Wait Until Dark (1967)

GENERAL INFO:
Director:  Terence Young
Studios:  Warner Bros.
Starring:  Audrey Hepburn, Alan Arkin, Richard Crenna, Jack Weston
Tagline:  A blind woman plays a deadly game of survival.
MPAA Rating:  Unrated
Genre:  thriller, suspense, thieves
Scare score:  D+
Rating:  B+

Plot overview:  Hoping to recover an old doll filled with pouches of heroin, conmen Mike (Crenna) and Carlino (Weston) are hired by bad guy Harry Roat (Arkin) to retrieve the item by whatever means necessary.  They have tracked down the doll to the apartment of photographer Sam Hendrix (Efram Zimbalist, Jr.) and his blind wife Susy (Hepburn).  Taking advantage of Susy's disability when she is home alone one night, the three men weave an intricate web of lies, fake stories, and false characters to gain Susy's trust and ultimately find the doll.  But will their treachery be enough to outsmart Susy in her own home?

I'm doing something a little different here, as I wouldn't consider this a "horror" movie, yet I am writing about it in my Horror Blog.  After two nights in a row watching slashers from the late '90s, I felt the need for a change and went further back to a much more well thought out, much better acted movie, that being Wait Until Dark.  I had heard tons about this great film, but I had never seen it.  As I watched it, I kept debating back and forth whether or not I would blog about it.  Well here we are.

I wish I had sat down at night in a dark room with a bowl of popcorn for this one.  Instead I started part of it, then watched the second part on my laptop in the afternoon while doing other things around the house.  That certainly distracted me a bit from the film, but I still really enjoyed it.

This is a smart movie.  It has that old feeling (and that older look), and aside from a few loud scenes on the street we can really allow ourselves to be comfortable even as the suspense of the plot grows stronger and the tension between characters seems unbearable.  I think it is a very bold move to have a main character be blind, which Hepburn acted superbly and affectionately, which shouldn't come as a surprise in the least.  I was impressed with her eyes as well, as she didn't wear glasses but maintained her gazed straight head at all times.

The three conmen might deserve more credit.  They are tough, mean, and intelligent, which usually isn't a factor for typical movie bandits.  Crenna isn't only a heartthrob, but when he shows actual feelings throughout (perhaps sympathy for Susy) he becomes a dynamic character.  I especially liked Arkin, although I was constantly confused by his strange, Godfather-esque accent and John Lennon glasses.  Together, they add a lot of drama to the film and give it almost a live theater feelings due to their strong acting and the small set of the apartment interior.

As far as my scare rating goes, this falls into the old category of movies that just can't scare us anymore since we're used to today's over the top terror.  I would only credit this movie with one scene that actually scared me, that being the first time Mike goes looking in the bedroom closet.  Didn't see that one coming.  The famous blackout scene was really excellent, making me wish I had been watching in the dark.  Unfortunately, it wasn't quite as scary as I was expecting it to be.

Final critique:  This is a great choice if you're looking for a pretty drama and action packed film on any night of the week.  The thrills are few but the suspense is high, and this movie doesn't lose sight of its integrity in order to deliver unnecessary scares.  Some parts are a little slow, and I think a remake would have a good chance of doing well, but in the meantime, see this original gem.

I Still Know What You Did Last Summer (1998)

GENERAL INFO:
Director:  Danny Cannon
Studios:  Mandalay Entertainment
Starring:  Jennifer Love Hewitt, Freddie Prinze Jr., Brandy, Mekhi Phifer, Matthew Settle; ft. Bill Cobbs, Jack Black
Tagline:  Someone is dying for a second chance.
MPAA Rating:  R
Genre:  horror, thriller, sequel, mystery, slasher, stalker, serial killer, teen
Scare score:  C-
Rating:  C

 Plot overview:  One year after the events of the first movie, Julie (Love Hewitt) is readjusting to a normal life at college, in part due to her roommate Karla (Brandy), Karla's boyfriend Tyrell (Phifer), and a possible new love interest, Will (Settle).  After Karla wins an all-expenses-paid getaway to the Bahamas, things seem like they might finally be going right.  Unfortunately for them, killer Ben Willis (Muse Watson) is back, and with hurricane season in full force, the new group of four is trapped on the island with Ben swiftly killing off anyone who gets in his way.  Will Ray (Prinze) get there in time to save Julie yet again, and in the meantime can the four friends stay safe, even from each other?

This sequel isn't as good as the first film (few sequels ever are).  We are taken away from little old South Port and placed in the "Bahamas," where most of the film's terror takes place within a winding hotel resort.  I don't have tons to say, so I am going to keep this one quick.

The script is much better this time around.  The characters feel much more real and comfortable when they talk, and you totally get into that sassy, college vibe and slang (thanks, Brandy).  While the lines themselves might have been better, however, that doesn't mean that delivery really changed.  I guess in the horror genre we have generally accepted that the acting is never going to be great, especially in dumb teen horrors, but it was still a disappointment.

Casting in this movie is almost about as mythical as in the last one.  Love Hewitt is back, and brooding and negative as ever, so I am more than thankful for Brandy's upbeat, lively, lighthearted performance.  I mean, what college girl who is still suffering from the trauma of seeing her best friends murdered and potentially having murdered someone doesn't need a perky best friend and roommate, you know?  Unfortunately, this sequel's attempt to make the cast not-so-white results in two over-the-top caricatures in our core four, obviously with Mekhi Phifer being the biggest example.  I am a big fan of Bill Cobbs in a few of his roles, and while he spends most of his time in this movie as a mysterious, mumbling red herring, I still appreciated his presence.  Lastly, I mean, Jack Black.  Nuff said.

A few issues with the plot and action itself.  First of all, everyone reacts way too calmly to the many deaths of this movie.  We are dealing with ignorant college students, they should not see bloody dead bodies and be like "Jinkies!  Let's get out of here."  No.  They should be terrified and sick because of it.  The constant mindset of finding another corpse, then running away back into the hotel until they surely find another one gets real old real fast.

My biggest problems are about our dear old friend Ben.  The killer has completely changed his MO in this movie.  Yes, he wants Julie (and Ray) dead, and yes, he kills anyone who gets in his way.  Still, he kills far more frequently and even randomly in this movie.  From the beginning of the film, workers on the island begin dropping like flies simply for the sake of being around.  Left and right we have someone getting slashed, and it remains clear that it is for audience enjoyment rather than for the sake of integrity to the horror movie itself.  Furthermore, he is much less human this time around.  Whereas in the first film he was this scary and seemingly unstoppable, but very human, figure, in this movie he seems almost like Michael Meyers by his slow way of walking and ceaseless stalking.  Also, his voice is just so weird and forced in this installment, I can't handle it.  Do less, Ben.

Final critique:  I mean, no, this isn't a great movie.  But that doesn't mean it's not a decent, fun movie to watch when you're in the mood for some light horror.  The first one is certainly better, but this is not a bad choice for a lazy night at home when you're looking to get just a little creeped out by a group of dumb teens trapped on a stormy island as a stalker with a meat hook begins slashing everybody's throats.  Plus, with an awesome Titanic reference pretty early on, who could turn this awkward, forced sequel down?

I Know What You Did Last Summer (1997)

GENERAL INFO:
Director:  Jim Gillespie
Studios:  Mandalay Entertainment
Starring:  Jennifer Love Hewitt, Sarah Michelle Gellar, Freddie Prinze Jr., Ryan Phillippe; ft. Bridgette Wilson, Anne Heche
Tagline:  If you're going to bury the truth, make sure it stays buried.
MPAA Rating:  R
Genre:  horror, thriller, mystery, slasher, stalker, serial killer, teen
Scare score:  C+
Rating:  B+

Plot overview:  Exactly one year after hitting a mysterious man on the road and dumping his body in the ocean to hide the evidence, now distanced friends Julie (Love Hewitt), Helen (Gellar), Ray (Prinze), and Barry (Phillippe) are reunited under uncomfortable circumstances in their hometown of South Port.  Having been tortured by her guilty conscience for a year, Julie is horrified to find a note left in her house saying "I KNOW WHAT YOU DID LAST SUMMER!"  As the group of estranged friends comes together again to get to the bottom of the mystery, a killing spree starts in the small town as a large figure in a fisherman's slicker suit carrying a lethal meat hook begins tracking down his four intended victims.  Who is the mystery killer and how does he know what happened last summer?  The four friends must fight for their lives to stop the murders and rest their guilty consciences.

I am probably the biggest fan of '90s-2000s teen horror movies.  There is something so wonderful about  the overdramatic plots, the awful scriptwriting, and the creative, often slightly provocative deaths.  I prefer this era of horror to teen slashers from the '80s (mainly due to effects, costumes, plots, and the fact that I was alive), and even today I don't find that horrors directed at young audiences or groups of friends deliver as much as they did in these days when they hit their prime.  It really brings back some good memories.

I Know What You Did Last Summer centers around a group of four (superstar) friends, so I mean with four of the hottest celebrities of the moment headlining, nothing could go wrong, right?  Wrong.  Again, I'm a big fan of this film (more for personal measures than practical ones), but Jennifer Love Hewitt bugs the heck out of me - I mean, how annoying is Julie? - which is never a plus when that's your main protagonist.  Still, she is the most empathetic one of the group, and automatically I think it's safe to assume that she will be our final girl.

Otherwise, I'm a huge fan of Sarah Michelle Gellar, Freddie Prinze, and Ryan Phillippe.  That's not to say their acting is great.... Let's talk about the script first.  It's pretty darn bad.  I found it awkward in many parts, mainly because we're dealing with a group of teenagers who are speaking like somebody put a script in front of them instead of allowing them to talk as they actually would.  On top of this unrealistic dialogue, the, er, acting doesn't really take the characters to high places.  Furthermore, this film relies pretty heavily on the assumption that the characters make some of the stupidest decisions possible given their situations.  Would I rather watch Summer Catch and Cruel Intentions?  I mean, maybe, but luckily for this little gem, the horror aspect brings me back every time.

We have a compelling mystery here, I'll give the film that.  There are great questions thrown at us (who knows?  who is the killer?) which leads us to question not only the host of supporting members of the cast (shout out to the creepy Anne Heche and the beautiful but horrendously rude Veronica Vaughn- I mean Bridget Wilson- but also our core four, as we think they are the only ones who truly know what happened that night.  I truly enjoy this type of mystery in horror films, that keep us guessing and guessing again until the puzzle pieces are put together just near the end, in a somewhat far-stretched but otherwise understandable way.

I think this film does a good job with the killer (Muse Watson).  The covered-head-to-toe look is creepy, and it prevents us from guessing who he might be - or even if "he's" male or female.  The best innovation here is the meat hook, hereafter made iconic to this film trilogy.  Some deaths are more exciting than others and we range from simple slashes with the hook to dramatically murdered characters carried away by this murderer's seemingly superhuman strength.  As far as this killer goes, he pulls off some pretty tricky stuff for a human which had me questioning the reality of his plotting more than once.

Better than the death scenes, perhaps, we have the suspenseful scenes which are a plenty.  Whether we are in a locker room, some sort of fish factory, the sticks of whatever state this is supposed to take place in (maybe one of the Carolinas?  Even though the cliffs are so obviously California), or especially a bedroom, this movie is filled with moments that make us want to curl up and cover our eyes before the dark figure swings out his hook yet again.

As far as cinematography goes, I didn't play very close attention to the actual filming of this movie, but it's one of those horror flicks that relies on typically dark, cluttered rooms, fog, nighttime, and various angles that show us the doors left open or the shadows crossing the hallway.  I wasn't crazy about the last 10 or so minutes of the movie, which I thought were pretty random, but otherwise I enjoyed the setting of South Port.

Final critique:  My biggest complaint with this film is the unrealistic dialogue and the anything-but-practical actions and reactions of this group of teens.  Still, I Know What You Did Last Summer is a sort of young classic: a horror film that might not have a lot of intrinsic merit, but that if you mention, most people will know the name.  My recommendation?  Watch it.  Have a sleepover, make some popcorn, have a pillow fight, and watch this movie to get all scared before bed.  The blood is minimal, the deaths are quick, the suspense is high, and our protagonists are just so charming.  If nothing else, you won't be wasting your time by watching this stupid, suspenseful film.

March Review

For your consideration:

1.  Poltergeist (1982): A
2.  Rosemary's Baby (1963): A
3.  Devil (2010): A-
4.  The House at the End of the Street (2012): B

Devil (2010)

GENERAL INFO:
Director:  John Erick Dowdle
Studios:  Media Rights Capital, The Night Chronicles, Blinding Edge Pictures
Starring:  Chris Messina, Logan Marshall-Green, Bokeem Woodbine, Jenny O'Hara, Geoffrey Arend, Bojana Novakovic
Tagline:  Bad Things Happen for a Reason.
MPAA Rating:  PG-13
Genre:  horror, thriller, devil, satan, trapped
Scare score:  A-
Rating:  A-

Plot overview:  While investigating a working man's mysterious suicide, recovering alcoholic Detective Bowden (Messina) gets called onto an occurring case in the same building.  Five strangers - temp security guard with a criminal record (Woodbine), old woman and apparent thief (O'Hara), young woman and serial divorcee (Novakovic), former Marine with a guilty conscience (Marshall-Green), and sleazy mattress salesman and crook (Arend) - are stuck between floors in an elevator, and one of them is not who, or what, they seem.  Egged on by the strong religious beliefs of security guard Ramirez (Jacob Vargas), will Bowden be able to save these sinners before it is too late?

I like this movie.  It isn't your most typical thriller due to the parallel but related plots, the numerous backstories, and of course the narration by Vargas.  I mean we've seen people trapped in a tight space with a killer or something supernatural in the past (House on Haunted Hill, Panic Room, and even the Saw series to an extent), but I think this movie, based on a story by M. Night Shyamalan, presents a neat new twist on the mysterious and terrifying situation of being stuck with a murderer.  This makes an especially stressful situation for the police and security who are forced to look on as what seems to be lots of bad luck prevents them from accessing the elevator.

This is a character driven film, relying on the psychological and physical torture the five intended victims must undergo during their time in the elevator.  One of my favorite things about this movie is how we are made to think that each one of the five could be the murderer, and then immediately after the blame switches the former suspect is exonerated.  This begins to play not only with Detective Bowden, but with the five other main characters, and then even us as the audience.  Wild ride!  While some of them, such as the mattress salesman, are easy to detest from their entrance, other characters seem perfectly innocent until we begin learning more about their pasts.  I think this is a nice commentary that regardless of our outward appearance, and regardless of how kind or innocent someone is today, who hasn't done something wrong in the past?  And who's to say that everyone will be forgiven?

Considering that a large chunk of this movie takes place between the various angles of the inside of an elevator, I thought the cinematography was good.  The first shot of the film, an upside down aerial view approaching Philly, was really cool.  Then from the scenes in the jumper's office, the basement, and especially the roof of the office building each contained their own excitement and especially suspense.  Like if fewer characters had come close to the edge of falling off a building my palms would have been a lot less sweaty.  Special effects were also great.

*SPOILER ALERT*

Let's talk about the horror.  This movie presents us with your standard And Then There Were None plot, exactly like House on Haunted Hill, except in a smaller confined space and with fewer little indians.  Oh yeah, and they're not all human.  That changes the game a bit.

I have to admit, every time the elevator went dark I felt pretty scared.  Especially when we got the sound effects that someone was dying but we didn't know who or how.  The deaths themselves were not the most creative they could have been, but hey, I guess they were working with what they had.  From these moments of blacked out terror - no, not that kind of blacked out terror, you St. Patty's fans - we really are given a treat of suspense and gorey surprise once the lights come back on.

Ultimately we are dealing with human psychology.  As the numbers begin to dwindle, we see a free for all, then a 2v1 situation, and finally the two final intended victims/ criminals left waiting for what's next to come.  I think that freaked me out, too, because I got to thinking, in a situation where I look like the murderer but I know that I am not, how do I convince the other innocent suspect(s) that we are all in the same boat?  Humans can be pretty scary when they want to be.

From the movie title and then from Ramirez's narration, we know that the devil is among or within the people trapped in the elevator.  That being said, I think it's poetic that they are caught, literally suspended in midair awaiting their deaths one by one.  The elevator becomes purgatory, and the devil becomes a dark angel collecting the sinners.  Clever, Shyamalan.  Otherwise, I think when we are finally shown who the murderer is it's a real treat.  As I mentioned before, each of the five principle characters seem equally innocent and then also guilty, which makes narrowing down one guilty person difficult.  This wasn't the first time I've seen the film, so I paid extra close attention to our diabolic friend this time around, and from what I found there wasn't any hint or clue that would make us suspect him or her any more than the others.  If I missed something, let me know!  I'm not going to ruin the surprise and tell you who the murderer is here.

Then we have the kind of epilogue in the final minutes of the movie, where I have to admit I was certainly expecting one thing to happen, but hey, I guess they wanted to teach some sort of message.

Final critique:  If this movie delivers anything, it's suspense.  The numerous scenes when the lights go out (a la Wait Until Dark) are pretty tense, while the rest of the movie itself is filled with building suspense, questions, and terror.  The whole film deals with religious themes of guilt, sin, and redemption, so don't be surprised to pick up on a lot of that.  Overall, it is an enjoyable movie and a good watch.  I mean, if you get scared really easily, you can always cover your ears for the scenes where the lights go out, but otherwise I found it to be an enjoyable amount of suspense, always keeping us on the edge of our seats.

Poltergeist (1982)

GENERAL INFO:
Director:  Tobe Hooper
Studios:  SLM Production Group, MGM
Starring:  JoBeth Williams, Heather O'Rourke, Zelda Rubinstein, Craig T. Nelson
Tagline:  They're Here; It Knows What Scares You.
MPAA Rating:  R
Genre:  horror, thriller, haunting, ghosts, poltergeists
Scare score:  B+
Rating:  A

Plot overview:  In the late '70s/ early '80s, the lively Freeling family lives a normal, happy life in a small but growing development called Cuesta Verde.  The youngest child, Carol Anne (O'Rourke), seems to believe there are 'people' living in the TV that she is able to communicate with, but her parents Steve (Nelson) and Diane (Williams) attribute this to sleepwalking.  After a bad storm one night, we see a beam come out from the TV static and implant itself in the walls of the house.  Shortly thereafter, friendly paranormal happenings begin to occur in the Freeling household, largely revolving around the sudden movement, repositioning, or even breaking of objects.  Although Diane embraces these supernatural events, Carol Anne finds the "TV people's" tricks boring while Steve even thinks they're dangerous.  Suddenly, things take a turn for the worse, and as the climax of the haunting on their house, the Freeling's young daughter Carol Anne is abducted into a parallel plain of spirits, able to communicate only when the TV is left displaying static.  In order to save their daughter and family, the Freelings bring in a team of paranormal investigators and parapsychologists headed by the empathetic Dr. Lesh (Beatrice Straight).  Once the team dubs the events too powerful and dangerous for themselves to handle, they bring in the small but powerful medium Tangina (Rubinstein).  It will take all the strength the family has to rescue their daughter from the angry spirits holding her captive beyond.

I mean, this is an awesome movie.  I remember seeing this a few times as a kid and just always loving it.  Now that I'm a bit older and keeping this movie blog, I'm happy to say my child-horror-movie-critic-self was right: this movie is simply great.

First and foremost, it is a movie about family.  We get that sense from the very beginning, that this is a pretty standard American family, living a pretty standard life in a pretty standard American suburb.  More importantly, they are happy, unlike most modern families we are presented with in modern film.  We have the happily married couple, who even as they raise their three children still manage to have their own fun.  The oldest daughter, Dana (Dominique Dunne), is our typical, angsty, even sexually promiscuous teacher (I love the line towards the end of the film when her mom mentions a hotel and she recalls it, presumably from a night with her boyfriend) - however, she clearly cares about her younger siblings, even if they drive her up the wall or spill milk all over her homework when glasses spontaneously begin to break...  Next we have the middle child and only boy, Robbie (Oliver Robins).  This is just your regular American little boy, who falls asleep eating potato chips, wears too much baseball gear, and is afraid of regular things like storms and terrifying clown dolls which shouldn't be kept at the foot of the bed.  Lastly, our precious Carol Anne is a 5 year old, blonde, cute, and innocent little girl.  So what if she talks to TVs after channels have signed off for the night?  This is a strong, functional family.

Some of my favorite scenes in the movie are just simple family moments: when Diane and Steve mouth "I love you" to each other, for example, or especially any time the family communicates with Carol Anne when she is trapped in the spiritual plain.  A lot of this has to do with a recurring musical piece, which whenever it played sounded a lot like a lullaby, and I assumed it was Carol Anne's theme.  There is some really touching music in this film, aside from, of course, the eerie stuff.

That being said, we are presented with a wonderful cast of characters, and there is hardly anybody to dislike.  I almost prefer having an invisible malicious force and no annoying humans as antagonists.  My favorite performer in this movie is absolutely JoBeth Williams in the role of the mother: she is fun, powerful, and so loving.  She truly brings life to the family.  I also liked Craig T. Nelson a lot, and he was a likable, fun dad.  The kids are also all pretty cute, and they do very impressive jobs considering their young ages.

Take a wild guess as to who my second favorite character is.  Zelda Rubinstein is this iconic, mysterious figure that always fascinated me since I first saw the Poltergeist trilogy as a kid.  Aside from her obvious stature, her voice has always stuck out to me as well.  She is so likable from the get-go, just this intelligent, supernaturally gifted "let's get down to business" type.  And of course, thanks to Tangina, little Carol Anne's fate is not an eternity of terror in some parallel dimension.

Let's talk about the haunting.  I like the premise of this movie, and as I've said before, I'm a sucker for hauntings.  There is something poetic about ghosts.  When the house itself becomes almost malevolent at times, I was forced to think of Insidious, which in hindsight probably borrowed a lot from this movie.  This film does a good job of combining the wild happenings with a human, practical cause.  The various haunted items, toys, closets, and entire property itself were individually creative, creepy, and entertaining.  I can't even complain about the special effects, which is saying a lot considering how old this film is now.  Well, the ghostly plasma shooting out from the TV or from the portal in the living room ceiling is a bit Ghostbuster-ish in quality, but otherwise, no complaints here.

I also like the mix of purely ghostly things with otherwise gore-y or psychologically freaky things.  Namely, the scenes in the kitchen and bathroom when the paranormal investigator has his mind (and food, and face) played with a bit by the ghosts.  Yuck.

Final critique:  You should see this movie in your lifetime.  It is a perfect amount of scary that I think most viewers can handle without being too scared.  Except for that one aforementioned scene with some gore, the movie proves to us the strength of family and love (and fun-sized mediums) in the face of unhappy spirits, malicious ghosts, haunted clowns, and even closets.  What isn't there to love?

Rosemary's Baby (1968)

GENERAL INFO:
Director: Roman Polanski
Studios: William Castle Productions, Paramount Pictures
Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Tagline: Pray for Rosemary's Baby
MPAA Rating:  R
Genre: horror, supernatural thriller, drama, suspense, witches, cult, spawn of satan
Scare score: C+
Rating: A

Plot overview: Rosemary (Farrow) and Guy (Cassavetes) Woodhouse are a happy young couple living in a luxurious, new apartment on Manhattan's Upper West Side. Guy is a driven, aspiring actor, and Rosemary is a kind but naïve homemaker and hopeful mother-to-be. Although warned by their dear friend Hutch (Maurice Evans) about the strange and dark history of their new building, The Bramford, the young couple are happy in their apartment and are openly embraced by their elderly, eccentric neighbors Minnie (Gordon) and Roman (Blackmer) Castevet. After Rosemary conceives, she goes through an increasingly painful pregnancy, but she has Minnie to help her with home remedies and even the care of one of New York's top obstetricians, Dr. Sapirstein (Ralph Bellamy). As her concern about her unborn child grows greater, Rosemary also begins to learn about the possibility that Roman's family and friends practice witchcraft. Unfortunately, Guy becomes more distant as his acting career takes off substantially. Ultimately alone and scared, Rosemary becomes more desperate to protect her unborn baby, although soon she will realize it might be herself that needs the protection.

This movie is great. Hands down, it is a slow and steady, suspenseful success. Following the eerie (irritating) opening music, we find ourselves in a very real 1960s Manhattan. Rosemary is perfectly chic throughout the whole movie, from her mod minidress, to the wallpaper she puts up in the nursery, to her iconic Vidal Sassoon haircut. While the plot isn't something I personally believe to be plausible, the world that it takes place within most certainly was copied from Polanski and author Ira Levin's real life.

Let's start by talking about Mia Farrow. I mean, come on. She makes Rosemary such an interesting protagonist, even though she spends most the movie confused, in pain, or scared. While there isn't exactly enough depth to make her very realistic (mainly just a mother's instinct to protect her child), there is something really interesting about her. I enjoyed following her on her scary and uncertain journey through pregnancy and potential insemination by satan. Mainly I liked her look: mod, frail, cute, and determined. She was a truly perfect choice for this role.

The other character that sticks out for me, as she did for awards committees at the time, is Minnie Castevet. Ruth Gordon is a ridiculous character from her first scene to her last. The best part is, there are absolutely women like this living in Manhattan that you encounter from time to time on the subway or sidewalk: those old, loud, noisy, tacky, 'devil may care' types— you know to stay out of their way. Ruth turns Minnie into an almost preposterous character who, while annoying, we can still find to be endearing. The mystery behind the many characters in this cast leaves us questioning who is good and who is bad until the end, when perhaps we question our own definitions of 'good' and 'evil.'

I guess the only thing I don't love in this movie is that it drags on at times. At 136 minutes, this certainly isn't the longest film we've ever seen, but the lack of action makes it more noticeable. Not that this movie would benefit from much more action than it already has, but I'm just saying. We can only watch Rosemary wander around pregnant and in pain for so long.

*SPOILER ALERT*

Otherwise I kind of enjoy that any logical audience member goes into the movie more or less knowing what's going to happen. Honestly, we are as in on the plot as the rest of the coven, with only Rosemary being left out. *Irony* Still, any film that can pull this predictable plot off while maintaining an audience—and finding new fans even 50 years later—is a home run.

Final critique:  If you are looking for a wild, fast-paced ride of scares and jumps, this is not the movie you want. If you are looking for a deeper, suspenseful, and subtly terrifying horror classic, then you've come to the right place. I would recommend Rosemary's Baby to any viewers, as it is a relatively calm and all around enjoyable movie with only a few scares or disturbing images. Really excellent film right here, perfect for a rainy afternoon or a quite night in.

The House at the End of the Street (2012)

GENERAL INFO:
Director:  Mark Tonderai
Studios:  FilmNation Entertainment
Starring:  Jennifer Lawrence, Max Thieriot, Elisabeth Shue
Tagline:  Fear Reaches Out... For the Girl Next Door
MPAA Rating:  PG-13
Genre:  horror, thriller, drama, mystery, suspense, psychological thriller, surprise ending
Scare score:  C-
Rating:  B

Plot overview:  Nonconformist teen Elissa Cassidy (Lawrence) and her young, single mother Sarah (Shue) finally leave the city and find a nice, inexpensive home of their own in a peaceful albeit isolated area of a wealthy town.  There's just one catch: the house next door was the scene of a double patricide committed several years ago by the mentally disturbed daughter Carrie Anne Jacobson.  While the girl is now believed to be dead, her body was never found after that night.  The only resident in the murder house is her brother, the reclusive Ryan (Thieriot) who gains Elissa's trust as they start seeing each other.  Despite the judgements of Sarah and the snobby townies, Ryan has the support of police officer Bill Weaver (Gil Bellows) as he still deals with the loss of his entire family.  And although everything in her new town starts off well, Elissa will soon discover what is hidden in the house at the end of the street.

From the start of the film, we are dealing with a rough and tough mother/ daughter duo, both of whom are strong and even angry, yet sensitive with a knack for music and even a need to be loved by men who seem so absent from their present lives.  Long story short, there is a certain girl power feeling behind this whole film although for me that was a completely neutral point.  While I wouldn't consider Lawrence's performance anything remarkable (or these days, Oscar worthy), there is something so natural about her that I couldn't help but feel drawn in to her story from the very beginning.  The cinematography of this film reminded me a bit of The Hunger Games or even Twilight which is embarrassing but true- there was a certain omnipotent darkness, like a dark grey cloud just beyond the strikingly green forest that most of the movie takes place in and around.  From what I've gathered, this is right up the angsty-but-beautiful Lawrence's alley.  A self-described "girl-who-feels-the-need-to-fix-everybody's-problems," the smart, attractive, caring, damaged-yet-strong, and 'always-let-your-conscience-be-your-guide' Elissa falls quickly for the mysterious, damaged-and-showing-it Ryan Jacobson, portrayed by a dark and difficult to penetrate Max Thieriot.  He does a decent job acting, and I guess what I most appreciated was that he was able to really keep the mystery going the entire film, tricking us into not trusting him, only to later trick us into caring for him, and perhaps later tricking us yet again...

Back to the girl power bit again, Elissa's character was clearly a male-made fantasy of the last girl archetype, and yet somehow there is a very real faction of her character, such that anyone might think they went to high school with this girl - while at the same time I'm pulling my hair and calling out the spade that people like this don't really exist.  On a positive note, I enjoyed her guitar playing and singing.  There is an excellent commentary made on family in this movie - largely focusing on Elissa and Sarah (the lush) but later also including Ryan and his lack of family.  Where is the perfect, nuclear family in this film?  It doesn't exist, save for stuck-up schoolmate Tyler's (Nolan Gerard Funk) seemingly perfect family - who in reality are ignorant of their son's poor behavior outside of the classroom and family functions.  The idea of family is closely related to the concept and motif of the home, which in part is contrasted from being enclosed inside a home and then loose outside in the woods.  So many themes!  No surprise that Elissa's rockstar dad (Sarah's ex-hubby) is out of the picture though still important to both women.  I think it would be easy to conclude that their acquiring a nice house on their limited budget is a move for settling-down- but what could settle the free spirit of these two women - I could go on and on. 

That is not to say that I didn't enjoy either Shue's or Lawrence's performances, but I couldn't help but feel like I had seen this all before.  Not to mention all the familiar faces in this movie, with Lawrence now being a household name, Bellows having been the memorable young and unfortunately overly-informed inmate from Shawshank (one of my top favorites), and then I didn't realize until after the fact that I saw Nolan Gerard Funk star in the title role of Bye Bye Birdie on Broadway a few years back.  I love when horror movies have a bunch of big (or medium) names scattered about the cast.  Hollay-wooood.

Aside from small errors and other pet-peevy problems- I did enjoy this film.  It was one of many movies I got to watch during a long, sleep, transatlantic flight (imagine me taking notes on the film in a small notebook during the flight), and I have to say it was pleasant for the trip.  The soundtrack stood out to me although I didn't write down why so I can't tell you now.  The best part of the movie is all the plot twists which just border on absurd without crossing that line, leaving us in a certain mindwarp of "oh no s/he didn't!"s.  In some moments I just didn't know who to trust anymore.  That always boosts up a horror movie quite a bit, both adding some excitement and in this case even depth to the plot and its characters.

Final critique:  This is a pretty easy-to-watch, gateway horror movie.  By that I mean anybody could watch this, during the day or late at night, without being too scared.  We have our basic mystery, plenty of slow-building suspense, and then even a bit of action, but more than anything else this is a story about teenagers, families, and trust.  Maybe it drags on a bit longer than it needs to, but hey, I think this film might find its way into a nice go-to scary movie for younger audiences at sleepovers.  Recommended for anybody looking for a relaxing but not entirely boring horror flick.

American Horror Story - S2, E13 (2013)

"Madness Ends"


GENERAL INFO:
Creators:  Ryan Murphy, Brad Falchuk
Producers:  20th Century Fox
Channel:  FX
Starring:  Sara Paulson, Dylan McDermott, Evan Peters, Jessica Lange, Joseph Fiennes; ft. Frances Conroy
TV Rating:  MA SLV
Genre:  television, horror, psychological thriller, drama, insane asylum, serial killer, aliens
Scare score:  B
Rating:  A

So before I get started, let me say one thing: sometimes you drop the ball.  Sometimes even my love for horror movies just gets ignored for half of January and all of February.  But here we are in a new month, and here I am with new efforts to find the real time to continue this blog.

Plot overview:  In this pretty captivating season finale, we focus on current day Lana (Paulson) as she is interviewed in her lavish townhouse.  While we learn that she has become famous due to her writing and especially her tele-journalism career, the eager interviewer brings up the one topic Lana swore she wouldn't talk about: Briarcliff.  In a sudden change of character, Lana decides to go into the details of her exposé of Briarcliff one last time.  During her story, she discusses how she searched for Sister Jude (Lange), director-turned-patient in her own hellish creation, and how the clues led her back to her friend Kit (Peters).  His story is concluded for us as we learn his children - Lana's godchildren - went on to become world famous doctors.  Kit himself had ventured back to Briarcliff years ago where he rescued Sister Jude, nursing her back to health with the help of the mysterious intervention of his children, until it is finally her time to pass.  Down the road, Kit contracts pancreatic cancer but is ultimately taken back by the aliens.  As viewers, we are aware that Lana's abandoned, sociopathic son Johnny (McDermott) has infiltrated the filming crew, and when the interview ends Lana calls him out of hiding, read to accept her fate.  Finally face-to-face, the mother and son are able to discuss the bitterness, hate, and sadness that has plagued them both for years.  The suspense will keep anyone on his or her seat until the final seconds.

So this is old, old news by now, but I wasn't about to let the month and a half gone by stop me from finishing my posts on this great season of American Horror Story.  I was so thrilled with this episode.  Loose ends were rounded up and resolved for us- those of us pro-Jude were probably content with her final years living as part of Kit's family, and even those of us who never forgave her for her cruel behavior in the beginning of the season most likely felt at ease that she wasn't quite vindicated for all her deeds.

The real star of the episode is Lana, who shines even though coated by tons of aging makeup.  I have to comment on the blood-red walls in her beautiful home that she shares with her equally successful partner, a singer.  That specific tone is reminiscent of the very first advertisements that started coming out the summer before Season 1.  It's just a really good, eye catching hue of red that was a nice compliment to last season and the show itself.  

Dylan McDermott also gets a shout out this time around as the murderer having a breakdown, aka Johnny, aka Bloodyface Jr.  I'm happy we got to learn about his story and then see a wide range of angry/ sad emotions from him during the final scenes.  

*SPOILER ALERT*

They really kept us hanging in there until the final seconds, huh?  Having thought I knew American Horror Story by this point, I was ready for Lana to peace out in a bloody bang from her vengeful son.  How the tables were turned when she soothed him and then finally turned that gun to his forehead!  What an awesome way to end the season, so much justice, so much happiness - totally the opposite of the ending of last season.  This really surprised me for the series as a whole, and I guess it has taught me that they are going to continue experimenting from now own.  

Final critique: All in all, it really was a pretty wild ride this season.  It flew by, and when I got to this episode I didn't even realize that it was all coming to an end (even though the episode title states that rather clearly).  While we had some weird bouts (think Anne Frank), the show had its fair share of monstrous beings, alien abductions, psychopathic murders - and best of all, human corruption, greed, and hate (not to mention overcoming said sins).  I am especially pleased with how the season ended - with a bang!  (I had to).  Rumors for next season are already swirling about, and from what I've heard, we might be headed to Salem!   But are we ready for a period piece?  I can certainly wait until October, but I'll be looking for leaks until then!

January Review

For your consideration:

1.  Braindead/ Dead Alive (1992): A-

American Horror Story, S2, E12 - (2013)

"Continuum"

GENERAL INFO:
Creators:  Ryan Murphy, Brad Falchuk
Producers:  20th Century Fox
Channel:  FX
Starring:  Evan Peters, Sara Paulson, Jessica Lange, Lizzie Brocheré, Britne Oldford; ft. Naomi Grossman, Dylan McDermott, Frances Conroy
TV Rating:  MA SLV
Genre:  television, horror, psychological thriller, drama, insane asylum, serial killer
Scare score:  B
Rating:  A

Plot overview:  In the penultimate episode of Season 2, we are given a glimpse into various characters' lives a few years after the original plot.  While trying to maintain a normal life, balancing two wives (Oldford and Brocheré) and two children, Kit (Peters) watches his modern family fall apart due to the pressures of readjusting to life after alien abduction as well as sharing one man.  Lana (Paulson) is steadily reaching her dreams of fame after successfully publishing a book about her ordeal with Bloody Face.  At the same time, however, she faces the truths of the stories she bent, the people she left out of her past, and the promises she has broken.  Lastly, Sister Jude (Lange), now called Betty Drake, slips further from reality as time passes her by in Briarcliff.

Frankly, this episode was excellent.  It did a healthy job of continuing with the rapid changes we were given in the past two installments.  While we were thrown around in time a bit - which caught me off guard more than once - it was interesting to see what life is like for our two released/ escaped protagonists Kit and Lana.  As is custom at this point for American Horror Story, even life outside of the principal evil of this season - Briarcliff - is no fairy tale.  The horror lives not only in the decaying mental institution, but it lingers as well in the homes and bookstores of our everyday lives.  While most of us will never have to worry about ending up in a place like Briarcliff, balancing a polygamous relationship with an axe murderer, or having a psychopathic son, we will deal with the stressors of family life and the temptations of success and fortune.  Isn't this a twisted version of the American Dream?

That being said, excellent acting across the board.  Along with the plot, this made the episode simply fluid- I couldn't believe 43 minutes had passed once it ended.  We had a really nice balance of plots, shuffling between Kit and his family, Kit and Lana, Lana, Jude and her troubles, and Johnny.  There was a subtle terror throughout the episode, highlighted by moments of gore and suspense, particularly featuring an axe and a very unhappy former foster child.  The costumes and props were beautiful, and they helped us understand what careful detail the creators and designers put into this show.  I wasn't alive in the late '60s, but this is how I imagine they looked.  Special shout outs go to Lange who is showing us yet another side of her acting ability, Grossman in the role of Pepper (who has been rather spunky since the aliens granted her speech and collectedness), and Conroy, who was a fun female inmate, with a new accent graced by cigarette smoke.  Great twist in the plot there as well, especially when she blew that kiss.

*SPOILER ALERT*

I don't remember how I felt last time around, but I can't believe that in less than a week Season 2 will be over.  There are quite a few loose ends to tie up, and while we know how certain plots will end (Johnny has to be alive to be Bloody Face in 2012, still roaming B-Cliff), there are still many possibilities remaining (am I stupid at this point to hope for a happy ending for Lana, or a non-suicide route for Kit with the heart of gold?)  What about poor Jude, once the austere figure of brutal authority at Briarcliff, and now perhaps one of its most lost and distant patients?  What will this season teach us about salvation and forgiveness?  I want to think happy thoughts, but after 1.9 seasons of American Horror Story, I am forced to think otherwise.  Either way, we are sure to be in for a treat.

Two things I thought were a bit bizarre.  (1) The sudden promotion and exit of Monsignor - I mean, Cardinal - Howard (Joseph Fiennes).  Obviously we had been set up for that all season, but so soon?  For a second I thought the devil was inside of him following Mary Eunice's death, but he seemed way too sincere saying goodbye to Jude.  Hmm.  (2) Alma?  Really?  I didn't think the sweetheart had it in her to suddenly grab an axe and out the axe murderess.  Looks like Kit does look for something common in his women.  Anyhow, her dead body looked pretty interesting with all that green and yellow.  "Her heart just stopped" - sounds like the aliens might have had something to do with this.

Final critique:  One week left until Murphy and Falchuk have to wrap up another baby.  That means within a few months we'll start getting hints about Season 3!  But let's not get ahead of ourselves.  We still have the guilty-yet-pure-hearted Jude lost in a timeless, seemingly hopeless insane asylum, Lana who has a promise to fulfill, Kit with his own conscience, and Johnny with a thirst for his mother's blood.  Will the season go out with a bloody bang?  I think it'll be great, as long as they don't kill off everybody like they did in Season 1.  After all, Briarcliff - and the anthology's - fates are at risk in the final episode of AHS.

Braindead / Dead Alive (1992)

GENERAL INFO:
Director:  Peter Jackson
Studios:  WingNut Films
Starring:  Timothy Balme, Diana Peñalver, Elizabeth Moody, Ian Watkin
Tagline:  Some Things Won't Stay Down... Even After they Die; You'll Laugh Yourself Sick
MPAA Rating:  Unrated
Genre:  foreign film, horror, thriller, action, zombie, comedy, gore
Scare score:  B
Rating: A-

Plot overview:  Set in New Zealand, the young, persevering Spaniard Paquita María Sánchez (Peñalver) is ready to do whatever she has to to meet her true love after her superstitious mother draws her tarot cards.  As the fates would have it, her true love is destined to be the clumsy and neurotic - but good-hearted - Lionel (Balme) who still lives with (and under the constant oppression of) his mother.  When a virus carried by the rare Sumatran rat-monkey turns Lionel's mum (Moody) into a flesh-craving zombie, the good son still tries his hardest to protect her, even by going to extreme (and ridiculous) measures.  As the virus spreads, however, the increasingly violent zombies become too much to handle, and Lionel and Paquita will have to fight an extremely gory battle for their own lives.

I have to admit I enjoyed this film.  Plain and simply, it was funny, and I found myself both laughing and cringing at its famous gore.  Yes, this film is obviously a cult classic due to its gore - and in my book, the charming New Zealand accents only helped.  Who would expect such a silly - and at times disturbing - movie from Peter Jackson?  That is, Sir Peter Jackson of The Lord of the Rings trilogy?  That is, a respected and honored, prize-winning director, the brains behind this film of silly costumes, bright colors, a corny script, and ridiculous blood and gore?  Wowsas.

The acting was very enjoyable.  I think constantly bracing myself for the gore helped the story itself somehow become a lot more real and the acting much more believable.  I was especially impressed by Balme who does a great job of playing the timid, frightened product of an overbearing (to say the least) mother, only to later switch to slightly crazed yet valiant and rather charming hero.  Peñalver was also a breath of fresh, foreign air with an extremely accurately written part, featuring a particularly enjoyable Spanish diss to the perverted Uncle Les (Watkin).  The zombies, though ultimately I thought they were a bit overkill (I really, really didn't mean that pun), were funny and I appreciated their individuality.

What I most want to know is what is was like to film this movie.  I am mainly referencing the final 'battle' scene when it is the several party guests - headed by Uncle Les, Lionel, and Paquita - against what seems like an endless barrage of bloody, variously dismembered zombies.  When at least 20 people are turned into puree, the entire set looks like the final result of la tomatina, a giant tomato fight. Our protagonists are physically covered in dripping something in various scenes, and Horror Buff just wishes he could speak to them to ask how uncomfortable that was.  I just read that 300 liters of fake blood was used in this final scene alone - that's about 80 gallons, possibly making this the bloodiest film of all time.

Luckily for squeamish viewers - well, I guess I'd still advise for you to stay away - but this isn't gore like we see in Hostel.  Instead, we are treated to a colorful array of '90s gore - like skulls with skin ripped off, entire rib cages removed, and even living intestines who care about their appearance in the mirror.  Once we get past the initial shock of all the gore, it really becomes a rather silly, enjoyable, and action-packed movie, almost reminiscent of Evil Dead from a decade before.  The cheesy script honestly had some great lines, and there was a sort of modest, true comedy lying beneath all the blood and guts.  You can tell Peter Jackson, among others, had fun doing this film, which is always a nice thing to watch.

Fun fact:  In Spanish, the movie title translates to "Your Mother Ate My Dog," which is a line delivered by Paquita after... well I won't spoil it.  Anywho, today someone said to me "Your Mother Ate My Dog," and after a moment of silent confusion we established that they were talking about a movie with a lot of gore.  I kid you not when I tell you my mind went immediately to Dead Alive, which I had only ever read about (the "rebirth" scene, specifically).  Hence why I went home and found it online pretty much immediately.

Final critique:  This film isn't for everyone.  If you can toughen up a bit, and maybe keep a paper bag handy (in case of accidents - the worst for me was probably the early stages of of Mum's sickness and seepage), you will be in for a funny, silly treat of a cult classic.  There is a funny, decent script here, and the final product gives us some acting which, considering the general plot and plausibility of the film, is not bad.  You won't look at pureed tomatoes, kitchen appliances, or lawn mowers the same way again.

American Horror Story, S2, E10 and E11 - (2013)

"The Name Game" and "Spilt Milk"

Frightening friends!  Please accept my apology for having parted from The Horror Blog for such a long time.  Horror Buff did a lot of traveling over the holidays, which made updating pretty difficult.

Well we're into a new year (some people are refusing to write only -13 or /13 because 13 is an unlucky number... it's a year for spooks indeed), which means more horror awaits us.  I realize this has been turning more into an American Horror Story blog as of late, so my New Year's Resolution will be to watch more actual movies.  Starting this weekend.  For now, more AHS.

GENERAL INFO:
Creators:  Ryan Murphy, Brad Falchuk
Producers:  20th Century Fox
Channel:  FX
Starring:  Joseph Fiennes, Sara Paulson, Jessica Lange, Evan Peters, Lily Rabe, James Cromwell, Zachary Quinto, Lizzie Brocheré; ft. Naomi Grossman, Dylan McDermott, Barbara Tarbuck
TV Rating:  MA SLV
Genre:  television, horror, psychological thriller, drama, insane asylum, serial killer, aliens
Scare score:  C-
Rating:  A

Plot overview:  Many changes begin to take place at Briarcliff as both Judy Martin (Lange) and the Angel of Death (Conroy) urge Monsignor Howard (Fiennes) to remove the possessed Sister Mary Eunice (Rabe) from the picture, which he seems to accomplish successfully.  Grace (Brocheré) returns from death and alien possession in a very pregnant state with only Pepper (Grossman) to take care of her, despite vicious attempts made by both Dr. Arden (Cromwell) and Dr. Thredson (Quinto).  After weeks of waiting, there is finally light at the end of the tunnel for both Kit (Peters) and Lana (Paulson) who find their justice and are freed from Briarcliff.

WOW!  All I can say is wow, and it was really nice to be able to watch these two episodes back to back.  At first I found myself getting frustrated because I kept expecting bad things to happen to the main characters who we are rooting for (namely Kit, Lana, and Judy aka Sister Jude) - as is the way of AHS.  Luckily for me, these two episodes really drifted from the show's usual terror and focused on some pretty positive changes.

I'm going to keep this brief.  Some shout outs, however, are in store for various actors of the show's talented ensemble.  Specifically Lange, Paulson, Peters, Fiennes, and even McDermott in his short sequences really drove home the acting for me.  Lange exhibits yet another realm of acting which she is capable of in these installments, namely that of an incapacitated mental patient.  McDermott's scenes are so eerie and disturbing - I can just picture him reading the script beforehand and getting so into the sickness of his character.  Also, I really enjoyed the fun and energetic performance of that random prostitute (actress Jill Marie Jones) - she was so likable!  And lastly, I suppose it was finally nice to hear something intelligible out of Naomi Grossman after having to simply act like a weirdo "freak" until now in the season.  She acts, too!  And pretty well.

Now call me crazy, but I loved the musical sequence in eponymous scene of "The Name Game."  Maybe this is, in part, due to the fact that as a child my family always sang that song to me.  On the other hand, the actors looked like they were having so much fun!  Lange was really great, and even Evan Peters surprised me with his dancing.  Who could of thought such a risky, cheesy move could have ended so well?  Horror Buff bo Borror Buff banana fana fo Forror Fuff fee fi mo Morror Muff - Horror Buff! (Had to).

Anyway- I really couldn't believe how much change took place in this episode.  So many positive, relieving things happened that I just can't help but feel terrible things are to follow.  After the jump...

*SPOILER ALERT*

Let's just talk about Monsignor.  He was so great, so innocent and endearing at the beginning of the episodes... I just can't help but think he's the possessed one now.  Something isn't the same anymore and he is becoming a bigger jerk just like he used to be.  I sincerely liked him when he was repenting, but now something feels awry, and since it seems all other antagonism has disappeared, it would make sense.  *Church criticism* ... *original*.... not.  Still, there is some adventure up ahead.

Dr. Arden?  Like kthxbye?  That was quick yet poetic in multiple ways, both with his lost 'love' and the murderous past he lived.  Either way, if this is truly the end of him, I think he acted it both well and appropriately.

Let's talk briefly about all the babies.  Usually, you know, babies are fun, cute, and overall positive things.  Not on AHS.  We know how Lana's baby is going to turn out (if that really is him and not just some deranged man), so there's not hope there.  How do we feel about an undead/ redead Grace and little Thomas?  There are already so many questions.

Final critique:  American Horror Story is back with a bang or several.  A lot of these major changes felt rather rushed, so we will have to say where this is headed.  Otherwise, I wasn't a fan of the new use of camera angles (a sort of first-person, handheld camera look) - it was too sudden for the season and used too much.  Otherwise I did enjoy the fresh breath of positivity... which is almost certainly soon to be crushed by the negative but entertaining force that is American Horror Story.

Happy New Year, horror fans.