Carrie (1976)

Directed by:
Brian DePalma

Written by:
Lawrence D. Cohen (based on the novel by Stephen King)

Main Cast:
Sissy Spacek, Amy Irving, William Katt, Nancy Allen, Bette Buckley, John Travolta, P.J. Soles, Priscilla Pointer, and Piper Laurie

The Plot:
Carrie White (Sissy Spacek) is your average high school girl, albeit with numerous problems to worry about. While at school, she is tormented relentlessly by her classmates. At home, she is psychologically abused by her overly religious (Piper Laurie). However, unbeknownst to anyone - including Carrie herself - she also possesses the power to move things with her mind.

The Review:

Directed with bold style and a heightened surrealism by Brian DePalma, Carrie is one of the genre's true all-time classics. And rightfully so.

In what might be her most powerful screen role to date, Sissy Spacek is marvelous as the put-upon Carrie, instantly sympathetic as a meek, intelligent girl without a bad bone in her body who simply cannot catch a break. Nancy Allen is a riot as bitch-on-wheels Chris, and John Travolta gets his first starring role as Chris' temperamental boyfriend. Future Broadway star Bette Buckley is also memorable as Carrie's gym teacher, and one of the only characters who truly cares.

Towering above all, however, is Piper Laurie as Carrie's zealot mother. By investing the role of Margaret White with haunting pathos, frightening credibility and just the right amount of theatricality, Laurie has given us one of the screen's most indelible villains. Her monologue towards the end about the nature of Carrie's conception is nothing short of a stunner.

The classic prom scene is masterfully conceived, shot, and edited, practically engineered to get the heart pounding and the imagination racing. But even up until this point, this film is as compelling as they come, putting us squarely in Carrie's shoes and demanding that we side with her, even when her revenge take a giant step into the unjust. Some minor changes were made to the original text but, overall, this adaptation is very true to the spirit of Stephen King's text, a superior example of how to translate from one medium to another without losing an ounce of impact.

**** out of ****

Hell Night (1981)

Directed by:
Tom DeSimone

Written by:
Randy Feldman

Main Cast:
Linda Blair, Vincent Van Patten, Peter Barton, Jenny Neumann, Suki Goodwin, Jimmy Sturtevant, and Kevin Brophy

The Plot:
For their initiation into a fraternity lorded over by ace sleazeball Peter (Kevin Brophy), four college students agree to spend an evening in the notorious Garth Manor, a sprawling mansion in which a family was allegedly murdered years before. The catch: no electricity, they cannot leave before dawn, and the gate is locked up in case they try to escape. The potential inductees include good girl Marti (Linda Blair), surfer hunk Seth (Vincent Van Patten), sensitive Jeff (Peter Barton), and blond bombshell Denise (Jenny Neumann). But while three other students hide outside attempting to scare them, a killer lurks around the estate, intent on killing all of them before the night is over.

The Review:

When sitting down to watch Hell Night, there were a few givens that I naturally expected: gallons of blood, cheap scares, bare-chested guys, scantily-clad ladies, and a whole lotta screaming. But here's the surprise: the film, which was released in 1981 at the peak of the slasher film craze, not only delivers on its initial promise, but is actually an effective, well-made picture.

The story, like most in the genre, is very simple. It's not terribly original, and the acting ranges from pretty good to downright dreadful. But what puts Hell Night a step above the countless other Friday the 13th knock-offs, which were only concerned with gruesome violence, is that it aspires to be consistently suspenseful. And it succeeds admirably. The film features numerous scares - that, for once, actually caught this viewer off-guard - but also is able to have the audience biting their nails unwittingly. As vixen Denise (clad in a bustier and garter belt, mind you) slowly walks down the shadowy hallway and into the even shadowier bathroom, the payoff is both startling and highly amusing.

Director Tom DeSimone clearly understands how important a sense of mood and place is to the genre, and he establishes the setting efficiently. Complete with trap doors, secret passageways, and subterranean corridors, Garth Manor is a character unto itself, and Mac Ahlberg's impressive cinematography paints it in a malevolent light. The film's most memorable scene sees Marti and Jeff locked into a bedroom, hiding from the crazed killer. But as they console each other, they fail to notice that a carpet behind them is slowly rising off the ground, with someone underneath.

As stated before, the cast is a mixed bag, but most of them seem to understand what kind of movie they're in, and play the one-dimensional roles accordingly. The standout is 70's pin-up Kevin Brophy as fratmaster Peter, undeniably smarmy but so charismatic that it's not difficult to understand why a class of incoming freshman would be willing to follow him wherever he went. Vincent Van Patten is hilariously excessive as over-caffeinated jock Seth, who becomes an unlikely hero by the end. The real disappointment is horror veteran Linda Blair, who received an Oscar nomination for her work in 1973's classic The Exorcist. As the virginal Marti, Blair fails to imbue her character with any distinguishing characteristics, and seems disconnected throughout a good portion of the film. But, she screams well and her cleavage is spectacular.

What keeps Hell Night from being anything particularly special is that, at the end of the day, it is only a slasher movie, with one death after the other, and the vast majority of the characters are stock victims. And once we get a good look at our villain, his make-up is rather silly and nondescript. But director Tom DeSimone is clearly a talented filmmaker whose goal was to break away from the norm and give the gorehounds a bit more than expected. And for this reason, Hell Night is a perfectly commendable slasher.

**1/2 out of ****

The Lords of Salem (2013)

Directed by:
Rob Zombie

Written by:
Rob Zombie

Main Cast:
Sheri Moon Zombie, Bruce Davison, Judy Geeson, Jeff Daniel Phillips, Patricia Quinn, Dee Wallace, Ken Foree, and Meg Foster

The Plot:
When hip radio personality Heidi (Moon Zombie) receives an anonymous record in the mail, addressed from "The Lords", she assumes it is a local rock band attempting to network their music. While broadcasting it on the air, the record starts to play backwards, and Heidi immediately has a disturbed, visceral reaction to the portentous sounds emanating from it. After this event, combined with increased attention from her suspicious landlady (Geeson), it begins to dawn on Heidi that something evil might be heading to her homestead of Salem, MA.

The Review:
In my estimation, Rob Zombie has proven twice that he has the ability to be a potent horror director. House of 1000 Corpses is not without its grungy charms, and its sequel, The Devil's Rejects, is easily his masterpiece. His two entries in the Halloween franchise were ultimately unsuccessful (there is no legitimate reason why they tried in the first place), but Zombie managed to add some curious touches to the Michael Myers mythology that were quite fascinating on their own terms.

When the announcement was made that not only would Zombie's next outing as a filmmaker feature a coven of old-school witches inflicting their magic on a modern-day Salem, but that he would also have complete artistic control, my mind was pulled in two different directions. The premise sounds killer, even if a tad similar to Hocus Pocus. However, in relation to this particular filmmaker, the term "creative control" raises a few concerns. Yes, his two most recent films didn't work, but who knows what influence Dimension Films had on the finished product. And after all, his first two outings were clearly the work of a talent who had only begun to prove his capabilities.

The result is a letdown, to say the very least. I will say that the cinematography and score are outstanding. These two elements, in tandem with a more languid pace than Zombie has displayed in the past, create a mood closely reminiscent of Argento and Polanski, as opposed to the spastic, grindhouse vibe that infused his first two films. It should also be noted Meg Foster's performance as Margaret Morgan, the witch who instigates the events of the plot, is the stuff of legend. Foster is so deeply immersed in the sheer insanity of her character, she haunts over the proceedings and makes the film worth watching all by herself.

Unfortunately, that is where the good points end. In preparation for the film, Zombie scouted locations all throughout the town, hoping to capture the immeasurable character of Salem. But his work appears to have been all for naught, as exterior shots are inexplicably kept to a minimum. And even when they are used, the scenery has been rendered completely nondescript. The story itself begins to spin its wheels once the main threat as been established, but very little momentum is built on our way to a climax. There is very little cohesion from one tepid scare to the next. Veteran actor Bruce Davison has a possibly interesting role as a Salem witch historian who means to help Heidi, but very little is done to develop him, and he exits the film before having made a single impact on where the story goes.

But my biggest problem with the movie is that, around or even before the halfway point, our protagonist stops being a character. Sheri Moon Zombie does some of her most understated work to  date, but it's not interesting to follow a character who completely shuts down and does nothing to save herself from a terrible fate. When there is no conflict, and when our heroine has lost her autonomy, there is no drama. And as for the now-infamous concluding 10 minutes, suffice it to say that the plot evaporates, leaving only an assembly line of nonsensical images, all but obliterating the few elements that had made the film engaging up to that point.

*1/2 out of ****

The Loved Ones (2010)

Directed by:
Sean Byrne

Written by:
Sean Byrne

Main Cast:
Xavier Samuels, Robin McLeavy, Victoria Thaine, Richard Wilson, Jessica McNamee, and John Brumpton

  
The Plot:
Six months later after the death of his father, high school student Brent has found himself in a pit of grievance. Obsessed with suicide and slowly withdrawing from his mother, he finds solace only in marijuana and his caring girlfriend, Holly (Victoria Thaine). When meek wallflower Lola (Robin McLeavy) asks Brent to be her date to the end-of-school dance, he politely declines. Huge mistake. Before the end of the night, Brent will discover that he has become a most unwilling guest to Lola's very own dream prom, hosted by her doting father (John Brumpton). The party favors? A rusty fork, a syringe, a hammer, and a power drill.

The Review:
The horror genre is in as sad a state as ever. But it's not for lack of trying. The talent is there. The fanbase is there. The possibilities are there. The main issue is a lack of common sense on behalf of producers and distribution companies. As with 2009's fabulous anthology Trick 'r Treat, Australian-made The Loved Ones is a masterpiece that screened in numerous festivals to rave reviews from critics and audiences alike, only to be egregiously ignored by distributors and finally released on DVD after years of sitting on the shelf. There is no way to justify how something like Chain Letter can open nationwide, while this gem must sit on the shelf, waiting for Hollywood to make the next move. Writer-director Sean Byrne's auspicious debut is a cracked-out thrill ride, one that fans of the outrageous will eat up.

A quirky, suspenseful blend of 1986's Pretty in Pink and 1990's Misery, The Loved Ones is a decidedly grotesque horror-comedy with more on its mind than merely grossing out audiences. By distilling the plot to its bare essentials, and not bogging down the proceedings in unnecessary exposition or explanation, director Byrne has crafted a lean, taut, perversely funny scare-a-thon. On top of that, it is not without relevant social implications, including the repercussions of grief, the indescribable hold that parents and children have on each other, and (yes) the fiery wrath of the high school female.

Byrne clearly has a respect and adoration for the genre, as he seems to have dissected exactly what it is about these films that audiences find appealing. The film is violent, to be sure, but just when it seems that the gore may become gratuitous or over-powering, an inspired stroke of dark comedy undercuts the action. As it stand, The Loved Ones recalls the reckless, rowdy spirit of the 80's, a time in which a committed group of filmmakers and actors pushed boundaries with the intent of taking the audience along for the journey. But at the same time, the picture is strikingly modern, forming its own identity with no intention of being a throwback.

Xavier Samuel is excellent as Brent, identifiable despite his character's gloomy condition. When the viewer first meets Brent, he is in an emotional wreck with no apparent hope for recovery. But when he finds himself staring death in the face, he must summon up every ounce of strength he possesses to fight back and survive. Victoria Thaine is a beacon of warmth as girlfriend Holly, who becomes fearful of Brent's whereabouts, and makes an effort to find him. John Brumpton is terrific as Eric Stone, a very sick man whose borderline-incestuous relationship with his daughter has sunk to unfathomable depths.

By and large, though, the film belongs to Robin McLeavy. Intent on making her party a diabolical night to remember, Lola is a villain far more threatening than initially thought possible. Because of the passion and focus she obviously brought to the role, McLeavy's portrayal transcends that of a one-note monster. Instead, she brilliantly interprets Lola as a petulant, psychotic little girl who doesn't take kindly to unrequited love, and sees her torture victims as toys in desperate need of fixing. Her chemistry with Brumpton is ripe with chaotic, demented hysteria. But it also rings true that they love - and need - each other. Lola Stone should join the canon of great horror villains, and that is not merely hyperbole.

The editing by Andy Canny is impeccably judged, keeping the story moving along at a nimble 84 minutes. Simon Chapman's cinematography is crisp, colorful, and drenched in mood. A highlight is the use of a disco ball that hangs in Lola's kitchen, casting romantic sparks of pink and purple over the sobering violence below. The soundtrack is energetic and well-chosen, making unforgettable use of Kasey Chambers' "Am I Not Pretty Enough?". Practical gore effects are used to illustrate the harm done to Brent and others, and they are perfection, always convincing and never once calling attention to themselves. And finally, special mention must go to Xanthe Huebel's costumes, particularly Lola's indelible hot pink dress. In every respect, the film could not look or sound better.

There are so few contemporary horror movies - let alone ones of the B.T.K. variety - that actually have something to say about the dark, unpredictable recesses of human nature, not to mention hold the ability to delight, intimidate, and ultimately satisfy even the most jaded fans. The Loved Ones is one such film. It is among the finest, most enjoyable movies the genre has seen in years, and seems destined for cult status. But in order for that to happen, it needs to be seen by the audience it so richly deserves.

NOTE: If you are thinking about looking up the trailer for this film............. DON'T. It gives so much away, and part of the fun is the many surprises the movie has in store. If you absolutely must watch the trailer, stop it at exactly 1 minute.


***1/2 out of ****

The Howling (1981)

Directed by:
Joe Dante

Written by:
John Sayles & Terence H. Winkless

Main Cast:
Dee Wallace, Christopher Stone, Patrick Macnee, Dennis Dugan, Belinda Balaski, Elizabeth Brooks, Dick Miller, and Robert Picardo

 The Plot:
After narrowly escaping a traumatic run-in with serial killer Eddie Quist (Robert Picardo), news reporter Karen White (Dee Wallace) and her husband (Christopher Stone) seek peace at a forest retreat... only to realize that all of the patients are werewolves.

The Review:
Werewolves don't get any respect. They are arguably the least-appreciated monsters in cinema. But that's not to say the reputation is unfounded. For every An American Werewolf in London, there's another four or five more reminiscent of, say, A Mexican Werewolf in Texas. How does a filmmaker honor the lore established by Lon Chaney Jr. and George Waggner in 1941's The Wolfman, while also finding a fresh voice within a typically silly subgenre?

But The Howling gets it exactly right by turning a potentially ludicrous plot into a witty, impeccably crafted satire. Adopting the right balance between spooky and tongue-in-cheek is incredibly difficult, but director Joe Dante makes good on his initial promise from 1978's Piranha by including clever details and more than a couple moments of dark comedy, which is hugely beneficial for investing in the story.

With her three-dimensional, emotionally available performances in this and Cujo, Dee Wallace might be the horror genre's most unsung scream queen. As a woman who seeks to rebuild her lucidity after nearly dying at the hands of a psychopath, Wallace remains strong yet sympathetic throughout, and never hits a false note, even as her circumstances become increasingly outlandish. Belinda Balaski is also noteworthy as Susan, Karen's friend and confidante. The werewolf transformations and make-up effects are entirely convincing, shocking since the movie is over 30 years old. With very little in the way of competition, this is my favorite werewolf movie.


***1/2 out of ****

Hellraiser (1987)

Directed by:
Clive Barker

Written by:
Clive Barker (from his own story)

Main Cast:
Clare Higgins, Ashley Laurence, Andrew Robinson, Sean Chapman, Oliver Smith, Robert Hines, and Doug Bradley

The Plot:
Married couple Larry (Andrew Robinson) and Julia Cotten (Clare Higgins) move into a creaky old house, where Julia discovers a blood-sucking monster hiding in the attic. Upon further investigation, the creature is revealed to be Julia's former lover, Frank (Sean Chapman), who also happens to be Larry's brother. Frank - after escaping from Hell, and the clutches of Pinhead and his demonic band of Cenobites - must now feast on human blood to regain his human form. Julia reluctantly agrees the provide to murdered bodies for this purpose.

The Review:
The particulars of the plot, at least on paper, don't sound very sophisticated. After all, it is centered around a gang of demons whose very costumes and modus operandi are inspired by S&M.

However, with the exception of its first sequel, Hellbound: Hellraiser II, the franchise's terrible five sequels have done nothing to tarnish the reputation of Clive Barker's grim, atmospheric original. Hellraiser remains an effective and downright nasty piece of work, with writer/director Barker's trademark Gothic visuals playing an important role in the movie's success. The deliberate pacing proves vital in building an atmosphere of dread, and it pays off with a macabre and frightening climax.

Ashley Laurence, as the estranged daughter, turns in a strong performance, and one would be remiss to overlook Doug Bradley's work as the iconic Pinhead. British stage veteran Clare Higgins steals it as the deliciously evil Julia, intent on bringing her beloved back to life, at any cost.

 ***1/2 out of **** 

The Cabin in the Woods (2012)

Directed by:
Drew Goddard

Written by:
Joss Whedon & Drew Goddard

Main Cast:
Kristin Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Bradley Whitford, Amy Acker, Tim De Zarn, and Richard Jenkins

The Plot:
Five college friends - modest good girl Dana (Connolly), nice guy Holden (Williams), boorish jock Curt (Hemsworth), newly blond Jules (Hutchinson), and philosophical stoner Marty (Kranz) - set out for a weekend getaway in the creaky, remote cabin of Curt's cousin, blissfully unaware that their every move is being monitored by a two men in business suits. What do they want, and how long before all hell, inevitably, breaks loose?

The Review:
The story of a group of nubile college friends who head up to the woods for some drunken partying, only to be faced with unforeseen danger, is one of the most tired and played-out in the book. So leave it to Joss Whedon and co. to throw caution in the wind and come up with one of the wildest cinematic rides in years. It's entertaining, imaginative, and seeks to change the rules of horror as we, in 2012, perceive them.

If 1996's Scream made audiences aware of slasher trappings, commenting upon them while they were happening, The Cabin in the Woods does something very similar, then pulls back the curtain even more. The screenplay, expertly weaving together innumerable layers is pretty genius in the way that it does not try to fool the viewer, or risk all of its goodwill on a cheap twist. Instead, it lays everything out by the five-minute mark and then gradually builds throughout the running time towards a climax that is truly insane, enough to turn the genre aficionados into a bunch of squealing children.

The ensemble cast is uniformly terrific, with Richard Jenkins and especially the hilarious Fran Kranz standing out. Nothing short of a love letter to our beloved genre, which has all too often been ridiculed for a lack of ideas and ambition, The Cabin in the Woods dares to break ground by making a case for horror's significance in cultures the world over. And on top of that, it's all in name of good fun.

**** out of ****

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