Halloween 2024: October 18th

Hell's Ground (2007)

Zibahkhana

In 1997, British genre historian Pete Tombs published "Mondo Macabro: Weird and Wonderful Cinema Around the World." The book would bring to light to English speaking fans bizarre and fantastic exploitation and horror films from overlooked corners of the globe. This is when cult titles from Mexico, the Middle East, Turkey, South East Asia, South America, and Japan would first gain attention outside their countries. In other words, this Horror Around the World project would not be possible without Tombs' work. The author wasn't content to simply write about imported genre oddities though. "Mondo Macabro" would spin off into a British documentary series in 2001 and, finally, a DVD distribution company in 2003. It's still around too, putting out new discs to this day, in the shadows of similar labels that came afterwards like Arrow and Vinegar Syndrome. Tombs would prove his devotion to world genre cinema when he stepped into the producer's ring in 2006. He would co-write and co-produce Omar Ali Kahn's "Hell's Ground," promoted as the first gore movie made in Pakistan. The film made a bit of a splash at the time but has since faded from memory. However, the film's central image – a maniac in a burqa wielding an enormous flail – has certainly stuck in my memory all these years. 

In Islamabad, five students ditch school and head towards a rock concert instead. They pile into Vicki's tacky van, much to the horror of rich girl Roxy. The two head through a countryside locked in protest, as the local populace rage against a government that has let the water supply become polluted. The quintet stop at a roadside tea shop to buy some hash, which quickly makes stoner OJ sick. While in an outhouse, he’s attacked by a zombie in the woods. The undead swarm around their vehicle. The group soon escapes the undead only for their van to run out of gas among the dense trees. There, they slowly fall prey to a family of deranged lunatics living near-by. Soon, only the quiet Ash and scholarly Simon are left standing. 

During "Hell's Ground's" opening montage that establishes its cast of characters, we see OJ roll out of bed underneath a poster of William Lunstig's "Maniac." This signals, early on, what kind of movie we're in for. "Hell's Ground" belongs to a wave of horror films that arose in the late nineties and 2000s that essentially operate as a long series of in-jokes for genre fans. Kahn's film includes "Creepshow" inspired comic book transitional panels, a hero named Ash, and a horde of zombie gut munchers right out of a Fulci film. The inciting incident – young people head off to a concert and stop to buy drugs – is similar to "Last House on the Left." The classic the film is most indebted to is "The Texas Chain Saw Massacre," evident in the teens' van, a lengthy scene where they pick up a weirdo hitchhiker, and in the general plot of backwoods maniacs attacking them. (Kahn doesn't leave out his own country, as there's a lengthy shout-out to "The Living Corpse," the first Pakistani horror movie.) Reference heavy movies of this time period can quickly become insufferable, as they pile on the obvious homages and increasingly obnoxious tones of outrageousness. "Hell's Ground" avoids this fate by keeping it short – only running 76 minutes – and by mostly playing the story straight. The characters never become over-the-top assholes and their plight is largely taken seriously. 

I've seen "Hell's Ground" referred to as both Pakistan's first zombie movie and its first slasher film, the two subgenres most revered by 2000s gore hounds. You can tell which style Kahn and his team was more invested in. "Hell's Ground" sometimes feels like two movies rammed together. The zombie element is heavily foreshadowed, thanks to the scene's referencing contaminated water supply. The undead shamblers, however, only truly star in one scene. The rest of "Hell's Ground" is much more an attempt to filter by-the-book slasher clichés through a Pakistani cultural lens. The characters are willingly clichés. Ash is virginal and quiet, primed to be the final girl from the start. OJ is a classical stoner, Vicki the overconfident macho guy, and Roxi is the catty, gossiping mean girl. Most of the clichés of the genre are present and accounted for, such as a weird old guy who provides an ignored warning of doom. Or the youths splitting up so the killer can pick them off one-by-one. Khan’s film happily embraces the stereotypes of the genre, in a way that’s almost joyful.

While the characters are nothing more than archetypes, Kahn's film reflects the identity of his home land. A theme emphasized is that the kids’ parents all want a traditional path for them, either dismissing their scholarships or asking them to attend school like good boys and girls. All the teens wear westernized clothes and pepper their Urdu with English. There’s a feeling throughout that the kids have brought their bloody fate on themselves by rejecting the wisdoms of their elders. Also referenced is the class inequalities that led to the polluted waters. Most obviously of all is the slasher, a gender bending maniac in a burqa. As we learn more about the killers' background, we learn that he’s the result of a twisted matriarch imposing her views on gender conformity on her offspring. This subverts a traditional symbol of Islamic faith into a twisted figure of cultural repression. All of these ideas add up to make “Hell’s Ground” a film about the push and pull between the younger and older generation in Pakistan. 

Aside from being the country’s first splatter flick, “Hell’s Ground” is also notable as being the first shot-on-digital motion picture to play in Pakistani theaters. While the digital photography of low budget horror movies from this era are usually associated with ugly, washed-out presentation, Kahn’s film has a certain style to it. Fisheye lens are used a few times, to give a distorted view of the world. Once night falls and the slasher aesthetic takes hold, the cinematography makes good use of shadows, fog, and streaks of light. It still looks fairly cheap but clearly some effort was taken to make a stylish looking movie. The bloody mayhem is less elaborate than you might expect, though the murder and mutilation are quite well done. More than anything, the “daughter” that is the film’s central villain, swinging a spiked ball into windshields and carving out eyes, proves to be a memorably grotesque adversary. Feels like the kind of iconography that a couple of sequels could have been built around, ya know?

“Hell’s Ground” would be greeted with some censorship from the local government, not securing a theatrical release until a few minutes were cut. The film made a minor splash upon release, based on novelty alone, but Omar Ali Khan has yet to make a second feature. A handful of horror movies have been made in Pakistan since this one, though none seem to feature quite this much intense gore, slashers, or zombies. It seems fair to say that, outside of this one example, American and Italian splatter flicks haven’t had much influence on Pakistani cinema. Nevertheless, “Hell’s Ground” proved to be a surprisingly entertaining time at the movies, with a quick paced spirit of gory fun about it and an interesting perspective on the more familiar elements of the horror genre. Hopefully, a second slasher movie emerges from Pakistan some day, with as much spunk behind it as this one. [7/10]

Murder by Decree (1979)

In the annals of crime, there is no unresolved case more notorious than the Jack the Ripper murders. When it comes to fictional detectives, it's probably not inaccurate to say that none are as beloved as Sherlock Holmes. Or, at least, as commonly anthologized and adapted. Considering Arthur Conan Doyle's famous creation roamed the imaginary side of London around the same time as the Ripper killings were actually happening, it's not unexpected that several works have put Holmes on the most infamous unsolved case in English history. Numerous novels, stories, video games, and films have run with this idea. One such example is 1979's "Murder by Decree." The film represents director Bob Clark's last entry in the thriller genre after his beloved trilogy of Canadian horror flicks earlier in the decade, before the massive success of "Porky's" would completely redirect his career. The film's cast also includes Donald Sutherland, one of my favorite character actors who sadly passed away earlier this year. While certainly not the most straight-ahead horrific film of Sutherland's career, it's one I haven't seen so it seemed like a good choice to include in this year's Blog-a-Thon.

The year is 1888. A killer stalks London's Whitechapel district, brutally murdering prostitutes in almost ritualistic manners. Discontent grows among the common folks against the British monarchy. Sherlock Holmes is well established as the city's most brilliant detective, with Dr. John Watson also known as his loyal assistant. As no suspect in the murders has yet been located, Holmes is finally drafted to uncover the truth. He follows a number of bizarre leads and clues – including hints from supposed medium Robert Lees – as he investigates. Soon, Holmes uncovers a conspiracy surrounding the Ripper, rift with connections to Freemasonary and the inner circle of the royal crown. A conspiracy that he is quickly targeted by as well.

Sherlock Holmes is a character that has been portrayed so many times, that any fan of the material will have a different answer when asked who their favorite take was. In "Murder by Decree," Christopher Plummer does a dignified take on the detective. His eccentricities are downplayed, though he still loves to tinker in his laboratory and gets a flash of whimsy in his eyes when a case is afoot. The film shows a Holmes near the end of his career, the outcome of the case breeding a certain cynicism into him. Plummer's Holmes is also deeply empathetic, recoiling with horror at the conditions in a mad house. It's a respectable take on the character, though unlikely to be among my favorite. However, I did love the chemistry between Plummer's Holmes and James Mason's Watson. Mason's wheezing delivery, and twin reaction of annoyance and warmth towards his partner, makes the two seem more like an old gay couple than ever before. Mason's Watson also proved to be a worthy detective in his own right, during a scene where he talks up a courtesan in a pub. The two lead a distinguished cast. Anthony Quayle and John Gielgud have the proper amount of haughtiness as aristocrats. David Hemmings gets a notable moment of outrage against the upper class in one scene. Donald Sutherland's Robert Lees is a whispering, wide-eyed weirdo that the film depicts as genuine and Sutherland gives a believable amount of respect too. Geneviève Bujold also is a one scene wonder, as the gasping mad woman at the center of the conspiracy.

In other words, "Murder by Decree's" cast is full of refined character actors approaching the material with the utmost sense of seriousness. This is also reflected in the movie's sets, costumes, props, and cinematography, all of which are top-of-the-line. The shots of the sun setting and rising over the rooftops of London – achieved, I think, by some impressive miniatures – are especially striking. Despite the clear level of prestige within the film, it is still immediately recognizable as the work of the guy who directed "Black Christmas." In fact, the sequence devoted to the Ripper stalking his prey are shot from the killer's perspective. The slightly warped visuals, heavy breathing on the soundtrack, and the ferocity of the violence unavoidably brings "Black Christmas'" Billy to mind. Much like how that classic slasher was elevated by the sheer freakiness of its villain, Clark depicts the Ripper as practically an inhuman monster. The glimpses we get of his eyes are strangely wide, as if the murderer's bloodlust has driven him into a drug-induced trances. When the killer's identity is revealed, it's with a door crashing open and blood splattering across a face. This Jack the Ripper is hissing, animalistic beast. As if there was any doubt that the heart of a grungy Canuxploitation flick beat within this classy period piece, the score is partially by Paul Zaza, who would go on to provide similarly sensationalist music to "Prom Night" and "My Bloody Valentine." You'll recognize his bits as sounding suspiciously like the "Jaws" theme.

The cast is thoroughly professional, the film looks great, and Clark engineers some decent thrills within. As a mystery, however, "Murder by Decree" leaves a bit to be desired. Perhaps this is because the script draws from Stephen Knight's "Jack the Ripper: The Final Solution," which presented the widely discredited theory that the murders were the result of a royal, Masonic conspiracy to cover up an illegitimate heir to the throne. I've read "From Hell," so I'm familiar with Knight's theory. Clark's film presents it as an elaborate tangle of cover-ups and hidden information, which Holmes digs into from multiple angles before discovering the killer in the act. The finale of the film is a weirdly uncinematic info dump, where Holmes breaks down everything that happened. As if the film is explaining everything to any audience members who might have missed a scene or two. It's a disappointing resolution, that never builds up much suspense around the murderer's identity. There's a definite theme here of class division, of elites ignoring and disposing of those they deem lower than them. It's an insightful idea that never meshes with a plot that can't make a compelling narrative out of its tangle of secretive leads and numerous subplots.

"Murder by Decree" was a box office success in Canada and won five Genie Awards, including a Best Director statue for Bob Clark. Critical reaction was a bit more mixed, many agreeing with me that the denouncement is underwhelming. In many ways, "Murder by Decree" feels like an attempt to do for Holmes what Richard Donner's "Superman" did for the Man of Steel. (Though on a fraction of the budget.) It brings a reverent and classy approach to pulpy material, filling its cast with master thespians who show off their abilities, while the general tone veers glossy camp at times. For Clark fans, it's definitely worth seeing, if only for the blatant stylistic connections to "Black Christmas." The well orchestrated and tense Ripper scenes will surely appeal to horror fans the most too. Holmes will likely enjoy it without finding it to be an especially clever reinvention, while Ripperologists are unlikely to uncover any new ground here. I liked the film but do wish the script had the verve of the scariest scenes and did better by a cast of experts. If nothing else, it gives us a peek of a future where Clark came to specialize in classy thrillers, rather than the broad comedies that led him down the dispiriting path towards "Superbabies: Baby Geniuses 2." [6/10]

Darknet: Darknet 1

Considering it's the only anthology series to make any kind of culture impact in the last fifteen years, I'm surprised we didn't see more attempts to directly emulate "Black Mirror." There have been lots of horror anthology shows on streaming services since then but none that also attempted to combine macabre storytelling with cultural commentary, especially about technology... Except for one, that is. Produced in Canada in 2014, "Darknet" would air for six episodes on Canadian premium channel Super. Fittingly, considering its focus on the internet, the show would also stream on Fox's website before jumping around a number of different services. (As of this writing, U.S. residents can watch it on Peacock.) The series earned some positive reviews, the first episode especially, before slipping totally into obscurity. 

Each episode of "Darknet" tells several intersecting stories, usually in non-linear order, that all link back to a LiveLeaks-style website called Darknet. College student Alison notices strange irregularities in her apartment, like her toilet seat being left up or a sandwich having a bite taken out of it. Terrified, she sets up a camera to record when she's not at home. Meanwhile, fellow student Gord discovers the Darknet website, sarcastically suggesting how a supposed serial killer can dispose of evidence and unknowingly making himself a target. Other sequences feature a man uncovering a key to a strange locker at a train station and an alt-rock teenager with a similar fixation on Darknet. 

Detractors of "Black Mirror" have boiled the show's message down to "cellphone bad." Those critics presumably have not seen "Darknet," which opens its first episode with a scene making that exact point. A snotty teenager is so busy looking at her phone and listening to her blaring, devil music that she doesn't notice the people fleeing around her. Whether you think building a whole segment around "damn kids are on their damn phones too much" is a bit ham-fisted, it is actually a well done sequence. There is something tense about focusing on a character unaware of the danger around them, which the audience can clearly see. That's Hitchcock's basic building blocks of suspense. And, honestly, both an act of mass violence breaking out in a public place and someone being too absorbed in their phone to notice aren't exactly difficult scenarios to believe. 

The problem with "Darknet 1" is how that first scene connects with the rest of the episode. Or, rather, how it doesn't. This is a criticism I've had for features like "Trick 'R' Treat" and "A Christmas Horror Story." Intercutting the episodes in an anthology structure doesn't do anything except inhibit the forward momentum of each story. We don't have time to get invested in one set of characters and their stories because the episode is busy cutting away to something else. The non-linear structure is meant to be a surprise but the audience picks up on it immediately, effectively spoiling the ending of several of the segments. That some stories don't connect directly – the sequence with the train station lockers doesn't link to Alison and Gord's joint plots much at all – can't help but feel frustrating too. 

That "Darknet" saddled itself with such a frustrating structure is disappointing, as the individual stories aren't bad at all. Vincenzo Natali, an expert in Canadian sci-fi/horror, directs this one. You can tell that's the case because David Hewlett stars in the train station segment. As always, Natali is good at engineering a kind of sterile, unnervingly distant tension. Especially in that sequence. Allison's plot isn't quite as well done, if only because it's easier to predict where it's headed, but Michelle Alexander does make for a properly vulnerable heroine. In other words, I probably would've liked this episode a lot more if it wasn't assembled in such an annoying way. That's the way it goes sometimes, I guess. [6/10]

Fisheye (1980)

Riblje oko

This year's theme of international horror has taken me to some interesting, unexpected places. Here's another one. "Fisheye" is an animated horror short from 1980, made in what was then Yugoslavia and would now be Croatia. The men of a seaside village leave their wives and children at home as they set off on a day of fishing. After the last man goes, a blue scaled fish crawls out of the water and into land. He then murders a woman with a trident. This begins a full-scale slaughter of the population of the villages, the fish growing larger and more anthropomorphic with each victim they claim. As the fishermen return with their bounty, they find their homes empty save for the blood and broken glass left behind. 

The central irony in "Fisheye" is easy to spot. The aquatic attackers uses tools of the fishing industry to murder the villagers: Tridents, hooks, oars, and nets. They don't merely kill the women and children but drag their bodies back down into the water afterwards. In case you didn't catch it, the eight minute film ends with the fishermen rowing back home, their nets full of the day's catches. It's tempting to read the siege of the city as a watery act of retribution, the local fish population seeking vengeance on the humans that have killed and devoured them. However, I think it's far more disturbing if you look at it from the perspective of a simple food chain reversal. It's nothing personal, simply business, and the fish probably don't think of the humans they kill as sentient beings. To flip the script on the fishing industry forces us to consider the true cost of what we, people, do to the inhabitants of the ocean. This is probably the meaning of the title: We are seeing things from a fish eye point of view. 

Ecological or vegetarian subtext aside, "Fisheye" is a very creepy little eight minutes. The animation style is primitive but suitably perverse. The faces of the people are scrunched-up little prunes, while the fish have gaping mouths and wide eyes. The movement is ungainly and stiff, providing a further uncanny feeling to the proceedings. The buildings and streets of the village are reduced to crude geometrical shapes, while the camera angles often provide shifting, disorientating views of the chaos. The musical score is discordant and ominous, creating a sense of unease even before the fishy massacre begins. Recalling the works of Lovecraft and proceeding Junji Ito's similarly themed "Gyo," "Fisheye" is a surprisingly creepy dose of aquatic horror. [8/10]