by Steve Habrat
Hollywood must have finally understood that America has had enough of the mindless torture porn horror films that they pushed upon audiences for years. I think the Saw franchise finally coming to end allowed multiple demonic horror and haunted house fright films to make their way back into local theaters. Sadly, these ghost films relied too heavily on the mockumentary/found footage technique that also worn out its welcome by the second Paranormal Activity. As far as straightforward horror films go, last year’s Insidious was a stand out and now we have The Woman in Black, a Hammer horror film that retains the gothic flourishes that was popular in films like 1959’s House on Haunted Hill and 1963’s The Haunting. Hammer Productions was famous in the 1950s for giving Universal’s Monsters alluring makeovers. Their hunger for style is alive and well in The Woman in Black as is a whole slew of good, old-fashioned bumps in the night.
Set in the early 1900s, The Woman in Black follows the young lawyer Arthur Kipps (Played by Daniel Radcliffe), who has found himself on rocky terms with firm he works for. Arthur carries a broken heart for his deceased wife who passed during childbirth and he also faces financial difficulties that have put a lot of pressure on his job. The firm he works for assigns him to handle the estate of Alice Drablow, who owned Eel Marsh House, a marooned mansion that sits on an island in the northeast of England. Despite the protests of his young son Joseph, Arthur departs to a small village just outside of where the mansion is located. Despite warnings by the locals, who tell him to leave and forget about the mansion, Arthur stays to complete the paperwork and protect his job. Arthur also happens to become friendly with a wealthy local man named Sam Daily (Played by Ciarán Hinds), who fills him in on superstitions that run rampant through the village. After witnessing a bizarre string of suicides by several local children and the appearance of a disturbing apparition of a woman in all black, Arthur begins uncovering family secrets that are buried in Eel Marsh House.
Carried by a damp, nippy atmosphere, The Woman in Black establishes an ambiance and it never budges. There is barely any sunlight in the film and few characters ever muster up a smile or grin. The film only pauses once to give the audience a quick chuckle before it shifts back into gloom. To director James Watkins, atmosphere is everything, giving the scares more oomph. The downside to all of this is that he accompanies most of the scares by loud blasts on the soundtrack to make us jump. To make it worse, half the time it is a fake scare that only turns out to be a raven or a carriage driver. When Watkins isn’t falling back on easy creeps, he composes an image that confidently gives you the willies. The woman in black stands in a graveyard and in the blink of an eye, she is gone. Arthur peers out into the trees from the porch of Eel Marsh House in a storm and he slowly discovers that a group of ghostly children stare back at him, only distinguishable by their silhouettes. Our title antagonist peers down at Arthur from a second story window, resembling a ghostly photograph. It’s these scares that give credibility to The Woman in Black, making the film an above average haunted house treat.
In his first starring role since Harry Potter, Daniel Radcliffe makes a smooth transition from boy wizard to distressed adult. I worried I would have a hard time taking him seriously, on the grounds that this film demands, and would instead still see him a kid. Radcliffe has grown up, folks, and here he gives a performance that is safe but allows us a glimpse of his range. I sometimes found him to be a bit stiff as Potter but here, he seems contented and confident, almost thrilled to be in something other than Harry Potter. In The Woman in Black, Radcliffe is disconnected and distant, appearing drained and at times, he could be inches from collapsing from fatigue. There are moments when he’s courageous, racing into the decrepit mansion after an otherworldly sighting in an attic window or grabbing an axe and inching towards strange footsteps that creak behind a closed door. He plays nicely off of Hinds, who makes Sam just as emotionally wounded as Kipps but a bit wiser. He seems to be keeping Arthur level, warning him not to go “chasing shadows”.
The Woman in Black also makes a near fatal error with the haunted mansion it takes place in. It is never good when your friend leans over and whispers, “That house looks like the stereotypical haunted house in every scary movie!” There is nothing setting Eel Marsh House apart from every other haunted mansion expect the location. Sure it is an imposing structure, any given rundown structure will be, but there is nothing setting it apart. The inside resembles an abandoned haunted house that has been left until next Halloween. There are perfectly placed cobwebs and everything has a thick layer of dust covering it. One room does stand out and that is the room the most ghostly activity occurs in. Radcliffe spends most his time snooping around a child’s room, crammed with creepy clown dolls that suddenly burst with chirping music box tunes and a rocking chair that will suddenly rock violently back and forth.
Better than many will give it credit for, The Woman in Black succeeds because it doesn’t embrace the found footage gimmick. Sure, the film has its fair share of flaws including minor plot holes and a final act that begins to flirt with silliness. With horror, I’ve learned to be a bit forgiving to films that get it even half right. Last year’s Insidious also had its fair share of problems, but it gave me the creeps, which is what it set out to do, so I overlooked the sputtering final act. The Woman in Black’s ending doesn’t fall apart that bad and it wisely ends before things can get more outlandish. Ultimately, the film manages to give you the chills and leaves images in your head that you’ll wish weren’t there. And it does it barely a drop of blood to be found! The Woman in Black will restore your fear in those bumps in the night and I promise that you will be sleeping with a night light on for more than a few nights.
by Steve Habrat
I honestly do not think I have ever seen a film that has been as grainy and gritty as Maniac, the splatter film told from the perspective of the pudgy schizophrenic Frank Zito, a man who prowls the shifty streets of early 1980s New York City and kills women. The film, often evocative of the Son of Sam murders from the mid 1970s, out grains films like The Texas Chain Saw Massacre, Halloween, and Henry: Portrait of a Serial Killer, a film that came shortly after Maniac but is far superior. You practically need a tetanus shot and two baths after you have watched this thing. Pretending that is it shining light on a deranged and shadowy mind, Maniac lacks any real depth, acting as just a random string of scenes where Frank stalks, murders, and maims his victims. After each segment, director William Lustig changes the setting, the victims, and then presses the repeat button. Maniac’s case is not helped out by the sneaking suspicion that this slightly seems like a fetish flick.
The premise of Maniac is quite simple. Frank Zito (Played by Joe Spinell) is a sweaty, overweight psycho who stalks women, murders them, and then scalps them. He shacks up in a tiny apartment in an unidentified burough of New York City. His tiny apartment is crammed with an assortment of weapons he uses to dispatch his prey along with countless creepy mannequins. Frank likes to dress the mannequins in clothing, nail the scalps he has collected to their heads, and sleep with them. Frank also engages in conversations with himself, usually acting as both himself and his deceased prostitute mother he is obsessed with. While out on a walk one day, Frank has his picture taken by a beautiful but utterly clueless photographer named Anna (Played by Caroline Munro). Frank tracks her down and instead of simply killing her, the two strike up a bizarre relationship that is unfathomable. When it seems that Frank has found love and may turn himself around, he begins repressing his urges to kill and it is only a matter of time before they break through the charismatic persona he is hiding behind.
One of the two parts that works in Maniac is the odd relationship between Anna and Frank. This adds some desperately needed anxiety to the film, we the viewers finding ourselves on the edge of our seat waiting for Frank to strike. It’s a clever move from writers C.A. Rosenberg and Joe Spinell who play on our fear that something is about to happen. It is also the only thing resembling a budding plot in Maniac, which is more concerned about getting to all the violence. The violence here has to rank as some of the most extreme you will ever see in a motion picture (aside from Cannibal Holocaust, Romero’s zombie flicks, and the work of Herschell Gordon Lewis). Credit should go to make-up and effects guru Tom Savini, who dreams up some truly nasty stuff that makes even the hardened viewers queasy. One scene, a sequence that has to be one of the most memorable moments in horror movie history and the most redolent of the Son of Sam, has Frank blowing the head off one victim at close range with a double barrel shotgun. It goes far beyond graphic, sickening, or shocking. It is downright fucked up in conveniently used slow motion.
The other part that clicks in Maniac is the supernatural finale the film tacks on, making Frank’s last victim himself. He ends up succumbing to his own inner demons that wield his own weapons and giggle while they close in. Frank lacks much profundity and he is fairly simple to figure out. He shows flashes of repentance and scolds his own actions when he kills. While he is on the prowl and stalking his prey, he lets out grunts and growls that sound animal and orgasmic. It is ultimately the path of the paranormal that gets the juices flowing in Maniac, enveloping us completely into Franks distorted and damaged mind, allowing us to see through his eyes rather than just tagging along side while he takes lives. While the real world stuff is unsettling, it is Frank’s world that provides the much needed spooks.
Almost cinema-vérité in execution and shot with what had to be the oldest camera the director could find, Maniac exploits the seedy and decaying look of later 70’s and early 80’s New York City. You never really feel comfortable or truly safe in Maniac. I kept wondering where a police officer was, why that woman was walking alone, and who else was lurking in the shadows waiting to stick me up for my wallet. The film does an excellent job transporting the viewer but the lack of any protagonist trying to catch Frank is Maniac’s demise. Instead of drawing the film out with countless scenes of torture and prolonged death sequences, maybe they could have thrown in a hard-boiled detective racing to find the killer before he claims another life. All we get an out-of-place overhead shot of what is supposed to be a helicopter looking for Frank and quick glimpses of newspaper headlines that declare there is a maniac on the loose. Furthermore, no character outside of Frank is properly developed so when someone meets a messy end, it’s just unpleasant. It doesn’t affect us on any emotional level like it should. For as hard as it tries, Maniac ends up being surprisingly below average but don’t count out the finale, which has a few tricks, decomposing corpses machetes, handguns, shotguns, and switchblades up it’s flannel sleeve.
Maniac is now available on Blu-ray and DVD.
by Steve Habrat
After last year’s buddy cop debacle Cop Out, pudgy funny-man director Kevin Smith needed a hit. Cop Out boasted Bruce Willis and Tracy Morgan, both who are able to draw a fairly large crowd to fill seats in the local theater, and ended up tanking and being largely forgotten soon after it’s release. Rather than enlisting more big actors and trying to make another blockbuster comedy, Smith scales back with Red State, a new horror/thriller that you, the viewer, will feel in the morning, long after you have seen it. Yes, this is the same guy who made Clerks, Dogma, Jersey Girl, Jay and Silent Bob Strike Back, and Zack and Miri Make a Porno. Red State is a hell of a departure from Smith’s other projects, but it also turns out to be one of his best movies, certainly scaring the hell out of you. With Dogma, Smith made clear he has an interest in the subject of religion, and with Red State, he launches a full on assault on radically religious figures, ultra-conservatism, and strangely, masculinity. This film is also evocative of the stock footage of such events as Waco, Texas, where a sinister ultra-religious cult lead by David Koresh engaged in a deadly firefight with FBI officials in 1993. The film brushes against the topic of terrorism as well, pitting Red State in the real realm of horror. The monsters here could be living down the street from you.
Red State focuses on Middle America high school students Travis (Played by Michael Angarano), Jared (Played by Kyle Gallner) and Billy Ray (Played by Nicholas Braun), who plot to answer a sex invitation that Jared received in an online sex chat room. They pile into Travis’ car that very evening and set out to find the 39-year-old Sarah (Played by Oscar winner Melissa Leo), who promises the boys that they will get physical after they have a couple of beers. Turns out, the beers she provides the eager lads are spiked, drugging the teens. Jared soon awakens to find himself at the Five Points Church, which is lead by a radical preacher Abin Cooper (Played by Michael Parks), a fire-and-brimstone preacher who spews his message of hate against homosexuals. The church is also holding a homosexual man they lured in a through a gay chat room. They soon execute the poor man who has been saran wrapped to a cross. After he dies, the man is cut down and several of Cooper’s men dump his body into a cellar where we discover Travis and Billy Ray are bound together. The boys come to the realization that Cooper aims to execute them for their devilish lust. After a string of mishaps and the discovery of military grade weaponry, the local Sheriff Wynan (Played by Stephen Root) enlists the help of ATF Agent Joseph Keenan (Played by John Goodman) to set up a raid on Cooper’s church compound. As the standoff between the agents and Cooper’s congregation escalates and Keenan’s peaceful negotiations fail, the boys are caught with Sarah’s virgin daughter Cheyenne (Played by Kerry Bisché) in the middle of the conflict. Cheyenne begs the boys to help them hide the younger children, who are also hidden in the compound.
Red State does not mince words and it certainly is not cunning about its attacks. It goes right for the throat and I say good for Smith for following through. He makes us absolutely loath the members of the Five Points Church, making me cheer every time an ATF agent picked off one of the gun-toting psychos. This leads to my recognition of the way Smith mounts tension within the film and his expertise in shooting action sequences. He turns a chase scene through the compound into a ferocious and erratic kick to the head. You will be swallowed up by desperation. He can also stage a gunfight, avoiding confusion that some filmmakers fall victim to when they stage a gunfight. Praise should also go to the excellent editing, which is frantic but clear. This is where the film benefits from its smaller budget, as I can’t imagine this film was made for a huge sum of cash.
Smith enlists a handful of smaller actors along with some veterans, all who shine through the buckets of blood, gore, and gun smoke. Melissa Leo plays a horrifically loyal daughter to the heinous Cooper. While sniping ATF agents, he glances over at his machine gun wielding daughter and asks her if she will get him a glass of sweet tea. She proudly dashes off to quench his thirst. Leo excels at playing wicked and domineering, as she yanks and scolds her daughter Cheyenne for defying God. She does the phony hypnotic prayer, which all fanatical Christians in the south are so found of and she does it exceptionally well. Leo is all flaying arms to Christ, shouting “Praise Jesus” as Cooper fear mongers and promotes his message of destruction. Michael Parks is the embodiment of the devil as Cooper, who encourages his family members to march out and take the lives of innocent human beings. Goodman plays a good guy facing some serious moral dilemmas. Goodman conveys genuine horror over the events that play out right before his eyes and he is helpless to stop them. The three boys, Travis, Jared, and Billy Ray are all out to prove their masculinity and enter manhood. They take a backseat to Leo, Goodman, and Parks, but they still hold their own in the film.
Red State has many points to make on its agenda. It argues that under all of the fear mongering preaching made by radicals in Middle America (or anywhere in America, for that matter) has the underlying message of violence. Near the beginning of the film, Cooper’s congregation protests the funeral of a homosexual boy who was found dead in a dumpster behind a gay club. It asks if there is any decency in this world anymore. Would God approve of all this violence? He is supposed to be a peaceful God after all. Red State asks questions about masculinity, particularly the drive in young men to prove themselves sexually. It makes points about ultra-conservatism, sometimes with the role of women within a family. The scene where Cooper asks his daughter to get him some sweet tea would spark some thoughtful conversation in a Women’s Study course. There were moments in the film that were evocative of the documentary Jesus Camp, where radical preacher Becky Fisher discusses the “army of God”. The members of Cooper’s congregation certainly see themselves that way, even if they are fictional creations. And what about the issues of freedom of sexuality? And what gives us the right as human beings to judge other human beings? Red State points out that violence is not the way to solve any of these issues, as the violence will consume the innocent caught in the middle.
The portrait that Smith paints with Red State is scary because it has happened before and we can be certain it will happen again. These are monsters that exist and walk among us brainwashing our children and spewing vitriol to anyone who will stop and listen. Red State is not for all, mostly because of its relentless violence. Yet Red State is articulate and should be seen by those who are open minded. I’d be curious to hear the opinions of those who devout themselves to any certain religion or situate themselves in conservative beliefs. Sitting on the sidelines here, I found the film to be a gut punch that is softened only by it’s silly turn at the end. Smith turns the last fifteen minutes of the film into a comedy routine where the characters spout off with dialogue that would be at home in any of his comedies I have listed above. It saves itself again in the final thirty seconds. For all the intellectuals out there, Red State scares with reality. For movie lovers, Red State is a must-see for a left of center project from Kevin Smith. For me, Red State has left me reeling, swirling with emotions. I’ve felt angry, dismayed, and broken by it. I also don’t view any of these emotions as negative towards the film itself. Praise Red State!
Red State is now available on Blu-ray, DVD, and in the Instant Queue on Netflix.
by Steve Habrat
You never forget seeing The Shining for the first time. You never shake the images of a pair of young girls coaxing Danny to “come play” with them. Or how about Jack crashing a ghost party and plotting with a dead waiter on how to dispose of his shining son? One of my favorites is the looping shot of a sea of blood pouring out of an elevator door that slowly opens. The walls and halls will run red with blood, murder, insanity, and terror. And “Heeeerrrreeees JOHNNY”? In many ways, The Shining is the definitive haunted house film, one that Stephen King criticized for not following his famed story line for line. Under the obsessive and perfectionist direction of one of the greatest directors to ever make films, Stanley Kubrick constructs and delivers a labyrinth of bone-rattling images and a slow burn narrative that will stay with you even if it does not follow the horror author’s epic tale. It will freeze your blood.
The greatness of The Shining is often overshadowed by the iconic performance from Jack Nicholson, who checks in to the Overlook Hotel as Jack Torrence, who on the surface appears to be a content family man, a teacher and writer who is exhaustively searching for inspiration on a new project. He applies to be the caretaker for the said hotel, tickled by the idea of complete seclusion. Churning below the surface is a raging alcoholic who has hurt his young song Danny (Played by Danny Lloyd) in the past after a night of heavy drinking. Jack’s loyal, cooing wife Wendy (Played by Shelley Duvall) also accompanies Jack to the hotel, rendered breathless by the natural beauty of the structure, which is also said to be built on an Indian burial ground. In the job interview, Jack is informed that there have been ghostly encounters in the lush hotel and a few years previous, another caretaker seemed to snap from cabin fever and went on a killing rampage, chopping up his two young daughters and his wife, then proceeding to stick a shotgun in his mouth and blow his own head off. Jack waves off the story, but soon after arriving, Danny has a telepathic conversation with the head chef of the Overlook, Dick Hallorann (Played by Scatman Crothers). Dick explains to Danny the significance of this gift, called “shining” and explains to him that he is also sensitive to the paranormal. As the family stays the harsh winter in the hotel, Jack begins to slowly loose his grip on reality and he begins to embrace the anger that lurks inside of him. The ghostly apparitions also start making themselves known, terrorizing Danny at every turn. As the winter storm howls outside, Wendy begins devising a plan to get Danny and herself to safety, away from dangerous Jack who seems to want to join insidious ghosts who reside at the Overlook.
When watching a film by Kubrick, it’s easy to recognize that Kubrick himself is in complete control of what we are seeing. Every shot has been labored over and has been methodically illustrated, seeing only what we are meant to see, and it signifies something, sometimes that thing is only known by Kubrick himself. Sometimes the shot seems to be a psychological photograph; sometimes it’s dabbling with the surreal. Whatever the shot is, it is always orderly. There never seems to be input from any other individual. It’s strictly Kubrick’s mind at play. The surreal order is creepy in itself, suggesting normalcy, but it’s the ghostly visions that pack the icy punch. They are the grotesque, unseen side to order. Take the scene in room 237, where a nude woman emerges from the bathtub and embraces Jack. The bathroom posses a clean, grounded look, only strange because of it’s uncanny color scheme. She waltzes toward him and kisses the deranged Jack. When he glances at the mirror, he sees the beautiful woman is actually a rotting corpse of an old woman cackling at Jack’s horror. Kubrick suggests here and throughout The Shining that normalcy is always mirrored by unpredictable horror. There are two sides to everything. What we perceive as common and what stares back unseen.
What we are really here for is the terror, and yes, we could deconstruct Kubrick’s nightmare all day, debating what everything means. The film will cause a few sleepless nights the way Kubrick springs terrifying visions on the viewer. Sometimes, he only shows us a terrified face, eyes bulging, rolling back in the head, accompanied by blasting rattles and shrieking musical blasts. It’s jump scares without being cheap. We don’t expect it, but Kubrick isn’t interested in simply startling us. While watching a documentary on the making of the recent horror film Insidious, James Wan discusses his use of jump scares in his film, arguing that while the film is heavily reliant on this technique to frighten, the way he applies it is always followed through. There is no gotcha moment or hollow spook. A ghostly visit, a strange specter, or any other apparition that creeps us out always accompanies the blast of music. There is never the fake scare where someone’s boyfriend jumps from behind a corner, doorway, etc. Part of me thinks he lifted this technique from Kubrick, who always blindsides us with an unnerving image. Two little girls block Danny from riding his big wheel through the twisting halls of the Overlook. There is a sudden flash of the girls dead in the same hallway with blood splattered all over the walls. You can’t argue that Kubrick surprised and then followed through.
The Shining is also bloodcurdling because of Nicholson’s ranting, flailing performance. He’s all unhinged grins and bogus reassurance that he doesn’t want to hurt Wendy; he just wants to bash her brains in! Talk about making every hair on your body stand at attention. He lumbers through the hallways, dragging an axe and hacking at doors to locate and chop up Wendy. Danny, in a trance-like state wields a knife and writes REDRUM on doorways. The fright comes from every angle as Wendy desperately attempts to hold everything together. Pretend everything is normal! But how can you when your son croaks, “REDRUM” and shows you a glimmering blade? The film climaxes in an iced over chase through a fogged hedge maze that, once again, mirrors the characters journey through the Overlook structure. It’s a maze of panic, madness, and bereavement.
The Shining makes exquisite use of its secluded location, promising no way out for the characters that inhabit it. The twist ending also promises to give the viewer the willies while turning the wheels of the brain. It’s an obsessive nightmare that is perfect to watch on Halloween. It has it all: deranged killers, ghosts, ghouls, corpses, and more. It’s Kubrick’s funhouse after all, and boy can he construct a house of horrors. He proved that he could do every genre and do it professionally and with confident expertise. A classic of the genre, massively influential, and a must-see for Nicholson’s performance, The Shining is a true, visionary work of art. It stands as a psychological puzzle that may never be solved and that is rewarding on multiple viewings. It reveals more and more each time you sit through it. That is filmmaking at its finest. Ranking as one of the scariest movies I have ever seen, The Shining is as warped and chic as horror gets. Grade: A+
by Corinne Rizzo
I don’t like scary movies. I am not interested in the thrill of axe murderers chasing a pretty lady down the street or guys that live under your bed and infiltrate your dreams. Corn syrup and red food coloring, gore and guts, never did it for me and still don’t, which is why I didn’t mind George Romero’s Martin so much.
Sure, George Romero isn’t known for good clean fun, but the one thing I could always tolerate about his films is that the gore is almost playful. The blood, bright red and reminiscent of paint, the prey/predator dance always has some edge to it where the viewer is left saying something along the lines of “really?” or “wait, why are they still alive?” And Martin follows in this pattern.
The film follows what appears to be a young man suffering from a family curse of the nosferatu. Though Martin’s case of vampirism is a technical one of syringes and razor blades instead of your typical Dracula slow moving and mundane. Martin, while appearing to be in his mid twenties, is also quite ancient. Romero sneaks these details in through simple conversation with a radio station and Martin’s cousin Christina, who is no stranger to the idea.
While the plot and premise of the film are an updated version of a classic tale, what is most attractive about the film is its eight millimeter quality. The frames and colors are grainy and tinted, which, intended or not, is one of the best qualities of the film. Of course, it may just be a default of the time and place in which the movie was created. Certainly not a hi-def, saturated color experience. But it lends an authentic and dated look to the film which parallels Romero’s approach to his paint red blood.
Another twist to the film that lends itself to Martin’s vampire tendency is that it is seen as more of a mental illness than any hocus pocus type family curse. Christina, Martin’s cousin tries to talk him into going to a hospital or seeing a doctor. Martin is stand-offish and quiet. Awkward at best. So the neighborhood sees him more as someone with a disorder, maybe something along the line of Asperger’s Syndrome. No one really questions it and one friendly neighbor even finds it endearing.
A thorough examination of the film would delve deep into the sexuality of the film, the history of the vampire and so on, but what is important about the film is that a legendary director of timeless zombie films has taken a stab at the origination of the zombie, according to some schools of thought, exposing the vampire: An undead and immortal being who can only be conquered under some extraneous effort.
At first the film grossed me out. I have no tolerance for these gory horror flicks that over use violence for the sake of entertainment, though there is a threshold to which I can tolerate these things and Martin keeps it just below that line.
by Steve Habrat
Another month, another horror remake coughed up from lazy Hollywood and this time it’s the prequel to John Carpenter’s 1982 chiller The Thing. August saw the remake of another 80’s horror flick, Fright Night, which was playful, spry, and hip. The Thing 2011 fits nicely along with the original 1982 classic, but after establishing no mood, it becomes a showcase for the latest special effects Hollywood has to offer and to be perfectly honest, they are not much to write home about. The creature effects are what made the Carpenter original such a standout. They were appallingly real where here they seem rubbery and computerized. In fact, they are only a notch above direct to DVD effects. The Thing 2011 is also the furthest thing from hip, seeming appropriately old school but never really utilizing the effect (the film begins with the classic Universal Studios logo). It’s drenched in fakery when it could have benefitted from a real scare. It’s also certainly not playful, never elaborating on the original story but rather simply resorting to rehashing the original plot with different actors. It only adds B-movie princess Mary Elizabeth Winstead gripping a flamethrower and a big, laughable UFO at the end.
Remember in the Carpenter original when MacReady (Krut Russell) and the resident doctor ventured into the charred ruins of the Norwegian camp at the beginning of The Thing 1982? The place looked like hell had rained down upon it. It was also especially creepy because our mind filled in what happened to these people. Well, Hollywood found it necessary to show us what happened and it doesn’t look that much different from what happened in the American camp. After a group of Norwegian scientists stumble upon a UFO and a crablike alien buried in the snow of the Arctic, American paleontologist Kate (Played by Winstead) and her partner Adam (Played by Eric Christian Olsen) are recruited by a Norwegian scientist named Dr. Sander Halvorson (Played by Ulrich Thomsen) to come to the site and help them remove the alien from the snow. She takes on the job and upon her arrival, she meets a pair of American pilots Carter and Jameson (Played by Joel Edgerton and Adewale Akinnuoye-Agbaje). Once the scientists remove the alien from the ice and bring it back to the camp, it soon wakes up and breaks from its icy confines. It begins attacking the scientists one by one and duplicating the helpless saps. Paranoia rips through the group and soon the alien begins rearing it’s fangs and tentacles all over the place, ripping out from heads, arms, stomachs, etc. As the group awaits help to arrive, they desperately search for a way to figure out who is normal and how to quarantine the alien from spreading outside the camp.
This Thing isn’t a terrible movie and it actually has a bit of potential buried beneath the snow and ice. Winstead is a talented actress and her toughness is believable, but she’s not the reluctant hero the MacReady was. Edgerton also attempts to fit ol’ Kurt’s boots but he doesn’t fair any better. The film segues nicely into the ‘82 original and I will pat it on the back for that, but other than that it really seems to have no reason to exist. Furthermore, it’s empty headed and without commentary. The Cold War paranoia was part of what makes the original a classic to this day. It’s a frosted over mirror of paranoia, dread, fear, and suspicion. It comes as no surprise to me because the trailer boasted that the same people who gave George Romero’s Dawn of the Dead a CGI makeover produced this film too. The 2004 Dawn of the Dead was much more fun than The Thing 2011 and that is mostly because it wasn’t afraid to stray a bit from the original concept.
So what exactly is the potential here? For one, the characters could have been a bit more interesting. None of them grabbed me and when one of them crumpled into alien bits, I wasn’t filled empathy. I never really cared. The film could have also had some more memorable moments in the alien department. The original film works because it has moments of pure exhibition. Who will ever forget the severed head sprouting legs and trying to walk off? Or how about a dead man’s chest caving in and revealing a set of teeth, which proceed to bite off another man’s arms? There is nothing like that here and all we get is a computerized dog-like human that crawls around and has two heads. And how about the alien itself? Well, it would have been better left charred and on an autopsy table rather than actually seeing it scamper about the camp. It was creepy never truly knowing what it looked like. I could have also done without the end, which finds several of the characters chasing the alien around its massive UFO. The film climaxes with another perfect grenade toss, unfortunately missing a one liner as good as “Yeah! Well fuck you too!” And how about the blood test in the original? Here, there is nothing that suspenseful and instead we get a tooth-filling test. It never comes close to the unbearable intensity of the original scene.
The Thing 2011 pulls the same stunt as Dawn of the Dead 2004, making the audience sit through the end credits and watch brief flashes of the set up for the original film. Over these scenes, the original Ennio Morricone score slithers over the footage. I kept crossing my fingers for a cameo from MacReady but don’t get your hopes up too high. The Thing 2011 needed to discover it’s own identity and it never does. I never minded sitting through the film and spotting the references to the original, but it became tedious after a while. It never offers up any new information on the alien, just a few minor hints at how it duplicates its prey. None of the explanations are riveting and they slowly suck the terror out of the film. Much like the gooey, roaring antagonist, The Thing 2011 is just a duplication of the 1982 film. And just like any duplication or copy, there are a few imperfections that eventually give it away. And what does The Thing 2011 give away? It slowly reveals that the filmmakers had absolutely no idea how to build upon this story. Grade: C+
by Steve Habrat
Over the course of the next few days, I will be listing off the 25 films that have scared the hell out of me. This is not a definitive list of the scariest films ever made but rather recommendations of films that I think will spook you. Feel free to comment on this and let me know which films scare you. Let the terror begin!
25.) The Phantom of the Opera (1925)
In the opening moments of this silent film chiller, a man explores the underground tunnels of a Paris opera house. He is alone in the dark and armed with nothing but a lantern. The camera remains stationary in front of him so we only get to see his reactions. Keep in mind there is absolutely no sound. All of a sudden, he sees someone or something. Not anything or anyone he recognizes. We the audience are not permitted to catch a glimpse. Judging by his reaction, I do not think we want to. This is the magic of the crown jewel of the Universal Movie Monsters heap. We are not assisted by the luxury of sound effects. Our brain fills in the horrors for us and sometimes that can be the most effective way to send an icy chill down your spine. While many of you probably are familiar with Lon Chaney’s legendary hellish phantom and you do not even realize it, he plays the phantom like he may never have had the chance to star in anything ever again. And it also features a breathtaking sequence in color (gasp!). This is a truly unforgettable epic that mesmerizes and horrifies.
24.) The Hills Have Eyes (2006)
Many have expressed their disapproval at this remake of the 1977 Wes Craven classic of the same title. But in a rare case, French director Alexandre Aja actually improves upon it. And it refuses to play nice. Vile, upsetting, disgusting and downright repulsive, it hits the ground running and barrels at you without slowing down. The opening sequence and credits are enough to give you nightmares for a week and all it consists of is a few scientists in HAZMAT suits testing radiation who meet a grisly end. This is followed closely by lots of stock footage of atomic bomb tests. Following a family who ends up getting trapped in the hills of New Mexico and who begin getting terrorized by colony of mutant miners who were subjected to radiation from bombs set of by the US government may not sound all the brutal, but trust me, do not enter lightly. It’s an unapologetic and unflinching little movie. About half way through the film explodes like a ticking time bomb and it’s incredible to me that this avoided an NC-17 rating. Oh, and I should tell you that the family has a newborn baby with them. And the mutants kidnap the child and plan on eating it. Start covering your eyes and chewing off your fingernails now. Not for the faint of heart.
23.) Inland Empire (2006)
What’s it about? I couldn’t tell you. What’s the underlying message? Beats me. What’s the point? The point is that it scares the living hell out of you and it’s impossible to know why. David Lynch’s three-hour grainy epic that appears to be about a remake of a film that was cursed blurs the lines of what is real and what is a nightmare. Half way through you will give up trying to follow it but you will not be able to avoid it’s icy glare. The trailer alone will have goose bumps running up and down your arms. What elevates it is Lynch’s use of surreal imagery. There truthfully should not be anything particularly scary about it, but there is. Through his use of close ups, every single character takes on the look of a deformed specter that is staring right into your soul. And wait for one particular image of a deformed face that, in my opinion, is one of the most disturbing images I have ever seen on film. I understand that the film may frustrate you on what is actually happening and what isn’t, but I can assure you that that is exactly what Lynch is going for. To drive you mad.
22.) The Mothman Prophecies (2002)
Have you ever had someone tell you about his or her encounter with something paranormal? I would guess that while they are telling the story, your imagination was busy bringing their story to life. The story was creepy because you were not there but you believe this person is telling you the truth. Plus, your imagination has filled in what took place. Long after they have told you the story, it still plays in your brain like it was your own experience. That is kind of what The Mothman Prophecies is like. And it’s based on true events that happened in the late 60s. Through the strong performances by Richard Gere, Debra Messing, and Laura Linney, they make you feel every ounce of their confusion, frustration, horror, and weariness that is brought on from the events take place throughout the film. Centering on the sightings of an otherworldly winged creature with “two red eyes” in Point Pleasant, West Virginia, the film has an unshakeable sense of doom woven throughout. We are constantly left with some strange account that leaves us gripping our seats or a notion that something truly horrifying is lurking just around the corner. Pay close attention to the details in this one. It’s what doesn’t jump right out at you that is actually the creepiest. The Mothman is everywhere even if we never really get a good glimpse. But it’s like your reaction to your friend’s paranormal experience, you do not know, but you can imagine.
21.) Repulsion (1965)
Going mad has never been this unsettling. Roman Polanski’s portrait of a young woman (played by the gorgeous Catherine Denuve) who is seemingly losing her mind after her mother goes away for a weekend is all the more surreal because we cannot pin point the reason why. She is so normal! Turning an apartment into a claustrophobic living nightmare, the film makes exceptional use of space. Polanski makes the audience actually feel the walls closing in. And when someone knocks on her door, talk about tense! What truly makes Repulsion work is that it is a patient horror film. One that is all the more unsettling because this could be happening a few doors down in your apartment complex or just a few houses down. And to such a lovely woman at that! It’s a shame that Polanski’s other horror film, Rosemary’s Baby, overshadows that gem. Through it’s gritty scope and enclosed spaces, after seeing it you may want to evaluate your own sanity, go stand in an open field for a couple of hours, and you’ll never want to eat vegetables again.
Drop by tomorrow for more of the films that have scared the shit out of me. You know you’re intrigued and the terror has hypnotized you. And feel free to let us know what horror films scare you. Also, if you have not voted in our tiebreaker poll yet, Click Here to do so.
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)…
Hello Boys and Ghouls,
It appears that we have a tie in our Reader’s Choice Halloween Horror Film Review. Now until October 26th, we will have this small poll that allows you to choose between The Shining and The Evil Dead. It will be a real spookshow! Get to voting because you don’t have long. This is YOUR chance to control the content of Anti-Film School and we want to hear from you. We hope you are all having a ghoulish Halloween!