For your consideration:
1. Poltergeist (1982): A
2. Rosemary's Baby (1963): A
3. Devil (2010): A-
4. The House at the End of the Street (2012): B
Sunday, March 31, 2013
Sunday, March 17, 2013
Devil (2010)
GENERAL INFO:
Director: John Erick Dowdle
Studios: Media Rights Capital, The Night Chronicles, Blinding Edge Pictures
Starring: Chris Messina, Logan Marshall-Green, Bokeem Woodbine, Jenny O'Hara, Geoffrey Arend, Bojana Novakovic
Tagline: Bad Things Happen for a Reason.
MPAA Rating: PG-13
Genre: horror, thriller, devil, satan, trapped
Scare score: A-
Rating: A-
Plot overview: While investigating a working man's mysterious suicide, recovering alcoholic Detective Bowden (Messina) gets called onto an occurring case in the same building. Five strangers - temp security guard with a criminal record (Woodbine), old woman and apparent thief (O'Hara), young woman and serial divorcee (Novakovic), former Marine with a guilty conscience (Marshall-Green), and sleazy mattress salesman and crook (Arend) - are stuck between floors in an elevator, and one of them is not who, or what, they seem. Egged on by the strong religious beliefs of security guard Ramirez (Jacob Vargas), will Bowden be able to save these sinners before it is too late?
I like this movie. It isn't your most typical thriller due to the parallel but related plots, the numerous backstories, and of course the narration by Vargas. I mean we've seen people trapped in a tight space with a killer or something supernatural in the past (House on Haunted Hill, Panic Room, and even the Saw series to an extent), but I think this movie, based on a story by M. Night Shyamalan, presents a neat new twist on the mysterious and terrifying situation of being stuck with a murderer. This makes an especially stressful situation for the police and security who are forced to look on as what seems to be lots of bad luck prevents them from accessing the elevator.
This is a character driven film, relying on the psychological and physical torture the five intended victims must undergo during their time in the elevator. One of my favorite things about this movie is how we are made to think that each one of the five could be the murderer, and then immediately after the blame switches the former suspect is exonerated. This begins to play not only with Detective Bowden, but with the five other main characters, and then even us as the audience. Wild ride! While some of them, such as the mattress salesman, are easy to detest from their entrance, other characters seem perfectly innocent until we begin learning more about their pasts. I think this is a nice commentary that regardless of our outward appearance, and regardless of how kind or innocent someone is today, who hasn't done something wrong in the past? And who's to say that everyone will be forgiven?
Considering that a large chunk of this movie takes place between the various angles of the inside of an elevator, I thought the cinematography was good. The first shot of the film, an upside down aerial view approaching Philly, was really cool. Then from the scenes in the jumper's office, the basement, and especially the roof of the office building each contained their own excitement and especially suspense. Like if fewer characters had come close to the edge of falling off a building my palms would have been a lot less sweaty. Special effects were also great.
*SPOILER ALERT*
Let's talk about the horror. This movie presents us with your standard And Then There Were None plot, exactly like House on Haunted Hill, except in a smaller confined space and with fewer little indians. Oh yeah, and they're not all human. That changes the game a bit.
I have to admit, every time the elevator went dark I felt pretty scared. Especially when we got the sound effects that someone was dying but we didn't know who or how. The deaths themselves were not the most creative they could have been, but hey, I guess they were working with what they had. From these moments of blacked out terror - no, not that kind of blacked out terror, you St. Patty's fans - we really are given a treat of suspense and gorey surprise once the lights come back on.
Ultimately we are dealing with human psychology. As the numbers begin to dwindle, we see a free for all, then a 2v1 situation, and finally the two final intended victims/ criminals left waiting for what's next to come. I think that freaked me out, too, because I got to thinking, in a situation where I look like the murderer but I know that I am not, how do I convince the other innocent suspect(s) that we are all in the same boat? Humans can be pretty scary when they want to be.
From the movie title and then from Ramirez's narration, we know that the devil is among or within the people trapped in the elevator. That being said, I think it's poetic that they are caught, literally suspended in midair awaiting their deaths one by one. The elevator becomes purgatory, and the devil becomes a dark angel collecting the sinners. Clever, Shyamalan. Otherwise, I think when we are finally shown who the murderer is it's a real treat. As I mentioned before, each of the five principle characters seem equally innocent and then also guilty, which makes narrowing down one guilty person difficult. This wasn't the first time I've seen the film, so I paid extra close attention to our diabolic friend this time around, and from what I found there wasn't any hint or clue that would make us suspect him or her any more than the others. If I missed something, let me know! I'm not going to ruin the surprise and tell you who the murderer is here.
Then we have the kind of epilogue in the final minutes of the movie, where I have to admit I was certainly expecting one thing to happen, but hey, I guess they wanted to teach some sort of message.
Final critique: If this movie delivers anything, it's suspense. The numerous scenes when the lights go out (a la Wait Until Dark) are pretty tense, while the rest of the movie itself is filled with building suspense, questions, and terror. The whole film deals with religious themes of guilt, sin, and redemption, so don't be surprised to pick up on a lot of that. Overall, it is an enjoyable movie and a good watch. I mean, if you get scared really easily, you can always cover your ears for the scenes where the lights go out, but otherwise I found it to be an enjoyable amount of suspense, always keeping us on the edge of our seats.
Director: John Erick Dowdle
Studios: Media Rights Capital, The Night Chronicles, Blinding Edge Pictures
Starring: Chris Messina, Logan Marshall-Green, Bokeem Woodbine, Jenny O'Hara, Geoffrey Arend, Bojana Novakovic
Tagline: Bad Things Happen for a Reason.
MPAA Rating: PG-13
Genre: horror, thriller, devil, satan, trapped
Scare score: A-
Rating: A-
Plot overview: While investigating a working man's mysterious suicide, recovering alcoholic Detective Bowden (Messina) gets called onto an occurring case in the same building. Five strangers - temp security guard with a criminal record (Woodbine), old woman and apparent thief (O'Hara), young woman and serial divorcee (Novakovic), former Marine with a guilty conscience (Marshall-Green), and sleazy mattress salesman and crook (Arend) - are stuck between floors in an elevator, and one of them is not who, or what, they seem. Egged on by the strong religious beliefs of security guard Ramirez (Jacob Vargas), will Bowden be able to save these sinners before it is too late?
I like this movie. It isn't your most typical thriller due to the parallel but related plots, the numerous backstories, and of course the narration by Vargas. I mean we've seen people trapped in a tight space with a killer or something supernatural in the past (House on Haunted Hill, Panic Room, and even the Saw series to an extent), but I think this movie, based on a story by M. Night Shyamalan, presents a neat new twist on the mysterious and terrifying situation of being stuck with a murderer. This makes an especially stressful situation for the police and security who are forced to look on as what seems to be lots of bad luck prevents them from accessing the elevator.
This is a character driven film, relying on the psychological and physical torture the five intended victims must undergo during their time in the elevator. One of my favorite things about this movie is how we are made to think that each one of the five could be the murderer, and then immediately after the blame switches the former suspect is exonerated. This begins to play not only with Detective Bowden, but with the five other main characters, and then even us as the audience. Wild ride! While some of them, such as the mattress salesman, are easy to detest from their entrance, other characters seem perfectly innocent until we begin learning more about their pasts. I think this is a nice commentary that regardless of our outward appearance, and regardless of how kind or innocent someone is today, who hasn't done something wrong in the past? And who's to say that everyone will be forgiven?
Considering that a large chunk of this movie takes place between the various angles of the inside of an elevator, I thought the cinematography was good. The first shot of the film, an upside down aerial view approaching Philly, was really cool. Then from the scenes in the jumper's office, the basement, and especially the roof of the office building each contained their own excitement and especially suspense. Like if fewer characters had come close to the edge of falling off a building my palms would have been a lot less sweaty. Special effects were also great.
*SPOILER ALERT*
Let's talk about the horror. This movie presents us with your standard And Then There Were None plot, exactly like House on Haunted Hill, except in a smaller confined space and with fewer little indians. Oh yeah, and they're not all human. That changes the game a bit.
I have to admit, every time the elevator went dark I felt pretty scared. Especially when we got the sound effects that someone was dying but we didn't know who or how. The deaths themselves were not the most creative they could have been, but hey, I guess they were working with what they had. From these moments of blacked out terror - no, not that kind of blacked out terror, you St. Patty's fans - we really are given a treat of suspense and gorey surprise once the lights come back on.
Ultimately we are dealing with human psychology. As the numbers begin to dwindle, we see a free for all, then a 2v1 situation, and finally the two final intended victims/ criminals left waiting for what's next to come. I think that freaked me out, too, because I got to thinking, in a situation where I look like the murderer but I know that I am not, how do I convince the other innocent suspect(s) that we are all in the same boat? Humans can be pretty scary when they want to be.
From the movie title and then from Ramirez's narration, we know that the devil is among or within the people trapped in the elevator. That being said, I think it's poetic that they are caught, literally suspended in midair awaiting their deaths one by one. The elevator becomes purgatory, and the devil becomes a dark angel collecting the sinners. Clever, Shyamalan. Otherwise, I think when we are finally shown who the murderer is it's a real treat. As I mentioned before, each of the five principle characters seem equally innocent and then also guilty, which makes narrowing down one guilty person difficult. This wasn't the first time I've seen the film, so I paid extra close attention to our diabolic friend this time around, and from what I found there wasn't any hint or clue that would make us suspect him or her any more than the others. If I missed something, let me know! I'm not going to ruin the surprise and tell you who the murderer is here.
Then we have the kind of epilogue in the final minutes of the movie, where I have to admit I was certainly expecting one thing to happen, but hey, I guess they wanted to teach some sort of message.
Final critique: If this movie delivers anything, it's suspense. The numerous scenes when the lights go out (a la Wait Until Dark) are pretty tense, while the rest of the movie itself is filled with building suspense, questions, and terror. The whole film deals with religious themes of guilt, sin, and redemption, so don't be surprised to pick up on a lot of that. Overall, it is an enjoyable movie and a good watch. I mean, if you get scared really easily, you can always cover your ears for the scenes where the lights go out, but otherwise I found it to be an enjoyable amount of suspense, always keeping us on the edge of our seats.
Friday, March 15, 2013
Poltergeist (1982)
GENERAL INFO:
Director: Tobe Hooper
Studios: SLM Production Group, MGM
Starring: JoBeth Williams, Heather O'Rourke, Zelda Rubinstein, Craig T. Nelson
Tagline: They're Here; It Knows What Scares You.
MPAA Rating: R
Genre: horror, thriller, haunting, ghosts, poltergeists
Scare score: B+
Rating: A
Plot overview: In the late '70s/ early '80s, the lively Freeling family lives a normal, happy life in a small but growing development called Cuesta Verde. The youngest child, Carol Anne (O'Rourke), seems to believe there are 'people' living in the TV that she is able to communicate with, but her parents Steve (Nelson) and Diane (Williams) attribute this to sleepwalking. After a bad storm one night, we see a beam come out from the TV static and implant itself in the walls of the house. Shortly thereafter, friendly paranormal happenings begin to occur in the Freeling household, largely revolving around the sudden movement, repositioning, or even breaking of objects. Although Diane embraces these supernatural events, Carol Anne finds the "TV people's" tricks boring while Steve even thinks they're dangerous. Suddenly, things take a turn for the worse, and as the climax of the haunting on their house, the Freeling's young daughter Carol Anne is abducted into a parallel plain of spirits, able to communicate only when the TV is left displaying static. In order to save their daughter and family, the Freelings bring in a team of paranormal investigators and parapsychologists headed by the empathetic Dr. Lesh (Beatrice Straight). Once the team dubs the events too powerful and dangerous for themselves to handle, they bring in the small but powerful medium Tangina (Rubinstein). It will take all the strength the family has to rescue their daughter from the angry spirits holding her captive beyond.
I mean, this is an awesome movie. I remember seeing this a few times as a kid and just always loving it. Now that I'm a bit older and keeping this movie blog, I'm happy to say my child-horror-movie-critic-self was right: this movie is simply great.
First and foremost, it is a movie about family. We get that sense from the very beginning, that this is a pretty standard American family, living a pretty standard life in a pretty standard American suburb. More importantly, they are happy, unlike most modern families we are presented with in modern film. We have the happily married couple, who even as they raise their three children still manage to have their own fun. The oldest daughter, Dana (Dominique Dunne), is our typical, angsty, even sexually promiscuous teacher (I love the line towards the end of the film when her mom mentions a hotel and she recalls it, presumably from a night with her boyfriend) - however, she clearly cares about her younger siblings, even if they drive her up the wall or spill milk all over her homework when glasses spontaneously begin to break... Next we have the middle child and only boy, Robbie (Oliver Robins). This is just your regular American little boy, who falls asleep eating potato chips, wears too much baseball gear, and is afraid of regular things like storms and terrifying clown dolls which shouldn't be kept at the foot of the bed. Lastly, our precious Carol Anne is a 5 year old, blonde, cute, and innocent little girl. So what if she talks to TVs after channels have signed off for the night? This is a strong, functional family.
Some of my favorite scenes in the movie are just simple family moments: when Diane and Steve mouth "I love you" to each other, for example, or especially any time the family communicates with Carol Anne when she is trapped in the spiritual plain. A lot of this has to do with a recurring musical piece, which whenever it played sounded a lot like a lullaby, and I assumed it was Carol Anne's theme. There is some really touching music in this film, aside from, of course, the eerie stuff.
That being said, we are presented with a wonderful cast of characters, and there is hardly anybody to dislike. I almost prefer having an invisible malicious force and no annoying humans as antagonists. My favorite performer in this movie is absolutely JoBeth Williams in the role of the mother: she is fun, powerful, and so loving. She truly brings life to the family. I also liked Craig T. Nelson a lot, and he was a likable, fun dad. The kids are also all pretty cute, and they do very impressive jobs considering their young ages.
Take a wild guess as to who my second favorite character is. Zelda Rubinstein is this iconic, mysterious figure that always fascinated me since I first saw the Poltergeist trilogy as a kid. Aside from her obvious stature, her voice has always stuck out to me as well. She is so likable from the get-go, just this intelligent, supernaturally gifted "let's get down to business" type. And of course, thanks to Tangina, little Carol Anne's fate is not an eternity of terror in some parallel dimension.
Let's talk about the haunting. I like the premise of this movie, and as I've said before, I'm a sucker for hauntings. There is something poetic about ghosts. When the house itself becomes almost malevolent at times, I was forced to think of Insidious, which in hindsight probably borrowed a lot from this movie. This film does a good job of combining the wild happenings with a human, practical cause. The various haunted items, toys, closets, and entire property itself were individually creative, creepy, and entertaining. I can't even complain about the special effects, which is saying a lot considering how old this film is now. Well, the ghostly plasma shooting out from the TV or from the portal in the living room ceiling is a bit Ghostbuster-ish in quality, but otherwise, no complaints here.
I also like the mix of purely ghostly things with otherwise gore-y or psychologically freaky things. Namely, the scenes in the kitchen and bathroom when the paranormal investigator has his mind (and food, and face) played with a bit by the ghosts. Yuck.
Final critique: You should see this movie in your lifetime. It is a perfect amount of scary that I think most viewers can handle without being too scared. Except for that one aforementioned scene with some gore, the movie proves to us the strength of family and love (and fun-sized mediums) in the face of unhappy spirits, malicious ghosts, haunted clowns, and even closets. What isn't there to love?
Director: Tobe Hooper
Studios: SLM Production Group, MGM
Starring: JoBeth Williams, Heather O'Rourke, Zelda Rubinstein, Craig T. Nelson
Tagline: They're Here; It Knows What Scares You.
MPAA Rating: R
Genre: horror, thriller, haunting, ghosts, poltergeists
Scare score: B+
Rating: A
Plot overview: In the late '70s/ early '80s, the lively Freeling family lives a normal, happy life in a small but growing development called Cuesta Verde. The youngest child, Carol Anne (O'Rourke), seems to believe there are 'people' living in the TV that she is able to communicate with, but her parents Steve (Nelson) and Diane (Williams) attribute this to sleepwalking. After a bad storm one night, we see a beam come out from the TV static and implant itself in the walls of the house. Shortly thereafter, friendly paranormal happenings begin to occur in the Freeling household, largely revolving around the sudden movement, repositioning, or even breaking of objects. Although Diane embraces these supernatural events, Carol Anne finds the "TV people's" tricks boring while Steve even thinks they're dangerous. Suddenly, things take a turn for the worse, and as the climax of the haunting on their house, the Freeling's young daughter Carol Anne is abducted into a parallel plain of spirits, able to communicate only when the TV is left displaying static. In order to save their daughter and family, the Freelings bring in a team of paranormal investigators and parapsychologists headed by the empathetic Dr. Lesh (Beatrice Straight). Once the team dubs the events too powerful and dangerous for themselves to handle, they bring in the small but powerful medium Tangina (Rubinstein). It will take all the strength the family has to rescue their daughter from the angry spirits holding her captive beyond.
I mean, this is an awesome movie. I remember seeing this a few times as a kid and just always loving it. Now that I'm a bit older and keeping this movie blog, I'm happy to say my child-horror-movie-critic-self was right: this movie is simply great.
First and foremost, it is a movie about family. We get that sense from the very beginning, that this is a pretty standard American family, living a pretty standard life in a pretty standard American suburb. More importantly, they are happy, unlike most modern families we are presented with in modern film. We have the happily married couple, who even as they raise their three children still manage to have their own fun. The oldest daughter, Dana (Dominique Dunne), is our typical, angsty, even sexually promiscuous teacher (I love the line towards the end of the film when her mom mentions a hotel and she recalls it, presumably from a night with her boyfriend) - however, she clearly cares about her younger siblings, even if they drive her up the wall or spill milk all over her homework when glasses spontaneously begin to break... Next we have the middle child and only boy, Robbie (Oliver Robins). This is just your regular American little boy, who falls asleep eating potato chips, wears too much baseball gear, and is afraid of regular things like storms and terrifying clown dolls which shouldn't be kept at the foot of the bed. Lastly, our precious Carol Anne is a 5 year old, blonde, cute, and innocent little girl. So what if she talks to TVs after channels have signed off for the night? This is a strong, functional family.
Some of my favorite scenes in the movie are just simple family moments: when Diane and Steve mouth "I love you" to each other, for example, or especially any time the family communicates with Carol Anne when she is trapped in the spiritual plain. A lot of this has to do with a recurring musical piece, which whenever it played sounded a lot like a lullaby, and I assumed it was Carol Anne's theme. There is some really touching music in this film, aside from, of course, the eerie stuff.
That being said, we are presented with a wonderful cast of characters, and there is hardly anybody to dislike. I almost prefer having an invisible malicious force and no annoying humans as antagonists. My favorite performer in this movie is absolutely JoBeth Williams in the role of the mother: she is fun, powerful, and so loving. She truly brings life to the family. I also liked Craig T. Nelson a lot, and he was a likable, fun dad. The kids are also all pretty cute, and they do very impressive jobs considering their young ages.
Take a wild guess as to who my second favorite character is. Zelda Rubinstein is this iconic, mysterious figure that always fascinated me since I first saw the Poltergeist trilogy as a kid. Aside from her obvious stature, her voice has always stuck out to me as well. She is so likable from the get-go, just this intelligent, supernaturally gifted "let's get down to business" type. And of course, thanks to Tangina, little Carol Anne's fate is not an eternity of terror in some parallel dimension.
Let's talk about the haunting. I like the premise of this movie, and as I've said before, I'm a sucker for hauntings. There is something poetic about ghosts. When the house itself becomes almost malevolent at times, I was forced to think of Insidious, which in hindsight probably borrowed a lot from this movie. This film does a good job of combining the wild happenings with a human, practical cause. The various haunted items, toys, closets, and entire property itself were individually creative, creepy, and entertaining. I can't even complain about the special effects, which is saying a lot considering how old this film is now. Well, the ghostly plasma shooting out from the TV or from the portal in the living room ceiling is a bit Ghostbuster-ish in quality, but otherwise, no complaints here.
I also like the mix of purely ghostly things with otherwise gore-y or psychologically freaky things. Namely, the scenes in the kitchen and bathroom when the paranormal investigator has his mind (and food, and face) played with a bit by the ghosts. Yuck.
Final critique: You should see this movie in your lifetime. It is a perfect amount of scary that I think most viewers can handle without being too scared. Except for that one aforementioned scene with some gore, the movie proves to us the strength of family and love (and fun-sized mediums) in the face of unhappy spirits, malicious ghosts, haunted clowns, and even closets. What isn't there to love?
Wednesday, March 6, 2013
Rosemary's Baby (1968)
GENERAL INFO:
Director: Roman Polanski
Studios: William Castle Productions, Paramount Pictures
Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Tagline: Pray for Rosemary's Baby
MPAA Rating: R
Genre: horror, supernatural thriller, drama, suspense, witches, cult, spawn of satan
Scare score: C+
Rating: A
Plot overview: Rosemary (Farrow) and Guy (Cassavetes) Woodhouse are a happy young couple living in a luxurious, new apartment on Manhattan's Upper West Side. Guy is a driven, aspiring actor, and Rosemary is a kind but naïve homemaker and hopeful mother-to-be. Although warned by their dear friend Hutch (Maurice Evans) about the strange and dark history of their new building, The Bramford, the young couple are happy in their apartment and are openly embraced by their elderly, eccentric neighbors Minnie (Gordon) and Roman (Blackmer) Castevet. After Rosemary conceives, she goes through an increasingly painful pregnancy, but she has Minnie to help her with home remedies and even the care of one of New York's top obstetricians, Dr. Sapirstein (Ralph Bellamy). As her concern about her unborn child grows greater, Rosemary also begins to learn about the possibility that Roman's family and friends practice witchcraft. Unfortunately, Guy becomes more distant as his acting career takes off substantially. Ultimately alone and scared, Rosemary becomes more desperate to protect her unborn baby, although soon she will realize it might be herself that needs the protection.
This movie is great. Hands down, it is a slow and steady, suspenseful success. Following the eerie (irritating) opening music, we find ourselves in a very real 1960s Manhattan. Rosemary is perfectly chic throughout the whole movie, from her mod minidress, to the wallpaper she puts up in the nursery, to her iconic Vidal Sassoon haircut. While the plot isn't something I personally believe to be plausible, the world that it takes place within most certainly was copied from Polanski and author Ira Levin's real life.
Let's start by talking about Mia Farrow. I mean, come on. She makes Rosemary such an interesting protagonist, even though she spends most the movie confused, in pain, or scared. While there isn't exactly enough depth to make her very realistic (mainly just a mother's instinct to protect her child), there is something really interesting about her. I enjoyed following her on her scary and uncertain journey through pregnancy and potential insemination by satan. Mainly I liked her look: mod, frail, cute, and determined. She was a truly perfect choice for this role.
The other character that sticks out for me, as she did for awards committees at the time, is Minnie Castevet. Ruth Gordon is a ridiculous character from her first scene to her last. The best part is, there are absolutely women like this living in Manhattan that you encounter from time to time on the subway or sidewalk: those old, loud, noisy, tacky, 'devil may care' types— you know to stay out of their way. Ruth turns Minnie into an almost preposterous character who, while annoying, we can still find to be endearing. The mystery behind the many characters in this cast leaves us questioning who is good and who is bad until the end, when perhaps we question our own definitions of 'good' and 'evil.'
I guess the only thing I don't love in this movie is that it drags on at times. At 136 minutes, this certainly isn't the longest film we've ever seen, but the lack of action makes it more noticeable. Not that this movie would benefit from much more action than it already has, but I'm just saying. We can only watch Rosemary wander around pregnant and in pain for so long.
*SPOILER ALERT*
Otherwise I kind of enjoy that any logical audience member goes into the movie more or less knowing what's going to happen. Honestly, we are as in on the plot as the rest of the coven, with only Rosemary being left out. *Irony* Still, any film that can pull this predictable plot off while maintaining an audience—and finding new fans even 50 years later—is a home run.
Final critique: If you are looking for a wild, fast-paced ride of scares and jumps, this is not the movie you want. If you are looking for a deeper, suspenseful, and subtly terrifying horror classic, then you've come to the right place. I would recommend Rosemary's Baby to any viewers, as it is a relatively calm and all around enjoyable movie with only a few scares or disturbing images. Really excellent film right here, perfect for a rainy afternoon or a quite night in.
Director: Roman Polanski
Studios: William Castle Productions, Paramount Pictures
Starring: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer
Tagline: Pray for Rosemary's Baby
MPAA Rating: R
Genre: horror, supernatural thriller, drama, suspense, witches, cult, spawn of satan
Scare score: C+
Rating: A
Plot overview: Rosemary (Farrow) and Guy (Cassavetes) Woodhouse are a happy young couple living in a luxurious, new apartment on Manhattan's Upper West Side. Guy is a driven, aspiring actor, and Rosemary is a kind but naïve homemaker and hopeful mother-to-be. Although warned by their dear friend Hutch (Maurice Evans) about the strange and dark history of their new building, The Bramford, the young couple are happy in their apartment and are openly embraced by their elderly, eccentric neighbors Minnie (Gordon) and Roman (Blackmer) Castevet. After Rosemary conceives, she goes through an increasingly painful pregnancy, but she has Minnie to help her with home remedies and even the care of one of New York's top obstetricians, Dr. Sapirstein (Ralph Bellamy). As her concern about her unborn child grows greater, Rosemary also begins to learn about the possibility that Roman's family and friends practice witchcraft. Unfortunately, Guy becomes more distant as his acting career takes off substantially. Ultimately alone and scared, Rosemary becomes more desperate to protect her unborn baby, although soon she will realize it might be herself that needs the protection.
This movie is great. Hands down, it is a slow and steady, suspenseful success. Following the eerie (irritating) opening music, we find ourselves in a very real 1960s Manhattan. Rosemary is perfectly chic throughout the whole movie, from her mod minidress, to the wallpaper she puts up in the nursery, to her iconic Vidal Sassoon haircut. While the plot isn't something I personally believe to be plausible, the world that it takes place within most certainly was copied from Polanski and author Ira Levin's real life.
Let's start by talking about Mia Farrow. I mean, come on. She makes Rosemary such an interesting protagonist, even though she spends most the movie confused, in pain, or scared. While there isn't exactly enough depth to make her very realistic (mainly just a mother's instinct to protect her child), there is something really interesting about her. I enjoyed following her on her scary and uncertain journey through pregnancy and potential insemination by satan. Mainly I liked her look: mod, frail, cute, and determined. She was a truly perfect choice for this role.
The other character that sticks out for me, as she did for awards committees at the time, is Minnie Castevet. Ruth Gordon is a ridiculous character from her first scene to her last. The best part is, there are absolutely women like this living in Manhattan that you encounter from time to time on the subway or sidewalk: those old, loud, noisy, tacky, 'devil may care' types— you know to stay out of their way. Ruth turns Minnie into an almost preposterous character who, while annoying, we can still find to be endearing. The mystery behind the many characters in this cast leaves us questioning who is good and who is bad until the end, when perhaps we question our own definitions of 'good' and 'evil.'
I guess the only thing I don't love in this movie is that it drags on at times. At 136 minutes, this certainly isn't the longest film we've ever seen, but the lack of action makes it more noticeable. Not that this movie would benefit from much more action than it already has, but I'm just saying. We can only watch Rosemary wander around pregnant and in pain for so long.
*SPOILER ALERT*
Otherwise I kind of enjoy that any logical audience member goes into the movie more or less knowing what's going to happen. Honestly, we are as in on the plot as the rest of the coven, with only Rosemary being left out. *Irony* Still, any film that can pull this predictable plot off while maintaining an audience—and finding new fans even 50 years later—is a home run.
Final critique: If you are looking for a wild, fast-paced ride of scares and jumps, this is not the movie you want. If you are looking for a deeper, suspenseful, and subtly terrifying horror classic, then you've come to the right place. I would recommend Rosemary's Baby to any viewers, as it is a relatively calm and all around enjoyable movie with only a few scares or disturbing images. Really excellent film right here, perfect for a rainy afternoon or a quite night in.
Monday, March 4, 2013
The House at the End of the Street (2012)
GENERAL INFO:
Director: Mark Tonderai
Studios: FilmNation Entertainment
Starring: Jennifer Lawrence, Max Thieriot, Elisabeth Shue
Tagline: Fear Reaches Out... For the Girl Next Door
MPAA Rating: PG-13
Genre: horror, thriller, drama, mystery, suspense, psychological thriller, surprise ending
Scare score: C-
Rating: B
Director: Mark Tonderai
Studios: FilmNation Entertainment
Starring: Jennifer Lawrence, Max Thieriot, Elisabeth Shue
Tagline: Fear Reaches Out... For the Girl Next Door
MPAA Rating: PG-13
Genre: horror, thriller, drama, mystery, suspense, psychological thriller, surprise ending
Scare score: C-
Rating: B
Plot overview: Nonconformist teen Elissa Cassidy (Lawrence) and her young, single mother Sarah (Shue) finally leave the city and find a nice, inexpensive home of their own in a peaceful albeit isolated area of a wealthy town. There's just one catch: the house next door was the scene of a double patricide committed several years ago by the mentally disturbed daughter Carrie Anne Jacobson. While the girl is now believed to be dead, her body was never found after that night. The only resident in the murder house is her brother, the reclusive Ryan (Thieriot) who gains Elissa's trust as they start seeing each other. Despite the judgements of Sarah and the snobby townies, Ryan has the support of police officer Bill Weaver (Gil Bellows) as he still deals with the loss of his entire family. And although everything in her new town starts off well, Elissa will soon discover what is hidden in the house at the end of the street.
From the start of the film, we are dealing with a rough and tough mother/ daughter duo, both of whom are strong and even angry, yet sensitive with a knack for music and even a need to be loved by men who seem so absent from their present lives. Long story short, there is a certain girl power feeling behind this whole film although for me that was a completely neutral point. While I wouldn't consider Lawrence's performance anything remarkable (or these days, Oscar worthy), there is something so natural about her that I couldn't help but feel drawn in to her story from the very beginning. The cinematography of this film reminded me a bit of The Hunger Games or even Twilight which is embarrassing but true- there was a certain omnipotent darkness, like a dark grey cloud just beyond the strikingly green forest that most of the movie takes place in and around. From what I've gathered, this is right up the angsty-but-beautiful Lawrence's alley. A self-described "girl-who-feels-the-need-to-fix-everybody's-problems," the smart, attractive, caring, damaged-yet-strong, and 'always-let-your-conscience-be-your-guide' Elissa falls quickly for the mysterious, damaged-and-showing-it Ryan Jacobson, portrayed by a dark and difficult to penetrate Max Thieriot. He does a decent job acting, and I guess what I most appreciated was that he was able to really keep the mystery going the entire film, tricking us into not trusting him, only to later trick us into caring for him, and perhaps later tricking us yet again...
Back to the girl power bit again, Elissa's character was clearly a male-made fantasy of the last girl archetype, and yet somehow there is a very real faction of her character, such that anyone might think they went to high school with this girl - while at the same time I'm pulling my hair and calling out the spade that people like this don't really exist. On a positive note, I enjoyed her guitar playing and singing. There is an excellent commentary made on family in this movie - largely focusing on Elissa and Sarah (the lush) but later also including Ryan and his lack of family. Where is the perfect, nuclear family in this film? It doesn't exist, save for stuck-up schoolmate Tyler's (Nolan Gerard Funk) seemingly perfect family - who in reality are ignorant of their son's poor behavior outside of the classroom and family functions. The idea of family is closely related to the concept and motif of the home, which in part is contrasted from being enclosed inside a home and then loose outside in the woods. So many themes! No surprise that Elissa's rockstar dad (Sarah's ex-hubby) is out of the picture though still important to both women. I think it would be easy to conclude that their acquiring a nice house on their limited budget is a move for settling-down- but what could settle the free spirit of these two women - I could go on and on.
That is not to say that I didn't enjoy either Shue's or Lawrence's performances, but I couldn't help but feel like I had seen this all before. Not to mention all the familiar faces in this movie, with Lawrence now being a household name, Bellows having been the memorable young and unfortunately overly-informed inmate from Shawshank (one of my top favorites), and then I didn't realize until after the fact that I saw Nolan Gerard Funk star in the title role of Bye Bye Birdie on Broadway a few years back. I love when horror movies have a bunch of big (or medium) names scattered about the cast. Hollay-wooood.
Aside from small errors and other pet-peevy problems- I did enjoy this film. It was one of many movies I got to watch during a long, sleep, transatlantic flight (imagine me taking notes on the film in a small notebook during the flight), and I have to say it was pleasant for the trip. The soundtrack stood out to me although I didn't write down why so I can't tell you now. The best part of the movie is all the plot twists which just border on absurd without crossing that line, leaving us in a certain mindwarp of "oh no s/he didn't!"s. In some moments I just didn't know who to trust anymore. That always boosts up a horror movie quite a bit, both adding some excitement and in this case even depth to the plot and its characters.
Final critique: This is a pretty easy-to-watch, gateway horror movie. By that I mean anybody could watch this, during the day or late at night, without being too scared. We have our basic mystery, plenty of slow-building suspense, and then even a bit of action, but more than anything else this is a story about teenagers, families, and trust. Maybe it drags on a bit longer than it needs to, but hey, I think this film might find its way into a nice go-to scary movie for younger audiences at sleepovers. Recommended for anybody looking for a relaxing but not entirely boring horror flick.
American Horror Story - S2, E13 (2013)
"Madness Ends"
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Sara Paulson, Dylan McDermott, Evan Peters, Jessica Lange, Joseph Fiennes; ft. Frances Conroy
TV Rating: MA SLV
Genre: television, horror, psychological thriller, drama, insane asylum, serial killer, aliens
Scare score: B
Rating: A
GENERAL INFO:
Creators: Ryan Murphy, Brad Falchuk
Producers: 20th Century Fox
Channel: FX
Starring: Sara Paulson, Dylan McDermott, Evan Peters, Jessica Lange, Joseph Fiennes; ft. Frances Conroy
TV Rating: MA SLV
Genre: television, horror, psychological thriller, drama, insane asylum, serial killer, aliens
Scare score: B
Rating: A
So before I get started, let me say one thing: sometimes you drop the ball. Sometimes even my love for horror movies just gets ignored for half of January and all of February. But here we are in a new month, and here I am with new efforts to find the real time to continue this blog.
Plot overview: In this pretty captivating season finale, we focus on current day Lana (Paulson) as she is interviewed in her lavish townhouse. While we learn that she has become famous due to her writing and especially her tele-journalism career, the eager interviewer brings up the one topic Lana swore she wouldn't talk about: Briarcliff. In a sudden change of character, Lana decides to go into the details of her exposé of Briarcliff one last time. During her story, she discusses how she searched for Sister Jude (Lange), director-turned-patient in her own hellish creation, and how the clues led her back to her friend Kit (Peters). His story is concluded for us as we learn his children - Lana's godchildren - went on to become world famous doctors. Kit himself had ventured back to Briarcliff years ago where he rescued Sister Jude, nursing her back to health with the help of the mysterious intervention of his children, until it is finally her time to pass. Down the road, Kit contracts pancreatic cancer but is ultimately taken back by the aliens. As viewers, we are aware that Lana's abandoned, sociopathic son Johnny (McDermott) has infiltrated the filming crew, and when the interview ends Lana calls him out of hiding, read to accept her fate. Finally face-to-face, the mother and son are able to discuss the bitterness, hate, and sadness that has plagued them both for years. The suspense will keep anyone on his or her seat until the final seconds.
So this is old, old news by now, but I wasn't about to let the month and a half gone by stop me from finishing my posts on this great season of American Horror Story. I was so thrilled with this episode. Loose ends were rounded up and resolved for us- those of us pro-Jude were probably content with her final years living as part of Kit's family, and even those of us who never forgave her for her cruel behavior in the beginning of the season most likely felt at ease that she wasn't quite vindicated for all her deeds.
The real star of the episode is Lana, who shines even though coated by tons of aging makeup. I have to comment on the blood-red walls in her beautiful home that she shares with her equally successful partner, a singer. That specific tone is reminiscent of the very first advertisements that started coming out the summer before Season 1. It's just a really good, eye catching hue of red that was a nice compliment to last season and the show itself.
Dylan McDermott also gets a shout out this time around as the murderer having a breakdown, aka Johnny, aka Bloodyface Jr. I'm happy we got to learn about his story and then see a wide range of angry/ sad emotions from him during the final scenes.
*SPOILER ALERT*
They really kept us hanging in there until the final seconds, huh? Having thought I knew American Horror Story by this point, I was ready for Lana to peace out in a bloody bang from her vengeful son. How the tables were turned when she soothed him and then finally turned that gun to his forehead! What an awesome way to end the season, so much justice, so much happiness - totally the opposite of the ending of last season. This really surprised me for the series as a whole, and I guess it has taught me that they are going to continue experimenting from now own.
Final critique: All in all, it really was a pretty wild ride this season. It flew by, and when I got to this episode I didn't even realize that it was all coming to an end (even though the episode title states that rather clearly). While we had some weird bouts (think Anne Frank), the show had its fair share of monstrous beings, alien abductions, psychopathic murders - and best of all, human corruption, greed, and hate (not to mention overcoming said sins). I am especially pleased with how the season ended - with a bang! (I had to). Rumors for next season are already swirling about, and from what I've heard, we might be headed to Salem! But are we ready for a period piece? I can certainly wait until October, but I'll be looking for leaks until then!
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.
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