Last of the Monster Kids

Last of the Monster Kids
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Wednesday, October 31, 2018

Halloween 2018: October 31st - HALLOWEEN


As a kid, I was obsessed with the Halloween season. Obviously. However, trick-or-treating was so clearly the candy-filled climax of the festival. I don't think I ever truly got over becoming too old to trick-or-treat. No, Halloween parties are not an adequate replacement. So dressing up and handing out candy to trick-or-treaters is really the next best thing. The time tables worked out this year, so I was able to join a friend who lives in a busy neighborhood. It was a blast. I got many compliments on my costume – a dinosaur who is also a manager of a big box store – and saw many young faces light up with the magic of the macabre season. And, of course, the minute I made it back home, I began a horror movie marathon that I intend to keep going until dawn. Here's the final round of reviews for 2018's Halloween Horror-fest Blog-a-thon.


It's the Great Pumpkin, Charlie Brown (1966)

Television networks don't really do Halloween specials anymore. I'm not talking about Halloween-related TV episodes, which are more common than ever. I'm talking about one-off programs, specifically designed to ring in the spookiest season on Earth. It seems this habit peaked during the eighties, with “Garfield” and other pop culture icons anchoring half-hours of late October goofiness. The only reason I think ABC still chops out a small block of programming for “It's the Great Pumpkin, Charlie Brown” is because people would riot if it didn't air, at least once during October. While other Halloween specials have been forgotten, watching Linus wait in the pumpkin patch remains a national tradition to this day.

In fact, “It's the Great Pumpkin” is such an institution, that I think people forget how genuinely funny it can be. The opening sequence is a long gag, Lucy and Linus rolling a huge pumpkin up to their house, all building up to Linus' hysterical dismay at the gourd being gutted. Once at Violet's Halloween party, the other girls using the back of Charlie Brown's head to design their jack-o'-lantern is pretty amusing. More so because of how visibly annoyed he is by it. “It's the Great Pumpkin” is also less episodic than many of the other “Peanuts” specials, too many of which just compiled a bunch of the comic strips together. The events of Halloween night tie everything together, save for Snoopy's adventures as a fighting ace. These, perhaps not coincidentally, are also the scenes that drag the most.

Aside from the comedy, I think the surprisingly deep themes of “It's the Great Pumpkin, Charlie Brown” may hint towards its everlasting appeal. Many people have assumed a religious subtext to Linus' devotion to the Great Pumpkin, even in the face of everyone laughing at him. Charles Schultz denied this. He merely meant it as a joke, a child being devoted to a Santa Claus-like figure for Halloween. Yet you can't help but see something deeper in Linus' futile quest. More than religious clarity, he's searching for sincerity. The Great Pumpkin will visit the most sincere pumpkin patch, he believes. Linus rejects modern cynicism and commercialism, in order to believe in the beautiful idea of a magic pumpkin flying the sky on Halloween night. (Though his end credits rant and defense of his beliefs definitely read like a religious zealot offended by a non-believer.)

Linus needs to believe in something bigger than himself because Charles Schultz' world is so relentlessly downbeat. People are so used to the “Peanuts” world, to the endless merchandising of Snoopy and friends, that they forget the main joke of Schultz' work: That a bunch of kids are acting so beaten down by the world. Then again, the world is pretty awful to them. Charlie Brown gets it the worst. He always gets a rock in his trick-or-treat bag. Lucy always pulls the football away when he goes to kick it. Meanwhile, the Great Pumpkin never appears to Linus. Schroder will never acknowledge Lucy's desire for him. The world of “Peanuts” is one characterized by defeat and denial. And these kids are still in primary school! Beyond the pure marketability of Snoopy, I think this dark subtext is the true reason “Peanuts” remain popular. It's one of the few kids' programs that acknowledge how bad the world can suck.

For a program that was made for television fifty-two years ago, “It's the Great Pumpkin, Charlie Brown” holds up surprisingly well. The animation is primitive, the background's simple and the character work loose. This, however, perfectly mimics Schultz' original comic strips. By sticking so closely to the iconic looks of the artist's work, “It's the Great Pumpkin, Charlie Brown” manages to become timeless. The music is also widely beloved, of course. Vince Guaraldi's light-jazz sounds gave the “Peanuts”-verse an audio design unlike any other kid's cartoon. In fact, there still aren't very many other programs with a distinctive and catchy soundtrack quite like this one.

It definitely says something about “It's the Great Pumpkin, Charlie Brown's” status that nobody has ever attempted another “Peanuts”-themed Halloween special. The Christmas special is one of the most famous Christmas specials ever made but they still made three sequels. Apparently, the Great Pumpkin's legacy is too great to smear it with inferior follow-ups. On one hand, this is something of a shame. I'd welcome more high-profile Halloween specials. At the same time, “The Great Pumpkin” certainly stands alone as a surprisingly idiosyncratic, funny, and meaningful half-hour of animation. [8/10]



The Walking Dead (1936)

In today’s age, if an actor stars in a series of successful horror movies, they’ll probably win a cult following. If he or she are lucky, they’ll earn a decent career as a character actor. Most likely, they’ll appear in small roles in countless low budget and indie productions. During the age of the studio contract, things were different. Following the success of “Dracula” and “Frankenstein,” Boris Karloff and Bela Lugosi would appear in countless horror and mystery pictures. In 1936, Karloff would star in “The Walking Dead” for Warner Brothers. The film seemed designed to bring Karloff’s most famous role to mind. It features a scene where Karloff is brought back from the dead, causing a scientist to say “He’s alive!”

Judge Roberts sends a mobster to prison for ten years. Enraged, racketeer Blackstone decides the judge must die. Recent parolee John Ellman, who was also sentenced by Roberts, is chosen as the patsy. Roberts is murdered and Ellman is framed. The killing was witnessed by Nancy and Jimmy, the assistant of Doctor Beaumont. Before they can prove his innocence, Ellman is executed. Beaumont, who is experimenting with reviving dead hearts, successfully brings Ellman back to life. The revived Ellman is suddenly aware of the identity of the criminals and rotten lawyers that framed him. The somewhat zombified man seeks the truth.

Before “Frankenstein” made him into a horror icon, and even a few times afterwards, Karloff appeared in some gangster and crime pictures. “The Walking Dead” combines these two genres. Director Michael Curtiz, after “Doctor X” and “Mystery of the Wax Museum” but before “Casablanca,” creates an incredibly moody looking film. As Ellman awaits execution, the bars of his prison cell casts shadows on his face. A musician, he requests the cello be played as he marches to his death, another atmospheric sequence. His resurrection is set in a laboratory, full of sparking equipment, providing some classic horror feeling. After being revived, the guilty party attend a piano concert by Ellman. He eerily stares at everyone responsible for his first death, making each of them sweat, an eerie sequence that is even a little suspenseful. The criminal offices, with their ominous ceiling fans over head, combine nicely with the thunderstorms and cemeteries you associate with the horror genre.

Apparently the part was more like the Frankenstein Monster until Karloff requested some rewrites. It was a good decision. After being brought back from the dead, Ellman's left eye droops some and he acquires a slopping posture. Karloff still creates a soulful, deeply sympathetic character. Following his return, he is stunned and cold, seemingly getting used to being alive again. In fact, the character is so sympathetic that the film doesn't even make him a villain. Ellman does not seek out revenge on his enemies, only answers. Each one just happens to accidentally die in his presence. The first time it happens, a man tripping over a chair while handling a loaded gun, it's fine. As it keeps happening, things become a little ridiculous – a sudden heart attack? Someone carelessly running into the path of a train? – but Karloff's emotional performance still manages to redeem the somewhat contrived script.

Aside from the crime movie elements, “The Walking Dead” incorporates a lot of comedy as well. In the opening scene, we see a hopeless gambling addict who is betting on the outcomes of the court cases. The gangster's getaway driver is a strangely enthusiastic fellow, who seems extremely happy to be there. While a thunder storm rolls outside, the mob boss' two guards decide the situation is too spooky and skedaddle. The remaining tough guy needs to listen to music while he shaves. What an eccentric bunch of supporting characters. Color like this adds a lot to “The Walking Dead,” especially since its two heroes are typically bland for the era.

The film also throws in the expected message at the end, about how scientists shouldn't tamper in God's domain. Admittedly, this theme is incorporated a little more organically, since divine retribution plays a theme all throughout the film. While “The Walking Dead” is not the most enduring or fascinating film Karloff would star in that decade, it's a pretty good one. Beautifully shot, well acted, and with some interesting writing decisions, it stands out among the many other, somewhat forgettable one-offs talent like Boris and Lugosi would lend their names too. If nothing else, I'd certainly watch it over that other “Walking Dead” any day of the week. [7/10]



Plan 9 from Outer Space (1959)

Earlier in the month, I watched “Bride of the Monster.” At the time, I not-so-boldly declared that Edward D. Wood Jr. was far from the worst director of all time. If this is true, and I think it is, the common belief that “Plan 9 from Outer Space” is the worst movie of all time is also a falsehood. This decision was decided by Harry and Michael Medved, who also hated a few other movies I like or at least find interesting. Though the Medveds are practically forgotten, and many other far worst directors and films have emerged in the years since, the stigma around Ed Wood and “Plan 9” have remained. No more. Let's talk about why “Plan 9” is, in fact, a worthwhile film.

The plot begins with an old man, so despondent after the death of his younger wife that he walks into traffic. At the same time, flying saucers are being spotted in the skies above Hollywood. Pilot Jeff Trent spots a saucer. He soon learns that the U.S. military is well aware of these crafts, having occasionally fired missiles at it. The alien invaders – led by Commander Eros – realize they must conquer Earth before they uncover a weapon so powerful it can destroy the universe. Their latest plan to take over the world, their ninth, involves resurrecting the dead. The old man, his wife, and a police inspector are among the first dead brought to life.

As I mentioned before, Ed Wood had a deeply weird sensibility. As in “Bride of the Monster,” “Plan 9” awkwardly mashes together classic horror tropes and sci-fi elements that were popular during that decade. So “Plan 9” is an alien invasion movie frequently set in graveyards, featuring ghouls and vampires dressed in black evening wear. This film features, by far, the most famous examples of Wood's memorably bizarre dialogue. Every other line in the movie – including like “It's hard to find something when you don't know what you're looking for” or assorted thoughts on stupid minds – is quotable. The decision to let sham psychic Criswell narrate the film allows the orator to deliver some truly staggering monologues, which are baffling, circular, and hilarious.

As beholden to the past as Wood's ideas are, in some ways, he was somewhat ahead of his time. There is an element of conspiracy to “Plan 9 from Outer Space.” The government knows about the aliens and have been covering their existence up. Apparently an entire town was destroyed by forces from outer space in the past, the entire incident expunged from the record. Conspiracy theories and government cover-ups like these wouldn't really come into vogue until the next decade. The film's ending is also surprisingly bleak. The aliens want to destroy humans because we are too violent, fated to destroy ourselves and everyone else. The “heroes” prove this by destroying the invaders, somewhat cruelly and senselessly. You wouldn't expect a movie from 1959 to accuse the U.S. government of underhanded deeds, of two-fisted heroes of being self-destructive jerks.

Many aspects of “Plan 9 from Outer Space” have been widely mocked over the years: The strange dialogue, the decision to replace a near-death Bela Lugosi with a deeply unconvincing body double, the limited acting abilities of Tor Johnson. The film's minuscule production values are likely the biggest target. People make fun of the pie-pan flying saucers and the cardboard tombstones. Yet I find these elements extremely charming. Despite a tiny budget, the movie's cinematography is actually quite good. The graveyard scenes have a lot of fog, feeling like a small town theater's attempt to replicate classically spooky imagery. As much as people mock the film, some of its images have even become iconic. Since so few of her shows actually survive, this film is where most people saw Vampira for the first time. Her signature look – tiny waist, deep cleavage, pale skin, raven hair – certainly made a lasting impact on pop culture.

Ed Wood's epic obviously has flaws. The leaps within the film's time line can induce whiplash. People are entombed seemingly within minutes, while the military's actions involving the UFOs shifts from scene to scene. Obviously the story is strange and borderline incoherent. Once again, neither of these issues prevent the movie from being entertaining. Many of the film's flaws only enhance its entertainment value. While “Plan 9” still resides in the bottom 100 over at IMDb, I'd like to think people who appreciate the movie outnumber those that don't. After all, it did spawn a computer and a remake of sorts. I imagine lots of people start watching it, expecting the worst movie of all time, and actually find an utterly amusing slice of cheese that never drags and always fascinates. [7/10]



Peeping Tom (1960)

I don't know if anyone reading this pays attention to the meticulously organized tags I apply to each blog post. If you do, you probably notice that I throw the term “classic horror” around quite a bit. But “classic” is a mutable term. How does one define when the era of classic horror ends and the modern era begins? That's an easy question for me to answer. 1960 is the year two horror masterpieces were released, completely shattering the conceptions of what the genre was capable of and moving it once and for all into the modern day. Those films were Alfred Hitchcock's “Psycho” and what is often thought of as its British counterpart: Michael Powell's “Peeping Tom.”

Mark Lewis did not have a happy childhood. His father was a renowned behavioral psychologist. What the public doesn't know is that Dr. Lewis used his own son as a guinea pig, gauging his reaction to fearful stimuli and recording all of it. This gave Mark an obsession with film, photographs, and the nature of fear. He works as a cameraman on a film set, with a side gig taking pictures of naked women. Late at night, he stalks the streets, picking up female victims, killing them and recording their deaths. Quite against his will, Mark begins to fall in love with Helen, the pretty redhead girl down stairs. Soon, his growing feelings for Helen and his desire to kill are warring against each other.

As the title indicates, “Peeping Tom” is a film about voyeurism. Unlike Hitchcock's “Psycho,” where the idea mostly floats under the surface, Powell's film is all about the act of watching and being watched. The film's opening scene is shown from Mark's perspective, as he picks up a prostitute and prepares to kill her. This directly aligns the audience's point-of-view with that of a serial killer. From the very beginning, “Peeping Tom” implements the audience in Mark's crime. Audiences have watched death, destruction, and all sorts of unspeakable acts get carried on-screen since the camera's invention. Few films before “Peeping Tom” so directly interrogated this act. Mark's obsession with watching is directly linked with his need to kill, tied up in a vicious childhood. What's the audience's excuse? For asking this question, “Peeping Tom” turned the entire horror genre on its head.

It's also an extremely pathological film. The film's sexual content is tame by modern standards but pushed mainstream decency in 1960. In his adventures, Mark encounters prostitutes and nude models, one of which has a deformed face. He works part-time in a porn shop. Yet bare flesh is not truly exciting for him. Instead, he has an erotic fixation with fear, specifically capturing it on camera. Powell is not subtle about this. Mark's weapon of choice is the sharpened tip of a tripod leg, which he extends upward when he's ready to kill. He caresses the leg as he lifts and extends it, making the erection metaphor more obvious. Murder is how he has sex. Mark's sex/death drive reaches its peak with the film's climax, where he films himself committing suicide, stabbed with own penis-knife. It's fairly perverse by modern standards, so no wonder it was like a bombshell fifty-eight years ago.

“Peeping Tom” is a disturbing film. The sequence's devoted to Mark's murders – especially a drawn out scene where he lures a dancer into a false sense of security, before stabbing her – are deeply unnerving. Powell's mastery of the camera's movement generates some sickening suspense. Yet the film's sexual subtext and intense terror were not what truly upset people in the sixties. Instead, it was “Peeping Tom's” decision to make its deeply disturbed, fetishtic serial killer sympathetic. (“Psycho” treads similar ground, though more through narrative trickery.) It's entirely clear that Mark is a deranged killer due to the mistreatment he suffered at his father's hands. Every one of his pathological obsessions links back to dad being a bastard. This is made abundantly clear in the scene where he shows Helen the recordings of his childhood. As perverted and deranged as his actions may be, you don't want to see Mark punished. You want to see him healed.

Powell's direction is more-or-less the star of “Peeping Tom.” However, the film also features an excellent cast. Carl Boehm plays Mark as a deeply clinical man. He's a ball of nerves, so scared of loosing control of his impulses. It becomes clear that he doesn't even really want to kill but is driven to do so. This complete commitment to verisimilitude makes Boehm both terrifying and deeply empathic. Anna Massey is also the perfect girl next door as Helen, a sweet and innocent visage. You really understand why she would pull Mark away from his homicidal needs. As sweet as Helen is, her mother is equally jaded. The blind woman is rightfully suspicious of Mark and Maxine Audley is well utilized in the part. Lastly, I love Moira Shearer as Vivian, the beautiful and vivacious dancer. Her screen time is limited but Shearer makes the impact of her life, and death, felt.

In addition to being a groundbreaking horror film, “Peeping Tom” is also a prototypical example of a masterpiece that was misunderstood in its time. Powell previously made critically acclaimed and widely beloved comedies, musicals, and romance. A psychotically complex and deeply dark horror picture was not what people figured he'd do next. The film was rejected so violently at the time of release that Powell's career never recovered. Of course, now people realize the film is genius. You already know that. What you might not know is “Peeping Tom” is still a visceral and highly disturbing experience. [9/10]



The Mutilator (1984)

Since so many slasher films are nearly identical, incredibly superficial things tend to make or break these movies. I'm talking about poster/box art and taglines. In the video stores, where these movies really thrived, that stuff was especially important. Take “The Mutilator,” for example. Neither that title, nor it's original title of “Fall Break,” are especially catchy or memorable. But that poster art, of four corpses hooked to a wall while a gaffing hook rears in the foreground? An instant classic. And the delightfully dumb but catchy tag line – “By sword, by pick, by axe, bye bye!” – guaranteed that a certain breed of horror fan would never forget about this movie, even if everything else about it was forgettable. Which begs the question: Is there anything more to “The Mutilator” besides that bitchin' poster and hilarious tagline?

As a kid, Ed Jr. wanted to surprise his father on his birthday. He decided to clean the rifles in dad's gun cabinet. Instead, the rifle went off and shot Ed's mom. Big Ed never got over this trauma. Years later, Junior and his friends are trying to think of something to do over fall break. That's when Ed gets a call from his dad. Big Ed wants his son to watch over his vacation home, on the North Carolina coast. Ed doesn't want to go but his friends talk him into it. As they arrive, they think the building is abandoned. Instead, Big Ed is passed out drunk in the basement. He finally snaps, picks up his battle axe, and decides to murder everyone present. Including his son.

Buddy Cooper, in his sole directorial credit, does not seem especially interested in resisting slasher movie cliches. The movie begins with a violent crime occurring in the past, the trauma of which triggers the killing spree in the present. The teens ship off to an isolated location, to be slaughtered. With the fall break setting, the plot is even associated with a calendar event. The characters break down into clear types. There's the horny couple, Mike and Linda, whose preoccupation with boning gets them killed first. There's Ralph, the obnoxious prankster character. Pam, Ed's girlfriend, is notably a virgin. Obviously, she survives. There's even a random cop, added to pad out the body count. About the only clich̩ the film resists is giving the killer a cool mask. It introduces a cool mask Рa Mayan sacrificial mask Big Ed collected on his adventures Рbut the madman does not wear it.

Cooper does little to distinguish the film from many similar slashers. Though the cool blue tinted coloration is interesting, “The Mutilator” doesn't utilize the dreary beach setting for much. About the only thing Cooper's film really has going for it is the gore. But, holy shit, the gore, you guys. The violence in “The Mutilator” is seriously elaborate. The opening gunshot, that begins this carnage, is very wet and splattery. Big Ed utilizes a number of tools in his shed to kill his victims. He uses that bad-ass axe to decapitate a few people or cleave off a leg. There's even some ridiculous humor here, some of it unintentional. A headless body kicks comically. An off-board boat motor cuts up a guy, in an extended and silly scene. Most infamously, Big Ed puts the gaffing hook on the poster inside a young lady in a very uncomfortable way. That's a sickening moment and, hey, why else do we watch these movies?

I don't want to accuse “The Mutilator” of being more than it is. The film is equal parts campy entertainment and tedium. However, there are moments that hint at something deeper. Big Ed is introduced as a hunter. He has tons of guns and weapons. He decorates the vacation lodge with the various animals he's killed, along with the tools he used to kill them. Ed Jr. frequently references his dad getting together with his friends, making up bullshit stories and trying to prove how macho he is. The killer is also explicitly an alcoholic. Ed Jr., meanwhile, rejects everything his father is. He doesn't even attempt to pressure his virginal girlfriend into sex. This makes Big Ed so enraged, he wants to dismember his boy. Is it just me or is “The Mutilator” commenting on toxic masculinity in some weird way?

Perhaps adding to its infamy was the fact that “The Mutilator,” for a long time, was hard to get a hold of. The film floated around on VHS in two forms: The uncut and unrated form and an R-rated version that removed all the awesome gore. These prints were also overly dark, another frequent flaw of watching eighties horror on video tape. For many years, we heard rumbles that a restored and cleaned-up DVD release of the film would arrive. That didn't actually hit until Arrow put out their Blu-Ray not too long ago. I'm still not sure whether or not “The Mutilator” is actually a good movie. It's certainly not a sturdy motion picture. However, I do kind of enjoy its hyper-violent, deeply dumb but also almost smart mixture. [6/10]



Into the Dark: The Body (2018) 

The term “television series” probably needs to be redefined. With the rise of digital streaming, and show's increasingly utilizing serialized storytellig, the line between TV, movies, and mini-series is blurred more than ever. Hulu and Blumhouse decided to mix things up even more this October. The production company and streaming service debuted a new horror anthology series this month called “Into the Dark.” Except, get this, each episode is feature length, a new one coming out every month. So is “Into the Dark” a show or a collection of movies? It's ahrd to say. Mostly, I wanted to check out “The Body” for two reasons. First off, it's set on Halloween and I like to cap the Blog-a-thon off with a film actually set on the day. Secondly, it was directed by Paul Davis, a guy I would occasionally chat with back on the MovieManiacs.net forum.

It's Halloween night and hitman Wilkes has just assassinated his latest target. His mysterious employer, whom he only knows as a voice over the phone, tells the killer to leave the body in a specific location at a specific time. But there's a problem. Pranksters have slashed the tires of all the cars outside. Wilkes, dragging the saran wrapped dead body behind him, is quickly met by a group of partying twenty-somethings. They assume Wilkes is just dressed as a hitman for Halloween, that the corpse is part of his costume. Needing a ride, he gets dragged to a Halloween party. Soon, the situation grows way more complicated and Wilkes is chasing the trio all across L.A.

My favorite thing about “The Body” is its central performances. Tom Bateman is excellent as the sophisticated killer. He brings a confident sense of style and cool to the part. It's not just that he knows how to rock a blood-splattered suit. During several scenes, the hitman gets to expound on his philosophy of sophisticated nihilism. Bateman manages to make these words actually convincing. At the same time, the stuffy assassin makes an amusing comedic foil to the rambunctious partiers around him. He ends up forming an odd romance with Rebecca Rittenhouse's Maggie, a frustrated young woman he meets at the party. She's enamored of his stylish ways and, at least for a while, it seems to be mutual. Watching this nice, if acerbic, woman get corrupted by the killer's cold logic is compelling.

However, I think “The Body” is definitely trying way too hard. Writer/director Davis shows his horror nerd roots with a few too many obvious shouts. 1934's “The Black Cat” is directly quoted. ”Breaking Bad” is talked about. A chase scene through a mortuary obviously pays homage to “Phantasm.” There are long conversations about history and gender, all of which go on too long. “The Body” works far too hard to appear modern, piping references to the #MeToo movement and a number of modern political and social problems. Similarly, the parts of the film revolving around computers and hacking strain credibility. Over all, the central trio Wilkes is pursuing are a little annoying. There are far too many scenes of Alan, Jack, and Dorothy bickering among themselves, trying to figure out what to do. The film sometimes expends too much energy trying to inform the audience of how hype and in-the-know it is.

Having said that, there's definitely some enjoyable moments here. The electronic score, provided by the Newton Brothers, is extremely atmospheric and satisfying. While some of the humor is overly showy, “The Body” does have its funny moments. The corpse is never shown on-screen but everybody recognizes him as someone very famous. An attempt to destroy the dead body goes hilariously awry. “The Body” is also a slasher film of sorts, Wilkes eliminating a number of minor characters in grisly ways. This climaxes during a confrontation in the morgue, featuring a delightfully gross use of an embalming machine.

I like the idea behind “Into the Dark.” A new horror movie coming out every month, often themed to the appropriate holidays, could be a lot of fun. “The Body” definitely shows some promise. (Though I wish it utilized its Halloween setting a little more, outside of the party the story begins at.) The film, or episode or whatever you wanna call it, definitely stumbles under the strain of trying to prove itself. When focusing on creative bloodshed or an irresistibly perverse villain, it proves to be fairly likable. We'll see how the rest of the experiment fares. “The Body” is uneven but not without its moments. [6/10]


The journey is complete, fellow travelers. We have now arrived at the other end of the Autumn Country, our six week long trip coming to a close. I'm going to say this one was a win. Halloween itself was awesome. I hit a haunted attraction, handed out candy, dressed up, went to a horror convention, and eat too much chocolate.

More than anything, I made the Six Weeks of Halloween count. As always, I overdid. I came dangerously close to burning out at times. The last week of the Blog-a-thon is usually stressful. But this is how I do it. This is how I honor the changing of the season, the passing of the spirits. Halloween only comes once a year and I want to make sure October 31st last a long as possible. And you know what? I'm already looking forward to next year. We Halloween People live the season harder than anyone else and we never really stop. Because we love it, because it makes us feel more connected with some sort of spiritual truth that's tricky to put into words. Watching way too many horror movies in-between September 18th and November 1st has become weirdly important to me. This is how I put my pumpkin on the Halloween Tree. This is how I please Samhain. This is how I enrich my morbid heart.

So, good night, Halloween 2018. You were a fun guy to hang out with! November looms. November has already begun. The creeps and ghouls, spirits and ghosts, slink back to their tombs. The cemetery is quiet now until next September. I sigh satisfactorily as I pull my casket lid shut. Another Halloween down, another one to come. Farewell, old friend. We'll see each other again real soon.

Halloween 2018: October 30


Hell House LLC (2015)

What even qualifies as “underrated” in the horror genre these days? Thanks to digital releases and streaming, even weird and tiny movies can find an audience. It's become more possible than ever for movies to sneak up on fans, even those that really keep abreast of the genre. Earlier this year, I started hearing buzz about a sequel to “Hell House LLC” premiering on Shudder, every horror fan's favorite streaming service. Here's the thing though: I had never heard of the first “Hell House LLC.” Apparently, it was a Halloween-themed found footage flick from two years ago. I'm touch-and-go on the found footage style but the film still sounded like a good choice for the 30th of October.

In the year 2009, a new haunted house attraction opened in a small town in New York state. Called Hell House, it was built inside the Abaddon Hotel, a local landmark with a history of hauntings. That night, something went horribly wrong. Fifteen people ended up dead. Years later, speculation still runs rampant over what actually happened. Now, a documentary crew has interviewed the only known survivor of the incident. She presents them with raw camera footage. In the weeks leading up to the attraction's opening, the crew moved into the abandoned hotel. They documented everything they did and soon began to witness extremely strange things.

I don't know why but the found footage genre has a bad habit of featuring asshole characters. Maybe it's just because the characters insisting on recording things, even after they go bad, reflects poorly on their personalities. “Hell House LLC's” filmmaker is kind of a prick. He constantly references being attracted to one of the female characters. He casually sexually harasses her in several scenes, which the movie tries to play as cute. Alex, the CEO of the attraction company, is also something of a jerk. Long after it's become clear the hotel is haunted, he insists in staying there. On the opening night, despite a litany of bad omens, he still goes ahead with letting crowds inside. It seems the film's writer/director had some of the characters act like morons or jerks to justify the contrived story.

Having said that, “Hell House LLC” does utilize the found footage format to create some creepy moments. An important prop in the film is a large dummy of an evil clown. More than once, this mannequin appears in place where it shouldn't be. One especially effective scene has its head turning in the course of a single shot. Another mildly creepy scene has a feminine figure walking into someone's room, over their shoulder, the audience seeing her before the guy does. The climax takes us right into the story's central chaotic night. These scenes capture a decent sense of panic. The best moments in “Hell House LLC” maintain an ominous feeling, using its creepy setting to create a general air of unease.

The movie is also guilty of the cheating often seen in the found footage genre. And I'm not just talking about so much of this stuff being recorded when there's no reason for it. Several moments feature a musical score, a huge distraction in a found footage thriller. More than once, the footage slows down to give us an extra look at something creepy. Wouldn't it have been better to just let those scenes play out naturally? Digital distortion is used at least once, likely to cover up some edits. The movie is also too long. After the climax, the exact fate of two characters are unnecessarily shown on-screen. A lengthy denouncement follows that, returning to the framing device and taking us back inside the house. Both of these scenes contribute little to the movie. Honestly, “Hell House LLC” could've cut the framing device and not loose much.

I'm pretty surprised that “Hell House LLC” received some of the rave reviews it did. The film is fine, gets in a few decent scares, but in no way rises above the frequent pitfalls of this style. I'm tempted to read into the film. Early on, a talking head interview mentions how people came to the attraction for “safe” scares, only for real horror to interrupt them. Is the film attempting to speak to modern anxieties, in our world where mass shootings or terrorism can occur anywhere? If so, “Hell House LLC” looses most of the vitality once the flashback begins. If the film had run with that element, focusing more on the panic of that night, it certainly would've been interesting. As it is, “Hell House LLC” is a slightly above average example of its genre. [6.5/10]



The Mad Magician (1954)

Vincent Price will always be remembered as a horror icon. Yet if you're really familiar with his career, you'll know that he acted for twenty years before really becoming famous in that genre. Even after the 1953 break-out success of “House of Wax,” Price wouldn't become truly synonymous with horror movies until the end of the decade. However, there was at least one attempt to cash-in on “House of Wax's” popularity. A year after that hit, Price would star in another Victorian set, 3-D thriller about an artist who takes revenge on those who scorned him. “The Mad Magician” even has the actor appearing in a disguise for lengthy parts of the story. The similarities have not gone unnoticed, by critics or fans.

Gallico the Great is a stage magician on the brink of greatness. He's a brilliant performer, a master of make-up, and a pitch perfect impersonator. His latest trick involves a giant buzz saw. However, just as he's about to perform it for an audience, the show is interrupted. The provider of the prop insists he has the copyright on the trick, preventing Gallico from performing it. Enraged, Gallico kills the man with the buzzsaw contraption. From that point on, he uses his make-up skills to disguise himself, murdering other rivals and taking over their lives. The police and an amateur mystery writer are soon on his trail. 

“The Mad Magician” is not a particularly good movie but it does have one thing going for it. Watching Vincent Price ham it up will always be entertaining. And Gallico the Great is an incredibly hammy character. The part allows Price to dress up in a number of different costumes, to vamp under several personas. When confronted with his enemies, Price gets to rant and rave about how the world has wronged him. He's also given lots of chances to outsmart people around him, Price adding an egotistical streak to the already melodramatic villain. There are even a few scenes where Gallico is afraid of being caught, Price allowed to bring some vulnerability to the part. The filmmakers certainly cast the right man in the leading part.

As fantastically entertaining as Price's campy villainy is, it only goes so far to make up for 'The Mad Magician's” shortcomings. The film's plot is quite ridiculous. Gallico may be a master of disguise but having him so perfectly trick so many people quickly strains credibility.  There are multiple scenes where the film seems to forget the magician gimmick, focusing far too much time and effort on the disguises. It doesn't help that Price's voice is dubbed when he's undercover, making his transformation seem even more improbable. Needless to say, Gallico probably should've been caught many times before he actually is. He's terrible at covering his tracks.

Aside from Price hamming it up, there was one other thing I liked about “The Mad Magician.” Most of the supporting cast is not that interesting. Eva Gabor has a showy part as Gallico's adulterous ex-wife. Mary Murphy is pretty and screams a lot as the distressed damsel. She's not introduced until mid-way through the film but Lenita Lane's Alice, the mystery author and would-be detective, is a cute addition to the story. Lane is spunky in the part, energetic and funny. Moreover, she makes a far more interesting protagonist than Patrick O'Neal's utterly forgettable police detective.

By the way, the 3-D effects are underwhelming. A fountain of water is directed at the camera once and there's one or two other gags. Generally speaking, the commitment to the gimmick is not as strong here as it was in “House of Wax.” I saw “The Mad Magician” on television years ago, at the end of a Vincent Price marathon. I was starting to doze by this point but recall enjoying the film. I certainly remembered the scenes involving the buzz saw and the crematorium. Half-asleep is, perhaps, the best way to watch this very silly and fitfully entertaining Price vehicle. [6/10]



Vincent (1982)

Tim Burton is such a parody of himself now. It's easy to overlook that his particular style was established pretty much from the beginning. Take a look at “Vincent,” Burton's stop-motion animation short from 1982. Detailing the adventures of Vincent Malloy, a young boy obsessed with Vincent Price and gothic horror, you can see most of Burton's obsessions right here. The short is built around contrasting Vincent's sunny, suburban life with the nightmarish horrors he imagines in his head. The love of classic horror imagery is present, with shots of Vincent and his zombie-dog stalking through the fog. Or the expressionistic castles and laboratories Vincent daydreams about. The art style is, of course, immediately recognizable. The round eyes and elongated faces, along with the curving bodies of the various supporting characters, are Burton through and through. You can even spot some black-and-white spirals in a few scenes.

This is not really meant as a criticism. “Vincent” is delightful. The glee with which young Vincent Malloy imagines his gothic adventures perfectly capture the exuberance of youth. His Poe-inspired angst is intentionally overwrought. The images of dipping his aunt or wax or transforming his friendly dog into a monster are gleefully macabre. Cutting back and forth between the boy's horrific inner life and his sunny day-to-day existence produces several laughs. Most notably near the end, where Vincent's mother tries to convince him to go outside and play.

Two elements hold the short together even more. Getting Vincent Price himself to narrate the short turns it into a beautifully flattering homage. You can tell Price really enjoyed narrating this story. Secondly, Ken Hilton's musical score is perfect. It totally plays the boy's melocholey daydreams straight, giving this silly little short a surprisingly soulful streak. I guess “Vincent's” enduring appeal proves that we didn't get tired of Tim Burton's style. We just got tired of him using it in interesting or innovative ways. [8/10]



The Real Ghostbusters: When Halloween was Forever

Really, I could probably review all of “The Real Ghostbusters” as part of future Halloween Blog-a-thons. You'll have to excuse me for singling out the first season's Halloween episode, as I really don't feel like squeezing in all 173 episodes later down the line. In “When Halloween was Forever,”the Ghostbusters have their hands full. Halloween is approaching and ghostly activity is increasing in New York City. Egon links this to a series of Celtic ruins being added to a museum recently. He's right. A pair of goblins sneak into the museum and release Samhain, their god and the Lord of Halloween. The pumpkin-headed deity organizes the city's lesser spirits and freezes time, making Halloween last forever.

Samhain would return a few times over “The Real Ghostbusters'” lifetime, even getting a cameo in the sequel series. It's easy to see why the villain was so popular with viewers. First off, he looks awesome, a pumpkin-headed wraith with a scratchy baritone voice. He also really cares about the other ghosts he summons, calling them his “little ones.” As far as villainous goals go, stretching Halloween out forever probably wouldn't be so bad if it didn't also cause ghosts everywhere to go crazy. “When Halloween was Forever” actually featurs a lot of fun, spooky moments. Such as a diner full of demonic skeletons, a fuzzy ghost eating a chair, a bizarre creature driving a car, and a briefly glimpse griffin-like entity.

To modern eyes, the series' vaguely anime-esque animation has aged pretty poorly. This is most evident in the scene where Janine is attacked by Samhain's minions, disguised as trick-or-treators. However, the voice cast is still top-notch. Lorenzo Music's deadpan vocals were a perfect fit for Venkman, actually making a few goofy one-liners funny. Maurice LaMarche was similarly well cast as Egon, mining humor out of the stuffy scientist's actions. Such as when he has to taunt some ghosts into attacking him. It's not high art but “When Halloween was Forever” works very nicely on All Hallows' Eve Eve. [7/10]


Tuesday, October 30, 2018

Halloween 2018: October 29


As always, it seems like this year's Halloween has just flown by. Before we head into the last two days, I want to shout-out some of my fellow travelers. Since Kernunrex has been M.I.A. for several years, Kaedrin Weblog is the only other person specifically keeping the Six Weeks of Halloween tradition alive. I know I haven't commented much on your stuff, Mark, but you do great work. Besides him, there's lots of other fantastic seasonal websites I recommend. Dinosaur Dracula experienced some personal interruptions this season but still managed to put out some fantastic content. Bogleech's daily monster reviews have been a blast, even if they lean more on video games and anime than movies and television. By some odd chance, if you read my stuff and not any of these other people, what's wrong with you? Check 'em all out!


Terrified (2018)
Aterrados

At least once during this year's Six Weeks of Halloween, I've already talked about this new trend in horror. You know, this tendency for a new independent film to come out once a year and immediately be declared a new horror classic, a groundbreaking masterpiece that will scare the bejesus out of you. “Hereditary” quickly established itself as the Indie Horror Darling of 2018. However, this past summer a different film started making waves on the festival circuit. Going into it, I knew absolutely nothing about “Terrified” other than it was supposed to be really scary. The Argentinan film was quickly picked up by streaming service Shudder and has already been generating debate.

In a suburban community outside Buenos Aires, weird things are beginning to happen. A married couple is awoken by strange noises next door, their neighbor assuring them he's just renovating his house. In fact, he's having terrifying nightly encounters with a strange creature. The wife swears voices are bubbling up from the sink. Later that night, she is murdered by an invisible force in the bathroom. In the same neighborhood, a young boy is killed when a bus strikes him. His mother, soon afterwards, digs up his body and keeps it in the house. A trio of paranormal investigators arrive to dig up an answer but are soon in over their heads.

“Terrified” is one of those horror movies were creepy things happen for no reason. The film is structured oddly. It essentially cycles through two sets of protagonists before coming to the group of characters we'll actually be following for the rest of the movie. The script also leaps around in time, making it difficult to follow when exactly something is happening. Eventually, there is an attempt – albeit an intentionally vague one – to explain why weird, creepy shit is happening. It has something to do with alternate dimensions occupying the same space. This, however, doesn't really satisfactorily explain why so many different things are happening in the same area. It's fairly clear that director Demian Rugna had ideas for a series of solid horror set-pieces and didn't really worried about weaving them into a coherent story.

However, the festival reviews didn't lie. “Terrified” is scary. Rugna may not have been able to build a clear story around those set pieces but, holy cow, are the set pieces good. The first major scare we get in the movie – the wife tossed back and forth in the shower – is certainly a bizarre, memorable sight. The neighbor being visited nightly by a gaunt, naked, humanoid creature is the stuff of nightmares. Especially the way it stands over his bed and moves things around the room when he's sleeping. As the investigative team dig deeper, we get more fantastic shots. Like a figure seen in the distance leaping across a yard in the blink of an eye. Or a distorted, twisted body slowly rushing up to a car window. Even the less propulsive scenes, like a young boy discovering the corpse of the child, have a creepy and unnerving energy. Some of these moments are potentially cheap jump scares, driven by an overwrought scare. Generally speaking, however, “Terrified” engineers some extremely creepy and shocking moments.

Common knowledge would have it that the scariest horror movies work because we're invested in the characters. “Terrified” proves that pure skill, filmmaking, and visual manipulation is enough to make something scary. Because the fractured script makes it impossible to get a bead on any of the main characters. Like I said, we're not even introduced to our primary heroes until half-an-hour into the story. The early scenes, spent with different sets of characters, end up having little impact on the plot. With about thirty minutes to go, the cop-turned-ghost-hunter emerges as the movie's unlikely hero. The fact that I can't remember anybody's names is probably a testament to “Terrified's” total lack of memorable or likable characters.

“Terrified” is ultimately a very unusual case. On the level of narrative or personality, it absolutely does not work. The characters aren't focused on enough to become fully fleshed-out. The story mostly feels like a way to do something like a ghost story without actually falling back on ghosts. Despite these massive road blocks,, “Terrified” is still an effectively intense and unsettling horror picture. You can't help but feel like Rugna could have create a terrifying collection of short films from this same material, instead of one very scary but deeply unsatisfying feature. Either way, the director has definitely marked himself as one to watch, that's for sure. [7/10]



The Creeping Flesh

From a modern perspective, it might seem odd that Hammer's Victorian horror films were so popular but proof abounds. Not just because of the sheer number of movies Hammer themselves produced but because of how many attempts were made to replicate their success. Amicus had the best run, producing 22 horror pictures between 1965 and 1977. In the early seventies, a company called Tyburn Films took a shot at it too, producing titles like “The Ghoul,” “Legend of the Werewolf” and “Tales That Witness Madness.” In 1973, a company called World Film Services would try their hand with “The Creeping Flesh.” It's easy to assume all these films were from Hammer. Peter Cushing and Christopher Lee appear in many of them. Freddie Francis directed films for all four companies, including this one.

Another aspect “The Creeping Flesh” shares with its competitors is a Victorian setting. Professor Emmanuel Hildern has just returned from a trip to New Guinea. An evolutionary biologist, Hildern has made a major scientific breakthrough. He has discovered a massive, humanoid skeleton that is older than the neanderthal man. His return is ruined when sent news that his wife, kept at his half-brother's insane asylum, has died. Hildern is scared that his daughter, Penelope, may develop the same mental illness that afflicted her mother. He believes he might have discovered a solution. The skeleton, when exposed to water, regrows flesh. A New Guinea prophecy identifies the creature as the pure embodiment of evil. Hildren thinks he might be able to use its blood to inoculate people against evil. It doesn't go as planned.

While most horror movies just assume their monsters are evil, “The Creeping Flesh” is all about the nature of evil. Hildern, and the film to a degree, correlates evil with insanity. James, his brother, treats his insane patients like prisoners. The wife, who was not faithful, broke his heart when she went mad. He perfectly perserved her room and, when Penelope begins to snoop around inside it, he's terrified the madness may spread to her. By trying to create a vaccine against evil, he's really trying to save his wife all over again. Yet evil cannot be controlled like that, the creature's blood immediately corrupting Penelope. When the monster is fully revived, he takes a finger from Hildern, seemingly implicating the knidly old man in the spread of the evil contagion. (That Hildern is a Darwinist in the 1870s certainly speaks to then anxieties as well.) That James' behavior is so casually cruel, furthered by the twist ending, suggests all of this is more complicated than it appears on the surface. You wouldn't expect a monster movie like this to paint itself in varying shades of gray.

“The Creeping Flesh” is also a surprisingly dark story of sibling rivalry. Casting Peter Cushing and Christopher Lee as brothers – even if they are just step-brothers – was a nice move, considering how often they've starred opposite each other. However, there's not much love lost between the Hilderns. James thinks Emmanuel's research is hokum and tells him as much whenever possible. He almost took joy in locking up his wife. When Penelope becomes sick, James seems to enjoy locking her up to. The reason for their rivalry isn't even based around their parents or a loved one. It's because both are competing for a scientific prize. Lee is unquestionably the villain of the peace, as his pettiness ultimatley unleashes the monster. The performances follow this set-up. Cushing is painfully sympathetic, a man heartbroken from loosing his wife. Lee, meanwhile, is cold and almost sadistic. They compliment each other well.

Freddie Francis' direction is fairly lovely. He includes some Hammer-style gore, thanks to a throat shattered with a broken bottle, and plunging necklines during a bar room brawl. That seem scene features some surprisingly acrobatic flips and bludgeonings. Francis also makes good use of shadows and tight frames, when Penelope is confronted by an escaped lunatic. A scene where a monkey is injected with the vaccine climaxes impressively. In the last act, the atmosphere really ramps up. A carriage crash coincides with a thunder storm. The movie holds off on revealing the partially regenerated monster, showing his massive shadow on the house's wall or his waxy hand knocking on the door. The creature's actual face is kind of underwhelming but the build-up to that revelation is impressively tense.

In other words, “The Creeping Flesh” is one of the finest Hammer knock-offs. Add a little more gore and sex appeal, a bit more fog, maybe an appearance from Michael Gough, and the film would be indistinguishable from the more famous company's output. The association of Francis, Cushing, and Lee probably guaranteed that. The above-average script and creative concept pushed it over the top. World Film Services, during its short existence, would sort-of, kind-of make another horror movie. The next year, they would produce parody “Old Dracula,” which is not well regarded. That's a shame as “The Creeping Flesh” is a hidden gem. [7/10]



The Boogens (1981)

For a while, “The Boogens” was among the most obscure horror movies I had ever heard of. I recall the film's poster appearing in some message board thread about video stores or something. (This was also the first place I had heard of “Humongous.”) At that point, “The Boogens” was not available on DVD. A VHS release wouldn't arrive until 1998, so it might have been before even that. Those who remembered the film seemed to think it was pretty good. A few years later, I caught the movie on IFC – back when that network still primarily showed actual independent films – and enjoyed it well enough. Eventually, “The Boogens” would be rescued from obscurity with a DVD release and even a Blu-Ray a while back. Now, you can enjoy “The Boogens” with a click of a button. Oh, how times have changed.

Snow falls on a small town in the Colorado mountains. A silver mine, closed decades before after a mysterious cave-in, is set to be reopen. Mark and his best friend Roger have gotten jobs cleaning the place up. That weekend, Roger's oversexed girlfriend Jennifer is coming up to stay with them at the cabin. Her best friend Trish will also be attending, Mark hoping he'll hit it off with the girl. However, a terrifying secret waits underneath. The mine was closed in the first place because strange, subterranean creatures inhabit the caves below... Caves that are connected, via a series of tunnels, to cabins all over the town. Including to Mark and Roger's cabin. As friends mysteriously disappear, Mark and Trish will have to uncover that awful truth for themselves.

Despite the silly title, “The Boogens” manages to be a surprisingly intense horror flick. The snow-covered location proves appropriately chilly. The audience feels the cast's isolation, furthered by the wind always blowing outside. Early on, when the owner of the cabin is picked off, the audience knows something bad is going to happen. This creates a sense of tension early on. At the same time, the cabin is quint. The monsters violate this safety in creepy ways, their tentacles reaching up through the vents and basements. The attack sequences feature plenty of first-person shots, from the monsters' POVs, which creates an intimate feeling. The camera focuses on the characters' panicked faces, as they hide in the cramped location and have their skin slashed. It's very effective and you can appreciate the filmmaker's work even more on the gorgeous Blu-Ray.

Part of why the attack scenes in “The Boogens” are so suspenseful, save for the excellent direction, is how likable the cast is. Roger and Jennifer are obsessed with sex. They constantly talk about wanting to jump each other's bones. They do just that the first chance they get. Despite their out-of-control hormones, the characters are well realized. Roger, played by the personable Jeff Harlan, seems like he's probably fun to hang out with, if slightly annoying. Anne-Marie Martin brings enough humor to Jennifer to make her seem realistic. Mark and Trish are even more lovable. The two have a series of surprisingly sweet romantic scenes together, their flirtations escalating in a sweet, if hot-and-heavy, fashion. You actually miss some of these characters once they start to go missing.

“The Boogens” has some slasher movie elements. Sex equals death, there was a tragedy in the past, and an old man warns people about not reopening the mine. However, “The Boogens” is a monster movie through and through. The creatures are kept off-screen throughout most of the film's run time. We only catch glimpses of their tentacles and claws, making them more mysterious. Their claws slash throats and tear skin, making them seem especially dangerous. When the Boogens slither on-screen near the end, they are impressive creations. The monsters don't really look like anything else, though they resemble turtles a little. Their big eyes and sharp teeth are intimidating. Despite their awkward appearances, they move quickly and attack brutally. In other words, the creatures are original and brought to life effectively.

Really, if I had to pick a flaw with “The Boogens,” it's that the cave set part of the story takes place in looks pretty fake. Even that, oddly, adds to the movie's charms, making it seem even more like a home-grown production. Director James L. Conway has worked exclusively in television since making this film, which is a shame. The guy was obviously talented. By focusing on characters and suspense over gore and body count, “The Boogens” manages to be a surprisingly strong eighties creature feature. Now that it can be found a lot easier than back in the day, you should definitely check it out. [8/10]



One Please (2014)

I never really know if an internet horror short is going to be good. Even popular entries in the genre have left me cold. “One Please,” a 2014 short from Jesse Burks, impressed me though. The short has no dialogue. It begins with a  series of wholesome images: A suburban mom chopping vegetables for dinner, Dad reading the newspaper, the young daughter playing jumprope outside, an ice cream truck coming down the street. As the daughter goes to request the payment to buy a treat, “One Please” reveals a very disturbing side. It's then topped off with a surprise cameo from a horror icon.

Burks uses sound design excellently throughout “One Please.” The repetitive chopping in the kitchen is soon paired with the equally repetitive jumping in the yard. This creates a sense of normalcy but also slight unease, as it all feels too coordinated, too perfect. Contrasting behavior that should be totally normal with behavior that most definitely is not is where “One Please's” power comes from. The depth of the situation's freakishness is slowly revealed. When that little burst of gore comes, it is lingered on in a disturbing and flinch-worthy fashion. The thing then wraps up with a nasty twist ending, suggesting this creepy ritual is about to happen again. If I come off as vague, that's because “One Please” is better the less you know about it. I recommend this meticulously presented little slice of suburban Hell. [8/10]