31 More Days Of October Terror: 10/20

Day Twenty:

The Innocents
A Twentieth Century Fox Film
Original Theatrical Release Date: December 25th, 1961 (USA)

Jack Clayton's 1961 British film is one of many adaptations of Henry James' Turn Of The Screw. And for my money, it's the best of the lot. This is psychological horror at it's best. The film was shot with a lot of deep focus and minimal lighting, and the style gives the film a rich atmosphere and eerie quality. This was certainly not being done much in cinema of the time. Cinematographer Freddie Francis would go on to direct some Hammer Films of his own, but he also was the Cinematographer on the equally exquisite The Elephant Man. He really was a one of a kind.

Star Deborah Kerr turns in a wonderful performance here, and we are right with her on her journey. The Innocents isn't the kind of movie that has any overt, jump at you scares, so it relies on the actors and the atmosphere. And it succeeds brilliantly. This picture's influence can still be seen in films today, some to varying success, but none more so than in Alejandro Amenabar's The Others from 2001.

15 Directors Meme

The idea here, which initially started on Facebook and is now spreading through us nutty bloggers, is to list the first 15 Directors that come to your mind that have shaped the way you look at movies. And you can't take too long to think about it. I was inspired to make this list by this posting over at Radiator Heaven. Such a great blog if you haven't checked it out already.



In no real order:

John Carpenter on the set of his latest, The Ward.

 Alfred Hitchcock, master of suspense of silliness.

Brian De Palma with then main squeeze, Nancy Allen.

 Woody Allen posing with a statue of himself in Spain.

 Howard Hawks (left) learning some sweet moves from Gary Cooper.

Paul Mazursky (middle) with his family in the 80s
(though I'm sure you figured that part out)

 Quentin Tarantino at the New Beverly Cinema, a theater he helped save from closing.

 Paul Verhoeven as evil robot on the set of Robocop.

 Preston Sturges, courtesy of a great old LIFE portrait.

 Bob Fosse, unapologetic as always.

Sidney Lumet with Brando.

Like Hitchcock, Lumet has never won an Oscar for Best Director.

 John Hughes with his young stars of Sixteen Candles.

 Adrian Lyne with Jodie Foster, his star from Foxes.

 William Friedkin directing Linda Blair in The Exorcist.

Larry Cohen posing with some of his creature creations.

31 More Days Of October Terror: 10/19

Rabid
A Cinepix/New World Pictures Release
Original Theatrical Release Date: April 8th, 1977

David Cronenberg's 1977 film Rabid (AKA: Rage) stars porn star Marilyn Chambers as a woman who gets into a motorcycle crash and is given experimental skin grafts and tissue which start developing into something positively creepy. Yes my friends, this is a movie about a woman with a killer armpit.

I've been a fan of Cronenberg's films since his feature debut with Shivers, and Rabid is an excellent example of David's obsession with the horrors of the human body. The style here is prime Cronenberg cold and sterile, and that really adds to the terror.  I also dig David's nod to Stephen King and fellow terror maker Brian De Palma by having a poster of Carrie be in the theater where Marilyn finds her prey. Word is the director originally wanted Sissy Spacek in the lead role for Rabid, but the studio wasn't keen on her accent. Oh well, too bad for them. Ms. Chambers herself turns in a very good performance, and it was a shame her legitimate film career never really took off after this one.

Have no fear, it's only Marilyn Chambers here.

New Movie Show Review: Hatchet II & I Spit On Your Grave (2010)

An Unrated Horror double feature!

Hatchet II
Directed by Adam Green
Original Theatrical Release Date: October 1st, 2010

I enjoyed Adam Green's first Hatchet film. It came at a time when horror was finding a new resurgence, and it's promotional material promised a return to "Old School American Horror"... That film wasn't so much a return to being "Old School" as much as it was just relishing in it's love for those films of genre. You simply can't be "Old School" by constantly paying tribute to "Old School". Regardless, the movie worked because it was gruesome yet fun. The characters were interesting enough to follow them on their journey into the swamps of Louisiana, and you kind of cared who might survive the night.

Hatchet II picks up exactly where Hatchet I left off, but this time replacing that final girl with someone a bit more "Old School"...Danielle Harris (Halloween 4 & 5, Don't Tell Mom The Babysitter's Dead, Rob Zombie's Halloweens) Much more so than the first film, the sequel really does want to conjure up those memories of watching some of those films of past. This might as well as be the bastard son of a later Friday The 13th or Leatherface. Not that this movie is as fun as some of those...

Scream Queen Danielle Harris washing away all the gooey goo-ness of Hatchet II. 

How you doing?

While 'ole Hatchet Part Deux is unafraid to give you buckets of blood and gore--This film is wall to wall squishy effects-- that's about all you get. Legions of fans have been grumbling over the last 10 years or so about all the shitty CGI effects we've been getting, myself one of them, and this picture is set to dazzle you with all the cool makeup effects we've been missing all these years. But it seems it's been in lieu of any real sense of fun.

This picture is just too over-the-top to be actually enjoyable. Tony Todd, naturally one creepy mutha, is ridiculous here. I guess they never yelled cut and allowed Mr. Candyman to make weird gestures and come off like he's making absolutely no sense. Perhaps they should have kept his role minimal like in the first film, instead of widening it to starring role? And as for the rest of the characters... Were there any? This film has quite a few people in it, yet everyone kind of seemed the same. Sometimes you can tell them apart from the lame dialog or jokes, most of the time the film was too preoccupied in it's gooeyness to care. Adam Green has an eye for settings and horror sequences, but he really needs to bone up on his scriptwriting (This year's Frozen also lacked interesting characters and dialog) Still... Danielle Harris. She's looking at you whilst in the shower. How you doing?

Definitely a let-down considering the fun of the first film, Hatchet II has it's place in the horror world and will eventually find it's home late at night when either you're too drunk or stoned to honestly care. Just pass the grue please, thank you.

I Spit On Your Grave
Directed by Steven R. Monroe
Original Theatrical Release Date: October 8th, 2010

The original I Spit On Your Grave from 1978 was one of my Grandmother's favorite films. I kid you not. We'd watch it countless times, to the point where I once entertained the notion of just throwing it away and pretending to know nothing about it. Over the years I've warmed back up to it. Even though it's a movie that is never subtle or particularly pleasing to watch, it's a genuine 70's Grindhouse movie that packs it's punch and doesn't apologize. The kind of movie that they really don't make in the mainstream anymore.

And yet cut to 32 years later and we now have the remake. And it's bummer. I went to see this in a positively empty theater in the East Village. I was excited as it was nice and quiet, a really big screen and good sound system. By the end of the movie I just kind of wanted to get out there.

It's not a completely terrible movie mind you, but it didn't do much for me at all. I was with the movie up through the rape stuff, and then the movie makes the egregious era of shifting points of view to the country bumpkins. These guys were not at all interesting and the actors playing them pretty much added nothing new other than being stock bad dudes. Unless of course you really think the chubby gay kid from Mean Girls is scary. I preferred The villains from The Last House On The Left redo, and I didn't even much like that movie.

The classic tub scene of the original retrofitted in I Spit On Your Grave.  

More torture, less penis cuttage.

Sure enough the biggest problem of the movie is it's direction. It's all hand-held nonsense with absolutely no sense of framing or real style (unless you count endless points of view from someone's video camera, style) The movie veers closely to Rob Zombie territory with it's head planted firmly up it's hillbilly ass, but I'd even give Zombie points for at least trying to incorporate some style into his movies. For a remake of a movie that was criticized for being crude, flat and without any real merits, they sure picked the wrong people to bring something to the table.

And then there's the revenge... We've seen it all before with the Hostel movies (especially part 2), The Saws and other recent lackluster stuff. It doesn't pack the wallop it should... When someone else does get their wang cut off, it just isn't the same. This really should have been a movie where you wanted to cheer when she finally gets revenge. That's what i was kind of expecting. She doesn't even say the line in the trailer "Forgive me father, for I will sin" What a gip.

I'm going to re-watching the original soon with my grandmother looking down on me from heaven (or up from hell, take your pick) I remember the DVD's commentary (by drive-in movie GOD Joe Bob Briggs) being utterly hysterical. It's the kind of pick me up I need after some bummer new movie shows.

Okay, he's pretty scary.

31 More Days Of October Terror: 10/18

Day Eighteen:


Happy Birthday To Me
A Columbia Pictures Release 
Original Theatrical Release Date: May 15th, 1981

Oh Happy Birthday To Me. Fans of this film would probably describe it as the slasher movie version of Little House Meets Scooby-Doo, and that is entirely accurate. HAPPY is an anomaly in the golden era of the Slasher film cycle. It was released by a very respected studio (Columbia Pictures) following suit from Paramount's unlikely yet fiscally genius decision of releasing Friday The 13th the previous year. It starred forever good girl Mellisa Sue Anderson as the distraught head-wound heroine and possible killer, the well respected Glenn Ford as her shrink and the direction of J. Lee Thompson who up until that point was best known for such works as The Guns Of Navarone, Cape Fear and The Conquest For The Planet Of The Apes. He since graduated to every kick-ass Charles Bronson movie that Michael Winner didn't direct.

This slasher picture was a class act. Very well made even if it is one of the most convoluted in the genre. And that's what I enjoy about it best. Unsatisfied in being a simple stalk 'n slash, the filmmakers go down some rather strange roads with this one, and in the end your either completely with it's ridiculousness or totally turned off. By the time the scene late in the film where the killer's mask literally is ripped off scooby-doo style while the victims of the movie lay around a table, my smile was permanently plastered to my face. It's pure slasher movie awesomeness on a kebab stick.

Guest Posting: April Fool's Day (1986) by Ross Tipograph

Ross Tipograph of Star Costumes has been gracious enough to help celebrate Cinema Du Meep's October Tribute To Terror with providing his take on a classic '80s horror-comedy. Enjoy!

April Fool’s Day

A Paramount Pictures Release

Original Theatrical Release: March 27, 1986

April Fool’s Day is the movie everyone wants to make, and tell themselves it’d be amazing and breath-taking, and you’d be announced the next greatest horror genius in the factory of the genre… But there’s no way you could actually make this movie because that’d be crazy talk. Somehow, though, director Fred Walton and screenwriter Danilo Bach managed to do it. April Fool’s Day got greenlit and produced, and a gift was delivered unto ‘80s horror-comedy fans; budding horror-comedy filmmakers, including yours truly, cringe at – and worship – its existence.

Why so skeptical? April Fool’s Day is a joke. The entire time you’re going, is this a horror? Is this a comedy? Should I shut this off? Should I say this is amazing, or should I keep this little secret all to myself…?

 Amy Steel and Ken Olandt sleuthing it up in April Fool's Day

You’ve got Muffy, a rich theater girl, who invites a bunch of her college friends to her expanse vacation home for a weekend of pranks and giggles and overall tomfoolery. Little do the guests, or even Muffy herself, know what’s in store. In classic ‘80s tradition, someone is out to make this a weekend to remember…

The gore is so poor, so don’t tune in for that, and the acting is pretty sub-par (though not the worst you’ll see in this decade). April Fool’s Day has a wonderful original score by Charles Bernstein (Elm Street), but it’s the screenplay that’s so jarringly fantastic. The humor is so witty and self-loathing, and brilliant, and it’s the ending that packs the biggest punch. It’s one of those endings for a murder-mystery horror-comedy you’ve thought of trillions of time before, but you’ve never imagined would ever be done. It must be seen to be believed.

WRITER’S BIO

Ross Tipograph is a film buff and Emerson College screenwriting major. When he’s not reviewing movies, he writes about costumes for Halloween.

31 More Days Of October Terror: 10/17

Day Seventeen:


Hellrasier
A New World Pictures Release
Original Theatrical Release Date: September 18th, 1987

Clive Barker's totally original Hellraiser is still one really effective shocker. Re-watching this film recently I was struck by how well directed it is, especially given that it was Barker's first feature film. He manages to craft a very spellbinding story here, and there's some great work by a good cast. Especially Claire Higgins as her Julia. Her hard as nails character goes from being bitchy to pure evil, but you always sense her struggle for humanity beneath. She's great to watch. As is then newcomer Ashley Laurence. She's not the usual teenaged girl trapped in a horror movie. She fights back and makes some pretty touch choices. This picture also sports some truly outstanding makeup effects. Given it's small budget, It's amazing what they pulled off.

Hellrasier's the kind of movie that breaks the molds, and yet remains entertaining and riveting. Even after all those years of endless, not quite up to snuff sequels. Clive Barker has since only directed 2 films, and both of those potent as well. He needs to step back into the director's chair really soon and show these kids how it's really done.

31 More Days Of October Terror: 10/16

Day Sixteen:


The Lost Boys
A Warner Brothers Picture
Original Theatrical Release Date: July 31st, 1987

Admittedly, The Lost Boys isn't the scariest Vampire ever made, but it is one of the most fun. Joel Schumacher's emphasis on style plants this movie firmly into it's time period, and ends up becoming a real capsule of it's era. And yes, that's a very good thing.

I return to The Lost Boys time and time again, and it never fails to bring me back. I went to see this film during the day, first showing in an empty theater (though the film was a hit) An usher came over to me, a man in his early to mid-20's I would say, and just started to talk to me. I was bit annoyed by this as I was trying to enjoy the film. And then at some point, he shows me his fingernails. And there they were, really long, pointed and sharp. He made some weird motion with them, one that was positively vampiric, and then simply laughed (very Kiefer Sutherland like) and walked away. I sat through the rest of the movie in utter fear. I came back to that theater later in the week to see the film again, the usher was nowhere in sight. I wasn't as afraid this time, and I found myself having an utter blast. So much so I repeated that experience several times over the summer. I ended up having another run-in with that usher, but in another movie, Adventures In Babysitting. He caught me theater hopping but he let me go. Maybe it was all the garlic on the pizza I had right before I got there.

The french poster's translation. Come on, that's pretty funny.

Jason Patric to all The Lost Boys naysayers...

 

Oh and dig on this artwork someone came up with...

(above image courtesy of Shift Blog)

Cinema Du Meep Blog updated

I'm trying to update a bit more regularly these days... CDM is now with more clickable sidebar action!


And, whilst I'm at it, here's a little white sister to get you pumped for the weekend. Enjoy!

31 More Days Of October Terror: 10/15

Day Fifteen:

May
From Lions Gate Films
Original Theatrical Release Date: June 6th, 2003

By it's tiny release in 2003 (Where I was one of 3 people in a small Manhattan theater) May had played many film festivals and gotten the attention of horror fans. Finally, there was a picture that paid tribute to horror films of the past, but had a personality all it's own.

Angela Bettis turns in a really memorable performance as shy, Carrie-esque girl with some major self-esteem issues. May is a movie with good actors (this is the first film I remember Anna Faris in, and she's HILARIOUS here) buckets of blood and gore, but also sensitivity and intelligence. First and foremost this is a character study, and the film isn't afraid to exploit it's horror. It's a great balance. For me this is easily the best picture in the genre of the 00's.

Angela Bettis and Anna Faris dangerously playing with some sexual tension in May

Capsule Movie Show Reviews - October 2010

Eclipse  ***  

No, this one isn't about teen vampires who dry hump. Ciaran Hinds (There Will Be Blood, the underrated Miss Pettigrew Lives For A Day) stars in this very adult ghost story that while not overt in the thrills department, is pretty involving and moving.

The Prince Of Persia: The Sands Of Time **

This adaptation of the popular video game series is the very definition of clunky. Determined to put the do-gooder Gandhi way behind him, not to mention his excellent turn in Sexy Beast, Ben Kingsley plays his 700th stock villain. Only Alfred Molina is the stand out here.

MacGrubber **

Saturday Night Live's skit gets the R rated treatment and the result is a whole lot of unfunny. Suddenly Molly Shannon's Superstar is looking a lot better these days.

Solitary Man ***

Michael Douglas gives his best performance since Wonder Boys in this decent small-scoped comedy/drama about an irredeemable, though charming car salesman.

Just Wright **1/2

Queen Latifah is better than this material. She makes the most of her role as a woman who's often overlooked by men in lieu of her more obviously attractive sister. Common co-stars and is a very inviting screen charmer.

The Switch  **1/2

That Jason Bateman hijacks someone's sperm movie. And I was with this movie for quite awhile until it turns into an utterly perfunctory and overly sentimental Jennifer Aniston Rom-Com. Still, Bateman is always a pleasure to watch. 

Date Night  **

I suppose the idea is ripe for a lot of laughs, I just didn't find much here. Though that one scene of miming robot ass sex was hysterical. Check out After Hours or Bringing Up Baby instead.

Ondine  **1/2

Colin Farrell stars in this low-key, sad tale of a man who literally catches a woman in his fisherman's net. Neil Jordan's latest isn't bad, but I think I just might re-watch Splash to get cheered up.

(untitled)  ***

A fairly clever stab at the art scene. Untitled stars Adam Goldberg and Mary Shelton as a musician and art gallerist respectively who develop an unusual relationship with one another.

Zombies Of Mass Destruction (2009) **1/2

I kind of enjoyed this zombie comedy (a zom-com if you will) The satire is there, but it's a bit heavy handed at times. The gore and effects are pretty decent, I just was hoping for something a bit better put together.

You Will Meet A Tall Dark Stranger  **

Woody Allen's latest is a flop. Essential it's a story about miserable people who in the end find absolutely no reprieve from it. And it's supposed to be a comedy!

Get Him To The Greek  ***1/2

This sort-of sequel to the very funny Forgetting Sarah Marshall also had be cracking up. Russell Brand is pretty hilarious here, and the movie is also unexpectedly touching at times. A nice surprise.

Nightmares In Red, White And Blue  **1/2

This documentary about the evolution of the horror film from the USA is kind of a run-of-the-mill experience if you are well versed with the genre. Still it might be worth a watch if you are multi-tasking.

 Frozen  **

Director Adam Green's (Hatchet 1 & 2) bid at Hitchcockian terror. Rear Window and Lifeboat this aint! I like interesting characters and dialogue please. And that doesn't count people who complain that frat guys steal their girlfriend for 90 minutes. Oh, and, I thought wolves were nocturnal.

Babies  ***

Who could resist the power of Babies? It's pure cute. But what was up with that San Francisco baby? That kid's parents gave her an old lady name (Hattie) and dressed her like shit.

You Again  **1/2

It was enjoyable up until the insufferably sentimental final minutes. You Again is also fairly lightweight and forgettable and sure to get a lot of play on TBS in the near future. Hall & Oates fans take note: Their songs get a lot of play and the holy duo themselves make an appearance.

The Social Network  ***

David Fincher's latest. And thank god it didn't suck to high heaven as much as that insufferable piece of dung The Curious Case Of Benjamin Button did. Even if you don't give a hell's hoot and holler about Facebook, Fincher's film is a very well made absorbing ride.

 Rose Byrne in one of her music video scenes in Get Him To The Greek

**** excellent

***1/2 very good
*** recommended
**1/2 not bad
** not so hot
*1/2 skip it, buddy
* don't even think about it, mister

31 More Days Of October Terror: 10/14

Day Fourteen:


The Sentinel
A Universal Pictures Release
Original Theatrical Release Date: January 7th, 1977

Anyone who's watched 1977's The Sentinel will testify to the film's uber creepiness. It's the kind of movie once you see, you'll never forget. I don't have to elaborate too much on this one, as random scenes like this tell you all you need to know about it's craziness...

Beverly D'Angelo, really enjoying her crotch.

The house where it was set in is pretty close to where I live now, and every once and awhile I drive over to it to check the top window. If no one is there guarding the gate from hell, what will we do?