In the great, vast sea of direct-to-video horror movies, it can be difficult for a film to stand out, even if it's far and above the quality of the movies it shares the bin with. There's just so many straight-to-streaming movies out there, and most of them are unremarkable at best. No one could be blamed for taking a quick glance at The Evil Within and relegating it to that forgettable heap of halfhearted horror, but it would be a grave mistake nonetheless. The film is fascinating, both in its production history and the nightmarish onscreen vision that was eventually realized after fifteen years of loving labor.
The Evil Within
Released: February 26, 2017
Director: Andrew Getty
Screenplay: Andrew Getty
Tagline: "You can't run from a nightmare"
Cast:
Frederick Koehler as Dennis Peterson
Sean Patrick Flanery as John Peterson
Dina Meyer as Lydia
Michael Berryman as The Cadaver
Kim Darby as Mildy Torres
Francis Guinan as Dr. Preston
Brianna Brown as Susan
Dennis Peterson is a young man with special needs who lives with his older brother John. Haunted by frightening dreams that have plagued him since childhood, Dennis discovers that the nightmarish figures of his dreams are now appearing in his waking life as well; in particular, a demon known as the Cadaver. After discovering an old, floor-length mirror in the basement, Dennis finds that he can communicate with this demonic specter and that the Cadaver's grip on his mind and body will only be released if Dennis commits a series of increasingly violent crimes that put himself and the people he cares about, in terrible danger.
The Evil Within is the passion project of Andrew Getty, grandson of oil magnate J. Paul Getty, and funded almost entirely by his inheritance. The film took fifteen years to move from pre-production to completion, with Getty obsessing over each and every frame of the movie and working out of a makeshift studio in his mansion. Unfortunately, Getty died in 2015 before completion of his magnum opus. His producer Michael Luceri finished the film in accordance with Getty's vision, and the result is eccentric, campy film that is strangely alluring in a Burtonesque way by way of David Lynch.
The aesthetic of the film comes from Getty's childhood nightmares, which he described as hvaing been disturbingly real. As such, his movie ponders the question of what if the images in are nightmares were being fed to us by some malevolent entity rather than a product of our own mind? It's an interesting quandry to base a horror film on, and the exploration of this posited question allows Getty to take his film into all sorts of different genre territory: possesion, slasher, detective, etc. All of that thrown together at once can produce a strange, muddled story at times, but it works because that's reflective of a dream itself: not always linear and operating by its own, otherworldy logic.
The joy of this film isn't really in the framework of the narrative, however, but on the surreal atmosphere that Getty has managed to conjure and present his story through. The animatronic special effects and creations are impressive, and the puppetry work is chilling in its jerky half-realness. The nuance of the detail poured into these parts of the film help The Evil Within rise above any script or acting flaws. It's a film that's bursting with its creator's passion--that mirror scene is one of the most admirable, and freaky, sequences I've watched in recent years--and might be one of the best examples of how genius can quickly become insanity. It's not a flawless film by any means, but it's impossible to limit such a distinctly singular creation. Like a dream, it can't quite be defined, but you'll feel the aftereffects long after your initial exposure.
The Evil Within
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
An action movie aesthetic combined with horror film mainstays and a classic 80's slasher template--what more could you possibly want from schlock horror? Nothing, of course. And that's why William Lustig's Maniac Cop is one of the most fun, cheesy cult films that you can uncover in the wide world of horror. A perfect flick to throw on while imbibing with friends, and a nice alternative to Leprechaun (1993) for St. Patrick's Day horror fare.
Maniac Cop
Released: May 13, 1988
Director: William Lustig
Screenplay: Larry Cohen
Tagline: "You have the right to remain silent. Forever."
Cast:
Bruce Campbell as Officer Jack W. Forrest, Jr.
Tom Atkins as Detective Lieutenant Frank McCrae
Lauren Landon Officer Theresa Mallory
Richard Roundtree as Commissioner Pike
William Smith as Captain Ripley
Robert D'Zar as Officer Matthew Cordell
Nina Arvesen Regina Sheperd
Sheree North as Officer Sally Noland
A young woman is attacked on the streets of New York on her way. She runs for her life, relieved to see a cop off in the distance. She's saved. She runs into his heroic arms...and is then throttled to death by her perceived savior. On that quick, brutal opening, Lustig lets the viewer know exactly what's in store with this movie. There's a cop. He's a maniac. And that's that.
When examining the glut of slashers that dominated horror in the 80's, Maniac Cop actually stands out for a fairly unique premise, but it's more notable for it's setting. The film takes place entirely on the streets of the Big Apple, a locale often avoided with purpose in horror films, and that Lustig and his film tackled exactly one year before Jason did in the eighth Friday the 13th installment. Interestingly, Maniac Cop delivers on everything that Jason Takes Manhattan promised but failed, to do, i.e. a hulking, undead brute stomping around slaying innocent civilians all over the city that never sleeps. The result makes for one of horror's greatest unsung gems.
It doesn't hurt that genre favorites Bruce Campbell and Tom Atkins star as a gruff, loner cop and a seasoned detective trying to unravel how it's possible that disgraced (and deceased) former officer Matt Cordell is behind the recent string of killings, all of which witnesses say were carried out by a man in uniform. The answer to that mystery is as outlandish as any other horror backstory you can think of, but the plot is merely just window dressing for choice kills and beloved actors to strut around saying and doing badass things in their pursuit for a psychotic version of The Hulk. The acting is stiff at times, and the dialogue is even more rigid, but as one of the last true grindhouse films, Maniac Cop is fun, mindless camp that was always destined for the shelves of independent video stores.
In our current climate, we might be tempted to read into the film as a commentary on police brutality and the imbalance of power that's fueled by systemized corruption. It certainly would have been applicable at the time, as well, but beyond the obvious initial message, the film is too shallow to offer a more thought-provoking critique. And that's okay. Not every film has to require an English degree to enjoy. Sometimes all we need is a popcorn flick. And late 80's, low-budget horror had some of the best popcorn flicks out there. Maniac Cop sits comfortably on that shelf.
Maniac Cop
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
Made on little more than pennies, released into the festival circuit, and then relegated to direct-to-DVD obscurity, Behind the Mask: The Rise of Leslie Vernon is arguably the peak definition of the twenty-first-century cult film. Nothing about the film should work, first and foremost its ludicrous premise, and yet somehow it manages to bring all its disparate parts together and create a brilliant, meta-horror funfest the likes of which you won't find anywhere else.
Behind the Mask: The Rise of Leslie Vernon
Released: March 12, 2006
Director: Scott Glosserman
Screenplay: Scott Glosserman & David J. Stieve
Tagline: "Freddy. Jason. Michael. We all need someone to look up to"
Cast:
Nathan Baesel as Leslie Vernon/Mancuso
Angela Goethals as Taylor Gentry
Robert Englund as Doc Halloran
Kate Lang Johnson as Kelly
Scott Wilson as Eugene/Billy
Ben Pace as Doug
Britain Spellings as Todd
In a world where Freddy Krueger, Jason Voorhees, Michael Myers, Norman Bates, and all the other great slashers of horror cinema were very real serial killers, three college students are working on their thesis for their film majors: a documentary following Leslie Vernon, a gleeful, gushing gore fan who hopes to follow in the footsteps of the famous killers he worships. Leslie is a killer-in-training, and he has meticulous plans to debut himself as a mass murderer by picking off a group of teenagers, facing down a virginal Final Girl, and then dying at her hands in a climactic showdown. Told mostly in mockumentary/found footage style, the film shifts to the traditional third-person presentation when it's necessary for the viewer to see Leslie's plans play out. This setup comes in handy during the third act, when a swerve in the narrative sends everyone, viewer and characters alike, scrambling for the truth.
Through its structure, Behind the Mask is taking on one of the oldest conventions of the slasher sub-genre, the killer's viewpoint, but it's doing it in a way that is significantly different from other meta-horror films like New Nightmare (1994), Scream (1996), and The Cabin in the Woods (2012); Mask isn't concerned as much with the archness of its own meta-textuality like those other films. Instead, it's a film that acknowledges the conventions of the slasher in a giddy, embracing manner rather than the detached, almost cruel, exploration seen in its sister films. This can be attributed to lead actor Nathan Baesel, who perfectly channels the gleeful nerd that floods cons and obsesses over his craft. It's easy to forget that Leslie's goal is to murder innocent teenagers when he's so passionately explaining his weaponology or glowing over the kill history of his predecessors.
As Taylor and her crew explore Leslie, his psyche, and his plan, the film raises questions of theoretical violence and exploitation, and what part each of those plays in escapism. After all, the slasher genre is one that exists on the premise of watching human stand-ins get slaughtered, sliced, and butchered, and at a conceptual level, there's something quite disturbing about that realization. Yet Mask never turns up its nose at the viewer but offers a safe space for us to get lost in the appeal of the slasher and face the nasty implications of the genre head-on at the same time. An adept script helps elevate several moments of excellent dark comedy that stick in the bones once the story is completed in a way that no jump scare could ever hope to achieve.
Though not quite as famous as its meta-horror counterparts, and perhaps not as ambitious either, Behind the Mask is still a sharp, focused film that is true to his guns from start to finish. It balances thoughtfulness and macabre comedy and churns out a bloodbath that any of Leslie's icons would be proud to call their own. It's a peculiar, fascinating film that tries to explain a peculiar, fascinating world that many of us call home. A world born of monsters.
Behind the Mask: The Rise of Leslie Vernon
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
Perhaps the best film about 9/11, and arguably about the 21st century as we have thus far experienced it, Cloverfield is a work of expressionist horror that mixes contemporary found footage cinematography with old school monster rules to create something that is both an homage to the kaiju films of the 1950's and a potent commentary on paranoia, documentation, and the Age of Terror.
Cloverfield (U.S.A.)
Released: January 18, 2008
Director: Matt Reeves
Screenplay: Drew Goddard
Tagline: "Some Thing Has Found Us"
Cast:
Michael Stahl-David as Rob Hawkins
T.J. Miller as Hud Platt
Jessica Lucas as Lily Ford
Odette Yustman as Beth McIntyre
Lizzy Caplan as Marlena Diamond
Mike Vogel as Jason Hawkins
There are those who argue that movies concerning giant, rampaging monsters are a class of genre film all their own, independent from horror; I for one consider them but another of the varied sub-genres of horror since their primary aim matches that of all the other flicks in this twisted corner of cinema that we love so dearly: to shock and to terrify. Initiated with King Kong (1933) and then booming onto the scene in the 1950's, the giant monster sub-genre faded into relative obscurity by the 1970's, to then be revitalized with 2008's Cloverfield, a mega-hit found footage style movie that not only made gigantic beasts scary again, but provided commentary on the ineptitude of the military in the face of mass panic and destruction and the delicate threads on which society itself was bound together, and how easy those threads can unravel.
On a fine, lovely May evening, a giant monster, believed to have come from the sea, attacks Manhattan. A group of twenty-something party goers, who have gathered to bid their friend Rob farewell before he moves to Japan for his new job,happen to have a video camera on hand and thus "document" the attack and their escape attempts as best they can while simultaneously recording their own hysteria and panic. It's this element that makes Cloverfield a radical reinvention of the giant-monster subgenre in that the entire story is told and shot from street level, making the camera just as much of a character as those that wield it as weapon, flashlight, and journal.
Cloverfield was the first giant-monster movie to take this approach, as well as to show the monster only in quick flashes and glimpses until the climax. It's a shift towards naturalism and realism that was completely absent in the kaiju men-in-monster-suit movies of the 50's and the Kong movies of the 30's and one that brings a sense of immediacy to the film as well. There are no visual impediments preventing our belief in the monster now, and when we do glimpse it, we understand that it is not only large, but terrifying in appearance. For perhaps the first time in the history of giant-monster movies, the monster is actually scary.
At its core, the film is about how easily normality can be shattered by sweeping, uncontrollable tragedy; how a safe, inconsequential life can be faced with disaster in the blink of an eye. It's an exploration of the apocalyptic fear that gripped America in the wake of 9/11 and that we wallowed in up through Hurricane Katrina as well. By splicing in "old" footage of Rob and Beth jaunting to Coney Island, we're constantly reminded of normalcy destroyed and lives upended, because the video of the monster is overtaking this pleasant memory, as the present must always overwrite the past. This juxtaposition also allows our characters to feel more human, and thus their plight more tragic. We see what they stand to lose as society crumbles around them. It's a facet of the film that resonated with audiences in 2008 and, in a testament to both Cloverfield's staying power and to our current climate, continues to unsettle audiences today.
Cloverfield
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
It can be challenging to find a gay-centric horror film you're not embarrassed to recommend. And I'm not talking about homoerotic subtext (looking at you, Freddy's Revenge), but full-fledged queer horror with clearly defined LGBTQ+ characters and storylines specific to the rainbow community. With gay horror, in particular, a lot of the titles you'll find out there are just an excuse to have some ripped jocks run around with their shirts off. Now, not every queer horror film needs to carry the weight of the entire LGBTQ+ civil rights movement on its back, but it should at least be well-made, entertaining, and offer some story angles that you just can't get in hetero-film. Happily, I present to you Hellbent to fulfill those criteria.
Hellbent
Released: June 26, 2004
Director: Paul Etheredge-Ouzts
Screenplay: Paul Etheredge-Ouzts
Tagline: "When the night belongs to the devil, the party goes to hell"
Cast:
Dylan Fergus as Eddie
Bryan Kirkwood as Jake
Andrew Levitas as Chaz
Hank Harris as Joey
Matt Phillips as Tobey
Kent Bradley James as Nick Name
Nina Landey as Maria
Two gay men parked in a lovers lane are interrupted by a bare-chested, iron-muscled man wearing a devil mask and carrying a sickle. Within moments, he's decapitated both of them. Cut to several days later, it's Halloween, and Eddie and his friends are on their way to a massive Halloween carnival in West Hollywood where they find themselves being followed by the same chiseled, Satanic killer. Thinking he's cruising them, the friends taunt and tease their demonic stalker before going their separate ways in pursuit of their individual goals for the night (drugs, sex, fun, romance, etc.). One by one, the scythe-wielding devil hunts them down, and it's up to Eddie to stop the bloodbath before his new crush Jake becomes the next victim.
Hellbent is a slasher film with gay characters and a generic premise, and that's exactly why it works. Unlike most LGBTQ+ cinema, the characters' queerness isn't the focus of the film or the defining part of their characters. This has a great effect on the film as it allows us to view it as we would any other slasher, and in that lens, the film succeeds where many other films in the sub-genre fail. The characters, too, rise above their stereotypes to become fully fleshed personalities while also still embodying different issues within the gay community. Their deaths become surprisingly sad and poignant when taken in the context of what they symbolize for the larger queer community; homely Joey is dispatched after finally achieving an inkling of the romantic bliss he craves among the sex-obsessed Halloween crowd, Chaz is killed while strung out on ecstasy and unable to tell if the stab wounds on his torso are real or figments of his drug-addled mind, and Tobey is sliced up after revealing to the killer that beneath his drag costume, he's all man. In his death, in particular, we might read into the damaging obsession with masculinity in gay culture.
There's a protracted sense of dread throughout the film that mixes well with the beautiful eroticism at play among the attractive cast and their sensual endeavors. Everything plays out on distinguished, realized sets that capture the surrealness of Halloween night and the sanctioned lewdness of an adult carnival. Etheredge-Ouzts has a great eye for his camera throughout the movie, and some choice framing throughout the film highlights themes of perception, presentation, and blindness, both literal and figurative. Eddie struggles with seeing the world as it is and perceiving situations correctly, as symbolized by his glass eye, an object of obsession for the killer. It's a commentary about self-obsession, perhaps as a danger to the queer community at large, and so as much as Hellbent is a traditional, sexy-looking slice'n'dice, it's also a subversive, intelligent queer horror film with something different to say. And either way, it's one hell of an eye-opener.
Hellbent
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
Perfectly realized, flawlessly acted, and brilliantly scored, The Wicker Man is an exceptional contribution to the history of cinema. Known variously as the ultimate cult film, the greatest British film of all time, and the Citizen Kane of horror movies, Robin Hardy's masterpiece was cut and panned at the time of its controversial release and has since gone on to gain one of the most devoted fan followings and critical appreciations of all time. The legend himself, Sir Christopher Lee, called it his proudest professional accomplishment, and I pity the fool that dares challenge the white wizard on that claim.
The Wicker Man
Released: December 6, 1973
Director: Robin Hardy
Screenplay: Anthony Shaffer
Tagline: "Flesh to touch...flesh to burn...don't keep the Wicker Man waiting"
Cast:
Edward Woodward as Sergeant Neil Howie
Christopher Lee as Lord Summerisle
Britt Eckland as Willow McGregor
Diane Cilento as Miss Rose
Ingrid Pitt as The Librarian
Lindsay Kemp as Alder McGregor
Irene Sunter as May Morrison
Scottish police sergeant Neil Howie is summoned to the remote Hebridean island of Summerisle after receiving an anonymous letter imploring him to look into the disapperance of a young girl, Rowan Morrison. Upon arriving at the remote village, the sergeant discovers townsfolk claiming that Rowan never existed. Stranger still, Howie learns that the inhabitants of the island have abandoned Christianity and now practice their own form of Celtic paganism. As he digs deeper into the msytery surrounding Rowan, Sgt. Howie begins to suspect that a sinister heathen conspiracy is afoot and that it's all set to come to a head at the annual May Day celebration. If he only knew how right he was...
British horror in the 1960's was dominated by gothic narratives, usually grand, bloody features from Hammer studios. But then Piers Haggard released The Blood on Satan's Claw (1971), and though that film was disappointing at the box office, it started a shift in tone for British filmmakers. The Wicker Man followed in that tradition and shunned the maudlin Gothic vestments for the old religions and calendar customs of ancient Britain for inspiration. Rather than a funereal atmosphere, the film employed an outdoorsy, rural mise en scene to play out a clash of faiths -- Howie's uptight Calvinisn against the blatantly sexual, freeflowing mores of the citizens of Summerisle.
The film had a troubled proudction, with British Lion studios switching management midway through production and the new executives being arrogantly dismissive of the film. They primed it to sink into obscurity, and it almost did if not for the efforts of Lee and several other members of the production team who promoted the film at drive-in screenings where it was often paired with Nicolas Roeg's Don't Look Now (1973). Lee was a steadfast champion of the film, galvanizing deserved critical acclaim throughout his career. His efforts paid off, and years later, the small but devoted following that grew up around the film was able to get The Wicker Man released in its proper 99-minute cut, though even now, there are still scenes missing.
As one of the most intelligent and deeply woven horror films in the canon, The Wicker Man is riff with symbols and layered meaning that make it prime fodder for any avid film analyst. Themes of sexuality, religion, traditional gender roles, childhood, and power are both examined and turned on their head by the film, which refuses to be defined by any one genre. The haunting soundtrack, based on original British folk music, not only elevates the film but has taken on a subversive life of its own in Lilith Fair-style pop culture. The creativity and ingenuity of the filmmakers, who worked with a meager fifty thousand dollar budget, is felt in every frame, all guided towards one of the most shocking, chilling, and memorable denouments in cinema. Summer is a coming in, my friends. Summer is a coming in.
The Wicker Man
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
There are so many beloved horror films perfect for the Halloween season that many of the equally great, underrated films often get overlooked through no fault of their own. Satan's Little Helper is one such film, a strangely heartwarming, hilarious, and yet somehow still chilling nugget of Halloween goodness that deserves to be on more people's radar this time of the year. Allow me to tell you why.
Satan's Little Helper
Released: October 4, 2005
Director: Jeff Lieberman
Screenplay: Jeff Lieberman
Tagline: "Sometimes evil needs a helping hand"
Cast:
Alexander Brickel as Douglas "Dougie" Whooly
Katheryn Winnick as Jenna Whooly
Stephen Graham as Alex Martin
Amanda Plummer as Merrill Whooly
Wass Stevens as Dean Whooly
Dan Ziskie as Vernon Martin
Melissa McGregor as Nicole
Joshua Annex as "Satan"
Little Dougie Whooly is obsessed with all things Devil thanks to his handheld video game "Satan's Little Helper." He's thrilled to don his new Satan costume the morning of Halloween to show his older sister Jenna, who is coming home from college for the holiday. But Jenna has brought her new drama major boyfriend Alex with her, and Dougie is upset he won't get to trick or treat alone with his beloved sister. But then, Dougie meets a man wearing a Satan mask and believes he's met the Dark Prince himself. In a literal deal with the devil, Dougie promises to be Satan's little helper if the Lord of Lies will take his sister's boyfriend to hell so that Dougie will have Jenna all to himself once again. As Dougie will soon find out, however, it's no game this time around...
The trap that many Halloween-set horror films can fall into is that they use the holiday merely as set dressing and fail to evoke the spirit of the night itself. Happily, Satan's Little Helper feels like it bottled a real-life Halloween evening and then unleashed it upon the viewer. Directed by Jeff Lieberman of Just Before Dawn (1981) fame, the film excellently weaves pitch-black humor with steady tension building to produce a delicious and unnerving holiday spectacle. Dougie's inability to decipher fiction from reality is the wicked, morbid hook that invites danger into the lives of those around him yet also allows for applause-worthy macabre jokes and hilarity. It's a deft balancing act. It also allows the viewer to deeply feel Dougie's innocence. He may be in need of some therapy, but he's only nine after all, and he thinks what he's doing is all just a game.
Dougie's stubborn likability is due in large part to Alexander Brickel, who switches from overly gullible to touchingly genuine once he realizes that "Satan" is hurting people for real, and that is his family is next on the kill list. Katheryn Winnick also gives an earnest performance as Jenna, especially in the scenes where she's trying to convince her trusting mother that the man in the devil mask isn't a friend, but the most dangerous of foes. And of course, the great Amanda Plummer brings her signature quirkiness to Merrill, a down-to-earth mom just trying to give each of her children the very best Halloween. But the film belongs to Joshua Annex as "Satan," whose movements and mannerisms are unnerving and eerily brilliant. Though he never removes the mask or utters a single syllable, his body language fills the screen with a sinister presence that Hall of Fame silent slashers Michael and Jason would be proud of.
The film's low budget is noticeable at times, and not every acting decision is spot on, but a clever script and a committed production team showcase how a quality film can be stitched together with limited resources. The mood and visuals of a New England autumn are perfectly captured, and the hearty laughs never overshadow what disturbing undertone of the story, making Satan's Little Helper into the brave little chiller that could. Add it to your Halloween watchlist with devilish speed.
Satan's Little Helper
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
When it was announced that the new Halloween film would wash away every other film in the franchise and act as a direct follow-up to the original, fans were equal parts mystified and titillated. The fervor increased when it was solidified that Laurie Strode herself, Jamie Lee Curtis, would return to battle it out against her arch-tormentor Michael Myers for the first time in twenty years (I'm not counting Halloween: Resurrection or the Rob Zombie travesties). But could David Gordon Green's film live up to the massive hype? Patient horror hounds finally got their answer this weekend, and what a bloody answer it was...
Halloween
Released: October 19, 2018
Director: David Gordon Green
Screenplay: Jeff Fradley, Danny McBride, & David Gordon Green
Tagline: "Face Your Fate"
Cast:
Jamie Lee Curtis as Laurie Strode
Judy Greer as Karen
Andi Matichak as Allyson
Will Patton as Officer Frank Hawkins
Virginia Gardner as Vicky
Toby Huss as Ray
Nick Castle & James Jude Courtney as The Shape
Halloween retcons all of the franchise's canon outside of the 1978 original. Gone is the brother-sister connection established in Halloween II (1981) that was so large a part of the mythos, as well as both of Laurie's previous children from Halloween 4 (1988) and Halloween H20 (1998), and all the crazy supernatural nonsense that went with those campy, lovable sequels. But Laurie remains. In this sequel, it's been four decades since her run-in with Michael, and Laurie has become a doomsday survivalist, hellbent on exacting revenge for the inevitable night that she reunites with the thing that murdered her friends and traumatized her for life. Her estranged daughter Karen and granddaughter Allyson, however, wish that she would let the paranoia go and live a normal life. But it's not so easy for Laurie; she knows that unless she puts Michael in the ground herself, he'll haunt her forever.
This new backstory is established slowly through the film's prologue, which follows a pair of true crime podcasters (Jefferson Hall & Rhian Rees) as they attempt interviews with both Michael, held in captivity at Smith's Grove Sanitarium, and Laurie, holed up in her jerry-rigged isolation cabin. Through their probing, we learn of the crises and drama Laurie has experienced in the years since that fateful Halloween night and how she's changed from the girl-next-door to the woman she is today. Yet event throughout all this exposition and character developpment, there's still time for blood and carnage as Michael makes his escape and begins his rampage across Haddonfield.
And it's quite the rampage. The body count of this new Halloween is far higher than the original, and a good majority of the prior sequels. There's some great, varied sequences of The Shape doing his thing, includig the oft-promoted scene in the truck stop bathroom that also acts as a nod to Halloween 6: The Curse of Michael Myers (1995). The brutality of the kills in the film is also worth noting, as Michael is far more savage than we've ever seen him, barring the Zombie films. Given that in this timeline Michael's been stewing in his rage for forty years and now has the chance to finally unleash it, it makes sense that the kills are extra twisted.
What's interesting about the film, and especially that it's been promoted so much as the final showdown between Laurie and Michael, and the theme of predator and prey throughout, is that Michael doesn't actually appear to be hunting Laurie once he escapes. His kills are mainly random, whereas in the original, we see the progression of how he chooses to stalk and dispatch with Laurie and her cronies. In this installment, he doesn't interact with anyone in Laurie's film until late in the film, right before the third act showdown. Which, let's be honest, is why everyone is here after all.
The final face off more than lives up to expectations. It's a sustained, nasty affair that is visceral to watch unfold and emotionally taxing in the best way to experience as a viewer. Laurie's booby-trapped home acts as the perfect battleground, and there's all sorts of unexpected developments that make you wonder just how exactly this confrontation is going to end and who is going to come out on top, if anyone. Several moments are nail-bitingly tense, and the confluence of the main characters at the house during the conflict means the audience is constantly on the edge of their seat in fear of Michael's next offing.
The cast is solid and supportive, with newcomer Matichak grounding the high school sequences that primarily serve as body fodder, and Greer as whiny, disbelieving Karen getting a nice redemptive moment at the climax. Naturally, the film belongs to Curtis, who is sensational in the role that launched her career and still defines her as a performer today. As a vehicle to retunite Laurie with Michael, the film triumphs, but it also succeeds quite well as a respectable, entertaining entry into the larger Halloween franchise and one that should please longtime, diehard fans. Once again, Michael has come home. And so have we.
Halloween
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
It's hard to make a standout possession film when the pinnacle of the sub-genre, The Exorcist, is lauded as the greatest horror film of all time. Paco Plaza's (REC) Veronica doesn't reinvent the demonic wheel by any means, but it's one of the strongest, most chilling entries in a sub-category of films that are known for sticking true to their defined formula. The film is proof that it's not about the originality of the story, but the presentation that matters.
Veronica
Released: August 25, 2017
Director: Paco Plaza
Screenplay: Fernando Navarro
Tagline: "Until today, it remains unexplained"
Cast:
Sandra Escacena as Veronica
Bruna Gonzalez as Lucia
Claudia Placer as Irene
Ivan Chavero as Antonito
Angela Fabian as Rosa
Carla Campra as Diana
Ana Torrent as Ana
Consuelo Trujillo as Sister Death
Madrid, 1992. Veronica is a teenage girl living with her widowed mother and three siblings in a crowded apartment that she maintains, along with cooking and caring for her younger brother and sisters as a result of their mom's work as a bartender. Though Veronica loves her siblings, she can't help but feel resentful towards her mother for being shoved into the role of primary caregiver. This frustration, as well as her grief over her deceased father, drives Veronica to join with friends Rosa and Diana in using an Ouija board during a full solar eclipse in an attempt to communicate with her dear departed dad. As one might guess, bad things happen as a result of this seemingly innocent game, including unexplained bruises on her skin, strange stains around the house, and shadowy apparitions stalking her siblings, prompting Veronica to try and contain the darkness she's unwittingly unleashed.
One of the most effective elements of Veronica is the camerawork, with the movement and framing of shots utilized to heighten the suspense about what might be lurking just out of view. Veronica watches a menacing shadow with long sharp claws crawl across the wall towards her sleeping brother and sisters, paralyzed to stop it. A reverse seance meant to cast the demon back where it belongs is filmed with slow, rotating pans around the faces of the participants, ratcheting up the fear as doors bang, the floor thuds, and something lurks ever closer. Are these new, innovate sequences? Not necessarily. But they're filmed well, and thus achieve their desired effect.
Not unlike other films in its sub-genre, Veronica is told mostly in flashback after a tantalizing prologue lets us know that police will arrive at the family's apart in three days and discover a gruesome scene, though we're not sure of the specific nature of what the officers find that shocks them so deeply. The establishment of a timeline helps increase dread and provides momentum, but it also can slow down the plot when the viewer remembers that we're heading towards a predictably maudlin conclusion. Any ingredients that feel bland are ultimately spiced up by Plaza's confident, assured direction and Escacena's anchored performance as the titular teenager. She's required to gaze longingly at another father/daughter couple in one scene and then wrestle her brother away from a shadowy demon in the next, and she does it all beautifully. The other young actors help create a believable family unit, equal parts affection and frustration.
Though it does not become the new standard by which possession movies will measure themselves, Veronica is nonetheless a solid, well-directed film with good acting, some genuinely frightening moments, and masterful camerawork. Had more attention been paid to the story and fleshing out of the more trope-y elements, it would have become a great film. As it stands, it's a good film to watch alone in the dark. Just maybe not during an eclipse.
Veronica
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
A very dark, theatrical element helps set Ghost Stories apart from the majority of other horror anthologies. Whether this additional melodramatic flair is what elevates the film above most of those other anthologies is up for debate, but what's not up for debate is the fact that the movie is a chilling, wicked study of fear, guilt, and long, dark tunnels.
Ghost Stories
Released: April 6, 2018
Director: Andy Nyman & Jeremy Dyson
Screenplay: Andy Nyman & Jeremy Dyson
Tagline: "Be careful what you believe in"
Cast:
Andy Nyman as Professor Phillip Goodman
Martin Freeman as Mike Priddle
Alex Lawther as Simon Rifkind
Paul Whitehouse as Tony Matthews
Nicholas Burns as Mark Van Rhys
Jill Halfpenny as Peggy Vann Rhys
Phillip Goodman has built a career on rationalizing the paranormal, debunking psychics, and outing fraudulent ghost hunters. He sees himself as an altruistic martyr that elevates the truth and shuts down scam artists and liars, but he's about to discover it's not so black and white. After receiving a mysterious summons from his professional hero, Charles Cameron, Goodman is tasked with uncovering the truth behind three cases that Cameron was never able to explain. He needs Goodman to denounce any supernatural elements once and for all or he won't be able to go to his grave in peace.
The three cases become the bulk of the film, each one explored in a mini-movie with intense, frightening flashbacks as the afflicted tell their tales to the skeptical Goodman. There's some great, expert cinematography at work in these sequences. Combined with an unrelenting, thrilling score, Nyman and Dyson fashion a pitch-perfect atmosphere of dread that produces maddening levels of tension. For all of the grandiose technicalities that produce an elegant film, Ghost Stories is also legitimately scary at several points, with everyone working hard to deliver on the strange, surprising turns called for by the script. Freeman, in particular, seems to be having a blast with his wild, catch-all role.
The framing device is also more interesting and engaging than most in horror anthologies and elevates each of the tales, which work on their own as effective, scary yarns, to something grander. The overall film becomes an examination of fear, its origins in our personal history and its deep roots in our psychological makeup. It also forces us to question why we wish so desperately for the world to function in clear binaries, and the fierce denial we adopt when confronted with evidence that it does not work that way. The film plays with expectation, instinct, and human emotion and does it all with a clever knack for terror. It's wicked, fun, and well worth your time. Go get surprised.
Ghost Stories
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
Horror hounds love a good haunt. They're a chance to experience our beloved screen scares in real life while still remaining in the comforting bubble of playacting. But who are the creative (slightly off?) minds behind these haunts? Haunters: The Art of the Scare explores this very question, offering a behind-the-scenes look at some of America's most well-known haunts, from traditional corn mazes and hayrides to controversial "terror experiences." In a relatively short runtime, Haunters tackles the spectrum of haunting in America, and questions where the industry will go next as they ponder how best to scare future generations.
Haunters: The Art of the Scare
Released: October 3, 2017
Director: Jon Schnitzer
Screenplay: Jon Schnitzer
Opening with a definition of haunts and the so-called "scare industry," Haunters takes an in-depth look at several prominent members of the haunt community ranging from amateur to professional before taking a deep dive into the world of extreme haunts. The main subjects of the documentary, who all take center-stage in talking head interviews, b-roll footage, and voiceover, are Shar Mayer, legendary haunt actor, Donald Julson, maze designer for traditional semi-pro haunt "Nightmare on Loganberry," and Russ McKamey, owner and creator of the infamous extreme haunt, McKamey Manor. In between are snippets of interviews with other famous haunters and horror icons, including Jason Blum, the Soska Sisters, and fear specialist Margee Kerr.
Without question, Mayer is the most endearing interviewee. She radiates a pure love for her work that's infectious and will be familiar to most lifelong horror fans. She also offers keen insight into the world of haunts and what attracts actors and creators to an industry that demands so much of their time, physicality, and mental energy to deliver quality scares. It's hard not to feel the warm fuzzies when Mayer describes the world of horror, and the haunt community in particular, as her family, and how her passion for scaring others has shaped her into the woman she is today. With horror such a huge part of my own identity, I related to Mayer's story and applaud her years of work.
Perhaps less heartwarming are the segments focusing on Julson, though no one can argue that he is not equally as dedicated to his craft. A former props master for Universal (he worked on Van Helsing), Julson decided to create his own haunt when he found himself out of a job. The resulting attraction, "Nightmare on Loganberry," now involves his whole family, but puts considerable strain on his marriage. His wife is quite vocal with her reservations about the haunt world and how much time her husband spends working on the haunt and obsessing over Halloween. Her position is understandable and shines a light on the intense time commitment demanded not just by her husband's creation, but all haunts. That said, it can still feel awkward to watch the two shoot passive aggressive statements at one another in their shared interviews, and there's a sense that they may have more issues to work through than just time management skills.
Mayer and Julson aside, the bulk of Haunters centers around the extreme McKamey Manor and its notorious owner, Russ McKamey. His "manor" is far-and-away the most infamous extreme haunt in America. A wedding singer by day, McKamey also found fame by building and operating his own haunt, but not all the attention is positive. McKamey Manor is the only known extreme haunt without a safe word (though participants can quit at certain stages) and forgoes the traditional boo-scares for one-on-one psychological and physical manipulation. Many have derided McKamey's work as torture rather than haunting, but McKamey argues that he's just giving his customers (who are required to pay for the experience only in cans of dog food) what they want--the wait list for the Manor is several thousand people long and everyone selected to participate must endure a rigorous screening process before being accepted. Schnitzer presents both sides of the argument surrounding McKamey Manor equally, leaving it up to the viewer to decide where they fall on such a controversial haunt experience.
Those involved in the scare industry are a dedicated, passionate people, and Haunters explores their world with heart and appreciation. Though it doesn't peer into some corners as closely as it could have, the film tackles a lot in a relatively short runtime. In the end, it's an entertaining love letter to the art of frightening people for fun and an interesting new entry to the horror documentary sub-genre.
Some of the greatest horror films are those that create a lot with a little, and Pyewacket is the perfect template for such a movie. This psychological occult film-that-could is solid from top to bottom, start to finish, and is perfect for fans of subtle, intellectual horror, emotional drama, and spiritual resilience.
Pyewacket
Released: December 2017
Director: Adam MacDonald
Screenplay: Adam MacDonald
Tagline: "Be careful what you wish for. Someone might be listening"
Cast:
Nicole Munoz as Leah Reyes
Laurie Holden as Mrs. Reyes
Chloe Rose as Janice
Eric Osborne as Aaron
James McGowan as Rowan
Leah Reyes is dragged to a new home an hour away from her school and her friends by her mother, who hopes that the change of scene will be what they both need in order to recover from the devastating loss of Leah's father. Leah, however, is more interested in exploring her new fascination with the occult. After a brutal argument with her mother, Leah resolves to summon the demon Pyewacket in the hopes of dispatching her mother once and for all.
Pyewacket is a film that keeps you guessing, and is careful never to reveal the truth behind what may or may not be happening in the new Reyes household. At first, the viewer is grounded firmly with Leah, and we experience what she experiences. But as the film progresses, it becomes clear that Leah is an unreliable witness. MacDonald plays with this narrative device, using the certainty to increase mood and tension. Even when it seems that something otherworldly is revealing itself, the scenes are played in shadow, forcing the audience to rely on their imagination to fill in the gaps. This is a far more terrifying result than any low-budget CGI creature could ever hope to achieve.
Lazy jump-scares are absent from this film, as MacDonald is all about teasing, delaying, and slipping in narrative turns that surprise the viewer and force us to guess at the legitimacy of what we're seeing and how that will affect what happens next. Did Leah's ritual work? Is she imagining an invisible entity as an embodiment of her anguish, and specifically her guilt over what she may have brought into the world? They're tough questions, and the film doesn't give up answers easily, but for those viewers willing to put in a little work, the payoff is returned tenfold.
Munoz is excellent as Leah, especially as she grows increasingly unhinged while waiting for the demon to appear and trying to find a way to undo what she's done. Holden also delivers and manages to communicate complexity in a role that frequently calls for her to be cruel. There's a slight misstep in including an occult novelist character whose thread doesn't really lead anywhere by the film's conclusion, but other than that there isn't much that misdirects this film. Great use of sound, gauzy visuals, and the eerie uncertainly surrounding Pyewacket all mix to produce a tense, highly sensory viewing experience that strives to push horror viewers towards our favorite place to be: the edge of our seats.
Pyewacket
5 - Totally Terrifying
4 - Crazy Creepy
3 - Fairly Frightening
2 - Slightly Scary
1 - Hardly Horror
