Greetings, Glancers! I know it feels like I keep saying this recently, but we’re back with another entry from one of my long-standing series. Wolf Creek was a film I liked to a certain extent when it was first released, though my opinion on it was probably soured by the horror community’s over abundant love for it. At the time it just felt like a perfectly watchable addition to the ‘trip gone wrong, oops here’s a psycho’ sub-genre. It didn’t bring anything new but the main character of Mick was refreshingly smug. With the sequel, Wolf Creek 2, it explained more of Mick’s character and presented another group of hapless travelers in Australia with a series of bloody endings. Both films were torture porn with a self-mocking smirk, a fun time but nothing out of the ordinary beyond a charismatic lead villain. My wife enjoyed them too, but since that time she has moved away from a lot of the horror stuff we used to watch. It’s almost like she was just putting up with them until I put a ring on it.
Jump forwards a few years and Greg McLean decided to return to the outback and good old Mick, not with a third movie, but with a small screen outing. Wolf Creek Season 1 is a spin off from the films, and while it does loosely mention events and characters from the series, it’s its own thing. You don’t need to have seen the films to see the series, and vice versa. Within the opening scenes of the pilot episode, you know pretty much all you need to know about Mick, and about the show, and while the series as a whole does try to fill in his backstory and possibly explain his murderous intentions, it is more simply a female driven, wonderfully no holds barred, revenge story.
We open with an All American family on some sort of camping trip in the outback. They seem like your typical family – a bit of arguing, but clearly nothing out of the ordinary – Mom, Dad, athletic underachieving daughter, and cute son. Enter John Jarratt’s infamous Mick, the sly killer always ready with a racist quip, and a variety of guns and blades. Mick has this was of being charming and dangerous at the same time – lulling his audience with his Oz ways but simultaneously making you wary. You know there’s something wrong with this guy, but you cant honestly believe it. It’s not a spoiler to say that, in the middle of sharing the family’s food for the evening, he snaps and kills them. Pleasingly for a TV show, there is no shying away from the violence – mid conversation he slams a knife into Daddy’s leg before opening up his throat (in front of wife and child, naturally), then as mummy and son hold hands he throws another knife straight through mummy’s face. Son tries to run, but gets a bullet in his spine. When he goes stalking after daughter Eve (singing as he goes), the brutality finally hits home. Before going further, let me just say that Lucy Fry is a fucking beast. Her performance here, and in the series as a whole, is deserving of all the nominations and plaudits, and if she doesn’t become a superstar in the future it will be a damning slight for the human race.
Without giving away too many other spoilers, the rest of Season 1 sees Lucy, in classic Hitchcock style, trying to track down Mick to kill him while at the same time avoiding the cops. She learns more of his history as she goes, there are numerous side-plots about the cop who has been working Mick’s case for years, various locals with their own criminal or heroic pasts, and Mick himself who quickly realises that someone is following him for a change, and tries to turn the tables. The first season is only six episodes long, but this feels right. It never reaches the point of feeling bloated or unnecessarily stretched, but the various interweaving stories in the end are side dressing for the main event. While we end up caring about some of the others involved, in the end all we want to see is Eve and Mick standing off. Eve shows herself to be quick-witted and resourceful, a horror heroine in the vein of Ripley, Sarah Conor, or Sydney, and she plays the long game instead of rushing in. Fry and Jarrett have great chemistry, even though she don’t appear together too often, and on their own each is addictive and entertaining.
Credit should go to the writers and directors for continually thinking up great one-liners or speeches for Mick to chew on, and for shooting Australia in all its gorgeous, barren beauty. You’ve probably heard me talk about my love for sunrises and sunsets and twilight in movies, and Season 1 and 2 smash this look and atmosphere head on. Both series are among the prettiest I’ve seen in recent years – all the more so because there is little or no CG or false trickery going on – what you see is what the actors saw and felt.
Season 2 then concerns a new group. It isn’t readily apparent at what point in the Wolf Creek timeline any of this takes place, but again it’s not overly important. In classic sequel tradition, we up the ante by increasing the cast numbers – think Aliens or The Hills Have Eyes 2. We follow a group of people from various countries and of various ages going on a coach trip. We have a German couple and their daughter, a Canadian couple trying to salvage their marriage, a couple of tourists suffering from unrequited love, a psychologist, an ex soldier, a gay couple, a party boy, a bus – whatever the bus equivalent of a train spotter is. Through the six episodes we get to know this group, love them or hate them, and watch them get picked off by you know who. Yes, thanks to an unintended insult at a roadside cafe, Mick is back – this time taking charge of the coach and everyone inside. If there’s one thing Mick hates, it’s foreigners, and after driving his prey into the middle of nowhere he begins dispatching them with remorseless glee.
If I have any criticisms about Season 2, it’s that they have turned Mick too much into an unstoppable killing machine like Jason Voorhees. There are a number of teams he should quite easily have been killed, or at least slowed considerably, but there he is moments later back and badder than ever. Couple that with a few silly and unlikely decisions by our protagonists or others they meet along they way, and we have something which feels more contrived and cartoonish that the first Season. That being said, it’s still great stuff. Most of the cast are good and the time is taken to get to know their strengths and flaws. There is still a lot of up close and personal violence, with gruesome practical effects, and Mick is as rewarding and funny as ever. The story sometimes hints at a wider or future plot, but whether or not a third entry in the show or movie series will be made remains to be seen. With lead actor Jarrett accused of some serious crimes from a few decades ago, I can’t say much being done until is name is cleared (if it is). Would Wolf Creek work without him? It’s hard to see it happening, as Jarrett completely embodies the character, and all of his ticks, smirks, his voice, his stature, and of course that laugh – without those you would have a very different prospect on your hands.
Who’s it all for then? Fans of the movies should feel right at home, and anyone with a love for horror should get on board. If you like your horror violent and without holding back, then you’ll get a kick out of this, but it’s also funny, beautifully shot, and well acted and written, even if things do get a little silly the further down the line we get. My wife loved it too, and she has been avoiding the horror scene for a while now, unless it’s a creature feature. Horror is making a splash on the small screen in recent years, but it feels like this show flew a little under the radar. If you like horror, then you have no excuse not to seek this out and enjoy a bloody good time.
Let us know what you thought of the series in the comments below!
What do Battle Royale, Final Destination, Mulholland Drive, The Walking Dead, Existenz, Lost, 8&1/2, Forrest Gump, and Primer all have in common? On the surface, not a lot, but Sion Sono cares not for such concerns and instead finds his own connections in weaving this absurdist film about a person becoming unstuck in time and reality while being stalked by a powerful, murderous force. If you’re looking for a linear plot A to Plot B film, you’d be better placed heading out to the latest blockbuster but if you’re keen on something shape-shifting, ambiguous, and hypnotic you have come to the right place.
Sion Sono is no stranger to wiping out huge swathes of people. If you’ve seen Suicide Club you’ll know he’s a fan of sudden shocking moments, usually involvement mass death, and sometimes focusing on school girls. Tag starts out with a knowing homage to his previous work, as its already infamous opening scene sees two school buses filled with teenage girls sliced into pieces in an instant, leaving a single blood-soaked, bewildered survivor. That’s not a spoiler as it has made up various trailers over the past couple of years and has popped up on a variety of horror and extreme cinema sites, as well as happening in the opening minutes and being the catalyst for everything that follows. Our protagonist flees, running from what seems to be a sentient wind which cuts into any poor soul she begs for help. There’s nothing like killing around fifty people in the first six minutes of your movie to put a smile on my face.
From there it only gets more interesting, or weird, or off-putting depending on your preference. Describing in detail anything else that happens, plot-wise, would be bordering on spoiler territory and likely be futile. This is Sion Sono having fun; for his own pleasure, at our expense, at life in general, and finally because he’s good at it. It’s his art horror film – lots of stylized shots, close-ups of faces, floating feathers, leaves, panty shots, and a lot of running. Merged with these are frequent outbursts of action and violence which are often funny and can be shocking, even with the somewhat dodgy visual effects.
I don’t think there is any deeper meaning here beyond what one character says on our behalf – basically life is surreal and is often beyond our control, so just get on with it as best you can. It helps if you look good in a Wedding dress and if you imagine The Walking Dead theme tune accompanying your every move. Sono dabbles in issues like fate, AI, the passage of time, futility, mortality, so by all means you are free to read the film on any level you desire. In my mind, the broken mind of a tortured cynic, it’s all meaningless except for taking it at its most superficial level – as another entertaining film from the crazed brain of Sion Sono.
Let us know in the comments what you think of Tag!
By now if you haven’t seen Train To Busan you’ve probably at least heard of it – breaking box office records and hearts at a furious pace. If indeed you haven’t seen it, you need to set aside a couple of hours, right now, and watch it – Train To Busan is the horror movie of the year and shows that there is still plenty of life left in the shambling undead genre providing you have the right people behind and in front of the camera.
Train To Busan gets right what many horror films get wrong – character. Too often character is sacrificed for plot, or worse, for kills. I love a good beheading or stabbing as much as the next horror fan, but sometimes we want more – more substance, more feeling and care. Cannon Fodder is all well and good, but the impact when someone we actually like, or actively dislike bites the dust is more powerful and the memory of their death and the associated emotional weight stays with us longer. There’s an old belief/saying/remark that I generally accept as containing a lot of truth – that the best horror films are often made by people who don’t make horror movies. While that’s not true across the board, it does sometimes take a person outside of the genre to bring something truly unique or horrifying to the butcher’s table. While Yeon Sang Ho was no stranger to dark material, it would be difficult to classify his previous work as strictly horror – his debut animated feature The King Of Pigs an unsettling look at violence, class, bullying, masculinity, and the follow up The Fake is an equally divisive, unflinching depiction of religion and abuse of power. Train To Busan was the director’s first Live Action movie, and although he filmed it alongside the animated prequel Seoul Station, it depicts a level of character building and command of genre usually reserved for the greatest directors.
At just under 2 hours, Train To Busan covers a lot of ground and gets off the ground within moments – we meet the ‘bit of a dick’ protagonist – a divorcee who apparently cares more for his job than his young daughter. As her Birthday present, she wants to visit her mother in Busan and her dad reluctantly agrees to take her. As they get on the train we pass by several other characters – a working class tough guy with his pregnant wife, a superior wealthy business men, estranged elderly sisters, and a school baseball team with their own interconnected dramas. Just as the train is setting off, a young, sick, injured woman collapses into one of the carriages and the fun begins as she decides to take a chomp out of one of the train workers. The way the ‘virus’ spreads here is more akin to 28 Days Later where a serious bite will result in death and ‘turning’ in a matter of seconds. Within minutes the train is in chaos, with factions being formed, people being slaughtered, some hiding, some fighting, some locking others away to their doom, all while the train scurries along to its final destination.
The pace with which the virus spreads is matched by the plot pacing and direction. There is rarely a moment to breath or relax without some new twist or threat emerging. The characters from different backgrounds all react to the carnage differently, yet all want to survive. The arguments here are of course reminiscent of NOTLD and Day Of The Dead with each voice and ego demanding to be heard and refusing to accept any other opinion as valid. There are a number of terrific set pieces, from scrolling beat-em up fight scenes through zombie filled carriages, to white knuckle tension filled moments as one group tries to lock out another, to the seeming safety of arriving at another station only to find it completely overrun too. Indeed, most of the excitement and scares of the film come from the pacing and the character driven plot, rather than jump-scares or gore.
While the film has its bloody moments, it isn’t overly gory or off-putting for newcomers. Seasoned horror fans will enjoy the action and invention, while new fans will likely be sucked in by the story which is frequently heartbreaking. The performances from top to bottom are great, something vital when you are relying so heavily on character, and most of the writing is on point too. You’ll have fun guessing who, if anyone, will make it to Busan, and the energetic nature of the film will have you thirsting for a rewatch. This is a highly entertaining, game-changing zombie film which reinvigorates a genre bloated by the procession of Walking Dead episodes and clones and frequently equals the heights that the best of the genre has to offer while encouraging those unfamiliar with these types of movies to get on board.
Let us know in the comments what you thought of Train To Busan!
Of the teen horror movies which appeared in the Nineties era, most were dumb gore-fests with cheap shocks and a sexy, young cast. However, there were two stand outs: Scream, of course, and Final Destination. Both are intelligent, both have involving story lines, good characters, genuine shocks, and grisly deaths. While Scream was full of parodies and self-referential stuff, Final Destination played on our fear of death – the one common denominator which we all cannot avoid. While it does make jokes about itself and its genre, they are fewer than Scream, and do not go as over the top as some other films. The director fills every scene with real tension and fear, and successfully combines this with excellent set pieces and stunts, as well as sustaining a brilliant story. There are few films that can do this so we should admire Final Destination.
128 students are planning to travel to France with their teachers for one last big school trip. The plane crashes, killing everyone on board. We then flashback and realise that it was the premonition of one of the students, Alex. He has been having a strange day, and when he sees that his premonition is coming true he tries to get everyone off the plane. Like a certain Twilight Zone episode he succeeds in only causing a minor panic and some embarrassment, but is fortuitously thrown off the plane together with a few others who got involved. As they wait in the airport Alex relates what he saw and of course no one believes him. Suddenly the plane explodes – his premonition came true. In the aftermath, some of the survivors mourn, others see it as a second chance, the cops become interested in how Alex knew what was going to happen, and Alex has further visions. Soon the survivors are killed in bizarre ways, and the cops believe it is Alex. Alex thinks that death is stalking them because they cheated it, and he works out the order that they will die in, believing that if they can understand the visions and prevent themselves from dying again, they will be safe. This will not be easy though, as death can, and does strike from everywhere.
The idea behind the story is excellent, and it is stylishly and effectively executed. It will appeal to the teen audience it is aimed at, but also older viewers as it is a very thought-provoking, existential film when stripped back. One character, Carter, believes he is in control of his own life, not some invisible force, and at one point tries to prove this by parking on train tracks in front of an approaching train. Alex becomes increasingly paranoid, hiding in a hut from death, safe-proofing it in every way he can. Clear tries to be strong, has learnt to be this way through a tough childhood and cannot believe that all life is is a series of days avoiding death. The other survivors all have their individuality, and are not pastiches of other characters from teen movies. The performances are each outstanding, even from Sean William Scott who proves he is better than just being Stiffler forever. The side plot of the cops believing Alex is behind the deaths adds a depth which most teen horror films do not have.
Wong’s direction is very stylish, and the deaths and set pieces are some of the most innovative ever, recalling the style of Argento. That everything is a potential killer is an idea ripe for exploitation. Wong also creates a massive amount of tension throughout, peaking with each death – the train and car scene will get the most flabby heart racing, the teacher in the kitchen is brilliantly staged within every fork and implement seeming deadly. The opening 15 minutes have to be among the most tense and exciting 15 minutes in horror movie history, confirming all those with a fear of flying to stay firmly on the ground. The film shows how we are not immortal, and without the humorous moments it might become too much.
There are many famous shock moments, the bus scene being the most notorious – many have complained about this being stupid and unrealistic, but if Death was stalking you, of course it would try to put the approaching bus under a veil of silence. The premise may seem too far-fetched for people, but this is primarily for a horror crowd who come baying for the blood, and we do appreciate it more when our intelligence isn’t insulted. Death here as a character does have a sense of humour, each death being ironic, gruesome or made to look like an accident, but this is all the more terrifying, that this force is coming after us for entertainment. Death wants immediate pay back for those who cheated it, but in the style of a Bond villain, likes to play with its victims first. Of course the deaths may seem impossible in the real world, but if it is Death stalking us, I think it has the power to bend a few rules. Most criticism I have read of this film is petty and unexplained, but I can understand why some would be put off by it. For clever, shocking, exciting teen horror movies, there are very few better than this.
What do you think of Final Destination and its many sequels – let us know in the comments!
Lets get the cliché comparisons out of the way – it’s Teen Wolf meets The Evil Dead! Or something along those lines. I wasn’t expecting too much from Wolfcop, and although it’s the sort of film I generally (or used to) enjoy for inherent cult silliness, genuinely good films in this vein have been few and far between in recent years. Thankfully Wolfcop is an enjoyable romp with plenty of laugh out loud moments and a great soundtrack. It doesn’t take itself too seriously (because of course you wouldn’t) and although it clearly has a low budget, most of the effects are good, most of the performances are passable, and I suspect most viewers will be entertained on some level.
The plot goes something like this – a small town down and out alcoholic cop whose only interest in life is when the next booze break is, suddenly becomes empowered to take out the trash when he discovers he is a werewolf. Rather than the usual tropes of trying to hide this fact from everyone, he embraces it, slaps on his badge and side-arm, and goes out to rid the town of crime, a la Robocop. While it seems like the main goal of the film is to watch him take out local drug dealers and gangsters, the film introduces a twist later when a group aware of the existence of werewolves begins to cause trouble.
I don’t want to say too much more on the plot, not because there are any genuine game-changing spoilers, but because you should watch the fun unravel for yourself. It does take some time before the wolf antics begin, but the film and central characters are interesting enough before that point to carry things. Once the werewolf emerges, the entertainment, and gore, levels are dialed up and you’ll be giggling like a child at the silliness, the one-liners, and the visual gags. We get a funny spin on the werewolf transformation scene (with one body part change being particularly amusing), quotable dialogue, a funny side-kick, and good performances from Leo Fafard, Amy Matysio, and Jonathan Cherry (though the rest of the cast don’t come off as well). The plot is a little haphazard and cliché-ridden, but you don’t go in expecting miracles. What may be the strongest piece of the puzzle is the soundtrack by Shooting Guns – a heady mix of guitars, noise, and electronica which is prominent throughout, varied, and memorable. If you enjoy cult films, cheesy horror comedies, or simply like the title of the film then give Wolfcop a go before all your friends see it.
Let us know in the comments what you thought of Wolfcop – is it up there with An American Werewolf In London, or down there with An American Werewolf In Paris?
A cult ‘classic’, Street Trash is a film I have known about since my childhood but somehow was never able to get my hands on till recently. I’d seen small bits and pieces of it before and had read various accounts calling it deliciously gruesome, offensive etc – all the things I look for in a horror movie, naturally. Having finally seen it I can’t say that time has been good to it in most respects, from the dated effects to the unfortunate misogyny. The film’s rampant disregard for women is in truth the only offensive thing here, and while yes we are supposed to be dealing with Street Trash and other assorted dregs dredged from society’s rim, it nevertheless feels like it is reveling in its attitudes.
Like any number of other 80s horror movies, Street Trash deals with toxic waste, or ooze, or some sort of chemical mistake. While some movies use this formula to turn hapless victims in to zombies, here the stuff (in the form of a new brand of alcohol) turns our already near-zombified morons to mush, hissing, melting, and occasionally exploding into colourful puddles of cartoon gore. That’s the biggest letdown of a film I had heard so much about – the low budget is obvious and the effects are poor in the few instances they are actually shown. In many cases we simply get reaction shots of the victim’s tortured face, or the sickened grimaces of bystanders, while squelching, farting sounds bubble into our ear holes. There are a few interesting moments and deaths which would have been more potent at the time of release, but it doesn’t come close to the quality of effects or inventiveness of many other films from the same era.
Having said already that the film treats the female characters mostly as meat or figures of ridicule or hatred, it’s ironic then that the script is the highlight of the film. The dialogue is well written and peppered with one-liners, many dated, many funny, and it fizzes along when it needs to. It’s a shame then that the story is not interesting, the characters unappealing, and the plot bounces around in different directions which all end up going to the same unfortunate place. There are some funny moments and with a higher budget or better effects some of the kills would possibly be rightly seen as classics – where else are you going to see a man melting to nothing while sitting on the can, and then accidentally flush himself away? Other positives include some of the performances – Mike Lackey as the hero (?) is basically excellent, and the city looks ugly and hopeless. In an attempt to make some sort of epic comparing all layers of society as monsters, we get a large cast of characters who sort of intertwine, from Fred and his brother who live in a junkyard with a variety of other hoodlums, to the broken and crazed Vietnam vet Bronson who claims to be King of the yard, to the obese actual owner of the yard and his receptionist, to a burly cop trying to cut out the crime Bronson and his bunch are unleashing, to an Italian American mobster cliché who is having a feud with a mouthy restaurant doorman. With more time and effort, this could have been a gore-filled, low rent Pulp Fiction for the 80s, but instead it comes over as a series of skits. I dearly wanted to like and even love Street Trash, but aside from some good ideas and bad intentions, it doesn’t work. It’s passable, cheesy entertainment that I would still recommend all horror fans see, but unless you grew up with it I can’t see it converting too many new fans.
Let us know in the comments what you think of Street Trash – is it one of your favourites, or should it be confined to the scrap heap?
How many times has the remake versus original conversation taken place over the last few decades, whether over the net with like-minded bloggers or over beers and Scampi Fries with friends? Although the number of remakes in recent years has sky-rocketed to ridiculous levels, the general consensus remains that remakes are generally weaker than the original. We’re not here to discuss that argument today, though feel free to leave your comments on the matter below, but instead we’re simply going to review the film on its own merits as much as possible. This ‘new’ Evil Dead takes the premise to it’s most basic premise – a group of friends are tormented by horrific forces whilst staying in a cabin far from civilization – and dispenses with much of the humour of the originals. It’s gory, it’s grim, it’s great.
You know the original story, right? Group of college kids head off to a secluded cabin for a weekend. Evil Dead takes a cue from its modern gritty brethren and adds a millennial generation twist – one of the friends is an addict (I want to say heroin?) and her friends are taking her out to the middle of nowhere to get clean. That’s a bad idea in and of itself, but we already know from the prologue that things are likely to get worse (the prologue showing a nice bit of capture, setting on fire, and headshots). Before long a certain book is found, a certain verse is read, and a certain ancient evil is awoken. From that point on the film moves at a frantic pace as people are possessed and injured and killed in gruesome ways.
The cast is a step up from the original, that much is obvious. Sure, we don’t have Bruce Campbell, but we do have Lou Taylor Pucci – a vastly gifted and underappreciated actor, and Jane Levy as the female lead who tows the line between addict, demon, and warrior. The story does try to merge the whole getting over addiction thing with a violent exorcism but lets not pretend we’re here for anything other than blood and guts – the story does what it needs to, removing some of the gaps from the original and adding some emotion and character. What we lose is much of the humour, the slapstick invention – it’s here, but in much smaller doses. It’s a fine balancing act – the original succeeded because no-one has really seen anything like it, but having that mix of comedy and gore nowadays is especially difficult as we have now seen so many attempts at it.
I can see some fans of the original series being too precious to get on board with this remake, but I believe most fans of the original are fans first and foremost because they love horror. This is a horror movie, with all the blood and violence you could hope for, as well as some fairly effective scares. It’s not going to change the world like Raimi’s movies did, but it is going to entertain and gross-out. It’s easily one of the better remakes of recent times and is deserving of your time. Let us know in the comments if you enjoyed this remake or if you feel it is another inferior and needless cash-in.
What did you think of this remake? Had you seen the original already, or did this make you want to go back and find the 80’s classic? Let us know in the comments!
Ti West has been carving a name for himself in the horror world for quite a few years now, earning critical praise if not quite the commercial recognition he deserves. In a run that any director should be proud of, West crafted this nifty little throwback to the Seventies slasher, with nods to many classics, and showing an eye for flair, and for creating tension similar to those masters De Palma, Carpenter, and Hitchcock. From the setting to the soundtrack to the camerawork to the title credits, House Of The Devil is a fun, loving dedication to an interesting time in horror – one ripe for ridicule, but also for respect.
I love the introduction to House Of The West instantly transporting you to a more simple, better time for horror. We get an authentic retro opening credits sequence with big Yellow writing, hilarious, apt zoom shots and freeze frames, and 80s music blasting out of a walkman. There’s a case for saying that this intro is the best part of the movie, and it’s difficult to argue against that, but to say what follows isn’t great would be a foolish disservice. The retro look and feel is seen throughout, thanks to filming with 16mm and keeping a number of techniques familiar to 70s and 80s horror fans prevalent throughout. It’s not just in the stylistic approach – the hair and clothes and vehicles etc are all authentic, but in an interesting twist it takes the slasher sub-genre and gives it the slow-burning treatment. Aside from a few obvious classic, the slasher is more about gore and over the top kills and buck a minute thrills than creating tension or atmosphere. West keeps the kills and blood to a minimum until the conclusion, and even though there are few answers or reveals until close to the end, we are shown enough, and know enough that something isn’t right.
West’s direction is assured, that’s easily enough established in the opening moments, so what of the rest of the cast? We have a pleasing range of familiar icons and fresh faces, and there are no let downs. A trait of the cheapest and sleaziest, and even the most popular horror films of the 70s and 80s were the less than stellar performances from less than household names – there would usually be a decent leading lady, and one reputable actor surrounded by people who had just enrolled in Acting 101 never mind those who had graduated from it. Dee Wallace appears in an early, minor role to set the tone of horror pedigree, but it is a soft spoken Tom Noohan who leads the way, a man known for many creepy roles. His wife in the film is played by another less known horror actress Mary Woronov, and they make a formidable pairing, both charming and affable and unnerving like a certain other sociable couple from Rosemary’s Baby, hint hint. Added to the cast in lesser roles are AJ Bowen who is gradually making his name known in horror circles, and Greta Gerwig who it seems just needs the right film to hit the big time after a number of well received performances. Our Scream Queen though is played by Jocelin Donahue who does a great job as both plucky heroine, 80s college girl, and distressed damsel, fighting, kicking, stabbing her way through a chaotic conclusion. For sections of the film she is alone and has to act by herself, managing to hold this scenes without issue.
These sections all lead towards a final vague reveal and some fine carnage. The only scene of violence before the final section is a pretty shocking gun-blast to the face for one unfortunate victim, but those last moments are a gripping mix of chase and torture, yet another game of cat and mouse in a large, shadow and secret filled house, but rather than simply re-tread old ground, West tries to actually make things scary rather than gory. The film and the payoff may not be perfect for all horror fans, but I was happy. Without giving away any spoilers, there is a reason behind all the violence and it’s fairly stock horror stuff, and even though there are brief hints throughout, it isn’t truly reveled until the final moments. Definitely a film which horror aficionados will appreciate more than the casual fan, but there is plenty to love here for those not accustomed to hockey masks and human centipedes.
Have you seen The House Of The Devil? What did you make of the retro stylings of the movie and do you think it will be a future cult hit? Let us know in the comments!
I surprised myself when I realised I had never seen a José Marins film, given that I’m a fan of all things horror, cult, weird, and gore. I’d heard of Coffin Joe before but never knew the extent of his ‘importance’ in this feverish section of the movie community. I suppose The Embodiment Of Evil is not the best place to start as it is the third part of a trilogy, but as this is hardcore, grindhouse stuff watching five minutes can be just as enjoyable or sickening, enlightening or boring as watching an entire series.
Coffin Joe is a rather messed up Undertaker whos has spent the last forty years growing his hair and nails in an asylum/prison after murdering countless people. His life has been led by his quest for the perfect woman; a woman he believes his good enough to give birth to his son and heir. Unfortunately for him every woman he meets fails to live up to his high standards and they inevitably get torturted, murdered, and if they’re lucky, eaten. After forty years though he is deemed safe and is released. Met by his own version of Igor (Bruno) he returns home to find he is something of a legend and hero to all the local maniacs. Immediately he begins his quest once more, sending out these followers to bring him back the choicest slices of women in the land.
Of course this is little more than a thank you to fans in finishing a beloved trilogy, a cash in on the recent trend for gore and grindhouse, and an excuse to chuck a pile of blood over the screen. Luckily for me i’m all for that sort of thing. Where such films are concerned I usually don’t care for much of a plot as that is never the point; all you need to know is where the bad guy is and what he is going to do to his victims. I’m not a fan however of poor acting, no matter how campy or how pointless the film may be and there is some poorness here. Joe has been around for decades though and knows what his audience expects, skulking around like every Vincent Price, Bela, Karloff etc character there has ever been. His character is interesting to an extent though nothing we see is particularly shocking, new, or frightening. I would have expected a few shocks but at least there is plenty of gore. There are a few particularly nice scenes, nothing as inventive as Argento but still fun to watch. Thankfully the production values are high enough that it doesn’t become a pain to watch, there are some nice, funny attempts at artistic, surrealist stuff but on the whole it’s how many die and will Joe get what he wants. If you’re a fan of this type of movie you’ll get something from it. If not you’ll likely never see it or be horrified or bored. Overall a decent attempt, a fond farewell (perhaps) to a much loved character and one whose history I will have to delve into later.
Aah, Halloween- the most wonderful time of the year. When even those who wouldn’t usually subject themselves to all manner of terrors decide to watch the odd scary movie or 2. Unfortunately for me, this part of the Spac Hole which I currently inhabit does not indulge in the season as seriously and joyfully as other places, so I have always felt a little deprived. Sure, we had some parties, sure we threw fireworks at Gerry’s house, and yes we would watch whatever limited choice of movies were on over the few days but compared to other places (particularly you festive folks in the US) it just didn’t seem as much damn fun. In my mind, the whole month of October should be a vessel for Halloween activities, from dressing up to trick or treating, to watching scary movies and hiding under the beds of people you don’t know with a chainsaw.
To that end I have helpfully made a few lists of classic horror movies which sould chill you to the bone, and add to the singular atmosphere of this most evil time of the year. This list of 31 movies was created so that you can split the fun over the entire month (alternatively you could wait until closer to the day and have a few marathon sessions) and let yourself tremble ever so slightly in the supposed safety of your own home. Just be sure to lock your doors and windows, close the curtains, and tuck up the kids tightly in bed (checking underneath and in closets for me) before turning off the lights. Maybe check those locks once more, you can never be too sure or too safe. Oh, what’s that? That noise from outside? I wouldn’t worry, probably just the wind. By all means go out and check, but that would mean going into the basement to find batteries for your torch. Really, just relax and watch the film, your paranoia can’t hurt you. The thing outside, yeah- it could hurt you. But you locked the doors, right?
These don’t have to be watched in any particular order, but some would suit the big day (or night) better than others. This is not meant to be a list of the best or even my favourite horror movies (though I love them all) but rather I feel these offer something of the atmosphere of Halloween. Enjoy.
An American Werewolf in London: This one has it all- gore, jump scares, atmosphere, action, humour, and a great plot with likeable characters. WereWolves, like Vampires have taken a rather glossy beating recently. This proves that you can wrap up a love story with horror without being teeny, without being sparkly, without being demeaning to viewers with brains. Classic Halloween scene: The Nazi section.
A Nightmare on Elm Street: Wes Craven, Johnny Depp, Heather Langenkamp, John Saxon, and Robert Englund- lovely ingredients for a tasty Halloween Pie. This is the original and best, before the horrific character of Freddy (Here just Fred) became a snuggleable, bantering chum. What could be better for Halloween than scaring yourself so badly that you can’t sleep- knowing that something terrible may be waiting for you in your dreams. A story with more depth than it gets credit for, dealing with the Craven standard of ill-advised parenting and how the children have to cope with the mistakes of the elders, this is full of genius set pieces and bloody action. Classic Halloween Scene: Nancy gets a bloody post coital surprise- but not what you’d expect. And did they say she was 14??
Alien: Often described as Halloween in space, or a Haunted House in Space, Alien deals with our fears of isolation, of being trapped, of being in s situation way beyond our control and way above our heads. Remove the alien, remove the setting, and this could be any slasher movie from the time. However, that would be taking away the fun, the fear, the atmosphere, and the ingenuity. This is dark, claustrophobic stuff, and the perfect film for Halloween to make you look out the windows into pitch darkness and wonder if something is staring back. Classic Halloween Scene: Dallas goes hunting, but realizes too late that he is the prey.
The Blair Witch Project: Similar to Alien this deals with our fears of isolation and the un-experienced unknown, but spices things up with issues of abandonment, paranoia, and things that go bump in the woods. A classic survival tale for city folk poking their ill-prepared noses where they don’t belong, Blair Witch succeeded because of it’s innovative filming and marketing techniques. It still succeeds today amongst a rubbish tip of similar films because the plot is solid, the acting is real, the rising tension and fear played out between the characters feels exactly like how we would react, the growing dread is almost unrivalled, and the climax is absolutely chilling. Classic Halloween Scene: The search for Josh in the freakshow house at the end will get you tingling and gripping the seat every time.
Creepshow: Halloween isn’t just about traumatizing each other, it’s also about good old fashioned camp-fire tales to warm the heart and soul. This is cheesy at times, but never boring or irritating, it feels nostalgic both for children of the 80s and of the 50-60s. The tales are brief, well written and acted, the effects are still top-notch with an earthy feel, and the scares are tense and fun. Classic Halloween Scene: Trying to convince your abusive wife to enter a box where a monster lives has never looked so enjoyable.
Candyman: Both Cliver Barker and Tony Todd are vital ingredients in any scare-fest- put them together and you’d better have a few spare pairs of pants lying around. An intellegent, sexy, city based horror which merges old world supernatural fears with the modern world of big business, CSI policework, snooping journalists, and end of the century hairdos. Barker at his height was a fountain of invention, bringing a freshness to the genre which made everyone else’s ideas look like old creaky mummy movies. Candyman merges urban myths with ancient folklore, mysticism with science, gore and shocks with beauty and lyricism. Todd’s presence is as powerful as any of the classic monsters, while Madsen gives a refreshing twist on the final girl character. Classic Halloween Scene: Hook through the chest.
Carrie: One for the teens this, though it may have aged some due to being so authentically 70s, the scares and the themes of abuse, loneliness, bullying, and separation are no less relevant or universal today. The story is simple but pumped up by ideas of religion, extremism, and psychotic mummies (not those ones). The acting by the main players is superb, there is something bleak about the whole sordid business, and we manage both to sympathize with and be scared by Carrie. And wish we had her gift. De Palma twists the tension knobs until they break off, though some of the intrusive camera guff is laughable now. Classic Halloween Scene: Everything between the bucket dropping and the school burning.
Child’s Play: The evil doll is a well worn sub genre of horror, but one which has very few, if any, classics. Child’s Play is amongst the best, and the series is certainly the most notorious. Like many 80s horrors, the series was unfairly derided for it’s supposed impact on our youth with some people going so far as blaming it for some grisly murders. As with most of these series, the quality decreased as the sequels increased, but the original remains surprisingly effective given the silly subject matter. If you don’t know the story- multi murdering maniac transfers his soul into a popular doll moments before his death, doll is picked up by young boy, doll begins murderous rampage again until it realises that it needs to sacrifice the boy to become human again. There are sure to be some laughs, some screams of just kick him in the balls and throw hm out the window!’, but maybe a few jumps too. Classic Halloween Scene: Chucky terrorizes the baby-sitter and we all jump when the phone rings.
Dawn Of The Dead: There is something quite special which you may not know about Dawn. If you watch it at Dawn- depending on where you live etc, try to time it where the film will just be ending as the sunrises. Then go for a walk immediately. It’s likely there won’t be many people around. The ones you will see will probably be shambling. The bleak nature of the film rarely hits harder than in these moments and you will surely look around yourself and feel a stark aura fill your being. There are few things more terrifying than waking up to an otherwise beautiful day and not wanting to be any part of it. Classic Halloween Scene: So many to choose from, from funny, to scary, to bleak, but I’ll go for the truck parking section as we realize that paradise can quickly become hell, and a haven can suddenly become a tomb.
Day Of The Dead: Surely the most grim of all the DEAD films, this is perfect Halloween viewing, not only because of the exquisite gore and effects. Claustrophobia and paranoia again play a large part, and you can’t help wondering why all these psychopaths keep getting in the way of your enjoyable apocalypse. Most people would be happily looting and whiling away their days watching DVDs, playing games, reading books, getting drunk, but there always has to be a crazy doctor or maniacal military group to spoil your good times. Halloween is all about good times, stick this on to reap the benefits. Classic Scene: When the Zombies step on the lift and it begins moving downwards- you just know all hell is about to break loose.
Dracula (30s): A classic to chill the bones of all comers, this still has the ability to… worry those who haven’t seen it before. A film that’s almost a hundred years old- how could that possibly be scary? Well, there’s a reason why this is still considered the best version. Classic Halloween Scene: When Harker first meets The Count.
The Exorcist: Now we get into the truly demanding territory. A rarity in the genre, The Exorcist was a massive financial and critical hit upon release, pampered with awards and then…uh, banned. It may not be as hard-hitting these days, but it’s still rough, creepy stuff. Plus it is played extremely coldly, and without a hint of humour. This is as bleak as horror gets, and even the supposed happy ending leaves us with a bitter, fearful taste. Excellent performances, bewildering jump scares, and freaky moments all conspire to chill the soul and ensure you cuddle up to your beloved in bed. Classic Halloween Scene: Spider walk.
The Evil Dead: This was mostly played for scares over the played for laughs sequel, and while there is humour here, the main focus is on sudden frights and wonderful, innovative camera techniques. You’ll have fun watching this one as each character gets picked off, comes back, and gets picked off again. Classic Halloween Scene: Cheryl at the window, not in the cupboard.
Friday The 13th: One of the original slashers and one of the most successful, this one has plenty of ideas and violence, and staples of the sub genre which have now become clichés. It has dated, it is silly and quite tame, but it was made with love and ambition and freshness. The ending is shocking, the performances are ok, and there isn’t a hockey mask in sight. Classic Halloween Scene: Arrow through the neck- don’t have sex kids.
Final Destination: Another rarity- an inspired modern horror film with great ideas which blends humour and genuine frights. We have a series of characters who rather than getting picked off one by one in an uncaring fashion, are shown to be real kids with real lives, fears, and concerns- and then they are picked off one by one in increasingly exciting, tense, and innovative ways. A film which deals with our fear of death, of inevitability succeeds on every level. Classic Halloween Scene: During a heated discussion in his car, one reckless character refuses to accept that his life is pre-destined or that death is stalking his every move. To prove the point he parks his car on train tracks with his friends as the train hurtles towards them. He soon realizes he was wrong.
The Fog: One of the great campfire spook stories, The Fog is still sadly underrated. Carpenter creates a wonderful atmosphere here which suits the season perfectly- even better if you’re near the sea or if there is fog around. Classic Halloween Scene: The introduction with the wizened old sailor sets the tone for the rest of the show, and should set the tone for your night.
Hellraiser: Another British one now, offering something different from our American cousins. We have sex, violence, lots of gore, and some S&M themed fun. This is gritty in an Eastenders sort of way- you don’t really want to look or have anything to do with these characters. Classic Halloween Scene: When Kirsty first meets the Cenobites- what is the finger in the mouth about?
Halloween: What more can I say? This is the movie which should be watched every Halloween- not only is it a genuine classic of the genre and a kick-ass movie no matter which way you look at it, it drips with and evokes that special Seasonal feeling that few things do. Make this the highlight of your night. After you’ve cut some throats. Classic Halloween Scene: Young Laurie runs screaming down her street being chased by a murderous maniac. She clambers to the front door of a neighbour, knocks and begs for help. A light is turned on. Then switched off. Did they think it was just kids messing around? Were they too afraid to help? Welcome To America folks.
Invasion Of The Bodysnatchers (70s): Some us like to dress up at Halloween as ghosts, vampires, or our favourite horror movie characters. Some people go further and pretend to be the person that the costume depicts. This definitive version of Bodysnatchers takes the idea of hiding behind a costume to dramatic and terrifying extremes- what if person next to you on the bus, your neighbour, your friend, your wife, or child was no longer the person they once were? In fact, what if some alien creature had taken their body as host and was walking around as an imperfect mockery of that person’s life? What if this alien race had designs on all your friends and everyone you’ve ever known, and what if you were next? This chilling view of a world snatched away from under our noses is all about loss of identity and mistrust, and makes for unsettling Halloween viewing. Classic Halloween Scene: The final moments. I’ll say no more.
Night Of The Living Dead: A staple of midnight viewing, the surrounding darkness makes the black and white all the more stark and cold; There are no easy answers or happy endings here. If you are watching this with a group of people, ask yourself which ones you would trust in a life/death situation. If your cosy home was surrounded suddenly by thousands of undead, who amongst you would come out as leader? Would you sit back, would you make decisions, would you think only of yourself or would you think of the safety of the group? Either way, you’re bound to get a chewing. Classic Halloween Scene: They’re coming to get you, Barbara.
The Omen: So far we don’t trust our neighbours and friends, but what if you thought your son was the Antichrist? The Omen is an apocalyptic film in more than one way and is filled with strong performances, gripping and bloody deaths, and a memorable, frightening score. Music is often pivotal in horror movies, and as you clamber the stairs to bed after this, with infernal monks chanting obscenities in your head, that corner of darkness you can’t quite see clearly may fill with unspeakable evil more readily. Classic Halloween Scene: Damian decides to ride his bike.
Prince Of Darkness: I find this to be Carpenter’s most underrated film mostly because it is awesome and should be mentioned in the same breath as Halloween and The Thing. Sure the plot is messed up with it’s evil green satanic liquid taking over zombies and bums mixed with time-travelling dream messages and psych jargon, but seriously it is awesome. It has more effective jump scares than any of his other shows and there is a creeping sense of dread and atmosphere throughout. In many ways it is classic Carpenter- a group of different thrown together in a building who have to team together or fall apart and stand against an overpowering threatening external force. It is a siege movie, it is clever for the genre though at times it doesn’t know what genre it wants to be. I think that was part of the fun though- like Big Trouble In Little China it is more than just it’s labels instead transcending notions of what it should or shouldn’t be, and is well ahead of it’s time. Classic Halloween Scene: The final survivors holding up behind some furniture while one of the crazies admires himself in a mirror with a large blade.
Ring: Please please please watch the Japanese version, not the abomination that is the remake. Sure the remake has plenty of jump moments, but it also has a deer on a boat, Brian Cox in a bath, and a director who decides it would be clever to cut away from the movie’s most important scene for the sake of a car chase. The original has Nanako Matsushima and Hiroyuki Sanada and if that isn’t enough of a recommendation then please remove thine eyes from mine page post haste. Watch this deep into the night, possibly as the last film, then play the lovely game of phone your friend once they have left to terrify them. Unfortunately the ideas first seen here have been so over-used that these games have become diluted, but the film still has an unflinching power. Not a drop of blood is shed, there are no knives, guns, or people bursting in from behind doors with a loud noise- this is the best horror film of the nineties and goes against everything that decade threw at us. And it’s a damn good story with excellent performances. Classic Halloween Scene: Sadako. TV. Sleep tight.
Scream: The second best horror movie of the nineties is the stuff of parties. By know everyone should have seen it, but many of you will have forgotten it and how good it still is. Plenty of shocks, laughs, scares, and action as well as a script the quality of which horror movies rarely get. And my beloved Neve Campbell is in it. Few horror films provide this much entertainment whilst still being scary, funny, and clever. The nods to horror movies will keep the nerds amongst your bunch happy and you can shout out when you spot a reference. Classic Halloween Scene: The final house chase scene as Neve doesn’t know where to run or who to trust.
The Shining: It’s rare for most people to get snow at Halloween, even more rare to be completely snowed in and surrounded. Try replacing the notion of snow with rain or darkness- would you want to go wandering outside if it was completely dark or hammering down? Anyway, this is another film which plays on isolation, claustrophobia, and paranoia. It’s probably best not to watch this one as a cosy night in flick with your little family- you’ll start wondering what the hell is going through each other’s minds. This is a giant of the genre with heaps of atmosphere and plenty of unsettling moments which deserves to be menti0ned at any Horror Movie Marathon. Classic Halloween Scene: Danny was warned not to go in that room. Prepare to be scared when Daddy goes looking too.
Silence Of The Lambs: The critic’s choice. Don’t invite any critics to your party as they will moan, groan, bore your girlfriends, and likely drink all your wine. There should be wine. This is nasty stuff from start to end as poor Jodie Foster tries to solve a murder whilst hiding her own fears from the unlikely Terminator Anthony Hopkins. This is better suited to smaller group viewing as it isn’t exactly cheery, blood n guts fun but it does the job when you’re on your own. Classic Halloween Scene: Anything with Bill really.
The Thing: In many ways the ultimate John Carpenter film, the ultimate macho man fest, and the number 1 examination of the paranoia which creeps into people during periods of isolation. The effects here still blow me away and they are only part of a long list of quality to describe this film- look at the cast, the performances, the music, the scares, the cinematography, and the way Carpenter drags the tension out of every shot until we don’t know who has been infected and who hasn’t. Great action adds to the great scares, but the special effects and story are kings here. Classic Halloween Scene: When the survivors are tied to chairs and Mac goes through each one by one to test if any are not human. Genius.
The Texas Chainsaw Massacre: This one still hurts today- it’s just so damn grim, dirty, and repulsive as to make the horror timeless. Sure they scares may be cliché now and the gore is almost non-existent, but the low down atmosphere, the miniscule budget, and the amateur (but good) performances all conspire to make this uncomfortable watching. I’m sure that there are plenty of people out there who still think that there could be a family like this in their town, just as much as I’m sure that there probably are still families or people like this in the world- maybe not in your town, but possibly the next one over. And chainsaws are awfully easy to come by these days. Classic Halloween Scene: The entire dinner scene. Truly horrific, the use of sound and various camera techniques make this one of the most intense few minutes in any horror movie.
28 Days Later: A modern classic, and one of the few great British horror movies of the last few decades. Taking riffs from Romero and King this is a post apocalyptic survivalist’s wet nightmare. Empty streets, shops to loot, cars to steal- all great if it wasn’t for the hundreds of thousands of psychopaths charging towards you in search of your blood. This is the 21st century folks, and zombies ain’t got time to amble and stumble about- these are confident, successful, modern big business, stepping up to the plate, corporate bull-shitting zombies, and they won’t take closing a door in their face for an answer. If you can’t run fast, you’re screwed. And just to make things Mega Man 9 difficult- these fiends don’t even have to bite you to kill/convert you- one drop of their blood/saliva entering your body, through a gash, a scratch, a kiss, or a tear is enough it recruit you. And sheesh! They don’t even give you time to grieve for your fallen comrade- within seconds of getting exposed, your best friend will be diving for your jugular too. My advice- kill everyone you see and hide under a pile of coats till it all goes away. Classic Halloween Scene: An abandoned car sitting in the middle of an abandoned London- nothing to fear but technology.
The Wicker Man: Nothing to fear but religion. Look closely enough and all religions begin to look like cults; they all have a figurehead, the followers worship the figurehead unquestionably and offer prayers, thanks, songs, and sacrifices, there are certain rituals usually borne of centuries long since dusted, those involved are usually inviting to outsiders in person, but have a secret hatred, anger, or issue against them once backs are turned. So we have The Wicker Man, possibly the best British Horror Film of the whole sorry lot. Aah, the confusion of two worlds colliding as we watch a upstanding lawman and guardian of his own archaic faith fall victim ever so slowly to a cult even more decrepit than his own. He knows something terrible is amiss, but it isn’t until his toes turn to cinders that he realizes his fate was sealed the second his feet touched the land. Classic Halloween Scene: When we first see Mr Straw and realize our hero’s fate.
Paranormal Activity: Proof not only that horror movies still have the power to scare, entertain, and bring in the mega bucks, proof not only that a good story well executed can be more than a match for buckets of blood, but also proves that in this day and age of $200 million dollar movies that a small group with talent, an idea, and a few months worth of average salary can make a great movie. Romero did it in the 60s, Carpenter did it in the seventies, Raimi in the 80s, Myrick and Sanchez in the 90s, and now Oren Peli has continued the tradition. Using every trick in the book he has made a classic pastiche of the genre and a thrill ride akin to running naked through a field of land mines. The setting of the movie is perfect for Halloween viewing- primarily it is set in the home and most of the scares happen at night- the film invades you with a sense that you aren’t safe in your own house and makes you take a second or third glance at that cup that you swore you set on the table which now sits on the ground. Likely to lose its impact with subsequent viewings this is best served to people who haven’t seen it. The scares (while you sense them coming) are unexpected and rewarding and while the characters are painfully annoying, you’ll still soil your drawers. Classic Halloween Scene: NEVER leave your foot hanging out of bed.
Trick R Treat: Anthology movies have had their heyday- we had a succession of British hits in the 70s, then a slew of bloodier efforts in the 80s. Then for 20 years anthology fans didn’t have a lot to be excited about aside from a few cheap efforts (although Asia did produce some great ones at the turn of the century). Trick R Treat is good enough to kick start a revolution in the genre, or at least it would have been had it been released in any cinemas. Straight to DVD (yet with a decent budget and big name cast) Trick R Treat features four shorts linked by an over-arcing plot and is to Halloween what presents are to Christmas. This one is destined to be shown and loved every Halloween for years to come, possibly as a double header with Carpenter’s classic. Classic Halloween Scene: The creepy opener sets the tone for the movie and features everything we love about the season, dripping with atmosphere, and settling us in for a bumpy ride.
Please leave your comments and suggestions for films you think are best viewed at Halloween, and let us know which films terrified you when you were growing up at this time of year.