Category Archives: Horror

1982 Films, Horror, John Carpenter, Maidie Norman, Nancy Loomis, Slasher, Tom Atkins

Halloween III: Season of the Witch-1982

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Halloween III: Season of the Witch-1982

Director Tommy Lee Wallace

Starring Tom Atkins, Stacey Nelkins

Scott’s Review #506

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Reviewed November 1, 2016

Grade: B

Halloween III: Season of the Witch was met with much disdain when it was released in 1982- a mere one year following the very successful Halloween II- the sequel to the iconic Halloween (1978).

Fans (and critics) expecting a third chapter in the maniac-wielding Michael Myers saga were sorely disappointed and perplexed at what they were “treated” to.

After all, the title is billed as “III”. Therefore, the film was met with disapproval.

This film is not even in the slasher genre although I’ll categorize it as such for name recognition alone- more of a science fiction meets Twilight Zone.

Years later, this film would be heralded as a not-so-bad offering from a stand-alone film perspective. A different title might have been wise but at the risk of being a forgotten film.

I agree with the sentiment-it’s not a fantastic film- the plot is far from its strong suit, but a brave film and one that has aged well.

The franchise creators (John Carpenter and Debra Hill) had hoped to create an anthology-type film series with different chapters all surrounding the holiday of Halloween. This was not to be and Michael Myers would return for the fourth installment.

Director Tommy Lee Wallace was also affiliated with the original Halloween.

The story begins a week before Halloween (reaching a crescendo on Halloween) as shop owner, Harry Grimbridge runs along a highway in northern California, panicked and fleeing from corporate-looking men in business suits- he clutches a Halloween mask.

Finally rushed to the hospital by a stranger, he is killed by one of the businessmen, who then sets himself on fire.

Grimbridge manages to tell Dr. Dan Challis that “They’re going to kill us.” Challis and Grimbridge’s daughter, Ellie, mount an investigation to solve the mystery of her father’s demise.

Naturally, a romance ensues between the pair.

The film, while not a stinker, does have some issues. The corporate greed that we realize exists by the villain, Cochran, the founder of a company producing Halloween masks and responsible for the prosperity of a town is silly.

Even more perplexing are his motivations- he plans to sacrifice children wearing the masks to honor some ancient witchcraft- huh?

He creates androids as his henchmen and airs creepy television commercials to release a signal- and there are strange bugs that emerge from the masks, thereby killing the mask wearers.

The story is ludicrous.

Other gripes involve no chemistry between leads Tom Atkins and Stacey Nelkin, and the shameful waste of actress Nancy Loomis’s (Annie Brackett from Halloween) time and talents as she is reduced to a one-scene appearance as nagging and haggard-looking, ex-wife of Challis.

She deserved better and would have been perfect in the lead female role. The fact that Loomis was married to director Wallace makes this even more surprising- they were later divorced.

The negative attributes listed above would make one think that I detested this film, but somehow it is compelling in its own right.

The musical score is one highlight of Halloween III. Techie and new-wave-ish, it does wonders at portraying peril and creepiness- especially where the male androids are concerned.

And the sing-along jingle to the tune of the classic children’s song, “London Bridge is Falling”, encouraging children to buy the masks, is superb.

Though the story does not work- the subject does contain a throwback to science fiction films of yesteryear- most notably, highly resembling Invasion of the Body Snatchers in its eeriness and mystique, which renders the film appealing.

In the end, a character we do not suspect is revealed to be an android spinning the plot into a fun finale.

Halloween III: Season of the Witch (1982) is flawed, but becomes a bit of an acquired taste- appreciated a bit more over the years- if for no other reason than going against the grain and trying to be something different and creative.

The story fails, but other little nuances succeed immeasurably.

1981 Films, Charles Cyphers, Donald Pleasance, Horror, Jamie Lee Curtis, John Carpenter, Michael Meyers, Nancy Loomis, Nancy Stephens, Slasher

Halloween II-1981

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Halloween II-1981

Director Rick Rosenthal

Starring Jamie Lee Curtis, Donald Pleasence

Scott’s Review #505

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Reviewed October 31, 2016

Grade: A

The follow-up to the surprise 1978 cult classic, independently made Halloween- directed by legend John Carpenter,  Halloween II (1981) was made in 1981.

In real life, it is three years later, but the film, picks up immediately where the original left off in a chronological sense- the infamous night Michael Myers came home to brutalize the town where he killed his sister years earlier.

This is an excellent plot point that makes this film successful as it takes the viewer immediately back to that infamous night.

Halloween II is one of my favorite film sequels.

Despite not directing Halloween II, John Carpenter, along with Debra Hill, both wrote the script so that they are, thankfully, heavily involved in the production, giving it authenticity and familiarity.

So much so that Halloween and Halloween II can be watched back to back- like one long film.

Michael Myers’s path of destruction continues in the sleepy, suburban town of Haddonfield, Illinois. This point looms large in this fantastic sequel and we are treated to a direct transition from original to sequel.

The events switch from babysitter territory to the community hospital as new characters- mostly doctors, nurses, and ambulance people are introduced to the story, Laurie’s friends are sadly deceased.

Laurie Strode (Jamie Lee Curtis) and Doctor Loomis (Donald Pleasence) are the main stars of the film and by the climax take center stage.

As a recap- the determined Loomis shot Michael Myers several times as he tumbled off of a balcony to his presumed death. Spectacularly, the original Halloween brilliantly set the stage for a sequel, as Myers survives and disappears into the night-whereabouts unknown.

Now hours later, Laurie is transported to Haddonfield Hospital for treatment.  While there, the hospital staff do their best to protect her but are subsequently offed one by one by the crazed killer, who finds his way into the (conveniently!) deserted hospital.

The great quality of Halloween II is that it is gorier than its predecessor. More characters are sliced and diced in an unceremoniously brutal fashion.

One has her blood drained, another is stabbed in the eye with a syringe. Yet another is repeatedly dunked into scalding water. And then there is the traditional knife in the back.

In contrast to many other slasher films, the supporting cast of characters are quite likable and they are given little backstories of their own- a great touch. Bud- the wise-cracking ambulance driver is dating Nurse Karen. Jimmy, a handsome orderly, takes a shine to Laurie.

Mixed in with the heavy horror are nice comic moments, such as when Nurse Janet ineptly tries to assist the hospital security guard- the bumbling Mr. Garrett, with a walkie-talkie, or when Head Nurse Mrs. Alves scolds the staff for being tardy.

We grow to care for these characters, in their little night-shift family, so that their inevitable demises hit home.

The chilling music- so instrumental to the success of the original- is slightly modernized into more of a keyboard-style sound. This gives a slicker, more commercial appeal.

Not to take away from the brilliance of the original score, but it is nice to hear a change- giving a fresher, more contemporary sound, rather than simply copying the same music.

Admittedly, Halloween II (1981) is not quite on par with Halloween, but that is asking the impossible. Halloween is a masterpiece, but Halloween II holds its own and is more than adequate as a sequel having large shoes to fill.

Thanks to many of the same creators involved, it does not lose its edge or its relevance all these years later.

1998 Films, Adam Arkin, Horror, Jamie Lee Curtis, Janet Leigh, Joseph Gordon-Levitt, Josh Hartnett, LisaGay Hamilton, LL Cool J, Michael Meyers, Michelle Williams, Nancy Stephens, Patrick Lussier, Slasher, Steve Miner

Halloween: H2O-1998

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Halloween: H2O-1998

Director Steve Miner

Starring Jamie Lee Curtis, Adam Arkin

Scott’s Review #504

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Reviewed October 30, 2016

Grade: B

Halloween: H2O is the seventh installment of the Halloween franchise, though only associated story-wise with Halloween and Halloween II.

Made in 1998, the film capitalized on the twentieth anniversary of the original classic horror film.

To measure up to that masterpiece would be an impossibility, but the film is not bad on its own merits and nice odes to the past are peppered into the story making for a film franchise pleaser.

Jamie Lee Curtis returns to the role that made her famous.

Before we are even re-introduced to Curtis’s character, we are treated to a nostalgic scene involving chain-smoking Nurse Marion Chambers (Nancy Stephens) from parts I and II. Her house is vandalized by Michael Myers as he steals a file she has kept on Laurie Strode.

How nice to see this character back in the fray- though her screen time is limited. She is pivotal to the kick-off of the new story.

Laurie (Curtis) has faked her death and is now living life anew in California- running a prep school as its headmistress. Her son John (Josh Hartnett) attends the school and her boyfriend Will (Adam Arkin) teaches there.

John’s girlfriend Molly (Michelle Williams), a poetic security guard (LL Cool J), and a dizzy secretary, Mrs. Watson,(Janet Leigh) round out the cast.

For the past twenty years, Laurie has been troubled by the notion of Michael Myers returning to kill her, and her fears come to fruition. The film has an interesting slant- no longer is Laurie the victim, cowering in cars and corners. Now, she is intent on exacting her revenge on Michael- her brother.

She wants this long chapter in her life to finally close.

What nods to history this film contains!  And that is the best part of it. Otherwise, without the history, it would be a run-of-the-mill slasher film.

Besides the obvious Michael/Laurie connection, what a treat to see Jamie Lee Curtis’s real-life mother (and original scream queen herself), Janet Leigh.

Furthermore, her character’s car is the exact make and model, and the same license plate, from the 1960s Psycho, in which she starred- a brilliant treat for horror and classic film fans.

The film also uses some impressive stylistic choices- the use of mirrors and reflections are used successfully, as well as events occurring in the background- seen by the audience, but not the other characters are well used.

Halloween: H2O contains several young, up-and-coming stars, who, years later, would be big stars (Hartnett, Williams, and a very young Joseph Gordon-Levitt). Who knew these talents got their start in one of the greatest horror franchises?

Let’s be clear- Halloween: H2O (1998) is not a masterpiece- far from it. The horror clichés run rampant- the silly, supporting characters (friends of John and Molly’s) eager to drink and party and meant for comic relief, in addition to the LL Cool J character.

These characters are stock types.

Predictably, we more than once think that Michael Myers is finally dead- only to resurface- perfectly timed to the plot.

The inevitable standoff between Laurie and Michael Myers is well done and a satisfying conclusion to a fantastic franchise. Laurie gets her revenge while Myers dramatically gets his just desserts.

1986 Films, Amy Steel, Comedy, Dark Comedy, Horror, Slasher

April Fool’s Day-1986

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April Fool’s Day-1986

Director Fred Walton

Starring Amy Steel, Jay Baker

Scott’s Review #498

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Reviewed October 24, 2016

Grade: B-

Emerging at the tail end of the late 1970s and early 1980s slasher film craze that encompassed that period in cinema (for better or worse), April Fool’s Day (1986) capitalized on the “holiday theme” marketing tool that escalated Halloween and Black Christmas to superstar ranks.

Unfortunately, for this film, it is not a traditional horror flick, in that it has plenty of comic elements, but also contains the standard slasher characteristics, thereby making it a blockbuster failure.

It does not know what its identity truly is.

From a story perspective, the film has one great twist but otherwise suffers from mediocre writing and unmemorable characters that nobody cares about.

We are treated to an ensemble of actors, most of the unknown variety, except for horror maven Amy Steel, (Friday the 13th Part 2), who portrays Kit, arguably the most relatable of the female characters.

A clever facet, weaved by director Fred Walton, is the casting of eight principals in April Fool’s Day, all with similar amounts of screen time, rather than one obvious “final girl” surrounded by minor characters, who we know will be offed.

The set-up is all too familiar in the slasher genre- the group of college-aged kids escapes mundane life for a spring break weekend getaway at their wealthy classmates, Muffy St. John’s, island estate.

Conveniently, her family is away- leaving the friends to have the run of the mansion, with a dinner party as part of the plan. Even more convenient is that the ferry the group takes does not run on weekends, so once they are dropped off at the island, they stay until Monday.

This sense of foreshadowing gets the anticipated peril and dread going.

We also sense that there is something very off with Muffy- despite being everyone’s friend. When Muffy finds a jack-in-the-box stored in her attic and has a childhood recollection, we know this is the set-up to the mystery.

Is she mentally unstable? Is someone out to get Muffy for a childhood prank or event that once occurred?

Since it is April Fool’s Day weekend, the groups spend most of the film playing pranks and amateurish jokes on each other (a whoopee cushion, an exploding cigar), mixed with a dash of intrigue- someone is leaving trails of history as part of the jokes.

One girl had an abortion, so the prankster leaves an audiotape of a baby crying. In another room, heroin paraphernalia is left for someone with a former drug habit.

Slowly, one by one, the college kids disappear, but is it just a hoax? Or is the hoax just a hoax?

The final twenty minutes or so is really the main reason to watch this film. As Kit and boyfriend Rob is the last remaining “alive” there is suddenly a startling twist that changes the entire dynamic of the film- in one moment everything the audience thinks of the story is turned upside down-this is wise writing, but comes too late in the game.

Sadly, some parts of the film are downright silly and most of the characters are of the stock variety- the flirtatious blonde, the obnoxious jocks, the stuck-up preppy, which ruins the creative twist that is aforementioned.

With glimpses of genius and striving for something more clever than the standard, run-of-the-mill 1980s horror film, April Fool’s Day (1986) has some potential but ultimately winds up with something missing.

2010 Films, Horror, Sarah Butler, Steven R. Monroe

I Spit on Your Grave-2010

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I Spit on Your Grave-2010

Director Steven R. Monroe

Starring Sarah Butler

Scott’s Review #492

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Reviewed October 9, 2016

Grade: B+

Too often in the horror genre, remakes of classic or cult classic gems are spewed out with high hopes, but of little worth, and more often than not, quickly forgotten, fading into oblivion.

This is not the case with I Spit on Your Grave.

I Spit on Your Grave is a 2010 remake of the original film from 1978 and is just as disturbing. Having seen the original and being shocked at the content, I did not expect the same of the re-telling.

Much to my surprise, this version contains the same intensity and is fraught with brutality- however, not in an unnecessary way.

The film tells the story of a young writer who leaves the hustle and bustle of New York City for a couple of months of relaxation in the country to work on a novel she is writing.

While there, she is brutally raped by a bunch of local men.

As terrible as this is, the victim then exacts revenge on all of them, one by one, which is the real crux of the story and we cheer on her (just as brutal) vengeance.

The rape scenes are quite intense and difficult to watch, but necessary, as the viewer wants the perpetrators tortured and maimed…which they are.

This film is for horror fans who like it brutal.

2014 Films, Cameron Monaghan, Claire Foy, Comedy, Fantasy, Gabriel Byrne, Horror, Horror-Comedy, Lucy Fry, Mark Waters, Sarah Hyland, Zoey Deutch

Vampire Academy-2014

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Vampire Academy-2014

Director Mark Waters

Starring Zoey Deutch

Scott’s Review #482

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Reviewed September 18, 2016

Grade: C

Vampire Academy (2014) is a teenage intended mixture of Harry Potter meets Heathers meets Twilight. It is escapist fare and is quite light, but rather fun in an amateurish way.

I am certain the target audience is of the teenage, female persuasion, but when traveling one can be limited in film options.

Hence, on a chilly night in Norway, this film kept us occupied.

The story features a half-human-half vampire named Rose, a teenage girl, who aspires to be a guardian, and who is called back to a boarding school to uncover a hierarchical web of secrets, lies, and plots.

She is accompanied by her best friend Lissa.

Predictably, there is a romantic angle to the story as Rose has feelings for Dimitri, a fellow guardian.

The film itself is fine- it knows the demographic it is going for and young adults are sure to enjoy the compelling drama, likable leads, and attractive cast.

From a film critique standpoint, there is nothing wrong with the film, but it is a bit generic and slightly predictable- from the romantic perspective, though impressively the ending is a bit of a surprise and a whodunit.

Impressive also is Sarah Hyland (Modern Family), as nerdy classmate Natalie, who seems to be the brains and the keeper of gossip throughout the academy.

The role is against type for the young actress and she does very well.

It is tough not to compare this film to the Harry Potter series of films since many aspects of Vampire Academy mirror Harry Potter- only with a female in the driver’s seat. The mysterious teachers and characters are also reminiscent of the fantastical Harry elements.

Unfortunately, a planned sequel was scrapped due to a lack of interest, which surprised me. I would anticipate a film like this to be a hit and perhaps introduce a franchise, but not to be.

An adequate young adult film that borrows from other films and also harkens back to the days of teen-minded genres of the past, specifically the 1980’s.

2016 Films, Horror

Holidays-2016

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Holidays-2016

Director-Anthony Scott Burns, Miscellaneous

Starring-Jocelin Donohue, Sophie Traub

Scott’s Review #460

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Reviewed August 7, 2016

Grade: A-

While perusing my Netflix streaming new releases options, I stumbled upon an intriguing choice with an interesting premise.

Eight varying horror vignettes all set in a holiday theme, aptly named Holidays. The description of the stories harkens back to the days of the beloved Showtime Masters of Horrors series that featured macabre horror shorts.

Not all eight offerings are spectacular, but the ones that stand out are dynamic if not downright creepy.

Set in chronological order, Holidays begins with a story centered on Valentine’s Day- a clear homage to the horror classic Carrie.

A taunted female teenager nicknamed “Maxi-Pad” by her cruel nemesis is encouraged to dive into the high school pool by her male coach to retrieve a brick, presumably to conquer her fear of swimming or water. The coach, who Maxi is in love with, requires a heart transplant, so Maxi goes to morbid lengths to assist him and exact revenge on her tormentor.

In Father’s Day, a young female teacher receives a mysterious cassette tape from her long-estranged father, leading her on an adventure in an abandoned area, in an attempt to now locate her father, wonderfully voiced by actor Michael Gross. The voice tones and static sound of the audiotape lend a great deal to the intrigue and suspense of the story.

Along with the Valentine’s Day story, the Christmas and New Year’s Eve segments are my personal favorites as each is exceptional and creative.

On Christmas Eve, a young father attempts to buy the last virtual reality device for his son, but when he leaves a stranger to die to obtain it, he becomes haunted by the device.

On New Year’s Eve, a male serial killer looks for his next victim, a lonely woman desperate for an online date, but once they return to her house for sex, who becomes the hunter, and who becomes the victim?

Other holidays featured in either too bizarre to make perfect sense or less compelling stories, but still worth mentioning, are St. Patrick’s day, Easter, Mother’s Day, and Halloween.

I adore the holiday theme that this film cleverly features and the wonder of which holiday will come next and exactly how it will be incorporated into the story is wonderful fun.

Specifically, the Christmas story reminds me of a classic Twilight Zone episode in which betraying an unknown stranger for personal gain leads to guilt and conflict for the main character.

A few of the stories focus on the traditions of the featured holidays, like the legendary snakes of St. Patrick’s day or the resurrection of Jesus on Easter Sunday, as a frightened young girl becomes terrified of the folklore involved.

This is incorporated with the legend of the Easter bunny delivering candy as the confused girl cannot separate fairy tales from reality, which makes me wonder if the director’s point was to question the silliness of religion if one were to dissect it enough.

Other themes are revenge as in the Halloween and Valentine’s Day episodes.  Both features bullying in one way or another, each getting their due in the end.

I wish more anthologies like Holidays were made as it was a fascinating, late-night joy to watch this feature.

2012 Films, Horror, Jessica Biel, Pascal Laugier, Thriller

The Tall Man-2012

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The Tall Man-2012

Director Pascal Laugier

Starring Jessica Biel

Scott’s Review #457

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Reviewed July 30, 2016

Grade: B-

The Tall Man (2012) is a cross between a horror/thriller/message movie that stars Jessica Biel as a nurse named Julia Denning, who lives in rural Washington. The town children begin disappearing and are abducted by a mysterious creature named “The Tall Man”.

Is he a legend or a reality? When Julia’s son is the next victim, she sets out to solve the mystery.

The aging mining town of Cold Rock is the setting for the events of the film and it is perfect, containing all the necessary elements: the remote, secluded location, and the various creepy townspeople.

Additionally, The Tall Man has an interesting premise, and the ending is somewhat of a surprise, though rushed, so it’s an interesting experience.

The plot is so far-fetched and convoluted at times that it is tough to follow and take seriously.

I am not a fan of Jessica Biel’s and I find her acting to be subpar, but she is adequate in her starring turn and gives a compelling performance as a haggard mom.

Given the actress’s good looks, I didn’t buy her as a blue-collar, small-town type.

Throughout the film, I found something missing, but could not put my finger on it.

A decent thriller, but nothing more.

2012 Films, Animated, Catherine O'Hara, Comedy, Conchata Ferrell, Disney, Horror, Horror-Comedy, Martin Landau, Martin Short, Tim Burton, Winona Ryder

Frankenweenie-2012

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Frankenweenie-2012

Director Tim Burton

Starring Catherine O’Hara, Martin Short

Scott’s Review #454

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Reviewed July 23, 2016

Grade: B

Frankenweenie is a very creative Tim Burton-made, stop-motion film that received a nomination for Best Animated Feature at the 2012 Oscars.

On the dark side, it is a pleasure to watch for the thought-invoked and left-of-center approach as compared to many safe modern animated features.

The story revolves around a lonely young man who experiments on his recently deceased dog to bring him back to life.

It is a black and white film, has nice horror references (Frankenstein, Bride of Frankenstein) and interesting characters.

It is also heartwarming as the child’s love for the dog is evident.

The movie is easy to compare to 2012’s ParaNorman in multiple ways (lonely male teen, both dark films).

As much as I give major props to this film for the creativity involved, somehow it did not completely connect with me (I liked ParaNorman better) and I’m not sure why, but I have great respect for the creative achievements it encompasses.

Oscar Nominations: Best Animated Feature Film

2012 Films, Animated, Anna Kendrick, Casey Affleck, Chris Butler, Comedy, Elaine Stritch, Horror, Horror-Comedy, John Goodman, Kodi Smit-McPhee, Leslie Mann, Sam Fell

ParaNorman-2012

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ParaNorman-2012

Director Chris Butler, Sam Fell

Starring Kodi Smit-McPhee, Anna Kendrick

Scott’s Review #453

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Reviewed July 23, 2016

Grade: B+

ParaNorman (2012) is a highly imaginative and very enjoyable, animated film that I admired a great deal.

Creative colors and images are key and the film is stop-motion.

Despite being animated it is not a kid’s movie but rather geared toward the teenager or older demographic.

It is among the strongest, along with Frankenweenie, a similar type film, of the five nominated films for Best Animated feature, in the year 2012.

ParaNorman is so similar to Frankenweenie that they could almost be simultaneously reviewed or watched on the same day.  Both center around an isolated young male coping with his surroundings and both contain a light horror feel to them.

In ParaNorman, an army of zombies invades a small, suburban town, and our hero, Norman, a strange young man who can communicate with the dead, must save the day.

The film contains sympathetic peers, but the adults in the film present various obstacles.

I have gone on record as being not much of an animated film fan, but I do view the best of each year and this one impressed me immensely.

Oscar Nominations: Best Animated Feature Film

2016 Films, Anya Taylor-Joy, Horror, Independent, Independent Horror, Ralph Ineson

The Witch-2016

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The Witch-2016

Director-Robert Eggers

Starring-Anya Taylor Joy, Ralph Ineson

Scott’s Review #446

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Reviewed July 7, 2016

Grade: B+

The Witch is a slow-build 2016 horror film that plods with sinister wickedness and left this viewer thinking well beyond the credits.

Is it a message movie?

Good versus evil and containing a definite religious umbrella encompassing the entire film, it is god against the devil, and guess which one wins out? To be transparent, this film will undoubtedly offend the staunch religious.

Set in 1600’s New England and entitled- “The Witch- A New England Folktale”, we meet a Puritan family banished from the village they inhabit.

They are forced to begin a life on their own and build a farm struggling to survive by selling family heirlooms in secret. William and Katherine are the parents, followed by a teenage daughter, Thomasin, son Caleb, and youngsters, Mercy and Jonas.

Their recent addition to the family, Samuel, is snatched by a mysterious creature appearing in the shape of a witch. We only see her draped in red as she sneaks into the woods holding the infant.

From the families perspective, they know not who (or what) has taken Samuel) and they tell themselves that it was a wolf, but soon they are not so convinced and Thomasin is assumed to be a witch.

I adore how this film is not set in modern times, undoubtedly a turn-off for some viewers. The thick English dialect is almost Shakespearean at times and challenging to follow at others, but rich in the culture at the same time.

The period is unsettling for some reason as is the absolute purity of the family- too good to be true? Much of the film is shot in the daytime- unlike many horror films- and this adds to the tension- combined with the creepy musical score- strings are used.

At one hour and thirty-two minutes, the very short film feels longer- it truly does move at a snail’s pace, but the final act makes up for this as something all along told me it would. It simply has a creepy feel to it and nightmarish events occur at the finale of the film.

Some of The Witch is open to interpretation. At times I suspected one family member or another of perhaps being evil, but the film is not that straightforward and some complexities arise.

For instance, do spirits possess animals? When Thomasin milks a goat and blood runs out is this supposed to represent female menstruation?

A thinking man’s horror film, which is refreshing within the horror genre or any other genre for that matter, The Witch is unorthodox and thought-provoking, which makes it a winner in my book.

Independent Spirit Award Nominations: Best First Screenplay (won), Best First Feature (won)

2005 Films, Horror, John Carpenter, Lowest Rated Films, Selma Blair

The Fog-2005

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The Fog-2005

Director Rupert Wainwright

Starring Tom Welling, Maggie Grace

Scott’s Review #444

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Reviewed July 4, 2016

Grade: D

The Fog is a 2005 remake of the original The Fog from 1980 and it is overall not very good. It sucks.

Why original creators John Carpenter and Debra Hill had anything to do with it is completely beyond me unless they needed some fast cash. It is so modernized that it loses the mystique that the original had.

The credit that it does deserve is for a few good scares and keeping with the same characters as the original had. Otherwise, it is largely a disaster.

For starters, the ending is completely changed from the original and contains some ridiculous, silly fantasy elements that simply do not work at all.

An interesting actress in the television series Lost (2004-2010), Maggie Grace, attempting to embark on a film career, is wooden and one-dimensional.

There is no good acting in the entire movie. Not that I expect great acting in a horror film, but it just adds to the mess of storytelling and writing.

A big fail.

2012 Films, Elisabeth Shue, Horror, Jennifer Lawrence, Mark Tonderai, Thriller

House at the End of the Street-2012

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House at the End of the Street-2012

Director Mark Tonderai

Starring Jennifer Lawrence, Elisabeth Shue

Scott’s Review #438

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Reviewed July 2, 2016

Grade: B

House at the End of the Street (2012) is a perfect example of a horror/thriller film that has excellent effects and great potential, but the storytelling brings it down.

It is also a film starring Jennifer Lawrence before she was the Oscar-winning star. Her performance is an adequate effort, and she does what she can in the lead role.

Lawrence is likable in this role and is the clear hero of the film.

The film itself looks great. It has all of the necessary horror elements: a creepy house in the woods, darkness, and sudden scares.

The buildup during the first half of the movie is very interesting and the audience is not quite sure what’s to come and what mysteries and secrets lurk in the title house.

During the final thirty minutes, however, when the twist is revealed, the film becomes predictable, by the numbers, and disappoints at the end.

The story becomes so convoluted it hardly matters anymore.

The first half is great but the second half fails.

I was happy to see Elisabeth Shue in this movie, as she has been out of the limelight for years, her character, though,  is quite one-dimensional.

Film summary- great-looking horror film, with mediocre writing.

2012 Films, Daniel Radcliffe, Horror, James Watkins, Janet McTeer

The Woman in Black-2012

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The Woman in Black-2012

Director James Watkins

Starring Daniel Radcliffe, Janet McTeer

Scott’s Review #429

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Reviewed June 21, 2016

Grade: C

The Woman in Black (2012) is an example of a recent trend in modern horror films. The positives are great effects (shadows, lighting, ghosts, some scares), but the story is not compelling and makes no sense causing it to be a negative.

The eerie setting of foggy London and a creepy seaside village are perfect.

The cinematography dynamic instantly elicits a feeling of dread, coldness, and secrets.

From that point, the story sinks into a chaotic mess of unbelievable twists that, instead of compelling, only confuses the viewer until he or she no longer cares.

That is a shame.

I give Daniel Radcliffe credit for trying to shake his Harry Potter image by going the horror route. I suspect that is the entire point of the film, as it centers around Radcliffe, but it seemed like I was still watching a Harry Potter movie.

Nice effects, but poor story. This Woman in Black (2012) will be forgotten before long.

2013 Films, Fede Álvarez, Horror, Jane Levy, Shiloh Fernandez

Evil Dead-2013

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Evil Dead-2013

Director Fede Alvarez

Starring Jane Levy, Shiloh Fernandez

Scott’s Review #425

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Reviewed June 21, 2016

Grade: B

Having recently seen the original Evil Dead, directed by horror master Sam Raimi, from the early 1980s, the recent remake is fine but not as compelling as the original.

It’s hardly the most terrifying film you will ever experience either.

While the original was quite a low-budget film, the remake is very modern and glossy looking, though with only a tiny cast of characters.

The film is set almost entirely inside of a cabin in the middle of nowhere, at night, and has a wonderful mood and contains all the necessary horror elements.

A Book of the Dead is unearthed and one by one the youngsters are possessed by evil spirits.

The film is entertaining, has lots of well-done gore (loved the bathroom face-cutting scene), and while over-the-top, did not seem overly cartoonish.

It has fresh energy.

Some liberties are taken (in reality someone with a torn-off limb would not continue to walk around as if nothing happened).

There is a silly drug addiction subplot that feels unnecessary.

There are some genuine scares and all in all Evil Dead (2013) is an enjoyable horror movie-going experience.

2012 Films, Ariel Schulman, Henry Joost, Horror, Katie Featherston

Paranormal Activity 4-2012

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Paranormal Activity 4-2012

Director Henry Joost, Ariel Schulman

Starring Katie Featherston

Scott’s Review #424

70243451

Reviewed June 19, 2016

Grade: B

Circa 2012, and at this point in the Paranormal Activity film franchise (with part 5 on its way) one pretty much knows what to expect.

To me, the plot is almost secondary.

In the story, the newborn from the first installment is now aged 7 and living next door to the family at the center of the film.

The entertaining aspect of these films is the camera angles and occasional scares that sporadically follow.

The ending to Paranormal Activity 4 is effective and a bit scary.

The original Paranormal Activity (2007) was a huge hit and novel idea at the time (though The Blair Witch Project in 1999 originally did the hand-held videotape) and was a water-cooler movie.

I’m not sure how much life remains in the franchise, but for fans of it and horror fans seeking some good thrills, this one is worth checking out.

1970 Films, Horror, International Horror, Italian, Italian Horror, Mario Bava

Five Dolls For An August Moon-1970

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Five Dolls For An August Moon-1970

Director Mario Bava

Starring William Berger, Howard Ross

Scott’s Review #393

5-bambole-poster

Reviewed April 9, 2016

Grade: B-

Five Dolls For An August Moon is a 1970 Italian horror film by horror maestro Mario Bava, a well-regarded director of the genre.

Being relatively a novice to his films, but knowing his name, I expected a bit more from the film than I was treated to.

From a critic’s consensus, Five Dolls For An August Moon is not considered to be one of his better films- not even close. I found some positive elements to the film, but ultimately it did not come together concisely or compellingly.

The dubbing from Italian to the English language is poor and I would have preferred more authenticity to watch in the native Italian language.

Containing a fascinating and mysterious premise, a group of gorgeous people gathers on a sunny, remote desert island- somewhere off the coast of the Mediterranean Sea.

Owned by wealthy industrialist George Stark, the weekend is intended to be one of socializing, fun, and relaxation.

It appears to be summer(hence the title) and the vacationers exude sexuality and a sense of good style. The beach house is lavish and sophisticated and it is suggested that all are brilliant, or at least, riding on the coattails of those who are.

One of the guests is famed chemist, Professor Gerry Farrell, who has recently created a revolutionary formula, and it is quickly revealed that all of the guests are industrialists with plans to buy the formula from him at any price.

Incensed, Farrell refuses to budge and, suddenly, one by one, the guests are killed off in typical gruesome horror fashion.

I am a sucker for a good whodunit, and Five Dolls For An August Moon appears to be in Agatha Christie’s- And Then There Were None style of intrigue, but this aspect of the film proves to be the most trivial and uninteresting as the plot moves along.

The character’s motives were unclear (yes, I get they all wanted the secret formula), but the real necessity of having it besides, presumably money, which they all appeared to already have plenty of, was dull.

The ending of the film and the “big reveal”, while clever, was also overly complicated for this type of film.

The film was for its time (1970), very provocative in look and style, and that impresses. Featuring a groovy, psychedelic soundtrack, bright, trendy clothing, and a sunset, the film challenges the tried and true horror elements, especially foreign horror (darkness, rain, fog, gloom) and this makes the film work from a cinematic perspective.

One cannot help but watch this film and think of director Russ Myer as a heavy influence. The casting of good-looking Italian actors, both male and female- the females busty and gorgeous- the men stylish and cool, reminiscent of Myer male actors, is noteworthy.

Interestingly, another glaring example of how other countries’ progressive sexual viewpoints contrast with the more conservative United States is that many of the couples on the island are involved sexually with other people on the island, including a lesbian romance, highly unusual to show in 1970.

These shenanigans give Five Dolls For An August Moon a more creative, suave, and sexual intrigue.

A highly effective, and creepy, aspect of the film is the keeping of the corpses in a freezer with plastic bags over the victim’s heads- meat locker style. Eyes bulging, with the clear bags giving a ghastly view, I immediately thought of the still-to-come masterpiece, Black Christmas, and how this film might have been influenced by a similar scene of a victim wrapped in plastic with a gruesome facial expression.

This is good horror stuff.

Five Dolls For An August Moon (1970) is not a great film, but it does have some edgy elements, a cool look, and thanks to great direction from Mario Bava, does some influencing films to come.

A decent horror flick and a worthwhile investment for fans of Italian horror- Bava is a heavy hitter and, next to Dario Argento, is the master in Italian horror films.

1981 Films, Horror, Scott's Top 20 Horror Films, Slasher

My Bloody Valentine-1981

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My Bloody Valentine-1981

Director George Mihalka

Starring Paul Kelman, Lori Hallier

Top 20 Horror Films #20

Scott’s Review #367

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Grade: A

Reviewed January 9, 2016

My Bloody Valentine (1981) is a perfect slasher film to watch on the romantic holiday of Valentine’s Day or, in fact, any day during the cold and snowy month of February.

The film loses something if watched during summer or any other time of the year since the dark and harsh feeling of the film is the perfect atmosphere if watched appropriately.

My Bloody Valentine is an underrated gem of the early 1980s- just as Black Christmas was to the 1970s- and both ironically are heralded so by directors such as Quentin Tarantino.

Other less gritty films received greater exposure and commercial success, but I am proud to name My Bloody Valentine as one of my Top 100 favorite films.

Both are also “holiday-themed” films.

The plot is basic, yet layered, with a unique setting. Rather than a creepy house, a summer camp, or some other tried and true device, we have the ingenious coal mine setting- immediately fraught with great potential.

Think about it- a coal mine is dark, suffocating, creepy, with countless secret passages, the fear of being lost, and running out of oxygen. It is also underground where help cannot easily be unobtainable.

The town is aptly named Valentine Bluff (how clever) so Valentine’s Day is a major holiday. The Mayor and police chief figure prominently in the story and the use of town history makes the film engaging.

Typical for the slasher genre we have a bunch of horny teens, partying to the max, who decide that the coal mine is the perfect place to throw a Valentine’s Day party, and they do so with gusto.

There are a few middle-aged characters with meaty stuff to do, and the main plot is of the whodunit sort. The killer’s get-up is simply genius.

He (or she) is wearing a miner’s outfit, completely dark, with an oxygen mask, which elicits a heavy breathing sound adding to the great atmosphere that My Bloody Valentine contains.

One of my favorite scenes involves the offing of Mabel Osbourne, the earnest, sweet-natured party planner, who excitedly is preparing the annual Valentine’s Day town dance.

She marvels at receiving a box of chocolates with a wonderful poem until she reads the poem. “Roses are red, violets are blue- two are dead and so are you”! Poor Mabel then has her heart removed and it is sent (gift-wrapped naturally) to the Mayor and police chief.

The scene is both horrific and comical.

My Bloody Valentine (1981) is a favorite of the genre for me and cascades that genre with its bloodiness, fun storytelling, and wicked charm.

1977 Films, Alida Valli, Best Film of the Year, Dario Argento, Horror, International, International Horror, Joan Bennett, Scott's Top 100 Films, Scott's Top 20 Horror Films

Suspiria-1977

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Suspiria-1977

Director Dario Argento

Starring Jessica Harper, Joan Bennett, Alida Valli

Top 100 Films #54     Top 20 Horror Films #14

Scott’s Review #339

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Reviewed January 9, 2016

Grade: A

Suspiria is a horror masterpiece, made in 1977, by my favorite Italian horror director, Dario Argento.

A combination of complex storytelling, glossy colors, and a unique art direction, makes this film a treasure and an influence in “the look” of a film attempting to achieve an interesting art direction choice.

The color red is highly prevalent throughout Suspiria, which makes sense due to the subject matter of witchcraft and demons. The musical score is brilliant and chilling.

This film is perfect and one of my favorites.

The film takes place in Germany and the opening sequence is fantastic. We meet our heroine, Suzy Bannion (Jessica Harper), an American ballet student, as she arrives in blustery Munich to attend a prestigious ballet school.

The shot of the driving wind and rain as she exits the airport is a great example of the ultimate style of this film.

Suzy meets a creepy taxi driver who drives her to the school, where she witnesses a frantic student, Pat Hingle, fleeing the school. Suzy is then denied access to the school by a mysterious voice over the intercom.  The focus of the film then shifts briefly to Pat’s perspective as she meets a sinister fate when she stays with a friend.

One fantastic aspect of Suspiria is we know something is wrong with the ballet academy, we just do not know what or who it involves. With great creativity, Dario Argento builds a set that is modern, and sophisticated but laced with an underlying menace.

As we meet the supporting characters, Madame Blanc (Joan Bennett) and Miss Tanner (Alida Valli), we know something is not right with them either. Blanc is kindhearted; Tanner is a drill sergeant, but both seem to have something to hide and claim to know nothing of Pat’s terror.

There is also Daniel, the blind piano player, whose seeing-eye dog suddenly turns vicious.

The plot is complex and does not always make perfect sense, but the elements of Suspiria make it a masterpiece.  Pat’s death scene is laced with greatness as she dangles from a high glass ceiling dripping blood. Her hysterical friend is sliced to bits by the falling glass.

This is the best double-death scene in horror film history.

When creepy maggots invade the school leaving the girls feeling for safety, the film goes all out. A later scene involving Suzy’s best friend and fellow student, Sarah, attempting to flee the school via the basement, only to struggle in a pit of razor wire is splendid.

Much of Suspiria is dubbed in English mainly due to the actors either speaking German or Italian, but Jessica Harper and Joan Bennett have distinguishable voices, which lend texture and richness to the dialogue.

Suspiria (1977) is a grand horror film, not solely for its mysterious story, but for all the added components that Argento throws into the mix- strange characters, weird sets, and the heavy dose of blood-red- pretty fitting.

1976 Films, Gregory Peck, Horror, Lee Remick, Scott's Top 100 Films, Scott's Top 20 Horror Films

The Omen-1976

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The Omen-1976

Director Richard Donner

Starring Gregory Peck, Lee Remick

Top 100 Films #67     Top 20 Horror Films #18

Scott’s Review #331

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Reviewed January 8, 2016

Grade: A

On the heels of similarly themed supernatural horror films, and all three classics in my view, The Omen (1976) follows suit with the religious-minded terrifying piece that resembles both The Exorcist (1973) and Rosemary’s Baby (1968).

All three films are cherished gems and favorite horror films of mine.

The Omen (the last to be released) is quite possibly the weaker entry having taken much from the other two films, and at the forefront is a child encompassed by devilish forces.

But to say “weaker” implies it is not good, which is not the case- The Omen is a masterpiece.

Set mostly in London, the film begins in Rome. Gregory Peck plays a powerful diplomat, Robert Thorn. Robert’s wife, Katherine (Lee Remick), has just given birth to a baby, who dies.

Unbeknownst to her, Robert and a priest have taken a newborn whose mother has just died, thereby fooling Katherine into thinking she has delivered a healthy baby boy. They name their child Damien.

Soon, Robert is named U.S. Ambassador of the United Kingdom- an astounding honor, but his and Katherine’s lives spin out of control when strange events begin to occur surrounding Damien, and they realize the child is not “right”.

I adore the many aspects of The Omen. The locale of sophisticated and royal London is perfect. The Thorns live in a grand, palatial estate just oozing with possible horror elements.

During a vast party for little Damien’s fifth birthday, the attendees are gathered on the perfectly manicured grounds of the Thorn home. It is a bright and cheery afternoon.

Suddenly, from the top floor bedroom window, Damien’s fresh-faced nanny publicly hangs herself from the window proudly shouting, “This is all for you, Damien”!

This scene is one of the most horrific and surprising scenes in the film.

When Damien’s new nanny shows up, she is off-putting and sinister. The inclusion of a pack of black dogs hovering around the estate is fiendish, and an innocent trip to the zoo results in the scared animals fleeing from Damien as if he is the antichrist, which of course, he is revealed to be.

Fantastic is the religious element of The Omen, a sure measure to frighten and freak out audiences brave enough to watch this film.

Who will not be on edge as a sweet-looking little kid is assumed to be the devil?  Religious elements in horror have been prevalent throughout the film ages.

Perhaps it is the Italian and British accents and settings that add layers of fear to the film.

What I love most about the film is its cynicism. The Omen is not a happy film by any means, nor does it result in a happy ending- Satan wins in the end.

Two memorable scenes are the pole through the heart of the priest scene and the gruesome decapitation of a photographer by a sheet of glass. In both scenes, Satan causes the deaths.

The finale of the film is incredibly compelling and downright shocking- the face-off of Robert and Damien in a church and the prevailing conclusion sets the stage for a sequel, which of course there was more than one.

The sinister smile at the end of the film is immeasurable in its evil nature.

The Omen (1976) is a film that I love to watch and revel in fright when the chills start to creep up my back.

What a fantastic film.

Oscar Nominations: 1 win-Best Original Score (won), Best Original Song-“Ave Satani”

1973 Films, Best Film of the Year, Ellen Burstyn, Horror, Lee J. Cobb, Linda Blair, Mercedes McCambridge, Scott's Top 100 Films, Scott's Top 20 Horror Films, William Friedkin

The Exorcist-1973

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The Exorcist-1973

Director William Friedkin

Starring Ellen Burstyn, Linda Blair

Top 100 Films #39    Top 20 Horror Films #13

Scott’s Review #326

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Reviewed January 5, 2016

Grade: A

Making a lasting mark on cinematic history and impossible not to be familiar with through some form of pop culture, The Exorcist (1973) is a classic supernatural horror film that transcends the genre to become a Hollywood success story.

Along with Rosemary’s Baby (1968) and The Omen (1976), these three films have similarly haunting “religious” subject matters and deal with dark and sinister topics such as “god versus the devil” and “good versus evil”.

The Exorcist is a masterpiece on every level and is adapted from the 1971 hit novel of the same name.

The story centers on “demonic possession” and was quite simply a shocking subject when The Exorcist was released in 1973, scaring the wits out of those brave enough to see it (especially Christians) everywhere.

Some abhorred the subject matter and refused to have any part of the film-their loss.

Ellen Burstyn stars as Chris MacNeil, an actress of note who moves to Georgetown to film a movie. In tow is her twelve-year-old daughter Regan (Linda Blair).

As shooting on the film wraps, Regan begins acting very strangely- making noises, becoming belligerent, and peeing on the floor during a dinner party. Worried, Chris enlists the assistance of priests (Max von Sydow and Jason Miller).

Things progress from bad to worse as Regan spirals out of control and Chris and the priests determine that an exorcism is the only resolution to the problem.

The Exorcist-mainly director William Freidkin sets up the film in a clever way by using various technical elements to build the tension.

For starters, the eerie musical score is highly successful at scaring the audience and the score is similar to that of Rosemary’s Baby. The film is also lit very well, so it appears dark with dim lighting- the cinematography and the windy rustling of leaves in the exterior sets are great.

The cover art of the film should give an indication of the unique style used- black and white, a man with a hat and suitcase peers up at the second floor of a house where a glowing light is illuminating- the image is intriguing and haunting.

Enough cannot be said for Linda Blair’s performance as Regan, especially in the final act. During the “pea soup” and the “Jesus crucifix” scenes a different voice was used, but the facial expressions and the emotions that Blair uses are admirable.

As Regan is bed-ridden, angry, scared, and emotional, there is no limit to Blair’s range. Throughout a large part of the film, she is a sweet, young girl- innocent, so much so that her transformation is both shocking and disturbing to witness.

The final act of the film- the “exorcism” is riveting and a groundbreaking aspect of film history. The terrifying scene all taking place in one child’s tiny bedroom elicits fright and is nail-biting beyond belief.

The Exorcist (1973) is a very influential film that inspired filmmakers for decades to come and still resonates with audiences to this day.

Oscar Nominations: 2 wins-Best Picture, Best Director-William Friedkin, Best Actress-Ellen Burstyn, Best Supporting Actor-Jason Miller, Best Supporting Actress-Linda Blair, Best Screenplay Based on Material from Another Medium (won), Best Sound (won), Best Art Direction, Best Cinematography, Best Film Editing

1976 Films, Amy Irving, Betty Buckley, Brian De Palma, Horror, John Travolta, Nancy Allen, P. J. Soles, Piper Laurie, Scott's Top 100 Films, Scott's Top 20 Horror Films, Sissy Spacek, Stephen King

Carrie-1976

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Carrie-1976

Director Brian De Palma

Starring Sissy Spacek, Piper Laurie

Top 100 Films #37     Top 20 Horror Films #12

Scott’s Review #325

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Reviewed January 5, 2016

Grade: A

Carrie is a horror film from 1976 that is adapted from the Stephen King novel of the same name.

Many King adaptations have failed, but Carrie (along with The Shining) is among the best.

Going beyond the scope of horror and receiving more than one major Oscar nomination (largely unheard of in horror), Carrie influenced films and filmmakers for decades beyond release.

This is largely due to the dream-like and breathtaking direction of mood master Brian De Palma.

By this time (2016), the film and the character of Carrie White were legendary.

Carrie (Sissy Spacek) is a lonely suburban teenager, ostracized by her classmates for being “weird”. Her mother (Piper Laurie) is a devout Christian who spreads the word of god amongst the neighbors.

Carrie has a special ability to move things, usually during anger- this is called telekinesis.

After a humiliating incident in the girl’s locker room when Carrie begins menstruating, one of the nicer girls in the class, Sue Snell (Amy Irving) feels sorry for Carrie and convinces her boyfriend, Tommy Ross, to take Carrie to the prom.

When others in the class take revenge upon Carrie with a sick joke, things take a horrific turn.

Betty Buckley as the empathetic gym teacher, Miss Collins, and John Travolta and Nancy Allen, as dastardly Billy and Chris, also star and are perfectly cast.

The direction in the film is second to none. De Palma adds interesting camera work throughout the film.

During a tender, lovely prom dance between Carrie and Tommy, the camera circles the pair repeatedly, giving a spellbinding, but not dizzying quality.

The use of slow-motion in the important “pig blood” scene is immeasurably effective.

The seemingly eternal time it takes for the blood spilling to occur, and the camera (in slow motion) goes from Sue to Miss Collins to Chris to the bucket of blood is fantastic.

The list of inspired and intense scenes goes on and on- from the climactic scene between Carrie and Mrs. White to the “jump out of your seat” final scene.

The acting is also worthy of high praise. Spacek and Laurie deservedly received Oscar nominations for their work. Spacek elicits so much rooting value into her role with a shred of psychosis bubbling just beneath the surface.

Carrie wants to fit in and have a happy life so the audience is immersed in her corner and celebrates her short-lived happiness with Tommy at the prom. Spacek is just perfectly cast.

Laurie on the other hand exudes crazy in every sense, but we do feel pangs of sympathy for her. We largely believe she cares for her daughter and wants to protect her from the dangerous world.

Carrie (1976) is a masterpiece that continues to hold up well and influence generations who can relate to school bullying,  taunting, and the desire to see the nasty popular kids get their just desserts.

More than a great horror film, it is a revered classic with a dreamy, moody vibe.

One of my all-time favorites.

Oscar Nominations: Best Actress-Sissy Spacek, Best Supporting Actress-Piper Laurie

1991 Films, Anthony Hopkins, Best Film of the Year, Best Picture Oscar Winners, Charles Napier, Diane Baker, George A. Romero, Horror, Jodie Foster, Jonathan Demme, Scott Glenn, Scott's Top 100 Films, Scott's Top 20 Horror Films, Ted Levine

The Silence of the Lambs-1991

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The Silence of the Lambs-1991

Director Jonathan Demme

Starring Anthony Hopkins, Jodie Foster

Top 100 Films #31     Top 20 Horror Films #9

Scott’s Review #320

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Reviewed January 3, 2016

Grade: A

The Silence of the Lambs (1991) has the honorary achievement of being one of only three films to win the top five Oscar statuettes, having been awarded Best Picture, Best Director (Jonathan Demme), Best Adapted Screenplay, Best Actor (Anthony Hopkins), and Best Actress (Jodie Foster) at the 1991 Oscar ceremonies.

This is no small feat, especially considering the film was released in March (not an Oscar-happy month) and is a horror film. These elements speak volumes for the level of mastery that is The Silence of the Lambs and the film holds up incredibly well as the years go by.

The film was a sleeper hit at the time of release and gradually built momentum throughout the year, becoming a phenomenon and forever a classic.

The film is adapted from the novel of the same name- written by Thomas Harris and, despite being a horror film, contains little gore. The film stars Foster as Clarice Starling, an FBI trainee, sent by her superiors to interview the infamous Hannibal Lecter.

Hannibal, “The Cannibal”, is a highly intelligent former psychiatrist who has been banished to a maximum security insane asylum after having been found guilty of killing and eating his victims.

The FBI hopes that Hannibal will aid them in a current case involving “Buffalo Bill”, a serial killer who skins his female victims.

Hannibal and Clarice embark on an intense and strange relationship in which he gets under her skin and questions her unhappy childhood in exchange for information about “Buffalo Bill”.

This relationship leaves Clarice vulnerable, though the pair develop a strong connection. As Hannibal makes more and more demands in exchange for information, he eventually escapes from custody and a chilling and bizarre escape.

The psychological elements and the intense relationship between Hannibal and Clarice are of monumental importance and Hopkins and Foster share an amazing chemistry.

Hopkins gives a top-notch and downright creepy performance as the cannibalistic killer. His mannerisms are stiff and calculating, his tone of voice monotone, and he simply embodies his character, making him a legendary and recognizable presence in film history.

Two memorable lines that he utters are, “I do wish we could chat longer, but I am having an old friend for dinner.”, and “I ate his liver with some fava beans and a nice Chianti”.

The character of “Buffalo Bill” is as terrifying as Hannibal Lecter.

Portrayed by Ted Levine, the character is maniacal, sexually confused, and otherwise downtrodden. A tailor, he aspires to make a full “woman suit” costume out of his victim’s skin. His current hostage, a Senator’s daughter, is kept confined in an old well and terrorized by Bill’s antics.

His famous line, “It puts the lotion on or it gets the hose again” still terrifies me.

Highly influential, mimicked for years to come, and containing multiple lines and characters permanently etched in film history, The Silence of The Lambs (1991) is a classic not soon forgotten.

The film was followed by multiple sequels, none of which come close to the power and psychological complexities of the original.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Jonathan Demme (won), Best Actor-Anthony Hopkins (won), Best Actress-Jodie Foster (won), Best Screenplay Based on Material Previously Produced or Published (won), Best Sound, Best Film Editing

1962 Films, British, British Horror, Horror, Janet Blair, Peter Wyngarde, Sidney Hayers

Burn Witch Burn (Night of the Eagle)-1962

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Burn Witch Burn (Night of the Eagle)- 1962

Director Sidney Hayers

Starring Peter Wyngarde, Janet Blair

Scott’s Review #316

220px-Night-of-the-eagle-poster

Reviewed January 1, 2016

Grade: B

Burn Witch Burn, retitled for U.S. release from the original British title Night of the Eagle, is a 1962 black-and-white horror film.

It is based on a 1943 novel entitled Conjure Wife.

The film is quite decent and delves into the fascinating and arguably unusual subject of witchcraft. It’s careful not to be too dark a film, and it resembles more of an extended episode of the Twilight Zone. It’s a good episode.

I enjoyed the film’s wit and charm. It never took itself too seriously and added humor and lightness.

Norman, a psychology professor at the local university, is intelligent, successful, and well-adjusted. He has a blonde, pretty, sophisticated wife named Tansy.

The perfect housewife, she coordinates Friday night bridge parties with fellow professors and staff and a Mrs. Cleaver type, the mother character from the famous 1950s television series Leave it to Beaver.

When Norman discovers Tansy is practicing witchcraft and possesses various charms, dolls, and weird things, he forces her to destroy all of them.

This leads to a series of bad events.

Norman is accused of rape by a student, and other dire circumstances occur. Tansy assumes this is a result of the destruction of her witchcraft.

Burn Witch Burn is a fun film that doesn’t take itself too seriously despite its heavy subject matter. Tansy certainly does not look like the stereotypical witch. She is more like a PTA mom; we almost cheer for her.

At the same time, the film is not so over-the-top that it becomes ridiculous, either. I found it entertaining but not a masterpiece or scary.

As the film progressed, I found the action confusing from a story-line perspective, but that was admittedly okay. I went with it and enjoyed it.

For instance, the plot thickens when an enormous eagle affixed to the front of the university building comes into play or the sinister university secretary’s motives are revealed.

The special effects and ambiance of the thunderstorm are worth mentioning. The heavy storm was crucial in making Burn Witch Burn a compelling horror film. It added a heavy dose of spookiness to the events, and the atmosphere was spot on.

Burn Witch Burn (1962) is a fun, late-night horror flick that does not take itself too seriously. It is a worthy film for horror fans to enjoy.

An underappreciated British horror flick.

1980 Films, Best Film of the Year, Horror, Jack Nicholson, Scott's Top 100 Films, Scott's Top 20 Horror Films, Shelley Duvall, Stanley Kubrick, Stephen King

The Shining-1980

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The Shining-1980

Director Stanley Kubrick

Starring Jack Nicholson, Shelley Duvall

Top 100 Films #20     Top 20 Horror Films #7

Scott’s Review #313

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Reviewed December 31, 2015

Grade: A

The Shining is one of the great horror masterpieces of all time.

Released in 1980 and atypical of the slasher craze that was running rampant at that time, the film is a psychological ghost story with frightening elements including a musical score, long camera shots, and a haunting grandiose hotel in a deserted locale.

Without the brilliant direction of Stanley Kubrick, The Shining would not be the masterpiece that it is- to say nothing of the talents of Nicholson and Duvall in the lead roles.

Based on the popular horror novel by Stephen King.

Nicholson plays Jack Torrance, an author and alcoholic, who takes his wife Wendy (Duvall) and son Danny to serve as caretakers at the vast Overlook hotel- for the winter in snowy Colorado.

The lavish hotel will be deserted for the season and Jack looks forward to months of peace that will enable him to complete his novel.

Unfortunately, the hotel is haunted by spirits of the past, and the added burden of the previous caretaker going mad and chopping his family to bits with an ax.

The real success of The Shining is that the hotel itself is a character and has nuances of its own. The hotel is deathly quiet as the Torrances take over for the season-long hallways are featured and the forbidden Room 237 takes on a life of its own.

Creepy images of two young girls and red blood gushing from the elevators take over. Young Danny can communicate with the chef without speaking to each other. Jack imagines a gorgeous nude woman in the bathtub only to discover she is a shriveled old hag.

The film’s cinematography coupled with the looming, morose, musical score perfectly go hand in hand and, in my opinion, are the reasons for the success of the film.

Throughout the film, there is a sense of dread and a forbidden presence that works beautifully.

The very first scene is an aerial shot of the Torrances driving along a mountainous road to be interviewed for the caretaker position. The vast land and mountains as we eventually see the Overlook immediately reveal to us the feeling of isolation, which is really what the film is about.

These exterior scenes are also gorgeous to marvel at.

The crisp, gloomy, winter scenes and the endless maze of animal shrubbery come into play during the film’s final act as Jack, now completely mad, chases Danny through the snowy paths that seemingly lead to nowhere.

The catchphrase, “Here’s Johnny!”, that is uttered from an ax-wielding Nicholson, is permanently ensconced in the relics of pop culture.

Nicholson and Duvall have such dynamic and palpable on-screen chemistry that makes the film work from a character perspective. There is something slightly off with each of the characters, readily apparent from the outset, but that has more to do with each actor being rather non-traditional in appearance.

I can imagine no other actors in these roles.

Author, Stephen King, who reportedly despised the film version of his novel, has since grown to respect the film and Kubrick’s direction, a great deal. The Shining is one of my favorite horror films in addition to being one of my favorite films of all time.