Category Archives: Horror

#6 Most Disturbing Film, 2010 Films, Art, Horror, International, International Horror, Serbian, Top 10 Most Disturbing Films

A Serbian Film-2010

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A Serbian Film-2010

Director Srdan Spasojevic

Starring Sergej Trifunovic

Top 10 Most Disturbing Films #6

Scott’s Review #282

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Reviewed October 13, 2015

Grade: B

A Serbian Film is a 2010 Serbian horror film that attempts, and succeeds, in breaking down every possible taboo barrier, albeit in a stylish, admirable, artistic way.

The film is not for the faint of heart and even die-hard, gross-out horror fans might find it too shocking to view.

It is not so much the gore that is challenging- horror aficionados have seen this before, but rather the blatant display of the subject matter at hand, which delves full speed ahead into pornography, including rape (both sexes), necrophilia (sex with corpses), and child sexual abuse, that is both tough and sickening to watch.

Priding myself in being able to take anything that is thrown my way in the world of film, I admired A Serbian Film’s bravery in going places rarely gone before in film.

I felt, however, that the story was not too compelling or particularly well written and that the primary goal was to shock the audience rather than tackle a great story.

Intriguing to note is A Serbian film has been banned in several countries, for the obvious controversial content.

Milos is a semi-retired porn star, now happily married to the beautiful Marija and living a peaceful existence. While they struggle financially, they share an adequate life while raising their six-year-old son Petar.

One day Milos runs into a fellow porn star, Lejla, who suggests he contact a powerful porn producer and return to the business, citing an enormous windfall to be had since the producer is making more “artistic” films these days.

Milos cannot resist the potential money and meets with the mysterious man named Vukmir. One thing leads to another and he is once again lured back into the porn industry. What he is not told is the premise or details of the film he is to appear in, only to show up at the designated filming location.

Predictably this leads to disaster and the main plot of the film emerges. Milos is drugged to become a “stud”, bedding and beating almost anything that breathes…..or doesn’t breathe if you catch my drift.

Brazen is a polite way of describing this film. It is perverse and goes way out there. Milos, while drugged, begins to do crazy stuff, not realizing what he is doing, and spirals further out of control as the drugs increase.

The producer, in the film’s brief attempt at a social slant, cites child pornography as in popular demand as online viewers clamor for this new form of “art”.

Two scenes stand out as gruesome to view. One involves a pregnant porn star giving birth- she does so and her counterpart proceeds to rape the screaming baby- the new mother grins in sinister pleasure.

In another, Milos rapes his son, Petar, while Milos’s brother, rapes Milos’s wife. Of course, being heavily under the influence, Milos does not realize what he is doing, but the film succeeds in shocking and disgusting the audience.

Both of these horrific scenes have nothing to do with the story and are included to shock elicit a reaction from the viewer.

My criticism of the film is that the grotesque scenes have little to do with the story and are arguably not needed to further the plot.

Shocking for the sake of being shocking, the film reminds me in a way of Salo, a brutal art film from 1975, which focuses not on horror, but on the horrific time of Nazi-ism.

Salo is a masterpiece because it contains a powerful, thought-provoking story.

A Serbian Film (2010) is a brave film, but ultimately the story achieves nothing more than being a disturbing film that I never need to see again.

2015 Films, Comedy, Dark Comedy, Deanna Dunagan, Ed Oxenbould, Horror, Kathryn Hahn, M. Night Shyamalan, Olivia DeJonge, Peter McRobbie, Thriller

The Visit-2015

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The Visit-2015

Director M. Night Shyamalan

Starring Olivia DeJonge, Ed Oxenbould, Kathryn Hahn

Scott’s Review #276

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Reviewed September 24, 2015

Grade: B

A modern-day thriller/horror/comedy hybrid (admittedly it is tough to classify this film as exclusive horror with the dreaded and watered-down PG-13 rating) directed by M. Night Shyamalan, The Visit (2015) has its moments of genuine scary frights and surprises.

It contains a wonderful twist at the end but suffers from some clichés, one severely unlikeable character, and suspensions of disbelief.

Bringing grandparents to the forefront of the film is a clever idea, albeit, stereotypically, The Visit is a decent watch, but laden with a few misfires.

Paula (Kathryn Hahn), a single mother on the outs with her parents for some years, but recently reunited, sends her two children- Rebecca and Tyler, for a week, to stay at their grandparent’s farmhouse, whom they have never met.

At the kids prompting, Paula decides to go on a romantic vacation with her new boyfriend.

Naturally, when the kids arrive at Grandma and Grandpa’s strange events happen. The children are warned never to go into the basement, not to leave their bedrooms after nine-thirty pm, plus the grandparents have a creepy, weird, look to them.

Rebecca and Tyler, in true modern horror fashion, arguably contrived at this point, record all the events (think Paranormal Activity from 2007) and begin to realize there is something rotten in the state of Denmark.

The Visit contains positives and negatives.

The mother and the two kids live in New Jersey and the grandparents in Pennsylvania. That is one state away, yet Rebecca and Tyler have never met, seen photographs, spoken to their grandparents on the phone, not even to discuss the impending visit.

The kids constantly use Skype to communicate with Mom throughout their visit, but doesn’t occur to anyone to chat with the grandparents before embarking on a week-long visit to introduce themselves.

This is a convenient plot manipulation.

Another negative is the film contains one of the most annoying characters in recent memory, Tyler. I am baffled as to whether this was intentional or unintentional.

The kid is about twelve years old and is written as dumb as possible. There are at least three to four endless scenes of him rapping, mostly to the video camera, that I found to be an utter waste of valuable screen time and lends nothing to the plot.

Filler and for a ninety-minute movie, unnecessary.

In the end, though, I got the last laugh, as the character, a germophobe, has his face smeared with human excrement.

The third negative I observed is the constant “old people jokes”, which bordered on the offensive after a while. The grandparent’s unusual behavior was blamed numerous times on their age as if all elderly people were scatterbrained, daffy, or just downright strange.

Many seniors are intelligent, useful, and lively so there was a feeling of disrespect towards the elderly that I could not shake. The film could have portrayed the grandparents with more dignity than it chose to.

Now for some positives, the compelling twist at the end of the film I did not see coming and I loved that about The Visit.

Rarely is the audience surprised anymore, especially in the horror genre, and I was. Having replayed the film in my mind the plot makes perfect sense, but is a positive in the heart of the climax.

On the subject of the conclusion, The Visit has a unique slow-motion/dreamlike feel and an odd, classical-type musical score playing throughout the ending that adds much depth to the typical thriller-type music heard in most genre films.

The oven scene inevitably viewed by all during early trailers for The Visit is excellent. When Grandma convinces Rebecca to crawl completely inside her oven to clean it we know this will not end well.

Additionally, the look and texture of the setting, an old deserted farmhouse in a small, rural town in the middle of nowhere has a feeling of being trapped.

This successfully provides a scary backdrop for the film and all the elements scream horror.

The Visit (2015) has genuine scares and will make the viewer jump, and perhaps even shriek. That is what good horror does yet I am still unsure if this film is more horror or comedy.

Unintentionally so, perhaps.

2014 Films, Ana Lily Amirpour, Elijah Wood, Horror, Independent, Independent Horror, International, International Horror, Persian, Sheila Vand

A Girl Walks Home Alone at Night-2014

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A Girl Walks Home Alone At Night-2014

Director Ana Lily Amirpour

Starring Sheila Vand

Scott’s Review #271

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Reviewed August 24, 2015

Grade: A-

A Girl Walks Home Alone At Night is a highly creative, unique, independent horror film from 2014.

One of the many reasons I am a fan of independent cinema is to discover and promote little-seen gems.

The dialogue is in Persian and the cinematography is in black and white, which is unique in modern film. I notice similarities between this film and Let the Right One In, 2008, (both the English and the Swedish versions) in the frigid mood and love story enveloped within.

This film is the debut of director Ana Lily Amirpour and what a marvel she could become. Despite obvious influences by other directors, A Girl Walks Home At Night has a brilliant freshness and seems original and unpredictable.

The title accurately depicts the main story. A teenage girl (Sheila Vand) walks around the dark streets of a city aptly named Bad City in the Iranian underworld.

The film is shot in southern California and could double for Detroit.

The girl, who has no name, has strange encounters with a myriad of peculiar individuals, including what appears to be a transgender prostitute, a vicious drug dealer, a nice yet mysterious young man named Arash, Arash’s father, who is hooked on drugs, and a mysterious cat.

She then embarks on a tender flirtation with Arash.

The overall plot, which I found secondary to the look of the film, centers around The Girl’s encounters with these individuals and their encounters and relationships with each other.

The Girl is a lonely vampire and feels isolated from society, but it is unclear what she is looking for. She is both destructive and sweet depending on the circumstance.

She takes her aggression out on the bad.

The most striking and impressive aspect is its dark moody atmosphere. Brooding and cold-looking, the city reeks of death and loneliness. The Girl speaks very little so her expressions are what the viewer will notice.

Her eyes delve into her soul.

She is the most interesting of the characters, but the others, specifically Arash and the transgender prostitute have potential and we are curious to explore more about them.

Arash and his father have more depth than any of the supporting characters- Arash painfully lets his drug-riddled father stay with him and attempts to assist him with his issues.

One assumes that since the father’s wife (Arash’s mother) has died suddenly, he has taken a downward spiral, but this is only suggested to the audience.

We do know for sure where she is- in one scene we see the father angrily look at a photo of a middle-aged woman and is destroyed by her absence. He believes that the woman has taken on the body of the mysterious cat.

Arash caring for his father is a fascinating role reversal.

Wouldn’t we expect the young man to have a drug problem and the father the caregiver? This is interesting in itself.

The influences are plentiful, but most notable from a director standpoint is David Lynch. The black and white filming along with the viewer’s point of view in one scene involving a car driving down a dark highway resembles the Lynch film Lost Highway (1997).

The moody background music and the slow but methodical pacing give A Girl Walks Home Alone At Night a Lynch feel. One curious element is The Girl’s interest in 1980′ pop music- her bedroom wall riddled with Madonna and similar pop stars from the 1980’s posters.

The Girl even admits to listening to a sappy Lionel Richie tune.

It is unknown if it even could BE the 1980’s as time seems unimportant. The film strangely combines edgy, alternative filmmaking with commercial pop references.

I half expected The Girl to break into a rendition of “Pour Some Sugar On Me”.

My thought is that perhaps Amir intends to portray the Girl’s desire to fit into mainstream society knowing that a vampire never can. This theory is proven when The Girl is melancholy when Arash buys her a hamburger, knowing she cannot enjoy it as he does.

Creative, with a dreary atmosphere, and intelligently thought out, A Girl Walks Home Alone At Night (2014) is a strange, murky experience in film experimentation.

Amirpour is a fresh, new director worth watching for.

Independent Spirit Award Nominations: Best First Feature, Best Cinematography

2015 Films, A.B. Stone, Comedy, Corin Nemec, Horror, Horror-Comedy, Lowest Rated Films, Made for Television, Robert Englund, Skye Lourie, Yancy Butler

Lake Placid vs. Anaconda- 2015

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Lake Placid vs. Anaconda- 2015

Director A.B. White

Starring Robert Englund

Scott’s Review #267

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Reviewed August 16, 2015

Grade: D

To say that Lake Placid vs. Anaconda (2015) is a bad film is being generous. It is poorly made, written, and acted.

Containing every horror and comedy cliché in the book, it is not a film to take seriously and is best watched late at night amongst adult spirits.

The premise is ludicrous, the acting way overdone, and all characters are “types” and one-dimensional.

Having seen the original Lake Placid (1999) and Anaconda (1999) films (and they were not so great themselves), I was unaware that this is the fifth film for both franchises and is a crossover.

Premiering on the Syfy network in mid-2015, it is a made-for-television feature, and the lack of any real gore is apparent for this reason.

Robert Englund and Yancy Butler, stars of other franchise installments, make return appearances. Sadly, this one has no Betty White or Jennifer Lopez (stars of the original Lake Placid and Anaconda, respectively).

Lake Placid vs. Anaconda is not trying to be great or necessarily art, but rather an idiotic late-night experience. I did not rate the film a solid ‘F’ since it knew what it was and did not try to take itself too seriously, which I respect at least.

The story begins in the middle of the woods near Clear Lake, Maine, as an illegal experiment occurs inside a truck. The serum is being illegally extracted from a sedated crocodile to sell to a giant corporation for profit.

Jim Bickerman (played by horror legend Englund) has been paid handsomely to provide information for the plot to happen.

A villainous corporate schemer is on hand to oversee the events. Inevitably, something goes wrong and the crocodile wakes up and gets loose, encountering large anacondas, also on the loose.

From this point, we are introduced to other inane characters that round out the film, including a group of bitchy sorority sisters on their way to Clear Lake presumably to pledge and party, and Sheriff Reba (Yancy Butler) and her bumbling team of police officers.

Also integral to the story is one of the sorority sisters (Bethany) fathers, Will, who attempts to help Sheriff Reba rescue everyone from the killer reptiles.

Side stories include the laugh-out-loud pledge attempts by some of the sorority wannabees (one is forced to dig a hole in the sand large enough for her to hide in within twenty minutes), a friendship between the only two sensible girls, Bethany and Margot, a high leveled female executive intent on capturing the serum for riches, and a burgeoning romance between Reba and Will.

Silly personified, the film is meant to be goofy and the actors play their roles as they are foolishly written. There is not a shred of realism to the film and none of the characters have any depth.

The worst offender from a character standpoint is humorously my favorite. Tiffani is the comically vicious sorority queen. With her constant berating of the new pledges, she regularly demands that they get in the water and swim for her entertainment.

Ultimately, the girls are attacked by the crocodile in the water, allowing for multiple camera shots of the girls swimming underwater while scantily clad.

Is this a 1980s low-budget horror throwback? When the crocodile emerges to land the remaining girls flee for safety.

In a hilarious scene, Tiffani and one of her minions are cornered by the vicious crocodile. The minion asks what they should do and Tiffani replies with, “I have an idea”, and promptly pushes the minion towards the crocodile where she is chewed to bits allowing Tiffani to escape.

Later, predictably, Tiffani receives her comeuppance.

I find myself perplexed as to why this film was even made. With a shoestring budget, dated CGI effects, little blood, and a silly plot one assumes that the franchise’s predecessors were similar ventures.

Laced with one dumb scene after another and tough to take seriously, Lake Placid vs. Anaconda (2015) is as poor filmmaking as they come, but certainly to be taken with a grain of salt and enjoyed for its campy badness.

Horror-comedy for a boozy Saturday night.

1965 Films, Bette Davis, British, British Horror, Hammer Horror, Horror, Jill Bennett, Maurice Denham, Seth Holt, Thriller, Wendy Craig

The Nanny-1965

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The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

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Reviewed July 11, 2015

Grade: B

The Nanny is a 1965 Hammer productions thriller starring legendary film icon Bette Davis as a mysterious nanny caring for a ten-year-old boy named Joey.

Joey has recently been released from a mental institution and returned home to resume everyday life, but has he been “cured”?

There is obvious tension between Joey and Nanny, but the audience doesn’t know what that tension is precisely. Why do they dislike each other? Why is Joey afraid of her?

As the plot unfolds, the suspense and tensions thicken as various events occur and Joey’s parents and Aunt Pen are further fleshed out. Past events are revisited, and the story becomes thrilling.

At one point, long before Joey’s return home, his younger sister has drowned, and the circumstances are vague. It has devastated the family, including Nanny. Joey has been blamed for her death, though he insists that Nanny is the culprit.

Nobody except the neighbor girl believes Joey, and the audience wonders who to believe and who to root for: Joey or Nanny. Davis, like Nanny, brings a warmness to her character, but is she sincere? Is it an act? Is Joey a sweet boy or maniacal?

These questions race through the audience’s minds as the film progresses. When Virginia, the mother, eats tainted food, the obvious conclusion is that the Nanny poisoned it since she prepared it. But why? Did she do this?

As the plot is slowly explained, there are a few chills, though the ending is not too surprising.

Any film starring Bette Davis is a treasure, though admittedly, it is not her finest work. Still, her finest work is challenging to match.

The Nanny is a good film, though not great. It is shot in black and white, which is a nice touch for a thriller.

The main reason to watch Davis’s performance is that it is always mesmerizing. Traditionally playing gruff, mean, or bitchy parts (especially in her later years), The Nanny allows Davis to play a sympathetic role.

She is seemingly sweet, proper, well-organized, and a perfect nanny on paper.

The role of Virginia, played by Wendy Craig, is a bit too neurotic and slightly over-acted. She is rather one-note as the fretting mother worried about her son. The character of the father is also a bit one-dimensional.

The Nanny is more of a classic thriller from the 1960s that is often lumped together with some of Bette Davis’s other films around the same period (Dead Ringer-1964, Hush, Hush, Sweet Charlotte-1964, and Whatever Happened to Baby Jane? -1966), and are in large part superior to The Nanny. As a stand-alone, it is a decent film.

1981 Films, David Naughton, Griffin Dunne, Horror, Horror-Comedy, Jenny Agutter, John Landis, John Woodvine

An American Werewolf in London-1981

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An American Werewolf in London-1981

Director John Landis

Starring David Naughton, Griffin Dunne

Scott’s Review #253

Reviewed July 2, 2015

Grade: B

A melding of British-American horror and comedy, An American Werewolf in London (1981) provides entertainment while also being a campy and silly.

While two American buddies, Jack and David, traverse the English countryside with backpacks in tow on a spring break jaunt of sorts, one is viciously attacked and killed by a strange werewolf, setting off a series of strange occurrences that play out over the remainder of the film.

From this point, the film is told from the perspective of one of the males, as the other appears to him in visions, warning him of his inevitable transformation into a werewolf.

An American Werewolf in London does not intend to mock the horror genre, but it is certainly campy and over-the-top.

Despite the cult-classic accolades thrust upon the film, which I respect, it is not among my favorites.

I would have preferred it to tilt more towards the horror classification rather than the comedy, because it comes across as some spoof, with the main characters overacting.

The film has a silly quality. It is light fare instead of dark or morbid, and even the kills are meant to be fun, not horrific. In a way, it is almost cheesy, and that is not a compliment.

This is not to say that the film is completely subpar. It is decent, but not very believable, and I think that is a distraction and a missed opportunity.

However, my favorite characteristics of this film are the makeup/special effects and the musical score, which features such fitting treats as “Moondance”, “Bad Moon Rising”, and “Blue Moon”.

Sense an intelligent theme? The makeup, especially during the reanimation sequences, is creative and still impressive today, considering the film was made in 1981.

Besides, the best scene of the film is undoubtedly the “Slaughtered Lamb” scene when Jack and David stumble upon the aptly named pub filled with interesting, blue-collar-looking locals.

When one of the tourists inquires about a mysterious five-pointed star on the wall, the pub dwellers grow angry and cold, leaving the young men confused and intrigued.

This scene is full of interest, and I only wish the pub characters had more of a chance to shine, as they seem benevolent and have potential backstory.

I would have enjoyed learning more about the history of these folks.

Sadly, the focus is by and large on Jack and David and a poorly constructed love interest- Nurse Alex Price, who is not to be taken at all seriously and played for one-dimensional laughs.

A lighthearted, sort-of fun late-night flick, An American Werewolf in London is a cult film, though I would not agree with the “cult classic” distinction.

Oscar Nominations: 1 win-Best Makeup (won)

2014 Films, Australian, Essie Davis, Horror, Jennifer Kent

The Babadook-2014

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The Babadook-2014

Director Jennifer Kent

Starring Essie Davis, Noah Wiseman 

Scott’s Review #247

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Reviewed June 14, 2015

Grade: B

The Babadook (2014) is an Australian (English language) psychological horror film that tells the story of a mysterious, haunted book, that torments its owner or owners.

Touted as one of the scariest films of 2014 I kindly beg to differ, though admittedly the film does contain some genuine frights and jumps.

What has happened to the horror genre where frightening films have not been made since the 1970s?

Exceptions like The Conjuring (2008) must be mentioned.

The Babadook attempts to be scary without CGI or any extravagant effects but has a classic feel.

Amelia, the mother in the story, has tragically lost her husband, Oskar, in a terrible car crash on the way to the hospital to give birth to her son Samuel. Now six years old, Samuel begins to exhibit signs of psychological problems as he becomes terrified of an imaginary monster.

After a child’s book, Mr. Babadook mysteriously appears in their home and Amelia reads it to Samuel, even stranger events occur throughout their house.

The film has remnants of The Sixth Sense (1999)- a loner, bullied kid is haunted and a disbelieving single Mom touting along as a ghost story or who is alive or dead questions are explored.

The father, Oskar, is instrumental in the storytelling. Because of this, the viewer is often confused throughout, but that is not necessarily a knock on The Babadook.

It is not exactly clear to me if Amelia is the central character or if that honor belongs to Samuel- the interesting part of the film is the relationship between mother and son.

The Babadook is a scary story. Can a book come to life and haunt? So says the film and that is worth thinking about.

In horror, there can be some ridiculous premise that is so unrealistic it cannot even be fathomed.

Where the film suffers in my view is that it is not that scary. Having something jump out at you or some other surprise is nice, but where is the terror? The exact motivations of the book also remain unclear.

I admire The Babadook for attempting to bring back old-school horror to modern audiences and telling a solid, haunting story.

However, the film did not quite measure up to the hype surrounding it.

The great film reviews are a bit much as I do not believe The Babadook (2014) is quite on the level of one of the scariest films ever made.

1974 Films, Adrienne Corri, British, British Horror, Horror, Horror-Camp, Jim Clark, Linda Hayden, Natasha Pyne, Peter Cushing, Robert Quarry, Vincent Price

Madhouse-1974

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Madhouse-1974

Director Jim Clark

Starring Vincent Price, Peter Cushing, Adrienne Corri

Scott’s Review #233

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Reviewed April 3, 2015

Grade: B-

Madhouse, a 1974 British horror film, stars horror icon Vincent Price, who portrays a sympathetic Hollywood actor who is unsure of his sanity after the grisly murder of his trophy fiancée, whom he may or may not have been responsible for murdering.

Mainly set in London, Madhouse also stars famed British actors in the latter stages of their careers, such as Peter Cushing, and is a treat for classic British horror fans.

The look of the film is stylistic and effective in the mood- the story, while silly, is also fun.

Paul Toombes (Price) is a renowned actor best known for his portrayal of Dr. Death in a successful film franchise. He seemingly has it all and is the envy of his contemporaries- wealth, notoriety, and a glamorous blonde fiancée named Ellen.

After Ellen is murdered by someone dressed as Dr. Death, Paul is unable to remember the circumstances or his whereabouts during the murder.

After spending years in a mental institution in a confused state, he is summoned to London to mount an acting comeback of sorts, reprising his Dr. Death alter-ego.

As the bodies begin to pile up, a whodunit commences- is Paul Toombes the killer, or is someone impersonating him?

The film itself is quite pleasing to a horror fan like me. The deaths, while silly, are fun and campy.

Mostly all female victims, a comical aspect is how the victims, when cornered by the killer, simply scream and stand there waiting to be sliced.

Wouldn’t they fight back in real life?

This film is certainly not realism at its finest, but it is a fun horror film. It is a bit exaggerated and over-the-top in a campy way, but it is also true to the 1970s style, with point-of-view scenes from the killer’s perspective.

A wonderful aspect of this film is the inclusion of real clips from old Vincent Price films (The Raven, The Pit and the Pendulum, and House of Usher), to name a few, featuring the deceased horror god Boris Karloff and Basil Rathbone.

Since the plot features Price as a former horror actor, this is a wonderful opportunity to showcase classic horror films from long ago, and it works perfectly.

I enjoyed the television scenes within the film plot as Paul revives his career and shoots a series for the BBC. The film chooses interesting, haunting sets, and Cushing’s character, Herbert Flay, and his zany wife reside in a spooky, vast mansion with eerie spiders that the wife is obsessed with.

The set pieces are great and very Halloween-like. And the spider-eating-flesh scene is excellent!

The tag team of Price and Cushing is fun to watch- both horror stalwarts connect well, and both actors play off of each other successfully.

They had a ball while making this film.

Towards the end of the film, the plot becomes confusing, and the big reveal of the killer’s identity and the surrounding motivations is a disappointment.

The conclusion to the film is silly and makes little sense, although that is secondary to a film of this genre that borders on camp.

Madhouse (1974) is an enjoyable midnight flick starring two of the classic horror genre’s top icons.

1973 Films, Arthur Lowe, British, British Horror, Charles Gray, Coral Browne, Dennis Price, Diana Dors, Diana Rigg, Douglas Hickox, Harry Andrews, Horror, Horror-Camp, Horror-Comedy, Ian Hendry, Jack Hawkins, Michael Hordern, Milo O'Shea, Robert Coote, Robert Morley, Vincent Price

Theatre of Blood-1973

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Theatre of Blood-1973

Director Douglas Hickox

Starring Vincent Price, Diana Rigg, Ian Hendry

Scott’s Review #230

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Reviewed March 23, 2015

Grade: B

Theatre of Blood (1973) stars Vincent Price, a long-time fixture in the classic/campy horror scene, as a demented Shakespearean theatre actor who enacts revenge on critics who fail to recognize him for a coveted award he cherishes.

Price, as always, frighteningly good, delivers a campy, but not ridiculous, turn as the crazed actor.

Price’s appearance alone- tall, wiry, with sinister facial expressions- poises him perfectly to believability in any dastardly role he portrayed in his heyday, and the performance he gives as Edward Lionheart is no exception.

Not solely a campy, melodramatic horror film, Theatre of Blood rises above that categorization with humorous tributes to Shakespeare and a unique chronicle of the Shakespearean works used to systematically take out the critics one by one, about the Shakespearean story, quite frankly, in a comical and witty way.

Price eerily dresses in many different elaborate costumes to commit the murders- a wine-tasting expert, a television host, among other interesting characters, and oftentimes, taunts his victims before permanently dispensing them.

The film is quite British in tone and humor, and is done in a tongue-in-cheek manner, so that the murders are not to be taken at all too seriously.

The critics themselves- seven or eight of them- are deliciously fun. One is a loud, boisterous, fat man who always has his beloved poodles at his side.

What happens to him and the dogs is better left unsaid.

Another is an uptight, sophisticated woman (played by Price’s real-life wife Coral Browne). Several of the critics are depicted as comic villains, so their demises are not particularly devastating for the audience, as they are, to begin with, rather unlikable.

I found myself rooting for Lionheart and looking forward to the next murder!

One criticism involves Diana Rigg, who plays Price’s daughter Edwina, accomplice to his dirty deeds. Well known for her starring role in On Her Majesty’s Secret Service and the 1960s Avengers series, Rigg has little substance to do in Theatre of Blood.

Perhaps by 1973, her film career was on the decline, and she was no longer winning the coveted roles. I would have loved to see her sink her teeth into a meatier role.

A sidekick, Edwina, could have done much more.

The film belongs to Price, and the unique storytelling of Shakespeare’s works was made possible only by this great actor.

Not overly serious and played for some laughs, Theatre of Blood (1973) is successful in its telling of an interesting British horror story.

It’s a nice late-night treat for fans of the British horror genre, especially.

2014 Films, Alfre Woodard, Annabelle Wallis, Gabriel Bateman, Gary Dauberman, Horror, James Wan, John R. Leonetti, Ward Horton

Annabelle-2014

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Annabelle-2014

Director John R. Leonetti

Starring Annabelle Wallis

Scott’s Review #186

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Reviewed October 17, 2014 

Grade: B+

Annabelle (2014) is a classic, edge-of-your-seat, ghost story that is effective in its creepiness and element of surprise.

Set in California circa 1969, John (Ward Horton) and Mia Gordon (Annabelle Wallis) are an all-American happy young couple.

He is a Doctor and she is beautiful and pregnant with their first child. They attend church each Sunday, are friendly with the neighbors, and have a strong sense of community.

As a surprise, John bestows a life-sized doll on Mia as a present and addition to her existing collection of interesting dolls. Soon strange events begin to occur: a home invasion, a fire, a bizarre experience in an elevator, and creepy drawings by the neighbor’s children.

The film eventually dives into murkier territory when a strange, religious woman, played by Alfre Woodard, is introduced, and the film then shifts focus to spirits, taking one’s soul, and the occult.

What sets Annabelle apart from similar horror contemporaries is the power of suspense. We as the audience know something bad will happen, but we don’t know when.

Unlike many horror films that slice and dice for shock value, Annabelle does not. Rather, foreshadowing and anticipation are common within the film, making the eventual jumps scarier!

Mia’s constant use of an electric sewing machine and Mia’s attentive watching news coverage of the Manson murders are clues as to what will come next.

A scene set in the middle of the night as a home invasion takes place next door is shot exceptionally well, like Alfred Hitchcock’s Rear Window (1955), with no dialogue. What the audience sees inside the house from across the yard as violence occurs- is frightening.

Within the same scene we know the home invasion will gravitate to Gordon’s house, but when will it strike?

Another effective scene shows a seemingly innocent little girl running towards another character in a separate bedroom but turns into a maniacal fiend and the foot thudding makes this terrifying.

I found myself genuinely scared during a few scenes!

Wisely choosing to avoid the all too frequent CGI effects, Annabelle instead goes the traditional route with genuine scares harvested from the unknown and the feeling of anticipation and dread of events to come.

The fantastic musical score composed by Joseph Bishara adds to the anticipation. Annabelle is a prequel to the equally scary The Conjuring (2013). The very first scene is, in fact, the same scene from that film where two nurses explain how they obtained the doll, named Annabelle, and cannot get away from her.

The final act delves into the spiritual world of evil- a soul (presumably Mia’s or her babies) must be sacrificed to relinquish the curse put upon her by Annabelle’s original owner.

A surprising figure aids in the conclusion of this film. Annabelle (2014) is an old-school horror film done very well.

2013 Films, Eric England, Horror, Independent, Independent Horror, LGBTQ+ Films, LGBTQ+ Horror, Najarra Townsend

Contracted-2013

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Contracted-2013

Director Eric England

Starring Najarra Townsend

Scott’s Review #184

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Reviewed October 12, 2014

Grade: B-

It seems that many reviewers of Contracted (2013) are looking for a deeper meaning to the film or debating whether a particular scene was a rape or a consensual sexual act.

I looked for neither and just took the 2013 independent horror film at face value. I do not view the film as particularly worth over-analyzing or delving too much beneath the surface.

The plot is rather basic. Samantha is a young woman on the outs with her girlfriend Nikki. She goes to a party where her friend Alice gets her drunk and Samantha winds up talking to a handsome stranger named BJ.

Samantha agrees to have sex with him in his car, but at one point begs him to stop. It is unclear what transpires.

The next morning Samantha wakes up feeling strange- she assumes she is hung-over, but gradually her hair, teeth, and fingernails begin to fall out and her eyes are hideously bloodshot.

Her symptoms slowly worsen as she transforms into a strange monster.

In the mix are supporting characters, Riley, who is in love with Samantha even though she is a lesbian and rebuffs all of his advances, and Samantha’s Mom, who is convinced that Samantha is using drugs again (which she is).

I did not find the film to be a metaphor for punishing women or lesbians for a one-night stand- I viewed it as a fun, Saturday late-night, horror flick.

If I were to dissect the film critically, the premise is rather absurd- a young woman turning into a zombie/monster after having sexual relations with a stranger.

Silly, but I am not expecting highbrow art from this type of film. The acting- especially of the actress portraying Samantha is below average at best- and horrid at worst.

The three central female characters (Samantha, Nikki, and Alice) are presumably all lesbians or bisexual, especially, Nikki, is irritated when a man dares to hit on her as if they should magically already know she is a lesbian.

The character of Nikki is very unlikeable- she seldom returns Samantha’s phone calls and continually pushes her away.

I did not buy any of the three as lesbians- not to be stereotypical, but they each had feminine only, qualities.

The way Samantha’s mother kept insisting that Samantha was on drugs became irritating by the fifth time she brought it up. Why did Riley pursue Samantha ad-nauseam when he was aware that she was a lesbian? What is BJ’s motivation for presumably giving Samantha a drug? She was already drunk enough to have sex with him- why did he want to turn her into a monster?

This plot point is unclear.

The film is not character-driven, is strictly plot-driven, and like most horror films, is meant to be that way. The finale of the film is quite satisfying as Samantha’s fate, along with her mother’s, is left up in the air.

The same cannot be said for Nikki or Alice as both receive their just desserts.

Contracted (2013) is not a masterpiece, but is a fun little horror film to be enjoyed. Just don’t ask too many questions.

2012 Films, Dario Argento, Horror, Horror-Camp, Marta Gastini, Rutger Hauer, Thomas Kretschmann

Argento’s Dracula-2012

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Argento’s Dracula-2012

Director Dario Argento

Starring Thomas Kretschmann, Marta Gastini

Scott’s Review #158

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Reviewed August 22, 2014

Grade: C-

As a huge fan of Dario Argento, his classic horror films such as Suspiria (1977) and Deep Red (1975) would surely land in my Top fifty of all time, not just in the horror genre, this film is a bit of a mess.

The story, as I understand it, involves a young man named Harker, who is hired by Count Dracula to work in his castle as a Librarian. His wife Mina arrives later in the story and is the focal point of the film from that point on.

Another female named Tania rises from the dead to seduce and bite Harker. Dracula intervenes and wants to claim Harker as his own. From this point on, Harker’s wife Mina attempts to look for her husband within the halls of Dracula’s castle.

The plot is difficult to keep track of, not compelling, and not one of Argento’s finest efforts.

An homage to Hammer horror films of the 1950s and 1960s, the film comes across as too campy, poorly performed, and some miscasts among the actors.

The actor who plays Count Dracula is not convincing and seems a strange choice for the part- too nice looking?

It feels like Argento did not know whether to make the film serious or go for being completely over the top. Since when can Dracula change forms into a grasshopper, owl, and other creatures besides a bat?

Other characters like the Priest were introduced for no other purpose than to be killed.

On the positive side, the art direction is amazing. The film is filled with creepy sets, especially inside the mansion, and has a distinct 1970s feel to it. The ambiance is highly effective at portraying a spooky, dark setting.

All in all, though, Argento’s Dracula (2012) is a disappointing experience, and much better films of the same subject matter have been covered in the past.

2013 Films, Alexandra Daddario, Gunnar Hansen, Horror, John Dugan, John Luessenhop, Marilyn Burns, Slasher

Texas Chainsaw 3D-2013

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Texas Chainsaw 3D-2013

Director John Luessenhop

Starring Alexandra Daddario, Dan Yeager

Scott’s Review #145

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Reviewed July 31, 2013

Grade: B-

If you are a horror buff (as I am) the reality that one must accept is that classic horror films will be remade or some incarnation of them will be made over time.

That is the harsh reality. They will never hold a candle to the originals. That is also a reality. One can either accept them for what they are or resist them.

Once again, another version of the classic 1974 Texas Chainsaw Massacre comes upon us.

It is present times (2013), and the main character, Heather (Daddario), takes a road trip with her friends to Texas to collect an inheritance from a long-lost Grandmother she has never known.

An interesting twist is the film begins where the original left off- the fact that sequels were made in between seems to be forgotten.

I enjoyed how the film picks up where the original left off and brings history to the story.

Unfortunately, the timeline makes no sense and is a complete impossibility- the heroine would chronologically be thirty-nine years old, but the character is in her early twenties.

In typical horror fashion, the characters are all one-dimensional (sex-starved), and a token minority is thrown in for good measure, which has become standard in modern horror.

The Texas police are portrayed as corrupt.

Happily, there are brief cameos by two original cast members (Gunnar Hansen and Marilyn Burns) from the 1974 version, which is a great touch.

Otherwise, this is a by-the-numbers modern horror film and quite forgettable, yet enjoyable for the ninety-minute length.

Texas Chainsaw 3D (2013) does not hold a candle to the original, but what would?

1981 Films, Betsy Baker, Bruce Campbell, Comedy, Dark Comedy, Ellen Sandweiss, Horror, Horror-Camp, Independent, Independent Horror, Richard DeManincor, Sam Raimi, Theresa Tilly

The Evil Dead-1981

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The Evil Dead-1981

Director Sam Raimi

Starring Bruce Campbell

Scott’s Review #144

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Reviewed July 31, 2014

Grade: B+

For its time, The Evil Dead (1981) was a unique, creative, visually impressive horror classic, far different from the wave of mediocre slasher films of the era.

In the story, five teenagers head to a remote cabin in Tennessee for spring break.

From the beginning of the trip, there is trouble: they are almost killed in a head-on collision, their car almost falls off a rickety bridge, and, finally, at the cabin, they stumble upon a haunted book.

From this point, even stranger events unfold, and the haunting, crazy action begins.

Director Sam Raimi does an excellent job from a visual standpoint- the camera racing through the woods from the demon’s point of view is very effective and scary.

The ambiance is creepy- fog, mist, smoke, and the lighting is great.

The film has all the elements- darkness, a remote cabin, and woods coming alive for a genuinely scary horror flick.

Yes, the film seems a bit campy to watch now, but at the time, the special effects were brilliant.

My personal favorite is the long shot of the twitching, dismembered body and the various, hysterically funny chattering and gibberish among the demons.

The ending of the film is very well done.

2008 Films, Gideon Raff, Gore, Horror, Thora Birch

Train-2008

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Train-2008

Director Gideon Raff

Starring Thora Birch

Scott’s Review #140

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Reviewed July 28, 2014

Grade: C-

Train (2008) is a horror, torture film that has very similar elements to Hostel (Americans alone in an eastern country- in this case, northern Russia) and plotted films that were all the rage at this time.

The premise is fairly interesting- the college wrestling team misses a train in northern Russia due to late-night partying and has to take another one where they are systematically accosted, tortured, and dismembered by a strange Russian gang and have their body parts implanted in needy people who are passengers on said train.

However, the film fails on many levels. The bottom line is the film is not very compelling. It is purely plot-centered and has no character development.

Who are the athletes? What do they care about?

In the horror genre, one can make the argument that who cares about the characters, but it would have been nice to have a little background on them.

Also with horror, suspension of disbelief is mandatory, and I can almost buy the villains legitimately doing the surgical transplants for money (one bad guy’s claims that they are torturing the athletes to help save people is silly), but why they rape and torture the athletes before removing their body parts is never explained.

The film has an incredible amount of plot holes- why is the wrestling team male and female? Why do they perform the transplants on a train? How can an eye transplant recipient need no recovery time before he can inexplicably walk around with perfect eyes?

The list goes on and on.

I will give props to the torture scenes, which are cringe-worthy in their gross-out aspect. I didn’t think Thora Birch was successful as the lead actress in the film- a shame since she had so much career promise in American Beauty in 1999.

Train (2008) is a pale retread of the Hostel franchise, but nowhere near as interesting.

2013 Films, Ethan Hawke, Horror, James DeMonaco, Lena Headey

The Purge-2013

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The Purge-2013

Director James DeMonaco

Starring Ethan Hawke, Lena Headey

Scott’s Review #128

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Reviewed July 23, 2014

Grade: A-

On paper, the premise of the film The Purge (2013) is very intriguing. It immediately caught my attention and I was compelled to see it.

The government, fed up with the overwhelming crime and prison overcrowding, decides to initiate a once-a-year purge, where anything goes.

It’s like Christmas for the criminals and the insane.

All emergency and police will shut down on this night and citizens are left to their own devices as a way to purge the violent and aggressive instincts from human systems.

An affluent family, led by a security systems genius (Ethan Hawke), nestles in their lavish home.

Of course, events go awry and chaos ensues.

The film contains suspense, thrills, frights, and a bit of humor, containing questions of class distinction and raises societal questions- Why are the wealthy better off than the poor? Do they deserve to be?

I enjoyed the setting of the wealthy, gated Los Angeles community and the eerily Stepford wife-like atmosphere of the neighborhood where housewives delivered casseroles and other dishes to each other for the big night.

Throughout this sunny environment, the viewer could sense a too-good-to-be-true cheerfulness and the darkness to follow anticipated as sunset emerged.

I found this film to be unpredictable and the edge of your seat and the film delved into a home invasion thriller, which was effective.

I could not predict what might happen next and that is incredibly entertaining.

I am unsure if some of the humor in the film was intentional or not- some of the kills were over the top and contained one-liners, but The Purge (2013) is a crisp, fun, summer popcorn horror film.

1984 Films, Barbara Howard, Bruce Mahler, Corey Feldman, Crispin Glover, Erich Anderson, Horror, Jason Voorhees, Joan Freeman, Joseph Zito, Kimberly Beck, Lawrence Monoson, Peter Barton, Slasher, Tom Savini

Friday the 13th: The Final Chapter-1984

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Friday the 13th: The Final Chapter-1984

Director Joseph Zito

Starring Kimberly Beck, Corey Feldman

Scott’s Review #125

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Reviewed July 21, 2014

Grade: B

Being the 4th chapter in the popular Friday the 13th saga, and the shameless marketing of this installment as being the final chapter, obviously a fib since the ending of the film sets up another sequel, I have a soft spot for this Friday the 13th sequel.

If I am being honest, with each viewing, I realize more and more it’s not nearly as good as the first three.

From a storyline and technical perspective, it is a crappy movie.

It now seems incredibly dated and of its time- the acting is mediocre at best, but fans of the franchise will love it.

It’s predictable, much like eating at McDonald’s, you know exactly what you will get, and that is fine for a certain audience.

A gathering of horny, pot, and beer-induced teens flock to Camp Crystal Lake for a weekend of revelry. Apparently not knowing, or caring, that dozens of other teens have been slaughtered there before, they begin their partying.

For horror fans, there is comfort in this film. We know the youths will be killed- we just don’t know how or when. That’s the fun and beauty of it.

Will someone be decapitated? Lose a limb? Will the murder weapon be an ax or a machete? Who will be the last remaining victim?

The introduction of the twins is a nice touch, and a very young Crispin Glover appears.

The addition of Corey Feldman to this one adds child feistiness. Otherwise, it’s pretty formulaic, and not much sets it apart from the others.

Fans of the franchise will love Friday the 13th: The Final Chapter (1984), all others stay away.

1985 Films, Carol Locatell, Corey Feldman, Danny Steinmann, Dick Warlock, Horror, Jason Voorhees, John Shepherd, Marco St. John, Melanie Kinnaman, Richard Young, Shavar Ross, Slasher, Tiffany Helm, Vernon Washington

Friday the 13th: Part V: A New Beginning-1985

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Friday the 13th: Part V: A New Beginning-1985

Director Danny Steinmann

Starring John Sheperd, Melanie Kinnaman

Scott’s Review #118

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Reviewed July 17, 2014

Grade: B

The fifth installment of the seemingly never-ending Friday the 13th franchise, Part V (1985), offers viewers a twist, one that sadly did not go over well with horror audiences.

Hardly high art and initially hated by me, I have grown fond a this film over the years after repeated viewings.

Originally, I was not crazy about the twist at the end of the film, but I now recognize that, for this type of film, it’s worth appreciating an attempt to do something different.

The lighting is brighter and more modern than its predecessor, Part IV, despite being made only a year later.

There is greater comedy in this one- the hillbillies are laugh-out-loud funny, and the waitress scene is howlingly awful in the acting department.

Most of the acting is atrocious and laughable, but a much-needed change of setting away from Camp Crystal Lake works and feels refreshing.

The final victim is, for a change, not a teenager, but a mature, intelligent young woman.

Released smack dab in the middle of the 1980s, the film has a jarring, dated look that doesn’t do it any favors when it comes to longevity.

The film cannot compare to the original or even the first three installments (the best, in my opinion), but it is more experimental than any of the others, which deserves some credit.

2013 Films, Andy Muschietti, Guillermo del Toro, Horror, Jessica Chastain

Mama-2013

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Mama-2013

Director Andres Muschietti

Starring Jessica Chastain

Scott’s Review #112

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Reviewed July 15, 2014

Grade: C

Mama is a horror film from 2013, surprisingly starring Jessica Chastain, who one might assume is too high-brow for horror given her recent Oscar nominations.

Mama tells the story of two little girls, involved in a car accident, who survive on their own for years until finally rescued and raised by Chastain.

This film had both positives and negatives.

The beginning sequence involving the girls’ troubled father and the drive through the countryside to the car wreck is realistically done and compelling.

The snow and the drifts have a picturesque and haunting beauty to them.

Throughout the film, some unique, effective visuals create a mysterious ambiance.

However, the primary negative of the film belongs to Chastain.

A top-notch actress, I did not for an instant buy her as a short-haired raven-dyed, rocker chick with tattoos and a tough-girl persona.

It did not work at all.

The story as a whole was convoluted and when the final credits rolled, made no sense to me at all.

As a whole, Mama (2013) was not scary (sadly rated PG-13) but had some nice moments.

2013 Films, Chloë Grace Moretz, Gabriella Wilde, Horror, Judy Greer, Julianne Moore, Kimberly Peirce, Portia Doubleday, Stephen King

Carrie- 2013

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Carrie-2013

Director Kimberly Peirce

Starring Chloe Grace Moretz, Julianne Moore

Scott’s Review #110

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Reviewed July 15, 2014

Grade: C-

Carrie is a 2013 remake of the classic 1976 horror masterpiece of the same name directed by Brian De Palma and adapted from the Stephen King novel.

Comparing the two is difficult since the original is brilliant. The remake of Carrie showed some potential in the first half as the set-up was developed and is overall only fairly entertaining.

Carrie White is a bullied, outcast teenager who has telekinetic powers. She can make things move, usually when angry.

Her mother, played by Julianne Moore, is a repressed Christian woman with issues about sex (among other things).

Following a cruel encounter in the locker room, one of the popular girls, feeling guilty, talks her boyfriend into taking Carrie to the prom.

Chloe Grace Moretz is okay as Carrie but hardly seems nerdy or homely enough to completely pull it off. She could easily have portrayed one of the popular girls.

Julianne Moore is too sympathetic an actress to be believable as the crazy Mrs. White so that doesn’t completely work either.

Finally, the actresses playing Sue Snell (Gabriella Wilde) and Chris (Portia Doubleday) should be reversed. Chris is a despicable character, comfortable as the queen bee, but Doubleday plays her as awkward and insecure.

Meanwhile, Wilde feels better suited to play a vicious, bitchy character.

So, there are issues with the casting.

In the original, the audience feels Carrie’s rage and cheers along with her revenge, but that does not happen in this version. There was not as much justification to warrant the revenge.

And since when did having telekinesis result in being able to fly?

Carrie circa 2013 is a pale imitation of the classic 1976 horror film, but I suppose not a complete dud either.

1987 Films, Cristina Marsillach, Daria Nicolodi, Dario Argento, Horror, Ian Charleson, International, International Horror, Italian, Italian Horror, Urbano Barberini

Opera-1987

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Opera-1987

Director Dario Argento

Starring Cristina Marsillach, Ian Charleson

Scott’s Review #104

Reviewed July 11, 2014

Grade: B+

Opera is a 1987 Italian horror film directed by Dario Argento.

The story revolves around a theatrical production of Giuseppe Verdi’s Italian opera, “Macbeth,” as the understudy takes on the lead role of Lady Macbeth after the star is hit by a car, and strange, horrific events begin to unfold.

The film contains traditional Argento elements- stylistic, extreme close-ups, and weird camera angles.

Members of the cast are systematically murdered as the killer forces the film’s heroine to watch- aided by a device which, if she blinks, sharp nails will go through her eyes.

The ending is killer- no pun intended. I love surprise endings in horror films, and this one was dynamite.

My main criticism of the film is the horrendous dubbing, which distracted me a great deal. It has a muffled, hard-to-hear quality to it and no subtitles.

I’d rather it had been available in Italian with English subtitles. The film needs to be upgraded to Blu-ray ASAP.

Another odd aspect of the film is the mixture of operatic and heavy metal music at each kill. It did not seem to fit the film at all.

Not Argento’s best- Suspiria (1977) and Deep Red (1975) have that honor, but it’s a very good, enjoyable cinematic horror film.

2013 Films, Horror, James Wan, John R. Leonetti, Lili Taylor, Patrick Wilson, Ron Livingston, Vera Farmiga

The Conjuring-2013

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The Conjuring-2013

Director James Wan

Starring Patrick Wilson, Vera Farmiga

Scott’s Review #102

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Reviewed July 10, 2014

Grade: A-

The Conjuring (2013) is one of the best horror films I have seen in recent years.

It tells the story of Ed and Lorraine Warren, played by Vera Farmiga and Patrick Wilson respectively, who are paranormal investigators and come to the aid of a haunted farm family, the Perrons, led by Ron Livingston and Lili Taylor.

The film is set in Rhode Island, circa 1971, and is loosely based on true events. Typically in modern horror films, one is treated to a) gore or b) attempted scares that are seen a mile away.

The Conjuring is a classic ghost story with genuine frights. A big difference from other standard horror films is that the audience cares about the characters. One believes they are a family being terrorized by demons and sympathizes with them.

The phrase “based on a true story” is meaningless.

Who cares? It’s a scary film with likable characters.

Vera Farmiga and Patrick Wilson are the standouts for me as well as one refreshing child actor who can act without the cutesy-ness or overacting too often found in child actors today.

The costume/set designers do an excellent job as the film has a genuine early 1970’s look which was tremendously effective.

The Conjuring (2013) is an eerie, frightening, jump-out-of-your-seat, fun time.

1963 Films, Connie Mason, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror, William Kerwin

Blood Feast-1963

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Blood Feast-1963

Director H.G.Lewis

Starring Thomas Wood, Connie Mason

Scott’s Review #100

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Reviewed July 10, 2014

Grade: B-

Blood Feast (1963) is the debut film by horror master H.G. Lewis, who invented the gore genre.

The film is simplistic and makes his later films almost seem a big budget.

This film is not meant to be taken seriously. Anyone who does is completely missing the point. It is exploitation but completely over-the-top, with wooden performances for laughs, specifically by Connie Mason, who stinks.

The story involves a demented caterer hired by a mother to cater an Egyptian-themed dinner party. He uses genuine body parts to complete the meal, is obsessed with some silly curse, and owns a female Egyptian statue that talks to him.

The kills are laughing out loud in their basic shock value, and all the victims are women.

One victim’s tongue is torn out, as another is whipped to death, which, in a more modern film like Saw (2004), would be horrific. But the kills are so comedic, and the gore blood so amateurish that the audience cannot help but chuckle.

The highlight for me was the intentionally (let’s hope) horrendous acting by all involved.

I prefer H.G. Lewis’s later films, but Blood Feast (1963) is a blueprint and a nice introduction.

1979 Films, Harry Dean Stanton, Horror, Ian Holm, John Hurt, Ridley Scott, Science Fiction, Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Walter Hill, Yaphet Kotto

Alien-1979

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Alien-1979

Director Ridley Scott

Starring Tom Skerritt, Sigourney Weaver

Scott’s Review #94

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Reviewed July 5, 2014

Grade: A-

Alien is a science-fiction success from 1979 that began a long-running franchise and made Sigourney Weaver a household name.

It has the brilliant direction of Ridley Scott, who sets up the atmosphere and camera angles perfectly.

Arguably, in both the horror and science fiction genres, the film is riveting from start to finish.

Weaver stars as Warrant Officer Ellen Ripley, a member of a spaceship returning to Earth. The ship picks up a distress signal and is ordered to investigate. They discover an alien existence.

From this point, the film certainly has a horror element, as the members of the doomed spacecraft are knocked off one by one in a pure horror fashion, but the brilliant part is that you do not know when or how, and many of the deaths come out of nowhere.

The captivating visual effects in this film elevate it, and the narrow spacecraft tunnels and hallways are stunning.

The villain of the film, the alien, is masterful as it is mysterious to the audience. The fact that it is only sporadically seen only adds to the tension.

Alien (1979) is a memorable classic that ranks high on the sci-fi genre list of excellent films.

Oscar Nominations: 1 win-Best Art Direction, Best Visual Effects (won)

2013 Films, Crystal Reed, Holt McCallany, Horror, Lucas Till, Malik Bader, Sarah Bolger, Thriller

Crush-2013

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Crush-2013

Director Malik Bader

Starring Lucas Till, Sarah Bolger

Scott’s Review #87

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Reviewed July 2, 2014

Grade: C-

Crush (2013) tells a story that has been told since almost the beginning of cinematic history, that of the stalker.

It’s a teen stalker film similar to  Swimfan (2002) and The Roommate (2011), which I admit to having seen and enjoyed as guilty pleasures.

A teen soccer jock injures his knee and decides to break up with his girlfriend to focus on rehab. From this point, someone begins to stalk him and leave secret admirer notes.

Several red herrings ensue and a twist is contained in the final thirty minutes that, unfortunately, if one bothers to look at the cover art on the DVD, the stalker is revealed.

This particular genre is a guilty pleasure of mine so it’s tough to be completely objective.

On the surface Crush is a terrible movie- it is by the numbers, no character development, but just plain old fun.

I suppose it is loosely a remake of the Alicia Silverstone film from the 1990s.

In any event, the appeal (good or bad) was that the filmmakers played this film seriously instead of fessing up to a poor script and playing it for laughs.

The acting is awful, the teen outcasts look like they could easily be the popular kids and made up to appear nerdy, and the film has a Hallmark television movie of the week badness.

But in a goofy, trashy way I enjoyed Crush (2013).