Category Archives: Horror

ParaNorman-2012

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

The Witch-2016

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)

The Fog-2005

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.

House at the End of the Street-2012

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.

The Woman in Black-2012

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.

Evil Dead-2013

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.

Paranormal Activity 4-2012

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.

Five Dolls For An August Moon-1970

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.

My Bloody Valentine-1981

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.

Suspiria-1977

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.

The Omen-1976

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”

The Exorcist-1973

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

Carrie-1976

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

The Silence of the Lambs-1991

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

Burn Witch Burn (Night of the Eagle)-1962

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- re-titled for U.S. release from the original British title of 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 interesting, and arguably unusual, subject of witchcraft, but is careful not to be too dark a film and resembles more of a long episode of the Twilight Zone- a very good episode.

I enjoyed how the film had a wit and a charm to it never taking itself too seriously, instead adding 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 is 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. This is assumed by Tansy to be the result of the destruction of her witchcraft.

Burn Witch Burn is a fun film- it does not take itself too seriously, despite the heavy subject matter. Tansy certainly does not look like the stereotypical witch. She looks 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 the film to be entertaining, but certainly not a masterpiece or at all scary.

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

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

Worth mentioning are the thunderstorm’s special effects and ambiance. I found the heavy storm to be crucial in making Burn Witch Burn an effective horror film. It gave a heavy dose of spookiness to events and the atmosphere was spot on.

Burn Witch Burn is a fun, late-night horror flick that does not take itself too seriously but is a worthy film for horror fans to partake in and enjoy.

An underappreciated British horror flick.

The Shining-1980

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.

Horror Express-1974

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.

Black Christmas-1974

Black Christmas-1974

Director Bob Clark

Starring Olivia Hussey, Margot Kidder

Top 100 Films #36     Top 20 Horror Films #11

Scott’s Review #309

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Reviewed December 29, 2015

Grade: A

Black Christmas (1974) is one of my favorite horror films of all time and, in my opinion, an under-appreciated classic.  Somehow it is just not the first, second, or third film mentioned when most discuss the influential horror films of years past.

My hubby and I make sure to watch it every holiday season.

It largely influenced Halloween (another love of mine) from the killer’s point of view camera shots to the seasonal element.

It is quite horrifying in several key scenes, in fact, and I am proud to list it as one of my favorite films.

Black Christmas is a must-see for fans of the horror genre.

The setting (a cold and snowy Christmas) is perfect and the film is shot quite dark. There are Christmas lights and carolers for a great winter holiday effect. Most of the film takes place at night and the location is primarily inside a huge, rather creepy, sorority house. The ambiance is well thought out.

Several sorority girls, led by boozy Barb (Margot Kidder) and sweet-natured Jess (Olivia Hussey), prepare to depart for the holiday season by having a small farewell Christmas party. Recently, the girls have been harassed by a prank caller spouting nonsensical gibberish daily.

As in true horror fashion, the girls are systematically offed one by one as events turn dire. Two sub-plots that ultimately merge with the central plot include Jess’s pregnancy by suspicious boyfriend Peter and the search in the park for a missing young girl.

The best part of Black Christmas is that it is an honest, raw film, made on a small budget, that does not include gimmicks or contrivances.

It has authenticity.

A disturbing film for sure,  one victim being posed in a rocking chair continuously rocking back and forth next to the attic window, while said victim is bound in plastic wrap, holding a doll, mouth, and eyes wide, is one of the most chilling in horror film history.

The nuances of the killer also scare and the brilliance of this is that his motivations are mysterious and unclear (in large part the success of Michael Meyers as well). We never fully see the killer except for his shape and eyes, and that is the brilliance of the film.

The one slight negative to the film is the decision to make the cops appear incompetent. The desk sergeant, in particular, is a complete dope- one wonders how he got his job- as a sexual joke by one of the girls goes over his head while the other detectives laugh like fools.

Why is this necessary? I suppose for comic relief, but isn’t that the purpose of Mrs. Mac, the overweight, boozy sorority mother?  Her constant treasure hunt for hidden booze (the toilet, inside a book) is comical and fun.

Her posing and posturing in front of the mirror (she is a very frumpy, average woman) are a delight and balance the heavy drama.

The conclusion of Black Christmas is vague and fantastic and works very well. Due, once again, to the police errors, the final victim’s fate is left unclear as we see her in a vulnerable state, unaware that the killer is looming nearby.

We only hear a ringing phone and wonder what happens next.

My admiration for Black Christmas (1974) only grows upon each viewing as I am once again compelled, to notice more and more ingenious nuances in the film.

Can’t wait until next Christmas to watch it again.

It Follows-2014

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, very 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, creative camera angles, etc.

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 curious right off the bat.

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 then returns to her house, 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 of the film is Jay, 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 that 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 loved the throwback elements to 1970s and 1980’s horror it is vague when the film is set- purposely so I imagine- as many cars are 1970’s and 1980’s models. Only one cell phone is used throughout the film, 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 noticed some similarities to John Carpenter films- specifically the classic Halloween. Jay sits in a classroom (ironically in the back row next to the window ala Jamie Lee Curtis in Halloween) and looks out to see a strange old woman slowly lumbering towards her, eyes fixed on Jay.

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 has been destroyed or remained. A sequel perhaps?

I give It Follows (2014) major props for its styling, creativity, while all the 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

Dawn of the Dead-1978

Dawn of the Dead-1978

Director George A. Romero

Starring David Emge, Ken Foree

Scott’s Review #289

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Reviewed November 26, 2015

Grade: B+

One of the better installments by the famed horror-comedy director, George A. Romero, though inferior to my favorite film of his, Night of the Living Dead, Romero focuses slightly more on the comedy aspect with Dawn of the Dead (1978), though for horror fans, there is plenty of gore to satisfy the more blood-thirsty viewer.

This film is glossier and slicker than its predecessor was.

On a slightly larger budget than Night of the Living Dead,  the events largely take place in suburban Pennsylvania, and more specifically, a local mall.

An unknown phenomenon has made non-buried humans change form into flesh-eating zombies that prey on other human beings.

A group of survivors hunker down in a suburban mall and begin a life of adequacy-utilizing the contents of the mall until events threaten their existence. They must form a militant operation to continue to survive.

The four survivors are Stephen and Francine- two staff members of a local television station- and Roger and Peter- two SWAT team members whom they meet in the ensuing chaos.

The quartet steals a helicopter and travels a short distance to the mall.

Having viewed Dawn of the Dead on multiple occasions, I am a fan of the film, but not an enormous fan, and it hovers below my Top 25 Horror Films list.

The main flaw of the film is how it delves into the personal lives of Stephen and Francine midstream, a fact I find meaningless and in fact, stalls the plot.

Francine has realized that she is pregnant and I just do not understand the point of slowing down the action for this purpose.

I am a huge fan of character development (even in the horror genre!), but this development does not work.

Still, the lengthy portion of the film, and with a running time of over two hours (highly unusual for horror), I am enamored with.

The scenes in the mall are fantastic and the action in the final act is thrilling.

Reminiscent of my youth and spending hours as a child, along with my mother and siblings, being paraded around the local mall, the look of the mall in Dawn of the Dead brings back a flood of memories.

From the fake green plants to the mannequins, the pool of water filled with coins, and, of course,  the redundant, but lovely Muzak in the background.

Romero, as he did with Night of the Living Dead, provides a social element to the film.

In the case of Dawn of the Dead, it is the onset of materialism and consumerism that captured the United States in the late 1970s and the 1980s that he focuses on, and it took me a couple of viewings to catch onto this point- the zombies stupidly walking around the mall in a numbing fashion mirroring how many people did during the day.

One character mentions that the zombies are drawn to the mall because it is familiar- much like people frequented the malls at that time frivolously spending away their time and their money.

Some of the deaths, including one main character, are haunting. As the character suddenly “turns”, it is frightening to see them in this new light as compared to how they once were.

And, comically, my favorite zombie character is the nurse. Clad in nurse-gear (white shoes, classic nurse cap, and white uniform) she is creepy yet mesmerizing in her body and facial expressions as she lumbers around the mall.

It makes me smile each time I see her.

Dawn of the Dead (1978) is one of the better, more interesting zombie movies around- I just wish the relationship drama, mainly in the center of the film, had been derailed or modified, as it slows down the pacing of the film.

Still, a good, fun, late-night flick.

A Serbian Film-2010

A Serbian Film-2010

Director Srdan Spasojevic

Starring Sergej Trifunovic

Top 10 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.

The Visit-2015

The Visit-2015

Director-M. Night Shyamalan

Starring-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 exclusively horror with the dreaded and watered down PG-13 rating) directed by M. Night Shyamalan, The Visit has its moments of genuine scary frights and surprises with 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, 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, 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 occur almost immediately. The children are warned never to go into the basement, not to leave their bedrooms after 9:30 pm, plus the grandparents just 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) and begin to realize there is something rotten in the state of Denmark.

The Visit contains both positives and negatives so let me first begin with the 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 of, nor 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 it never occurred to anyone to chat with the grandparents before embarking on a week-long visit to, you know, introduce themselves?

Okay. This is a convenient plot manipulation.

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

The kid is about 12 years old and is written as precocious 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 90-minute movie, unnecessary.

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

The third negative I observed is that of 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 are scatterbrained, daffy, or just downright strange. Untrue.

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 simply did not see coming and I loved that about The Visit.

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

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 films like this.

The oven scene inevitably viewed by all during early trailers for The Visit is excellent- as Grandma convinces Rebecca to crawl completely inside her oven to clean it we just 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- a feeling of being trapped- successfully provides a scary backdrop for the film.

All the elements just scream horror and behoove the film.

The Visit has genuine scares, 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.

A Girl Walks Home Alone at Night-2014

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 Farsi (Iranian) and the cinematography is in black and white, which in itself is very unique in modern film. I notice similarities between this film and Let the Right One In (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 films and directors, A Girl Walks Home At Night has a brilliant freshness to it and seems completely original and unpredictable to watch.

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

The film is shot in southern California and looks like it 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, 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 as well as 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 of the film is its dark moody atmosphere. Brooding and cold-looking, the city reeks of death and loneliness. The Girl speaks very little so that 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 the drug problem and the father the caregiver? This is interesting in itself.

The aforementioned 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.

The moody background music and the slow but methodical pacing also give A Girl Walks Home Alone At Night a Lynch feel. One curious element of the film 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 film-making 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, a dreary atmosphere, and intelligently thought out, A Girl Walks Home Alone At Night is a strange, murky experience in film experimentation. Amirpour is a fresh, new director worth watching for in the years to come.

Independent Spirit Award Nominations: Best First Feature, Best Cinematography

Lake Placid vs. Anaconda- 2015

Lake Placid vs. Anaconda- 2015

Director-Griff Furst

Starring-Robert Englund

Scott’s Review #267

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Reviewed August 16, 2015

Grade: D

To say that Lake Placid vs. Anaconda 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 and Anaconda 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 installments of the franchise, make return appearances. Sadly, no Betty White or Jennifer Lopez (stars of the original Lake Placid and Anaconda respectively) in this one.

Lake Placid vs. Anaconda is not trying to be great art or necessarily art at all, 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 is occurring 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, who are 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 sister’s (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 20 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 1980’s 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. Made on a shoestring budget, with dated CGI effects, little blood, and a preposterous plot. One is to assume that the franchise’s predecessors were similar ventures.

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

Art, hardly, but rather a fluff horror-comedy for a boozy Saturday night.

The Nanny-1965

The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

70089620

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 normal life, but has he been “cured”?

There is an obvious tension between Joey and Nanny, but the audience at first does not know what that tension is exactly. 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 to the plot. 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 is left to wonder 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 minds of the audience as the film progresses. When the mother, Virginia eats tainted food, the obvious conclusion is that Nanny poisoned the food 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 all too surprising.

Any film starring Bette Davis is a treasure in my mind, though admittedly it is not her finest. Still, her finest is tough to match.

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

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

She is seemingly sweet, proper, and well-organized. 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, Hush, Hush, Sweet Charlotte, and Whatever Happened to Baby Jane?), and the aforementioned films are in large part superior to The Nanny, but as a stand-alone, it is a decent film.