Cujo108 Reviews

Shadows of the Mind (1980)

Obscure shadows

[30 June 2013]

An obscure effort from the director of the infamous "Last House on Dead End Street", I expected more from "Shadows of the Mind" than what I wound up getting. As a child, Elise witnessed the drowning deaths of her father and stepmother. Racked with feelings of guilt, she's been institutionalized ever since. That is until Dr. Lang decides she's ready to return to the outside world. Hesitant and alone, Elise heads back to the old family estate. Before long, her estranged stepbrother stops by to visit and various murders begin to occur.

For the first 40 minutes or so, this is a mostly dull and repetitive affair. Elise wanders around the estate as the same lines of dialogue replay over and over and over in her mind. I'm a very patient individual, but this was a bit much. For a film with such a short running time, they sure padded it out. It doesn't help that Marion Joyce (who co-wrote the picture) is pretty annoying in the part of Elise. Fortunately, the proceedings are enlivened considerably by G.E. Barrymore's smarmy portrayal of Leland, the scheming stepbrother. When he arrives on scene, things finally pick up a little. Another plus is the gorgeous Bianca Sloane as Dr. Lang's fiancée, Diana.

The run down estate makes for a moody setting, and there's an effective scene of a body being discovered in an elevator shaft. However, the plot developments are as predictable as they come, including the twist that the film ends on. Combining that with a grating lead performance and the ridiculous amount of padding, "Shadows of the Mind" never comes off as anything above mediocrity. Worth a one time watch for curiosity's sake, but that's about it.

Rock-A-Die Baby (1989)

Downhill after the first story

[30 June 2013]

Late 80's anthology that has a woman telling scary bedtime stories to her young daughter. The first story follows a small platoon in the jungles of Vietnam as they encounter a horror other than the war. The second tale involves a group of college friends who decide to play a prank on a prudish girl they know from school. The third has the woman telling her daughter about what happened shortly after she and the girl's father were married.

The Vietnam segment is easily the best. It boasts a thick atmosphere and solid performances from it's four principle cast members (including Glenn Morshower of the cult comedy, "Drive-In"). It ends on an anticlimactic note, but is quite enjoyable otherwise. The second story starts off with a game of strip poker. That's pretty much the highlight, though, go figure, the hottest of the girls isn't the one who gets naked. The séance prank these geniuses come up with is poorly thought out and wouldn't fool even the most naive of idiots. As expected, the gag goes wrong, but in a really lame way. Bad special effects and a ridiculous ghostly voice further help to sink this segment. That said, the third bit is the weakest of the lot, as it tries it's hand at silly comedy. All of the jokes are incredibly obvious, so you'll see them coming a mile away. The finale is laughable, though not in the way intended.

Overall, a lower tier anthology effort. Not horrible, just nothing remotely special. The first story had potential, but the ending hurts it. The film itself starts with a rock band being approached to do the music for a horror movie, and we get various annoying musical interludes throughout, as well as that old cliché, outtakes during the end credits.

Sometimes They Come Back... Again (1996 Video)

A different take on the story

[26 September 2012]

Direct-to-video sequel is actually more of a re-adaptation of Stephen King's original story. Michael Gross plays a psychiatrist who goes back to his hometown following his mother's death. Accompanying him is his teenage daughter, Michelle (a young Hilary Swank). Gross soon realizes that they're being targeted by the men who sacrificed his sister in a satanic ritual 27 years earlier, only they're no longer human.

In some ways, this is better than the first film. For one, it features an overall darker tone. It doesn't get all sappy either, and the idea to have the gang return as demons instead of ghosts works well, also tying into a ritual from the original story that the first adaptation omitted. I preferred the father/daughter dynamic over the family one, and the addition of side characters, Maria and Jules, was certainly welcome.

On the other hand, even as demons, Alexis Arquette and company didn't come off quite as menacing as the gang from the previous flick. I think that had to do with some lame one-liners. There's also the fact that I recognized one of the gang, Glen Beaudin, from the silly 90's TV series, "Superhuman Samurai Syber Squad", so it's hard to take him too seriously as a threat. The priest character is way over the top as well, and the annoying lawnmower idiot couldn't get off my screen fast enough.

Still, this is a fun take on the King tale, and we get some interesting imagery such as death by flying tarot cards and Swank getting it on with a demonized Arquette. It's far from great, but it makes a nice companion to the first, as both have their qualities and misfires.

Sometimes They Come Back (1991 TV Movie)

Sometimes they need a better ending

[26 September 2012]

Along with his wife and son, a man reluctantly returns to his hometown years later to take a teaching job. It isn't long before ghosts from his past come back to haunt him and do much worse. Tom McLoughlin, director of the most overrated film in the "Friday the 13th" franchise, directed this made for TV adaptation of the Stephen King short story.

Tim Matheson stars as the man tortured by memories of his brother's death and the men responsible. The film is strong on mood, successfully bringing to life that sense of time, place and small town atmosphere that King's stories thrive on. The film's best quality is it's villains. Robert Rusler is particularly intimidating as leather-clad gang leader, Lawson. The scene where Matheson first sees him again, posing as a student in his class, makes for a potent moment. Another great scene takes place in the gang's phantom car as they show their true forms to a jock victim.

Unfortunately, the film doesn't keep it's momentum going as we head toward the finale. The climax is a bit of a mess, and the ending gets overly schmaltzy. The ending to King's original tale would have worked a lot better than what we get here. As it is, this is worth seeing for the villains and overall mood, but it's definitely flawed. Brooke Adams doesn't get a lot to do as Matheson's wife.

Blood and Lace (1971)

Blood and sleaze

[26 September 2012]

After her whore of a mother is murdered by a hammer-wielding nutjob, teen Ellie Masters is sent to live at the rural Deere Orphanage. She immediately begins plotting her getaway, as she wishes to track down the father she never knew. What she doesn't realize is that Mrs. Deere and her handyman, Tom Kredge, won't let anyone leave under any circumstances. If it comes down to murder, so be it. As she deals with this sadistic twosome, Ellie also realizes that she's being stalked by a masked creep with a claw hammer.

Often referred to as the sickest PG film ever, I had wanted to see this for years. After finally happening upon a VHS copy, I was disappointed when I quickly came to the realization that it was a cut print. The opening hammer murder wasn't as explicit as I'd heard, and the scene where Bunch seduces Walter in the barn was really chopped up. Thankfully, not only does the print on Netflix look incredible, but it's also fully intact. This is such a great, truly warped little nasty. The twists just keep on coming, getting sicker and more twisted as the film progresses. The ending is a real kick in the balls.

Gloria Grahame and Len Lesser own the film as the pair of crazies who will get those welfare checks at any cost. Melody Patterson is an arrogant bitch as Ellie, so I never felt much sympathy for her. Vic Tayback is the perverted detective who takes more than a passing interest in Ellie's predicament. His character made my skin crawl.

"Blood and Lace" is pure, untarnished nihilism on film. There's nary a sympathetic character in sight as the sleaze and melodrama run rampant. One also has to wonder if Wes Craven was inspired by this film's masked freak when he came up with the look of Freddy Krueger. The only thing I don't care for here is the music. It's overwrought in several places where something more subdued would have added to the overall effect. This is a gem that deserves a stronger reputation.

Screams of a Winter Night (1979)

Superior anthology

[5 February 2012]

Superb regional horror film about a group of friends who go on a weekend excursion to a lakeside cabin in the wilds of Louisiana. Once there, they start telling each others various "true" stories of the macabre. The place they're staying happens to have a morbid history of it's own, but is it really true? I had been wanting to see this film for many years, but with the tape being exceedingly rare, it took a good while before I got the opportunity. After finally checking it out, it rapidly became my new favorite anthology.

The first story, "Moss Point Man", is a combination of bigfoot tale and old urban legend. It's the weakest of the lot, but it's short. The second bit, "The Green Light", is the best as three fraternity pledges must spend the night in an old building where a mysterious green light has been seen emanating from the upper floors. This one has a unique ending and some creepy moments with the guys hearing sounds from the floors above them. The third and final tale, "Crazy Annie", involves a girl who goes crazy after an attempted date rape. The story is typical, but it's well-acted by the main girl.

That said, this is the only omnibus I've seen where the wrap-around segment is actually the strongest aspect of the picture. The area our characters are staying is said to be plagued by an Indian wind demon. The opening credits are very effective as one family's encounter with the malevolent entity plays out via sound only. Once our main group arrives, John, the one guy who know about the place's history, shows another guy the old house and graves of the family. This is another unsettling scene, one that gave me a "Blair Witch" vibe.

As the film plays out, the wind builds and builds, culminating in a terrific ending. There's also some intriguing subtext about the nature of scary stories and the basis behind them.

The Disappeared (I) (2008)

Don't let it disappear from your radar

[5 February 2012]

After suffering a mental breakdown following the disappearance of his younger brother, Matt is released from the hospital and tries to get back to a sense of normalcy. However, his father blames him and Matt's own guilt continues to haunt him. Before long, visions of his brother begin to plague him as well. Is it just Matt having another breakdown, or is his brother really appearing to him?

This interesting British horror works as a sort of old school mystery by way of ghost story. The overall feel of the film is very ominous from the start. Matt, previously a happy teen, is now alienated and deeply troubled. He meets a girl who lives next door, herself a rather distant sort. Some of the ghostly encounters with the brother are typical. Other bits, like a scene with a psychic, are eerie and add to the intrigue of the picture. One major aspect of the story is easily telegraphed. Another, not so much. The climactic scenes are strong, the ending suitably somber. While the film falls back on certain clichés at times, it's still an effective slice of ghostly horror that packs a nice bit of emotional resonance.

A Reflection of Fear (1972)

Reflective madness

[5 February 2012]

Sondra Locke stars in this obscure gem as Marguerite, an odd, but very intellectual teenage girl who is kept isolated by her vindictive mother and grandmother. When her father comes to visit with his new fiancée, a perverted love triangle develops with Marguerite as the other woman.

Directed by famed cinematographer William A. Fraker, this is a solid psychological horror film with an ending that took me by surprise and adds a whole new layer to everything seen prior. The relationship between Marguerite and her dad, played by Robert Shaw, is quite uncomfortable, especially when he does nothing to discourage her attempts to court him right in front of his fiancée. Marguerite, clearly unhinged from being raised by her man-hating mother, also has hateful conversations with one of her dolls, believing it to be a real person. This, along with Marguerite's fears of being left in her hell, of her father abandoning her again, eventually leads to a murder mystery.

There's strong acting across the board, especially from Locke, who I just saw recently in a similarly off-kilter role in "The Shadow of Chikara". She definitely had a knack for playing creepy. As for the aforementioned ending, it's definitely a stunner. I can think of at least two later slashers that may have been inspired by it.

The film was apparently edited by the studio for no apparent reason, and this shows in the latter half, as scenes seem to end before they've really even begun. It can be a little confusing, and one hopes that the cut bits will be restored some day.

Fatal Pulse (1988)

Brainless bimbos on sorority row

[5 February 2012]

A late 80's slasher with a depraved psycho who seems fixated on the women of one particular sorority house.

Mainly remembered for the infamous kill via record, this one has never had a good reputation. No doubt, there's some stupid stuff here. For starters, the sorority bimbos are dumb enough to keep staying in the same house despite the fact that they're obviously in danger. Joe Estevez has a ridiculous role as the resident red herring, a Vietnam vet who owns the house and enjoys spying on the girls as they undress. He also has one of the more amusing flashback scenes you're likely to witness. The main character is a bland douchebag who whines for the majority of the film. His rival looks like someone who stepped out of the 50's. The cops are idiots who don't even appear to be paying much attention to the investigation.

With all that said, "Fatal Pulse" is fun to watch if you're a lover of cheese. This is a bad movie, no doubt, but I had a good time with it. Certainly more so than I did with overrated slasher trash like "Halloween II" or "Prom Night". There's an ample amount of nudity on display, too. For no apparent reason, the killer strips the women before each murder. The explanation behind the killings is certainly different, though the identity of the culprit comes as no surprise.

Oh, and no review would be complete without mentioning the lead's obnoxious friend who acts like a complete moron and is even accompanied by his own signature sound effect whenever he enters a scene. At one point, he dresses up like a superhero to fend off a mob. Yep, this is a weird one.

Next of Kin (1982)

An undiscovered classic from down under

[5 February 2012]

Following the death of her mother, Linda inherits the retirement home that she ran. Once there, reading through her mother's diary sets off a series of unsettling memories. Bizarre occurrences begin taking place as well, almost as if someone were toying with her.

I've seen this Aussie gem referred to as a slasher film on more than one occasion, though I wouldn't necessarily call it a slasher myself. It's more of a slow-burning mood piece, one that's quite ambiguous at times. It's also effectively creepy, one of my favorite scenes involving a figure watching Linda just out of her eye range as she roams the woods in search of her boyfriend. Said boyfriend is played by John Jarratt, a mainstay in Australian horror, and his presence here is a welcome one as always. Jacki Kerin is Linda, and she's solid as the isolated heroine who doesn't feel completely at home back in her old stomping grounds.

Naturally, the filming locations are gorgeous and the cinematography does a fine job of catching them in all of their glory. The film is complimented by a unique score and some stylish sequences, such as one terrific slow-motion bit where Linda is rushing down a flight of stairs. The ending gets really wild, leaving the film's more subdued nature behind for an extravagant finale.

I first discovered this film back in the early 90's when I stumbled across the VHS in H.E.B.'s video rental section of all places, that memorable cover art catching my eye. Even now, the film is just as effective an experience as it was way back then. All said and done, this is one of Australia's finest contributions to the genre. In fact, only "Long Weekend" is on the same level.

Terminal Choice (1985)

Bet on death

[5 February 2012]

All is not right in a hospital that uses a hi-tech computer system to control everything from IV drips to defibrillators. Not only are some of the staff placing bets on patient recovery time, but someone is also using the computer's abilities for a more sinister agenda.

This unknown Canadian film is slow-moving and doesn't have many likable characters, but I was still rather drawn into the proceedings. The futuristic hospital system makes for a unique plot device, and it's interesting to see how it'll be used next. There are some nasty bits here as helpless patients meet mean-spirited ends. The death of one of the only characters that I did like made for a very suspenseful sequence. There's also a nice scene with repeated attempts on the lead's life as he's stuck in a hospital bed with a broken foot. Said lead is Joe Spano as Dr. Frank Holt, who finds that the culprit is making it so that all the murders look like mistakes he made with his patients.

A dull subplot involves Holt and his ex-fiancée rekindling their romance. Despite the flaws, I'd say it's worth a look, especially if you're into medical horror. The stunning Ellen Barkin has an early role as the hospital's medical examiner.

Red White & Blue (2010)

Lone star vengeance

[5 February 2012]

Incredibly dark indie deals with Erica, an emotionally empty young woman who has unprotected sex with anyone she can, including a four-way with a garage band and it's lead player, Franki. Enter Nate, an oddball stranger who helps her find work when she's about to be kicked out of her apartment. The two form an unlikely bond. Meanwhile, Franki is caring for his cancer-stricken mother. After he gives some blood to help her, he's soon informed that he has HIV. Horrified not only for himself but for what he's given his mother, he and his bandmates set out to find Erica. Bad choices are made and revenge is brutally dished out.

Simon Rumley's film is one of the bleakest I've seen in a while. Austin is the backdrop as we watch damaged characters making choices that lead to their undoing. It's hard to say who's to root for here, and a revelation regarding Erica midway through adds a whole new layer to the proceedings. I respected that Rumley left in numerous ambiguities throughout, as it made for a more intriguing structure.

The acting is strong across the board with Noah Taylor, Amanda Fuller and Marc Senter all vying for the title of most disturbed. Senter, who played memorable nutjobs in "The Lost" and "Cabin Fever 2", actually gets outdone this time around. There's also a memorable scene of a family being held hostage.

Long Weekend (1978)

An all-time favorite

[2 February 2012]

A bickering couple decide to spend a long weekend at a secluded beach. Once there, the disrespect they show for their surroundings leads to nature taking it's revenge on them.

This is the epitome of Australian horror. Not only is it the best horror film to come from down under, but it's one of the best horror films, period. I first discovered this film back in the late 90's and was quite blown away by it. I love the nature strikes back sub-genre, but never had I found such films to be legitimately frightening. "Long Weekend", however, really got to me. I'm happy to say that it's still just as effective to this day.

The mood, the haunting score, the atmosphere of the beach and the overall sense of nature conspiring against the characters all makes for a remarkable amount of tension. I love this film for many of the same reasons that I love "The Blair Witch Project", though there are many differences between the two as well. What's more, the animals attacks never come off as fake. A scene where an eagle comes in search of it's egg is raw and eerie. There are no fake birds on wires or men in bear suits to be found here. Our two leads aren't very likable, but that doesn't keep the film from being an unsettling experience. You have to love the ending too, which brings things full circle.

A masterpiece of mood and tension, "Long Weekend" stands the test of time.

Body Count (1986)

More like count the minutes until it's over

[2 February 2012]

Two teens are murdered at a wooded Colorado campground said to have been cursed long ago by an Indian shaman. 15 years later, a group of annoying people decide to stay at the same campground and are systematically picked off by a masked killer.

Ruggero Deodato is a long way from "Cannibal Holocaust" with this sloppy mess of a slasher flick. Being a fan of slashers and Deodato's previous work, I had been wanting to see this one for a while, but I came away seriously disappointed. The stalking scenes jump all over the place as the killer's abilities are exaggerated to an extent too absurd to ignore. The kills themselves are pretty bland, a scene involving an axe being the notable exception. One victim's hair color changes as he (or, more accurately, his stuntman) falls off of a cliff. There's also a kill that echoes one from the first "Friday the 13th", though not as competently done.

The characters are annoying troublemakers who bitch about everything and pull stupid pranks on each other. Horrible dubbing doesn't help. David Hess and Mimsy Farmer are present as the camp owners. They don't have much to do other than act suspicious. Some major plot points are left wide open, and the ending doesn't make a whole lot of sense. Even Claudio Simonetti's score fails to strike a chord.

The best thing going for "Body Count" is the filming location. There's also a nice nightmare sequence, but as a whole, this is the weakest Deodato film I've seen. Thankfully, he would redeem himself with the underrated "Phantom of Death" the following year.

The Psychic (1991)

Good title for something so predictable

[2 February 2012]

Directed by George Mihalka, the man behind popular 80's slasher, "My Bloody Valentine", this made for cable flick features another psycho on the loose. The one here is strangling women in Boston. Annoying Zach Galligan stars as Patrick, a psychic who has visions of the murderer in action. Turns out, the teacher he has feelings for ("Night of the Comet"'s Catherine Mary Stewart) is involved with the man from his visions, Professor Steering. Patrick thus sets out to prove that Steering is responsible so that he doesn't make her his next victim.

The story here is pretty typical, and there aren't many surprises along the way. It is, however, a well-made picture, handsomely photographed and coming off as if it had a bigger budget than it actually did. The vision/murder sequences are my favorites of the film, edited in such a way that makes for an especially surreal vibe. The ice skating vision is particularly memorable.

Getting back to the story, one of the few surprises that we do get reminded me of a similarly effective one in the 80's anthology film, "Screamtime". Other than that, you pretty much know how this thing will end long before the halfway point. Thus, the film is aptly titled.

Lurking Fear (1994)

One of the worst Lovecraft adaptations

[2 February 2012]

Very loosely based on a story by H.P. Lovecraft, this Full Moon cheapie deals with an ex-con going to the town of Leffert's Corner to dig up a corpse that his late father stuffed with money. Unfortunately for him, his father's old partners are on his trail. On top of that, Leffert's Corner has been dealing with attacks from underground creatures for years, and they live beneath the very cemetery the money is buried in.

Anyone going into this expecting a faithful Lovecraft adaptation certainly aren't going to find one here. Don't expect a good movie either. Right from the opening scene, we're immediately hit with some horrible acting, and it doesn't get much better from there. The lead (Blake Bailey), who also narrates on occasion, is particularly awful. The only actors who don't come off too poorly here are Allison Mackie as an eccentric femme fatale and Jeffrey Combs as the town doctor. Ashley Laurence (credited as Ashley Lauren for some reason), such a likable heroine in the "Hellraiser" films, is just annoying here as a bitchy Rambo wannabe.

There's a lot of really bad editing in this thing, and the attempts at action suffer for it. What little story there is doesn't come together in any satisfactory manner either. The ending is laughable, especially when you throw in Bailey's final voice-over. Full Moon has managed to churn out a few good movies, but this isn't one of them. I bought the VHS for 50 cents at a video store that was going out of business, so at least it was cheap.

Red State (2011)

Didn't know Smith had it in him

[3 October 2011]

I've never considered myself a Kevin Smith fan. While I liked "Mallrats", what I've seen of his other works has left me unimpressed. When I heard he would be tackling a horror film, I wasn't exactly enthused by the prospect, though horror is easily my favorite genre. In fact, I had pretty much forgotten about it until I came across a trailer online. That trailer, combined with the solid cast Smith was able to line up, changed my tune, so I was excited to see the film available on pay-per-view. After watching it, I can safely say that it's Smith's best film to date, which in itself isn't the highest of praise. However, it's also one of the best films I've seen all year.

Through an online ad, three teenage boys find a woman who is willing to have sex with all three of them at the same time. They go off to meet her, but it turns out to be a ploy, and they soon find themselves held captive in the rural compound of Abin Cooper and his fundamentalist religious cult. Cooper's group, known as the Five Points Church, is well-known for protesting at funerals of gays and causing various other commotions due to their beliefs. However, the true extent of how far they're willing to go due to the demoralization of America will soon be known to their three captives.

Smith's films have always been heavy on dialogue, and "Red State" is certainly no different. The dialogue here, though, is no laughing matter, particularly as Abin Cooper delivers a lengthy, vitriol-laced sermon to his flock. Michael Parks ("The Evictors", "From Dusk Til Dawn") has been around for a long time, but never has he been more on top of his game than he is here as the Five Points Church matriarch. You hear hyperbolic terms like "tour de force" thrown around all the time, but Parks' performance in this film is one that truly deserves to be described as such. The hateful conviction with which Cooper gives his sermon and the psychotic glee when he belittles those who don't share his beliefs are scarily real thanks to the strength of Parks, who never misses a beat.

The dialogue and film in general are clearly Smith's take on Fred Phelps and his infamous Westboro Baptist Church, but the film switches gears midway through and throws in some commentary on the Waco/Branch Davidian fiasco as well with the introduction of John Goodman as Joseph Keenan, an ATF agent poised to take out Cooper and his clan. After the local sheriff gets wind of the church's murderous activities, he contacts Keenan, who has been watching the group for quite some time. Keenan leads several ATF agents to the compound for a simple in and out, but after his second in command is shot dead, his superiors inform him that no one is to leave the compound alive, hostages and children included.

From here, the film takes more of an action turn as opposed to the horror-oriented first half. We bare witness to a thrilling shootout as Keenan struggles with his conscience and unlikely allies inside the compound try to find a way to bring the children to safety. Anyone familiar with the events in Waco or documentaries on the incident, such as the infuriating "Waco: The Rules of Engagement", will definitely see the parallels between the real life happenings and what goes on here. Smith's film is just as much an indictment against the ATF and government B.S. as it is against those who give religious people a bad name.

Goodman gives the other great performance of the film as the ATF agent stuck between a rock and a hard place. While his confliction is evident even after he relents and follows the orders of his superiors, he really shines in his final scene where he must explain the events to two government officials. I've always been a huge fan of Goodman's, and his monologue in this scene is some of the best acting of his career. Indeed, belief is a powerful thing. It's what you choose to do with it that defines you.

Also in the cast are Academy Award winner, Melissa Leo, as Abin's daughter, Kevin Pollak in a "mind-blowing" cameo and the always quirky Stephen Root as the troubled sheriff. Smith assembled quite the cast for this venture. Independently financed, the method of release for this film has been odd to say the least, but I'm just happy to have seen it. The tone of the film is sporadic, always shifting and keeping the viewer off kilter. There is a little humor thrown in too, as is to be expected with Smith, but this is a pretty serious picture overall. If I had one qualm with it, it's the whole explanation for the trumpet bit, which seemed a little out there and overcomplicated. Other than that, I thoroughly enjoyed what Smith delivered here.

If what I've heard is true, and Kevin Smith is intending to retire from filmmaking after his next movie, at least he went out with a bang. "Red State" is a successful change of pace.

The Pyx (1973)

Truly underrated

[15 September 2011]

Detective Jim Henderson (Christopher Plummer) is called in to investigate the mysterious death of Elizabeth Lucy (Karen Black in rare form), a hooker who fell from the roof of a Montreal high-rise. What he uncovers is far more sinister than a simple accident or suicide.

This Canadian gem is a prime example of a film which has been criminally overlooked. It starts with Lucy's fall and then goes back and forth between her life leading up to it and Henderson's investigation. Both strands of the storyline are intriguing, and the constant mix between the two gives the film a mournful atmosphere. It's an innovative way to tell a story, even more so when you take into account the year this film was made. We watch as Elizabeth tries getting her life on track, wanting to leave drugs and prostitution behind her, all while knowing that things don't end well for her. Plummer's detective is a lost soul in his own right, harboring a few demons which remain from circumstances surrounding the death of his wife. The sense of regret and overall sadness is predominant throughout, never letting up. Even after the credits roll, the feeling remains.

"The Pyx" is a hard-hitting piece of work, something that likely comes as a surprise to anyone expecting a cheap exploitation flick. Indeed, the alternate title, "The Hooker Cult Murders", surely did it no favors in this regard, all while spoiling the film's mystery in the process. Instead of low rent trash, Harvey Hart's picture is a classy horror tale doubling as heartbreaking allegory for the struggles of addiction and the utter emptiness one can feel, desperate for any potential release from inner torment. It is a beautiful work of art and one of the more emotionally complex films in the genre.

Hart paces his film so as to let the mystery grow ever so slightly with each frame, all while garnering it's power from mood and character. Black has never been better than she is here. Whenever her name pops up, it's her role in "The Pyx" that always comes to mind first. Plummer also excels, especially in his final scene where he comes face to face with both Elizabeth's killer and his own inner demons.

The slow-burn pacing certainly won't please everyone, but I think it works beautifully in bringing out the aspects that really make this film shine. When all is said and done, the mystery at the core is brought to a most satisfying conclusion, the scenes detailing Elizabeth's fate and the end confrontation being the best of the picture. Special mention must be made of the bizarre music used during the cult gathering. I thought it added immensely to the atmospheric dread of the scene. Likewise, the song sung by Black herself over the opening credits sets the mood for the somber events to follow.

"The Pyx" ranks right up there with the likes of Cronenberg and Clark in the annals of powerful Canadian horror. Hell, no need for such restrictions; it's an amazing film in general, one deserving of far more respect. In a just world, it would be heralded as a classic.

The Flying Serpent (1946)

Fly right on by

[14 September 2011]

This disposable cheapie stars George Zucco as an archaeologist who discovers Montezuma's treasure and uses the Aztec god, Quetzalcoatl, to kill those he thinks might pose a threat to his secret fortune.

This is basically a remake of the 1940 Bela Lugosi picture, 'The Devil Bat'. In other words, there's nothing new here. Nothing particularly memorable either, though Zucco does well enough in his role. The special effects for Quetzalcoatl were better than I expected, but they're still not all that convincing. This is just your typical 40's flick with all the predictability and lousy attempts at humor you'd likely expect. We also get an unappealing hero played by Ralph Lewis. I was rooting for Zucco all the way.

It's not a long movie, so at least you won't waste too much time on it. Still, there are far better 40's films out there. I'd suggest seeing one of them and letting this serpent fly right on by.

The Evictors (1979)

Eviction anxiety

[14 September 2011]

In 1942, Ben and Ruth Watkins have just moved into an old Louisiana farmhouse. It's a beautiful place, but they soon learn of it's morbid past. Apparently, the previous few tenants all died in ways that raise suspicion. This doesn't sit well with Ruth, who stays at home alone most of the day while Ben is at work. As if she weren't spooked enough already, it isn't long before she finds herself menaced by a prowler who keeps showing up.

Charles B. Pierce, the man behind such southern-flavored gems as 'The Town that Dreaded Sundown' and 'The Legend of Boggy Creek', scored again with this outstanding mood piece. Atmosphere always was Pierce's strongest point, and 'The Evictors' features it in spades. The slow-burn pacing works brilliantly here, allowing the ominous tone to fester. The 1940's setting and impact of World War II on the financially struggling town are also well-realized, the former all the more so thanks to the lovely scope photography Pierce so expertly utilizes. Some effective sepia-toned flashbacks further the mood, as does the hushed nature of the townspeople in regard to the house's history.

Jessica Harper and Michael Parks play the married couple, and there is an obvious chemistry between them. It was great seeing the lovely Harper in a horror film other than 'Suspiria' for a change. Vic Morrow is on hand as the shady real estate agent who sales them the house and has eyes for Ruth. His role isn't the largest despite him getting top-billing, but it's an important one. Sue Ann Langdon also deserves mention as the crippled neighbor whom Ruth befriends.

The film offers up it's fair share of surprises as it heads toward the climax. There's one aspect of the story that was easily predictable, at least in my case, but others not so much. This is one of the true unsung gems of the 70's. The thought of it either not getting a release or being relegated to a shitty MOD DVD-R disgusts me to the core.

Dark Tower (1987)

Towering potential unrealized

[14 September 2011]

A newly built office building in Spain is plagued by a series of fatal accidents seemingly caused by a murderous presence. British legend Freddie Francis was the original director on this film, but problems led to 'Shock Waves' director, Ken Weiderhorn, taking over. Neither wound up taking credit.

Larry Cohen regular, Michael Moriarty, stars as a company man investigating the deaths and Jenny Agutter is on hand as the building's chief architect. The once ravishing Carol Lynley has a nothing part as Agutter's assistant, and Kevin McCarthy shows up briefly. The most entertaining character is that of a paranormal investigator who Moriarty contacts midway through. Theodore Bikel livens up the dull precedings with a quirky portrayal of a man so desperate to make contact with something supernatural that he winds up talking to an air conditioner at one point.

Indeed, this is a dull effort overall. With directors and a cast like that, I was expecting something much better and far less pedestrian. The story doesn't have a lot of meat to it, but that doesn't mean they couldn't have done something special with what they did have. Alas, I guess the inspiration just wasn't there this time around.

The big reveal behind the haunting is as predictable as they come, and the climax feels like it would be more at home in a 'Tales from the Crypt' episode. 'Dark Tower' isn't an unwatchable mess, but it's something you could easily skip without feeling as if you missed out.

Lost Things (2003)

Lost weekend

[14 September 2011]

Four teens head to a secluded beach for a fun weekend. Before long, the fun dissipates as their trip turns into a nightmare from which they can't seem to escape.

This unknown Australian gem is seriously eerie throughout. Like the masterful 'Long Weekend' before it, this film milks it's lonely beach setting to create a genuinely unsettling atmosphere. The storyline isn't exactly original, nor is the ending hard to pick up on, but the film goes about things in it's own unique way and winds up being an oppressive, enigmatic experience despite mining familiar territory. Most intriguing were the bizarre time anomalies and the question of what the beach, complete with rods sticking up out of the sand, truly is.

Adding to the mood is an otherworldly score that again reminded me of 'Long Weekend'. More specifically, it made me think back to the eerie cries of the sea cow from that film. The score here sounds strikingly similar. The journey to the film's conclusion, where the double entendre of the title becomes apparent, is a compelling one too. Some may be let down in the end, but there's enough going on even after the revelation for me to feel otherwise.

Director Martin Murphy clearly shares my affinity for 'Long Weekend', and it's easy to see this film as a loving homage to Australia's best contribution to the horror genre. It's certainly better than flat-out remaking it. Yeah, I'm thinking of you, Jamie Blanks. All of that aside, 'Lost Things' stands on it's own as a quality film in it's own right.

The Initiation of Sarah (1978 TV Movie)

Carrie who?

[14 September 2011]

Timid Sarah and her popular stepsister, Patty, are pledging sororities at their new college. Patty gets into the most celebrated sorority on campus, but Sarah is only accepted by the least prominent. It doesn't help that Patty's new sorority sisters are elitist scum who do all that they can to make Sarah and her sorority mates miserable. Sarah has a power, though, which takes hold when she's angry. Her eccentric housemother, Ms. Hunter, is intent on helping her harness this power to use against their rival sorority.

I actually like this made for TV 'Carrie' cash-in more than De Palma's horror classic. A large part of that is due to the likability of Kay Lenz in the titular role and the connection I feel to her. I also love the storyline centered around sororities, hazing and campus rivalry. Throw in Shelley Winters as Ms. Hunter, who views her sorority as more of a cult, Morgan Fairchild as the queen bitch and Mia Farrow's sister, Tisa, and you've got quite the cast. Honestly, this doesn't even feel like a TV film. It had been a while since my last viewing, but as I sat watching it again for the first time in years, I was taken with how it never once struck me as something made for television. There was even an absence of the typical fade-outs for commercials.

This is much more than just a 'Carrie' copycat. The characters have real depth and there's a solid message about one's own self-image. The story leaning toward the occult makes for a unique take which I am all for. The addition of this aspect and Shelley Winters as someone who wants to use Sarah's abilities for her own personal vendetta makes for a very interesting climax. While the direction isn't anything out of the norm and there are no De Palma style flourishes, the lush photography is terrific.

Even though it may always be seen as nothing but a copycat by certain people, I firmly believe that 'The Initiation of Sarah' is more than capable of standing on it's own as something special. I do love De Palma's film, but I also love that it inspired something like this. 'The Spell', on the other hand, not so much.

Black Swan (2010)

Black swan song

[22 December 2010]

Darren Aronofsky is a filmmaker who, over the course of five films, has thoroughly explored the various ways in which people can be consumed when their passions become self-destructive obsessions. It seems to be a bit of an obsession in and of itself for Aronofsky, and frankly, I've been with him every step of the way. The best cinema is the kind that makes you feel something, which Aronofsky's work does in spades. Taking up residence in the darkest recesses of the human psyche is no picnic.

Nina Sayers has toiled for years and years in Thomas Leroy's New York ballet company. Having fallen on hard times, Leroy exiles his lead dancer and hopes that a fresh face in the company's upcoming version of "Swan Lake" will renew interest and revenue. Nina believes that she has what it takes to tackle the role of Swan Queen, and while Thomas chooses her for the part, he is adamant about her being able to nail both the pure innocence of the White Swan and the dark, sultry essence of the Black Swan. He doesn't feel that she is yet capable of pulling off the latter, but he suspects that she has the ability bottled up inside. Nina, ever the perfectionist, just needs to let herself go and perhaps explore her sexuality. Unfortunately, she's had to deal with an overbearing mother who has sheltered her to the point of psychological damage. Experiencing what she needs to in order to embody the Black Swan, combined with the pressure of the role and the paranoia over new girl, Lily, possibly being after her spot, may just push Nina over the edge.

"Black Swan" has been cited as a companion piece to "The Wrestler", and in many ways, it is. They even share similar instances of a pseudo-documentary shooting style. However, whereas the latter utilized such a style to create a heightened sense of realism, "Black Swan" takes the approach and creates a claustrophobic hell akin to something like Polanski's "The Tenant". It's a disorienting portrait of the madness that infects many who possess the desire to create art. Nina's sanity is in question early on, and from there, we are kept on our toes in relation to what is hallucinated and what is real. Speaking of being kept on one's toes, we get an up close look at how hard ballet is on the human body. As if the psychological turmoil wasn't enough for poor Nina, the physical toll is just as prominent.

As the ballerina seeking the pinnacle of perfection, Natalie Portman achieves that which her character so desperately desires. Her performance is a milestone, not only in her career, but in acting, period. Every ounce of praise directed toward her is richly deserved. Nina goes through a ringer of emotional changes, be it the sweet, delicate girl she starts out as, the rebellious grown-up Lily unleashes in her or the manic frenzy she's reduced to when things really get out of hand. Portman never misses a beat. When I first heard that Mila Kunis had been cast as Lily, I wasn't exactly thrilled. I'm happy to say that I was wrong about her, as she is terrific here. She made me forget all about her role on "That 70's Show". Vincent Cassel is also fantastic as Thomas Leroy, and his relationship with Nina is one of the film's strongest aspects. He had serious doubts about her, but he believed in her all the same. Enough so that he put his doubts aside and took the biggest possible risk on her. Barbara Hershey is unnerving as Nina's overprotective mother, and Winona Ryder makes the most of her brief role as Beth, the aging star whom Nina replaces.

Matthew Libatique's cinematography is beautifully realized. Combining the raw grittiness of the pseudo-documentary material with the nightmarish imagery of Nina's hallucinations and the elegance of the ballet, the film is a joy to behold. Clint Mansell's music, complete with elements from "Swan Lake", is also amazing, just as much a character as any breathing person on screen. I was disappointed that Mansell didn't have more of a presence in "The Wrestler", so I was happy to have him back in full force with "Black Swan".

Aronofsky is my favorite director to come along in the last 20 years or so. "Pi" was a solid debut, "Requiem for a Dream" is an utter masterpiece (still my favorite film in general), "The Fountain" is an underrated gem and "The Wrestler" is a strong character study. I'm pleased, but not surprised, to say that "Black Swan" is another film that further solidifies his position as a master filmmaker. As for Portman, she doesn't need the "Best Actress" Oscar to solidify how great she is. Besides, after Sandra Bullock "won" last year, they'll obviously give that award to anybody.

Catacombs (1988)

Monastery of the damned

[30 October 2010]

Taken off the shelf and retitled "Curse IV: The Ultimate Sacrifice", this was actually made before the second and third entries in the unrelated series. This one deals with a possessed albino who was sealed in the walls of an old monastery 400 years ago. Fast-forward to the present and a young teacher's arrival to the monastery somehow frees the demon from it's prison.

I'm a fan of the other three film in the Curse "series", and while I enjoyed this one to an extent, it's easily the weakest of the four. The film boasts an exciting opening sequence, but things get bogged down when we move to the present. Of the cast, Laura Schaefer is certainly attractive, but the only good performance here is that of Jeremy West as the strict Brother Marinus. The atmosphere is solid, Pino Donaggio contributes a typically good score and there's a really effective bit with a possessed statue towards the end. This scene alone is worth seeing the film for.

On the other hand, the film would benefit from a different actor in the hero role. The guy they chose annoyed me, and so did the bedridden priest who goes on and on about utter nonsense. His character should have been omitted entirely. I also can't believe that an obvious continuity error was allowed to remain during the scene where Schaefer walks in on the monks having dinner.

A mixed bag.