Hereditary (2018)

GENERAL INFO:
Director: Ari Aster
Studios: A24, PalmStar Media, Finch Entertainment, Windy Hill Pictures
Starring: Toni Collette, Ann Dowd, Alex Wolff, Milly Shapiro
Tagline: Every family tree hides a secret.
MPAA Rating: R
Genre: horror, supernatural thriller, family drama, mystery, occult, witches, cult
Scare score: A
Rating: A+

Plot overview: After the death of her secretive mother, Annie Graham's (Collette) family begins to be plagued by suspicious and tragic events. Stricken by grief, Annie falls farther away from her family: strained husband Steve (Gabriel Byrne), withdrawn son Peter (Wolff), and distant daughter Charlie (Shapiro). As the family continues to unravel, Annie finds solace in Joan (Dowd), a woman from a grief support group who tries convincing her that the dead may not really be gone after all.

This is a stunningly horrifying film that I would recommend to anyone. If you want to truly spiral into terror and insanity and spill your popcorn all over the place, this is the movie for you.

I think what I love most about this movie is that it keeps on taking you where you do not expect it to go. It's really not a genre bender, but I swear, even the second time I watched it I was so impressed and delighted with the twists and turns it takes. This movie constantly keeps you on the edge of your seat as its horrible reality unfurls.

We start with the Graham family, currently faced with the loss of Annie's mysterious mother, Ellen. Though grief-struck, we come to realize that it is not at the loss of the old woman but at something deeper and perhaps long gone. In fact, the only person who seems truly upset with Ellen's passing is young Charlie, a seeming outcast who is often silent save for her habitual tongue click. Her fixation with building toys and models with mismatched heads feels somehow disturbing but pales in comparison to her mother's works: Annie is an artist renowned for her work crafting miniatures, impeccably created scenes from her past and present all on display in smaller scale in her workshop. Her art should be for the world to see, but with an upcoming exhibition looming on Annie's mind and feeling ever more unlikely, the miniatures instead become for Annie alone. They provide what she calls "a neutral view," but we come to learn that these fastidiously-made models are a way for Annie to reflect on her own choices and memories and control everything therein.

Despite their troubles, the family maintains a semblance of normality until another freak accident spins everything out of control. More on that after the Spoiler jump.

The acting in this film is fantastic. There is something sinister about Collette throughout the movie that makes you question her at every turn, even when it feels like she is the only person so desperately trying to keep her family from falling apart. The movie provides beautiful commentary on grief, mental illness, and family, especially between children and their parents. It forces us to ask what is the meaning (or purpose) of family? What do we inherit aside from names and traditions? What things do we carry with and inside of us, even if we would rather not? I'm definitely on the bandwagon that Collette was snubbed for major award recognition because her performance here is wide-ranging and superb and should go down as a classic in the horror genre. I was equally impressed by young Alex Wolff, a former child star on Nickelodeon and now a budding actor and director. The role of Peter is crucial to the film and Wolff portrays the reserved, greasy-haired, pot-smoking teen so naturally. I thought it was especially wonderful how vulnerable Peter was, and the scenes were he is clearly terrified or left crying really stuck with me. Ann Dowd was also a treat, and I thought her voice was really perfect for her role and the lines she has in the movie.

Furthermore, the cinematography is beautiful. The shots in and around the Grahams' home were fantastic, as were the many scenes taking place in and around cars: I especially liked the use of the rearview mirrors. There is also the terrific use of the color red: From heat lamps to break lights to bloody eyes, there is something haunting and demonic about it. Toward the end of the film, we are treated to some really spectacular camera work as an unsteady, wavering camera follows characters around the dark house. The movie plays with the concept of Annie's miniatures vs. real life and several times we're not sure if what we're looking at is real or an imitation— or if it matters either way. Is this Annie's perspective and can we trust it? Or are the lofty, overhead shots supposed to be from God's eye (or something else floating above)? Lastly, the film has some delightfully unexpected transitions, such as when day suddenly turns to night in the same frame or when ominous bodies and figures are teased just in or just out of focus.

I also thought the movie had great music, most of all the stunning orchestrations in the final sequence, and a lot of the soundtrack reminded me of The VVitch, which is also distributed by A24, one of my favorite production companies of the moment both for horror and other genres. I'm currently counting down the days until Ari Aster's next movie (also with A24), Midsommar.

*SPOILER ALERT*

I love how quickly things start to fall apart for the characters in this movie, and with most of the action concentrated in the first and third acts, plus plenty of scares and drama when you least expect it, you're pretty captivated for the entire thing. We have the classic case of an unreliable narrator potentially slipping into madness, which means we're never quite sure who or what to believe as events start to spiral out of control. We learn early on that Annie's family has a history of severe mental illness, especially disorders with high rates of heritability such as schizophrenia or depression. There is horror in the film long before the thrilling end, and that is in the death of the family unit. As the Grahams continue to fall apart, evil continues to gain a stronger hold. I thought one of the saddest moments of the film was when a manic Annie tries comforting Peter by acknowledging that something terrible is happening, reassuring her terrified son and saying "I'm the only one who can fix this." At this point, we already don't believe her. But is mental health really any explanation for what's happening here, or is it something more supernatural entirely?

I adore this movie. If you pay close enough attention, you'll realize that something is off from the earliest scenes, perhaps starting with the man at Ellen's funeral smiling so intently at Charlie. I loved how these unnerving and suspenseful moments grew in frequency and scale throughout the movie, ultimately leading to the climax of the cult moving in on the Graham household. Shots with ominous figures just in range but still obscured are some of my favorite in horror, and this movie starts with single figures before giving us that incredible shot of dozens of naked bodies surrounding the house. I think the disturbing use of naked bodies in horror is incredibly effective, especially if done the way this movie or It Follows does it. We're so used to the hypersexualization of bodies in horror that their unwanted appearance perverts the entire process and makes already-scary scenes all the more frightening.

Other details I loved in this movie were the awesome seance scenes and the unforgettable finale with Toni Collette lingering in the shadows of the ceiling. I'm always into a classroom scene that mirrors the plot (à la Halloween), and we get several of them in this movie if you know to pay attention to them. At one point we can read "Punishment brings wisdom" on the blackboard in Peter's classroom, and we also hear a teacher explaining that a character's "murder was commanded by the gods." Little does Peter know while zoning out in class and staring at his crush's butt that he, too, is involved in a much larger and sinister plot with otherworldly beings taking control. I thought the tongue click may have been the single most ingenious thing this movie did (who knew how scary it sounded?), and I love that something as simple as a nut allergy was enough to take down a demon, or at least his weak human form. The car scene with the two kids in the middle of nowhere is just such a treat, because it breaks my number one cardinal rule and takes you so by surprise you almost can't believe it's really happening. Though I find it hard to believe that even a traumatized teen would be able to simply drive away and go to bed without telling his parents, Collette's reaction to this untimely (and familiar) loss is fantastic. As the story comes together, it makes sense why Annie described it as feeling like she "gave up" Charlie to her mother (never let grandma breastfeed the kids), or why her brother committed suicide and blamed his decision on his mother for "putting people inside" of him. It's no surprise that in the West, the medical model is preferred over supernatural explanations, and mental disorders are diagnosed in cases that other cultures might attribute to spiritual causes. Hereditary shares that theme with The Exorcist, not to mention the whole possession of innocent children by demon kings of the west.

The ending of the film is one of the most memorable things to happen to horror in recent years, and I truly hope the movie goes down in horror halls of fame far outside of Horror Buff's own blog.

Final critique: This movie is a treat and I would recommend it to anybody, but I would warn them that they are really in for a wild and scary ride. Hereditary takes twists and turns unlike we've seen in a long time, and it masterfully mixes classic horror themes and tropes with new and refreshing characters and situations. Hats off to Ari Aster on this screenplay; this is the kind of horror movie that can redeem the entire genre for mainstream audiences. I look forward to rewatching this time and again.

Jacob's Ladder (1990)

GENERAL INFO:
Director: Adrian Lyne
Studios: Carolco Pictures, TriStar Pictures
Starring: Tim Robbins, Elizabeth Peña, Danny Aiello; ft. Macaulay Culkin (uncredited), Jason Alexander, Lewis Black
Tagline: The most frightening thing about Jacob Singer's nightmare is that he isn't dreaming.
MPAA Rating: R
Genre: horror, psychological thriller, mystery, conspiracy, drama
Scare score: B+
Rating: A

Plot overview: Several years after his deployment in Vietnam, Jacob Singer (Robbins) still has flashbacks to a traumatic battle that left him gravely wounded. Now living in New York City with his girlfriend Jezzie (Peña), Jacob misses his ex-wife and children and continues to dream about them, especially the youngest boy, Gabe (Culkin), who died in an accident. Around this time, Jacob begins to have nightmarish visions of "demons"— vibrating, featureless faces and slimy, tentacled monsters. After several near-death encounters, Jacob reunites with several former members of his platoon and the men begin to seek answers from the army about what really happened in Vietnam.

The first time I tried watching Jacob's Ladder was back in high school with a friend who shared my love for horror movies, but I regret to say I fell asleep. I don't know what took me so long to finally come back to it, but I'm so, so glad I did.

This movie is excellent. Written by Bruce Joel Rubin (Ghost— also from 1990! Big year for him.), it took a while for the project to get off the ground given its graphic and niche metaphysical, religious, and military nature. Rubin said the general idea for the film came from a dream he had about being trapped in the New York City subway, but it's clear how his experimentation with LSD and subsequent time spent hiking and meditating in countries like Tibet and India helped inspire the final project. The title is a reference to a Biblical story about a ladder leading to heaven, and themes of both life, death, purgatory, heaven, and hell are constant throughout the movie. Perhaps this is most emphasized during the scene where Jacob's trusted chiropractor and friend Louis Denardo (Aiello) imparts some wisdom from 14th-century mystic Meister Eckhart:

"Eckhart saw Hell too. He said: 'The only thing that burns in Hell is the part of you that won't let go of life, your memories, your attachments. They burn them all away. But they're not punishing you,' he said. 'They're freeing your soul. So, if you're frightened of dying and ... you're holding on, you'll see devils tearing your life away. But if you've made your peace, then the devils are really angels, freeing you from the earth.'"

The underlying themes of the movie may be deep, but if you're looking for a good scare without having to think about it, this movie is still an excellent choice. From the first scenes of the film, there is a near-constant juxtaposition of action and stillness, violence and peace, gore and sex that will leave you unsettled during the entire viewing. The filmmakers do a wonderful job of transporting us back to the New York City of the 1970s: a grungy, frightening place even without hallucinations and demons. In many ways, this does feel a bit like Ghost and even Fatal Attraction, which Lyne directed three years earlier, but the horror here is different and much more pervasive and not for the faint of heart. In fact, they had to cut upwards of 20 minutes that were considered too disturbing or depressing for audiences. I NEED to find these and watch them all!

One of my favorite movies of all time is The Shawshank Redemption, so it was great to see Tim Robbins in a different kind of role. In fact, I couldn't help but think how great it was to see him in a movie that didn't hide how tall he is (6'5"!). Robbins is an excellent actor, and his subdued manner often allows the audience to process the horror of his present situation right alongside him as the mystery of the plot continues to unfold.

At first, the horror in this movie appears in the form of suspenseful situations (now I will think of this every time I'm on the subway) and the masterfully done demons. Faceless and pulsating, and always out of frame before we can get a closer look at them. The gory imagery of the movie was inspired by the works of artist Francis Bacon and would go on to play a huge impact in the development of both Silent Hill and American Horror Story: Asylum. Next, we are handed a conspiracy theory so apropos of the Cold War and Vietnam era that adds to the growing paranoia of the film. Little by little, however, we start to lose touch with reality along with Jacob until we are truly faced with the decision of just how horrifying—or liberating—the truth may be.

Fun fact: Tom Hanks almost played the role of Jacob. I think he would have been great, too.

*SPOILER ALERT*

This film is really excellent. There is something about the grungy and desolate feel of New York in the '70s and the absolute existential failure that was Vietnam that adds a sort of desperate emptiness to the movie and leaves it characters searching for life and answers through parties, music, sex, palm readings, and ultimately through the final mystery of what really happened to Jacob's unit in Vietnam.

Inspired in part by Ambrose Bierce's American classic "An Occurrence at Owl Creek Bridge", the film comments on the horrors of war and the manipulation of the people by the government. On a more metaphysical level, the movie draws from Liberation Through Hearing During the Intermediate State, also known in the West as The Tibetan Book of the Dead. In Buddhism, the intermediate state, or bardo, refers to the transitional period between death and rebirth when one's consciousness reigns free of its physical limitations and experiences phenomena that may resemble reality but may also drift into unfettered and horrible hallucinations. For those prepared for death and rebirth, the intermediate state can offer a chance for great liberation.

If you've seen the movie and understood its twist ending, you can see just how influential this particular aspect of Buddhist mysticism played on Rubin's development of the film's plot and resolution. I especially loved the references to the Eckhart quote and how it suddenly becomes clear the role various characters and actions—Jezzie and when she burns the old pictures of Jacob's family, Paul (Pruitt Taylor Vince) and his exploding car, Gabe especially in the final scene—play in representing this idea of purgatory. It leaves you wondering what's worse: visions of hell after death or the hell that is our reality while we're alive? Is the truth more terrible than the knowledge that can set you free from this intermediate state? Is there hope in hell? What about in life? And will you be ready to go when your time comes? It may be complicated and it may not be for everyone, but it's a poignant question and makes this film worth rewatching time and again.

Final critique: This movie is frankly terrifying, and it becomes even more dark the more you think about it. The demons are disturbing in such a pure and imaginative way that you start to feel unsettled in the first few minutes of the movie and stay that way pretty much the entire time. Coupled with gruesome flashbacks to Vietnam and a truth that's even more horrifying than what Jacob could have imagined, Jacob's Ladder will scare you silly and leave you questioning what's real and what isn't.

Keep an eye out for an updated remake of the film set to release this year! That makes the timing even better to check out the original if you haven't seen it already. I'm interested to see how a modern reimagining of the film, drawing from ongoing wars in the Middle East and dealing with themes of PTSD, changes or honors the story. Life is but a dream...

Us (2019)

So it's been almost 3.5 years, what can I say?

GENERAL INFO:
Director: Jordan Peele
Studios: Blumhouse Productions, Monkeypaw Productions, Universal Pictures
Starring: Lupita Nyong'o, Elisabeth Moss, Winston Duke, Shahadi Wright Joseph, Evan Alex
Tagline: Watch Yourself.
MPAA Rating: R
Genre: horror, psychological thriller, home invasion, family drama, conspiracy, suspense
Scare score: C-
Rating: A-

Plot overview: As a young girl (Madison Curry), Adelaide (Nyong'o) encounters a frightening double of herself in a boardwalk house of mirrors. Years later and now with two young children of her own (Wright Joseph, Alex), Adelaide still can't shake the fear of her lingering shadow. She is forced to take a good look at herself after a family clad in red jumpsuits and armed with scissors shows up in the middle of the night.

I stand by my feelings that Get Out changed the horror game and breathed new life into our favorite genre, which I feel has grown more popular in recent years for a few reasons. First, I think we are experiencing a generation of writers and directors/producers who grew up during a beautiful age of horror movies (the '80s) and are now bringing their own dreams to life, filled with nods to the past. Secondly, I think Hollywood is more comfortable with the idea of well-made and even niche horror movies with a message, not just the sensual slashers that plagued (and pleasured) us in the 2000s, and not to mention there are more small studios who can work to take on these projects. Finally—and I have to look into statistics or data on this—but I feel that more audiences want and enjoy horror today, if only because for many people, the real world at present is even more horrible than what they're seeing onscreen.

That being said, don't go into Us expecting it to be the next Get Out. They are different films made for different purposes, and in many aspects I felt they have some different messages to share. Now back to the film at hand.

Us is a freaky, fun, and dynamic movie that plays first and foremost with the themes of division, duplicity, and the doppelgänger. As teased by the movie poster, the viewer should know to go into the film expecting us to "watch ourselves," or know that "we are our own worst enemy" while questioning what lies beneath. As many famous horror movies allow the killer to take on a new identity while masked, so Us forces us to think about what masks we wear on a daily basis to get ahead, to thrive, or merely to survive. The first foil we encounter is between the Wilsons—Adelaide's family—and their friends the Tylers. Headed by "it's vodka o'clock" wife Kitty (Moss) and one-upping husband Josh (Tim Heidecker), the Tylers and their bratty twin daughters are everything their respective Wilson counterparts are not: proud, overly talkative, selfish, and entitled. These families ultimately represent a larger message in the film that Peele tries to make with a Biblical subtext: It doesn't matter who you are, what you look like, or what you have, because when the oppressed masses rise up, we'll all be subjected to the same fate. 

This looming thought is introduced several times via the local doomsday man beckoning a sign saying "Jeremiah 11:11." If you don't have your pocket Bible handy during the movie, you'll have to wait until the end to know that this passage reads "Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them." But what evil could this possibly mean? We'll explore after the Spoilers jump.

For those of you who don't want anything spoiled, I will say that I enjoyed this film. The scares were underwhelming but Peele in his own right has become wonderfully adept at suspense flavored either with humor or very human fear. As in Get Out, the audience and characters alike discover absurdity in the most terrifying moments, and while this trick helps treat the viewer as more intelligent than the plethora of on-the-nose horror films of the past (and present), it makes things no less horrifying for everyone involved. Again, this is likely part of Peele's commentary on our world today, where things feel topsy turvy and equally terrible.

I thought Lupita Nyong'o and Elisabeth Moss were brilliant in this film—Moss as her doppelgänger specifically has a memorable silent scream we see via a reflection. Winston Duke as Adelaide's husband Gabe adds a charming levity to the movie and both Shahadi Wright Joseph and Evan Alex as their children do incredible jobs. Nyong'o especially explores her duality of light and dark, smooth and jagged, evil and not in a performance that deserves major award recognition. The casting for this film was excellent, especially because of the task that was asked of each actor. The cinematography was also gorgeous, with the many and varied scenes of public and private spaces, light and dark, above and below inviting us in to a visual feast. I'm still dreaming about the house of mirrors and that escalator. No surprise that this was the handiwork of Mike Gioulakis, who brought us It Follows, one of my favorite horror movies of all time that I still haven't blogged about because I took a casual 3.5-year hiatus.

References to some of our other horror favorites abounded, including nods to The Twilight Zone, The Shining, and I think especially to The Strangers, to name a few. I even loved how this was pitched as "a new nightmare" à la Wes Craven but now from Jordan Peele. From the opening overhead view (God's eye?) akin to Kubrick's famous opening credits, to the concept of twins to the tight interior angles, The Shining was the film most referenced as helping inspire Peele for his second major horror picture, so I was surprised to see just how much time was spent feeling like your standard home invasion.

*SPOILER ALERT*

I didn't know what to expect going into the theater. Trailers certainly teased the concept of the dark doppelgänger, but this film packed much more into its 116-minute run time. In fact, I think the movie's biggest fault is that it packed too much into its ambitious plot.

I am obsessed with the '80s and also with amusement parks in movies (The Lost Boys, Strangers on a Train, even Teen Witch, to name a few), so I found many scenes from this movie practically magical, especially when Adelaide discovers the underground world beneath the boardwalk. The '80s kitsch was also so good, especially with the Hands Across America plot, because Peele uses it to provide commentary on the parallels between the Regan '80s and our current world: There is a sense of hollowness or superficiality that makes even kind or humanitarian gestures seem fake. Here again we see our theme of duplicity: public and private faces, doublespeak and hidden messages, behavior vs. intent. Who are we really? How do you categorize between "good" and "evil" when some people are just trying to survive? And will we pay for it all?

I was not expecting the eerie (and slightly irrelevant?) opening title message about vast unused tunnels under the United States, which immediately threw me for a curveball upon seeing the movie. As it turns out, this would become one of many aspects the movie included to feel spookier, but that I feel didn't fully pan out. At the end of the day, I really enjoyed this movie, but the myth it wanted us to buy into was too big and too vague for me to feel totally comfortable with it. Sure, most horror movies are based on ridiculous plots, and even Get Out was *impossible*, but there was something about the idea that some government (?) agency cloned us all and forced our Tethered doubles to mimic our every moves in their subterranean classrooms and hallways all while feasting on raw rabbit. I enjoyed the concept of the "puppet masters" and the "puppets," mostly for how this complements the theme of doubles, and even though I found myself adoring the scene where Red explains this all to Adelaide, it was just too much. Regarding the Tethered doppelgängers, I loved their sort of nonspeak (except for Heidecker, who I thought went overboard with the sounds/ was too comically animated more so than the others), and I think that raspy, breathing-in-to-talk choice was really effective.

As far as the twist ending goes, I wish I could say I saw it coming but I didn't until closer to the end. There were times during the film—especially as we see Adelaide embrace the violence and become more animalistic, even through her son's eyes—when I wondered if she had somehow been swapped without us knowing, but of course it was all much more sinister than that. I would love to rewatch the film knowing what I know now in order to pick up on all of those delicious clues. I think it would have cued me in sooner to the concept of the secrets we keep, the truths we ignore, and the masks we wear to live the lives we think we are supposed to live or that we think we deserve to live, even at the expense—whether we know about it or not—of many other people. Are we innocent of the suffering of these Others, who in many ways are just like Us? Or are we guilty, even if we are unaware of their existence in a Sunken Place of sorts, of all that we did not do to right these wrongs? And furthermore, what price to we pay to rise out of those dark places and join the happy majority above ground? I viewed this transition as the "invitation to whiteness" so prominent in the United States by which many peoples and cultures that were once considered minorities were invited to join the white group in power (think women, the Irish, Italians). Some people, such as dark-skinned black Americans, may never be formally invited to join this group, but over time, the decreasing white group realizes its power is slipping and thus invites another marginalized group to rise either to real or imagined power. And of course, many formerly-non-power individuals jump at this opportunity to live out their own American Dream— but at what price? This is the fear 'Adelaide' lives in constantly, knowing that she has abandoned her people beneath the ground to advance only herself, and it provides major commentary about what it's like to alternate between power and non-power groups in the United States. Ultimately it's the real Adelaide-turned-Red who teaches the other Tethereds what it means to have true agency and to have to truly fight, unite, and join hands to make a statement that the world will finally listen to. It's a revolution, and it's no coincidence that Adelaide knew what she was missing from the world above in order to stay determined, inspire the other Tethereds (via "the dance"), and ultimately fight back and educate/moralize the 'Adelaide' we know on the concepts of reparations, revenge, and justice.

All in all, I think the most impressive thing about this movie was the challenge handed to the actors who all had to play two versions of themselves. This added such a richness to the film and at many points I found myself questioning if they truly had found other actors to play these roles. Nyong'o especially delivered in her two roles, and that final fight/dance scene was absolutely stunning. Her physicality throughout the film as both characters was excellent.

Final critique: I enjoyed this film, but I find myself describing it to others as "freaky" and not scary. I didn't feel disappointed at the end, but I do think it was ambitious to the point of feeling a little unfinished or hazy around the edges. Still, the plot was fresh and fun, and the commentary on the oppressed masses rising up is Peele's clearest commentary reminding us that, especially in today's world, we are our own worst enemy.

Crimson Peak (2015)

It embarrasses me to say that I've not blogged in almost a year. I've seen dozens of excellent and awful horror movies over the past few months, which I hope I can find the time to review. I just saw Crimson Peak on opening night though, and it was so good I was driven to write about it immediately.

GENERAL INFO:
Director: Guillermo del Toro
Studios: Legendary Pictures, Universal Pictures
Starring: Mia Wasikowska, Tom Hiddleston, Jessica Chastain
Tagline: Beware Crimson Peak
MPAA Rating: R
Genre: horror, terror, supernatural thriller, ghost, Gothic, romance, mystery, drama
Scare score: B-
Rating: A

Plot overview: Around the turn of the 20th century, young and driven Edith Cushing (Wasikowska) is a Buffalo socialite with no interest in parties or the petty competition between the girls of her class. Instead, she aspires to be a writer like Mary Shelley, and is currently working on her manuscript for a ghost story. With the ability to see ghosts from a young age, Edith feels most comfortable in this genre. Her life changes when a young, handsome, and wealthy baronet Sir Thomas Sharpe (Hiddleston) and his gorgeously severe sister Lady Lucille (Chastain) come to town, looking to raise funds to reopen the red clay mines underneath their ancestral home, Allerdale Hall, located in the barren countryside of Cumbria in northern England. After Edith and Sir Thomas fall in love, she moves into the Gothic English mansion with nothing to lose, finding it in a dilapidated state as the Sharpes try to regain their family fortune from the red earth, which has earned the home the nickname Crimson Peak. Her new husband and his sister, however, are not as they seem, and Crimson Peak can barely conceal its bloody past, which Edith must now bring to light.

Every once in a while, a horror movie comes along that changes the game. Crimson Peak is one of those films. Finally, del Toro has done it again, bringing to life a magnificent Gothic tale filled with equal parts romance and terror.

I've seen the trailers for this movie for months, and obviously what captured me the most was the incredible visuals. If nothing else, I knew I had to see this movie to see the house. What I didn't know until seeing the film, however, was what a central role Crimson Peak would actually play in the plot, not only as a setting, but as a living, breathing, and bleeding character.

Now I don't think I've ever properly read "The Fall of the House of Usher," but from the second the characters arrive at Allerdale Hall that's what I was forced to think of: a plot where the home itself becomes as important as any of its residents. True to the trailers, this set was incredible, truly a work of beauty. I don't know what was physical and what was CGI, but entering this house was like entering some fantastic and slightly spooky fairy tale mansion, as we've seen before in works of del Toro such as Don't Be Afraid of the Dark, only to a much bigger extent here. It was so gorgeous it makes me upset. On top of that, the props and costumes were amazing, too. For the entirety of the movie, you get sucked into this Gothic world filled with flowing gowns and overstuffed pijamas, long capes and elaborate hair. From the beauty to the blood, this movie was so pretty.

There was certainly a lot of del Toro flair to the film, starting with the storybook opening. The entire ghost plot was extremely reminiscent of The Devil's Backbone, another beautiful, beautiful ghost film. Movies like these remind me why I'm so obsessed with ghost stories: there is a sadness, a lasting sorrow, a pervading beauty behind the metaphor of ghosts and their presence between the physical and spiritual worlds. Del Toro loves working with this theme, the idea that a ghost is a spectral apparition of the past, of some emotion that was too strong to fully leave the Earth, and we love watching it.

The characters were beautifully cast and I'm happy the original choices of Emma Stone and that annoying British actor who I won't name didn't work out, although I think Emma would have done a nice job. I actually haven't seen much of Wasikowska, but the audience should fall for Edith immediately. In fact, the audience should fall for everybody; Hiddleston is dreamily charming albeit creepy as Sir Thomas (it's nice to see him not so done up as Loki) and Chastain–one of my favorite actresses of the moment–is eerily beautiful. She didn't deliver the strongest, but she kept the movie creepy. New(ish)comer who you should expect to see more of Charlie Hunnam as Edith's childhood friend Dr. Alan McMichael was also very pleasant in his very standard role, which rather reminded me of Raoul in The Phantom of the Opera.

Horror wise, the movie is spooky and at times unsettling but not terrifying. What got me the most was the surprise gore and violence that would pop its head up occasionally, causing the audience to jump back in surprise from an otherwise tranquil plot. I was so shocked, in fact, at some of the gore, which isn't nearly as bad as what we're used to, but strangely poignant and used in effectively small doses. The ghosts themselves were especially gross because aside from being mere apparitions or floating sheets, they were in fact quite corporal, hollow specters of corpses, skeletons, rotting flesh, and so much blood. They really spice up the movie.

In terms of faults, there are a handful. The pacing was a little off, some exchanges and maybe scenes felt unnecessary, and all in all, the script probably could have used one more look through and the film maybe could have been edited one more time. The biggest problem of all, however, is the lack of a motive. I thought the plot was a little unfounded, despite a brief explanation by some characters and a lovely monologue by Chastain. I don't know; I just didn't see the need for all the horror and gore taking place after we got the 'big reveal.' Fortunately, the movie is so pretty that you almost forgive any oversights.

Lastly, I need to point out the score. The music, composed by Fernando Velázquez (Devil, The Orphanage, Mama) was so entrancing and moving I couldn't stop listening to it and stayed through the final credits just to hear more. The main romantic theme throughout the movie was so beautiful, I tried looking for it online but it's not up yet. The score alone was enough to make me want to buy this movie the second it comes out; add in the sets and costumes, and I was totally sold.

Final critique: This movie was so fantastic. I think it will join the ranks of other del Toro classics like The Devil's Backbone and Pan's Labyrinth, although it may not be taken as seriously since it's so heavily horror. Crimson Peak is the perfect ghost story (with its own modern twists), the perfect Gothic romance, the perfect mystery. The most dynamic character is Crimson Peak itself, filled with secrets living and dead; a visually stunning foreground and background to the movie's events. I highly recommend this movie, especially before Halloween. Again, it's not too scary, but the scares are enjoyable. Mainly just eerie with some good scares spread throughout, and the violence/ gore that will catch you off guard. Seriously, bravo.

Gothika (2003)

GENERAL INFO:
Director: Mathieu Kassovitz
Studios: Dark Castle Entertainment, Warner Bros.
Starring: Halle Berry, Robert Downey Jr., Charles S. Dutton, John Carroll Lynch, Penelope Cruz
Tagline: Because someone is dead doesn't mean they're gone.
MPAA Rating: R
Genre: horror, terror, psychological thriller, mystery, drama, ghost, supernatural, possession
Scare score: C+
Rating: B

Plot overview: Dr. Miranda Grey (Berry) is an intelligent, driven, and happy psychiatrist that relies on fact and logic to do her job. One night while driving home from the mental hospital in a thunderstorm, Dr. Grey narrowly avoids hitting a girl who is standing in the middle of the road. When she goes out to help, however, the girl seems to burst into flames and take over Miranda's body.   After Miranda comes to a while later, she is back in the mental hospital but as a patient. To her horror, she learns that her husband has been brutally murdered and that she is the primary suspect based on overwhelming physical and forensic evidence. With some supernatural help, Miranda must not only show that she's not crazy, but she must also prove her innocence... or someone else's guilt.

This movie is funny to me because I think I first caught the beginning of it when I was about 13. It's been over a decade, but I still was never able to finish it until recently (this movie used to be impossible to find online). When it was on TV one night in December, I dropped everything to watch it, and I'm glad I did.

Gothika might have a bad reputation, but I don't think it's a bad movie. It's very 2003 in nature, but I was extremely impressed by Halle Berry's performance. Like, legitimately– she does a good job in this film. She is supported by Robert Downey, Jr. who I generally like a lot as well. Penelope Cruz is also a stunner both in physicality and as an actress. Her career is very interesting, and it's fun to see her in a supporting role 2 years after a major movie like Blow. She's so fantastic in Almodóvar films; if you haven't seen Todo sobre mi madre and Volver I highly suggest you go watch them.

Anyway, this movie is pretty much just fun, filled with plenty of chills and thrills. I'm really pretty surprised that people don't like it. It's very dark, and if you look at the poster you'll get a good vibe for what the cinematography is like, sort of a blue black tone the whole time. There are some wildly frightening scenes thanks to invisible ghost forces, so that makes for some scares as well as awesome displays of physical acting. Mainly I am thinking of the shower scene and also when Berry is being tossed around that cell.

There's an enduring mystery here, as in most ghost films, and who doesn't love that? In fact, the strange blend of science and supernatural is fairly unnerving; we never know quite where this film is headed. Luckily there is enough stability due to steady acting and screenplay, that even when we are drowning in unanswered questions, we're not ready to give up on the movie. Things certainly are more than a little silly, both in plot and dialogue, but we're given enough action and delivery to keep up with Dr. Grey's roller coaster ride.

I did like when the plot takes a major turn towards the end. When the truth comes out, everything is flipped on its head, and suddenly the fear becomes so much darker and more real than ghosts and possession. Everyone wants to see their protagonist vindicated, especially after things get so gritty and sexual. I was very surprised with how dark the movie gets during these moments when the truth comes out about the other characters. You'll have to watch to find out!

There was some good gore in this film, which was just sort of the icing on the cake of what is otherwise a rapidly paced and sometimes confusing wild goose chase. Most of all, I like how Gothika had moments that sort of tied everything together and brought everything back down to a playing field that as an audience we could handle.

Final critique: You may have heard bad or mediocre things about this movie, but I say give it a chance. It's a fun flick to watch with friends, and it's easy to pause and take a break from if you want to go make popcorn or something. You may not be at the edge of your seat, but I think Gothika has a lot to it. All the plot twists are very exciting, so that along with the surprising terror both in lies and in truth make for a nicely rounded out if fanciful film.

Black Christmas (1974)

Also released as Silent Night, Evil Night.

GENERAL INFO:
Director: Bob Clark
Studios: Warner Bros.
Starring: Olivia Hussey, Margot Kidder, Keir Dullea, John Saxon
Tagline: If this movie doesn't make your skin crawl... it's on TOO TIGHT.
MPAA Rating: R
Genre: horror, terror, slasher, stalker, psychopath, mystery, holiday
Scare score: A
Rating: A

Plot overview: It's the start of Christmas break, and the various sisters of a sorority house are preparing to go home for the holidays. A male intruder – who we do not see but whose point of view we are shown – climbs up a trellis and enters the attic of the house, shortly thereafter killing one of the girls, Claire (Lynne Griffin). Another sister, Jess (Hussey) then receives a bizarre and threatening phone call from what sounds to be like several strangers; fellow sorority sister Barb (Kidder) is quick to curse off the caller and hang up. The phone calls, however, do not stop, but grow increasingly more concerning and scary. The situation at the sorority house gets worse when Claire's father (James Edmond) arrives, and Claire is nowhere to be found, leading to a police investigation that results in the discovery of more missing girls' bodies.

First off, Happy New Year! Hope that your year has been off to a wonderful start. Sorry again for the lack of posts over the past few months. Moving right along...

This movie was so fantastic. Like shockingly, inspiringly good. Shame on me for never seeing it until this past Christmas season, when it was an obvious – and perfect – choice. The original Black Christmas remains famous and significant to this day for serving as a clear and important precursor to the modern slasher genre, predating Halloween by 4 years. But if John Carpenter's classic is the first true slasher film, then Black Christmas is a pioneer for the genre.

What struck me most about this movie is how truly scary it is. By this point, we're used to unseen killers lurking around corners and stalking their prey, but the proximity of this murderer to the girls was especially eerie. The most terrifying aspect of this movie is hands down the psychosis of the killer, specifically as heard in the phone calls. From the first phone call at the beginning of the movie right up through the end, we are subjected to an uncomfortable, chilling horror via what we hear over the phone. These calls legitimately gave me chills; they were just that disturbing. The graphic nature of the calls surprised me as well, given that this movie was from 1974. Then again, this is a fairly racy movie, mainly thanks to Barb, who is super sassy and angry. I love Margot Kidder, and seeing her bring on the attitude was a treat.

I was also really surprised to see Olivia Hussey in the lead role of Jess, a kind, understanding girl caught up in troubles of her own. Hussey, who came to great fame in Zeffirelli's 1968 classic, Romeo and Juliet. A few years later, Hussey provides us with what I thought was some serious overacting in this horror film. Her foreignness sort of bugged me; I really thought she was too overdramatic, which says a lot given that she's the 'final girl' prototype.

Other familiar faces are John Saxon (A Nightmare on Elm Street, A Nightmare on Elm Street 3: Dream Warriors) as the stoic police lieutenant, Andrea Martin as sorority sister Phyllis, and Keir Dullea as Jess' manic boyfriend. Another noteworthy performer is Marian Waldman as house mother Mrs. Mac, a lush who provides some serious comic relief.

The screenplay was written by Canadian A. Roy Moore, who claimed that he based it off of a rash of Quebec-area murders around Christmastime. Critics, however, argue that the story is based off of the urban legend of the babysitter and the caller upstairs. Director Bob Clark is, of course, the famous co-writer and director of A Christmas Story. Together, both films make for some serious Christmas film cannon.

Black Christmas kept me interested the entire time. I was so fascinated by the various characters, Claire's weird father, the various sorority girls, Jess' boyfriend Peter. I wasn't sure who was safe and who was not, and I loved all of the point of view scenes we got from our anonymous killer. The phone calls, I will stress again, we absolutely thrilling and creepy. Towards the end, when we're subjected to the police's phone technician trying to trace the call, the suspense is both irritating and cathartic. This film is masterful.

The deaths in the movie are varied and creative, ranging from some deaths that are brutally up-close and personal to others that happen offscreen. The gore is present but minimal but satisfying; the film does not center on blood, but it is certainly there. Plot twists lead us to the verge of sanity and security as we dwindle into despair and back again, worried about who the killer is and just where he may be at any given moment. It is a veritable roller coaster ride of emotions.

Final critique: I can't stress enough how fantastic this movie is. While it's certainly perfect for the holiday season, I would recommend it for a good scare throughout the year. Those who scare easily should simply stay away because this film is packed with terror, suspense, and a looming sense of danger and death. Both while watching and immediately afterwards, I was aware that Black Christmas had earned itself a spot among my favorite horror films.

Mama (2005)

I get it: I missed a month and a half. That doesn't mean I wasn't watching horror movies, it just means I wasn't blogging about them afterwards. October really pooped me out. Started a new job recently as well, so while that's great, it definitely means I need to be conscious about when I can blog. No worries though, the Horror Blog lives on!

GENERAL INFO:
Director:  Andrés Muschietti
Studios:  Universal Pictures
Starring:  Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nélisse
Tagline:  A Mother's Love is Forever
MPAA Rating:  PG-13
Genre:  horror, terror, thriller, ghost, haunting
Scare score:  B-
Rating:  B

Plot overview:  After having a breakdown, Jeffrey Desange (Coster-Waldau) kills several people and kidnaps his daughters, planning to kill them as well. After crashing his car, however, he and the girls end up in a cabin where he is killed by a dark specter.  Years later, Jeffrey's twin brother Lucas tracks down his now-feral nieces, Victoria (Charpentier) and Lilly (Nélisse), and wins custody over them. Lucas and his girlfriend Annabel (Chastain) take in the girls and move into a new home, all sponsored by the local clinic and Dr. Dreyfuss (Daniel Kash), who visits the girls in order to study them. Shortly thereafter, the dark specter begins appearing again, stopping anybody who tries to get close to the girls.

Strange. Dark. Beautiful. Those are the words that come into mind after watching Mama. I missed the very beginning of the movie as it was on TV, but I stuck it out till the end and generally enjoyed what I watched. Let's break it down.

This movie is nothing we haven't seen before, with plenty of aspects borrowed from here and there, twisted and contorted and turned into something interesting but not entirely original. Still, does any film or literature exist outside of previously existing themes, cliches, and plots? Mama tells a story with fairytale facets, much like Don't Be Afraid of the Dark or Pan's Labyrinth. This movie has Guillermo del Toro written all over it: the dark cinematography, a child in danger, and an evil (contortionist) creature. There is a cartoony aspect to Mama, with painted, sepia flashbacks, numerous dream sequences, and swirling black nothingness oozing from the walls. Fairly often throughout the movie, I was reminded of Tim Burton. Still, this odd combination that pushes the boundaries of reality and fantasy tells a new take on an old tale, and the result works.

The actors in this movie get the job done. I love Jessica Chastain, so it was interesting seeing her in the role of an unmotivated mother-by-accident – it was weird seeing her with black hair, too! I am a huge Game of Thrones fan, so it was cool to see Nikolaj Coster-Waldau outside of the role of Jamie. Both actors did pretty well, considering that I don't think Lucas had much to work with and Annabel is a cliche role. The fact that Chastain's Annabel wasn't annoying is a success in my book. The child actresses Megan Charpentier and Isabelle Nélisse both did commendable jobs. I liked Daniel Kash in the role of Dr. Dreyfuss; he wasn't too evil or sleazy, so that made him more likable. Finally, Javier Botet (REC) as Mama was a creepily, well-played physical role. Botet's Marfan syndrome make him a perfect character actor for roles like this one.

Scares in this movie are pretty well done; again, nothing we haven't seen before. There are a fair amount of jumpy moments as well as some thought-out suspense. Creepier moments in the film involve the shadow in the mirror early on (I love reflections and shadows in the background) and any twisted moment with Mama, such as when she crawled down the hall à la Exorcist spider walk. As much of the film is melodramatic, scares become intertwined with humor and drama, resulting in an overall mellow tone behind the frights.

*SPOILER ALERT*

I was interested in the film while watching, but I think it was the ending that really tied everything together for me and left me with a favorable taste in my mouth. There is this whole vengeful, offended woman plot – in this case Edith Brennan, who had her child taken away when she was sent to the mental institution – who is wronged in her death and remains as a ghost. The fact that this is not an original ghost/ haunting plot is fine by me, because the more we instill the theory that ghosts are wrong humans bent and twisted in misery, forced to relive their misdoings, the more people believe that ghosts exist. It's a cool thought for social theory. Anyway, like any wronged female ghost (Darkness Falls, Dead Silence, The Woman in Black), we expect their to be some sort of simultaneous redemption/ banishing at the end. Mama tricks us into thinking that that final moment is at hand, when Mama herself gets angry all over again and tries to kill the two little girls. Most shocking moment? She half wins. Going way against one of my most founded cardinal rules, Mama gets away with Lilly at the end, sweeping her away into some sort of beyond. I was totally shocked that this happened, but at the same time, I was okay with it. Mainly because Lilly was so feral and I didn't like her, but also because there was this beautiful moment of serenity and love when Mama and Lilly are falling together, laughing in each other's presence. Then they burst into a thousand moths, at least one of which is light blue and lands on Victoria, as if to say that Lilly were still with her.

Finally, at the very end of the movie, we truly appreciate Fernando Velázquez's (The Orphanage) powerful score as it plays over the end credits. It really tied everything together right there in the final moments.

Final critique: This movie had a lot to it, but it tied all of the plot details together and worked out in the end. I need to sit and re-watch this at some point to take it all in from the beginning and also to see if I agree with what I feel now. This movie did very well reception-wise, so it would make sense that there's a lot of heart and creative flare to the final product.

It's good to be back, folks.

The Legend of Sleepy Hollow (1820) - short story

Happy Halloween, horror fans!

GENERAL INFO:
Author:  Washington Irving
Caption:  "The dominant spirit, however, that haunts this enchanted region, and seems to be commander-in-chief of all the powers of the air, is the apparition of a figure on horseback, without a head [...] and the spectre is known at all the country firesides, by the name of the Headless Horseman of Sleepy Hollow."
Genre:  short story, legend, folklore, American fiction, psychological thriller, thriller, ghost
Scare score:  D-
Rating:  A

Plot overview:  In the late 18th Century on the banks of the Hudson about 30 miles north of New York City, in the small village of Sleepy Hollow, the superstitious schoolmaster Ichabod Crane is actively courting the beautiful young daughter of a rich landowner.  After a party at their farm one fall evening, Ichabod is returning home when he encounters the ghastly specter that is said to haunt the roads at night.

I've always loved this story.  Who doesn't know it?  Or, at the very least, who isn't familiar with the idea of a headless horseman hurling a sinister pumpkin through the air?  This is a pervading tale, and one of the founding fathers of American folklore.  With its short length, it is the perfect bedtime story during the Halloween season.

This story isn't necessarily scary, but it is certainly creepy.  Originally published in the collection of The Sketchbook of Geoffrey Crayon, Gent., (along with "Rip Van Winkle"), this is among Irving's most famous and lasting tales.  You may be wondering, if it isn't scary, why bother reading?  Well I have two reasons for you.  First, you should familiarize yourself with this important work of American literature.  It is beautifully written and filled with lifelike descriptions of the Hudson Valley.  There is plenty of rich vocabulary that you should learn to impress your friends.  Secondly, this is an essential piece of scary literature.  Everybody should read it at least once.

*SPOILER ALERT*

What gets me most about this short story is its spooky ambiguity.  We are presented with Ichabod Crane, a lanky, superstitious type who we aren't made to be necessarily fond of.  We are given a full account of the local characters, their nature, and their beliefs in ghosts and demons that haunt the area.  In fact, the majority of this short story is just exposition.  There is positively nothing scary about 95% of this piece of literature. Then we get to the final few pages.  The chase scene that happens through the woods isn't very scary, but it's a compelling read, and the pace certainly picks up.  Any keen reader will, of course, realize the instant we are presented with a "horseman of large dimensions, and mounted on a black horse of powerful frame" that it is probably just Brom "Bones" Van Brunt playing a prank.  But what if it's not?  Either way, this is the true horror of the story:

Say there really is a headless horseman.  Irving pulled this idea from the preexisting concept of a ghostly headless figure in European folklore.  If this is the case, Crane has always been right to be worried about superstition and things that go bump in the night.  Then, we are led to believe that the horseman comes down upon Crane and either murders him and dumps him in the river, or murders him and spirits him away, as the locals go on to believe.  Ah!  Ghost story!  Spooky!

But if not, my friends, if there is no headless horseman and no ghosts in the village of Sleepy Hollow, the story suddenly becomes much darker, and much more frightening in my opinion.  This version of the tale, which is the one I believe in, is that the horseman was just Brom dressed up to frighten Ichabod away from courting Katrina, their mutual love interest, who is described as being as plump as a peach.  If it is Brom all along, then Brom violently throws a pumpkin into Crane's face, which we can understand knocks him from his horse.  Two things can now happen: Crane falls into the river, injured or already dead, and gets washed out into the Hudson with the other garbage.  Either that, or Crane falls, and then is murdered by Brom, who then tosses his body into the Hudson with the other garbage.  Either way, Brom murders Ichabod Crane, which is terrifying and sinister and just downright evil.

I suppose you could argue that Brom just terribly frightens Ichabod, who then leaves town in his embarrassment and shame from being rejected by Katrina, who is probably just an early American bimbo.  But then again, Ichabod is just a gold digger, so who's to say who is morally superior.  But I digress.  I don't think Ichabod just leaves town since we know he only owns like one bag full of stuff that he highly treasures as he is material and vain, and very much a fan of earthly delights.  So, horror fans, it is my belief that Abraham Van Brunt is guilty of murder in the first degree.  And you know what the scarier part is?  The town just shrugs it off.  Not a single soul is concerned for Ichabod.  Either they assume he ran away, or they are totally okay with the fact that he has been kidnapped by some evil spirit.  And that, ladies and gentlemen, is why this short story is truly freaky.

Fun fact: A teenage Horror Buff once went to Sleepy Hollow for a quick visit.  Not only is the area beautiful (I love the Hudson River Valley), but the little village has headless horseman stuff everywhere - it's awesome!  If you ever get a chance to visit, I highly recommend checking out town hall, which has some awesome murals depicting the chase scene from the story.  While you're there, you can also check out the Old Dutch Church and the grave of Washington Irving, as well as some other famous Americans.

Final critique:  Read this short story. It will take you know more than an hour.  Read it by a cozy fire, or by candlelight to friends or family.  Take turns reading.  Look up the big words you don't know (I learned whilom, supernumerary, peradventure, and erudition).  It's Halloween, folks, so this is the perfect time to check out this easy read.  After you finish, you can be the judge of what's truly scary in "The Legend of Sleepy Hollow."

Ouija (2014)

(Preliminary note: during the previews, I saw an extended trailer for Insidious: Chapter 3, set to release in 2015. It looked pretty fun.)

GENERAL INFO:
Director: Stiles White
Studios: Universal Pictures
Starring: Olivia Cooke, Daren Kagasoff, Ana Coto, Shelley Hennig, Douglas Smith, Bianca A. Santos; ft. Lin Shaye
Tagline: Keep Telling Yourself It's Just A Game.
MPAA Rating: PG-13
Genre: horror, terror, supernatural thriller, ouija board, haunting, ghost
Scare score: B
Rating: A-

Plot overview: Following the apparent suicide of her best friend Debbie (Hennig), college student Laine (Cooke) is left with questions she thinks only a mysterious ouija board found in Debbie's attic can answer. Once she and her friends make a connection through the board, however, they realize that the game isn't so easy to end.

*Quick funny story: During a fairly scary moment of this movie, the screen at the movie theater I was at went totally dark, leaving myself and the only other two people in the theater in the pitch black beneath the sounds of screaming coming from the scene. Talk about freaky.

Following a few years of development, Ouija finally debuted just in time for the Halloween season. I went to see it tonight, and while the critics might be saying otherwise, I found it to be very enjoyable. Like most horror movies these days, Ouija relies heavily on the well-timed, dumb scares that are sure to make eager teenagers scream with delight while veteran horror-goers frown in their cynicism. I found that if I lighten up and allow myself to enjoy it, it makes the whole experience better. In doing so, you'll find a lot of reasons to walk out of Ouija with a smile on your face.

This isn't the first movie we've seen involving a ouija board (think The Exorcist, or Witchboard and the sequels it spawned). One thing I can appreciate is a horror movie that cleverly creates merchandise to go along with it (like masks or costumes). Creating a fictional horror and then manifesting said horror into something tangible—and sellable—really helps bring that horror to life. A good example would be Friday the 13th or Halloween with the old school hockey or Captain Kirk/Michael Myers masks, respectively. In this case, the inverse is true, and Hollywood has taken a century-old toy (conveniently owned by Hasbro today) and decided to revolve the horror around it.

The babysitter I went to as a kid had an old ouija board buried among the stacks of old games in the playroom, and as very small children, we tried our hands at it more than once. Someone always cheated, but it was fun to pretend that we were making some sort of contact with **the beyond**. We never did, but after seeing this movie, maybe that was for the better.

Ouija is no different than most horror movies we see these days. But the important thing to remember is that that is not a bad thing. Across all genres of film and literature, plots have held countless parallelisms since mankind first started telling stories. Most stories share similar characters and teach the same lessons. With Hollywood pounding out movie after movie after movie and with TV going through a golden age, what's important in film today are the nuances that differentiate one movie from another.

Sure, Ouija presents us with another group of good looking, "college-aged" kids (even misfit kid sister Sarah (Coto) is always perfectly coiffed) who meddle into something bigger and badder than them, and it's only a matter of time until they get knocked off one by one. Okay, so we've seen it. So what? Horror films are becoming less and less about the what, but instead about the when and how. How is this board game going to kill these 20-somethings and when? For better or for worse, creative deaths are what keep so many horror films going these days.

It's for this very reason that I am a staunch supporter of predictable and corny scares. We all live for those *boom* moments that turn out to be nothing. Ouija is filed with them. Chock-full. I don't care if these are "cheap scares" or not— at the end of the day, a scare is a scare, and not every film is going to be a new masterpiece anyway. More power to the movie that can create new, truly terrifying scares (there's plenty of them all the time, and plenty more to be done), but if audiences are going to see horror movies to get some kicks, then I think there should be plenty of "cheap scares" that will at least ensure these people have a good time.

While Ouija perhaps does the boyfriend-lurking-around-the-corner-whoops-didn't-think-it-would-scare-you-sorry-babe-lol one too many times, all of these small scares are fine details that maintain a sense of thrill and terror throughout the film. Ouija not only gives us these, but it gives us plenty of teases, too. From pretty early on, there is some major foreshadowing that might get us anxious in the moment, but ultimately ruins the surprise.

Okay, so I've defended the heavy usage of flashlights rolling off and illuminating things we'd rather not see, or creepy reflections or shadows cast against the wall— so what else is there to this film?

I mean, the plot is fun. We have a pretty decent mystery here with an expected, whoops I mean unexpected twist that keeps the evil board in our lives just so much longer. While I wasn't surprised by some red herrings in the plot, I thought it was really fun, and who doesn't love a fun appearance by Lin Shaye (Insidious, Insidious: Chapter 2)?

If you were to ask me about acting in this film, I would probably smile and shrug. It's exactly what you expect. I like Olivia Cooke in Bates Motel, and I liked her in this. She has a certain collected coolness about her —along with an undeniable macabre—that I think will keep her popular in horror as time goes on. Our other characters were fine, paper thin, and trying desperately hard to be realistic. Hey, Hollywood— you want realistic? Try casting less hot people all the time. In a horror movie, girls' hair should not always be perfect. People should not always be beautiful and muscular and perfectly dressed. This needs to stop. We want more realistic films and we want them now!

There is legitimately zero diversity in this film. Aside from a weak attempt of the casting of Vivis Colombetti in the role of "Nana," thus leading us to believe that Laine and Sarah are perhaps Latina, there is just nothing. Even Bianca A. Santos as capricious friend Isabelle seems pretty whitewashed. I don't know what's worse: Forcing one unimportant minority friend into a white-horror plot, or just leaving them out completely. Do better, casting team. Not too great for 2014.

The settings, however, were very cool. While the scariest thing about Debbie's house is the overpowering wallpaper that changes in every room, I thought it was an equally pretty and eerie home in which this movie could take place. But I digress.

Somewhat surprisingly (?) this movie ends up being largely about sisterhood and the bond shared between females. We've been seeing a lot of this lately, and the more I see it, the more important I think it is. Females in horror have long been pretty limited to their roles. On one hand, we've always had the scream queen star or kickass final girl. On the other hand—and perhaps the dominant one that most people focus on—we have the sexploited, dumber girl that gets murdered while in a bra and panties (or less). And more often than not, even the nerdy girls are usually very attractive underneath their deceptive outfits or bad glasses, and they get exploited as well. Lately, however, horror movies have started focusing on female characters in the roles of mothers, sisters, and daughters, stressing the importance that family has in overcoming horrifying or even supernatural circumstances. I'm talking about taking a step further than letting a teenage girl fight back against her victimization (Halloween, Friday the 13th, or A Nightmare on Elm Street) and entering the realm of Ripley, or Clarice Starling, or especially a character like Carrie White who takes the horror into her own hands. Why is it that horror movies, perhaps even more so than any other genre, are constantly coming out with new blockbusters with a woman in the lead role(s)? Sure, there's a sense of empowerment behind it, but I honestly think it makes the story more relatable to the audience. We can sympathize more easily with female characters because often they are acting out of love, especially when playing familial roles. It is this love, furthermore, that usually combats the evil at hand most efficiently. Let me work more on my feminist theories. In the meantime, let me say that what we need more of is female antagonists. Bring 'em on!

Ouija's other strengths lie in the beautiful cinematography by David Emmerichs and what I thought was a quaintly powerful score by Anton Sanko. Even if the acting is only so-so, at least we get to see and hear some pretty—and creepy—stuff.

My biggest problem with this movie is that everybody and their (grand)mother knew the word "planchette," referring to the sort of iron-shaped, mystic tool that moves on the ouija board. I understand that this is what the ouija accessory is called in real life, but why in the world would every character in the movie know that, too? Have you ever heard someone use that term in casual conversation? When we first hear 8-year-old Debbie (Claire Beale) so keenly pronounce the word "plan-chette" my skin crawled. We heard it at least four of five more times in the movie, and each time I wanted to throw my small popcorn at the screen. I speak Spanish, I know "plancha" for iron, I get that we use a lot of French in English— but planchette?? Spare me. This is a smaller detail within a larger problem— the script. For once in my life, I just wish horror movie writers would run the script by a group of 20-somethings to approve of the script before filming. (And maybe, just maybe that 20-something could be me). More than a few lines and scenes of this movie cause a younger audience to raise an eyebrow. It's a fine line between saying "my folks will be home any minute" and saying "hey you wanna' come over for a game night? hashtag ouija hashtag planchette." At least these characters seemed modern; I thought the heavy use of Macs and iPhones—especially the flashlight—was very good and relatable.

Final critique: Don't let the critics dissuade you from seeing Ouija. Or, if you feel like waiting, definitely rent this movie once it comes out, and have yourself a merry little scary movie night at home with friends— I know I will. This movie is filled with plenty of *boom* moments and playful "cheap" scares that will make it worthwhile for the thrill seekers amongst you, but even the scariest moments shouldn't be too much for the scaredy cats out there. If anything lasting will haunt you after this movie, it'll probably be that you'll never want to floss ever again. Not that you do already. Besides, if Ouija proves to be too scary for you, just remind yourself it's only a game. Or is it?

Damien: Omen II (1978)

GENERAL INFO:
Director:  Don Taylor
Studios:  Twentieth Century Fox
Starring:  Jonathan Scott-Taylor, William Holden, Lee Grant; ft. Lucas Donat, Sylvia Sidney, Lew Ayres, Lance Henriksen; introducing Meshach Taylor
Tagline:  The first time was only a warning.
MPAA Rating:  R
Genre:  horror, terror, thriller, suspense, devil, spawn of satan, religious occult, family drama
Scare score:  B-
Rating:  A-

Plot overview:  Sevens years after the events of the first film, Damien (Scott-Taylor) is now an adolescent enrolled in military school with his cousin Mark (Donat).  Having been raised by his aunt Ann (Grant) and uncle Richard Thorn (Holden) - a majorly successful industrialist - Damien is being set up for great things, but he is still unaware of his darker purpose.

(What a beautiful poster, am I right?  I want that framed in my house.)

This sequel practically blew me away.  It is filled with compelling acting and plot - and not to mention a multitude of creative and memorable deaths.  My favorite thing about this movie is that Damien - who is very cooly acted by a young Jonathan Scott-Taylor - isn't inherently evil.  Well, I suppose he is inherently evil, only he is not aware of it.  This was such a good change for me, because by the end of the first movie I thought that the little Damien was just too annoyingly evil; I never liked that on top of how he was impossible to beat.  This teenage Damien is much more, well, human - not that he should be, but I certainly love a new take on the spawn of satan plot.  I loved how Damien is simultaneously a hero and an anti-hero; I really wish we had more horror films were the protagonist is bad.

Jerry Goldsmith (The Omen, Poltergeist) is back with the same great musical theme, which he has significantly developed to make distinct for the sequel.  The music in both movies is probably one of the most memorable aspects of the franchise, so it's very important that our composer was still along for the ride.

Acting in this movie is very very good, which should be no surprise given big names like Lee Grant and William Holden (Sunset Boulevard is one of my favorite movies).  This movie has a very interesting way of featuring and including its varied cast of characters, resulting in a wide showcase of talent.

What's especially interesting about this film is the continuation of the first movie's criticism of modern issues facing America and the West.  Whereas the first film focused primarily on politics, this sequel is filled with anti-capitilst commentary.  Damien - the son of the devil - now finds himself in a powerful, wealthy, industrialist family.  He also finds himself in a military academy, which leads me to think that the creators of The Omen wished to include criticism on all of these very American establishments, thereby implementing a very supernatural power into these very real institutions, which many consider evil to some extent.

*SPOILER ALERT*

Let's talk about some deaths!  First off, I loved the usage of the crow as the harbinger here.  Whereas we saw more of the dog in the first film, I enjoyed seeing another typically sinister animal used throughout this movie.  The scene where the crow attacks and indirectly kills reporter Joan Hart (Elizabeth Shephard) is possibly one of the most memorable of the film.  I especially love the color of her coat set against the dreary highway landscape.  I was extremely impressed by the entire sequence where Bill Atherton (Ayres) falls through the thin ice and drifts along under the frozen lake as the rest of the party-goers try desperately to help.  Then the doctor (Taylor) who becomes too suspicious of Damien's cell composition gets into unlucky elevator #23 (hmm) only to plummet to his death.  That was a truly awesome death scene.  Who thinks of these things??

My only real issues with this movie are slight continuity ones.  I also thought it was a little silly that Damien is told to read one Bible passage which drives him almost immediately to believe that what he was told about his identity is true.  I suppose finding a unique scar doesn't help (PS I loved that scene because it looked like a teenager trying to find the perfect selfie angle in a mirror), but it was still a pretty dramatic response to what otherwise could have been coincidental.

How do we feel about the ending of the film?  From early on, my guess was that Damien would kill his cousin and best friend Mark, which would then lead him to deny his fate and freak out in some way, preventing the completion of the satanic prophecy.  I suppose this happens to an extent?  I love the twist at the end when we find out who is and who isn't a satanic follower, but does Damien's reaction and response surprise us?  Is he denying his identity, or is he wiping the slate clean as he moves forward as the protagonist of an evil plot to destroy mankind?  I think it's up to the audience to decide.

Final critique:  This movie is a really fantastic sequel.  Of course, everybody should see the original before seeing this, but I do suppose that one movie doesn't ruin the other in terms of plot.  I loved the continuity of the Seven Daggers of Megiddo, which were introduced to us in the first film.  In terms of sequels, this is probably one of the absolute best I've seen, and I highly recommend it to anybody.  Prepare to be just as freaked out by this movie as you were by the first!  If you're up for it, watch them back to back, and you'll be in for one hell of a ride.

Friday the 13th (2009)

Final installment of my Friday the 13th marathon from last week.

GENERAL INFO:
Director:  Marcus Nispel
Studios:  Paramount Pictures, New Line Cinema
Starring:  Amanda Righetti, Jared Padalecki, Danielle Panabaker, Aaron Yoo, Derek Mears; ft. Ben Feldman, Nick Mennell,
Tagline:  Welcome to Crystal Lake.
MPAA Rating:  R
Genre:  remake, horror, terror, thriller, slasher, stalker, serial killer, masked murderer, teen
Scare score:  B
Rating:  A-

Plot overview:  30 years after the events of the original film, new groups of teenagers start returning to Crystal Lake without any idea of what they are getting themselves into.

(Really awesome poster.)

Somehow, some way, I don't know where I was in 2009 for the release of this film.  It squeezes right along with all of our snazzy 2000s remakes: Rob Zombie's Halloween (2007) and Halloween II (2009), When A Stranger Calls (2006) [I've seen it half a dozen times I'm shocked I haven't blogged about it], A Nightmare on Elm Street (2010), and Nispel's own The Texas Chainsaw Massacre (2003).  In fact, I believe that this remake/ reimagining of the 1980 classic has been the most financially successful out of all of these - and that should be no surprise, because I think this movie is fantastic.

This truly is a Friday the 13th for modern audiences.  Slasher fans should be thrilled with this reboot, which takes most of the original plot and amps it up into a more fast-paced, blood-soaked contemporary butchering of yuppy millennials.  While this movie has a pretty 2000s feeling about it (like the aforementioned remakes from this decade), there is also a sense of the '80s that the other movies lost in the remake process.  Although this version introduces all your stereotypical teens, we do not forget our roots.  In fact, I felt there were a good amount of tie overs to the original film (e.g the wheelchair we see in Jason's (Mears) lair could have been Mark's (Tom McBride) in Friday the 13th Part II.  Details like these are so important throughout lengthy franchises because it gives everyone - characters and audiences alike - a sense of home and comfort, familiarity and reassurance.

The deaths in this film are pretty fantastic.  On one hand, many of them are taken off-camera (which of course I wasn't crazy about).  On the other hand, 1980's standards have been long forgotten, and the thrill-seeking, gore-hungry audiences of the 2000s are being appeased.  This film is gritty, dark, and unafraid to show off the reinvented Jason.  Our old friend Jason Voorhees may be older, but he has become even stronger, less human, and more wrathful.  He is swift, creative, and unforgiving, and his iconic mask has been included to all of our great pleasure.  There are some really fantastic death scenes in this movie as Jason has graduated from machetes and knives to much more savage tactics - or even just his bare hands.  That's not to say he doesn't still pick up a classic weapon (after all the machete has a lot of significance to this franchise), but we get to witness some pretty powerful stuff here, such as a sleeping bag turning into an oven for humans, which no audience member is soon to forget.  And if you've read my Friday the 13th write-ups before, you know how much I love a good tent or sleeping bag murder.

Overall, in terms of cinematography, acting, action, and deaths, this movie is very akin to The Cabin in the Woods.  Throughout the movie, I was constantly reminded of the clever yet dark (and still very teen) nature of the 2012 horror satire.  All of our characters are pretty so-so, and I personally didn't care too much about Clay's (Padalecki) plight.  If you've seen any Friday the 13th movie before, you should know what's going to happen, and what's in store for all of our new, unsuspecting teenagers.  Like any modern teen slasher, the question isn't so much who will get killed or when, but rather how? How indeed, Jason?

In fact, watching this will probably inspire me to blog about more of those 2000s remakes.  Check back in November.

Final critique:  I watched this film about a week ago (*cue the music*), so I don't remember every detail and I won't drag on my review.  All I know is that I was very pleasantly surprised by this remake/ reboot, and I hope to see it again soon.  I would recommend this movie to anybody (although I would have them at least try to watch the original first), but be warned about a decent amount of gore or off-screen gore.  The best way I could describe this movie, as taken from the brief notes I took while watching it, is "badass."  I highly recommend this modern retake on a horror staple.

Jason X (2002)

(but is it really that surprising?)

GENERAL INFO:
Director:  James Isaac
Studios:  New Line Cinema
Starring:  Lexa Doig, Lisa Ryder, Kane Hodder
Tagline:  Evil Gets An Upgrade; Welcome to the Future of Horror
MPAA Rating:  R
Genre:  horror, terror, thriller, science fiction, slasher, stalker, serial killer, masked murderer
Scare score:  D
Rating:  C+

Plot overview:  After breaking out of confinement in a government center that has been studying Jason (Hodder) to learn more about his heightened cellular regeneration, government agent Rowan (Doig) accidentally seals herself along with the masked killer in a frozen stasis chamber.  445 years later (how often do you say that?), both bodies are discovered by students and researchers who have returned to Earth for investigation.  They unfreeze and totally restore Rowan, who warns them about the danger of taking Jason onto their ship.  Unbeknownst to them, Jason isn't the only one who's been rejuvenated; he hasn't forgotten his murderous instinct either.

You know how some movies just give a franchise a bad reputation?  This film isn't awful -it's just wild.  Like hands down, any way you look at it, flat out ridiculous.  While Freddy vs. Jason was in production hell, someone brainstormed a wacky way to bring the franchise back onto the silver screen so that people wouldn't forget about it.  I mean, we're talking almost 10 years since the last movie!  The result of a crazed attempt to keep the series relevant and impatient fans satiated?  Ladies and gentlemen, I give you Jason X, aka "Jason Takes Space".

If something nice has to be said about this movie, it is pretty entertaining in a wild, "Zenon: Girl of the 21st Century" kind of way.  Picture lots of outdated ideas about the future and a very synth-heavy soundtrack (but still by Manfredini!!).  In a way, this whole movie is about rejuvenation, about taking something from the past and revitalizing it (as we see throughout the movie via nanite medical stations).  This mirrors the fact that Jason X really was a revitalization of one of horror's most well known (and top 5 most successful) franchises.  To treat fans, this movie even gives Jason a new, epically badass look.  We appreciate the gesture.

Anybody watching this movie is just going to have to accept how ridiculous it is, and then either run with it or turn it off.  I think that putting this film so far into the future in order to avoid continuity issues was a super clever idea, especially because I think the Friday the 13th series already had some confusing dates and events for those who take the time to map everything out on a timeline... imagine that... ha ha ....  On another cool note, out of all the movies you've seen, this is probably one of the ones that takes place most into the future.  Of course, it's beaten out by both Bill and Ted's Bogus Journey and Excellent Adventure.

One of the things that truly impressed me about this movie was one of the first deaths we see.  When Jason fights Adrienne (Kristin Angus) early on in the movie, he dips her head in liquid nitrogen and then proceeds to smash it against the counter.  While even Mythbuster busted this myth, it was still really awesome to watch.

Another death I really appreciated watching was when Jason was inside of the holographic projection game thing that the crew members use and found himself at a simulation of Crystal Lake.  We see him catch a girl inside of a sleeping bag and bash her repeatedly against a tree.  This is a really great nod to the earlier films, as I'm pretty sure he's actually killed someone this way before.  Looking through my blog entries right now though, I unfortunately cannot find when.  Maybe I'm mistaken, but it's such a badass move I associate with Jason.  I love any killings involving tents or sleeping bags, or Jason taking innocent campers by surprise.  The holographic simulation also plays heavily on the very stereotypes (and breaking of my rules) that the earlier films in the franchise depended on for victimization.

A nice throwback to the earlier films was especially nice in this film since it's so different than the other Friday the 13th movies.  As this franchise moves along, we see a lot of changes that we don't always love.  Taking Jason away not only to space but to 2445 really distances us from the killer we love and remember.  On the flipside, the upgraded, futuristic Jason is certainly a cool thrill for audiences.  The fight between Jason and the Android Kay-Em14 (Ryder) is also probably my favorite part of the movie.

Final critique:  I don't know what else I could say about this movie.  The acting is not great, the plot is actually ridiculous, but at the end of the day I suppose it's just another crazy installment into the Friday the 13th franchise.  We've come a long way from Crystal Lake, folks.  Not to scary of a movie (at all), more nerve-wracking in action scenes than anything in terms of fear.  I could see where most people would think this is just a stupid movie (which have always been my thoughts on it), but I have to say now after watching that, while silly, this movie isn't that terrible.