learns that she's the daughter of the infamous Dr. Jekyll, and that his lycanthropy might be hereditary. She then begins to experience strange dreams in which a feral version of herself is slaying people who are found dead the next day. She becomes more and more troubled, and the locals more and more determined to destroy her. Only her fiancé (John Agar) believes her innocent and must find out the truth before it's too late.
There are a number of goofy elements to this film, and it's six day shooting schedule kept this from becoming a masterpiece, but Daughter of Dr. Jekyll (1957) has a few things going for it. Director, Edgar G. Ulmer brings plenty of strong visuals to the film from fog shrouded woods and mansions to Janet's weird dreams. Gloria Talbott also turns in her best performance aside from her outstanding performance in I Married a Monster from Outer Space (1958) as a woman falling apart from the strain of wondering if she changes into a killer monster at night. Bewildering is John Agar's striped jacket which makes him look like he should be selling ice cream.
Wednesday, October 15, 2014
After successfully bringing H.P. Lovecraft to the screen with Re-Animator (1985) and From Beyond (1986), Stuart Gordon returned to Lovecraft ten years later with Castle Freak (1995). Starring Jeffrey Combs and Barbara Crampton, it's more suggested by the story The Outsider than an actual adaptation.
A family travels to Italy to inspect the 12th century castle they've just inherited. The family is dealing with some internal difficulties at the same time. The husband and wife are estranged do to a drunk driving accident that the husband was responsible for which caused the death of their son and the blindness of their daughter. Trouble of another kind awaits them in the castle in the form of the titular character, the hidden son of the woman who previously owned the castle. Abused, deranged, and disfigured, this creature commits a number of atrocities within the walls of the castle, and because of his secret nature, the blame falls on the emotionally crumbling father.
It sounds more psychologically rich than it actually is. In reality it's like a carnival funhouse, or one of those haunted attractions that spring up at this time of year, the kind filled with bloody body parts, and some guy dressed up like a clown or hillbilly who chases you through it. It takes itself too seriously to be fun, and the violence is of the type that's really unpleasant, which also keeps it from being fun. The situation itself is really too silly to be taken so seriously either. There are a whole bunch of questions that are never addressed, because there's no way they could be in a way that is satisfying. It's not really worth seeking out.
The Call of Cthulhu (2005) is an ambitious adaptation of H.P. Lovecraft's 1926 story of the same name. The story concerns a man who inherits a mystery from his great uncle putting him on the trail of a great winged, octopus faced being that turns up across the globe, and is finally unleashed on a hidden island.
Though not perfect, this 47 minute movie, does what others said couldn't be done -- make a successful movie out of an allegedly unfilmable story. The film is shot and presented as a silent black and white movie, but uses modern technology to achieve many of its effects, from era appropriate cars driving through Providence streets, to depicting the monolithic city where Cthulhu lies waiting. The movie is nicely paced and looks a lot bigger than its meager budget would suggest. The only mistep, for me, was the performance of Cthulhu himself. Portrayed as a stop motion animated puppet, his moves are too swift (especially his writhing tentacles) to effectively convey a being as immense as he's meant to be. I have no problem with his design, or that he's a stop motion animated creature, just that his movements aren't convincing and draw attention to it being unreal in a manner it's not meant to be.
Otherwise, I wholeheartedly recommend this movie. I'm looking forward to catching up with the further Lovecraft movies made by the H.P. Lovecraft Historical Society.
Tuesday, October 14, 2014
Dark Tales of Japan (2004) is a made for tv movie made up of short scary films each handled by a different director. The connecting device is a bit on a bus in which an old lady tells each tale to one of the passengers. The stories themselves involve two reporters covering a local legend about a spiderwoman which seems to have no shred of evidence supporting it; a man who is brought to the apartment of a missing friend only to discover everything inside covered in red tape which isn't as strange as why that's been done; a young woman stalked by a coworker returns home to help her father take care of her ailing mother learns a family secret; a businessman on a trip to Los Angeles is haunted by an unusual ghost; and a man finds himself trapped on an elevator with three odd passengers.
As with any anthology, some segments are better than others. None of them is a particular stand out here. There's something very low budget about the whole affair, with lighting generally less nuanced than a soap opera or a program on HGTV. This does tend to distract from it, but it also, surprisingly lends some of these stories a genuine creepiness. The spiderwoman story in particular is effective because of it's no thrills aspects. Depending on the eyewitness report, the spiderwoman appears a number of ways, often as a woman with extra limbs, which are obviously the arms and legs of other people being introduced from off camera into the clothing of the actress playing the spiderwoman. But even recognizing how it's down, there's something unsettling about it. Certainly seeing real hands is more disturbing than the low end CGI and make-up effects creation that we see later. For all its flaws, and it is flawed, it's an interesting film to watch. These aren't the kinds of stories we get in Amicus films. Just brace yourself for something that has less frills than an episode of Ray Bradbury theater.
In Jacob's Ladder (1990), Tim Robbins plays a Vietnam Vet who finds himself experiencing intense hallucinations, which grow more unsettling and disorienting over time. The further he digs to uncover the truth, the more disrupted the fabric of his world becomes, causing uncertainty about what parts of his life are even real.
There's not really any way to go further into the plot without spoiling it for those who haven't seen it. For the long time, the script by Bruce Joel Rubin languished on the list of the best unproduced screenplays. This is probably my third of fourth time viewing it since its initial theatrical release, and I find myself noticing things that I hadn't on earlier viewings. This is more of a psychological thriller than anything, but the horrors here are pretty unsettling, from the atrocities of war to the strange figures that keep cropping up with blurred features inspired by the paintings of Francis Bacon. Director Adrian Lyne wisely keeps the horrors barely glimpsed than explicitly shown, making you want to lean in for a closer look and feel that what you've seen was far more disturbing than it probably was. It's that suggestion of the horrors that makes the movie unsettling and makes Jacob's experience seem all the more horrifying since the things he sees are so hard to see it blurs that line between what's real and what's hallucination -- if there's any difference at all. This is a high quality film that should be seen.