Tag Archives: Horror

Hidden (2015)

04 Wednesday May 2016

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The shadows all deepen,
While silhouettes creep in,
And light gives its nightly allowance to dark.
Most men surely worry
Of menaces blurry,
Of dangers and strangers too hazy to mark.

But when the sun’s gleaming
Is more home to screaming,
The shadows will rapidly lose their unease.
If dark once forbidden
Keeps us safe and hidden,
The risks of the light are our new enemies.
___________________

MPAA rating: R (could maybe be PG-13)

I have no idea what possessed me to watch an R-rated horror thriller sight unseen, without the complete knowledge of what to expect that I usually obtain before venturing into the genre. I hadn’t really read many reviews of this under-the-radar film from last year, but this is one instance where I’m glad that I didn’t.

Hidden is not just one of the best horror films I’ve seen of late, but really two films in one: first, a post-apocalyptic drama about a family locked within an underground bunker, and second, a heart-thumping “they’re-out-there” thriller with a shrewdly concealed twist. While my VC felt the setup was a bit too long, it was the family part that won me over. Alexander Skarsgård as Ray plays one of the most endearing father figures I can recall, encouraging his young daughter Zoe (Emily Alyn Lind of Won’t Back Down) with good humor, tender comfort, and imaginary trips to the world before whatever disaster hit. Rounding out the trio, Andrea Riseborough is the anxious mother, intent on enforcing her four Mom rules: 1. Don’t be loud; 2. Never lose control; 3. Never open the door; and 4. Never talk about the Breathers, who lurk outside in search of the family.

Despite the R rating, Hidden is fairly subdued for a horror, with hardly any language and the violence brief and often off-screen. Like The Conjuring, I tend to think the R is for its general intensity, though it’s nowhere near as chilling as that film. I think most horror connoisseurs will find it rather tame, but it’s an ideal nail-biter for wimps like me who prefer tension over gore. There were moments where my hand instinctively covered my mouth (especially when I noticed a spider dangling not far from my face at one point. I hate when that happens!). My VC felt that certain motivations didn’t entirely make sense to her, but I liked how everything was from the family’s point of view.

I don’t want to spoil Hidden. It’s best seen with no expectations. Perhaps the best way I can describe it is like a Twilight Zone episode directed by M. Night Shyamalan on one of his good days. The twist and the overall tension might be main selling points, but the marvelous acting by all three stars, especially Lind, is its greatest strength. The best horror films make you care about the characters before throwing them into alarming circumstances, and Hidden does it exceptionally well.

Best line: (Ray, encouraging Zoe on their 301st day in the bunker) “301. Now we shouldn’t have been around for any one of those days, but when we needed it, we found this shelter, and it’s given us food, a home, a life. And for all we know we could be the only ones left, the only ones still alive. So every one of those marks is really a miracle.”
(Zoe) “A miracle?”
(Ray) “That’s right, a miracle. This food is going to allow you to live another day, and that means another hash can be drawn, right?”
(Zoe) “Yeah, I guess so.”
(Ray) “So you see, those nasty, cold, mushy beans on your plate, they’re really their own kind of miracle too.”

Rank: List-Worthy

© 2016 S. G. Liput
385 Followers and Counting

 

The Raven (1963)

21 Thursday Apr 2016

Posted by in Movies, NaPoWriMo, Poetry, Reviews, Writing

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(Today’s NaPoWriMo prompt was to write in the voice of a minor entity in some myth or fairy tale. It’s not exactly a myth, but I chose the bust of Pallas, a.k.a. Athena, in Edgar Allan Poe’s “The Raven” and took the message in a different direction. It may not have much bearing on the film, but it let me experiment with one of my favorite classic meters.)

 

As I waited, stern and stonely, with my master, looking lonely,
Watching as he excavated stacks of books he rarely read,
Never had I seen him sadder since he placed me with a ladder
Up above his chamber door, a bust of Pallas’ pious head.

Since his lover had descended down where all Earth’s tales are ended,
He had dwelt in constant sorrow for his loveliest Lenore.
Being just a statue modest of a lesser-known Greek goddess,
I could offer little comfort perched above his chamber door.
Rather poor was our rapport.

Feeling life was but a blooper, there he sat within his stupor,
Only moaning now and then to prove he wasn’t lifeless yet.
Suddenly, a sound’s ascension, almost too minute to mention,
Brought both his and my attention to the latest cause to fret.

First, the door decreed a knocking, as if someone there were stalking,
But he only found a shocking emptiness no guest would fill.
Then again we heard the slightest tap, and Master, not the brightest,
Opened up the window widest to investigate the sill,
Letting in more than a chill.

From the darkness of the window (I would not have let him in, though)
Flew a fateful sable raven, harbinger of darkest dread,
And my master, undecided if this bird by fate was guided,
Let the impudent intruder perch upon my marble head.

Though he was a learned scholar, he did not have many callers,
And this visitor perhaps had made him giddier than before.
Thus, he started conversation with this bird in desperation,
And to Master’s consternation, it replied with “Nevermore,”
Just the one word “Nevermore.”

This shock made him rather edgy, and as if he took a pledge, he
Started questioning the raven, asking it about Lenore.
The same response it kept dispatching, while my forehead it kept scratching,
And the Master grew more vexed with each retort of “Nevermore.”
That’s not easy to ignore.

When he even started yelling at the raven so compelling,
I considered maybe telling Master he should not accost it.
How I coveted to curb him, but I wished not to disturb him.
Hearing bird and statue speak, he’d surely think that he had lost it.

When he’d tried his guest to banish and it did not seem to vanish,
Master seemed to then accept its pilfered place above his door,
But the levelheaded raven, solid in its stolen haven,
Then proceeded to reproach in words exceeding “Nevermore.”
This is what the raven swore:

“Forces far beyond my ken have bid me speak like mortal men
In enigmatic utterances open to interpretation,
But the sight of your rebelling from my simple fortune-telling,
Even here within your dwelling, makes me sure of your stagnation.

Here I see a wealthy scholar wallowing in inner squalor,
With his grief a clenching collar, all because of lost Lenore.
In this bitterness you’re tasting, you are palely, daily wasting
Life and love and all the blessings thou art foolish to ignore.
Once they’re gone, they’re nevermore.”

Well impressed at this debating raven once so irritating,
I was now anticipating how my master would reply.
Slowly, he arose from sitting, set his jaw to keep from spitting,
And with venom not unwitting bade the raven quickly fly.

“If I wish to sit in mourning, keep your useless words of warning.
Even your persistent perching, I will manage to ignore.”
Still, I rest here, sick and saddened at my seeing Master maddened;
Still he sits, more scared of life than of the Raven’s “Nevermore.”
Closed below me is the door.
__________________

MPAA rating: G

Not to be confused with the 2012 thriller of the same name, this film version of The Raven is actually a 1963 B movie, one of director Roger Corman’s eight adaptations of Edgar Allan Poe works. It starts off in familiar territory, with Vincent Price as Dr. Craven, the unnamed griever of the poem who in this version is a reclusive magician. In contrast to his famous villainous roles, Price is a kind and unassuming figure, not nearly as obsessive as the character in Poe’s poem or mine, and when the titular raven enters his chamber, he earnestly asks if he shall ever see his lost Lenore again. The raven replies, in Peter Lorre’s voice, “How the hell should I know?” before explaining that he is a cursed sorcerer in need of a potion to turn him back into a human. What follows is a rather amusing and fun fantasy, with a quest to stop the evil magician Dr. Scarabus (Boris Karloff).

Price, Karloff, and particularly the easily irascible Lorre are all game players in a film that any of them might have considered beneath them. Accompanied by a jaw-droppingly young Jack Nicholson, the three magicians partake in a twisty game of cat-and-mouse and wizard duels to see who comes out on top. Interspersed with the B movie melodrama and macabre moments are clever little scenes of comedy, such as the characters removing and carefully folding a coffin cover only to toss it on the ground over their shoulder. The Raven departs widely from its source material and can hardly be called fine cinema, but it’s an unscary, good-natured horror-comedy on the level of the original Scooby-Doo, with a surprisingly worthwhile moral.

Best line: (Dr. Craven) “Instead of facing life, I turned my back on it. I know now why my father resisted Dr. Scarabus. Because he knew that one cannot fight evil by hiding from it. Men like Scarabus thrive on the apathy of others. He thrived on mine, and that offends me. By avoiding contact with the Brotherhood, I’ve given him freedom to commit his atrocities, unopposed.”

 

Rank: Honorable Mention

 

© 2016 S. G. Liput

383 Followers and Counting

 

Coraline (2009)

07 Thursday Apr 2016

Posted by in Movies, NaPoWriMo, Poetry, Reviews, Writing

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(Today’s NaPoWriMo prompt was a tritina, which has three set words to end each line in a pattern of ABC, CAB, BCA, and a final line with all three words in it. I decided to use the form for a creepy effect.)

 

Hark to the promise of pleasure and play.
Heed all the whispers that bid you come in.
Enter and leave your old world at the door.

Rest and don’t fret at the slow-closing door.
We’re glad that you had a good reason to play.
It’s been quite a while since a human came in.

I told you, don’t worry about the way in,
Or out for that matter; I’ve hidden the door.
It’s time that we all wear a smile and play.

I’m so glad the door brought in someone to play.
___________________

MPAA rating: PG

While I enjoy various kinds of animation, stop-motion isn’t my favorite. I love Chicken Run, but I’m less dazzled by the more macabre usages of this kind of puppetry, like The Nightmare before Christmas. That being said, stop-motion does lend itself to an unnatural movement perfect for creepiness, and Coraline utilizes this uncanny quality judiciously. From the first masterful shots of needle-composed fingers sewing up a little girl’s doll, it’s clear that experts of both animation and spookiness have put their craft on display.

Based on Neil Gaiman’s novel and with a Roald Dahl sensibility, Coraline first applies its technical finesse to the real world, as Coraline Jones (Dakota Fanning) and her parents move into a ramshackle apartment building. Coraline explores the neglected gardens and meets the eccentric neighbors and ultimately becomes bored and disgruntled at her surroundings. Then she finds a mysterious door which leads to an alternate universe where everything dull and mundane in the old world is bright and colorful and fun. Her Other Mother (Teri Hatcher) and Other Father are everything she wishes her parents could be, except they have buttons for eyes, and she has second thoughts when they want to sew buttons on her eyes.

Coraline cleverly manifests how a dream can so easily segue into a nightmare. Everything is fun and innocent at first (although some cartoon nudity goes a bit far), but as soon as Coraline becomes wise to her Other Mother’s sinister plans, the wondrous quickly turns monstrous. This disquieting wonderland is a perfect outlet for the animation, and many of the stunts and deft camerawork make one wonder how the filmmakers accomplished so much fluidity within the confines of tiny detailed models.

Perhaps because Tim Burton wasn’t involved, Coraline’s dark fantasy won me over, making it probably my favorite of the creepy genre of stop-motion animation. Some of the characters are still unnecessarily weird for my taste, but the central adventure has a winning blend of awe and fright that will make children think twice about too-good-to-be-true reveries.

Best line: (Other Mother, to Coraline) “They say even the proudest spirit can be broken…with love.”

 

Rank: List Runner-Up

 

© 2016 S. G. Liput

375 Followers and Counting

 

The Silence of the Lambs (1991)

11 Friday Dec 2015

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Evil comes in many forms,
In the loner and the swarms,
In the wielder of the knife,
In the prober of your life.
Though it hides or means to try,
It draws your interest and your eye.

Dark are deeds we’d never do,
Yet they still are dared by few.
Justice runs to halt the spread,
But if it wins, there’s still the dread.
Evil loves to carve its notch,
But why do any choose to watch?
_________________

MPAA rating: R
After years of hearing how great it is and seeing most of Anthony Hopkins’s performance through clips, I decided to finally watch the Best Picture of 1991. The Silence of the Lambs is everything critics have praised over the years: a dark mystery, a dramatic powerhouse, a compelling character study of two opposing forces, one seeking justice and the other too demented to be fully understood. It is both Hopkins’s and Jodie Foster’s finest hours, winning both of them Academy Awards, as well as Oscars for Best Director and Best Screenplay. And it is a great film which I have little desire to see again. The Silence of the Lambs is one of those movies that I can admire without being able to fully embrace as a favorite, more due to my personal sensitivities than to any flaws on the film’s part.

It’s an ingenious setup, pitting an eager but untested FBI agent-in-training (Foster) against the memorably evil serial killer Buffalo Bill (Ted Levine) with the aid of the even more memorably evil killer Hannibal Lecter (Hopkins). Clarice Starling is a woman trying to prove herself to her superior Jack Crawford (Scott Glenn) and to save other women, who are being killed and skinned by Bill across the Midwest. Jonathan Demme’s directorial tactic of filming actors as they look directly into the camera is even more effective than in his next film Philadelphia (which perhaps served to compensate for the allegedly homophobic aspects of Silence). As Crawford or Lecter or various men stare at Clarice and by extension the audience, it feels as if she is being sized up, measured, evaluated as an asset, a threat, or a toy. It’s an uncomfortable sensation but unique and intriguing enough to constantly hold our attention and keep us and Clarice on our toes.

Of course, the most remarkable element of the film is Anthony Hopkins, who amazingly won Best Actor for only sixteen minutes of screen time. He’s unflinchingly malevolent yet unsettlingly polite, a performance so captivating that it nearly dwarfs the rest of the film (hence, Best Actor rather than Best Supporting Actor). As diabolical and conniving as Lecter is, it’s Levine’s performance as Buffalo Bill that I found deeply disturbing. While Demme used much restraint in depicting the violence, Bill’s perverse cruelty doesn’t leave the mind easily, and I’ll probably just skip his scenes whenever I attempt a rewatch. It’s a wonder Levine has been able to move on from such a vile role.

Beyond Bill’s foul obsessions, I suppose my tepid appreciation stems from the fact that The Silence of the Lambs made me consider why serial killers are so popular. I don’t mean the supernatural types like Freddy Krueger (though I don’t like them either), but the modern focus on potentially real people who commit horrendous acts. Real-life killers like Ed Gein and Ted Bundy have inspired films like Psycho and Silence of the Lambs, and serial killers are still trendy in TV shows like Dexter and Hannibal. What is it that is so compelling about these experts of violence? Most people would never dream of committing such acts, and yet we watch them or hear about them; we study their modus operandi and are fascinated.

The Silence of the Lambs offers some insight into its killers, whether it be the deductive clue-chasing of the FBI agents tracking Bill down or the dehumanizing way Bill refers to his victims as “it.” Lecter represents the enthralling, psychological aspect of these butchers, while Bill epitomizes the disgust. It’s fascinating, yet I can’t help but feel guilty and repulsed by my own fascination. The Silence of the Lambs is a masterfully disturbing thriller, but I don’t often like being disturbed. I don’t want Hannibal Lecter inside my head.

Best line: (Hannibal Lecter, with his most iconic line) “A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti. Sssffff.”

 

Rank: List Runner-Up

 

© 2015 S. G. Liput

348 Followers and Counting

 

The Conjuring (2013)

29 Thursday Oct 2015

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Can you see it? Can you hear it?
Can you bear an evil spirit,
Claiming your home as its own
And wishing ill on all who near it?

Darkness deepens; who can light it?
Wrong runs rampant; who can right it?
One can’t stop a ghost alone
For only higher help can fight it.
________________

MPAA rating: R (only because it’s intense; the actual content is more like PG-13)

Since I don’t really celebrate Halloween anymore, I was tempted to avoid reviewing horror movies this month and leave them to the more experienced horror aficionados. (You know who you are.) Yet with my latest list of scary movies and that general Halloween “spirit”, I couldn’t stay away from such films entirely.

Upon release, The Conjuring was just one more horror movie, a genre I typically ignore nowadays. Putting director James Wan’s name on it may have excited Saw fans, but it only convinced me that it wasn’t for me. But then, I read some reviews, reviews that mentioned how this new movie recalls a time when horror didn’t mean inventing new ways to kill people, but rather focused on atmosphere and that creepy look-over-your-shoulder feeling. What’s more, I heard that religion was positively depicted as a weapon against evil, which seems to be more and more uncommon lately. So I gave The Conjuring a chance…alone…at night, which probably wasn’t the wisest thing to do.

The beginning starts out like an episode of The Twilight Zone or The Outer Limits, with some stupid twenty-somethings describing how they invited a presence to live in a doll, at which point this Annabelle becomes the kind of possessive plaything they can’t throw away. (The doll even got its own poorly received spinoff movie.) They get help from Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), a Catholic couple who are described as demonologists, ghost hunters, or wackos but generally take these kinds of stories seriously when others won’t. They act as paranormal investigators, laymen who refer priests when an exorcism is needed and keep their own private Warehouse 13 of cursed items in a room in their house, which probably ought to be locked.

Cut then to the Perron family (led by Ron Livingston and Lili Taylor), who are moving into a nice, spacious, diabolical house, with no idea that a witch used to live there. Even with the few horror movies I’ve seen, I could tell that The Conjuring borrows from so many other movies that one might be tempted to call it derivative. Like Poltergeist, there’s a possessed doll, a don’t-look-under-the-bed scene, experts setting up surveillance technology, and a snowy television set (a brief but obvious reference). Like The Sixth Sense, the Perrons complain about the cold whenever spirits are about, and one scene is blatantly borrowed (hint: “Look what you made me do!”). Perhaps the closest similarity is with the original Amityville Horror. Both are based on true stories, creepy things happen at the same time every night, the family discovers a sealed room/basement, the dog reacts badly, the youngest daughter befriends an invisible playmate, and one parent is compelled to follow in another’s murderous footsteps. At the end, the Amityville story is even referenced as the Warrens’ next case, which they did indeed investigate.

Yet for all its appropriations from past horror, The Conjuring is arguably scarier than its predecessors, thanks to an overall atmosphere of dread. While there are some jump scares, more often the scary moments are drawn out, making you think something will happen and often going with a subtler but spookier option. The moody lighting and resourceful camerawork add to the film’s quality, making it no surprise that it became one of the most successful horror films ever. Ultimately, The Conjuring proves that filmmakers don’t need buckets of blood to frighten their audience; sometimes a pair of hands or a rocking chair or a door moving on its own will do the trick. Often the simpler scares are the more potent.

In addition, religion is positively portrayed, in contrast to The Amityville Horror, where the evil presence chases a priest away and later blinds him. As Ed Warren states, placing crucifixes around the house “pisses off” evil spirits, and though the Catholic bureaucracy is slow in responding to the Warrens’ pleas for an exorcism, the actual rite gets quite a reaction from the ghost and proves dominant when paired with the power of familial love. I personally found this to be refreshing and one of the film’s greatest strengths. Filmmakers are free to scare the crap out of moviegoers, but it’s less common for them to follow up the chills with a religious message and some assurance that good can still conquer evil. Bravo for that!

Best line: (closing note from the real Ed Warren) “Diabolical forces are formidable. These forces are eternal, and they exist today. The fairy tale is true. The devil exists. God exists. And for us, as people, our very destiny hinges upon which one we elect to follow.”

Rank: List-Worthy

© 2015 S. G. Liput

342 Followers and Counting

My Top Twelve Scary Movies

25 Sunday Oct 2015

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I’ve made no secret about the fact that I don’t really enjoy horror movies, and this is why I simply haven’t seen very many. I’m a stranger to zombies and body horror and slashers, and I don’t have much desire to change that. I suppose my aversion to the genre has three main reasons behind it.

First of all, though horror is among the most prolific of film categories, much of it is of low quality. I’ve read many more reviews of horror films than I’ve actually seen, and so many are described as stupid, boring, ridiculous, exploitative, and other less-than-appealing descriptors. I try to avoid bad films as a rule, so these kinds of reviews haven’t made me eager to broaden my horror palate. Secondly, the majority of horror focuses on evil and violence, often existing for no other reason than to dream up new ways of killing people (Saw, Final Destination, etc.). I believe that demons and dark forces are real, and I want to give depictions of them as little of my time as possible, particularly since the latest trend seems to be allowing evil to prevail in the end.

The third and final reason is the simple fact that I am a wuss. I can’t stand gore in regular movies, let alone scary ones, and I tend to have an active and easily troubled imagination. I mean, I remember being almost traumatized by an episode of the cartoon Courage the Cowardly Dog, which had this creepy mummy just standing there in the distance.

I just don’t think I can handle most of the disturbing content out there.

I can’t say that I don’t like all horror movies, since I have enough to make a list like this, but all this is to say that I’m very picky about my scary movies. I don’t mind being scared as long as it doesn’t cross my personal threshold and as long as there is some redeeming factor, such as artistry, great acting, or overall entertainment. For this list, I’m also avoiding any genre debates about what constitutes “horror” by making this a list of scary films, films that scared me but that I still found to be worthwhile. One good thing I can say for horror is that it can be educational, often showing viewers what not to do in a dangerous situation, so I’ll include lessons I learned along the way. If anyone knows of films like the ones below that I may enjoy, feel free to recommend others!

  1. Twilight Zone: The Movie (1983)

One of the most obviously chilling aspects of this movie is that three people died during its production, actor Vic Morrow and two children, who were killed in an accident during the “Time Out” segment of this anthology. Oddly, this one and “Kick the Can” are the least scary, but there are plenty of unsettling moments, from the hitchhiker prologue (“You wanna see something really scary?”) to the remake of the classic episode “Nightmare at 20,000 Feet,” where John Lithgow really comes unhinged. It was the third segment, though, that frightened me the first time, in which Kathleen Quinlan witnesses the cartoonish yet hellish imagination of a reality-warping child. Cartoons aren’t supposed to be scary, right?

Worst scares: The TV demon, and Lithgow opening the plane window

Lesson learned: Don’t pick up hitchhikers that look like Dan Aykroyd.

  1. I Am Legend (2007)

This may not seem like an obvious choice, but the abandoned New York in this Will Smith zombie-ish thriller is certainly unnerving, empty yet full of anticipation that something is out there. When Robert Neville is forced to follow his dog Sam into a dark building full of “Darkseeker” mutants, his first-person-shooter exploration is among the most intense scenes I’ve encountered. The final cut would have benefited from the happier alternate ending, but I Am Legend manages to be unexpectedly emotional in addition to tense. I might also include the only zombie film I’ve seen, World War Z, which is more action-oriented (and not gory) yet still manages some taut moments.

Worst scare: Exploring the pitch-black building

Lesson learned: If someone creates a cure for cancer, test it first! (Also, don’t yell at mannequins.)

  1. Jurassic Park (1993)

This is the main reason I went with “scary” movies instead of “horror” movies. I’m fully aware that this isn’t horror, but who wasn’t scared by those raptors? My VC has mentioned how she was practically kicking the seat in front of her when Lex almost falls out of the air vent. Sometimes a thriller like Jurassic Park can keep you more on the edge of your seat than genuine horror and keep it a lot more fun. This also happens to be one of only two films at which I’ve caught myself nearly hyperventilating (the other was Oliver! Weird, I know, but I was a kid.)

Worst scare: Raptors in the kitchen

Lesson learned: Don’t spend millions to bring ancient predators back from the dead and then put ultimate power in an unreliable slob that looks like Wayne Knight!

  1. Stephen King’s It (1990)

Based on the book by horror-meister Stephen King, the miniseries It features one of the most frightening characters around. Tim Curry as Pennywise the Dancing Clown has a vicious zeal that contrasts with his jolly appearance as he toys with and preys on the children of Derry, Maine. It isn’t as scary as a lot of other movies (and the ending may leave something to be desired), but after seeing It, it’s hard to look at clowns and storm drains the same way.

Worst scare: Holding hands in the sewer

Lesson learned: If you’re lucky enough to survive a child-eating monster and move away from it, don’t move back!

  1. The Amityville Horror (1979)

One of the original famed haunted house movies, The Amityville Horror became popular largely due to its status as a “true story.” With so many uncomfortable events coinciding, it’s a convincingly eerie tale, with Josh Brolin and Margot Kidder playing a happily married couple threatened by a malicious house. The instances of horror are almost like a checklist of warning signs to watch out for when dealing with a haunted property, and the sinister finale goes all out, though I don’t typically like films where evil seems stronger than religion.

Worst scares: Babysitter in the closet, and “Get out!”

Lesson learned: If your new house attracts swarms of flies and if you discover a secret evil room and if your daughter befriends a pig demon, maybe you ought to MOVE before the walls start bleeding!

  1. Signs (2002)

Despite M. Night Shyamalan’s declining reputation, I still consider his first three films outstanding. Signs is his take on the alien invasion but stays on a much more intimate level, focusing only on Mel Gibson’s rural family rather than the world at large. Despite light touches of humor, Signs has its fair share of frightening moments, both before and after Gibson’s Graham Hess tries to rationalize the strange events afoot. It’s an instance of what you don’t see being scarier than what you do, which happens to be what I prefer.

Worst scares: The corn field, and the TV reflection

Lesson learned: I don’t care if you are convinced it’s vandals; don’t go out in a corn field at night!

  1. Poltergeist (1982)

Poltergeist was one of the first horror films I saw, and I still consider it somewhat of the gold standard of classic scares. It might have been higher on the list if I had fonder memories of it. I think I saw it too young, and that clown scene especially scared the you-know-what out of me. At the time, I was already nervous about what may be under the bed, and that jump scare was too much for me. Oh, and the rest, of course, was terrifying too: closets that suck you in, trees that suck you in, corpse-filled swimming pools that suck you in, ceilings that do the opposite. Not to mention, there’s the whole curse of actors dying afterward because the filmmakers used real skeletons. *Shiver* I’m so glad they did away with that snowy TV screen after midnight.

Worst scare: That clown!

Lesson learned: Don’t sleep with the TV on!

  1. The Others (2001)

Everything seems creepier when it’s dark, and this Nicole Kidman ghost story has plenty of darkness. Kidman plays a mid-19th century mother with two photosensitive children (the light can kill them), whom she shuts away in her large mansion for their own safety. The arrival of new servants brings much to light, so to speak, and the ultimate twist seems like something Shyamalan would have come up with. I often keep my doors shut to keep the cat out of certain rooms, and I’d be lying if I said those closed doors didn’t make me a tad nervous after seeing The Others.

Worst scare: The room of covered furniture

Lesson learned: Don’t get too isolated; the dead may be your only visitors. (Also, keep a shotgun handy. It’s comforting, if not effective.)

  1. The Conjuring (2013)

One of the few modern horror films I’ve seen, The Conjuring lured me in thanks to positive reviews that mentioned potent scares and little gore. That’s exactly what it delivered, but I was also impressed at the level of director James Wan’s technical finesse and the Christian strength in the battle against a malevolent spirit infesting a Connecticut family’s house. There are many callbacks to films like Amityville and Poltergeist, but the chilling atmosphere surpasses them, making this possibly the scariest film I’ve seen. (I just like others more.) Nevertheless, the film ended with the right balance of dread and satisfaction and proved the profitability of well-done horror.

Worst scares: Anytime someone falls into the basement

Lesson learned: Never ever teach your children hide-and-clap!

  1. The Shining (1980)

Not being a fan of Dr. Strangelove or 2001, I wasn’t convinced of Stanley Kubrick’s status as a master filmmaker until I saw his stab at horror. The Shining may have displeased Stephen King with all the changes to his book, but never has a hotel been scarier. Emptiness seems to be inherently frightening, especially when it drives Jack Nicholson psychotic as he works on his novel with only his wife and psychic son as company. Intriguingly ambiguous about whether there are ghosts or time travel at work, The Shining is technically and terrifyingly superb.

Worst scare: “Heeere’s Johnny!”

Lesson learned: “All work and no play makes Jack a dull boy.”

  1. Alien (1979) and Aliens (1986)

I realize there is a debate over whether science fiction can truly constitute horror, but Alien seems like the perfect affirmation that yes, it can. Described as a “haunted house in space,” Ridley Scott’s first film in the variable franchise has more frights than many straight-up horrors, from the approaching beeps when tracking the creature to its unforgettable first appearance. Aliens is arguably even better, shifting to a more shoot-‘em-up style that amps up the action without sacrificing the shocks. Both films also cemented Sigourney Weaver’s standing as a leading heroine, and even if they’re probably the most violent films on this list, I find both watchably suspenseful in the best way.

Worst scares: Dallas in the tunnels, and Newt in the sewer

Lesson learned: Never trust the Company!

  1. The Sixth Sense (1999)

Is The Sixth Sense the scariest film ever? No, but it’s a prime example of horror surpassing its own genre to become something thought-provoking, bittersweet, and still nail-biting. As M. Night Shyamalan’s first mainstream film, it also made him a household name. While it may be easy to dismiss it as a one-time twist film, the twist alone begs additional viewings, which then reveal the layers of emotion under the surface. The paranormal aspect impedes the human connections, between Bruce Willis and his wife and Cole and his mother, yet as both are resolved, a supernatural thriller becomes unusually satisfying. I hope Willis’s next collaboration with Shyamalan will be a return to this kind of film for both of them.

Worst scare: The tent ripping open

Lesson learned: Touch someone every now and then, just to be sure. (Also, keep your thermostat up.)

Runners-Up:

The Birds (1963) – Alfred Hitchcock’s avian revolution is a little too dated to be scary overall, but there is the jungle gym scene and the house siege that anticipated other home invasion movies.

Gremlins (1984) – This unconventional Christmas movie trades cute for scary with some dark comedy thrown in for good measure.

The Lost Boys (1987) – More violent than the other films here, yet I still enjoy it, mainly because this vampire flick doesn’t take itself too seriously.

Monster House (2006) – One of the few animated horrors, this somewhat intense film about a haunted house come to life becomes scarier when not even the grown-ups can stop it.

The Mummy (1999) and The Mummy Returns (2001) – I love these films, but the action has always superseded the horror aspect in my eyes, though the first especially has its alarming moments.

Prometheus (2012) – It may have disappointed a lot of people, but Prometheus served as a sufficiently taut prequel to the Alien franchise.

Psycho (1960) – The original and only slasher film I’ve seen, Psycho is buoyed by Hitchcock’s disorienting camerawork and Anthony Perkins’ sincere fiendishness.

Wait until Dark (1967) – Though most of this movie is more boring than thrilling, the ending really picks up, with one scare that even made my VC scream.

War of the Worlds (2005) – Another sci-fi film, Spielberg-style, with both action and some horrific sequences of mass murder.

Like I said, these films may seem pretty tame to the hard-core horror fans out there, but they take me to the edge of my comfort zone while allowing me to still enjoy the genre, which is exactly what scary films are supposed to do.

The Shining (1980)

10 Sunday May 2015

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A lonely hotel is a dangerous thing,
At least in the works of an author named King,
For no one can know what occurs in the mind
When volatile men are annoyed and confined.
 
They say, like Jack Torrance, the winter caretaker,
That past tragedies are no sign or deal breaker.
He’s simply too sane for such things to occur;
His wife is the same, and he’d never hurt her.
 
But get them alone in a desolate maze
And watch them get worse with the passing of days
And cringe as the dread and the wickedness weave,
For those at the Overlook may never leave.
__________________
 

The only part of this Stephen King adaptation I’d seen previously was the snippets of the most famous scenes in Twister. Oh, and countless parodies of that infamous send-up of Johnny Carson’s introduction. Not being a fan of horror in general, I’m not surprised I never got around to this one, but I decided to give it a try based on its reputation alone (92% on Rotten Tomatoes).

Though horror often has a stigma as a B-movie genre, frequently relying on clichés, cardboard characters, and unnecessary violence, The Shining is a film that truly deserves its iconic status and high rankings among the top scary films. While I’m not a fan of Stanley Kubrick and consider 2001 vastly overrated, I have to admit he’s quite the skillful filmmaker. The direction and cinematography are exceptional, full of those long tracking shots that leave viewers like me enraptured by the fluidity of the camerawork. The film was one of the first to fully utilize the new Steadicam, which allowed the camera to follow the characters as they stroll, creep, or flee through expansive rooms and twisting corridors. Not only is it admirable for its style, but it also heightens the tension (along with the unnervingly dissonant score) as the viewer rounds corner after corner, preparing for some inevitable surprise that may or may not come.

Equally impressive is the performance from the ever brilliant Jack Nicholson as Jack Torrance, the kind of sanity-sapping role at which Nicholson excels, though he looked at least a little unhinged even from the beginning when he was supposed to seem normal. (It’s those devilish eyebrows!) I do wonder, though, what it was exactly that triggered his maniac descent when he seemed fine for an entire month; perhaps it was merely the constant sole presence of his wife (a perfectly hysterical Shelley Duvall), whom he evidently resented on some level even beforehand. The young Danny Lloyd also gives a memorably creepy performance as son Danny Torrance, who possesses some form of ESP (referred to as “shining”) and shares a body with the ambiguous Tony, who could be anything from a split personality to an unexplained possession. While Lloyd’s scenes are highly effective, I can’t help but feel concern when films like this employ such young child actors for potentially unsettling roles, though Lloyd supposedly never realized he was filming a horror movie. Also, sharing another film with Nicholson is Scatman Crothers, the concerned cook who reminded me of that sheriff in King’s Misery in more ways than one.

While the horror genre would not be taken seriously by the Academy until Silence of the Lambs in 1991, The Shining had the potential to break that barrier first, boasting enough quality filmmaking to deserve Oscar nominations or wins for at least Best Actor, Editing, and Cinematography. Alas, it was not to be, since The Shining’s popularity was slow in coming, and it was actually nominated that year for Razzies rather than Oscars. It was criticized for its slow pace and significant differences from King’s novel, but the main flaws for me were the language and a wholly unnecessary nude scene thrown in to solidify its R rating. Despite this, the film fits the mold of the few horror films I like in focusing on restrained horror and disturbing atmosphere rather than continual gore. The Shining is one of the best examples of a psychological horror, full of taut ambience, a little inexplicable weirdness, and an enigmatic ending that has kept critics and fans debating ever since about ghosts, time travel, and psychosis. Even so, it’s not one I’d watch often and certainly not at night.

Best line: (the obvious; Jack Torrance, as he axes through a door) “Heeere’s Johnny!”

 
Rank: List Runner-Up
 

© 2015 S. G. Liput

305 Followers and Counting

The Birds (1963)

13 Monday Apr 2015

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We are watchers on the wires;
We are tenants of the skies;
Symbols of when man aspires;
Keepers of the flinching eyes;
Witnesses of every creature,
Evil, good, and in between,
Whether as a nimbus reacher
Or a prisoner to preen.
 
We are victims cursed by weakness,
Kept by cage or mortal mesh;
Though you know us by our meekness,
We will feast upon your flesh.
We are biders of the ages;
We are conquerors in wait.
When our wingéd warring rages,
You will comprehend too late.
_______________
 

(Today’s NaPoWriMo prompt was for a riddle poem, one that doesn’t reveal its subject, unless you count the title.)

I had never seen The Birds before and was curious about the film often considered to be Hitchcock’s last masterpiece. While many old suspense/horror films are sapped of their power by the passage of time, this one manages to retain most of its efficacy. Despite its potentially silly concept, the visual effects and Hitchcock’s direction manage to milk the tension and plausibly transform birds into a lethal nightmare, mainly due to their sheer numbers.

As the film begins, it follows the only mildly interesting courtship games of wealthy Melanie Daniels (Tippi Hedren) and Mitch Brenner (Rod Taylor), and as she goes to improbable lengths to deliver a couple of lovebirds, my VC and I were waiting impatiently for some kind of bird-related havoc to happen. Of course, it does come and progresses gradually, from a single gull to a flock to a shocking discovery at a neighbor’s house (by a younger Jessica Tandy). Once the actual avian carnage begins, the film becomes vastly more entertaining. This transition from romantic comedy to terror was intentional, since Hitchcock wished to prey on his audience’s anticipation as they wondered when the attacks would start. While the gambit works for the most part, I can’t help but feel that Hitchcock was given a pass for a tactic that wouldn’t fly (pardon the pun) with someone of lesser prestige. Many films since have fused comedy and horror, but to shift from an unfunny comedy with no horror to a horror with no comedy would normally be criticized nowadays as being unbalanced or jarring.

Just as 1960’s Psycho established the slasher genre, The Birds actually foreshadowed two other horror sub-genres. Its depiction of nature rising up against humanity would be rehashed with various other animals over the years in lesser imitators (Frogs, Bats, Slugs). Likewise, the climax, in which the Brenners and Melanie barricade themselves within their home and defend against the swarming enemy, prefigured countless other such trapped room invasions throughout the horror genre (Night of the Living Dead, Aliens, The Mist, etc.). When the lights go out during the birds’ attack, I halfway expected someone to say, “They cut the power.” “What do you mean ‘They cut the power?’ How could they cut the power, man? They’re animals!” Unfortunately, The Birds also features the usual victim stupidity common in horror films, like sitting outside for a smoke after birds have attacked or inexplicably stepping into a room that clearly is full of birds and then losing the ability to open a door.

While one could speculate about the presence of caged birds being a possible impetus for the attacks, there is no explanation for the birds’ behavior. Perhaps Hitchcock felt any clarification would detract from the film by adding in some cheesy exposition, like radioactive something-or-other, a favorite device in B-movies. My VC would have preferred something of that sort, as well as a less sudden, ambiguous ending, which offered little closure for the characters. While some of the effects are dated and the beginning could have been improved, The Birds is still a film deserving of its classic reputation, one which succeeded in making even the mere flapping of wings an opportunity for dread.

Best line: (a naysaying ornithologist) “I have never known birds of different species to flock together. The very concept is unimaginable. Why, if that happened, we wouldn’t stand a chance! How could we possibly hope to fight them?”

 
Rank: List Runner-Up
 

© 2015 S. G. Liput

292 Followers and Counting

VC Pick: The Lost Boys (1987)

08 Wednesday Apr 2015

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Do you enjoy some boardwalk fun
Where music pleases everyone
After the setting of the sun,
Where there resides a hidden fright,
Where teens go out to grab a bite
And murky murder plagues the night?
Then move to Santa Carla!
 
That’s where both Sam and Michael found
That teenage vampires abound
In coastal towns that bum around.
The elder learned to not imbibe
The blood of some vampire tribe
That sends a vague and creepy vibe.
 
If that should happen, it is best
To not be overly distressed
But stake the suckers through the chest.
Beware the bikers you befriend
Who look like Kiefer Sutherland.
There’s evil eager to descend
If you move to Santa Carla.
______________
 

For over a year now, I’ve indulged in my movie list, and though some films were chosen more for their appeal to my Viewing Companion than to myself (such as The Horse Whisperer and The Hunt for Red October), the list is primarily films I personally enjoy. While she shares many of the same tastes with me, there are a number of movies that would qualify for her personal list and wouldn’t come close to mine. In all fairness, since she has accompanied me for most of this film-viewing odyssey, I’ll be reviewing some of her favorites, whether I like them or not. The Lost Boys is my first VC Pick.

While I’m not usually one to endorse films with spewing blood (nor is my VC), I’ll admit I do enjoy The Lost Boys, an ‘80s cult classic if there ever was one. Directed by Batman’s greatest foe Joel Schumacher, it’s a blend of teen comedy and vampiric horror that balances the two surprisingly well, managing both big laughs and gruesome scares. Not being a horror fan, it’s not my preferred kind of movie, but my VC has a special love for the way it alternates between frights and fun, with giddy dedication to both. She enjoys its ‘80s-ness, such as the adolescent importance of MTV and comic books and a soundtrack full of well-chosen but less recognizable musical staples, such as covers of The Doors and Elton John. She loves the charm of the young actors; as she says, Corey Haim is just “so cute” as younger brother Sam, particularly in his reactions to the weirdness of Santa Carla, and cuteness turns to hotness when it comes to his older brother Michael (Jason Patric) and vampire gang leader David (Kiefer Sutherland), who fits the now-popular mold of a dark sexy bloodsucker. She also loves the film’s choral rock theme song “Cry, Little Sister,” as well as that hunky saxophone guy Tim Cappello, who shows off his ample muscles during an early seaside performance. (Like I said, this is one of her movies.)

While some early scenes drag on a bit, there’s much to entertain. The early antics of Haim and Patric make them believable brothers, while Corey Feldman and Jamison Newlander deserve some kind of iconic vampire hunter status as the artificially fearless Frog Brothers. Much of the humor comes from them, and by the time of the over-the-top climax (which reminded me of the later Spiderwick Chronicles), the Frogs are spouting self-teasing one-liners, as if they had watched too much Mystery Science Theater 3000. Other comedic moments come from the eccentric grandfather (Barnard Hughes) or even some subliminally funny lines (“Where’s Star, David?”). Plus, though it’s not an official Lost alert, I always get a kick out of David’s invitation, “Michael Emerson, come on down!” since Michael Emerson the actor played Ben Linus on that show.

Compared with the modern trend toward long majestically filmed continuous shots, The Lost Boys is a good example of the quick, skillful editing of yesteryear to lend more excitement to the action and to somewhat cover up the faked violence. It’s an appealing modern vampire tale, though it’s a shame they changed names (John to Sam, Peter to David, Wendy to Lucy the mother) to distance the story from its intended connection with Peter Pan, leaving only the title and Michael. For vampire fans and my VC, it’s a bloody treat that never fails to entertain.

Best line: (Sam, after a particularly rocking kill) “Death by stereo!”

 
Rank: List Runner-Up
 

© 2015 S. G. Liput

290 Followers and Counting

#31: The Mummy (1999) and The Mummy Returns (2001)

26 Friday Dec 2014

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Many centuries ago, upon the hot Egyptian sands,
Imhotep betrayed his pharaoh, who was murdered at his hands.
He and love Anck-su-Namun suffered death for what they did,
And the priest was mummified and cursed and vigilantly hid.
 
1926 or so is when a brave librarian,
Evelyn, with Jonathan, her brother, come to carry in
A map of sorts to Rick O’Connell, who discovered it and knows
Where the fabled treasure city Hamunaptra once arose.
 
Leading them, the dashing rogue encounters Beni, once a friend,
Who is leading treasure seekers to the city and their end.
Medjai warriors attempt to stop the bold adventurers,
Who discover Imhotep and resurrect this worst of curs.
 
As the mummy desiccates the bodies of a chosen few,
He then kidnaps Evelyn, his former lover to renew.
Rick and Jonathan, as well as Medjai leader Ardeth Bay,
Follow back to Hamunaptra, where a book can save the day.
 
Evelyn is very nearly sacrificed by Imhotep,
Till Rick fights while Jonathan is reading symbols step by step.
When the mummy is defeated and the just desserts are served,
Evelyn and Rick O’Connell leave in triumph well-deserved.
________________
 
Evelyn and Rick O’Connell, married now and with a son,
Take along the spunky Alex to dark crypts for family fun.
They unearth a golden bracelet, and when Alex tries it on,
He sees visions meant to guide him ere a coming lethal dawn.
 
He must head for an oasis, where the Scorpion King now lies,
Who will waken for destruction if not handed his demise.
Imhotep is resurrected by a cult with dark intentions,
Which includes his reincarnate lover and her interventions.
 
When the cult starts kidnapping, it’s clear that Imhotep intends
To defeat the Scorpion King and take his army for his ends.
Alex is abducted soon and guides them all to the oasis,
The O’Connells following upon a blimp to distant places.
 
Pygmies cause them further trouble as the deadly dawn arrives,
And as Imhotep approaches, not quite everyone survives.
When the Scorpion King awakens, he is mighty (like a Rock),
And his wicked jackal army causes Ardeth Bay a shock.
 
Rick and Imhotep face off against the evil hybrid king,
And at last when he is vanquished, everything starts crumbling.
Danger proves the truer romance, and as the O’Connells flee,
Wealth and global preservation lend them happy victory.
___________________
 

Critical reception for The Mummy and its sequel may not have been universally positive, but I consider both films quintessential actioners, with dashing characters and awesome set pieces recalling the excitement of Indiana Jones. I’m not much for horror comedies, mainly because the horror often manifests as gore, but the genre can be quite entertaining when the focus is on the comedy (Ghostbusters) or on the action, as in The Mummy.

My VC and I have always loved Brendan Fraser; he has the perfect adventure hero charisma for these movies, including that making-things-up-as-he-goes element that made Harrison Ford so likable. Pair him with Rachel Weisz as Evelyn, looking as beautiful as any actress ever has, and a modern classic romance is born. John Hannah is excellent comic relief as Evie’s con man brother Jonathan, and even if he’s CGI much of the time, Arnold Vosloo is effectively frightening as the reanimated mummy Imhotep. Ardeth Bay (which was the name taken by Imhotep in the original 1932 The Mummy) is played by Oded Fehr, whom my VC has always found dark, handsome, and hunky, even with the face tattoos.

As for the second film, despite changing directors, all the same actors returned, supplemented by Freddie Boath as Alex, who is not the most annoying of child actors and serves as a plucky addition to the O’Connell family. Oh, yeah, the Rock (a.k.a. Dwayne Johnson) had his big film debut as the Scorpion King, but considering he never speaks anything in English and is basically just a CGI tough guy most of the time, there’s not much I can say for his “performance.” Also, (Lost alert) Adewale Akinnuoye-Agbaje, who played Mr. Eko on my favorite show, plays a much less sympathetic killer as the villain Lock-Nah.

I was not impressed by Boris Karloff’s original The Mummy, hailed as a classic horror film yet exceptionally boring, at least to me. Retooling the basic plot points into a shoot-‘em-up pulp adventure was an inspired idea, complete with booby traps, ancient curses, killer beetles, and some then-advanced CGI. The first film is more foreboding in its build-up to the mummy’s resurrection, while the second veers into occasionally cartoonish territory, like racing sunrises and Alex’s childish high jinks. Even so, I think I like the second a little better, thanks to some outstanding action scenes, especially an awesome chase scene with a double-decker bus and the pyramid finale. I also liked how, aside from a few gruesome scenes, objectionable content was kept to a minimum, making both films the kind of Saturday night fare a family can enjoy, provided the kids’ eyes are covered every now and then. There’s some talk of reincarnation, and I don’t know how or why a mummy can recreate the plagues of Egypt, which came from God, but none of the spiritual mumbo jumbo is to be taken seriously anyway.

Neither film is Oscar material, but both are so spectacularly entertaining that Imhotep’s stereotypical romance and some unrealistic moments are easily forgiven. Such is not always the case: The third film The Mummy: Tomb of the Dragon Emperor, thanks mainly to the loss of chemistry from the recasting of Rachel Weisz, just didn’t have the same magic, nor did director Stephen Sommers’ other monster movie rehash Van Helsing. With these films, it’s the full package that makes them something special: the thrilling score by Jerry Goldsmith (The Mummy) and Alan Silvestri (The Mummy Returns), funny and dynamic performances from most of the cast, and the perfect blend of humor, horror, and action.

Best line from The Mummy: (Evelyn) “You were actually at Hamunaptra?”
(Rick) “Yeah, I was there.”
(Evelyn) “You swear?”
(Rick) “Every damn day.”
 
Best line from The Mummy Returns: (Ardeth Bay, concerning Alex’s putting on the Bracelet of Anubis) “By putting this on, you have started a chain reaction that could bring about the next apocalypse.”
[Alex gasps]
(Rick, to Ardeth) “You, lighten up.” (to Alex) “You, big trouble.” (to Jonathan) “You, get in the car.”
 
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

275 Followers and Counting