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2007 Films, Horror, Italian, Italian Horror, Satanic, Supernatural Horror, Top 250 Films, Top 40 Horror Films

Mother of Tears-2007

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Mother of Tears-2007

Director Dario Argento

Starring Asia Argento

Top 250 Films #227

Top 40 Horror Films #35

Scott’s Review #1,360

Reviewed May 13, 2023

Grade: B+

Mother of Tears (2007) is a film I have a great fondness for, and I’ll never forget its debut in my life.

It is the very first film my husband and I saw in a movie theater together. So, I’m pretty partial to the nostalgic feeling it evokes on a personal level.

Both fans of esteemed horror director Dario Argento, we cohabitated in the dusty art theater one rainy Saturday evening following a delicious Italian dinner on one of our first dates.

The atmosphere was nearly as perfect as an Argento film itself since he is known for operatic, visceral, and visual perfection.

The film is the concluding installment of Argento’s supernatural horror trilogy The Three Mothers, preceded by Suspiria (1977) and Inferno (1980. It depicts the confrontation with the final “Mother” witch, known as Mater Lachrymarum.

Grisly deaths await several unlucky Italian citizens after an American archaeology student named Sarah Mandy (Asia Argento) innocently releases a demonic witch from her ancient prison.

A mysterious urn comes into her possession, and when it is attempted to be restored at the Museum of Ancient Art in Rome, all hell breaks loose.

Sarah has a personal connection to the witch because her mother was once embroiled in a feud with the witch.

Making Mother of Tears a family affair and a source of comfort for viewers of Argento’s work, daughter Asia plays the lead character. At the same time, younger brother Claudio co-produces the picture with Dario.

Religion is always a fun theme in horror, especially in the oft-targeted Roman Catholic church. Like The Exorcist did in 1973, and many other horror films followed over the years, the religion is mocked in the kindest of ways.

As an ode to previous works involving children, a child is massacred, and more than one baby is sacrificed in the name of Mater Lachrymarum, so be forewarned if this is a dealbreaker for some.

Who doesn’t enjoy a coven of witches flocking down on Rome, screeching at passerby folks and wreaking havoc on the sacred city, now overcrowded with demons?

For the bloodthirsty types who crave a healthy dose of bloodletting, Mother of Tears lets the floodgates spill wide open.

One poor woman is speared through her private area and upwards, while another’s mouth and face are expanded until they pop. Several eyes are violently gouged.

You get the idea.

It’s recommended to watch Suspiria and Inferno first for chronological ease, but this isn’t a must; a stand-alone viewing will do just fine.

Nothing can match the sheer madness and visual mastery of 1977’s Suspiria, and Mother of Tears is the weakest of the three films, but this is not a gripe, merely a comparison.

They work well together, and the final confrontation involving Sarah and Mater Lachrymarum’s fight over a red tunic is the highlight.

The dark texture of the filming mixed with glowing lights and red colors is easily noticeable. This aligns well with religious or occult characters such as a monsignor, a cardinal, and various witches.

The film, though American-made, feels Italian and is quite authentic. Further, it naturally sits well with films of Argento’s heyday, the 1970s and 1980s. Most, if not all, actors appear to be Italian or European, adding flavor and culture to the experience.

If one has traveled to Rome, many exterior shots of the ancient city appear, adding to the enjoyment. Sarah ravages the streets and scurries through the vast train station in one powerful sequence.

Since trains are the main mode of transportation in Italy, viewers can transport themselves back to a previous trip.

To know Dario Argento is to love him. Mother of Tears (2007) may not measure up to his very best works, but it is an entertaining and enthralling visit to the macabre world.

It may or may not win over new fans, but it will satisfy the director’s existing fans.

2005 Films, Horror, Horror-Camp, Post-apocalyptic, Zombie

Land of the Dead-2005

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Land of the Dead-2005

Director George A. Romero

Starring Simon Baker, John Leguizamo

Scott’s Review #1,077

Reviewed November 6, 2020

Grade: C+

Land of the Dead (2005) is a post-apocalyptic horror film written and directed by George A. Romero, the fourth of Romero’s six Living Dead movies, preceded by Night of the Living Dead (1968), Dawn of the Dead (1978), and Day of the Dead (1985).

The result is a mediocre effort, with weak acting and too much silliness. The film’s goofy nature negates any sense of foreboding or dread, despite plenty of zombies.

The result is camp over horror, rather than a blended mix of both, which would have worked better.

Comparing Land of the Dead to Night or Dawn is a tough ask, since the former is so much better and makes political points.

There is nothing like that in Land of the Dead besides a weak side story about the class distinction that goes nowhere, and some jokes about the Bush regime.

That’s a shame because it would have made the film more relevant.

What we are served is a healthy dose of shoot ’em up or slice ’em up scenes where zombie heads or some other appendage are blown or sliced off.

This was fun for a while, but I wanted something more.

Wisely, and staying true to the other films, the events are set around Pittsburgh, Pennsylvania, which helps with continuity. The geographical reference to the famous “three rivers” immediately identifies the city used.

As events kick off, we learn that the zombie population has outnumbered the human population, forcing the humans to barricade themselves within a structured community for safety.

There exist the haves who live in a luxury high-rise and the have-nots who survive in squalor.

Dennis Hopper plays the rigid government figure, Paul Kaufman, and our good guy is the handsome Riley Denbo (Simon Baker), who helps those in need.

Conflict erupts when it’s discovered that the zombies exhibit superior intelligence. They storm the gates of the city in droves and wreak havoc on the people of the community.

Other characters along for the ride are Cholo (John Leguizamo), Slack (Asia Argento- yes, daughter of famous horror director Dario Argento), and Charlie (Robert Joy).

The rest of the film is a battle between good and evil (the zombies and greedy Paul) and not much else.

Why do zombies exhibit advanced intelligence? Are they cloning or are more humans becoming zombies? These questions are not answered.

Creatively, Land of the Dead looks good. It is stylistic, dark, and mysterious. Scenes where zombies parade around in misty and gloomy conditions are cool. The slicker, more commercial style gives a modern, fresh look and feel.

Reminiscent of Danny Boyle’s 28 Days Later (2002), that’s not a bad thing, though it’s tepid for Romero. 28 Days Later rejuvenated the zombie genre, so patterning after it doesn’t hurt Land of the Dead.

Another positive is the homoerotic nature of the relationship between Cholo and Mike (Shawn Roberts), a rookie. Both masculine and aggressive, there exists a hint of tenderness and closeness that feels romantic.

When Mike is bitten and commits suicide to avoid turning, Cholo is devastated, implying that they might have shared a close background.

Unfortunately, this is never explored after Mike’s death.

On that note, the characters are not particularly interesting or well-crafted. Paul is merely bad, while Riley is heroic. Cholo is angry and rebellious, while Slack is a prostitute. Charlie is the sidekick.

Everyone has their place, but little substance is given to their past lives, their hopes for the future, or anything beyond escaping the zombies. I get that’s the goal, but more personal stuff would have been better.

The rest is what you would expect from a zombie film and nothing more, which feels lazy of Romero, especially since he wrote the screenplay. He tends to deliver better products with some meaning or interpretation.

In Dawn of the Dead, for example, the zombies sought the mall because it was familiar to them. One could argue that a city and its lights offer more of the same, but this feels weak and has already been explored.

I guess I was expecting more of something that would grab me into the world of the film, and nothing ever did.

A forgettable affair, Land of the Dead (2005) does not require repeated viewings as its predecessors do. This film was one-and-done for me.

Some trimmings and entertainment are present, but I yearned for more substance than a standard Saturday late-night zombie fest. There are enough of those already.