Change Your Image
elicopperman
With my imdb page, I'm here to rate as many films, shorts and shows as I can and create movie reviews to share my own opinions to all of you who choose to follow me, whether or not you agree with them. My point to express my thoughts on any given form of entertainment is not to say that my opinion is better than yours, because at the end of the day, it's not, it's just an opinion. My point is to mainly offer my own points of view and maybe even here some responses from anyone of you who reads my reviews. If there's one thing I can't stand, it's people who are so full of themselves that they'll become butthurt if someone disagrees with their own thoughts on something. All in all, I'm not some elitist who thinks so highly of himself, I'm just a random guy who loves the film & animation medium and wishes to maybe work in it someday. For now though, just writing reviews on specific films and shows will do just fine.
Also, don't think all my reviews will be the same in terms of length or even structure, as I'll mainly write however I'll feel as long as I give decent criticisms and praises of whatever I'm reviewing. Some may stick to one specific style, and most of my reviews do have a similar kind of structure admittedly, but some do vary in that department so I won't be too redundant. So with all that said, I invite you to relax and pull up your chair, as I fully present to all of you my reviews and ratings. Have fun loves and keep on trucking.
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But I'm a Cheerleader (1999)
Captures Grueling Social Commentary with Campy Delight
Back when actress Natasha Lyonne was becoming a recognizable name in the industry, one of her more beloved cult flicks was the 1999 satirical teen based comedy But I'm a Cheerleader. While the film was initially panned upon release from critics, it slowly garnered a cherished cult following within the LGBTQ community and has since stood well with an admirable legacy. Looking back at the feature, it's clear that director Jamie Babbit based the film largely on her own queer identity and the process behind reparative therapy, and the end result is quite remarkable if not appropriately campy.
The film tells the story of high school cheerleader Megan Bloomfield, whose parents send to a conversion therapy camp to "cure" her of her homosexualiy. At camp, despite realizing she is indeed a lesbian, Megan comes to embrace her sexuality rather than go through the therapy. Right from the get go, Babbit and screenwriter Brian Wayne Peterson execute the plot within a satirical lense, as Megan not only shows denial of her obvious lesbian traits, but the many people she meets at the camp display different quirks relating to their inner queerness. Thanks in large part to Natasha Lyonne's charismatic charm, Megan's emotionally damaging complexions come from how counterintuitive the camp truly is. However, her fluctuating feelings towards rebellious camper Graham Eaton is what makes the film gut wrenching as she learns to overcome her internal homophobia at the cost of being with her one true love. The desires within teenaged curiosity are explored through hilarity under one residential area, all with campy undertones in lieu of disillusioned adolescent development.
In addition to Megan and Graham contrasting each other dynamically, a lot of the other characters are fun to watch depending on their roles. Cathy Moriarty displays strict discipline as program director Mary Brown in spite of her son Rock making for attractive temptation towards the other male campers, and RuPaul Charles is also hilarious to watch in displaying the ex-gay coach Mike struggling to hide his true nature in front of the others. Many of the other campers aren't as well defined as Megan and Graham, but their distinct cynicism, optimism and vulnerability is shown to be critically crucial to their livelihood as much as it is for their parents, especially when some families are far more level headed than others. Since the film mocks these stereotypes within a campy sense of fun, it's easy to feel at ease within the humor amidst the severely serious tensions that are nonetheless still active in many families. At the end of the day, you can never be defined by your appearance because you are who you are, and the supporting cast are clear reminders of that timely concept.
As far as the presentation goes, much of the film's satire is riddled with bright color theory and playful staging. Since most of the film takes place within the camp itself, the seemingly isolating environment makes for a strong obstacle that does less to brainwash the campers than it does suffocate them. The campers are also defined by intense blues and pinks to contrast between the exaggeratedly artificial heteronormative views on masculinity and femininity, proving just how absurd forced conversion is in the short and long run. In addition, the editing punches the pacing up without making the courses feel as draining to the audience as it is to the campers, and the added touches of step by step categories and soundtrack montages just add into the camp value further. Speaking of music, on top of Pat Irwin's upbeat score complimenting the absurdist tone, the soundtrack features numbers worth grooving along to, which also fits how flamboyant one can feel whenever the fun kicks in. Sometimes specific filmmaking decisions can make your satire hit home harder than you think.
After 25 years in the spotlight, But I'm a Cheerleader successfully lampoons the ludicrous nature of conversation therapy whilst reminding the oppressed that it's ok to be who they are. Rather than take its subject matter seriously, the filmmakers managed to convey their disdain through the power of laughter and mockery and that alone is worth appreciating, especially since there is still lingering stupidity within homophobic hate groups. This is a must watch for absurdist comedy goers as well as anyone who is still questioning themselves, and you'll definitely find yourself easily immersed in one way or another.
Ghost (1990)
A Unique Romantic Drama Thriller with Supernaturalism
In 1990, Paramount Pictures released a supernatural romantic dramedy called Ghost, written by metaphysical writer Bruce Joel Rubin. Starring the likes of Patrick Swayze, Demi Moore and Whoopi Goldberg, the film only did so-so critically but was a monumental financial success and even garnered Rubin a Best Original Screenplay Oscar and Goldberg a Best Supporting Actress Oscar at the time. Looking back at the film more than 30 years since its release, it's easy to see why audiences latched onto this feature back then, as it manages to blend supernatural horror and emotional romance quite uniquely.
The film follows a banker named Sam Wheat who gets murdered and becomes a ghost. Along with the help of psychic Oda Mae Brown, Sam sets out to save his girlfriend, Molly Jensen, from the person who killed him. With the feature established as a love story with a twist on the afterlife, the cast are what drive the narrative together in terms of thrills, laughs and passion. Although the film doesn't explore how Molly feels as much as it focuses more on Sam trying to reconnect with her, Patrick Swayze carries the film through his character's fluctuating emotions as he tries to navigate his ghostly persona while protecting the love of his life from certain doom. It also adds some cool twists and turns as the plot thickens in detailing the murderer in question, Willie Lopez, and Sam's best friend Carl Bruner being not who he seems. That said, Whoopi Goldberg nearly steals the show displaying Oda's amazement and irritation as she communicates with Sam, and many of the film's funniest moments come courtesy of her interactions with the public as Sam guides her along the way.
Speaking of funny, despite director Jerry Zucker's background in spoof comedies, the film's tone manages to remain consistently thrilling and lighthearted at the same time. As Sam frantically scatters to protect Molly and Oda from the dangerous people after them, the pacing manages to be brisk yet menacing as the danger lingers onward beyond just the afterlife. There are some needed moments of levity such as Oda's ongoing encounters with the dead, but these scenes are far and few in between the more tragic elements that keep the film suspenseful and heartwarming, especially when the integral bond between Sam and Molly keeps the film's heart at bay. In fact, thanks in large part to the first act's lust and passion coming off so genuine, the most heartwarming sequence in the climax feels far more endearing than it could have been creepy, and you can't go wrong with the aid of Unchained Melody. In mixing the supernatural suspense with touches of surreal humor and life threatening danger, the movie manages to be odd yet gratifying in differing results.
As for other notable qualities, the special effects done on the film are sporadic and dated yet look charming from its central perspective. Since Sam spends some of the feature figuring out how to work his ghoulish abilities, the blending of ectoplasmic flesh within humans, walls, trains and even computers lends to many creative visual effects that elevate the thrills and laughs with subtlety and grace. At a time when special effects technology was still fairly primitive compared to today's advancements, the compositing works well within the New York City environments and the tight editing benefits the intensity that comes from the supernatural elements within the technological magic. Also, said intensity is in part thanks to Maurice Jarre's soothingly somber score that manages to sound haunting and harmonious at the same time. While the special effects are more remarkable for their time than today, the score still holds up and could make the most lighthearted viewers tear up, even by the time the abrupt and overly sentimental finale comes in to wrap things up.
Conceptually bizarre yet emotionally endearing, Ghost remains a poignant supernatural romance thanks to its strong cast, admirable mix of humor, horror and pathos, and some nice doses of charmingly archaic effects work. I would recommend this more as a goofy yet heartwarming romance that has just enough supernatural suspense and realistic intensity to get your attention stirred up. While one could argue the film might be less impactful today than it was back in 1990, there's no denying the cast and crew's passion was carried from script to screen, and that alone makes it an enduringly watchable flick.
Mean Girls (2004)
Still so Fetch 20 Years Later
For the last 20 years, Mean Girls has remained a high standard for teen comedies of the 21st century. In addition to satirizing the social status of high school back in the day, the film features immensely quotable performances from the likes of Lindsay Lohan, Rachel McAdams, Lacey Chabert, screenwriter Tina Fey, Tim Meadows, Lizzy Caplan and more. It's hard to quote iconic lines like "that's so fetch" or "on Wednesdays, we wear pink" without thinking of this feature. But does it actually hold up nowadays? In my opinion, yes.
What makes the narrative of former homeschooled teenager Cady Heron trying to fit in with an A-list clique of popular girls called the Clique work is the strong emphasis of envy screwing over Cady and her few relationships at the school they all go to. While initially the plot seems to go for a revenge based focus on getting back at leader Regina George for her atrocious behavior, Cady struggles to work with her "fake" clique role once Regina's ex Aaron Samuels comes into the picture, causing a lot of distrust and wrath between Cady, Regina and the outcasts Janis & Damian (Cady's only real friends). Thanks in large part to the aforementioned strong performances, especially from Lohan's relatable humorous narration, the conflicts demonstrated are both laugh out loud hilarious and hard to stomach due to everyone's lives being on the line as far as social statuses are concerned. In fact, it's also hard to not feel sorry for Regina at times thanks to Rachel McAdams' exaggerated yet emotionally fluctuating performance that shows a personally vulnerable side to the otherwise arrogant prima donna.
Mark Waters' direction, Tina Fey's screenplay and Daryn Okada's cinematography represent these trivial high school problems through a seemingly mundane experience that can often go haywire once the character's desires get to the better of them. Their tight collaboration between the ensemble cast helped pack some hysterical dialogue, zany school antics mixed within boring scenarios, and some of the most iconic wardrobe one has ever seen in a high school dramedy. Much like a lot of the culturally relevant dialogue, you'd be hard pressed to find anyone who could forget the dynamic costumes and makeup in the film, no matter if it's the high style outfits of Regina, Gretchen Wieners & Karen Smith, the funny holiday themed costumes or even club shirts. The soundtrack is also a pretty nice touch as well, although that's largely due to the mixing of then popular numbers and older jams. One can tell how much charisma still populates this feature regardless if it's within the soundtrack, the screenplay or the aesthetically authentic presentation.
All in all, it's not hard to recommend Mean Girls nowadays for its socially biting commentary on high school life and hysterically biting performances. That said, with a forgotten sequel and an infamous Broadway musical film adaptation released this year, it might be easier to gravitate towards the film that left the biggest impact on millennial teens onward. It remains one of Lindsay Lohan's best performances, one of Tina Fey's finest cinematic accomplishments, and a film for any generation to check out with morbid infatuation towards the pros and cons of high school tribalism and clique culture.
Purple Rain (1984)
Structurally Uneven yet Radiantly Charismatic
Looking back at modern rock legend Prince's greatest accomplishments, his 1984 musical drama Purple Rain has stood the test of time as a dated yet powerfully raw look into the man's phenomenal status and the punk rock scene of said era. Nowadays, not only has the film itself been deemed culturally and historically significant by the Library of Congress, but its accompanying album was a huge milestone of the decade that its finest hits are still listened to in today's world. So what is it about this feature that hits home so much for people after 40 years of being in the spotlight?
Set in Minneapolis, Minnesota, the film follows a talented musician called the Kid whose band, the Revolution, is a form of escapism from his dysfunctional home life. As the Kid navigates the club scene and his rocky relationship with aspiring singer, Apollonia, rival musician, Morris, looks to steal his spotlight. While seemingly built as a showcase of Prince's talent, as well as the Revolution itself, Purple Rain manages to wear in a disjoined yet gripping narrative about a beloved musician struggling to cope with his personal anger and those around him. One would have probably never imagined Prince could hold a narrative feature on his own, but the man manages to convey a sardonic semblance of cockiness with appropriate doses of jaded bitterness, making the Kid quite sympathetic to root for in spite of his bad attitude. His finer moments come when he allows his music to take form and when he shows his vulnerable generosity towards the gorgeous yet spunk Apollonia, but all of that is in lieu what many famous artists suffer from without trying to harm others.
Now in addition to Apollonia being the right blend of tough boldness and charismatic sauciness, the aforementioned Morris manages to appear suave and cool in spite of his greedy intentions to steal the fame away from the Kid. Seeing real life musician Morris Day portraying the character is hilarious in itself and one could interpret his performance as being satirical towards the jealousy and resentment rival musicians have towards those more popular than them. Also, Clarence Williams III and Olga Karlatos manage to make the two dimensional roles of the Kid's parents believably depressing and Williams' performed manipulative behavior allows us to feel sorry for his failed career while also resenting how far gone he went in despair. Beyond Prince and Morris Day, the likes of Jerome Benton, Jill Jones, Dez Dickerson, Wendy Melvoin and Lisa Coleman add into the natural believability of genuine musicians boasting their inner problems within the music scene. As a time capsule to the 80s punk rock scene, seeing notable names like them makes his feature thoroughly gratifying.
Speaking of time capsules, as this film was shot in the city of Minneapolis, the filmmakers managed to capture historical landmarks such as the IDS Center and the First Avenue nightclub with a passionate tribute towards the experimental rock scene of the early '80s. Many of the concert sequences are shot with strict attention to detail as far as creatively colorful lighting is concerned, and Donald E. Thorin's eye opening cinematography brings the crowded club scene to life so much that it feels like we're in the scenery dancing along to the beat. Also, director Albert Magnoli's editing experience benefits the pacing of the feature as it manages to transition from scene to scene without losing any momentum. In fact, it feels as if we're meant to experience the movie's flow like an emotional stream of consciousness in flying colors as the music paints the picture for us more than the dialogue does. Sometimes, rock musicals can get lost in the style and forget what the story is about, but in this case, Purple Rain managed to make its style as substantial as the soundtrack that accompanies it.
Finally, said soundtrack is not only part of what makes this film hold up so well, but it's hard to think of only one banger throughout the runtime. As many music critics have pointed out, the soundtrack's innovative aspects range from base-less melodies to synthesized instrumentation and full-band performances, all the while mixing the rock and R&B genres seamlessly. Cult favorites like "When Doves Cry", "Let's Go Crazy" and "Take Me with U" manage to move the story along with varying emotional value and briskly paced editing. In addition, some phenomenal choreography and improvised gestures can be seen with bands such as The Time and Apollonia 6, such as when "Jungle Love", "The Bird" and "Sex Shooter" appear. But of course, the film arguably hits home the hardest once the titular "Purple Rain" comes into the third act, showcasing how much development truly went into the Kid's passion projects after so much turmoil. Whether you're listening to the songs on their own or witnessing them visually in this movie, this soundtrack cannot be beat in terms of emotional virtue.
Structurally uneven yet radiantly charismatic, Purple Rain remains a true staple for the rock music subgenre in cinema, thanks in large part to Prince and the Revolution's phenomenal contributions to emotionally resonating numbers. Prince may have left us eight years ago, but his impact on pop culture and the revolutionary music scene can never be understated and this feature is a prime example of how much his legacy has lived on past his prime. I would recommend this as a must watch for Prince fans and casual music goers alike, especially if you're down for experimental rides of rock tributes too.
The Lost Chick (1935)
Cutesy yet Bittersweet Fable
While Hugh Harman & Rudolf Ising were often seen as Disney copycats and tended to make overly cutesy fodder in their time, they did grow from their usual tricks and make some short films that blended the sentimentality with a hint of cruelty and bitterness. Case in point, The Lost Chick works as a harsh fable about being too playful when you should be working to save yourself.
The primary story of a hen losing one of its eggs that ends up in the hands of two squirrels who think it's a nut establishes this moral from the get go, and while it might be easy to see the payoff coming, it nonetheless demonstrates how harsh of a lesson it is to go against the food you've collected for something you don't know of. The short itself does drag at points as it does spend a bit too much time on the squirrels trying to figure out what to do with the baby chick who hatches from the egg, but once the mother hen comes in to save her baby, the short takes a genuinely dark turn as the squirrels scramble to find food as winter sets in. It's a truly harrowing moment that is nonetheless benefited by a happy ending, but even at that, one could see it as salvation for the squirrels as they don't seem to have a mother or father.
Beyond the content, the art direction suits the late autumn atmosphere beautifully. Despite the short being processed in 2 strip Technicolor (or Cinecolor), the limited palettes allow the backgrounds and character designs to blend in suitably within the grim forest setting. Admittedly, the character designs are a bit unappealing for my tastes as they look cutesified to the point of looking ugly, but one could excuse Harman, Ising and their team as they were still learning how to make workable character designs around this time. That said, the chick itself is a delightful character on its own thanks to its design and movements, and the animators must have had fun making it work as a believable baby chicken that just happened to be animated. Scott Bradley's score is also a delightful contribution as it blends the soothing cute content with harsher melodies and choir gospels strongly.
With all of these contributing factors, The Lost Chick might be one of Harman & Ising's most underrated short films from their Happy Harmony series as it demonstrates their growth into more mature content from their typical slap happy juvenile output beforehand. While Harman himself would use this template for the arguably superior short film The Hungry Wolf years later, there's no denying that through this short, the two men were talented enough to progress beyond their humble beginnings and become admirable animation directors in their own right.
Kaze no tani no Naushika (1984)
Miyazaki's Sci-Fi Fantasy Magnum Opus
Before Studio Ghibli was formed in 1985, founders Hayao Miyazaki and Isao Takahata collaborated on an ambitious post apocalyptic fantasy film called Nausicaa of the Valley of the Wind. Based on Miyazaki's manga of the same name, the film was a huge hit in Japan upon its spring 1984 release and went on to receive long standing acclaim well after its director made a worldwide name for himself. Nowadays branded as a Studio Ghibli feature, the film has often been viewed as one of Miyazaki's most impactful achievements as a filmmaker, and I can safely say that it has stood the test of time immensely well.
Set in a post-ecocided world, the film follows a teenage princess named Nausicaä whose kingdom, the Valley of the Wind, gets invaded by the neighboring Tolmekian empire to develop an ancient weapon that will eradicate a mutant insect jungle. This is possibly the first Miyazaki helmed feature where his trademark themes of valuing life over war are executed in flying colors. With direct inspiration from authors like Ursula K. Le Guin, Isaac Asimov and Frank Herbert intact, Nausicaa is established as being more caring towards the crumbling nature surrounding her than the opposing kingdoms, all of whom are on the brink of industrial collapse due to their rotting environments. The pacifist subtext shown through Nausicaa's connection towards the Ohm insects demonstrates how mindless war corruption is compared to taking more level headed action through ecosystemic changes. Rather than glorifying the violence one would expect in these types of sci-fi action narratives, Miyazaki utilizes it to remind us how brutally consequential the outcome can be towards people trying to survive.
While Nausicaa herself is a strong protagonist all around, many of the people she encounters vary depending on their own views. Nobody is shown to be inherently good or evil so much as they are conflicted on how to protect themselves during corrupted times, especially the Tolmekian princess Kushana leading charge over the Valley based largely on fear and ill will rather than blind malice. Nausicaa's strong determination to fight against the reprehensible actions behind the Tolmekians and the additional kingdom of Pejite does cause more diluted chaos to embroil, but only at the behest of striving towards people with alternative views. Whether they be Kushana's boorishly smug right hand general Kurotowa or the Pejite prince Asbel yearning for similar ideas as Nausicaa yet wanting to fight for his own people, the various people trying to save themselves during dire stakes shows how complicated humanity manages to be no matter the era. Other notable characters who rarely fight fire with fire include the Valley's elderly swordsman Yupa and the wise woman Obaba.
Going beyond the timely themes, the animation direction is impeccable and bestows a fully realized world with direct sci-fi influence that nonetheless displays its own unique identity. In blending steampunk technology with decaying naturalism, the environments are crafted in such precisely grandiose scope and scale that it makes you want to live and breathe in said world, no matter how life threatening it may get. Many flying and action sequences practically scream epic without the need for bombastic music, although Joe Hisaishi's score is beautiful enough on its own. The team at the now defunct Topcraft brought Miyazaki's flourishing manga series to life with strict attention to artistic detail as well as elevating the character designs and animation to smooth yet graceful performances that allow the imagery to speak for itself far more than the dialogue does. Add on the aforementioned Hisaishi's mixing of 80s punk tracks and harmonious melodies to the scenery and you have quite possibly one of Hayao Mihyazaki's most impressively designed features of all time, if not his most.
Packed to the brim with passionate ideologies, strong characters and breathtaking animation, Nausicaa of the Valley of the Wind remains as culturally and significantly impactful today as it was back in 1984. Knowing how important it was to the development of Japanese fantasy animation and Studio Ghibli as a whole, this year is a perfect time to check it out on your own accord. With the Ghibli features getting more attention thanks to GKids, one can only imagine just how much impact this feature might have by the time it has gotten to 50 years in the spotlight, let alone 40.
Anora (2024)
A Love Story on the Bleeding Edge
I'll say this right now. I've never seen any of Sean Baker's movies (though The Florida Project has been on my watchlist forever), but after seeing Mikey Madison in Scream (2022), getting to see her in a role like this was remarkable to say the least. Madison would have probably stolen the show thanks in large part to her character's authentic Brooklyn accent and dangerously diluted sense of reality.
That being said, as Broey Deschanel said it best, this can best de described as a "gritty fairytale" since the film is primarily about the beleaguered marriage between a Brooklyn stripper and the son of a Russian oligarch. While it starts off exactly like the kind of razzle dazzle rich exploitation one would easily find in these kinds of storylines, the film takes an immediate 180 and turns into a realistically charged narrative about those under Ivan Zakharov's wealthy family trying to annul the whole ordeal. Many of the interactions feel heavily improvised but also briskly paced as Baker wastes almost no time jumping from scenario to scenario without allowing anyone to process what's occurring, just like how Anora (or Ani) feels about the whole ordeal. A lot of the supporting players are easy to feel sorry for as they are despicable, especially Ivan's caretaker Toros who's determination to track down the careless brat leads him to spiral out of control. Watching this film is no different than going on a bender, except the rush is a life or death situation.
Perhaps Anora can also be described as a cautionary tale about being careful what you wish for, since despite Ani's conflicting feelings towards her client turned husband, her sense of belonging in a dream life is ultimately too good to be true. Even though the film's outcome is exactly how it would be for anyone lower than the wealthy elite, there is still a sense of delusional hope that Ani could set things right with Ivan and his family. The commentary on classism within sex workers lingers within Ani's fantasy world to a point where it takes getting involved with dangerous opponents for her to get a cold but needed slap back into reality. Maybe not being involved with Ivan's family was the right call, but it's still depressing that one's chance to "live the dream" was ultimately far beyond anything they could comprehend. When a situation like this is so gray that the seemingly neutral henchman Igor feels empathetic towards both parties, you know that the damage has been done past the point of no return.
Do I recommend everyone check out Anora? Absolutely not. The themes and content are likely to be too much for those who are suited for it (and those of Russian descent might be torn overall). That said, if you're able to view this as a wake up call dramedy on the ramifications of something too good to be true, you'll definitely find some value to be sure. Plus, if nothing else, Mikey Madison is bound to get a lot more opportunities following this feature, which she rightfully deserves as she's proven to be multi talented in the grand scheme of things.
The Plague Dogs (1982)
A Life Threatening Adventure from Two Wanted Canines
Following the success of Martin Rosen's film adaptation of Watership Down, another feature based on a Richard Adams book was put into production. Released in 1982 (1985 in the United States), The Plague Dogs is a much more mature story than the other Adams novel and was also less known for many years because of that. Nowadays, the film is highly regarded for its dark content and emotionally distressing themes of animals going back to their primal roots to survive in the human world. Looking back on the film today, it might be one of the hardest dog focused features to watch yet it's endlessly captivating.
The film focuses on two dogs named Rowf and Snitter, who escape from a research laboratory in Great Britain, and become hunted as they retreat back to their animalistic ways. Established as an adventure drama, themes of cruelty brought on by performed vivisection and animal research for its own sake are partially what lead to our two protagonists seeking survival and losing faith in people. Rosen and the filmmakers pull no punches in displaying the inherent inhumanity from not only the horrific laboratory, but also in how humans view stray animals regardless of the circumstance. Seeing Rowf and Snitter struggle to protect themselves as escaped convicts becomes more and more harrowing as the adventure lingers with life threatening obstacles, so much so that it's hard to know how any human being will react towards them. Any sense of levity comes courtesy of John Hurt and Christopher Benjamin's grounded performances that carry the emotionally withering chemistry of Snitter and Rowf to such frightening heights, especially as they reluctantly become one with the wild.
Now most of the other characters in the film are additional humans who either attempt to show kindness to our leads or treat them like rubbish. The most notable have to be the doctors and lab technicians who supply ample narration on how they perceive the current events, which is essential for exposition but they can also blabber on too much at points when it's not needed. Beyond the humans, the most noteworthy side character is the Tod, a canny fox who helps them survive on wild animals while also coming off quite sly and cunning. Due to Tod's lifetime experience of living through nature, he makes for a strong guide as Rowf and Snitter's own lives are at stake, and his final scene alone could make one quiver in fear by his inevitable outcome. Also, without comparing Adams' original book too much, the dialogue is quite stark and mature without coming off as alienating, since it acts more as an adventure for struggle than it is a commentary on mindless experimentation. With grounded dialogue and side characters, this primal journey of survival feels all the more real and intense.
As this film is more grounded in reality than Watership Down, the art & animation direction is more bleak and pseudo realistic this time around. In addition to the characters looking as believable as dogs and humans can be, the movements are quite fluid yet restricted to their natural anatomy. The end result works so well that you truly feel like you're witnessing animals talking amongst one another. Beyond solid animation, the backdrops are lusciously atmospheric in recapturing the subdued grittiness of England's countryside, offering an almost photoesque approach to the look and feel of the natural wild. Even at the film's most gory or violent, there's a lot to appreciate in seeing animal mistreatment and naturalistic wildlife recreated with strict attention to detail that nonetheless feels like an artistic nightmare. Next to Patrick Gleeson's intense music score that heightens the adventure, the closing theme "Time and Tide" is a harmonious ballad accompanied by Alan Price's moving gospel performance. These noteworthy touches are what make this feature depressing yet eye opening.
In capturing the harsh realities of how dogs can be treated and perceived by human beings, The Plague Dogs is a harrowingly captivating adventure with appropriately mature content, strong lead characters and gorgeous realistic artistry. While I do recommend this film for its ambitions alone, it is not for the faint of heart and it's easy to feel cautious of it knowing how depressing the content can get. Unless you're unable to stomach it, this feature is a cautionary tale of what happens when you mistreat naturally beloved animals to such harsh degrees, and it's partially why we need to do better with dogs.
Joe (1970)
The Dangerous War between Generations
In late 1960s America, the countercultural movement was beginning to contrast negatively against the more straight laced crowd, especially between generations. Such topics were explored in numerous films at the time, including John G. Avildsen's 1970 drama Joe, starring the late Peter Boyle in the title role. Made on a shoe-string budget, the film was a huge financial success upon release and garnered critical acclaim for its dark comedic approach to its social attire. So looking back at the feature that made Boyle a recognizable name, it's safe to call it a small yet heavy handed dramedy that leaves an impact.
Set around New York City, the film follows business executive Bill Compton who's life falls into shambles after he kills his daughter Melissa's junkie boyfriend. Upon accidentally befriending a factory worker named Joe Curran, the two end up searching for Melissa while raiding the hippie scene. Now while initially structured as a sketchy look into the drug scene of the time, the film takes a scary turn once Bill Compton comes into the scene and makes life worse for himself and his whole family. Despite the societal differences at play, Bill proves to be no more civil in his primal instincts than the lower tier criminals his daughter hangs around. As for when Joe comes into the picture, he is established as a hardworking veteran with racist opinions and violent fantasies of murdering the hippies. Rather than blackmail Compton for his crime, Joe is more fascinated by the guy for pulling off a kill, and Peter Boyle conveys the character's gruff working class personality so well that you grow to admire Joe for his unruffled behavior as much as you despise his devious views at heart.
But while Boyle nearly steals the show here, Dennis Patrick also showcases Compton's truly animalistic nature in lieu of his upper class status. Much of the film's funniest scenes come courtesy of Joe and Bill bouncing back on their mentalities, so much so that an entire scene showing the Comptons dining at the Currans' residence can make one laugh and cringe at how intense the primary situation is. Also, this film marks the film acting debut of Susan Sarandon as Melissa, who displays rugged albeit beautiful vulnerability as her character becomes concerned for her own well being. In showing how few solutions there are in such a life threatening circumstance as what Compton has to face here, Avildsen and writer Norman Wexler capture the reality of problematic classism and reasonable paranoia within a grounded character driven backdrop, and the cast deliver on the hard hitting dilemmas. Even if the film concludes a bit too abruptly, it nonetheless proves how attempting to justify violence is in fixing an unsolvable problem, regardless of the generation.
Lastly, the film displays some intrinsic cultural phenomena of the time in lieu of its unbiased commentary. In addition to Exuma's upbeat folk track "You Don't know What's Going On" establishing what we're getting into from the start, Dean Michael's country sounding "Hey Joe" works as a strong character motif for the titular character's angry pro-American mentality that ends up becoming his worst trait possible. Composer Bobby Scott also livens up the intensity from scene to scene, showcasing a variety of early 70s orchestrations that give the film its own identity for the time. Also, Avildsen shot the feature as director of photography and his attention to detail in the natural New York settings allows for a lot of character to be presented around the journey. Arguably, the highlight of the cinematography has to be a pivotal psychedelic sequence featuring Bill, Joe and a group of radical pot smoking hippies, with lots of subdued reds to emphasize the aggressiveness of the scene. Despite the small budget, the filmmakers successfully captured their story within a harsh reality.
In not picking any side to root for and allowing the cast to truly sell the dangers on display, Joe is a thoroughly aggressive yet thought provoking drama that shows how succumbing to violence of any kind will lead you down a dark spiral, especially in regards to the people you meet. Arguably still relevant in some of its themes, the film's dated time periods works as both a time capsule to the effects of generational debacle and a cautionary tale in trying to justify your horrific mindset within the crimes you commit. It's brave and bold in more ways than one, but it certainly shouldn't make you wanna go to war.
Beverly Hills Cop: Axel F (2024)
A Welcome Return for Axel Foley's Shenanigans
Despite Axel Foley being absent for 30 years, Eddie Murphy and producer Jerry Bruckheimer brought the wise cracking Detroit cop back for a special legacy sequel, for Netflix no less. Released in July of this year, Beverly Hills Cop: Axel F is a solid followup to the franchise and has rightfully earned some warm responses from critics and audiences. So having seen this for the first time, what makes it work in spite of it having come out way after the initial trilogy's run?
The film follows Axel Foley returning to Beverly Hills after his estranged daughter Jane and his old partner Billy Rosewood's lives are threatened. As Axel tries to crack down a conspiracy behind the threats, he teams up with Jane's detective ex-boyfriend Bobby Abbott to help solve the case. Taking place three decades after the last installment is no easy task to break things down, but the filmmakers managed to keep the story concise enough without feeling as if too much time has passed by. Axel is still working as an officer yet his friends are either retired or have gone under different paths. Despite that, Murphy still pulls off the role well, blending the character's older age and experience with his trademark wise cracking personality that audiences know him so well for. Much of the film's funniest moments derive from how infamously famous Foley is around Beverly Hills and the numerous minor convos he gets himself out of using his streetwise smarts and charismatic energy. No matter how old Foley might get, his unconventional antics have not soured yet.
Admittedly, the film's primary story is pretty standard as the typical tropes one would expect in a strained parent-child relationship are here as well. While Jane is established as similar yet unique from Axel and her reasons for resenting him make sense from her perspective, the chemistry she and her father share isn't all that interesting and she doesn't rise above the usual "upset adult daughter" trope. Fortunately, the addition of Bobby Abbott does make things more engaging as he ends up risking much of his own morals to aid Axel and Jane in the case, elevated by Joseph Gordon-Levitt's grounded yet concerned presence. That said, Kevin Bacon's character is surprisingly less interesting than one would expect, although he does his best in coming off as charmingly intimidating. Much of the other characters outside of recurring players are just typical plot fodder, and certain characters like Jane's client Enriquez and his uncle Chalino are forgotten as soon as their seemingly vital scenes are done. It's more fun to see the likes of Judge Reinhold, John Ashton and Paul Reiser back as their usual selves, but you just need to get through some uninteresting minor roles to see them shine again.
In addition to the comedy, the action is a lot of fun to watch compared to the third film, although arguably not as punchy as the first two installments. Director Mark Molloy took full advantage of the feature's $150 million budget, as many elaborately staged truck / car chases are sprinkled throughout the right places. The editing helps out in many areas as the pacing can fluctuate between the mundane and the intense, showing how there's never a dull moment when Axel Foley is on the case. Much of the fun in these sequences come courtesy of songs used in the first two movies, especially "Neutron Dance" and "Shakedown." While these touches are clearly nostalgia oriented, they feel right at home here in juicing the action up further, along with some newer tracks like "Here We Go!" by Lil Nas X and composer Lorne Balfe's modernized rendition of "Axel F". As ordinary as the film's story is, these bits of playful intensity make the experience enjoyable enough to make up for the slower moments that could drag the movie down for some, and that alone should be worth something.
So while arguably not as punchy or substantial as the first two installments, Beverly Hills Cop: Axel F is a vast improvement over the third feature in terms of fun and scale. Now that Eddie Murphy has garnered a decent renaissance for himself in the last few years, seeing a legacy sequel within one of his most popular film series turn out as decent as this one did means a lot in the long run. In honor of the first movie turning 40 years old and John Ashton passing away recently, this year is a perfect time to get back into the series. A welcome return this is indeed.
Halloween (1978)
Remains a Classic for the Ages
All the way back in 1978, an independent slasher flick from newcomer horror director John Carpenter came out called Halloween. Not only was the film a colossal hit upon release, but it spawned a long lasting franchise and brought the serial killer Michael Myers instant iconography. Looking back at the film so many years later, regardless of it being inspired by the likes of Psycho, it manages to play up the suspense pretty well in the long run.
Set 15 years after mental patient Michael Myers murdered his teenage sister on Halloween night, he escapes and returns to his hometown Haddonfield, Illinois where he creepily stalks teenage babysitter Laurie Strode and her friends. As a simple tale of stalking and persistence from a severely dangerous monster, Michael Myers remains a truly frightening foe due to his limited screen appearances and pantomime performance. The wheezing looming predator of a man makes for an intimidating presence, although some of his antics could lead to more laughs due to the low budget thrills not coming off super strong today. Fortunately, the shift from mindless gore towards moody atmosphere sells the film's creepy factor effectively well, especially thanks to Carpenter's pivotal score. Much like the finest horror tunes out there, the music is played with minimal keys and repetitious beats that could send chills down anyone's spine.
But beyond the minimal atmospheric approach, the cast is also pretty solid, most notably through the main character Laurie. In her very first film role, Jamie Lee Curtis proved to be a strong lead player in making Laurie appear normal and chill before her mundane Halloween is threatened by a mysterious killer. Because we're able to spend a good amount of time getting to know Laurie and her friends before Myers comes in for the worse, the stakes are raised to a large degree. In addition, Donald Pleasence sells the stern paranoia of Myer's psychiatrist, Dr. Loomis, quite well, delivering successful desperation gestures and bold monologues on the true evil state of the killer. Many of the other characters are either victims of Michael's murderous spree or typical out lookers on the events proceeding everything. That said, much like the two leads, they're all sympathetic enough to hope that the murderous serial killer doesn't get them too soon.
While Halloween has garnered an endless amount of sequels, spinoffs and reboots, the original John Carpenter helmed feature works great as a slow paced yet chillingly haunting treat for the season. In blending teen relatability with a striking sense of fear, Carpenter and producer / co-writer Debra Hill managed to pull off a thoroughly inspired slasher with a concise premise and quality low budget elements. They say to watch out for the boogeyman, but what they really mean is to watch out for it on Halloween night, questions asked.
Young Frankenstein (1974)
Still the Scariest Comedy of All Time 50 Years Later
If anyone were to ask me what my all time favorite Mel Brooks film is, look no further than his 1974 collaboration with Gene Wilder, Young Frankenstein. Made as a spoof / tribute to the Universal monster movies based on Mary Shelley's Frankenstein novel, the film was a colossal success with critics and audiences and has even been deemed by Brooks himself as his finest directorial achievement. Looking back on the film 50 years since its release, while I don't consider it to be Brooks' funniest feature he has made, it succeeds the most as a parody whilst continuing within the legacy of its own subject matter.
The film follows the estranged grandson of Dr. Victor Frankenstein, Frederick, who inherits the castle of his grandfather. Upon regaining interest in his grandfather's reanimation experiment process, Victor brings a man to life albeit with maddening results. While inherently established as a followup to the classic Frankenstein series, Brooks and Gene Wilder pay their humblest tribute to the source material by both lampooning the genre and also telling a wonderfully concise story on how family history can make or break anyone and anything. What sells the film so well as a comedic horror romp is how straight and serious minded a lot of the actors come off, especially Wilder, and yet that in turn makes his inevitable outbursts even funnier. In addition, Wilder bounces off superbly with his co-stars, most notably Marty Feldman's show stealing kooky performance as Igor. The addition of Teri Garr as the pretty assistant Inga also adds into the grounded yet raucous humor, but Feldman's numerous ad libs and oddball mannerisms are just part of the film's comical triumphs.
But beyond a stellar ensemble cast, including Kenneth Mars as the wooden armed Inspector Kemp and Cloris Leachman as the sternly flamboyant housekeeper Frau Blucher, Peter Boyle manages to keep the heart and humor together throughout the runtime as the monster itself. As the creature is portrayed in a mentally abnormal manner, Boyle carries the grunts and pain within the creature through genuine humanity that makes one feel sorry for the poor creature. Of course, his interactions with Frederick's fiance Elizabeth truly elevate the laughs in true steamy fashion, and Madeline Kahn could not have been a better choice in hamming the lowbrow material. While Young Frankenstein has a lot of memorable laugh out loud moments, including the dazzling "Puttin' on the Ritz" number and Gene Hackman's delightful blind man scene, it is arguably just as effective within the emotional pathos as we see Frederick do all he can to fix the problem he caused, and it's amazing how much Wilder and Boyle were able to convey such divine interactions as scientist and invention.
Another big reason this movie succeeds so well as a parody is its miraculous recreation of the production design seen in the old Frankenstein pictures. Not only does the black & white cinematography fit the content perfectly, but the elaborate usage of Kenneth Strickfaden's lab equipment allows for many of the most thrilling sequences to pay off in flying proportions. The sound work is also a major component as the suspense benefits the horrific atmosphere, and even the lightning effects practically become characters of their own in this movie. Also, John Morris's beautiful lullaby-esque score works as both a necessary motif for the content at hand and and a major contributing factor to the laughs and scares working in tandem together. Made during a time when interest in old horror cinema had long since dwindled, Brooks and his team went out of their way to recapture the magic of said media to a wonderful degree. The gracious screenplay is already splendid as a tribute, yet the general presentation is what truly makes this movie stand the test of time.
Many horror movie parodies have been around for as long as the subgenre has, but arguably none have come close to topping the phenomenally flattering homage that Young Frankenstein bestowed on the world. Seeing two entertainment legends collaborate so perfectly in sync together is still as remarkable as it was 50 years ago, and that is why this year is the perfect time to check out the feature once again. Considering how much this effort has remained untouched within film and comedy history, it should go without saying that the Frankenstein series is a lot more special thanks to this movie.
Joker: Folie à Deux (2024)
What Was Even the Point Here?
Although the controversial 2019 Joker movie with Joaquin Phoenix was initially intended as just a standalone feature, Warner Bros. Still wanted to cash in on the film's success (and Phoenix himself was apparently curious to explore more of Arthur Fleck's character). Despite initial reluctance from director Todd Phillips to make a followup, the semi anticipated sequel Joker: Folie à Deux was released as of this month. In a complete surprise turn, the film has proven to be a box office disaster and has gotten slammed by critics and audiences. But what is it about this sequel that got such a nasty response from the public?
The film follows Arthur Fleck who is now awaiting trial for his murderous crimes. Upon discovering true love in the form of obsessed inmate Harleen "Lee" Quinzel, Arthur finds the music inside him while also struggling with his dual identity. Now despite Fleck himself having a concise conclusion arc in the first film, the sequel does provide a somewhat interesting storyline where his infatuation towards Lee and his Joker persona leads him on a dangerous path towards his inevitable sentence. Unfortunately, the plot poorly fluctuates between serious dramatic tension and delusional love through musical entertainment. As much as musicals are a phenomenal form of creative narrative storytelling and showing Fleck's fantasies in razzle dazzle spectacle do make sense in his diluted victim complex mind, the film doesn't commit to the musical genre enough to justify the lavish production numbers or Lady Gaga and Phoenix singing together. Had this been done with more thought and focus, the film could have been a full fledged musical instead of a confused hodgepodge not knowing what it's doing.
As an actual continuation of the first movie, Arthur's conflicting feelings towards Lee are aided by Lady Gaga's fascinating performance, blending Lee in a mentally sick yet charismatically manipulative fashion. Her character in the film causes severe turmoil as Arthur juggles between his abusive prison guards, his reasonable lawyer and the witnesses going against him. However, on top of Lee's character not being fully utilized beyond her infatuation with the Joker persona over Arthur himself, the aforementioned poorly integrated musical numbers make it hard to gain momentum in the already paper thin plot. The closest to genuine momentum in the feature comes from the trial scenes, especially when past witnesses of Arthur's actions come into play. Two notable stand out sequences come from Zazie Beetz and Leigh Gill returning as their former characters and they make the most out of their limited screen time in which you truly feel sorry for their aftermath of Arthur's downward spiral. When the boring court drama is better executed than the romantic plot, there's a definite problem to be sure.
Now for all of the movie's failures to fully commit to its fascinating concepts, I don't think it actually would've been so subpar had it not been for the disastrous third act. In addition to the primary court drama and romantic intrigue, Arthur barely hangs by a thread in being severely abused by the Arkham security staff while also garnering admiration from his fellow deranged inmates. In true artistic spiraling, director Todd Phillips and the filmmakers chose to execute this scenario by leading Arthur to realize the consequences of his actions all the while showing him trying to escape his dangerous followers that only want Joker and not the real Fleck. One could argue that this was done to show how little interest Phillips had in actually making a Joker sequel to begin with, and if you ask me, the third act feels like the crew were deliberately sabotaging everything having to do with further Joaquin Phoenix Joker installments in the least subtle compromise possible. I can't say I never imagined a director going so far out of their way to kill the disaster they unleashed into the world, but there we are.
So on top of Joker: Folie a Deux not knowing whether to commit to a deranged musical narrative or a court drama spiral, the execution of the storyline as a whole leads one to believe that the filmmakers went out of their way to sabotage this feature. When one realizes how little interest Todd Phillips had in making a followup to begin with, I think it's best that we acknowledge who the real enemy is here: the diluted corporate decision making that causes a $200 million dollar trainwreck to collapse on itself. Maybe this movie should be a wakeup call to everyone who thinks that studios and filmmakers have your biggest interests (looking at your brainwashed Joker fans).
Ginger Snaps (2000)
Sisterly Conflict at its Most Supernatural
So you make a blood oath with your sister that you'll protect them or be by their side at all costs until death comes your way? Makes sense I suppose.
That being said, this is still a pretty fun ride of a movie complete with hysterical yet believable performances (especially the leads Emily Perkins and Katharine Isabelle) and an interesting perspective on teen drama from the POV of death obsessed outcasts. Admittedly, the lower budget does work against the film as it normally doesn't look any different from your standard televised teen production. However, the darker nighttime sequences are much more intriguing with many of the scares occurring in a vaguely bleak presentation so your mind can fill in the blanks. The film also makes good usage of gory makeup and effects, and it's rare to see such a macabre supernatural flick go this far in making you feel sick in all the right ways.
But perhaps the biggest factor of this film being remembered so fondly is because of the conflicting relationship between the main characters, Brigitte and Ginger Fitzgerald. Being sisters who are morbidly fascinated by death and deception, their relationship is put to the test once Ginger begins to change for the worse. Part commentary of teen development, part look into familial conflict in regards to their concerned mother Pamela, and part romantic drama once boys come into the mix, there's a lot of subject matter to tackle here that could have easily been hard to keep track of. Thankfully, the plot is primarily focused on the straining relationship between both sisters as one is more concerned about horrific change than the other. It all makes for a really frightening yet heartbreaking climax that leads us to wonder what could have happened had both sisters been more considerate of one another in the long run.
What's interesting to note about Ginger Snaps is that it garnered critical acclaim back in its initial 2001 release yet barely got any public attention and underperformed financially. Following huge sales on home video, the film would then garner an even better reception and both a sequel and prequel in 2004. I say this because now that they're all at least 20 years old by now, there's a good chance it'll get more fans and viewers within this current year onward. You never know what obscure treasures will get the attention they should have gotten long ago.
Fright Night (1985)
Imperfect yet Enjoyably Campy Vampire Mystery
In 1985, a campy supernatural horror flick called Fright Night was released to strong reviews and modest financial success. It managed to spawn a sequel in 1988 and a remake in 2011, so there was definitely some value to be had with the premise of a teenager who tries to prove that his next-door neighbor is a vampire. As for looking at the film nowadays, it was definitely a fun old time even if it also fell short in a few places for me.
Now the first act is probably the weakest part of the whole movie as the main character Charley Brewster tries and fails to get his friends, family and even the authorities to believe that his neighbor Jerry Dandrige is a murderous vampire. While it does add into the suspense, it also drags the plot too much and sets up lame relationship problems with Charley and his girlfriend Amy Peterson. I've never been a fan of misunderstandings in relationships in lieu of only one person seeing true evil when no one else does and it doesn't help when Charley's insufferable friend "Evil Ed" makes things more annoying for the poor guy. As obnoxious as Charley may be, he still has every reason to be worried about the safety of others, especially when Jerry threatens his very existence. In fact, Chris Sarandon nearly steals the show in every scene he's in by blending Jerry's seemingly lax sarcastic attitude and true horrific nature seamlessly, thus making his actual appearance all the more frightening when he comes up.
Fortunately, things do pick up the slack more by the second act once Charley tries getting the help of horror program host Peter Vincent, a fictional vampire hunter who is much more vulnerable and easily frightened in real life. Thanks in large part to Roddy McDowall's performance, Vincent is perhaps the most relatable character in the whole movie due to his weary deliveries meshing with his sternly human qualities in a fashionable and down to earth manner. In addition, the stakes do rise once Jerry threatens everyone in Charley's life, including Amy who resembles someone he once loved. This is where the uncomfortable tension is truly creepy once Jerry's lust kicks in, though one could argue him being the villain makes this factor less problematic in theory (it's not to me). That said, it still motivates Charley enough to go after his foe in a brave yet vulnerable manner, especially once the slow yet insane third act kicks in.
As far as other notable qualities are concerned, the set of Jerry Dandrige's home is quite remarkable from an interior design perspective. It feels welcoming at first glance yet is also quite sinister in its bleak perimeters and gothic architecture, aided further by harsh lighting and macabre decorations. In addition, the special effects work is elevated within the feature's budgetary limitations and thus make the likes of demonic red eyes, sparse yet intense bat and creature puppetry, ghoulish costume attire and practical gore makeup stand out accordingly. For all of the film's pacing issues, the cast and crew definitely had a lot of fun in making the most out of the production qualities to recreate a freaky supernatural film that knows when to not take itself too seriously. Perhaps the most dated aspect of the whole movie is Brad Fiedel's score that makes extensive usage of synthesized 80s orchestrations, although they are certainly more memorable than the terrifying compositions. Considering how much fun this film had within its material, this score is taken advantage of just enough.
In combining humor and thrills within a campy vampire flick, Fright Night is a mostly enjoyable romp thanks to the fun the filmmakers were having with the content in spite of any story momentum going awry. If you're looking for a vampire driven mystery that takes itself less seriously than most vampires films out there, this should be right up your alley. It's funny how some cult horror features come and go from their time in the sun, but there's still some appeal to be found in this one.
The Craft (1996)
A Campy Nonconformist Teen Flick for the Ages
Ever imagined what would happen if you joined a witch's cult and tried to get away from it? In the case of the 1996 cult supernatural classic The Craft, it focuses on four outcast high school girls who pursue witchcraft for themselves, only to subsequently experience negative repercussions and enter a downward spiral once the outsider tries to leave. That outsider in question, Sarah Bailey, is your typical fish out of water character who tries to fit in but is only able to make friends with the witchcraft trio of Nancy Downs, Bonnie Harper and Rochelle Zimmerman.
Right off the bat, the group have great teen romping chemistry with each other, and actors Robin Tunney, Fairuza Balk, Neve Campbell and Rachel True manage to portray the worst qualities in bratty outcasted high schoolers while also making them sympathetic. In addition to Sarah playing hard to get with the popular jock Chris Hooker, Bonnie's body scars and Rochelle's encounters with racist bullies are good establishing motivations to use magic for beneficial matters. That said, Balk steals the show in showing Nancy's eventual downfall in going too far with her abuse of power, and despite her initial success in getting her and her mom away from her abusive stepfather, she ends up abusing and killing others in the name of magic and unironically goes against the reason she and her friends got the spells in the first place.
Admittedly, the film's campy usage of effects driven magic might override the apparent feminist themes it's trying to convey due to how heavy handed its approach to abusing others with magic can be. That said, seeing this time capsule of female independence and nonconformity from a very specific era in teen cinema still gives it its own unique identity that allows one to appreciate what the filmmakers were going for. It also knows how to balance the campy humor with the mesmerizing horror seamlessly as things go further downhill for Sarah as her own life ends up in jeopardy from the petty yet diabolical wrath of Nancy's seemingly unstoppable power. It's these frightening qualities that not only maker Sarah a much stronger character than one would think, but also give us a reminder to not mess with certain people or else the consequences will be far more severe than having your powers taken away.
When The Craft came out, director Andrew Fleming and producer Douglas Wick managed to put together a thoroughly intrinsic postmodern witch narrative that flipped the high school dramedy craze successfully. Thanks in large part to its ever appealing cast and fascinating blend of campy horror and teen angst, this film has aged quite well today and could be one of the more inspirational teen flicks of its time and now. Given it had a legacy sequel not too long ago, this month is the perfect time to check out the feature for your own curiosity. Its cult status cannot be understated and you'll see why once you bestow your eyes on it.
Eraserhead (1977)
Unlike Anything Out There in the Body Horror Genre
In 1977, a then brand new surrealist filmmaker named David Lynch released his feature length directorial debut called Eraserhead. What initially started off as Lynch's thesis project at the American Film Institute ended up taking five to seven years to put together due to insufficient funding. After getting a lot of attention from midnight movie screenings following its middling release, the film went from being deemed a cult gem to one of the most celebrated surreal body horror films of the 20th century. So looking back at the film that put Lynch on the map, what exactly makes it stand out so well?
Now the basic premise of the film is that a man named Henry Spencer is left to look after his grossly deformed child in a desolate industrial landscape. Right off the bat, the film is primarily about the worrisome nature of parenthood, and considering that Lynch loosely based the feature off his time living in the then rundown areas of Philadelphia and his own daughter initially being born with clubbed feet, it's easy to see where he was able to take these concepts into surreal territory. While the narrative itself is pretty straight forward, the connecting scenes are executed in an almost nightmarish Kafke-esque world where even a scene of Henry meeting his in-laws is simultaneously disturbing and hilarious due to the immersive surreality that Lynch introduces us to. Admittedly, this might also work against the feature as even if you do grasp what's going on, the basic structure could lead one to question why the movie wasn't just made under 40 minutes.
Fortunately, the cast do make the feature stick out well in addition to the creepy imagery bestowed on us. Jack Nance in particular carries the film on his shoulders portraying Henry with a pacifistic disgust that makes it easy to empathize with him in the strange world he inhabits, and even his girlfriend Mary is shown to have a relatable resentment towards their deformed son. In addition to strangely designed yet intriguing symbols such as the Lady in the Radiator and the Man in the Planet, the Beautiful Girl Across the Hall is representative of Henry's alternative desires that he cannot control, although she isn't all that interesting otherwise. It's also good to mention that there isn't much dialogue in the film, but the cast say so much more with their facial expressions, Nance especially. Much like how an artist exaggerates their work by means of interpreting a subjective view of reality, Lynch managed to direct the actors in an artistically bizarre fashion that makes them truly feel like people not from our world, no matter how believable they may be in their roles.
Now as far as the baby goes, while everyone has been pondering how Lynch crafted the model and puppet to this day, I'm more curious as to how he and sound designer Alan Splet created the baby's unique screams, cries and cackles. It's already apparent how bleak and dreamlike the black & white cinematography is in selling the surreal world of Eraserhead's own identity, which also allows for the grotesque imagery to look more palatable, but I'd argue the sound design and music score truly makes the feature work to its advantage. The densely layered reverberating sound effects give off the transcendental flow that Lynch always went for in his earliest work, and the diagetic music shown in settings like Henry's broken apartment and the Radiator Lady's stage area are as hypnotically dreamlike as they are internally disturbing. Lynch himself did most of the score and his personal touches truly shine in the audio, and if it weren't for those additional touches of intrinsic nightmare fuel, the film would arguably have not been the same otherwise.
It's easy to say that Eraserhead is painfully confusing from start to finish, but the intriguing broken setting, fascinating characters, and unrelenting creativity in both practical effects and layered sound work are what make the film worth watching. While Lynch has gone on to do arguably more fascinating work since his debut movie, there's no denying how culturally significant and artistically important this film was in making him a household name, let alone for the arthouse horror scene. There's never a bad time to watch the film and there's also never a bad reason to recommend it to others who aren't familiar with Lynch's filmography. You might not get it, but you'll definitely keep thinking about it.
Damien: Omen II (1978)
Cash Grab Followup that Almost Works
Following The Omen's unexpected slam dunk at the box office, a sequel was put into production by producer Harvey Bernhard, who also wrote the initial script. Released in 1978 as Damien - Omen II, the film did well commercially but only got a mixed critical reception and has not earned a strong later day reputation like its predecessor. Looking at the film nowadays, it did appear to have a lot of promise in focusing on a now pubescent Damien Thorn discovering who he really is. However, the final result is more interesting in theory than in execution since this film can't help but cash in on its predecessor's success.
Set seven years after the events of the first film, Damien Thorn has been raised by his wealthy aunt Ann and uncle Richard Thorn whilst being enrolled in military school. After soon discovering that he is the Antichrist, Damien attempts to seize control of his uncle's business empire. As mentioned before, this premise has a lot of potential to develop Damien past his initial childhood and see how realizing his true persona could affect his own life, let alone those around him. Unfortunately, the film uses this potential as more of a subplot compared to focusing on Richard Thorn witnessing similarly horrific deaths and tragedies like in the original, making it all the more obvious that this film would rather milk the thrills for all their worth. Despite William Holden's best efforts to emphasize Richard's growing anger and fear, he doesn't add much to his boring business scenes and character interactions. If anything, the individuals who get killed off are far more impactful, including Richard's concerned aunt Marion and photojournalist Joan Hart, as brief as their appearances are.
With that in mind, it should go without saying that the sequel is at its most effective whenever the horror steps in, but the connecting elements of Richard's meetings and Damien attending military academy are nowhere near as interesting. Despite a lot of initial heart stemming from the brotherly relationship between Damien and his cousin Mark, there simply isn't enough screen time to develop their genuine feelings to make Mark's discovery of who Damien is all that shocking. Jonathan Scott-Taylor is well cast as Damien balancing his inner emotional turmoil with his devious side, but the film hardly spends much time seeing his thought process enough to make his penultimate decision to do bad believable. Even the promising inclusion of Lance Henriksen as Sergeant Daniel Neff isn't utilized enough to make his role as a proper guide for Damien substantial enough in the long run. As usual, Jerry Goldsmith's score remains the true highlight here and is even bigger and more dramatic than before. It's about the most consistent quality in this mixed bag of a sequel.
So while Damien - Omen II had all of the right ingredients to make for a truly substantial followup to The Omen, it sadly squandered those opportunities with an inconsistent narrative, boring main characters, and an underutilization of world development in favor of creepy thrills. I would primarily recommend this feature to fans of the first film, and even at that, there's other Omen properties that could be worth your time more. This film is definitely far from being terrible as it still offers some exciting ghoulish scares to go around, but you just have to get through a slog of boring underdeveloped scenes to get to them.
The Omen (1976)
A Cautionary Tale of Life Threatening Proportions
In 1976, a supernatural horror film was released called The Omen, which was essentially about the Antichrist in the form of a child. Despite garnering a mixed critical reception upon its initial summer release, the film was a huge financial success and garnered not only Oscar recognition for its impeccable music, but also spawned numerous sequels, a remake in 2006 and a prequel that came out this year. Nowadays, the film has earned a strong reputation as one of the most iconic horror films of the '70s. Having said all of that, for all of the film's accomplishments, I'd argue that it only works to an extent.
The film follows diplomat Robert Thorn who replaces him and his wife's stillborn son with a young child whom they name Damien. Following a series of mysterious deaths occurring around the family as Damien grows up, the Thorns eventually discover that he is the prophesied Antichrist. Now with this premise intact, The Omen is more of a mystery leading up to what Damien eventually is albeit with stubborn superstition rather than a full on exploration of Damien as a whole. Personally, I think the film would have been more impactful to focus more on Damien's point of view rather than Robert's, but knowing the guilt he has been hiding from his wife makes the build up to Damien's origins does at least add in some poignant drama in an otherwise frightening feature. Admittedly, a lot of the thrills and scares come off as comical by today's standards due to some exaggerated murders and silly line deliveries. That said, the film is arguably at its scariest anytime Damien is around, showing how unsuspecting those we are truly unfamiliar with are when left unchecked, adopted or not.
Now while the film's tone can often fall short of being truly scary much of the time, Gregory Peck takes his role as Robert Thorn seriously enough to keep the more unintentionally funny sequences from ruining the film as a whole. Lee Remick also portrays his wife Kathy with reasonable vulnerability and trembling paranoia quite well, and David Warner keeps the momentum of the mysteries behind the deathly encounters smoothly keeping Keith Jennings's intrigue up. That said, Billie Whitelaw truly shines as Damien's suspicious nanny Mrs. Baylock, as her seemingly laid back appearance feels in lieu of something more sinister at bay. A lot of the other characters are more or less religious figures and victims who get different outcomes depending on the scene, but the cast make the most out of David Seltzer's convoluted script. Perhaps part of the film's unintentional hilarity lies in how level headed the cast come off as, although since the religious aspects are hard to grasp on first glance, the down to Earth performances are needed so that some semblance of reality is kept here.
In regards to other notable qualities, Jerry Goldsmith's Oscar winning score is perhaps the film's penultimate highlight due to its somber ambience and foreboding Latin chants. Next to the film's theme song Ave Satani feeling like a satanic vocal nightmare, the score accompanies the film so seamlessly that the suspense is intensified thanks to its mere presence, making even the quieter moments spine tingling from simple percussions. Less effective than the foreboding score is the cluttered editing which can speed from one scene to the next without proper pacing and also make some deaths all the more laughable from the terrible jump cuts alone. Although primarily shot in England, the filmmakers utilized natural weather and set aesthetics to accumulate fear from the most terrifying of ordeals, and it's quite fascinating how many deathtraps they managed to make out of the Thorn's fancy estate home. While not all of the filmmaking qualities worked out too well here, some of the finer spit & polish on display can be attributed to those who knew how to scare people with so little.
While not successfully scary in every capacity or fully developed in terms of narrative structure, The Omen is still a mostly dread inducing classic with enough strong performances, creative horror tactics and chilling music to make it worth one's curiosity. As mentioned before, The First Omen has come out this year, so now would be a great time to look back at the feature that kickstarted such a lucrative franchise, let alone the prestigious career of its director Richard Donner. Any opinions on religion aside, there is a lot to be said here about a life threatening warning disguised as a human child.
Night of the Living Dead (1968)
The Zombie Flick that Really Started it All
The late George A. Romero was a legend in horror filmmaking as far as innovating the zombie sub genre into the mainstream. Going as far back as his directorial debut, Night of the Living Dead, the film was immediately controversial back in its original 1968 release but was nonetheless a ginormous hit given its low budget. Since then, the film grew steadily over time to the point of being regarded as a milestone in horror cinema and even spawned a lucrative franchise that cemented Romero as a horror icon. So looking back at the film that started it all, it's easy to see why it remains such a pivotal picture today.
Set in rural Pennsylvania, the film follows seven people who get trapped in a broken farmhouse whilst trying to avoid an abundance of reanimated corpses. With this basic premise set in stone, Romero and co-writer John Russo emphasize the claustrophobic paranoia within the targeted people who are desperate to fight off against the undead. Considering that audiences of the late '60s had no idea what to make of the creatures at the time, it's easy to imagine that viewers were being introduced to the zombie (or ghouls as referred to here) just like the leading characters. In spite of the low budget, Romero and the filmmakers made the most out of the characters bickering with each other in lieu of the slow moving creatures migrating towards the house, almost as if we're watching a play that happens to be filmed. This level of claustrophobia is aided by everyone's hope that the televised news report will make everything ok with each report that comes along, which only affects everyone's psyches for the worse and in a timely manner that is as socially relevant today as it was back in '68.
As for the characters themselves, as vulnerable and irrational as they can, they are all doing their best to make it out alive from monsters they can barely stop. The primary lead Ben, played by Duane Jones, is portrayed with poignant paranoia that only escalates as he loses his mind when things go haywire for others, showing how even those with some plan don't know what's to come. Much like your typical horror film, the set up character of Barbra keeps things relatable before the horror kicks in, and Judith O'Dea captures an ever growing maddening fright that ultimately leads to her demise albeit in ways one would expect. While the rest were primarily played by members of Romero's company and past work, they are still handled with reasonable manic induced fear where you don't know how they'll end up acting out towards one another. Admittedly, the film's ending may be normally bleak by today's standards, but seeing what becomes of the characters was a huge deal at the time, further cementing how much of an identity this feature had from the competition back then.
In regards to other notable low budget qualities, the rural Pennsylvania outdoors make for great suspense as the characters try and fail to hoard off the creatures, complimented further by the grainy cinematography that presents so little for all the right reasons. The rinky dink farmhouse also serves as a deathtrap for the characters as much as a form of protection, mainly from the creepy basements and shadowy rooms that no one in their right mind would go near. In addition, the creatures are presented with rugged cloth and syrupy fake gore, adding into both the limited props and unorthodox killings occurring as death lurks throughout the plot. While these methods would be improved with higher budgeted features in the years onward, seeing these crudely displayed props on display is grotesquely horrifying given how appropriately sporadic they are depending on the sequence. Lastly, while largely consisting of stock music, the score adds into the uncomfortable tension rising throughout the feature, adding into the isolated paranoia and uncertainty for how things will play out.
Looking back at the zombie flick that kicked off Romero's strong career, Night of the Living Dead holds up well in its isolated low budget presentation, believably tense performances, tightly knitted editing and timely political commentary. Many zombie films owe their debt to this film's mere existence, and that alone is just partially why it deserves to be rediscovered by a new generation as the years go on. Given its public domain status, it should not be hard to track the film down for your own curiosity. Poignantly substantial as it is horrifically mind numbing, its legacy continues to live longer than the undead it spawned.
Sisters (1972)
Cautionary Look into Investigating Beyond Vague Assumptions
Brian De Palma could very well be one of the most underappreciated yet endlessly talented filmmakers of the New Hollywood era onward. Known for his unique psychological horror flicks in addition to his acclaimed crime features, one notable example of the former would have to be his 1972 cult thriller Sisters. Loosely inspired by the Soviet conjoined Krivoshlyapova twins with a Hitchcockian twist, the film did quite well critically and financially upon its initial release and kickstarted De Palma's talents in the horror genre. So what makes this low budget Hitchcock influenced story so gripping today?
Set in Staten Island, the film follows French Canadian model Danielle Breton getting investigated by newspaper reporter Grace Collier who claims to have witnessed her committing a brutal murder. What may seem like your typical cute love themed thriller with the introduction of Danielle and newspaperman Phillip Woode forming an emotional bond almost immediately takes a twisted dark turn once Danielle's deranged conjoined twin Dominique comes into play. Without giving too much away, the mystery behind who Dominique is keeps the feature's plot on its toes, all the while slowing down the pacing so the story can unravel as it goes along. A large contribution to the film's suspense comes partially from the believably adept performances, especially Margot Kidder portraying Danielle's bleak vulnerability so naturally that she becomes more frightening when she behaves normally. Adding on William Finley as Danielle's doctor husband Emil Breton holding together the mystery so shadily, Danielle is a fascinating study on the mentally ill trying and failing to transition into adult society.
Having said that, Jennifer Salt truly carries the feature on her shoulders portraying Grace Collier in a thoroughly engaging tough manner. Due in large part to Grace's stubborn determination to investigate the alleged murder on her own, albeit partially due to police skepticism, she is the easiest character to root for in the hopes that the truth will be exposed about Danielle and her husband's atrocities, even if she isn't aware of what she's getting herself into. Much like the suspense thrillers that De Palma and co writer Louisa Rose used for reference, the set up of only one case for open evidence along with the movie's killer makes the plot all the more enticing as Grace delves further and further into the history behind Danielle and Dominique, let alone the mentally and physically disabled across Canada. Perhaps the film might lose sight of smaller plot points like Grace's private detective Joseph Larc tracking down the crime scene, but it more than makes up for it as the primary mystery unravels to a point of shocking revelations, none of which will leave you feeling the same afterwards.
Going more into the visual aspects at bay, the Hitchcockian influence truly shines in the small scaled yet striking cinematography and creative editing choices. By making use of on set locations ranging from New York City apartments to vague hospital settings, De Palma and cinematographer Gregory Sandor captured a naturally classical aesthetic to the framework on display in allowing the general mood to be as scary as the concepts executed throughout the runtime. Some of these thrills are handled with a unique form of split screen effects which demonstrate two different things occurring simultaneously, which fits the intense tone well and is enough to keep any viewer on the edge of their seats. The inclusion of alternating points-of-view feels appropriately distortive as Grace's life falls into dangerous jeopardy, further accompanied by Bernard Herrmann's striking score that soothes the horror smoothly into every scene it's featured in. Homage or not, the filmmakers managed to present this mystery with their own subdued creepy style that you don't quite see much of nowadays.
Cleverly crafted as much as it is unique from its influences, Sisters remains a disturbingly thrilling psychological movie with strong performances, harrowing characters and focused filmmaking that makes the most out of De Palma's commitment to the horror genre early in his career. If you're yet to check this film out, it's definitely worth the watch, although any comparisons to the likes of Psycho, Repulsion and Vertigo will be inevitable yet in service to a frightening mystery behind the physically disabled. Terrifying in more ways than you can imagine, the sisters depicted here are not what you think they are.
Scooby-Doo and the Witch's Ghost (1999)
Haunting and Silly as Expected
Following the smash home media success that was Scooby-Doo on Zombie Island, a second direct-to-video feature with the Mystery Inc gang was immediately put into production. Released in the fall of 1999 as Scooby-Doo! And the Witch's Ghost, the film performed fairly well even if it didn't quite hit the same level of cultural impact as Zombie Island did. It has been said that the team behind that film were given less creative freedom than before on and screenwriters Davis Doi and Glenn Leopold had to alter a less than stellar script from two outside writers. With that said, the final result ain't too bad on its own.
In this caper, Scooby Doo and the gang are invited to the hometown of famous horror writer Ben Ravencroft called Oakhaven during a fall season festival, only for events to go haywire once a sinister witch wreaks havoc on the town. Much like Zombie Island, this film blends the typical Scooby Doo formula with a supernatural twist to make the threat at stake much more intense than usual, which makes for a seemingly mature tone in concept. The first two acts are a blend of humorous shenanigans and a mysterious buildup leading behind the tale of Ben's ancestor Sarah Ravencroft, all the while adding in some levity into the mystery behind a seemingly misunderstood wiccan. Although the film is a lot less graphic and nightmarish than Zombie Island, the final act is where the horror truly shines as Ben turns out to not be what everyone assumes he is, and Tim Curry was clearly having a ball at this point performing him in contrast to his more mundane attitude. Much like any more Curry is a part of, he manages to bring the right amount of malice and hamminess all into one so well.
As for the general cast, most of the Mystery Gang have their recurring players from beforehand, including Frank Welker as Fred, BJ Ward as Velma and Mary Kay Bergman as Daphne, the latter of whom would pass away shortly after this film's release, making her performance here more beautiful to listen to than ever. In addition, Scott Innes plays both Scooby and Shaggy this time around, and he does resemble Casey Kasem fairly well here, even if his Scooby voice might be a little higher pitched than usual. Perhaps the gang member who gets the biggest focus here is Velma, whose detective skills benefit the mystery so well that the suspects of the shady mayor and the town's local Hex Girls band become more prominent as the plot thickens. Speaking of which, Jennifer Hale, Jane Wiedlin and Kimberly Brooks lent their vocals beautifully as Thorn, Dusk and Luna respectively, with the former contributing to the plot in terms of ancestral connection as well. With a mystery laced in a New England town, the usual suspects are much more interconnected than one would think.
Just like Zombie Island, Mook Animation handled the animation direction here, and they did a great job blending the familiar Scooby Doo character designs within a warm Fall color palette and a welcoming New England backdrop. The animation is at its best when the creepiness comes into play, from frightening lighting to spooky costumes and even the climactic battle sequence. In addition, there are some notable cartoony expressions and wild takes to remind us of the silly humor common in Scooby Doo properties to help the supernatural thrills feel at home in this world rather than feeling out of place. Nex to the Hex Girls' unique gothic attire, their rad rock music is a blast to jam to, including Hex Girl and the film's banger of a finale track Earth, Wind, Fire and Air, and one could argue that their band was made to cash in on the gothic music craze at the time. Complete with an intense score from Louis Febre, the soundtrack adds into the film's Halloween aesthetic seamlessly, so much so that this film might not have been much better without it, story or animation wise alone.
Despite its story getting more interesting by the third act, Scooby-Doo! And the Witch's Ghost is a solid successor to Zombie Island thanks to its great performances, frightening animation, rockin' soundtrack and supernatural elements working in favor of the usual formula. While I won't go as far as to say it's perfect to watch for non Scooby Doo fans since it feels more in line with fan tastes than Zombie Island does, it's still worth checking out this time of year. It's scary and funny in all the right ways and this current month could not be a better time to unravel the mystery in a remote New England setting.
Killer Klowns from Outer Space (1988)
Silly Dark Fun at its Best
The Chiodo Brothers have remained a unique sibling trio as far as special effects, stop motion, creature creation, and animatronics are concerned. While their talents have been utilized in numerous fantasy, sci-fi and horror movies over the last 40 years, their signature directorial effort Killer Klowns from Outer Space might be their most well known project to date. In addition to garnishing cult status over the years, the film's legacy has grown in the fan horror zeitgeist and composer Massari has promoted his score strongly in the years since. So what made this scarily wacky feature stand the test of time?
As the title suggests, the film focuses on a group of evil extraterrestrials that resemble clowns who invade a small California town by means of capturing, killing and harvesting the humans for sustenance. With a premise as ludicrous as that, the filmmakers successfully kept the tone of the feature scary yet goofy at the same time, but also managed to craft a lot of imaginative production design and effects work. Unlike most threatening alienesque narratives where the intruders have a diabolical scheme behind their mayhem, the clowns are only established as wanting to destroy humans as a primal hunt, and that makes the stakes all the more hilarious on top of being life threatening. In addition to the clown's creative gadgetry on display, from deadly popcorn bazookas to harmful toy-like ray guns, the puppetry done on them is hyper expressive and deliciously rubbery, making the intentionally gruesome looking masks adorably hilarious, and not just from the strong body acting either. It's amazing that the Chiodos were able to lend their special effects work to their own feature so smoothly.
Next to all the goofily intense effects and puppetry presented on screen, the primary story itself is decently straightforward. Beyond establishing the main characters Mike Tobacco and Debbie Stone as typical cheesy lovers, the feature immediately cuts to the chase in letting the clowns wreak havoc on the town, step by step. While the addition of police officer Dave Hansen being Debbie's ex could have stung as a tired trope, he instead makes for a good tag along as the stakes grow worse from the clown's destructive doings. Even Mike's corny ice cream selling friends Rich and Paul Terenzi end up adding into the plot pretty well as far as attempting to take down the clowns, although it is baffling how they get out better than their truck does. Lastly, John Vernon portrays the curmudgeonly officer Curtis Mooney to such an intriguing degree that it's easy to anticipate what the clowns will do to him, showing how prime stubbornness can sometimes lead you nowhere. What could have been a case of style over substance filmmaking is instead aided by the fun filled story.
In promising all of the dark goofy fun it can offer, Killer Klowns from Outer Space delivers on wackily gruesome content, innovative practical effects and a decently tied together narrative to go along with the intense nonsense. Regardless if you have seen this film before or not, it is absolutely worth checking out for its sheer ambitions in the sci-fi comedy horror genre, let alone special effects wise. While the development for sequels has remained undetermined over the years, the Chiodos can take as long as they need to, since they already succeeded in putting together something truly out of this world.
Videodrome (1983)
Shockingly Timeless as Far as Technology Narratives are Concerned
In 1983, Canadian horror filmmaker David Cronenberg released what would soon become one of his most beloved features, Videodrome. Despite not garnering much financial revenue during its original release, the film was nonetheless well received critically and soon gained cult status as one of Cronenberg's finest achievements in both the body horror and science fiction genres. Notably made during the early '80s when content relating to sex and violence was nowhere near as accessible to the mainstream as it is by today's standards, this film comes off as a huge punch to the gut over 40 years later.
The film follows Max Renn, the CEO of a small Canadian UHF TV station who stumbles upon a broadcast signal of snuff films. As he unravels the origins and current usage of the signal's source, Max's world slips into a series of hallucinations that cause him to lose his sense of reality. With that main premise in mind, one of the movie's biggest core themes is how messed up the relationships between humans and screens are, and much of that is emphasized with the public's niche interest in exploitative sexual content. The numerous ideas behind the supply and demand of such media holds up remarkably well today, and while it's hard to say if Cronenberg knew what was to be expected in the future's overabundance of such depravity, knowing that the taboo has become commonplace today makes this investigation narrative all the more compelling. In fact, Max's general obsessions and inner desires are so intertwined with the consuming content he uncovers that it's easy to relate and feel sorry for him at the same time, thanks in part to James Woods' insanely deranged performance.
Going into these obsessions consuming any given human, the most heartbreaking character in the whole film next to Max is probably radio host Nicki Brand, whose sadomasochistic view on the world is both fascinating character analysis and hard to swallow when one considers how certain desires and fetishes can damage people more than we think. While there are other characters to go along the feature, including UHF operator Harlan, seedy businessman Barry Convex and softcore pornagrapher Masha, none are as harrowing as Nicki and much of that can be attributed to Debbie Harry's emotionally fragile albeit sultry acting. In addition, while the character of Videodrome theorist Dr. Brian O'Blivion is shown sporadically enough to keep the mystery as intriguing as ever, his daughter Bianca doesn't leave much of an impression beyond her basic role in controlling her father's legacy against Videodrome's functionality. In trying to comprehend the insanity that is diluted vulgar media, the leading characters are what carry the film's horror on its shoulders seamlessly.
Speaking of horror, Cronenberg lends his signature body horror style of practical filmmaking in sporadic yet icky proportions, and much of that can be attributed to the incredible effects work. On top of Mark Irwin's creepy cinematography elevating the film's tone to nightmarish results, the effects led by Rick Baker and Michael Lennick are nothing short of hideous yet endlessly enthralling. By utilizing the static imagery seen in old school videography to emphasize Max's hallucinated reality, let alone how they managed to pull off the television screen warping effects, the filmmakers made the most out of the ever growing terror alternating between what the public sees and what the deranged sexually perverted imagine. Howard Shore keeps the intensity high with his mesmerizing score that blends dramatic orchestral compositions with experimental electronic instrumentals that rise as Max's world spirals further into pixelated mania. In keeping close to the themes of different worlds compromising one's senses, the film knew how to present those ideas creatively.
As bizarrely haunting as it may be in both concept and execution, Videodrome remains creatively disorienting and timelessly devastating in its commentary on the far gone obsessions with technology and entertainment fusing together for the most inhumane reasons imaginable. If you're a body horror / sci-fi fanatic or curious about the general works of David Cronenberg, then this is a must watch for the month of October. Seeing this movie for the first time allowed me to appreciate its innovative look on how we as flesh and blood perceive technology for our own sick pleasures, both for its time and especially today.
Carnival of Souls (1962)
Obscure Classic in Atmospheric Horror
In 1962, an independent psychological horror film called Carnival of Souls came out. Marking the only feature-length directorial effort of Herk Harvey, the initially marketed B horror flick never got much widespread attention upon its release and almost fell into immediate obscurity. Following many late-night television screenings and notable recognition, the movie has since gained a respective cult following amongst horror film buffs and Halloween enthusiasts. Regarded nowadays as a foreboding atmospheric minimalist nightmare, there's a lot to admire from the film's mere presentation alone.
The movie tells the story of a young woman named Mary Henry, whose life spirals after a car accident. After relocating to a new city and failing to assimilate with the locals, she becomes drawn to the pavilion of an abandoned carnival. At just 80 minutes long, Carnival of Souls manages to keep its story fairly concise albeit stretched out just enough to warrant a chilling take on a woman coming to terms with death. Much of this can be attributed to the black & white cinematography adding into the eeriness that lingers on as Mary becomes more weary of the disorienting locations and people she interacts in. Given how small the film's budget was, the naturally lit lighting and attention to minimal detail in the cinematography only adds into the horror that looms over the feature. In addition, Starsberg trained actor Candace Hilligoss elevates Mary's ever growing paranoia to such a captivating degree that we're able to feel the same level of fright in her eyes. With the lead actress carrying much of the film on its shoulders, it's easy to feel as disoriented as the film makes itself out to be.
Speaking of actors, much like the German expressionist influence intended for the movie, many of the cast admittedly suffer from fitting within the haunting atmosphere or feel a bit too exaggerated in their facial features and body gestures for their own good. Outside of Mary's friendly yet concerned minister boss, the most notable character in the film has to be her wooing neighbor John Linden, who is portrayed in such a goofily cocky manner by Sidney Berger that he becomes hard to take seriously much of the time. Having said that, the finest performance in the film may be Herk Harvey himself as the main ghoul who frequently stalks Mary the most, whose silent yet intimidating presence compliments the feel of both Ingmar Bergman and Jean Cocteau beautifully. While the acting might not be the finest quality the movie has to offer, it nonetheless adds into the claustrophobic atmosphere that blends mundane reality with intense surrealism. Plus, given that the filmmakers had to work with locals to fill in the cast, it feels natural for the low-budget resources that benefit the feature.
Next to the haunting cinematography, the fully established locations shot through guerilla style filmmaking allow us to feel as if we're entering something in our own world with a demonic presence lingering about. In addition to being shot in Kansas, choosing to film certain key sequences in Salt Lake City, Utah brings the development of an abandoned carnival that almost no one would be aware of appropriately fits Mary's confused feelings of a place she's foreign to. Much of these attributes are contributed to the intense organ style score courtesy of Gene Moore, which not only works within Mary's organist occupation, but the hypnotic nightmarish execution found in the sets and editing. Without giving the climax away, the score comes into full swing as the ghouls that haunt Mary all throughout the runtime get exposed in all of their subtle terrifying glory. In a day and age where special effects have become a bigger staple for horror movies than atmospheric filmmaking, these different small scale production values are what give the moie its own familiar yet unique identity.
As slow and lingering as it may be, Carnival of Souls is a transcendentally hypnotic horror film with plenty of small yet frightening production qualities to go along with it. Not only do I thoroughly recommend this film for the Halloween season, but since it happens to be in the public domain, you'll have no trouble finding it at all. It is a darn shame that Herk Harvey didn't get to direct more feature films due to this movie's initial failure, because one can tell how talented he was with all of the horror influence at his disposal. Shall you enter this carnival on your own terms, beware to be thrilled and spooked simultaneously.