For your consideration:
1. Braindead/ Dead Alive (1992): A-
Thursday, January 31, 2013
Thursday, January 17, 2013
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
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.
Wednesday, January 16, 2013
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.
Thursday, January 10, 2013
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.
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.
Monday, December 31, 2012
December Review
For your consideration:
1. Invasion of the Body Snatchers (1978): A
2. Deliverance (1972): B
3. Salem's Lot (1979): B
1. Invasion of the Body Snatchers (1978): A
2. Deliverance (1972): B
3. Salem's Lot (1979): B
Monday, December 17, 2012
Invasion of the Body Snatchers (1978)
GENERAL INFO:
Director: Philip Kaufman
Studios: United Artists, Solofilm
Starring: Donald Sutherland, Brooke Adams, Jeff Goldblum, Veronica Cartwright, Leonard Nimoy
Tagline: Get Some Sleep
MPAA Rating: PG
Genre: thriller, horror, drama, science-fiction, psychological thriller, alien invasion, aliens
Scare score: B+
Rating: A
Plot overview: After an alien species lands in San Francisco, many strange flowers begin to rapidly sprout up across the city. Soon after, coworkers from the Department of Public Health Elizabeth Driscoll (Adams) and Matthew Bennell (Sutherland) begin noting strange changes in the actions and attitudes of people around them. Growing increasingly concerned that a serious health concern has fallen upon the people of San Francisco, they team up with friends Jack (Goldblum) and Nancy Bellicec (Cartwright) to combat the aliens taking the forms of the city's habitants.
I saw the 1956 original a few years ago, and I just realized I saw the 2007 remake in theaters, but tonight I felt like watching this remake. After the fact, I must say I'm really pleased with my choice, as this selection was both enjoyable, pleasantly scary, and simply impressive.
The first thing I noticed was several familiar faces, from previous movies I've blogged about, namely with Art Hindle of 1979's The Brood in the role of Driscoll's partner Geoffrey and then of course Veronica Cartwright who played the memorable Cathy Brenner in Hitchcock's 1963 The Birds. We're just starting to develop a little horror film family here, aren't we?
As major plusses for the movie, we have good acting and good special effects. The rapid growth of alien flowers on plants in one of the first scenes looked both realistic and interesting. Later on we contrast the beauty of a flower with the growth of the large pods, which will both disturb and gross out the audience as they pulsate and 'give birth' to alien clones. Throughout the film we are also treated to images of bodies covered in sinews and veins, as well as some blood, which are sure to make viewers uneasy. Fun stuff, especially since I've seen worst effects in movies that have been released more recently.
As is typical in most horrors, during the whole film we are forced to follow the plight of the small group of protagonists as it seems the world turns against them. Luckily we are following a group of likable actors and characters, which not only makes the film more interesting, but it also allows us to establish an almost emotional bond with these people and their situation, thereby causing us to stress over the final outcome and root for human victory (for the most part) up through the movie's final seconds. The beautiful Brooke Adams provides us with a fun and easily likable Elizabeth Driscoll, who is both smart and aware much sooner than the other protagonists concerning the alien invasion. She is nicely complimented by Sutherland, who portrays Bennell both with humor and drama. Smaller performances by Goldblum and Cartwright as man and wife add more dramatics and mystery, and the presence of Nimoy disconcerts us further as we debate who is good and who is bad.
What I probably liked most about the film is the psychological aspect. From the get go we aren't even really sure who is human and who the aliens have already got to. I must give a big shout out to the extras in this movie, who made it silently terrifying as their presence of San Fran citizens is both omnipresent and threatening. Even when they are still normal they seem off, odd, and potentially dangerous. The mere plot of this invasion is a very scary concept: "my boyfriend isn't himself; my wife isn't herself; it's my husband- but it's not." We keep hearing this coming from panicked people, including our protagonists, throughout the movie, but it seems as though everyone else is ignoring them. Could it be that the majority is already under alien influence? We find ourselves questioning who is human and who isn't every time we see or meet a new character: the uncertainty of this silent terror is brilliant. Furthermore, towards the end, we even begin to question if it is worth fighting an innumerable foe, or is it easier to just peacefully give in? You must decide.
As the alien invasion becomes more complete, terror grows even stronger for our protagonists and suspense grows even higher for us viewers. This movie is sure to keep us entertained until the last seconds, without many dull moments to complain about. The mystery persists long enough that, although we piece bits and pieces together ourselves, we don't get major answers or gross, revealing images until far into the film. With this tactic, the plot grows more complex, and victory seems just as possible as defeat.
Lastly, this film is enhanced by the eerie and suspenseful tunes of Danny Zeitlin. Without remaining overly '70s, it adds suspense and drama to many scenes of the film, starting in the first scene.
Final critique: There isn't much more I can think of to say about this film except that I really genuinely enjoyed it. The terror is both subtle and outright, and the fear is both physical and psychological. Good acting enhances a creative and always-questionably-possible plot that is sure to get audiences thinking, "what if?" I recommend this remake for most crowds, though while only a PG film, there are several scenes that are sure to scare you, or at least disturb you a little bit *cue the high pitch noise the aliens make when alarming others*
Director: Philip Kaufman
Studios: United Artists, Solofilm
Starring: Donald Sutherland, Brooke Adams, Jeff Goldblum, Veronica Cartwright, Leonard Nimoy
Tagline: Get Some Sleep
MPAA Rating: PG
Genre: thriller, horror, drama, science-fiction, psychological thriller, alien invasion, aliens
Scare score: B+
Rating: A
Plot overview: After an alien species lands in San Francisco, many strange flowers begin to rapidly sprout up across the city. Soon after, coworkers from the Department of Public Health Elizabeth Driscoll (Adams) and Matthew Bennell (Sutherland) begin noting strange changes in the actions and attitudes of people around them. Growing increasingly concerned that a serious health concern has fallen upon the people of San Francisco, they team up with friends Jack (Goldblum) and Nancy Bellicec (Cartwright) to combat the aliens taking the forms of the city's habitants.
I saw the 1956 original a few years ago, and I just realized I saw the 2007 remake in theaters, but tonight I felt like watching this remake. After the fact, I must say I'm really pleased with my choice, as this selection was both enjoyable, pleasantly scary, and simply impressive.
The first thing I noticed was several familiar faces, from previous movies I've blogged about, namely with Art Hindle of 1979's The Brood in the role of Driscoll's partner Geoffrey and then of course Veronica Cartwright who played the memorable Cathy Brenner in Hitchcock's 1963 The Birds. We're just starting to develop a little horror film family here, aren't we?
As major plusses for the movie, we have good acting and good special effects. The rapid growth of alien flowers on plants in one of the first scenes looked both realistic and interesting. Later on we contrast the beauty of a flower with the growth of the large pods, which will both disturb and gross out the audience as they pulsate and 'give birth' to alien clones. Throughout the film we are also treated to images of bodies covered in sinews and veins, as well as some blood, which are sure to make viewers uneasy. Fun stuff, especially since I've seen worst effects in movies that have been released more recently.
As is typical in most horrors, during the whole film we are forced to follow the plight of the small group of protagonists as it seems the world turns against them. Luckily we are following a group of likable actors and characters, which not only makes the film more interesting, but it also allows us to establish an almost emotional bond with these people and their situation, thereby causing us to stress over the final outcome and root for human victory (for the most part) up through the movie's final seconds. The beautiful Brooke Adams provides us with a fun and easily likable Elizabeth Driscoll, who is both smart and aware much sooner than the other protagonists concerning the alien invasion. She is nicely complimented by Sutherland, who portrays Bennell both with humor and drama. Smaller performances by Goldblum and Cartwright as man and wife add more dramatics and mystery, and the presence of Nimoy disconcerts us further as we debate who is good and who is bad.
What I probably liked most about the film is the psychological aspect. From the get go we aren't even really sure who is human and who the aliens have already got to. I must give a big shout out to the extras in this movie, who made it silently terrifying as their presence of San Fran citizens is both omnipresent and threatening. Even when they are still normal they seem off, odd, and potentially dangerous. The mere plot of this invasion is a very scary concept: "my boyfriend isn't himself; my wife isn't herself; it's my husband- but it's not." We keep hearing this coming from panicked people, including our protagonists, throughout the movie, but it seems as though everyone else is ignoring them. Could it be that the majority is already under alien influence? We find ourselves questioning who is human and who isn't every time we see or meet a new character: the uncertainty of this silent terror is brilliant. Furthermore, towards the end, we even begin to question if it is worth fighting an innumerable foe, or is it easier to just peacefully give in? You must decide.
As the alien invasion becomes more complete, terror grows even stronger for our protagonists and suspense grows even higher for us viewers. This movie is sure to keep us entertained until the last seconds, without many dull moments to complain about. The mystery persists long enough that, although we piece bits and pieces together ourselves, we don't get major answers or gross, revealing images until far into the film. With this tactic, the plot grows more complex, and victory seems just as possible as defeat.
Lastly, this film is enhanced by the eerie and suspenseful tunes of Danny Zeitlin. Without remaining overly '70s, it adds suspense and drama to many scenes of the film, starting in the first scene.
Final critique: There isn't much more I can think of to say about this film except that I really genuinely enjoyed it. The terror is both subtle and outright, and the fear is both physical and psychological. Good acting enhances a creative and always-questionably-possible plot that is sure to get audiences thinking, "what if?" I recommend this remake for most crowds, though while only a PG film, there are several scenes that are sure to scare you, or at least disturb you a little bit *cue the high pitch noise the aliens make when alarming others*
Friday, December 14, 2012
American Horror Story, S2, E9 - (2012)
"The Coat Hanger"
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Jessica Lange, James Cromwell, Joseph Fiennes, Sara Paulson, Evan Peters, Lily Rabe, Zachary Quinto; ft. Ian McShane, Dylan McDermott
TV Rating: MA SLV
Genre: television, horror, drama, insane asylum, serial killer, aliens
Scare score: B-
Rating: A-
Plot overview: Around present day, a troubled man named Johnny (McDermott) reveals to a therapist (Brooke Smith) that he has murderous impulses, which happen to run in the family. Back in 1964, Lana (Paulson) learns that she is pregnant and uses this information to trick the restrained Dr. Thredson (Quinto) into confessing that he is Bloody Face. Dr. Arden (Cromwell) begins to believe that extraterrestrials might be involved in Kit's (Peters) case, and he concocts a dangerous plan to have them show up again. Sister Jude (Lange) has been admitted to Briarcliff as a patient, and must begin working on her redemption. Lastly, Monsignor Howard (Fiennes) reaches out to help straighten the path of patient Leigh (McShane), but the baptism doesn't quite go as planned.
Lots to talk about. First off, I found this episode to be pretty fulfilling. I mean there was nothing new or bold about it, and in fact it had some of that old familiar American Horror Story: Season One feel to it, but I like that we were finally caught up in various subplots. It wasn't really too scary, and I acknowledge that my scare score seems a bit high. Nonetheless, I felt that the episode was fulfilling.
Not that it's a shocker to anybody, but ex-Sister Jude has joined the loonies and is now a patient in the very institution she once ran with an iron fist and wooden switch. I didn't think I would like this turning of the tables, but now Lange can really show off how bada** she is and how much trouble she might now cause the administration that has turned against her. Unfortunately, given our knowledge of this series, while it's nice to think she might beat the system and help Lana... chances are slim. Especially since Sister Mary Eunice (Rabe) is, uh, Lucifer?
Lana came so far tonight. Is it sad that in today's world, as soon as I heard that the name of the episode was "The Coat Hanger" I knew exactly what was going to happen? Gross stuff; classic AMH playing with day to day horror along with aliens and the like. Lana said it best when she called her unwanted pregnancy the biggest cosmic joke of all. While we would like to think she is ultimately going to escape, both Thredson's disappearance from bondage and the fact that we see baby Johnny Thredson all grow up makes me think the absolute worst.
I'm still warming up to the whole aliens bit, and this episode certainly helped. They're so mysterious! Bravo Arden for wanting to embrace this theory and see why Kit is so interesting for this species from outer space. The drugs and needles to the heart bit was reminiscent of Pulp Fiction, and I'm sure when the next episode picks up it will be another rush for time to see if Kit gets the drugs and pressure to the heart that he needs to be revived!
*SPOILER ALERT*
Two things I was a little iffy about. First: Grace? Like, you died lady. And for what I think is less than a week, or certainly less than a month, that's a big belly! *Aliens* Looking forward to learning more about what this third kind will be like! Second thing: I'm happy Monsignor is getting killed off. I wanted it the whole episode. But the crucifixion was more than a little cliché. Oh well, happy to see Frances Conroy show her face again and happy to see him go!
Final critique: Great midseason finale which simultaneously answered many questions and left us with more questions to be answered! Our shot into present day Bloody Face seems to wind up several of the 1964 subplot, but who knows how the show will resolve itself. Everyone will probably getting up abducted. Biggest question now is if evil (Sister Mary Eunice) will be overcome by good.
Thursday, December 13, 2012
Salem's Lot (1979)
GENERAL INFO:
Director: Tobe Hooper
Studio: Warner Bros.
Starring: David Soul, James Mason, Lance Kerwin, Reggie Nalder
Tagline: The Ultimate in Terror!
MPAA Rating: PG
Genre: TV miniseries, vampire, haunted house
Scare score: B
Rating: B
Plot overview: Upon returning to his hometown of Salem's Lot, Maine, author Ben Mears (Soul) begins noticing weird events plaguing the townspeople. The occurrences seem to be centered around the old Marsten House - where Ben had a traumatic event as a child - and its new owners the mysterious Mr. Straker (Mason) and the talked-about-but-never-seen Mr. Barlow (Nalder). As a strange sickness starts coming over more people - marked by strange bites on the neck - it comes down to Ben and the brave but young Mark Petrie (Kerwin) to fight off the evil lurking in the Marsten House.
This was a fun storyline for a creative and well-executed miniseries. No surprise that it was enjoyable coming from the Stephen King novel of the same name (the protagonist is a writer from Maine... like duh). '70s aside, it was enjoyable although not the most original plot (vampires invading small town America) - then again, that plot is overkilled throughout the '80s, so if this is the first time it was really done, please let me know.
The characters in this miniseries kept me really interested, and they added a sense of depth such that you might find in a novel. At first I felt some reservations about Ben, but I grew to like him pretty quickly. This isn't the only time we've seen a torn or troubled writer in a King novel/ adaptation, nor is it the first time we've seen the theme of a return (to a childhood home, memories, fears). Mark - acted very well I thought by the young Lance Kerwin - was an interesting character as well, who due to his odd obsession with monsters and horror (!!!) may come off as strange, but ultimately it helps him fight the evil vampires invading Salem's Lot. Lastly, I found Bonnie Bedelia's performance as love interest Susan Norton to be a breath of fresh air throughout the two-part production.
On the evil side, I think James Mason did just about as well as he could in the role of the creepy, nervous, and often quiet Mr. Straker. I enjoyed the dynamic approach he employed of not only being evil, heartless, and dangerous, but also perhaps scared of his own partner/ master. And then we have the face of evil himself: Mr. Barlow. I really am happy with the Nosferatu approach they took on his makeup and actions. The various vampires throughout the miniseries were pretty impressive to me, altogether avoiding the almost cheesiness we see in '80s vampires flicks. The yellow eyes were honestly creepy for me to watch. The pairing of vampire scenes with good, classic, and basic scary music was well done, resulting in a few frightening sequences. Again, nothing we haven't seen in other movies, but still just nicely done. I love the eerie, bald, pale, creepily-fanged vampires. Enough with the romantic Eastern European guy. This is scary stuff. Great makeup; good scenes.
My complaint about Salem's Lot has to do with some awkward or hasty actions in the script/ acting. First off, I don't understand how (or why) Ben and Susan start dating. He seemed to be looking for somebody in the park, except they had never met, so I don't get why he stumbled upon her (but seemingly with purpose) in a park, struck up a conversation (about his book), and by the end of the day they are hooking up at ~the lake~. Like what? There are just some strange character interactions throughout which left me unconvinced about the final product. I understand that this is an adaption of the book, which means that a lot of details, plot, and character development had to be left out or modified but still.
*SPOILER ALERT*
My biggest problem comes shortly before the end of the film. After Ben and Mark successfully kill of the head honcho vampires, I understand that Ben wants to 'purge' the town and completely destroy the house of 'inherent' evil that has affected him since he was a kid. Now I honestly don't know if I blinked for too long, or maybe I fell asleep for a minute, but as far as I'm concerned Ben broke into the house, saw how all the vampires were locked in that closet in the basement, but he never once saw Susan - am I right? Then as soon as Barlow is dead he burns down the house and says to himself something like "Sorry, Susan, but it has to be done." Yeah but like, did he even see her? Did he even search the house for her? I for one did not see Susan locked in the basement or turned into a vampire, so I don't know why he burned down the house with her in it. As soon as the fire started I realized we were about to return to Guatemala and see Susan again, but in the moment I just do not see why he gave up on her so easily. I hope I missed something, because otherwise that is a huge flaw.
Final critique: This two part miniseries provides an interesting though somewhat typical vampire plot, and it is only hurt by the inability to develop its characters and plot as much as a novel can. The acting keeps us locked to the screen pretty much the whole time, and we eagerly anticipate the fun scares and creepy thrills throughout. Great makeup and good pairing with music results in a well executed thriller. Recommended for all audiences - I mean heck, it's only PG.
Director: Tobe Hooper
Studio: Warner Bros.
Starring: David Soul, James Mason, Lance Kerwin, Reggie Nalder
Tagline: The Ultimate in Terror!
MPAA Rating: PG
Genre: TV miniseries, vampire, haunted house
Scare score: B
Rating: B
Plot overview: Upon returning to his hometown of Salem's Lot, Maine, author Ben Mears (Soul) begins noticing weird events plaguing the townspeople. The occurrences seem to be centered around the old Marsten House - where Ben had a traumatic event as a child - and its new owners the mysterious Mr. Straker (Mason) and the talked-about-but-never-seen Mr. Barlow (Nalder). As a strange sickness starts coming over more people - marked by strange bites on the neck - it comes down to Ben and the brave but young Mark Petrie (Kerwin) to fight off the evil lurking in the Marsten House.
This was a fun storyline for a creative and well-executed miniseries. No surprise that it was enjoyable coming from the Stephen King novel of the same name (the protagonist is a writer from Maine... like duh). '70s aside, it was enjoyable although not the most original plot (vampires invading small town America) - then again, that plot is overkilled throughout the '80s, so if this is the first time it was really done, please let me know.
The characters in this miniseries kept me really interested, and they added a sense of depth such that you might find in a novel. At first I felt some reservations about Ben, but I grew to like him pretty quickly. This isn't the only time we've seen a torn or troubled writer in a King novel/ adaptation, nor is it the first time we've seen the theme of a return (to a childhood home, memories, fears). Mark - acted very well I thought by the young Lance Kerwin - was an interesting character as well, who due to his odd obsession with monsters and horror (!!!) may come off as strange, but ultimately it helps him fight the evil vampires invading Salem's Lot. Lastly, I found Bonnie Bedelia's performance as love interest Susan Norton to be a breath of fresh air throughout the two-part production.
On the evil side, I think James Mason did just about as well as he could in the role of the creepy, nervous, and often quiet Mr. Straker. I enjoyed the dynamic approach he employed of not only being evil, heartless, and dangerous, but also perhaps scared of his own partner/ master. And then we have the face of evil himself: Mr. Barlow. I really am happy with the Nosferatu approach they took on his makeup and actions. The various vampires throughout the miniseries were pretty impressive to me, altogether avoiding the almost cheesiness we see in '80s vampires flicks. The yellow eyes were honestly creepy for me to watch. The pairing of vampire scenes with good, classic, and basic scary music was well done, resulting in a few frightening sequences. Again, nothing we haven't seen in other movies, but still just nicely done. I love the eerie, bald, pale, creepily-fanged vampires. Enough with the romantic Eastern European guy. This is scary stuff. Great makeup; good scenes.
My complaint about Salem's Lot has to do with some awkward or hasty actions in the script/ acting. First off, I don't understand how (or why) Ben and Susan start dating. He seemed to be looking for somebody in the park, except they had never met, so I don't get why he stumbled upon her (but seemingly with purpose) in a park, struck up a conversation (about his book), and by the end of the day they are hooking up at ~the lake~. Like what? There are just some strange character interactions throughout which left me unconvinced about the final product. I understand that this is an adaption of the book, which means that a lot of details, plot, and character development had to be left out or modified but still.
*SPOILER ALERT*
My biggest problem comes shortly before the end of the film. After Ben and Mark successfully kill of the head honcho vampires, I understand that Ben wants to 'purge' the town and completely destroy the house of 'inherent' evil that has affected him since he was a kid. Now I honestly don't know if I blinked for too long, or maybe I fell asleep for a minute, but as far as I'm concerned Ben broke into the house, saw how all the vampires were locked in that closet in the basement, but he never once saw Susan - am I right? Then as soon as Barlow is dead he burns down the house and says to himself something like "Sorry, Susan, but it has to be done." Yeah but like, did he even see her? Did he even search the house for her? I for one did not see Susan locked in the basement or turned into a vampire, so I don't know why he burned down the house with her in it. As soon as the fire started I realized we were about to return to Guatemala and see Susan again, but in the moment I just do not see why he gave up on her so easily. I hope I missed something, because otherwise that is a huge flaw.
Final critique: This two part miniseries provides an interesting though somewhat typical vampire plot, and it is only hurt by the inability to develop its characters and plot as much as a novel can. The acting keeps us locked to the screen pretty much the whole time, and we eagerly anticipate the fun scares and creepy thrills throughout. Great makeup and good pairing with music results in a well executed thriller. Recommended for all audiences - I mean heck, it's only PG.
Wednesday, December 12, 2012
Deliverance (1972)
GENERAL INFO:
Director: John Boorman
Studios: Warner Bros.
Starring: Jon Voight, Burt Reynolds, Ned Beatty, Ronny Cox
Tagline: What Did Happen on the Cahulawassee River?; This is the Weekend they Didn't Play Golf
MPAA Rating: R
Genre: drama, thriller, adventure, hillbillies
Scare score: C+
Rating: B
Plot overview: Planning to embrace a rough, manly weekend on the white waters of the Cahulawassee River in the Georgia backwoods, city boys Ed (Voight), Lewis (Reynolds), Ned (Beatty), and Drew (Cox) and their two canoes head out for adventure. Shortly after setting off, however, the men learn that neither the river nor its inbred and violent inhabitants are easy obstacles to overcome. The men must soon fight to survive both nature and the locals while simultaneously questioning the defense tactics used for and against them.
This movie started out and I liked where it was headed. Immediately I found myself wondering if this was one of the first major films that explored the American boondocks to team the basic concept of getting lost with the horrible idea of violent, inbred, and ill-mannered locals to terrorize modern, gentrified audiences. In many ways I couldn't help but feel like it was a grown up, more scary and sexual version of Stand By Me. Well shame on me for expecting any intense, fast-paced horror/action as this is a '70s film and ended up being much more of an adventure with a few thrills than a true horror. That's not to say I didn't enjoy the film, but I did feel a bit underwhelmed after it ended. I can enjoy a slow-paced movie, but I feel that this flick really would have been enhanced by some more action.
This movie is pretty well known for its music, or should we say the lack thereof. In fact, about halfway through the movie I found myself awing at the lack of additional sounds besides the running water and animalistic wilderness. I loved it. Also, who doesn't love a little banjo every now at then? Sound is usually what makes the scariest moments of a horror movie, well, scary. I have to say that this film did a wonderful job of building up suspense and delivering a few thrills without unnecessary sounds and musical pieces.
This was a very masculine piece of work, stressing not only the varying levels of manliness among the four protagonists, but also the general sense of masculinity that defines, in my opinion, manifest destiny, rough explorations, camping, the outdoors, and America in general (specifically the less-tamed parts). The River itself is treated as a powerful, merciless, and dynamic character throughout the movie. Lewis especially has some great lines dealing with this topic, regarding "beating" the river or winning some great "game." Thus, I think the violation scene in the woods is important because it strips one protagonist of the masculinity which seems so important. Even though I thought it was really obvious which character would be the victim, and even though at least 3 of the 4 men were already viewed by the locals as emasculated since they are just city folk.
Speaking of, Reynolds did an interesting job as the bulky, brave, and macho Lewis. The role might be a bit over the top but still important for his attempted connection with nature and role as guide for the group. I liked the part when he thinks he hears something in the darkness, but upon returning to camp he simply does not know. Deep.
I liked Voight as Ed, the more quiet and passive but still manly protagonist of the film. I found this character more easy to relate to as he was usually an easygoing guy - until of course the whole life or death situation springs up and he must hunt humans. The role is honestly very complex especially since we see most into his conscience during the film's events. His passivity but ability to act in times of need, plus his hinted drinking bouts, troubles with concentration, and ultimately haunting guilt was all very interesting to me.
I did not like the character Drew and I'm not sure if it was more or less the fault of Ronny Cox. Drew from the get go was very strange to me; an oddly feminine member of the group (not because of his musical skills, but simply because of Cox's delivery) with very poorly delivered lines. In fact I found myself getting angry at the awkwardness of his lines. I'm never a big fan of the character that can't keep his wits about him in a film, so that plus odd, unbelievable lines and a general chickening-out just made me not a big fan!
My other problem with the film comes from awkward script writing both in lines and the general reactions of the characters. Obviously I've never had to fight my way through a wilderness/ canoe weekend gone wrong, but I didn't think the characters' reactions to sexual assault, murder, digging a shallow grave, burying three bodies, crashing their canoes, and enduring other injuries seemed natural. There were also too many scenes in which the actors randomly yelled their lines or repeated (while yelling) what the other characters were saying even though no one was far enough away from anyone else to merit the volume or unnecessary repetition. Okay, so that is just one scene, but I hated it.
Otherwise, I found an especially intense amount of suspense building up towards the film's end, when were are left torn between whether or not the men would be caught or let off. It wasn't exactly exciting, but it kept me interested beyond the film's major action. Another good theme I found myself looking for (obviously based off the film's religiously directed title) was religious imagery and symbolism regarding the characters and their deeds. This added a great depth to the work.
Final critique: Although this film is slow, it does see some pretty interesting action or at least suspense during its 110 minutes. The characters are strong and worth following although the acting is not always there and perhaps the script should have been looked at again. A modern remake that closely maintains the action of this film without adding too much unnecessary gore or drama - yes, I'm talking about a perfect balance of plot maintenance with only some tasteful action - would be really great to watch. All in all, this film has a lot more than it appears to on its surface. Imagine how far back this set the South's image! Count me out of any boys' weekend in the backwoods of America's South or West.
Director: John Boorman
Studios: Warner Bros.
Starring: Jon Voight, Burt Reynolds, Ned Beatty, Ronny Cox
Tagline: What Did Happen on the Cahulawassee River?; This is the Weekend they Didn't Play Golf
MPAA Rating: R
Genre: drama, thriller, adventure, hillbillies
Scare score: C+
Rating: B
Plot overview: Planning to embrace a rough, manly weekend on the white waters of the Cahulawassee River in the Georgia backwoods, city boys Ed (Voight), Lewis (Reynolds), Ned (Beatty), and Drew (Cox) and their two canoes head out for adventure. Shortly after setting off, however, the men learn that neither the river nor its inbred and violent inhabitants are easy obstacles to overcome. The men must soon fight to survive both nature and the locals while simultaneously questioning the defense tactics used for and against them.
This movie started out and I liked where it was headed. Immediately I found myself wondering if this was one of the first major films that explored the American boondocks to team the basic concept of getting lost with the horrible idea of violent, inbred, and ill-mannered locals to terrorize modern, gentrified audiences. In many ways I couldn't help but feel like it was a grown up, more scary and sexual version of Stand By Me. Well shame on me for expecting any intense, fast-paced horror/action as this is a '70s film and ended up being much more of an adventure with a few thrills than a true horror. That's not to say I didn't enjoy the film, but I did feel a bit underwhelmed after it ended. I can enjoy a slow-paced movie, but I feel that this flick really would have been enhanced by some more action.
This movie is pretty well known for its music, or should we say the lack thereof. In fact, about halfway through the movie I found myself awing at the lack of additional sounds besides the running water and animalistic wilderness. I loved it. Also, who doesn't love a little banjo every now at then? Sound is usually what makes the scariest moments of a horror movie, well, scary. I have to say that this film did a wonderful job of building up suspense and delivering a few thrills without unnecessary sounds and musical pieces.
This was a very masculine piece of work, stressing not only the varying levels of manliness among the four protagonists, but also the general sense of masculinity that defines, in my opinion, manifest destiny, rough explorations, camping, the outdoors, and America in general (specifically the less-tamed parts). The River itself is treated as a powerful, merciless, and dynamic character throughout the movie. Lewis especially has some great lines dealing with this topic, regarding "beating" the river or winning some great "game." Thus, I think the violation scene in the woods is important because it strips one protagonist of the masculinity which seems so important. Even though I thought it was really obvious which character would be the victim, and even though at least 3 of the 4 men were already viewed by the locals as emasculated since they are just city folk.
Speaking of, Reynolds did an interesting job as the bulky, brave, and macho Lewis. The role might be a bit over the top but still important for his attempted connection with nature and role as guide for the group. I liked the part when he thinks he hears something in the darkness, but upon returning to camp he simply does not know. Deep.
I liked Voight as Ed, the more quiet and passive but still manly protagonist of the film. I found this character more easy to relate to as he was usually an easygoing guy - until of course the whole life or death situation springs up and he must hunt humans. The role is honestly very complex especially since we see most into his conscience during the film's events. His passivity but ability to act in times of need, plus his hinted drinking bouts, troubles with concentration, and ultimately haunting guilt was all very interesting to me.
I did not like the character Drew and I'm not sure if it was more or less the fault of Ronny Cox. Drew from the get go was very strange to me; an oddly feminine member of the group (not because of his musical skills, but simply because of Cox's delivery) with very poorly delivered lines. In fact I found myself getting angry at the awkwardness of his lines. I'm never a big fan of the character that can't keep his wits about him in a film, so that plus odd, unbelievable lines and a general chickening-out just made me not a big fan!
My other problem with the film comes from awkward script writing both in lines and the general reactions of the characters. Obviously I've never had to fight my way through a wilderness/ canoe weekend gone wrong, but I didn't think the characters' reactions to sexual assault, murder, digging a shallow grave, burying three bodies, crashing their canoes, and enduring other injuries seemed natural. There were also too many scenes in which the actors randomly yelled their lines or repeated (while yelling) what the other characters were saying even though no one was far enough away from anyone else to merit the volume or unnecessary repetition. Okay, so that is just one scene, but I hated it.
Otherwise, I found an especially intense amount of suspense building up towards the film's end, when were are left torn between whether or not the men would be caught or let off. It wasn't exactly exciting, but it kept me interested beyond the film's major action. Another good theme I found myself looking for (obviously based off the film's religiously directed title) was religious imagery and symbolism regarding the characters and their deeds. This added a great depth to the work.
Final critique: Although this film is slow, it does see some pretty interesting action or at least suspense during its 110 minutes. The characters are strong and worth following although the acting is not always there and perhaps the script should have been looked at again. A modern remake that closely maintains the action of this film without adding too much unnecessary gore or drama - yes, I'm talking about a perfect balance of plot maintenance with only some tasteful action - would be really great to watch. All in all, this film has a lot more than it appears to on its surface. Imagine how far back this set the South's image! Count me out of any boys' weekend in the backwoods of America's South or West.
Thursday, December 6, 2012
American Horror Story, S2, E8 - (2012)
"Unholy Night"
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Jessica Lange, James Cromwell, Lily Rabe, Sara Paulson, Evan Peters, Zachary Quinto; ft. Ian McShane
TV Rating: MA SLV
Genre: television, horror, drama, insane asylum, serial killer, holiday
Scare score: B
Rating: B+
Plot overview: The featured inmate on this week's episode is a mentally disturbed former thief (McShane) who landed himself in Briarcliff after murdering several families while dressed up as Santa Claus several years earlier. During Briarcliff's previously banned Christmas party, possessed Sister Mary Eunice (Rabe) urges him to don a Santa costume once again and release his anger as he did years ago. Sister Jude (Lange) becomes involved in a dangerous game of loyalty between Dr. Arden (Cromwell) and Sister Mary Eunice. Lastly, Lana (Paulson) and Kit (Peters) figure out how to handle their knowledge about the true identity of Bloody Face.
It took me a while to realize I liked this episode. I must say the Christmas stuff was almost overkill, but then I realized it was freaking me out and my normal reaction was to brush it off as nonsense. Aside from a bangin Christmas music soundtrack, this episode had fun with the perversion of Christmas traditions: decorating the tree, hanging the star, giving gifts, and the Santa costume in general. I specifically thought the flashback scene of when McShane first uses the costume and breaks into that one house was really disturbing. Playing with Christmas, turning it psychological and dark, was uncomfortable and downright scary at times. Classic American Horror Story, taking things we care about and making them potentially horrifying. And while I don't agree with it, I really loved the line "There is no God, but there is a Santa Claus." Ho ho ho, that was a good one.
Otherwise, what made me really like this episode (once I started putting the pieces together) was how deep it was, especially in the script, and how rich it was in symbolism. Something about the Christmas theme certainly helped, as well as all the exploration into religion that went on - overall, this exploration of faith, the meaning of belief, and the presence of God and/or the devil clearly seems to be a major theme of the whole season. In some weird way, between the alien abductions and talk of the Holocaust, there was something deep about this episode.
A problem I've been having so far with this season is the almost randomness and definite frustration involving each of the various subplots happening within Briarcliff. We have the pact between Dr. Arden and the Monsignor (Joseph Fiennes) that we don't entirely understand yet. The dangerous and questionably romantic game between Dr. Arden and Sister Mary Eunice/ the devil inside her. The internal and spiritual struggle of Sister Jude as well as her desire to help free Sister Mary Eunice. Lana's experience with Bloody Face and general presence in Briarcliff. Kit's innocence, search for Alma, feelings for Grace. Kit and Lana's imprisonment of Dr. Thredson. The mutants outside of Briarcliff. The aliens abducting everybody. The fact that we know Briarcliff gets shut down. The fact that there's still a malicious spirit lurking in solitary confinement, as well as an equally malicious Bloody Face roaming Briarcliff in 2012. Like need I go on?
It was a breath of fresh air after this episode to see Kit and Lana take some action, not that it resolves anything but at least Lana didn't fall back into Thredson's clutches. I enjoyed Sister Jude's plight throughout the episode, and I enjoy that she is finally receiving this big calling from above. There was some poetic justice in the abuse suffered at the hands of "Santa Claus" as well as her own switch. Maybe this baptism by blood will only help her on her mission.
Final critique: I understand that this is a TV show and the writers need to make it last a few more episodes. Still- I'm getting restless and I need answers. The plot has been pretty interesting, so what is left in the season had better be satisfying. The terror in this episode wasn't the jumpy, screaming type, but more so a deeper, darker, psychological horror you had to think about and then accept. The perversion of Christmas, the murder and abuse of innocents, the victory of evil over good: these are the situations we were shown today under the tunes of pleasant Christmas music. Good acting all around, specifically for the characters who were allowed to explore a little bit outside of their standard selves. Not a fan of that little girl's "Massachusetts" accent in the beginning... like literally, start setting movies and shows in nondescript places with simple accents. Sorry that I get hung up on these things. Looking forward to next week.
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Jessica Lange, James Cromwell, Lily Rabe, Sara Paulson, Evan Peters, Zachary Quinto; ft. Ian McShane
TV Rating: MA SLV
Genre: television, horror, drama, insane asylum, serial killer, holiday
Scare score: B
Rating: B+
Plot overview: The featured inmate on this week's episode is a mentally disturbed former thief (McShane) who landed himself in Briarcliff after murdering several families while dressed up as Santa Claus several years earlier. During Briarcliff's previously banned Christmas party, possessed Sister Mary Eunice (Rabe) urges him to don a Santa costume once again and release his anger as he did years ago. Sister Jude (Lange) becomes involved in a dangerous game of loyalty between Dr. Arden (Cromwell) and Sister Mary Eunice. Lastly, Lana (Paulson) and Kit (Peters) figure out how to handle their knowledge about the true identity of Bloody Face.
It took me a while to realize I liked this episode. I must say the Christmas stuff was almost overkill, but then I realized it was freaking me out and my normal reaction was to brush it off as nonsense. Aside from a bangin Christmas music soundtrack, this episode had fun with the perversion of Christmas traditions: decorating the tree, hanging the star, giving gifts, and the Santa costume in general. I specifically thought the flashback scene of when McShane first uses the costume and breaks into that one house was really disturbing. Playing with Christmas, turning it psychological and dark, was uncomfortable and downright scary at times. Classic American Horror Story, taking things we care about and making them potentially horrifying. And while I don't agree with it, I really loved the line "There is no God, but there is a Santa Claus." Ho ho ho, that was a good one.
Otherwise, what made me really like this episode (once I started putting the pieces together) was how deep it was, especially in the script, and how rich it was in symbolism. Something about the Christmas theme certainly helped, as well as all the exploration into religion that went on - overall, this exploration of faith, the meaning of belief, and the presence of God and/or the devil clearly seems to be a major theme of the whole season. In some weird way, between the alien abductions and talk of the Holocaust, there was something deep about this episode.
A problem I've been having so far with this season is the almost randomness and definite frustration involving each of the various subplots happening within Briarcliff. We have the pact between Dr. Arden and the Monsignor (Joseph Fiennes) that we don't entirely understand yet. The dangerous and questionably romantic game between Dr. Arden and Sister Mary Eunice/ the devil inside her. The internal and spiritual struggle of Sister Jude as well as her desire to help free Sister Mary Eunice. Lana's experience with Bloody Face and general presence in Briarcliff. Kit's innocence, search for Alma, feelings for Grace. Kit and Lana's imprisonment of Dr. Thredson. The mutants outside of Briarcliff. The aliens abducting everybody. The fact that we know Briarcliff gets shut down. The fact that there's still a malicious spirit lurking in solitary confinement, as well as an equally malicious Bloody Face roaming Briarcliff in 2012. Like need I go on?
It was a breath of fresh air after this episode to see Kit and Lana take some action, not that it resolves anything but at least Lana didn't fall back into Thredson's clutches. I enjoyed Sister Jude's plight throughout the episode, and I enjoy that she is finally receiving this big calling from above. There was some poetic justice in the abuse suffered at the hands of "Santa Claus" as well as her own switch. Maybe this baptism by blood will only help her on her mission.
Final critique: I understand that this is a TV show and the writers need to make it last a few more episodes. Still- I'm getting restless and I need answers. The plot has been pretty interesting, so what is left in the season had better be satisfying. The terror in this episode wasn't the jumpy, screaming type, but more so a deeper, darker, psychological horror you had to think about and then accept. The perversion of Christmas, the murder and abuse of innocents, the victory of evil over good: these are the situations we were shown today under the tunes of pleasant Christmas music. Good acting all around, specifically for the characters who were allowed to explore a little bit outside of their standard selves. Not a fan of that little girl's "Massachusetts" accent in the beginning... like literally, start setting movies and shows in nondescript places with simple accents. Sorry that I get hung up on these things. Looking forward to next week.
Sunday, December 2, 2012
American Horror Story, S2, E7 - (2012)
"Dark Cousin"
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Jessica Lange, James Cromwell, Sara Paulson, Evan Peters, Zachary Quinto, Lily Rabe; ft. Lizzie Brocheré, Frances Conroy
TV Rating: MA SLV
Genre: television, horror, drama, insane asylum, serial killer, supernatural
Scare score: B-
Rating: A-
Plot overview: In this installment, various characters are visited by the Angel of Death (Conroy) who gives them the difficult choice of whether or not they are ready to die. The possessed Sister Mary Eunice (Rabe) demonstrates more of her dark power, and she hints that she still has a lot of work to accomplish at Briarcliff. Sister Jude (Lange) continues struggling with the skeletons in her closet, but we learn that some of these were never actually skeletons to begin with. Lana (Paulson) valiantly attempts to escape from Bloody Face, and Kit (Peters) tries to rescue Grace (Brocheré) from her dark fate at Briarcliff.
This was certainly an action-packed episode, and while I ultimately enjoyed it it made me angry for a few reasons. I will get to those towards the end.
I think the action in this episode was great. It was a powerful episode that demanded a lot from various characters experiencing different extremes of pain, sadness, and momentary happiness or release. That being said, good acting made the episode enjoyable even beyond the gripping action that kept us on the edge of our seats throughout (actually I was standing up ironing the whole time).
About all that action. I understand that American Horror Story is not a 'happy' series by any means (neither for the 'good' nor 'bad' guys). While characters in Season 1 may have ultimately found peace, it certainly wasn't what I would consider a happy ending. What I'm trying to say is at no point during this exciting episode did I ever expect any character to escape from their predicament, blow open Briarcliff's dark secrets, and live happily ever after. Still, this episode came very cross to crossing a dangerous line about what was actually important for the plot and what was happening just for the sake of happening. At least I feel this way.
*SPOILER ALERT*
Specifically, I love that we recently learned Bloody Face's true identity and that Lana found herself the prisoner of his sick mental dilemma. I think her imprisonment in the cellar was chilling and exciting EVEN THOUGH one of my Cardinal Rules is broken in this episode (although it was handled well and Quinto as an actor is professional and easy to respect, so I found the violation was more poetic for a criminally insane psychopath more than perverted garnish) AND even though she was stuck in one spot - which, as we've learned from shows like The Walking Dead on AMC, can never last too long without being frustrating and stupid. Whoops. Back to my point: Lana's time in Bloody Face's cellar was impermanent and ephemeral from the beginning. Still, the fact that this episode saw her escape, really have a chance at freedom, shortly thereafter witness more violence and anger of the male sex, and then wind up probably in worse condition than before in good ole Briarcliff - well it happened so suddenly and resulted in massive frustration. Same with Kit, who only manages to escape for a short time before getting cornered again. I enjoyed the fast-paced action of this episode, but I didn't enjoy that we're back where we started. This week's episode will be really important in determining what's in store for our characters who almost escaped.
Also, did I miss how "Raspers" managed to randomly escape from his/ her/ its spot in the woods and enter the asylum? At least we finally get to see what was lurking behind those trees the whole time. I'm assuming we'll finally learn more about its identity/ purpose/ Dr. Arden's and Sister Mary Eunice's bigger plans in this week's episode. At least I hope.
Does anyone else think Lily Rabe is doing an awesome job this season? Sister Mary Eunice must be such a fun character to portray, and I think Rabe does the 'no nonsense, tacitly evil' possessed part even better than the sweet and repentant nun bit. She is entertaining and interesting. I am waiting for more of her mystery and 'mission' to be revealed.
This episode was also very important for Lange. I think we see how important Sister Jude is now, even so far as having a mission from God to right the wrongs of Briarcliff... or something. Her character should certainly gain more faith and strength now that a massive guilt has been lifted from her. Her immediate fate, however, does not seem so certain as this episode ends with the waitresses at the diner discussing calling Briarcliff to take her in, if only for the night. Well we know Briarcliff by now and we know things don't work out so nicely 'overnight.' If Sister Jude gets admitted to Briarcliff I will probably go crazy myself. Maybe I'm dumb, but I have so much faith for this season, even though we know American Horror Story isn't your typical Hollywood product with a happy ending.
Final critique: While action-packed, this episode found several characters - as well as the viewer - winding back up at the beginning of a long and treacherous circle. So many questions are left to be answered now, especially since we were in the middle of an intense scene when the episode ended. At this point, I am hoping for more answers and less mysteries - but knowing this series that might not happen soon!
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Jessica Lange, James Cromwell, Sara Paulson, Evan Peters, Zachary Quinto, Lily Rabe; ft. Lizzie Brocheré, Frances Conroy
TV Rating: MA SLV
Genre: television, horror, drama, insane asylum, serial killer, supernatural
Scare score: B-
Rating: A-
Plot overview: In this installment, various characters are visited by the Angel of Death (Conroy) who gives them the difficult choice of whether or not they are ready to die. The possessed Sister Mary Eunice (Rabe) demonstrates more of her dark power, and she hints that she still has a lot of work to accomplish at Briarcliff. Sister Jude (Lange) continues struggling with the skeletons in her closet, but we learn that some of these were never actually skeletons to begin with. Lana (Paulson) valiantly attempts to escape from Bloody Face, and Kit (Peters) tries to rescue Grace (Brocheré) from her dark fate at Briarcliff.
This was certainly an action-packed episode, and while I ultimately enjoyed it it made me angry for a few reasons. I will get to those towards the end.
I think the action in this episode was great. It was a powerful episode that demanded a lot from various characters experiencing different extremes of pain, sadness, and momentary happiness or release. That being said, good acting made the episode enjoyable even beyond the gripping action that kept us on the edge of our seats throughout (actually I was standing up ironing the whole time).
About all that action. I understand that American Horror Story is not a 'happy' series by any means (neither for the 'good' nor 'bad' guys). While characters in Season 1 may have ultimately found peace, it certainly wasn't what I would consider a happy ending. What I'm trying to say is at no point during this exciting episode did I ever expect any character to escape from their predicament, blow open Briarcliff's dark secrets, and live happily ever after. Still, this episode came very cross to crossing a dangerous line about what was actually important for the plot and what was happening just for the sake of happening. At least I feel this way.
*SPOILER ALERT*
Specifically, I love that we recently learned Bloody Face's true identity and that Lana found herself the prisoner of his sick mental dilemma. I think her imprisonment in the cellar was chilling and exciting EVEN THOUGH one of my Cardinal Rules is broken in this episode (although it was handled well and Quinto as an actor is professional and easy to respect, so I found the violation was more poetic for a criminally insane psychopath more than perverted garnish) AND even though she was stuck in one spot - which, as we've learned from shows like The Walking Dead on AMC, can never last too long without being frustrating and stupid. Whoops. Back to my point: Lana's time in Bloody Face's cellar was impermanent and ephemeral from the beginning. Still, the fact that this episode saw her escape, really have a chance at freedom, shortly thereafter witness more violence and anger of the male sex, and then wind up probably in worse condition than before in good ole Briarcliff - well it happened so suddenly and resulted in massive frustration. Same with Kit, who only manages to escape for a short time before getting cornered again. I enjoyed the fast-paced action of this episode, but I didn't enjoy that we're back where we started. This week's episode will be really important in determining what's in store for our characters who almost escaped.
Also, did I miss how "Raspers" managed to randomly escape from his/ her/ its spot in the woods and enter the asylum? At least we finally get to see what was lurking behind those trees the whole time. I'm assuming we'll finally learn more about its identity/ purpose/ Dr. Arden's and Sister Mary Eunice's bigger plans in this week's episode. At least I hope.
Does anyone else think Lily Rabe is doing an awesome job this season? Sister Mary Eunice must be such a fun character to portray, and I think Rabe does the 'no nonsense, tacitly evil' possessed part even better than the sweet and repentant nun bit. She is entertaining and interesting. I am waiting for more of her mystery and 'mission' to be revealed.
This episode was also very important for Lange. I think we see how important Sister Jude is now, even so far as having a mission from God to right the wrongs of Briarcliff... or something. Her character should certainly gain more faith and strength now that a massive guilt has been lifted from her. Her immediate fate, however, does not seem so certain as this episode ends with the waitresses at the diner discussing calling Briarcliff to take her in, if only for the night. Well we know Briarcliff by now and we know things don't work out so nicely 'overnight.' If Sister Jude gets admitted to Briarcliff I will probably go crazy myself. Maybe I'm dumb, but I have so much faith for this season, even though we know American Horror Story isn't your typical Hollywood product with a happy ending.
Final critique: While action-packed, this episode found several characters - as well as the viewer - winding back up at the beginning of a long and treacherous circle. So many questions are left to be answered now, especially since we were in the middle of an intense scene when the episode ended. At this point, I am hoping for more answers and less mysteries - but knowing this series that might not happen soon!
Friday, November 30, 2012
November Review
For your consideration:
1. El espinazo del diablo/ The Devil's Backbone (2001): A
2. The People Under the Stairs (1991): B+
3. The Brood (1979): B
4. The Devil Inside (2012): D
5. Halloween II (2009): F
1. El espinazo del diablo/ The Devil's Backbone (2001): A
2. The People Under the Stairs (1991): B+
3. The Brood (1979): B
4. The Devil Inside (2012): D
5. Halloween II (2009): F
El espinazo del diablo (2001)
"The Devil's Backbone" (Horror Buff is putting his Bachelor's degree in Spanish to good use!!)
GENERAL INFO:
Director: Guillermo del Toro
Studios: Canal+ España, Good Machine
Starring: Fernando Tielve, Federico Luppi, Marisa Paredes
Tagline: ¿Qué es un fantasma? (What is a ghost?)
MPAA Rating: R
Genre: foreign film, Spanish language, mystery, drama, horror, ghost, haunting, orphanage
Scare score: B
Rating: A
Plot overview: In 1939 Spain, the Civil War that has ravished every aspect of life and society for Spaniards across the nation is finally coming to a close as the Nationalist troops have Republican troops on the run. In the midst of the war, an isolated orphanage for young boys of leftist parents is trying not to draw any unwanted attention from the outside while dealing with its own secrets. Our story begins as young Carlos (Tielve) arrives at the orphanage, still unaware that his Republican father has died. He starts off on the wrong foot with older orphan and bully Jaime (Íñigo Garcés) but befriends boys Gálvez (Adrián Lamana) and Búho (Javier Bódalo). The orphanage is run by the dedicated Dr. Casares (Luppi) and the amputee Carmen (Paredes), and it is maintained by former orphan Jacinto (Eduardo Noriega). In the middle of the courtyard, serving as a constant reminder of the war outside, is a supposedly disarmed bomb that was dropped by Nationalist forces but never exploded. Shortly after his arrival, Carlos begins to see the image of a young boy and hear an eerie warning voice which the boys refer to as "el susurro" or "the whisper." Both real and supernatural danger ensue as the war outside finally blows open the dark secrets of the orphanage.
I loved this film. Watching it one time wasn't enough, especially because I couldn't find any versions online with subtitles, so while I was able to enjoy the beautifully written original Spanish script, I am sure I missed out on a few of the smaller details. The Spanish Civil War is a fascinating subject that I always enjoy learning more about; perhaps even more fascinating is the abundant collection of art, literature, and film that have come out since those three dark years - a vast and varied collection of creative media rich in poetic language, symbolism, and raw emotion. El espinazo del diablo is no exception. Fans of Pan's Labyrinth will certainly see similarities between del Toro's two works, and although the characters in this film serve as archetypes of the Spanish Civil War, they develop and retain an astounding amount of endearing uniqueness and personality.
Leading us through the bulk of the film is the talented and easily likable Fernando Tielve. His portrayal of Carlos - the innocent child yet orphan and victim of the war, as many child protagonists are in resulting Civil War literature - is acceptable as though we were watching a dramatic (and supernatural) yet true tale of a young boy. I think it's easy to see that Carlos is representative of Spain's future: orphaned, young, damaged though still innocent in many ways and with many tough times to come. Though perhaps braver than your typical 12-year-old might be, Carlos ultimately serves as a positive protagonist who leads us through the plot's ordeals through a child's point of view.
I also enjoyed the performances of the other orphan boys. It was enjoyable watching tiny, individual coming-of-age stories (in a way), whether it was hearing them share ghost stories, laughing at their excessive and "typically Spanish" cursing habits, or warmheartedly listening to them discuss the unfamiliar topic of women, these young actors did a great job.
Dr. Casares and Carmen were both likable adults (from Carlos' young point of view) as well as rich archetypes for the Spanish Civil War. While productive and hard-working, they are each wounded and handicapped in their own way: the Doctor is impotent and Carmen has lost both her legs and must move around on prosthetics. Although the attraction between them is clear, neither of them ever admit in words their true feelings. Both of them are [formerly involved] leftist sympathizers, and the Doctor's strict belief in science and almost Enlightenment era, rational explanations is a standard concept of the Republicans of the time, whereas Nationalists were typically strict Catholics. Still, faith (in a sense of the word) as well as supernatural occurrences protect the protagonists in this film, showing us perhaps a deeper and different message than what we gather from our Republican protagonists. Faith protects the orphanage as they are disguised as a Catholic institution due to varied Nativity and Calvary decor. Faith protects Carlos as he learns to overcome his fear and learn if the ghost is trying to help. Even the strictly scientific Doctor will ultimately learn a personal lesson about the supernatural. Back to the Doctor's impotence - while he may try to pass on his Republican beliefs, at the end of the day he is a childless father trying to teach fatherless children. This might represent how the Second Republic was doomed even before the war had ended.
On the other hand we have the violent and repressive Jacinto. While this young man comes from the same start as these other boys, he represents the other side of the ordeal (and therefore the 'brother against brother' motif of this Civil War): brute force, aggression, and selfishness that we can understand as being the Nationalist side of the war. While both sides committed no small amount of atrocities, Franco's Nationalist troops were often merciless in their fighting, bomb-dropping, and especially punishment. Jacinto therefore comes to stand for the young and strong modern generation that goes against the efforts of its elders.
Alrighty, enough about politics. This was a beautifully done, even personal film, so I can understand del Toro's dedication to it. I really enjoyed the balance between real danger and supernatural danger. I thought the ghost was dealt with beautifully. I love real hauntings - okay, so sure, our protagonist is a new and frightened child who's dealing with sudden abandonment by his caretakers and a la Pan's Labyrinth we might have to fight to distinguish between fantasy and reality - especially because it gives the ghost so much more purpose. Carlos' nighttime adventures were intriguing and frightening. I loved the ghost scenes because they did make me a little uncomfortable, playing with shadows and the classic eye-through-a-keyhole. I thought the special effects for our young ghost were well-executed and also touching; there was something sad about the blood-in-water bit he had going on.
Final critique: Beyond the scary scenes, this film is truly more of a drama-mystery with gothic horror elements. The script was really excellent and even poetic from what the narrator had to say and even what the characters had to say to each other. I wonder if the English translation does justice to the original Spanish - I will have to look into buying this little gem. Also, it is simultaneously the tale of a country torn apart and of a young boy left alone to deal with his own fears and present reality. I thought this film dealt with the concept of ghosts beautifully, and it was set very nicely against the atrocities of the Spanish Civil War. I recommend this film to any viewers, although those who scare easily will certainly be uncomfortable in several scenes throughout the movie.
GENERAL INFO:
Director: Guillermo del Toro
Studios: Canal+ España, Good Machine
Starring: Fernando Tielve, Federico Luppi, Marisa Paredes
Tagline: ¿Qué es un fantasma? (What is a ghost?)
MPAA Rating: R
Genre: foreign film, Spanish language, mystery, drama, horror, ghost, haunting, orphanage
Scare score: B
Rating: A
Plot overview: In 1939 Spain, the Civil War that has ravished every aspect of life and society for Spaniards across the nation is finally coming to a close as the Nationalist troops have Republican troops on the run. In the midst of the war, an isolated orphanage for young boys of leftist parents is trying not to draw any unwanted attention from the outside while dealing with its own secrets. Our story begins as young Carlos (Tielve) arrives at the orphanage, still unaware that his Republican father has died. He starts off on the wrong foot with older orphan and bully Jaime (Íñigo Garcés) but befriends boys Gálvez (Adrián Lamana) and Búho (Javier Bódalo). The orphanage is run by the dedicated Dr. Casares (Luppi) and the amputee Carmen (Paredes), and it is maintained by former orphan Jacinto (Eduardo Noriega). In the middle of the courtyard, serving as a constant reminder of the war outside, is a supposedly disarmed bomb that was dropped by Nationalist forces but never exploded. Shortly after his arrival, Carlos begins to see the image of a young boy and hear an eerie warning voice which the boys refer to as "el susurro" or "the whisper." Both real and supernatural danger ensue as the war outside finally blows open the dark secrets of the orphanage.
I loved this film. Watching it one time wasn't enough, especially because I couldn't find any versions online with subtitles, so while I was able to enjoy the beautifully written original Spanish script, I am sure I missed out on a few of the smaller details. The Spanish Civil War is a fascinating subject that I always enjoy learning more about; perhaps even more fascinating is the abundant collection of art, literature, and film that have come out since those three dark years - a vast and varied collection of creative media rich in poetic language, symbolism, and raw emotion. El espinazo del diablo is no exception. Fans of Pan's Labyrinth will certainly see similarities between del Toro's two works, and although the characters in this film serve as archetypes of the Spanish Civil War, they develop and retain an astounding amount of endearing uniqueness and personality.
Leading us through the bulk of the film is the talented and easily likable Fernando Tielve. His portrayal of Carlos - the innocent child yet orphan and victim of the war, as many child protagonists are in resulting Civil War literature - is acceptable as though we were watching a dramatic (and supernatural) yet true tale of a young boy. I think it's easy to see that Carlos is representative of Spain's future: orphaned, young, damaged though still innocent in many ways and with many tough times to come. Though perhaps braver than your typical 12-year-old might be, Carlos ultimately serves as a positive protagonist who leads us through the plot's ordeals through a child's point of view.
I also enjoyed the performances of the other orphan boys. It was enjoyable watching tiny, individual coming-of-age stories (in a way), whether it was hearing them share ghost stories, laughing at their excessive and "typically Spanish" cursing habits, or warmheartedly listening to them discuss the unfamiliar topic of women, these young actors did a great job.
Dr. Casares and Carmen were both likable adults (from Carlos' young point of view) as well as rich archetypes for the Spanish Civil War. While productive and hard-working, they are each wounded and handicapped in their own way: the Doctor is impotent and Carmen has lost both her legs and must move around on prosthetics. Although the attraction between them is clear, neither of them ever admit in words their true feelings. Both of them are [formerly involved] leftist sympathizers, and the Doctor's strict belief in science and almost Enlightenment era, rational explanations is a standard concept of the Republicans of the time, whereas Nationalists were typically strict Catholics. Still, faith (in a sense of the word) as well as supernatural occurrences protect the protagonists in this film, showing us perhaps a deeper and different message than what we gather from our Republican protagonists. Faith protects the orphanage as they are disguised as a Catholic institution due to varied Nativity and Calvary decor. Faith protects Carlos as he learns to overcome his fear and learn if the ghost is trying to help. Even the strictly scientific Doctor will ultimately learn a personal lesson about the supernatural. Back to the Doctor's impotence - while he may try to pass on his Republican beliefs, at the end of the day he is a childless father trying to teach fatherless children. This might represent how the Second Republic was doomed even before the war had ended.
On the other hand we have the violent and repressive Jacinto. While this young man comes from the same start as these other boys, he represents the other side of the ordeal (and therefore the 'brother against brother' motif of this Civil War): brute force, aggression, and selfishness that we can understand as being the Nationalist side of the war. While both sides committed no small amount of atrocities, Franco's Nationalist troops were often merciless in their fighting, bomb-dropping, and especially punishment. Jacinto therefore comes to stand for the young and strong modern generation that goes against the efforts of its elders.
Alrighty, enough about politics. This was a beautifully done, even personal film, so I can understand del Toro's dedication to it. I really enjoyed the balance between real danger and supernatural danger. I thought the ghost was dealt with beautifully. I love real hauntings - okay, so sure, our protagonist is a new and frightened child who's dealing with sudden abandonment by his caretakers and a la Pan's Labyrinth we might have to fight to distinguish between fantasy and reality - especially because it gives the ghost so much more purpose. Carlos' nighttime adventures were intriguing and frightening. I loved the ghost scenes because they did make me a little uncomfortable, playing with shadows and the classic eye-through-a-keyhole. I thought the special effects for our young ghost were well-executed and also touching; there was something sad about the blood-in-water bit he had going on.
Final critique: Beyond the scary scenes, this film is truly more of a drama-mystery with gothic horror elements. The script was really excellent and even poetic from what the narrator had to say and even what the characters had to say to each other. I wonder if the English translation does justice to the original Spanish - I will have to look into buying this little gem. Also, it is simultaneously the tale of a country torn apart and of a young boy left alone to deal with his own fears and present reality. I thought this film dealt with the concept of ghosts beautifully, and it was set very nicely against the atrocities of the Spanish Civil War. I recommend this film to any viewers, although those who scare easily will certainly be uncomfortable in several scenes throughout the movie.
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