Tag Archives: Horror

2016 Films, Anya Taylor-Joy, Horror, Independent, Independent Horror, Kate Dickie, Ralph Ineson, Robert Eggers

The Witch-2016

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The Witch-2016

Director Robert Eggers

Starring Anya Taylor Joy, Ralph Ineson, Kate Dickie

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 leaves viewers thinking well beyond the credits.

Is it a message movie?

Good versus evil, with a definite religious umbrella encompassing the entire film, is God against the devil. Guess which one wins out?

To be transparent, this film will undoubtedly offend the staunch religious.

Set in 1600s New England and entitled “The Witch—A New England Folktale,” the story follows 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 secretly selling family heirlooms. William and Katherine are the parents, followed by a teenage daughter, Thomasin (Anya Taylor-Joy), a son, Caleb, and youngsters, Mercy and Jonas.

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

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

I adore the fact that this film is not set in modern times, which undoubtedly turns off some viewers. The thick English dialect is almost Shakespearean at times and challenging to follow at others, but it is also rich in culture.

The period and the absolute purity of the family are unsettling. Is it too good to be true? Unlike many horror films, much of the film is shot in the daytime, which adds to the tension.

It is 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 told me it would.

It has a creepy feel, and nightmarish events occur at the film’s finale.

Some of The Witch is open to interpretation. Sometimes, I suspected one family member or another of perhaps 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 (2016) is unorthodox and thought-provoking, which makes it a winner in my book.

Independent Spirit Award Nominations: 2 wins-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, Ciarán Hinds, 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, Christopher Landon, 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

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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

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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, 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.

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

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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.

1974 Films, British, British Horror, Christopher Lee, Horror, Horror-Camp, Peter Cushing, Telly Savalas

Horror Express-1974

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Horror Express-1974

Director Eugenio Martin

Starring Christopher Lee, Peter Cushing

Scott’s Review #311

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Reviewed December 30, 2015

Grade: B

Horror Express (1974) is a fun 1970s Spanish/British horror film starring legendary horror actors Christopher Lee and Peter Cushing.

A horror version of Agatha Christie’s Murder On The Orient Express with a bit of camp thrown in, it is an entertaining late-night experience, on a low-budget level.

It is the early 1900’s, and while traveling from Shanghai to Moscow, via the Trans-Siberian Express, a British anthropologist named Professor Alexander Saxton (Lee) brings an enormous,  mysterious crate on board that contains a creature he discovered in a cave.

What we know is it has something to do with human evolution.

A fellow passenger, Doctor Wells (Cushing), and various other passengers become suspicious of the crate and demand to have it opened.

Things go awry and victims begin to be murdered by the creature (an ape-like monster) and left with eyes completely white with missing pupils and irises.

The best part of Horror Express is the setting. The cozy train is a perfect backdrop for the events taking place and it makes the film exciting as the different cars are set-decorated nicely.

This lends itself to a sense of entrapment and being unable to escape the creature as it roams freely from car to car.

For being a low-budget film,  the train sets are quite believable, as are the sounds of the train. It feels like the actors are on a real train as the tooting horns and the sounds of the tracks are authentic.

Having actors as big as Lee and Cushing gives the film respect in horror circles and both actors do believable work.

This film would not have been as good without the talents (and name recognition) of both.

There are also interesting supporting characters and I didn’t find the acting to be too over-the-top as is known to occur in similar types of horror films.

Specifically, the countess’s role and the appearance of Telly Savalas as a Cossack officer investigating events are interesting.

Fans of this genre of horror will understand that suspension of disbelief is necessary as the plot gets a bit goofy- something about the creature taking the information from the victim’s brain and the victims subsequently turning into zombies- it doesn’t make a whole lot of sense.

Especially towards the end, as some drunken Russians and some weird resurrections happen, but that is somehow okay.

For a late-night viewing with some spirits, you can’t ask too many questions and Horror Express (1974) is a decent flick.

2014 Films, Daniel Zovatto, David Robert Mitchell, Horror, Independent, Independent Horror, Jake Weary, Maika Monroe

It Follows-2014

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It Follows-2014

Director David Robert Mitchell

Starring Maika Monroe, Debbie Williams

Scott’s Review #306

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Reviewed December 23, 2015

Grade: A-

It Follows (2014) is a mysterious, unique, dreamlike (or shall I say nightmarish!) independent horror film that is a pleasant throwback to old-school horror films (my favorites!), with a supernatural twist thrown in.

The film is directed very well by newcomer David Robert Mitchell containing wonderful cinematography and creative camera angles.

This film is not glossy and has a raw, almost videotaped feel, which I found quite wonderful. The film was shot entirely in and around Detroit giving it a cold, industrial look.

The film begins on a dramatic note leaving the viewer immediately curious.

A young woman flees her suburban home and nervously stands on the street looking back at her house.  A neighbor asks if she needs help. She returns, collects her things, and hurriedly drives to the beach. She suspects something or someone is watching her. She tearfully phones her father and tells him she loves him.

The next scene appears to be the following morning and the woman is lying murdered on the beach in a grotesque position- her leg strangely bent.

This is a fantastic way to begin the film.

From this point, the premise is quickly revealed. The main character is Jay (Maika Monroe), an attractive college-aged girl. She lives with her sister Kelly and is good friends with their next-door neighbors Paul and Yara. An additional neighbor and classmate, Greg, also figures into the plot.

Jay is on a date with Hugh and things are going well. They attend a classic film. They sneak into a deserted lot and have sex. Afterward, Hugh chloroforms Jay and the weirdness begins.

A strange woman appears and Hugh tells Jay she must pass on a curse. Otherwise, an entity in the form of another person that nobody else can see but the victim will get Jay and she will be doomed.

I love the throwback elements to 1970s and 1980s horror but it’s vague when the film is set- purposely so I imagine- as many cars are 1970s and 1980s models. Only one cell phone is used throughout, but mostly the time could be present or past.

Even the houses appear dated.

Story-wise, It Follows is tough to figure out and open to a certain level of interpretation. Is the film anti-sex? Is the story a metaphor for sexually transmitted diseases?

The victims become possessed by the entity after sex and then must pass it to another unwitting victim, sexually.

I notice some similarities to John Carpenter films- specifically the classic Halloween from 1978. Jay sits in a classroom (ironically in the back row next to the window ala Jamie Lee Curtis in Halloween) and sees a strange old woman slowly lumbering towards her, eyes fixed on her.

Later, the three principal girls casually walk around the neighborhood engaging in small talk similar to the characters of Laurie, Lynda, and Annie on Halloween.

The ending- a scene in the indoor community swimming pool where the kids try to catch the spirit is a bit hokey and unresolved. However, I did enjoy the final scene- a peaceful one in which I was unsure if the entity had been destroyed or remained.

A sequel perhaps?

I give It Follows (2014) major props for its styling, and creativity while giving classic horror fans a good old-fashioned treat without much CGI necessary.

Independent Spirit Award Nominations: Best Director-David Robert Mitchell, Best Cinematography, Best Editing

#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, 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, Horror, Horror-Comedy

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

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Reviewed July 2, 2015

Grade: B

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

While two American buddies, Jack and David, traverse the countryside of England with backpacks in tow, 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 of his inevitable demise into a werewolf.

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

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

I would have preferred it tilt more towards the horror classification rather than the comedy because it comes across as some sort of a spoof as the main characters overact.

The film has a silly quality to it. 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 locales.

When one of the tourists inquires about a mysterious five-pointed star on the wall the pub dwellers become angry and cold leading the young men to be confused and intrigued.

This scene is filled with interest and I only wish the pub characters had more of a chance to shine as they seem benevolent and filled with 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, British, British Horror, Christopher Lee, Horror, Horror-Camp, Peter Cushing

Madhouse-1974

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Madhouse-1974

Director Jim Clark

Starring Vincent Price, Peter Cushing

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 fiancé 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 famed actor notorious for his character 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 fiancé 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 is a fun horror film. It is a bit exaggerated and over-the-top in a campy way but is also true to the 1970s style with the point of view scenes from the killer’s perspective.

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

Since the plot involves Price’s character being a former horror actor this is a wonderful opportunity to showcase long-ago classic horror films 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 of 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 as to the killer’s identity and the motivations surrounding 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 top classic horror icons.

1973 Films, British, British Horror, Coral Browne, Diana Rigg, Horror, Horror-Camp, Ian Hendry, Jack Hawkins, Robert Morley, Vincent Price

Theatre of Blood-1973

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Theatre of Blood-1973

Director Douglas Hickox

Starring Vincent Price, Diana Rigg

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 the critics who fail to recognize him with a coveted award that 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 off 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, and 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 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 created as comic villains so their demises are not all too devastating for the audience as they are rather unlikeable characters, to begin with.

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 downturn and she was not winning the coveted roles any longer. I would have loved to see her sink her teeth into a meatier role.

A side-kick, Edwina could have done much more.

The film belongs to Price and the unique storytelling of Shakespearean works made only possible 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, Comedy, Dark Comedy, Horror, Horror-Camp, Sam Raimi

The Evil Dead-1981

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The Evil Dead-1981

Director Sam Raimi

Starring Bruce Campbell

Scott’s Review #144

484369

Reviewed July 31, 2014

Grade: B+

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

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 into a rickety bridge, and finally, at the cabin, they stumble upon a haunted book.

From this point, even stranger events begin to develop 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 are great.

The film has all the elements- darkness, 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.