Halloween 2018: October 18

Manhunter (1986)

Last year, I read Thomas Harris' “Red Dragon,” after buying it from a closing book store probably ten years prior. Though Hannibal Lecter has been a cultural icon for a long time, I had never actually read any of Harris' original books. The literary “Red Dragon” definitely belongs to the airport read genre but was, nevertheless, pretty damn effective. It's easy to see why Lecter, Will Graham, and Francis Dollarhyde would prove irresistible to filmmakers. Infamously,  six years before “The Silence of the Lambs” swept the Oscars, Michael Mann adapted “Red Dragon” as “Manhunter.” You've heard all the tired takes about how this film's approach to Harris' famous characters differs from the better known, later version. At this point, “Manhunter” is established as a film nerd favorite, having grown from the underrated and underseen prototype to a cultishly beloved masterpiece in its own right.

Will Graham is retired. After working as a profiler for the FBI, and barely surviving an encounter with notorious cannibal killer Hannibal Lecktor, the mental strain of the job got to be too much. That's when FBI supervisor Jack Crawford asks him to come back. A serial killer, nicknamed the Tooth Fairy by the press, is murdering families. Graham is reluctantly drawn back into the game. He meets with Lecktor, who is communicating with the Tooth Fairy, and inspects the scenes of the murders. Attempts to capture the killer fail and Graham's own family is endangered. Graham must go inside the mind of the madman if he hopes to stop him before he kills again.

What makes Thomas Harris' cop-vs-killer thrillers so compelling is how pathological they are. Francis Dollarhyde is driven by more obsessions than seems possible. He fixates on mirrors, William Blake's “The Great Red Dragon,” his own facial deformity, the act of watching his victims, and the full moon. Will Graham is similarly vexed by thoughts he can barely controlled, pulled into solving the mystery because he has to. This same sort of neurotic need is applied to the police procedural element of the story. We see evidence being gathered and studied in labs. Every step of the FBI's plan to capture the killer is detailed, shown being formulated. Lecktor contacting the outside world through a hacked phone is shown in meticulous detail. Harris' novel is built upon this stuff and Mann's film shares many of these feelings.

“Manhunter” is also a movie build around that old chestnut about how cop and criminal share many of the same desires, how both seek power and control. Mann's film provides a more than superficial take on this idea. Will Graham sees the world the same way the deranged killers do, allowing him the unique insight that makes him so good at his job. This takes a terrible toll on his mental health, which his family is all to aware of. (And shown brilliantly during the supermarket set scene where he explains his breakdown to his step-son.) Will dominates the first half, Francis Dollarhyde staying off-screen for a long time. In the second half, Dollarhyde takes over the film. Mann then shows the sad, isolated world the killer lives in, the brief hope a romance with a blind woman gives. This makes it clear how similar he is to Will Graham. Both are tortured by their compulsions. Dollarhyde must kill to satisfy his, while Graham's conveniently serve the law.

Michael Mann's particular directorial style has won him a passionate fan following. The neon aesthetic that made “Miami Vice” a hit is certainly visible here but it's bent into a more opulent, gothic direction. Shots of Graham walking through a courtyard of Dollarhyde's lover standing with a friend in her doorway combine both that eighties glow with a grander form of theatrics. There's even a warm, sensual quality to Mann's direction. The throbbing electronic musical score, and a number of practically erotic songs from Shriekback, further emphasize this intimate feeling. Yet there's also an immense energy to Mann's work. His camera often glides through scenes. These two approaches combine in the finale. Set to the blazing sounds of “Inna Gadda Da Vida,” Mann deploys multiple tricks – slow-mo, stylized editing – to make the finale hit with as much impact as possible. It totally works and “Manhunter's” finale is spellbinding.

Three fantastic performances anchor the film. William Petersen plays Will Graham as a deeply tortured man, who carries the mental toll of his work on his face. He is mostly quiet when with his family, not wanting to weigh them down with his problems. Only when he works, when he studies the killer's methods and tries to see through their eyes, does he seem truly energized. Tom Noonan as Dollarhyde is terrifying, when waxing poetically on his transformation or stalking his prey. Yet he's also deeply sympathetic, ruined by shyness and abuse that is only hinted at. Lastly, Brian Cox appears as the first cinematic Hannibal Lecter. (Spelled Lecktor here.) Cox's take on Hannibal the Cannibal is cold, detached, and chilling in his psychosis. As in Harris' book, Lecktor only plays a small role in the film. As in the book, he certainly makes an impression on the viewer.

Combining horror, neo-noir, and action elements, Mann turned “Manhunter” into an intoxicating experience. Disturbing, thrilling, and exciting, the movie still holds up fantastically to this day. Comparing it to “Silence of the Lambs” is silly, since both movies are so different, but they are perhaps of equal greatness. Of course, the film would receive a deeply inferior remake with Anthony Hopkins many years later. It's a bummer that Brett Ratner's “Red Dragon” was so lame because a lot of fascinating stuff from Harris' book didn't make it into Mann's movie. Maybe that “Hannibal” television series utilized that material better? [9/10]

Mama (2013)

When the trailers for “Mama” debuted in 2013, I didn't think much of it. The film looked like another disposable, PG-13 horror movie about a vengeful ghost, dumped into theaters in the dead of winter. Really, Jessica Chastain in a short goth wig was the only thing abut the movie that truly caught my attention. The film's critical and fan reaction was slightly more positive than movies of this sort usually receive but I remained skeptical. Not even a gleeful recommendation from Guillermo del Toro was enough to change my mind. However, in the aftermath of director Andy Muschietti actually doing a pretty good job with “It” last year, I decided to give his “Mama” a look after all. Maybe the low expectations helped because I was pleasantly surprised by this one.

A banker name Jeffrey has a breakdown, murdering his coworkers and wife. He grabs his two daughters, three year old Victoria and year old Lily, and drives into the Northern Virginia woods. His plans to kill his daughters and himself are interrupted by a supernatural intruder. Several years later, the girls are found, feral but still alive. Jeffrey's brother, Lucas, chooses to adopt the girls. This is not well received by his girlfriend, punk rocker Annabel. The girls are mentally scarred by their time in the woods... Because they weren't alone. A feminine spectre, which they call Mama, was taking care of them. The ghost adopted the girls. And she has no intention of letting them go. Annabel must uncover the mystery in time if she hopes to rescue Victoria and Lily.

There's no getting around one big factor. “Mama” is a movie full of jump scares and CGI. Muschietti utilized these same tools with “It,” albeit more effectively. The titular ghost is a creaky, shriek-y computer generated creature that herk-jerks around like a professional contortionist. Surprisingly, the movie has little fear about showing its monster off, revealing it early and often. Frequently, Mama leaps out of the shadows, grasping with her spindly claws, accompanied by loud noises or music. However, “Mama” seasons its teenage audience friendly loud scares with some decent atmosphere. The movie is surprisingly pretty, full of cool blues and picturesque locations. Muschietti uses color correction and CGI to create an artificial, almost dream-like tone.

Moreover, some of those jump scares work pretty well. Associating Mama with decay was a good decision, as the ghosts is proceeded by a black mold like substance. She has a habit of phasing down through the ground, only her ratty hair floating up above the surface. That's a decently unnerving, unusual sight. Another clever bit is an attack in a dark room, the ghost ripping a man apart illuminated only by a flashing camera bulb. Though the CGI isn't super convincing, a rotting ghost lady who bends her body at odd angles makes for a thoroughly creepy villain. (Considering Murschetti inserted a creepy, thin woman into “It,” I'm going to say this is a personal phobia of his.) The ghost's origin are explained through nightmare sequences, shot in a first-person perspective, that are surprisingly effective. My favorite moment in the film concerns Annabel assuming one of the girls is in their bedroom before we find out that girl is actually downstairs. That's a quieter brand of spooky and one the film probably should've leaned on more.

What really surprised me about “Mama” is that it's actually a little deeper than your typical studio spook show. The theme of motherhood is introduced early on. Anabel's first scene has her being relieved with a pregnancy test coming up negative. She's reluctant to accept the kids, in contrast with their clingy, supernatural mother. By the end, she's won over by the girls, choosing to love them. I don't know if I totally dig that aspect, as it correlates a woman's worth a little too much with her willingness to become a mom. However, I do like that the titular ghost is treated fairly sympathetically. Mama is a figure of fear but is pathetic too, a mad woman desperate to love something and be loved in return. She even gets a happy ending of sorts, a truly surprising conclusion. (Helping matters is the strong cast, as the young actresses make the little girls genuinely lovable.)

Something that really appealed to me, personally, was that the film seems to draw some inspiration from a local legend. The story is set in the fictional Clifton Forge, Virginia, which is a very similar name to Clifton, VA. Considering the role a spooky train-overpass bridge and a mental institution play in Mama's backstory, it seems likely to me that the film was partially inspired by the legend of the Bunnyman Bridge. Some of the flourishes the filmmakers add to the myth – like the role of butterflies – are inspired in their own right. I guess the filmmakers decided a spindly, corpse-like ghost woman was scarier then an axe-wielding lunatic in a rabbit costume. “Mama” doesn't rise above its status as a PG-13 jump scare-fest. However, it's a more sophisticated film then I expected, with a script that has some genuine intelligence and heart to it, as well a director with a strong visual sense. [7/10]

Mamá (2008)

Thanks to the internet, spooky horror shorts can now go viral, convincing producers and studios to fund feature versions. Before “Lights Out” and “They Hear It” followed the exact same path, “Mama” started the trend. Andy Muschietti's original “Mamá” – note the accent mark – is a three minute long short. It's told from the perspective of two girls, one waking the other after being told their mother is home. As the camera follows them through the house, we the viewer soon learn that their Mama is actually a twitchy ghost lady. Muschietti would recreate several shots from the short in the feature., though the premise obviously underwent a lot of changes between here and there.

“Mamá” scared Guillermo del Toro so much, that he agreed to produced the feature adaptation. Which is honestly hard to believe. The short “Mamá” is hokey as shit. Okay, the entire film being one quasi-long take – it's pretty easy to see where cuts could've been hidden – was clever. So is shooting it at the same height and position of its young protagonists. The girl's mother being an angry wraith might've been a nice shock, if the subsequent feature adaptation hadn't completely ruined that surprise. While Muschietti's form is strong, the titular entity simply isn't scary here. It's a hazy CGI image that leaps towards the viewer in a way reminiscent of Youtube screamer videos. And the entire short is building towards that jump scare. That an even half-way decent feature, not to mention Muschietti's promising career, sprung from such an uninspired short is very surprising. Unlike “Lights Out,” which lost a lot by getting longer, “Mamá” is an example of an underwhelming short film being turned into an alright feature. [5/10]

Wolf Creek: Return

The final episode of “Wolf Creek: Season Two” returns to Mick Taylor's lair for the first time since the original films. Rebecca and Brian arrive at the killer's home, a re-purposed old mining camp, unaware that he's following them. Rebecca heads into the labyrinth underground tunnels, searching for her husband and Kelly. Brian stays above ground, finding fuel for the truck. When Mick catches up with them, all hell breaks loose. Becca finds the others but at the cost of injuring her foot. Brian reveals himself to be an even bigger bastard than previously assumed. Mick continues to play sadistic games with all of them.

“Return” is a fairly tense hour of television. Mick's underground lair is a claustrophobic setting, made more so by the way the camera follows Rebecca's face as she searches through the tunnels. The scene where she steps on a strip of nails is cringe-inducing. Besides the setting, the episode hearkens back to the original film, in that it's mostly a cat-and-mouse chase between Mick and his prey. Long stretches of time and spend arguing and battering.

However, “Return” mostly left me with some pretty mixed feelings. The reveal about Brian is kind of dumb, considering the way he's been acting throughout most of the season. (His death is probably the most satisfying murder on the show, I'll give it that.) The way Nina is tossed away without much emphasis is disappointing. The pyrotechnic filled climax is a nice touch but it proceeds an ending that feels a bit like a shrug. Kelly, my favorite character of the season, gets away but her final fate is left a bit ambiguous. A post-credit scene gives us some hope but, even then, Mick Taylor is mostly triumphant.

This certainly fits in with the brutal tone established by the first “Wolf Creek” film. However, film and TV are very different mediums. In most movies, you're only spending two hours or so with the characters. In a TV show, you're spending many hours with them, meaning you get much more attached to them. In this context, the environmental fatalism inherit to the series plays much differently. It feels a bit like the showrunners were just being needlessly cruel and, I suppose, that was intentional. Of course, we all know the real reason why Mick Taylor is left alive: So they can make that third film Greg McLean occasionally talks about or another season of television. Considering John Jarratt is going to trail soon, it's entirely possible those sequels will never materialize. Meaning season two of “Wolf Creek” ends on a downbeat note for all the wrong reasons.

That “Wolf Creek” ends in such an unsatisfying place is disappointing. Over all, season two was a big improvement over the first. The cast was much more likable. The pacing was stronger. The writing was generally improved. Mick is just as cruel and oddly charming as ever, while he was provided with an entire bus full of worthy adversaries. Season one had a better theme song, as I much preferred the creepy take on “Who Killed Cock Robin?” over the slowed-down acoustic cover of “Down Under,” but the second season set out to resolve a lot of the first season's flaws. If only it had a better ending... [Return: 6/10] [Wolf Creek – Season 2: 7/10]

Halloween 2018: October 17

Slender Man (2018)

When it first started making the rounds in 2009, I really did think Slender Man was scary. Those black and white Photoshops images were very creepy. The lore that quickly built up around the character was all about invading your privacy, creating paranoia, and blurring the line between fiction and reality. It was effective stuff. I even briefly really got into “Marble Hornets,” an internet series that maybe hasn't aged the best. I actually had a few nightmares about it. When the big budget “Slender Man” movie hit theaters last August, the entire concept had long since jumped the shark. I blame that compute game for turning a freaky creepypasta into an overexposed meme. The studio-made film isn't even the first one inspired by the internet urban legend, though it is the first to be officially approved by the creature's creator.

A group of four high school friends – Hallie, Wren, Chloe, and Katie – are trying to kill some time on a boring weekend. They hear that a group of male friends, including the boy Hallie likes, are trying to summon the Slender Man. Not wanting to be outdone, the girls look up an internet video said to draw the faceless, tentacled, black-suit wearing entity your way. The girls are spooked by the video but don't think much of it. That is until Katie disappears a few weeks later. Finding Katie's laptop, Wren discovers that the girl became obsessed with the legendary creature before she vanished. Soon, the remaining friends are also being targeted by Ol' Spaghetti Arms.

From the moment the trailer hit theaters, it was immediately apparent what kind of horror movie this is. I'm talking typical PG-13, mall horror bullshit. “Slender Man” does not defy expectations. There's plenty of jump scares, of images emerging on-screen suddenly, accompanied by loud shrieks on the soundtrack. When that's not happening, the film loads up with CGI silliness. The titular character is not convincingly brought to life, looking plastic-y and fake. An encounter in a library, that concludes with Joey King getting her face removed, is laughable. Director Sylvian White, previously of “Stomp the Yard” and “I'll Always Know What You Did Last Summer,” throws in more goofy imagery as the movie goes on. Such as a make-out session degrading into spasmodic head-shaking, a ridiculous pregnancy-invoking nightmare, or a random shot of one of the girls buried in dirt, arms twitching around. By the time the heroine comes face-to-face with the monster in the last act, the movie has already descended into unintentional comedy.

The movie is dumb and quite silly. However, it does attempt to touch upon what made Slender Man interesting in the first place. I've always interrupted the character as a metaphor for millennial paranoia about the surveillance state and how internet social pressures have become inescapable. Because, see, he's always watching and worms into your head. Keeping with this idea, the girls first become exposed to the entity thanks to the internet. Katie descent into obsessive behavior goes hand-in-hand with her spending more time on weird internet forums. The film takes this idea to its silliest conclusion when Slender Mans communicates with the girls via their smart phones. The movie also touches upon the character's deeper lore, by linking him with shadow people, the Pied Piper of Hamlin, and other fairy tales. However, this is simply a(n ultimately abandoned plot point) and not commentary on the way archetypes of child-snatching beings that hang out in the forest have evolved over the centuries.

By the time “Slender Man” ended, I was definitely tired of how stupid it was. However, the earlier scenes are a little more likable. The four girls have a nice chemistry together. After Katie's disappearance, the scenes of Hallie, Wren, and Chloe trying to untangle what happen have a mildly fun teen detective feeling. The young cast is fairly likable. In-between this, “The Conjuring,” and “Wish Upon,” Joey King is quickly becoming the go-to scream queen for underachieving studio horror films. That's probably because she has an easy-going charm and is very talented at acting panicked. Julia Goldini Telles, a stand-out performer from “Bunheads,” has a similarly sardonic charm. Her abilities are deeply underused here but the actress manages to create a likable protagonist, even if the script doesn't.

“Slender Man” ends on a total shrug too, by the way. After that hysterical climax, packed with horrifically fake special effects, the movie more-or-less just ends. That the film is so typically bad is unsurprising but still disappointing. I think a quality horror film could still be made about the Slender Man, even if the idea is way past its expiration date. And there is the possibly we might get more of these things. Despite little promotion, probably because Screen Gems wanted to distance itself from the real life tragedy the meme has inspired, the film still turned a decent profit this past summer. Then again, maybe it's for the best if creepypasta movies don't become the next Hollywood horror trend. I really don't want to see a “Jeff the Killer” movie clogging up the multiplexes. [4/10]

Dark Night of the Scarecrow (1981)

Why are scarecrows spooky? The easy answer is the same reason why dolls, dummies, mannequins, and robots are spooky. They have a humanoid shape, they look like something that's alive, but they ultimately aren't. However subtly and subconsciously, these objects remind us of corpses. Scarecrows have extra elements that make them unnerving. By their nature, they usually appear in rural settings. This brings being in an isolated location to mind, being alone and away from safety. They also have the word “scare” right there in their name. The concept of a homicidal scarecrow is one horror movies have touch on from time to time, to varying degrees of success. As far as I can tell, the first horror movie to deal with this subject is “Dark Night of the Scarecrow.” Considering its influence, it might be surprising to hear this was a TV movie. It premiered on CBS on October 24, back in 1981.

Bubba Ritter is mentally disabled. Though in his thirties, he has the mind of a child. Subsequently, his best friend is Marylee, a little girl. Local postman Otis, and his posse of good old boys, have been waiting for Bubba to harm Marylee. When the girl is attacked by a dog, seemingly killed, the lynch mob have their chance. Bubba hides inside the farm's scarecrow but is still found and killed. Only afterwards do Otis and the others learn that Marylee is fine. They are not charged with murder. In the following nights, Otis and his friends begin to see the same scarecrow, now stuffed with straw, in their yards. After that, they begin to die mysteriously. Is someone avenging Bubba Ritter or has the man returned from the grave, in the guises of the scarecrow?

Despite its humble television roots, “Dark Night of the Scarecrow” maintains a spooky atmosphere throughout. While the title is singular, there are in fact many dark nights contained in this movie. The film's characters are guilty men, so many of the smallest incidents become foreboding omens. Such as Otis talking to the little girl at a Halloween party, her informing him that she know what he did. Or, of course, a scarecrow that wasn't there before appearing in a field. Director Frank De Felitta does not let the limitations of the TV format hold him back. The editing is stark and sudden, adding to the unnerving atmosphere. This often builds towards genuine suspense, such as a surprising scene where Otis confronts Bubba's mother.

I've seen “Dark Night of the Scarecrow” described as a slasher movie of sorts, which is slightly misleading. The film operates with more ambiguity than that particular sub-genre usually does. However, Bubba's attackers are killed off, one by one. The film does a nice job of foreshadowing each particular demise. Harliss is shown, early on, working with a wood chipper. This is the same device that kills him, in a tense sequence featuring him dangling off a light above the whirling machine. Philby has a grain silo on his property, which he ends up suffocating inside. Being made for television, there's no gore. Instead, “Dark Night of the Scarecrow” builds up to these implied acts of violence. Via a chain rattling in the wind or a suspenseful chase through a pumpkin patch.

The film isn't just set in the South because that's where farms and, subsequently, scarecrows are found. “Dark Night of the Scarecrow” is a movie about small town hypocrisy. Bubba has never harmed anyone but, from the beginning, Otis and his gang are looking for an excuse to kill him. This is simply because he's different. Yet there might be another reason Otis hates Bubba so much. It's heavily implied the mailman may be a predatory pedophile, exactly the thing he accused the gentle Bubba of. Thus, “Dark Night of the Scarecrow” is about respectable people hiding dark secrets and those that seem strange being upstanding individuals.

The telefilm also has an excellent cast. Larry Drake, a few years before playing a similar part on “L.A. Law” (and many more years before his villainous roles in “Darkman” and “Dr. Giggles”), plays Bubba. He perfectly captures the innocence of the character. The scenes devoted to Bubba, confused and terrified, asking his mother what he should do, are heartbreaking. Similarly sad is the sequence where Jocelyn Brando as Bubba's mother tries to explain to Marylee that her friend is dead. Charles Durning, one of my favorite character actors, plays Otis. Durning certainly makes the mailman a despicable scumbag, especially when he celebrates winning the court case by getting fried chicken. Yet Durning is compelling enough that you don't mind watching him, especially since he's basically the star of the film.

“Dark Night of the Scarecrow” also makes ideal October viewing, as its set around Halloween and concludes in a pumpkin patch. The series of final images are a chilling way to go out. The film was out-of-print for many years, given it the reputation of a missing classic. A really nice DVD restoration finally arrived in 2010 and that disc can still be found for a decent price. Though there have been a few other decent killer scarecrow thrillers over the years – “Scarecrows” is pretty good and the similarly entitled “Night of the Scarecrow” has its moments – “Dark Night of the Scarecrow” is definitely still the peak of this odd little subgenre. [9/10]

Wolf Creek: Shelter

The previous episode of “Wolf Creek” ended with the tourists coming upon an old mining base. In “Shelter,” we discover that it's home to a family: Old miner Spence, his wife, and their son, which shares a name with Rebecca's missing husband. Nina receives treatment for her snake bite and the group of four believe that they are safe for a moment. It's not long before Mick, who has Kelly captured at his home, arrives though. He quickly kills Spence and his family. The tourists cook up a plan. Rebecca and Brian will steal Mick's truck while Oskar and Nina will take the other vehicle at the location. Things do not exactly go according to plan.

After several episodes of being chased, “Shelter” does give our cast of heroes a little room to breathe. This leads to some conversation. Rebecca telling Brian how the life in her marriage went out is compelling. Spence discussing with Oskar how he believes the Wolf Creek crater actually drives people crazy is less-so. As nice as it is to see our heroes unwind, Nina is here to remind them of what they've lost. The woman is still clearly shaken by the murder of her daughter and spends most of the episode in a catatonic state.

Spence and his family, though they only have a few scenes, are likable enough that you're annoyed when Mick kills them, literally minutes after they are introduced. Setting up new characters just to hastily wipe them out is a bad habit this show has developed. Still, the scenes of the killer stalking his prey through the old mining camp are decently suspenseful. The sequence where Rebecca discovers several dead bodies, before nearly attacking her friends, is well done. There's also some humor added here. While Mick is locked in a shed, Brian is sent to distract. The psychologist attempts to break through the killer's psychotic shell, resulting in some very funny banter.

The penultimate episode of season two ultimately ends in a dark place. Rebecca and Brian get away but are unaware that Mick is hot on their trail. The show definitely kills off one of the season's best characters while flirting with killing my personal fave. (There's also shades of sexual violence here, which are even more distasteful with John Jarret facing criminal charges.) Still, it's an improvement over “Singing,” suggesting “Wolf Creek's” second season may be back on track. [7/10]

Possibly in Michigan (1983)

What is “Possibly in Michigan?” It's an extremely weird short film from 1983 that started getting passed around the internet a few years back. (I didn't hear about it until earlier this year.) Various sources described the plot as “two women are chased through a shopping mall by a cannibal.” But that doesn't really prepare you for the actual short. “Possibly in Michigan” does indeed follow two women, Sharon and Janice, who meet in a mall and are followed home by a predatory man. Odd images interrupt the film: men in animal masks, Sharon laying in a bed of roses, photographs of corpses, worms wiggling around. Cannibalism does seem to be a theme and the film ends with flesh being ripped from the bone. The eleven minute short is also largely sung, the sing-songy dialogue accompanied by tinny Casio keyboard melodies.

“Possibly in Michigan” is obviously an art piece. It's a baffling experience, quickly prompting questions of what it means. I can't be entirely sure and many of its images seemed to be weird-for-weirdness' sake. However, some coherent ideas do emerge. This is obviously a film about consumption. Shopping at the mall is directly connected with eating and sex. The women are looking at perfume, to attract a mate. That mate, a guy apparently named Arthur, wants to literally eat them. He's compared to the Big Bad Wolf. When the act of cannibalism finally goes down, the participants are naked. All these hungry desires, desperate to be filled, characterize the film. The film was also created by a woman, Cecelia Condit, which brings an interesting layer to how the female heroes violently reject their male suitor. “Possibly in Michigan” does seem to be criticize the masculine tendency to associate with love and sex with violence, as the killer say he attacks “for love.”

You can say all this stuff but it doesn't really give credit to what a baffling experience “Possibly in Michigan” is. Scoring the entire film to cheap new wave music, and having most of the dialogue be sung, immediately creates a surreal feeling. The frequent cuts to possibly unrelated images, like Janice posing with a gun or walking a dog, makes this a disorientating experience. Many of the images put on-screen here are bizarre and unforgettable. Such as Sharon dancing with a whole room of men wearing rubber animal masks. Or the masked man skipping across the road like some sort of spectre.

Is it a horror movie? The mask Arthur wears, with its bulging eyes and mouth permanently fixed in a hungry grimace, is definitely creepy. So is the way he constantly pursues the women. The cannibalism element, symbolic though it may be, is obviously pretty morbid. The music is usually upbeat but the lyrics continue the predatory themes, of hunter and prey. I still don't know exactly what the hell “Possibly in Michigan” is. I do know I had to immediately rewatch it after seeing it once. I will probably have to revisit it again soon, inflicting it on my friends. It's a confounding but fascinating experience in artsy-fartsy weirdness that is humorous enough to keep from being pretentious. [8/10]

Halloween 2018: October 16

Victor Crowley (2017)

While slasher franchises rarely end for good, “Hatchet III” mostly wrapped up that particular series. The quest to bring Victor Crowley's curse to an end, to kill the unkillable ghost, seemed to be complete. 2017 marked the tenth anniversary of the original “Hatchet,” because we're all old and will be dead soon. Fans arrived at what they thought was a screening of the original film, only to be greeted with a surprise. They were actually shown a brand new sequel, entitled “Victor Crowley,” filmed in secret and to be released later in the year. It was a pretty great tactic to drum up interest in a series most people assumed was over, once again displaying Adam Green's marketing savvy. Once released to the general public, “Victor Crowley” received a warm reception among fans of these hatchet-faced murder-fests.

The first three films took place on subsequent nights. So when “Victor Crowley” jumps ahead ten years, it's actually taking place in 2017, the year the sequel was released. In the time in-between, Andrew Yong has written a book about his experience, being the only survivor of the three day long massacre. (Though many people suspect he was the actual murderer.) A group of young filmmakers, obsessed with the Crowley legend, travel to Honey Island Swamp to film a movie about the killings. At the same time, Yong has agreed to appear on a true crime show. His plane happens to crash in the swamp that same night, killing the pilots and injuring the passengers. The young filmmakers arrive to rescue Andrew and the other, unaware that they have accidentally resurrected Crowley.

The “Hatchet” films have always been low budget affairs, most of the money obviously going to the gore effects. “Victor Crowley,” however, seems to be the cheapest production yet. Long stretches of the movie are confined to the water-logged airplane set. The gore in the film is the least convincing yet. The scenes of Crowley tearing off limbs or chomping off heads are unimpressive, obviously fake limbs being ripped away while too-bright fake blood spurts out. I will give Adam Green one thing. “Victor Crowley” is better shot than his previous “Hatchet” movies, the swamp looking more atmospheric, even if the movie is obviously cheaper overall. His script, however, leaves a lot to be desired. Victor Crowley is literally brought back to life by a Youtube video.

What really makes “Victor Crowley” disappointing is its slipshod screenplay. The film seems especially disinterested in Crowley's victims this time. The youthful filmmakers, seemingly the protagonists, are offed early on. One semi-major character is killed at the end, almost as an afterthought. With little else to motivate the story, the film relies on crude shock humor. Even by this series' standards, the jokes are obnoxiously crass. At a book signing, an overweight man asks Andrew to sign his penis, the full frontal male nudity lingered on. There's transphobic and homophobic jokes. Women seem to get it the worst. In-between the unscrupulous publicist, the extremely mean-spirited ex-wife, and the sarcastic college student, the film seems to take too much delight in making women bitches and then messily executing them. And, as always, there's just so much edgy profanity.

Also hinting at “Victor Crowley's” lower budget is the lack of recognizable cult stars in the cast. Aside from Kane Hodder, of course, who has now played Victor as many times as Jason. “Sleepaway Camp's” Felissa Rose appears as a duplicitous publicist with an obnoxious Jersey accent. Troma regular Tiffany Shepis has a small supporting part. Jonah Ray appears as the opening kill. Tony Todd and Danielle Harris have cameos. Otherwise, the cast is occupied with hard-working but mostly unknown character actors. Dave Sheridan is alternatively annoying and endearing as an overeager, would-be actor. Laura Ortiz, previously from Green's “Holliston” TV series, might've been likable as Rose if she wasn't given such atrocious dialogue. Parry Shen is mildly amusing as Andrew but elevating him to leading man status stretches his talent to the breaking point.

You'd think, with it being the big anniversary movie, Adam Green and company would've cooked up something special for “Victor Crowley.” Instead, it's more of the same. I suspect the film wasn't just shot in secret but written quickly as well. The characters are sketchier than ever before. The plot is slapped together. The production values are low. It has all the signs of being a somewhat desperate attempt to continue the series pass its logical end point. There's a mid-credits teaser, setting up the possibility of a fifth film. I suspect inertia and Green's continued enthusiasm will push that through eventually. I'm finding myself genuinely wishing they would let this one go. The “Hatchet” movies have been fun, from time to time, but this lackluster sequel suggests Victor Crowley should have stayed dead. [5/10]

Satan's Triangle (1975)

After watching “Trilogy of Terror” recently, I'm finding myself craving more vintage horror TV movies. “Satan's Triangle” is one I've heard about for years. The ABC Movie of the Week for January 14th of 1975, it combined two seventies supernatural fads. Devil movies were still pretty hot, with “The Omen” arriving the next year. The Bermuda Triangle was also a frequent target of fascination at the time. (An example: “In Search Of..” would debut two years after this movie, the Triangle coming up as soon as the fourth episode.) It doesn't have the cult following of Dan Curtis' output or the name recognition of “Don't Be Afraid of the Dark.” However, it would seem the film still traumatized those who were young when it originally aired.

Somewhere near Bermuda, the Coast Guard receives a distress call. Helicopter pilot Pagnolini and winchman Haig are deployed, venturing into the notorious triangle. They discover an adrift schooner. The deck of the boat is littered with corpses. The interior of the boat includes a seemingly floating body. Haig discovers only one survivor: A high-class escort named Eva. After the copter is struck by lightning, the winch malfunctions, stranding Haig and Eva on the boat until Pagnolini can return. While waiting, she tells him what happened. While on a fishing trip, the boat picked up a priest floating on some wreckage. Mysterious misfortune, attributed by the priest to the devil himself, soon befell everyone aboard. And the curse is ready to continue.

I never know what to expect from old TV horror movies. The best use their limited scope to their advantage. The worst are hokey bullshit. While “Satan's Triangle” has a few cheesy moments, mostly from odd photography effects when lightning strikes, it's otherwise a surprisingly eerie affair. The music score contains enough odd attributes to create a spooky atmosphere early on. The image of dead bodies on the boat, impaled on glass or dangling from the mast, are conveyed in a spooky way. Having the majority of the film be told in flashback adds to this foreboding feeling. By the time we get to the last act twist, a successfully unnerving tone has been built up. The climax kicks off with a genuinely creepy shot of someone smiling, leading into an ending that is downbeat and unsettling.

The Bermuda Triangle legend collapses under the smallest bit of scrutiny. The number of disappearances in the Triangle are no higher than in any other stretch of sea. “Satan's Triangle” even acknowledges the skeptical approach. After Eva explains her versions of events, Haig examines each of the mysterious deaths, finding a logical explanation for each of them. (Even the body seemingly hanging in the air, a weird death that plays out in an amusingly outrageous fashion.) The explanation “Satan's Triangle” cooks up for the weird things going in the Triangle is certainly more interesting than aliens or Atlantis or dimensional vortexes or whatever people are claiming these days. The devil himself terrorizing ocean-goers is more thrilling and novel than any of that stuff.

As was usual for seventies TV movies, “Satan's Triangle” features some slightly washed-up talent in the cast. Doug McClure stars as Haig, bringing a likable roguish quality to the film's hero. He has solid chemistry with Kim Novak. Novak plays Eva as someone slightly disconnected from reality, obviously traumatized by what she's seen, but still dripping with sensuality. Alejandro Rey has a booming voice which is well utilized as the priest, who often makes big sweeping statements about the crazy situation they're in. I also liked Michael Conrad as the helicopter pilot, a crotchety old man with a strict moral code. I wish the film used Ed Lauter a little more, who appears in a small supporting role.

I can totally see why kids in 1975 would've been spooked by “Satan's Triangle.” Its creepy events are largely left unexplained. The ending does not provide much catharsis for the viewer. Instead, it wraps up with a creepy feeling. This is probably the best Bermuda Triangle movie I've ever seen, as most stories dealing with this premise are of a poor quality. The film doesn't seem to have been officially released on DVD, at least not in Region 1. However, copies of decent quality are floating around Youtube. I suggest you check it out, if you're in the mood for a slightly cheesy but ultimately effective bit of mid-seventies spookiness. [7/10]

Tales from the Cryptkeeper: Ghost Ship

The final episode of “Tales from the Cryptkeeper's” first season covers another lightly spooky horror trope I remember being weirdly prevalent when I was kid: A haunted ghost ship full of skeletal pirates. (As far as I can tell, this cliché wouldn't get a proper cinematic adaptation until Disney's “Pirates of the Caribbean” films kicked off.) Surfer dudes Ben and Mike take a yacht, belonging to Ben's dad, out for a joyride. The trip quickly goes wrong, the boat sinking after they skid over a patch of rocks. The two dudes are soon pick up by a mysterious galley. They are introduced to the ship's inhabitants: A crew of skeleton pirates, led by the viscous Redbeard. Soon, the guys are recruited into a mission to recover some missing gold.

“Ghost Ship” draws heavily from another early nineties artifact. Ben and Mike are essentially Bill and Ted. While Mike is Jamaican, with the required accent, Ben's voice actor is obviously attempting a Keanu Reeves impersonation. The premise – Bill and Ted vs. Ghost Pirates – is a fun one, that “Ghost Ship” utilizes fairly well. Seeing the two dudes keep their spirits up, no matter how perilous or crazy their adventure gets, is amusing. However, the episode is fairly low on horror content. The cackling skeletons are played for laughs and are easily dispatched. Only the look we get at Redbeard's rotting face is likely to scare the kiddies. The episode's moral, about how getting a job is better than being a slacker, is fairly forced in. Still, this one has its enjoyable moments. [6/10]

Going into “Tales from the Cryptkeeper,” I had no idea if I would enjoy it. While I love many of the kids cartoons of the nineties, plenty of them are awful as well. A Saturday morning version of “Tales from the Crypt” could easily have gone either way. I'm happy to say I mostly enjoyed the first season. While there were a few stinkers, the show did a really good job of maintaining the “Tales” style while leaving behind the R-rated elements. “Gone Fishin',” “Fare Tonight,” and “Grounds for Horror” all could have been easily rewritten into episodes of the main series but managed to be entertaining even in their sanitized form. I'm looking forward to covering the other two seasons next year, if the gods of Halloween are with me.

Wolf Creek: Singing

I was enjoying season two of “Wolf Creek” but it hits a serious snag with “Singing.” The story has split into several threads. Rebecca, Brian, Oskar and Nina continue their trek towards the Wolf Creek crater but encounter trouble, when Nina is bitten by a snake. Meanwhile, Steve and Kelly are separated. Steve is picked up by a pair of Aboriginal trackers. They know who Mick Taylor is and are soon attacked by him, leaving one dead and the other wounded. Kelly has managed to avoid being captured by the killer but, when Steve is grabbed instead, she has to intervene.

In “Singing,” season two of “Wolf Creek” does exactly what I was worried it was going to do. Brian mercy-killing Michelle becomes a source of drama between the four on-the-run tourists. Oskar and Brian end up getting into an argument, which quickly escalates into fisticuffs. Group in-fighting is among my most hated horror tropes. People arguing about petty bullshit when they should all focus on avoiding the serial killer after them is seriously annoying. The random snake bite seems like another contrived story move, to keep things dramatic and interesting during the season's fourth hour.

As annoying as the unnecessary in-fighting is, it is less baffling then the episode's sudden introduction of Aboriginal mysticism. Yes, I'm being serious. After one of the trackers is stabbed by Mick, a indigenous medicine man heals him. He then performs a magical chant, which seems to disable the killer. Not only does this play into worn-out stereotypes about Magical Indians, it also introduces an element of magic into an otherwise grounded-in-reality series. The show then discards this subplot minutes after it first appears. Making you wonder what the point of this confounding digression was.

Still, “Wolf Creek” has its pleasure even during a weaker episode like this. Kelly, expertly played by Laura Wheelwright, is quickly becoming my favorite character. She displays a tough and resourceful side in this episode, getting the drop on Mick. (If the show wasn't determined to stretch things out for six hours, the story easily could've ended there.) I also like Mick's interaction with the captured Steve, which ends in a nicely grisly fashion. Hopefully, season two quickly looses the narrative bloat so common to serialized television, that it has mostly avoided, in the next episode. [5/10]

Halloween 2018: October 15

Young Frankenstein (1974)

We're four weeks into the Halloween Horror-fest Blog-a-thon and I haven't talked about a Frankenstein movie yet. While there's more movies inspired by Mary Shelly's novel than you could count, Universal's 1931 adaptation – probably my all-time favorite movie – is still the most iconic. Among the many other films James Whale's masterpiece has inspired, Mel Brook's 1974 parody “Young Frankenstein” stands in a class all its own. Released the same year as Brook's groundbreaking “Blazing Saddles,” the film was a success and has frequently found itself near the top of “funniest movies of all time” lists.

A loose sequel to the Universal films, “Young Frankenstein” takes place two generations after Dr. Frankenstein first revived a corpse. His grandson, Fredrick Frankenstein, disavows his family's history of making monsters. He's happy to be a brilliant surgeon, engaged to a socialite named Elizabeth. Yet when he receives a summons to Transylvania, to inherit his family estate, he goes anyway. He meets an eccentric collection of characters – a hunchback named Igor, goofy assistant Inga, the mysterious Frau Blucher – and soon finds himself drawn into his family legacy. Fredrick regains his blood rite and builds his own creation.

I recall Mel Brooks once saying he only parodies genres he respects. And it's obvious he respects the classic “Frankenstein” movies. “Young Frankenstein” brilliantly recreates the look and feel of the Universal films. The cobweb-strewn castles and the cobble-stoned villages are maintained. The fog covered moors and shadowy woods appear as perfectly here as in 1931. The same sort of miniatures and expressionistic images are used. Brooks adapts the same cinematic language. The scene transitions typical of golden age films, like wipes and slow irises out, are also used. Even the same sound effects, like the classic castle thunder, are used. Sequences from the original series both well-known, like the visit with the blind man from “Bride of Frankenstein,” and more obscure, like the dart game from “Son of Frankenstein,” are paid homage to. Basically, if you're a hardcore fan of Universal's original “Frankenstein” cycle, you'll feel right at home with “Young Frankenstein.”

Brooks works hard to replicate that look so he can then subvert and comically undermine the seriousness of those old films. This is apparent from the moment Fredrick arrives in Transylvania. Igor stubbornly refuses to act like the usual drooling, monosyllabic man servent. Instead, he mocks the way Fredrick says his last name. From there, “Young Frankenstein” rarely misses a chance to poke fun at the serious trappings. The way the old films repeated dramatic moments is mocked with a widely misunderstood running joke involving Frau Blucher's name. The secret passageways so common in old films is bent in an absurd direction. The discovery of the original Frankenstein's old lab is defused with funny songs and an overly specific book title. The dart throwing scene, a moment of tension in “Son of Frankenstein,” elevates in silliness thanks to off-screen sound effects. The monster's first attack becomes a game of charades. Fredrick confronting his creation quickly breaks down into panicked screams.

As hilarious as “Young Frankenstein's” call-backs to the original series are, you don't have to be familiar with the older films to think the film is funny. Mel Brooks is certainly gifted at creating moments of hilarious absurdity. Kenneth Mars' Inspector Kemp, a parody of Lionel Atwill's Krogh from “Son of Frankenstein,” has a wooden arm that he frequently has to rearrange, a gag that gets funnier every time. The parody of the Blindman scene relies more on the hilarity of the Monster's reaction to the man's antics than familiarity with the original. The movie's breed of lovable goofiness peaks during the “Puttin' on the Ritz” sequence, which again correctly assumes watching Frankenstein tap dance will be hilarious. While the film smartly takes many breathers between gags, Brooks includes many small jokes that might be missed on a first viewing. Like a villager bumping his head during the walk through the woods or Igor picking up only the smaller suitcase at the train station.

Part of the reason why “Young Frankenstein” is a beloved comedy classic is because it assembles one of the best cast the genre has ever seen. Gene Wilder is, of course, hilarious as Fredrick. Yet Wilder is also totally sincere, bringing an incredible mad energy to Fredrick's more manic episodes. Cloris Leachman's performance is also similarly heart-felt, even when delivering intentionally ridiculous dialogue. Marty Feldman is consistently hysterical as Igor, rarely missing a chance to pepper in a silly one-liner or an absurd comedic gesture. Teri Garr is lovably goofy as Inga, showing her own strength for memorable dialogue. Lastly, Peter Boyle is pitch perfect as the monster, his expressive face working fantastically to create laughs and genuine pathos.

Here's the truth: “Young Frankenstein” isn't the laugh-a-minute gut-buster that “Blazing Saddles” or “Spaceballs” is. Some of the gags border on tasteless from a modern perspective. Some of the jokes, such as a long moment involving the little girl, drag a bit. But none of that matters. As a piece of art, the film is brilliant. This is the gold standard for parody films, perfectly capturing the atmosphere of the original film while happily having fun with the tropes and presentation. The cast is genuinely phenomenal. Even the music is great. It's not just a really good comedy, it's a great film all around. [9/10]

Hatchet III (2013)

“Hatchet II's” release was not without its controversies. The sequel was obviously released unrated, its excessive violent making an MPAA rating unlikely. Director Adam Green claims the film's theatrical release was brought to a premature end due to pressure from the rating board. I have no idea if this was true or an attempt to drum up free publicity for the movie. Either way, the  quickly extinguished release did not, it would seem, impede part two's success. Three years later, the Victor Crowley story would continue. The Hatchet Army would get to see “Hatchet III” in June of 2013.

As with “Hatchet II,” the third film picks up right where the last one left off. After seemingly taking Victor Crowley apart, Marybeth walks into the local police station. As she's covered in blood, she is immediately arrested. While the cops are eager to pin Crowley's latest massacre on Marybeth, it soon becomes clear that something stranger is going on. The cops and a special forces team head into the swamp. Meanwhile, a journalist obsessed with the Crowley legend gets Marybeth out of her cell. They get a hold of Thomas Crowley's ashes, believing they may be the key to ending Victor's curse once and for all.

It surprised me to read that Adam Green didn't direct “Hatchet III.” B.J. McDonnell, who has primarily worked as a camera operator and worked on the first two films, is credited with directing. However, Green wrote, produced, and had final cut on the sequel. Despite the obvious influence Green swayed, you can tell McDonell had his own approach to the material. “Hatchet III” treats its gory mayhem a little more seriously than the first two.  In between the guts, exploded heads, hacked-off limbs, and gallons of blood are scenes attempting suspense. Characters are pinned down in tight locations and we wonder if they'll make it out. McDonell even attempts some action movie theatrics, with slow-mo flips and the sudden appearance of a rocket launcher.

This is still a “Hatchet” movie though. The violence is the main attraction. Some of the flashier deaths include a skull ripped out through a chest, a face hacked in two, and a person dragged through a small hole. The dialogue is full of gratuitous swearing. The humor is obnoxious. Such as when the cops comment on testicles hanging in a tree. Or the appearance of a racist old man, who says racist old man things. The series tradition of obvious references to other horror movies continues as well. Within the opening minutes, Victor Crowley does a Michael Myers-style rise up from the ground. The special forces gang level a patch of swamp land with their guns, as in “Predator.” Derek Mears, one time Jason, gets killed by Kane Hodder, fan favorite Jason. Later, Crowley picks up a machete, the trademark weapon of Hodder's other most prominent role. The cutesy homage even extend to this series, as Adam Green has a jokey cameo and there's a surprise reappearance from part one. As is usually the case, this stuff could be spotted a mile away.

The cast, as is also tradition, is packed with horror convention regulars. Danielle Harris is back as Marybeth and her tough girl act is just as ridiculous and unconvincing as last time. Harris has given good performances before so I'm really chalking her acting in these flicks up to the script. Zach Galligan appears as the sheriff, who is convincing but doesn't seem entirely comfortable with the profane dialogue. Sid Haig, someone who is not only comfortable with profane dialogue but can make it poetic, shows up as the aforementioned old racist. Parry Shen returns as a different character, mugging furiously. Rileah Vanderbilt, who played young Victor Crowley in one and two, has a role sans make-up here and is very tone-deaf. Of the cast, Caroline Williams gives the best performance. She brings conviction and gumption to her role as the journalist.

“Hatchet III” is still held back by the traditions of this sophomoric franchise. I enjoy on-screen mayhem as much as the next horror fan but the “Hatchet” series remains a little too self-satisfied, in its violence and in-jokes. However, I'd say it's easily the best of the series. McDonnell has a stronger visual sense than Green, making the swamp look less flat and the gore look less rubbery. He attempts to offer something more than practical gore effects and overly crass dialogue. That's an improvement, when we're talking about movies made for and by overbearing horror fanboys. [7/10]

Tales from the Cryptkeeper: Grounds for Horror

“Grounds for Horror” is set at that favorite location of eighties slasher and sex comedies: Summer camp. The boys of Camp Rock Bottom came expecting a good time, several weeks of camping and rambunctious play. Instead, their camp counselor is Bill Magreet, a huge asshole. He acts more like a drill sergeant than a counselor, ordering the kids around and explicitly forbidding any japes, tomfoolery, or lollygagging.  As Bill's casual abuse of the boys continue, he's soon pranked by an unseen force. He hears the kids out at night, playing in the woods with someone. When pressed, the boys inform him that an invisible entity called Hoser inhabits the forest. And he hates grown-ups.

Here's another “Tales from the Cryptkeepr” episode that easily could've worked on the grown-up series. Instead of featuring zombies, werewolves, or vampires, its monster is a fairly novel idea. Hoser casts a sasquatch-like shadow but is more like a poltergeist than anything else. I also like the collection of boys, who all have nicknames that hint at their defining gimmicks. Such as Scabs, Itchy, Croaker, and 6X. I also like how the kids bond, against the asshole counselor. The horrors are pretty defanged, as Hoser's antics are nothing more than silly pranks. The episode ends with a heavy-handed moral about embracing your inner kid. Still, this one is a lot of fun. [7/10]

Wolf Creek: Chase

“Chase” picks up a few hours after the shock ending of “Outback” The surviving tourists decide to venture further into the outback, towards the crater. They carry the wounded Michelle with them. Oskar soon discovers that his medication is missing, prompting Brian and Rebecca to head back to the bus. Mick is headed in the same direction and Brian narrowly misses coming face-to-face with the killer. Afterwards, the duo sabotages his truck in hopes that it'll put him at a disadvantage. This only delays the murderer for a few hours. As a storm starts to blow in, the killer closes in on the fleeing tourists.

Following the action packed “Outback,” “Wolf Creek: Season Two” slows down a little with this one. It's an episode mostly devoted to people walking. However, that doesn't stop it from being a fairly tense affair. The scene where Ben hides from Mick, as he searches the bus wreckage, is quite suspenseful. The sequence is framed in such a way that it looks like Mick is right behind Ben. The scene also ends with a pretty good fake-out jump scare. The sequence that follows, of Mick repairing his truck, probably goes on for way too long though. It's also notable that the killer has almost no dialogue in this episode, instead just laughing and grunting quietly to himself.

There's also some touching character interaction in this episode. As Michelle's health takes a turn for the worst, she has a heart-to-heart with Kelly. The two women share some touching words, forgiving each other and reaffirming their friendship. What ultimately happens to Michelle is a somewhat ambiguous event. Hopefully the show lets that breath as an act of mercy, instead of trying to mine it for drama. Nina is also still grappling with the murder of her daughter, waking up screaming from a nightmare, but proving to be more motivated afterwards. The strong cast of characters is keeping me interested in season two of “Wolf Creek,” which is hopefully building towards some bigger confrontations. [7/10]