by Steve Habrat
In 1987, director Paul Verhoeven unveiled RoboCop, a satirical science fiction blockbuster that has been long celebrated by critics and audiences as a classic of the genre. Despite offering gruesome thrills and unrelenting action, this beloved classic has even earned recognition from the prestigious Criterion Collection and was released by the arthouse company on laserdisc and DVD a few years back. It should come as no surprise that a remake of RoboCop was rumored for many years—unsurprisingly, really, considering that Hollywood is running on fumes in the creativity department. After almost ten years of development, America finally has Brazilian director José Padilha’s RoboCop, a buffed and bloodless affair that features a staggering A-list cast. With names like Gary Oldman, Michael Keaton, Samuel L. Jackson, and Jackie Earle Haley filling up the cast list, you’d think that there must be something solid to this blatantly unnecessary remake of a classic. Truthfully, RoboCop 2014 isn’t nearly as bad as you may have expected it to be. It’s far from empty headed and the veteran performances carry plenty of weight, but the film is so concerned with making an intelligent statement that the film nearly forgets to have any fun or offer any adrenaline-pumping set pieces. It also makes the grave mistake of handing over the title role to Joel Kinnaman, a newcomer that works hard but never fully earns our sympathy or respect.
RoboCop picks up in Detroit, 2029, with police officer Alex Murphy (played by Joel Kinnaman) and his partner, Jack Lewis (played by Michael K. Williams), doing some dangerous undercover work in an attempt to bring down crime boss Antoine Vallon (played by Patrick Garrow). In their investigation, they begin to discover that Vallon may have ties to several officers in the Detroit police department. After a nasty confrontation between the undercover officers and Vallon’s men, Jack is left severely wounded and clinging to life. Alex manages to make it through the confrontation unscathed, but Vallon’s men soon track him down and implant an explosive device inside his car. While enjoying a quiet evening at home with his wife, Clara (played by Abbie Cornish), and his young son, David, the device is triggered, leaving Alex with fourth degree burns covering his body. Meanwhile, in Tehran, the United States is waging war with the help of robotic soldiers and hulking droids created by OmniCorp. On American soil, OmniCorp CEO Raymond Sellers (played by Michael Keaton) is pushing to have these robots and droids patrol American streets, but he is met with resistance from Senator Hubert Dreyfuss (played by Zach Grenier), who claims that the robots and droids lack human emotion. Desperate to make his vision a reality, Sellers enlists the help of Dr. Dennett Norton (played by Gary Oldman) to meld man with machine. After a lengthy search for a proper candidate, Sellers and Norton settle on Alex for the human/robot program, and in the process create a revolutionary new figure of justice—RoboCop.
Where most blockbusters today attempt to mask their lack of intelligence with countless CGI battles, gunfights, fistfights, and miles of devastation, RoboCop begins with heady debates about the use of robots and droids in the thick of war. The battle rages on a nightly news program called The Novak Element, hosted by Pat Novak (played by Samuel L. Jackson). In this sequence, we are treated to some tense urban action sprinkled in between Novak’s bug-eyed stare and his questioning of America’s “robophobia.” Points are made on both sides of the issue, bullets fly, bombs explode, and things seem to be getting off to a strong start even before the credits have rolled. Padilha and his crew are letting us know that they are well aware that the original RoboCop was interested in smarts just as much as it was interested in spilling blood, and you have to commend them for acknowledging this. However, as the seconds tick by in RoboCop 2014, it becomes increasingly clear that the filmmakers seem reluctant to have a little fun. There is a brief rush of giddy excitement when Alex steps into a training session in an abandoned warehouse, but the action feels square and the approach is uninspired as Jackie Earle Hayle’s Rick Maddox taunts the stomping RoboAlex by calling him “Tin Man.” I’m sad to report that the action rarely picks up from here, only really cutting loose during the final showdown in the OmniCorp lobby.
While the action may not exactly take your breath away, a good majority of the performances will keep your eyes glued to the screen. Perhaps the most mediocre of the bunch is Kinnaman, who fails do anything interesting with his screen time. He’s the typical macho cop/mushy family man in the early scenes, and when he’s sentenced to his new RoboArmor, he’s only sporadically pathetic as he realizes that he will never have a normal life again. Still, he can droop his mouth into a proper frown as he aims his machine gun and fires at the bad guys, which is always an action-movie plus. The ever-welcome Oldman is the top dog here as Dennett, the doctor tasked with placing the injured cop inside a machine. Oldman earns more sympathy when he is forced to switch off Alex’s emotions than the actual RoboHero does. Keaton nails his role as Sellers, the ruthless OmniCorp CEO who may not be as upstanding as he seems. Jackie Earle Hayley does a fine job as Maddox considering that the screenwriters have handed him the film’s worst dialogue. Strapped inside his exoskeleton, he looks like something out of Elysium, but he still finds a groove as a certified badass. Jackson is his usual shouting self as Pat Novak, the nightly news host who speaks directly to the audience and acts as a pale moderator to all the heated debates. Abbie Cornish rounds out the main cast as Alex’s suffering wife, Clara, who slowly regrets allowing the suits of OmniCorp to slap her husband inside that black armor.
Undoubtedly the most controversial change in RoboCop 2014 is the PG-13 violence that the studio opted for rather than the gruesome R-rated approach Verhoeven took to the original. Throughout it’s nearly two-hour run time, there is barely a speck of blood, which makes it clear that Columbia intends to turn this new RoboCop into a sanitized series that will sell just as many toys as it does tickets. Despite the lack of bloodshed and carnage, Padilha’s RoboCop is still a well-paced story that builds quite nicely. The only time that the film really drops the ball is with Vallon and his villainous shenanigans. He is quickly bumped off and forgotten so that Padilha can make room for bigger and badder tricks. It also wouldn’t have hurt to include villains that are a bit more colorful than what we are left with. Overall, you can’t fault RoboCop 2014 for attempting to be much more than a mind numbing, popcorn-muncher of a film, but this constant strain to be saying something prevents the audience from receiving the action jolt they are craving. Maybe a different lead would have helped, too. Oh well, as far as remakes go, it could have been much, much worse.
As any lover of horror will tell you, picking a short list of favorite monsters is no easy feat. The most classic movie monsters are those with an element of tragedy; the ones who evoke empathy as well as horror. While I love the classics and admire the craft required to create a sympathetic monster, I don’t know that I can call them my favorites. To be my favorite, a monster must be truly frightening, something that makes you want to hide under the bed, if only you could be sure that there wasn’t something much, much worse lurking, just out of sight, down there. To help narrow the field to these most terrifically terrifying fiends, I’ve drawn from five fears of children and childhood to give you my favorite monsters of horror.
1. Creepy Kids
By subverting the notion of children as harmless innocents, creepy kids make for extraordinary effective monsters. Whether made evil by external intervention, as in The Exorcist or Pet Cemetery, or simply born bad like little Rhoda Penmark in The Bad Seed, these children of horror are more perceptive than you, more devious, and without a single moral objection to your violent demise. Playing upon mankind’s perceived biological imperative to protect children, these monsters ruthlessly twist any act of mercy and care into a lethal mistake. The best of these (and my first favorite) is Samara from 2002’s The Ring. Rachel, our protagonist, sees poor Samara as a tragic figure, murdered by her own mother simply for being too different. Except no. She’s actually a sea monster rape-baby who gleefully wants to burn awful images into your mind until you die. She doesn’t “just want to be heard,” Rachel. She just wants to kill you.
Aidan: Is she still in the dark place?
Rachel: No. We set her free.
Aidan: You helped her?
Aidan: Why did you do that?
Rachel: What’s wrong, honey?
Aidan: You weren’t supposed to help her. Don’t you understand, Rachel? She never sleeps.
2. Scary Dolls
Psychologists recognize automatonophobia as the fear of anything falsely representing a sentient being, including robots, dolls, and ventriloquist dummies. Perhaps, like creepy kids and evil clowns, dolls make for terrifying monsters by representing the juxtaposition of the joyous things of childhood with the looming inevitability of death and decay. Scary dolls are like creepy kids, but littler, creepier, and therefore more likely to be tucked into hidden spaces, watching you. Watching and waiting…
Although horror offers plenty of scary dolls to chose from, including the disturbing Dolly from Dolly Dearest and sinister Hugo from Dead of Night, the eponymous dolls from 1987’s Dolls win in a multi-way tie for my favorite scary doll monster on sheer horrifying volume alone. Killed and imprisoned in toys to pay for their crimes, these dolls might be sympathetic if they weren’t so completely full of malevolent, unrepentant mischief, fully committed to killing you, even if it takes their tiny doll hands all night to do it.
3. The Monster in the Closet
That thing that’s lurking under the bed. Or possibly in the closet, or in the dark at the bottom of the basement stairs, where the light doesn’t quite reach. These monsters, easily dismissible in the light of day, gain a terrifying immediacy and presence in the dark, when you feel the sudden, irrational imperative to gauge the leap between the light switch and the relative safety of your bed.
Well represented by Lovecraft’s Night-Gaunts and The Whisperer in the Darkness, my favorite Monster in the Closet can be found in Stephen King’s short story The Boogeyman, which asked, “Did you look in the closet?” and left me unable to sleep alone for an entire summer. Since the latest short film version of the story hasn’t been released yet (and we don’t acknowledge the 1982 full length atrocity of an adaptation), I’ll use Drew Daywalt’s 2010 short There’s No Such Thing to illustrate my choice. Sleep tight, kittens.
4. Evil Clowns
Clowns were once considered gentle buffoons, the perfect choice to entertain crowds of children. Now we know better. As a society, we have recast clowns as monsters, lurid freaks and crazed killers, their painted-on smiles intense grins of maniacal joy. In The History and Psychology of Scary Clowns, Smithsonian Magazine notes that no less an authority than Andrew McConnell, English professor and coulrophobia historian, credits Charles Dickens with introducing the idea of the clown as a secret, sinister monster, “an off-duty clown…whose inebriation and ghastly, wasted body contrasted with his white face paint and clown costume.”
Whatever the reasons clowns make for fabulously frightening movie monsters, there are no shortage of candidates for a favorite. However, when it comes to childhood fears, the 1982 classic Poltergeist hits the nightmare trifecta of monster in the closet, something under the bed, and a scary clown that really, really, wanted to see you dead.
5. The Monster that Doesn’t Need an Explanation
As children, we fear many things that do not have a name. Some, horrifying abominations that defy definition, become no less repugnant as we age. These monsters push at the boundaries between dimensions, shrugging off all normal rules of physiology and rationality. The very alienness, the wrongness, of these creatures is exactly what makes them so completely terrifying. My favorite monster in this category needs little introduction and bears no explanation – the thing from John Carpenter’s 1982 classic The Thing. Sure, it was based on a novella and there was an attempt at an extraterrestrial back story, but there’s really no amount of explaining that can rationalize a whip-mouthed spider dog monster that wants to be inside you. Monstrous, abhorrent, and viciously single-minded, this monster simply is. Best start running now.
To check out more from Eva Halloween, click here to visit her spooky website, The Year of Halloween.
by Steve Habrat
Richard Lester’s 1983 debacle Superman III had shifted the Superman franchise from serious to shaky ground. It was a bloated and unfunny two-hour sight gag that failed to make you laugh and relentlessly mocked its own hero. Plus, it had Richard Pryor in a major role, which basically says it all. Things went from sort of bad to unfathomably awful in 1987 when Sidney J. Furie released Superman IV: The Quest for Peace, an awkward plea for world peace that was co-written by series star Christopher Reeve. About the only positive thing that can be said for Superman IV: The Quest for Peace is that it does away with most of the comedy that plagued the third installment of this rapidly dying franchise. Lacking producers Alexander and Ilya Salkind and in the hands of a new production company, Golan & Globus, Superman IV: The Quest for Peace is a cheap and poorly thought out franchise killer that simply borrowed from the previous three Superman movies all while trying to make a straight-faced statement about the nuclear arms race. It is a 90-minute mess that couldn’t even be saved by strong performances from Reeve and returning cast members Gene Hackman and Margot Kidder. They certainly try but their lack of interest bleeds through on nearly every single frame.
After news breaks that the United States and the Soviet Union may engage in nuclear war, Superman (played by Christopher Reeve) contemplates how he should handle the situation. Desperate for advice, he travels to the Fortress of Solitude to confide in the spirits of Krypton, who advise him to find a new planet to call home. Superman soon receives a letter from a young schoolboy about the threat of nuclear war, which leads him to attend a United Nations convention and vow that he will rid the world of nuclear weapons. Just as the world is breathing a sigh of relief, Lex Luthor (played by Gene Hackman) escapes from prison with the help of his spaced-out nephew, Lenny Luthor (played by John Cryer), and the two begin cooking up a plot to send the world back into chaos. Luthor decides to steal a strand of Superman’s hair that is on display at a museum in Metropolis, attach it to a nuclear missile, and launch it into the sun in an attempt to create a superhuman that can match Superman’s strength. The result of this experiment is Nuclear Man (played by Mark Pillow), who travels to Earth and begins taking orders from Luthor. Meanwhile, the employees of the Daily Planet are stunned to learn that they have been taken over by tabloid tycoon David Warfield (played by Sam Wanamaker) and his daughter, Lacy (played by Mariel Hemingway), who has been brought in to replace Perry White (played by Jackie Cooper) as editor. To make thing worse for Lois Lane (played by Margot Kidder), Lacy begins trying to seduce Clark Kent.
Under a very limited budget, Superman IV: The Quest for Peace is like something that would have sent straight to the VHS bargain bin at a hole-in-the-wall video store. Even for 1987, this is a seriously chintzy production that is weighed down by poor special effects, lame prop work, and some of the laziest sets ever put on celluloid. The sets in Ed Wood’s Plan 9 from Outer Space were more convincing than the moon set at the end of Superman IV. The opening credits will certainly have you chuckling as they look like they were ripped from a Super Nintendo video game, but wait until you see some of the flying effects. When the strings aren’t clearly visible, you’ll be shocked by all the shaky superimposed images of Superman as he hurtles himself towards the viewer. The superimposed image that is used of Superman never changes, making you wonder if the filmmakers even considered doing another take of Reeve in his flight pose. Things don’t get much better when Reeve and Pillow are asked to play around with massive styrofoam props that look like they were spray painted in the director’s basement. When it comes time for the big brawls, Reeve and Pillow look like they are just trying to hug each other to death rather than seriously hurt each other. There is barely a punch thrown and the two just roll around in the dirt like they are participating in a high school wrestling match. It is beyond painful to have to endure.
If there is any saving grace to Superman IV: The Quest for Peace, it is the performances from Reeve and returning cast members Margot Kidder, who was reduced to a brief cameo in Superman III, and Gene Hackman, who wasn’t present at all for the third film. Reeve somehow remains strong as Superman/Clark Kent despite seeming well aware that the movie around him is just a disaster. Reeve also helped develop the story but it seems like it got away from him in the filmmaking process. He still manages to excel as Kent and emit warmth as Superman, even when the script starts piling on made-up superpowers. Kidder is still her feisty self as Lois Lane, but she never reaches the level of her first two performances. Hackman is clearly having fun as the scheming Lex Luthor. By this point, he was clearly phoning it in but he’s immensely enjoying himself. Hackman is nearly brought down by an awful performance from Cryer, who is supposed to serve as the comic relief, something that we could have done without. Pillow is downright hilarious (and not in a good way) as the stomping and scowling menace Nuclear Man. You’d think it would be neat to have Superman facing off against a villain who can match him but Pillow is the furthest thing from menacing. As far as the Daily Planet players go, Cooper is on autopilot, Wanamaker is reduced to a snapping businessman with no bite, and Hemingway is here to add a bit of sex appeal to the project.
When you’re not covering your eyes due to the horrendous special effects and embarrassing action sequences, you’ll be in openmouthed disbelief over the countless other flubs in the script. I’m still trying to figure out how Luthor was able to snip that strand of Superman’s hair even though it is able to hold 1000 pounds, and I haven’t quite wrapped my head around how Lacy was able to breathe in space without some sort of helmet. Then there is Nuclear Man’s lame weakness, which seems like it would make him very easy to defeat. And don’t even get me started on the made-up powers that Superman has here. Oh, and then there is the relentless preaching about world peace and nuclear weapons that practically makes you want to tear your hair out. Overall, you could fill a book with everything that is wrong with Superman IV: The Quest for Peace. The actors all seem thrilled to be reunited but every other aspect of the film is just downright awful. The film runs skimpy, filling out its runtime with slow-motion fights that are unintentionally hilarious and side plots that we could honestly care less about. It is no wonder that this film killed the Superman franchise and left it shelved for almost twenty years. Not even Reeve, who made the third film tolerable, was able to make this flaming turd work. Superman IV: The Quest for Peace is one of the worst superhero movies out there and one of the worst movies you may ever see.
Superman IV: The Quest for Peace is available on Blu-ray and DVD. You’ve been warned.
by Steve Habrat
I had never heard of director Tibor Takács’ 1987 demons-in-suburbia horror flick The Gate until a buddy at work recommended it and let me borrow his copy on DVD. Made in the heyday of stop-motion special effects and flashy explosions, The Gate is what you would get if you combined the rollicking adventures of The Goonies, the spacey wonder of E.T., and the funhouse scares of Poltergeist. Borrowing heavily from early Steven Spielberg, Takács crafts a solid little eighty-five minute sleepover distraction that will send the kiddies off with a few nightmares and the adult viewers away inebriated on drive-in nostalgia. In addition to all the goofy fun you’ll have, you’ll also marvel at how well the film has held up through the years. Only once or twice do the incredible effects look dated or slightly cheesy. Even more incredible is that the film was made for a measly $2 million, which makes it even more astonishing that it has barely aged a day. The Gate is also worth a look to check out the performance from a young Stephen Dorff as our pint-sized hero who has to face Hell on earth in mundane old suburbia. And you thought searching for lost pirate treasure was stressful!
The Gate introduces us to Glen (Played by Dorff), a nerdy suburban kid who passes the time with his heavy metal loving buddy Terry (Played by Louis Tripp). After Glen’s parents have a large tree dug out of their back yard, Glen and Terry find a mysterious rock in the hole that looks suspiciously like an egg. Meanwhile, Glen’s sister, Al (Played by Christa Denton), is busy trying to convince their parents that she is old enough to babysit Glen while they are away for the weekend. After a lot of pleading and begging, Al is allowed to look after Glen but as soon as their parents leave, she kicks off a big party for her friends. What the kids assume will be a fun-filled weekend takes a sinister turn when they find a rotten corpse buried in the walls of their house, suffer from bizarre hallucinations, and are stalked by miniature demonic creatures that crawl out of the hole in the backyard. As the paranormal activity increases, Terry and Glen begin to suspect that the hole in the backyard is really a gateway to Hell and if it isn’t closed soon, the world will be reduced to ashes.
The Gate does start out a bit choppy in its opening moments, with awkward editing and lots of silly dissolves. It doesn’t help that the acting has trouble finding its groove but things start to click when the special effects kick in. Once the little demonic critters start wrecking havoc all over the house, things start to be a little more fun and surprisingly eerie. The Gate also has a number of hallucinatory moments that are capable of scaring the crap out of both younger and older viewers. A scene in which Terry comes face to face with his deceased mother is a major creep-out as is the one where Glen embraces a demonic form of his father, only to pull his head off and gouge his eyes out. There is also an eyeball in the palm of Glen’s hand, bedroom walls bending in on themselves, and a demonic version of Terry emerging from a closet and trying to take a bite out of Glen’s hand. It’s through these otherworldly moments that The Gate achieves a fairly creepy atmosphere that lingers until the final frame of the film. The creature effects add more of an action element to all the insanity and I have to say that they have held up better than you think. If you think the alien-like demons that scamper around are spooky, wait until you get a look at the rat like creature that bursts through Glen and Al’s living room. It’s actually better than most of the computerized monsters that Hollywood comes up with today.
Considering that The Gate is a kiddie horror flick, our protagonists are all below the age of seventeen. The young Dorff is passable as rocket-obsessed Glen but he does very little to really blow us away. When combined with Tripp, the two convey a legitimate friendship that is heartwarming, especially since Tripp’s Terry is nursing a broken heart. I’d honestly have to go with Tripp’s performance over Dorff’s since there is a bit more depth there. Then there is Denton’s Al, who is handed lots of 80’s slang that is sure to nab more than a few unintentional laughs from those who didn’t grow up then. If her slang doesn’t get you, her style and variety of friends will certainly have you chuckling. Deborah Grover and Scot Denton drop in briefly as Glen and Al’s worried but loving parents. There is a very fine scene that finds Glen and his father discussing Terry and how he is coping with the loss of his mother. It is a scene that actually made me want to see more from their father but if he remained in the picture, we wouldn’t have all the funhouse horror that we do.
While The Gate has some mighty fine monsters and some surprisingly disturbing images, the film is the victim of its own plot cheese. I supposed that if The Goonies and Poltergeist never were made, The Gate would have had a bigger impact than it actually had. Still, if your someone who really enjoys a good stop-motion special effect over rubbery CGI, you’re going to go wild for this one. Even if all this madness shouldn’t work, I’m still a huge sucker for these types of films, the ones where extraordinary events break the peaceful tranquility of the idyllic American suburb. These films are almost like comfort food, especially since I can remember checking out films like The Goonies and E.T. when I was just a squirt. It’s the rollicking adventure that wins out and makes The Gate a fun Friday night barging bin watch. Overall, the kids will find it scarier than the adults, but The Gate still keeps the entertainment light and accessible, something that you just can’t argue with. A forgotten B-movie gem that will do the trick when you’ve exhausted all the other horror classics the video store has to offer.
The Gate is available on DVD.
by Steve Habrat
I’m going to sound like the stickler here but I’m just being honest, I really don’t care much for Sam Raimi’s 1987 free-for-all Evil Dead II, a loose remake/reimagining of 1981’s low budget The Evil Dead. Brash, frivolous, and gallingly noisy, Evil Dead II never really justifies its existence outside of setting up for 1992’s Army of Darkness. I guess I’ll never understand why Raimi wanted to fiddle with a good thing, reimagining The Evil Dead as a horror comedy, shoving in as much slapstick as he possibly can, and sucking all the terror out of the experience. I detest the glossier finish on Evil Dead II and the bigger budget feel to the project. The film is nothing but a continuous stampede of special effects and gags, only a few hitting their mark and the rest just splattering the audience with black goo. It truly breaks my heart because this film is legendary in the horror genre, praise coming from fans and critics alike and when I saw it all those years ago, I was extremely let down, especially after being taken aback by The Evil Dead. I’ve given the film multiple chances over the years and my disappointment is still firmly in tact. What am I missing?
Evil Dead II hits the restart button and begins with a small introduction/explanation of The Book of the Dead. After a zippy, special effects heavy intro, Ash (Played once again by Bruce Campbell) and his girlfriend Linda (Played by Denise Bixler) retreat to that dreaded cabin in the woods for a romantic getaway. This time, they are not accompanied by a handful of other friends looking to have a good time. As soon as they arrive, Ash stumbles upon a recording of spoken passages by an archeologist from The Book of the Dead, which naturally when played wake up that moaning unseen force lurking in the woods and opens up all the occupants of the cabin to demonic possession. Linda gets possessed early on, leaving Ash to battle the forces of evil by himself. Soon, the archeologist’s daughter Annie (Played by Sarah Berry) and her research partner Ed (Played by Richard Domeier) arrive at the cabin with recently found missing pages from The Book of the Dead. Two tobacco-chewing locals, Jake (Played by Dan Hicks) and Bobby Joe (Played by Kassie Wesley DePaiva), who are familiar with the several trails that lead to the secluded cabin, accompany Annie and Ed. When the new group arrives, they quickly start working on a way to stop the evil forces from preying upon the cabin and possessing those inside.
Evil Dead II hits the ground running in the first few minutes and then moves at the speed light for eight-four minutes, never stopping once for a break. I’m not opposed to Raimi’s banshee-out-of-Hell approach with the sequel but it is such a far cry from the original, I was left wishing for the slow build of the first film. The film also dares to venture outside the cabin to other places (an air strip, a brief flashback to the archeologist finding The Book of the Dead), diminishing the out-of-the-way anxiety that hovered over the original film. The sad part of all of this is Raimi could care less if he is scary this time–he just wants to shock the viewer repeatedly, making us jump out of our skin by the relentless power of everything in the frame. His camera does more darting around, loud howls and bangs are turned up to twenty on the soundtrack, fake blood is sprayed everywhere, and his monsters have grown in number. The film is so excessive, it almost borders on gluttonous.
Then we have Ash, our all-to-eager hero from the first film who returns to be even more of a macho hard ass. Campbell embraces a more physical style of acting, aiming for slapstick rather than rattled, cautious terror. He fights with his possessed hand, he mutters chuckle worthy one-liners line “Groovy”, dashes through the cabin screaming bloody murder, and is showered in more fake blood than you can ever imagine. Campbell is a talented guy and a joy to watch as he is clearly having the time of his life dispatching demons with a chain saw, but I liked him better when he was an everyman, scaled back realistically to a genuine normal guy with no where to run. Evil Dead II is the film that builds him up into the unstoppable horror hero that he is, with severed hand replaced with a chain saw and packing a sawed off shotgun to shatter heads. He is a complete riff on the macho hero of the 1980’s, even loosing one of his shirtsleeves to show off his built arms, his face always covered in sweat and perfect gashes, and a girl always super glued to his arm. Campbell does end up being the highlight of Evil Dead II, his character actually becoming more of a classic than the film itself.
Evil Dead II never allows our minds fill in the blank and this is what causes it to trip over itself. Everything gets explained, from The Book of the Dead to even that terrifying force lurking in the woods (you get to see it here). Perhaps if The Evil Dead never existed, I might have different feelings for Evil Dead II, maybe more accepting of its horror comedy act. The film is well made and well executed from a technical standpoint; the effects are pretty good but just severely out of place. I just can’t figure out why this film is hailed as being scarier than The Evil Dead. I don’t think there are many scares to be found throughout the film. Maybe it is the fact that it continuously assaults the viewer every step of the way, but even then, I think the film comes off as more irritating the bloodcurdling. Overall, Evil Dead II is mildly enjoyable and worth taking a look at just to see what everyone raves about. But if I want to see something that is going to send me hiding behind my couch, I’ll take the original any day of the week over this nutty circus.
Evil Dead II is now available on Blu-ray and DVD.
by Steve Habrat
Here we are, boys and ghouls! We have made it to my top 10 scariest movies of all time. I hope I have introduced you to a few horror movies you haven’t seen or heard of and tackled a few of your favorites as well. So without further ado, these are my top 10 favorite horror films that have curdled my blood, given me goose bumps, made me a little uneasy to turn out my bedside lamp at night, and made me consider shutting the films off.
10.) The Evil Dead (1981)
The ultimate sleepover horror flick! With a budget barely over $375,000 and a handful of no name actors, first time director Sam Raimi tore onto the directorial scene with The Evil Dead, a gruesome little supernatural horror film that follows a group of teens as the travel to a cabin in the woods for a weekend of drinking a few beers and hooking up. Once secluded in the cabin, they stumble upon a book called, naturally, The Book of the Dead, and they, of course, read from it. The book just so happens to release an ancient force that possess all who stand in its way, turning the teens into bloodthirsty, demonic zombies. Stopping to consider the budget, the special effects here are a true marvel, even if they are dated and the sound effects will give your goose bumps more goose bumps. While Evil Dead II: Dead by Dawn and Army of Darkness descended into campville one of the most amazing parts of The Evil Dead is the fact that it refuses to offer any comedic relief. The most grueling aspect of the film is that by the end, our hero Ash has to face the terror all by his lonesome. Absolutely unyielding once it gets moving and savagely in-your-face, The Evil Dead will without question fry your nerves.
9.) Suspira (1977)
Italian director Dario Argento created perhaps one of the most visually striking horror films to date. Suspira is scary decked out in bright neon colors. Following a young American woman who is accepted to a prestigious ballet school in Europe where it may or may not be under the control of witches is the real deal. The film begins with easily one of the most intense murder sequences ever filmed and it should almost be criminal with how well Argento builds tension and suspense within it. While mostly scaring you through supernatural occurrences and basically becoming a mystery film, Suspira leaves its mark with images that sear in well-lit rooms. Nothing ever happens in the dark in this film, and usually its what we do not see that is the scariest. And to deny the fact that this film is a breath of fresh air to the horror genre would be utterly absurd. The best advice I can give is just wait until the end of the film. You will be left pinned to your seat.
8.) Psycho (1960)
When it comes to unforgettable movie monsters, give me Norman Bates over Freddy or Jason any day. Everyone is familiar with what is perhaps the most famous and scariest of all of Alfred Hitchcock’s films, this film literally could be the closest to perfect that any motion picture will get. The score is unforgettable. It breaks the rules by killing off its main star in the first forty minutes. It keeps you guessing until the very end. It WILL terrify you by its sudden outbursts of brutal violence. And seriously, who is not familiar with the shower sequence? Still not convinced? See it simply for Anthony Perkin’s performance as mama’s boy Norman Bates. I guarantee he will find his way into your nightmares. Remarkably, the film lacks all the crows’ feet of aging as it still manages to be one of the scariest horror of personality films to date. While it was needlessly remade in 1998 to disappoint results, the original is a true classic in literally every way. Psycho breaks all the rules of horror, and leaves the viewer disoriented and wowed all at once.
7.) Straw Dogs (1971)
Never heard of Sam Peckinpah’s 1971 home invasion film Straw Dogs? Well, you have now and you have no excuse not to see it. As an added bonus, it stars Dustin Hoffman! I noticed that on many of your favorite horror films that you have sent me, you listed the 2008 film The Strangers. While The Strangers is creepy, Straw Dogs is flat out gritty, unrepentant viciousness. A nerdy math professor and his wife move out to the British countryside where they are looking to enjoy a simple life of peace and quite. Their pursuit of happiness falls short when the couple becomes the victims to bullying by the locals. The bullying soon boils up to a vicious rape and an attack on the couple’s home that leads to one hell of a nail-bitting standoff. Many consider it a thriller, but this is flat out horror in my book. The film becomes an exploration of the violence in all of us. Yes, even the ones we least expect. We never see the violence coming from the mild mannered math teacher. Even worse, it leaves us with the unshakeable notion that this horrendous violence lurks in all of us. Another great quality of the film is the fact that it will spark conversations after viewing it. What would you do in that situation? Would you allow yourself to be the victim or would you stand up and fight for what is yours? Sound simple? Straw Dogs is far from simple. It will etch itself into your mind.
6.) Nosferatu the Vampyre (1979)
Nosferatu is on here twice?!?! Sort of. Nosferatu indeed deserves its place among the greats but Werner Herzog’s Nosferatu the Vampyre is without question the greatest vampire movie of all time. It drives a silver dagger right through the heart of all the vampire flicks out there (Take that Twilight!). Part remake, part valentine to F.W. Murnau, part Dracula; this is an undeniably sweeping horror film. Who would have believed that a slow motion image of a bat could make the hair on your arms stand up? Elegant and astonishing beautiful, one could recommend the film on the cinemamatogrphy alone. This interpretation of Nosferatu abandons the name Count Orlok and instead is Count Dracula. The appearance of Count Dracula is almost identical to Count Orlok but the rest plays out like Dracula. The film features what could be one of the most mesmerizing performances ever caught on film with Klaus Kinski’s interpretation of Count Dracula. He is at once heart breaking and threatening. The film’s apocalyptic images are spellbinding. The score is the stuff that nightmares are made of. The acting is top notch. The scares are slight and real. This is the scariest vampire movie ever and one of the most underrated horror movies ever made.
5.) The Texas Chainsaw Massacre (1974)
The glaring problem with the 2003 remake of this disturbing 1974 classic is that the 2003 remake was more concerned with being a sleek experience rather than a gritty and realistic slasher flick. The original Texas Chainsaw Massacre does a fantastic job making you feel the Texas heat, as this movie is an absolute scorcher. On top of that, the film uses surprisingly little gore and still manages to gross you out to the point of you seriously considering becoming a vegan. What makes the film so traumatic is the fact that it does not only contain one monster, it has several. There is basically no escape from the dreaded, chainsaw wielding Leatherface and his merry band of cannibals. The film also throws another monkey wrench into the equation: one of the main characters is in a wheelchair. Yikes! The final chase of the film seems like it was ripped right out of an old newsreel and it has such a realistic tone that the atmosphere actually overrides the horrific murders. I recently read a quote from Stephen King about his favorite horror films and I have to admit that I heavily agree with him. He says “One thing that seems clear to me, looking back at the ten or a dozen films that truly scared me, is that most really good horror films are low-budget affairs with special effects cooked up in someone’s basement or garage.” If this quote applies to any horror film, it would be Tobe Hooper’s The Texas Chainsaw Massacre. Amen, Mr. King!
4.) The Shining (1980)
As far as supernatural horror movies are concerned, Stanley Kubrick’s version of the Stephen King book The Shining is the first and last word in haunted house movies. Combining hallucinatory images, a mind-bending story, and a horror of personality all into one Frankenstein’s monster of a film. Kubrick tops it all of with a big bloody bow. Jack Nicholson is at his bat-shit crazy best as Jack Torrence, a seemingly normal writer who, along with his family, are employed as the winter caretakers at the secluded Overlook Hotel. With the hotel cutoff from customers, the ghosts start coming out to play. They posses Jack’s young son Danny (REDRUM!). They torment Jack to the point where he grabs an axe and goes on a killing spree. If you have not seen this, see it just on the grounds of Jack Nicholson’s outstanding portrayal of a man slipping into homicidal madness. It is probably one of the most epic horror movies I’ve ever seen, and one of the most visually jarring. I really do not think there is anything creepier than twin girls standing in the center of a long hallway and inviting Danny to “come play with” them. The Shining leaves the viewer to figure it all out at the end. But damn does it end with some blood soaked fireworks.
3.) Dawn of the Dead (1978)
George Romero’s follow up to his 1968 zombie freak out wears the king’s crown in the land of zombie movies. This one has it all, folks. It’s dismal, gory beyond anything you could ever imagine, intelligent, shocking, and freaky as all hell. Picking up right where Night of the Living Dead left off, we are thrust into a world of chaos. I will warn you that the first half hour or so of the film is so overwhelming; you may need to take an intermission after it just to gather yourself. Romero is launching an all out assault on the viewer, testing them to see how much they are able to take. But he hasn’t even gotten going yet. Hell, the opening is actually tame compared to the gut-wrenching climax. Romero does lighten the mood a little in places because the film would be unbearable if he never did. The plot centers on four survivors who flee from war-torn Pittsburgh to an indoor shopping mall to escape the panic that has seized hold of America. This panic, of course, comes in the wake of the dead returning to life and eating the flesh of the living. They live like kings and queens in the land of consumerism, which also leads to their ultimate downfall. Greed takes hold and soon the army of zombies gathering outside is the least of their concerns. Featuring some of the most heart stopping violence to ever be thought up and some truly tense moments, Dawn of the Dead may actually cause you to have a heart attack or, at the very least, a panic attack.
2.) Hellraiser (1987)
If demonic horror scares you, then you are going to want to stay far, far away from Clive Baker’s Hellraiser. What sights the soul ripping Cenobites have to show you. What ghastly sights indeed. Bursting at the seams with some of the most unsettling images that any horror film has to offer, Hellraiser simply has it all. It has monsters for the monster crowd. It shows glimmers of the slasher genre. It satisfies the gore hounds thirst for blood. It offers up a wickedly original storyline. Following a man who ends up possessing a box that can expose you to the greatest pleasures imaginable is a pretty unnerving experience. There’s a dead guy in the attic that an unfaithful wife has to provide with male bodies so he can regenerate. There are four time traveling demons that rip apart their victims with chains. A daughter is desperately trying to unravel her father’s death. Did I mention it has lots and lots of monsters? The best part of seeing the first film in the Hellraiser series is that you get to see the Cenobites, who could very well be some of the creepiest antagonists that have ever haunted a horror film. They slink through the shadows and send icy chills up your spine. When Pinhead, or “Lead Cenobite” proclaims that they are “Angels to some and demons to others”, he is not kidding. Are they the four horsemen of the apocalypse, given the films left-field apocalyptic ending? Could be. Undeniably vicious and oddly hypnotic, the film will scare the living daylights out of you and replace those daylights with the darkness of Hell.
1.) Henry: Portrait of a Serial Killer (1986)
During the class that I took on the horror genre in college, we discussed that the scariest movies of all are the ones that posse an unwavering realism. I seriously think that Henry: Portrait of a Serial Killer is the embodiment of this argument. Raw, powerful, disturbing, and a searing knock out, this is without question the most terrifying film I have ever seen. You will be locking your doors and possibly adding another lock for extra good measure. The plot of the film centers on Henry who is soft-spoken exterminator who also happens to be a serial killer. Henry happens to be staying with his friend Otis, who is currently on probation and works at a gas station and also sells pot on the side. Otis has also allowed his sister Becky, who is a stripper looking for a new start in Chicago, to shack up with the two bachleors. Soon, Otis learns of Henry’s grotesque hobby and quickly decides he wants in. Henry takes him under his devil wings and the two descend into the night to prey on innocent victims. The uncanny, fly-on-the-wall vérité approach elevates the film to the territory of the unbearable. Every explosive murder is chillingly real. Every line of sadistic dialogue is muttered in a disconnected tone. The film also chills you to the bone because there is never a character to truly root for, a character to take comfort in. The closest we get to a hero is Becky, but mostly because we fear for her safety. We know she is incapable of stopping the maniacs. While the violence will shock you, and trust me it is some absolutely grisly stuff, the fear of the violence and unpredictability of it all will wear away and you will be left with the fear that this could actually happen. There are actually people out there who could be capable of doing this, and I could be next if I just so happen to be in the wrong place at the wrong time. Henry: Portrait of a Serial Killer is a masterpiece of the horror genre and it will leave you thinking about it for weeks.
I hope all of our readers out there have enjoyed our 31 days of Halloween special- Anti-Film School’s Halloween Horror Movie Spooktacular- and will come back next year for more horror, thrills, and chills. I have personally had a blast doing this as Halloween is my favorite holiday and has been since I was in a diaper. Enjoy the next few days of horror movie posts and the review our readers chose. Have a terrifying Halloween, boys and ghouls! I know I will.
by Charles Beall
There is a little-known (and thankfully little-seen) TV-movie/pilot based on the Psycho franchise called Bates Motel. This was to be an anthology-type series, much like The Twilight Zone, with plot lines revolving around the guests who check into a refurbished Bates Motel for the night. The movie aired on NBC in 1987 and thankfully was never picked up for series.
This movie is BAD. No, I take that back- “bad” would be a compliment. This movie is UNWATCHABLE. Yes, I know I have said I like to give movies a fair shake but this one does not deserve it. The plot revolves around a freakshow named Alex (Bud Court) who inherits the Bates Motel from his friend in the asylum, Norman Bates. When he is released, Alex wants to reopen his friend’s motel and help rebuild its image. How noble! With the help of a sincerely fucking annoying tomboy named Willie (Lori Petty), Alex proceeds to reopen the Bates Motel, but, Mrs. Bates (who is now named Gloria! WTF?!) will have none of that. So, “scary” shit happens, the motel is reopened, a girl tries to kill herself in the bathtub, blah, blah, blah.
As I stated, this movie is unwatchable. Sincerely, this is a horrible, horrible movie that doesn’t even deserve to be aired on midnight television. It doesn’t even deserve to be called campy- you have to earn that. This movie does not deserve to exist; it is lazy, stupid, and an insult to the brand of Psycho. You can check it out on YouTube if you’d like, but be aware, this is 90 minutes of your life that you will sincerely be pissed you wasted.
I’ll leave the last word to Anthony Perkins (from the excellent documentary The Psycho Legacy)…