by ·Comments Off on Horror Noire: A History of Black Horror (2019, Xavier Burgin)

Opening with Birth of a Nation seems cool – I’ve been uninterested in ever watching that film, but watching it as a horror would be an idea. Higher priority, I should watch the Blacula movies… less so Def by Temptation.

A real podcast-hangout kind of doc, and not usually in a good way. Contains a blatant promo for Tales from the Hood 2. The doc is leading up to Get Out as the culmination of Black horror art, allowing Jordan Peele to talk about that and the original Candyman (which was problematic, has room for improvement, possibly with a remake?). This could be a blu extra on the Get Out disc, easy.

Ken Foree and Keith David:

by ·Comments Off on Eight for Silver (2021, Sean Ellis)

Captain Howard Moon dies in hospital speaking the movie’s title (before it got changed to the generic The Cursed for streaming) after having a silver bullet yanked out of him in aftermath of WWI trench warfare.

Thirty-five years earlier, young Howard’s family and neighbors slaughtered all the gypsies, who had forged a set of silver teeth. The children, living in their fancy house with a mass grave in the yard, are having bad dreams, so they find the teeth and go all supernaturally murdery on each other and become tentacle werewolves, Howard surviving only to get killed in the war.

Crappy jump scares, and unforgivably long since it keeps repeating itself. I didn’t care about Anthropoid and this didn’t get great notices – can’t recall why I prioritized it, besides a masochistic urge to watch British movies during SHOCKtober.

by ·Comments Off on Asylum (1972, Roy Ward Baker)

Dr. Robert Powell (Ken Russell’s Mahler) arrives at the titular asylum to work for Dr. Starr, but is met by his assistant Patrick Magee instead. Magee says Starr is now a patient, locked safely upstairs with a trusty electrical system controlled by this button (I’ve heard that one before), and challenges Mahler to correctly identify the doctor. Mahler heroically pads the film on the way upstairs, and the orderly (who I correctly/immediately guessed as the doctor) lets him into each room, one at a time… yes, it’s a corny anthology horror, the same year Magee and Cushing and Dr. Orderly appeared in Tales from the Crypt. 1972 would seem to be too late for this kinda thing, but British people such as Edgar Wright think all this is great.

Bonnie (Barbara Parkins of The Mephisto Waltz and A Taste of Evil) isn’t even the murderer in her story – her boyfriend Richard Todd (the least famous person in House of the Long Shadows) chops up his harpy wife (Sylvia Syms, appropriately of Victim) and puts her in the basement freezer, but her butcher-paper-wrapped body parts reanimate, strangling him and attacking the unwitting Bonnie with the hatchet until the police arrive to blame the whole mess on her.

Tailor Bruno (Barry Morse of The Changeling) was brought the Man in the White Suit material by mysterious customer Peter Cushing, who planned on using dark magick to resurrect his dead son with the suit, but the tailor’s wife puts the suit on a mannequin which comes to life instead.

Barbara (young Charlotte Rampling, whoa) seems the most culpable so far. She starts by blaming Lucy (Britt Ekland of Wicker Man) for murdering her brother (James Villiers of Mountains of the Moon) and the nurse (Megs Jenkins of The Innocents), but Lucy might be an invented personality of Barbara’s.

Dr. Byron (Herbert Lom of The Sect) is at least a doctor of something – I don’t know how we’re supposed to imagine that the previous three were actually psychologists based on their stories. But Lom’s specialty is transmitting his consciousness into sub-Puppet Master wind-up dolls. The new visitor must’ve inspired a rampage, since he and Dr. Orderly go on the attack.

by ·Comments Off on The Blood Spattered Bride (1972, Vicente Aranda)

Sexually explicit horror movie filmed in Galicia. The Bride imagines being raped by a closet dweller at her honeymoon hotel, so instead they go to his weirdo family’s place, where instead she fantasizes of joining with Creepy Carmilla and murdering the husband with a dagger that looks like a bathtub faucet handle. She keeps having visions, so I assumed the time he finds Carmilla naked, buried in the sand and breathing through a scuba mask would be one of those, but nope.

Carmilla appears to be the ageless vampire of a family ancestor. By the end, she’s killed a couple locals, and turned the bride and young Carol, who sounds dubbed by someone older. The husband figures it out and does some vampire slaying, but this looks bad to the local authorities.

Who could kill a child?

This guy could:

Main dude was in The Forbidden Photos of a Lady Above Suspicion (whoa) and Beyond Re-Animator. The Bride was a lead in The House That Screamed by Serrador, whose other movie I just watched, and Carmilla costarred with John Hurt and Peter Cushing in The Ghoul.

First I’ve seen by Aranda – his 1960’s proto-giallo Fata Morgana sounds good, and his murder mystery Exquisite Cadaver. The DP worked on Cannibal Apocalypse and Comin’ at Ya and the editor works with Carlos Saura. One of many adaptations of the Irish novel Carmilla – others include the previous year’s Let’s Scare Jessica to Death, Alucarda, the British Vampire Lovers, a Christopher Lee called Crypt of the Vampire, Roger Vadim’s Blood and Roses, and a three season youtube series.

by ·Comments Off on Hellraiser (2022, David Bruckner)

The latest reboot is a Hulu Original from Serbia – not promising, but we only get one Hellraiser movie every five or six years now, so better give it a shot. Does a good job following current trends: it’s too long (the longest Hellraiser by far), the dialogue gets buried under bassy music/fx, it’s got trans representation, gay characters quoting Lord Byron, and young people with trauma.

New box, new rules – box has six configurations, solver has to make six sacrifices then can choose from six rewards. Playboy art dealer (not that one) has box in prologue, prays to Leviathan and disappears. Years later, drug addict’s new bf, secretly working for art dealer, leads her to box. Conveniently for the box’s rule of sixes, we’ve got nearly that many characters: addict, her bf, her brother, his bf, their weirdly loyal roommate. Brother goes first, the movie showing us glimpses of demons and shifting walls then vanishing the kids offscreen, then we get a freebie sacrifice by visiting the art dealer’s box-supplier in hospital, then goes the roommate, then another freebie as she stabs a cenobite (!). Perhaps I lost count, but the traitor goes to hell, the man hiding in the walls ascends and is flayed into a rad cenobite, and the addict chooses life and walks away.

From the director of Night House and writers of Super Dark Times. Lead girl is from one-take horror Let’s Scare Julie, the brother is from a couple TV movies where he plays guys who are too powerfully handsome, his bf from a Scooby Doo spinoff prequel, her bf an American Animal, the art dealer from Elektra, the roommate is Ciaran Hinds’ daughter, original box-deliverer was in the latest Blade Runner, and head hell-priest cenobite from Neon Demon.

Charles Bramesco on twitter:

There’s no belief in pleasure here, Barker’s conflicted psychosexual overtones replaced by the deadening, simply opposed evils of drugs. Instead of a perverse negotiation of desires, everything is motivated by the logistics of getting poked by a box. And for the love of god (a malevolent giant rhombus, as we all know), will someone turn on a fucking light and let me get a good look at the clearly labored-over cenobite designs.

mdfmdf:

This needed to be way hornier. Hellraiser movies work better when they’re about getting a bit carried away with your kink than when they’re about some monkey’s paw thing, or owning the cenobites with facts and logic.

by ·Comments Off on Slumber Party Massacre (1982, Amy Holden Jones)

“Mass Murderer Escapes” headlines in the local paper, yessssss. Girls start getting nude and/or massacred when the credits are barely over.

New girl in school Valerie is reluctantly invited to Trish’s slumber party, says no and stays home with little sister Courtney, right next door, all “we don’t need friends to have fun.” The maniac is revealed early, drilling all the girls he can. It’s not worth keeping track of all Trish’s murdered friends, but Trish was in a couple of Charles Bronson movies, Valerie in the classic Sorority Babes in the Slimeball Bowl-O-Rama, and the killer in an Amazing Stories episode from the director of Kazaam.

Some boys attempt to come over, a neighbor is hunting snails in the yard, a coach from school randomly wanders in – all drilled. Finally Valerie sneaks over to investigate, finds a machete in the basement and chops off the guy’s hand and his symbolically long and penetrative drill. At least it was better than Fascination, but this sent me off the Criterion Channel and back into my own collection.

Coach Speedo vs. Driller Killer:

by ·Comments Off on La Llorona (2019, Jayro Bustamante)

General Enrique and his rich family hide inside their mansion from the sidewalk protestors after he’s exonerated for genocide, and go on trying to act normal, though the servants flee and the General roams the house with a gun and the chanting continues. New maid Alma is teaching the kids how to hold their breath, because ghostly flashback reveals the General personally ordered her own kids to be drowned. Not that we ever suspected he was a nice guy, but at least his family’s eyes are opened before he inevitably dies.

Alma’s reward for starring in a well-liked foreign film is to be 30th billed in the new Black Panther sequel. A more popular Llorona movie came out the same year (per Indiewire a “schlocky jump-scare machine”) but this one is about real-life horrors in Guatemala, so it got lots of award nominations.

by ·Comments Off on Bride of Chucky (1998, Ronny Yu)

Campy from the opening scene, a police evidence locker with Freddy/Jason/Michael artifacts in view. Humor isn’t always what we want from horror sequels, but this murderer-possessed-doll franchise had worn itself thin by part three. Creator Don Mancini didn’t even bring on new writers (not credited ones, anyway), just a director (Ronny of The Bride with White Hair) and actor (Jenny Tilly of Bound) who could bring this thing over the edge. There’s more visual interest over the opening credits than in entire Branagh movie (good music, too).

Tilly is the pre-doll Chucky’s badass girl, who is friends with fake-goth Alexis Arquette (a Patricia/Rosanna sibling) and neighbors with a young dude named Jesse, who is dating Katherine Heigl (whose cop dad is John Ritter), also friends with Nickelodeon kid David. This provides a steady stream of dupes and victims as the central story progresses: Tilly and Chucky’s reunion, betrayal, her death by electrocution watching Bride of Frankenstein in the tub (yes this is the third in my Frankenstein triple feature) and ensuing dollification.

Further references to Hellraiser (arguably, when John Ritter catches a car airbag full o’ nails) and Natural Born Killers. A couple of swingers die via the shattered ceiling mirror trick from A Very Long Engagement (but six years earlier and on a waterbed). One of the Hocus Pocus witches plays a hotel maid. “Kiss my shiny plastic butt” a year before Futurama premiered. The dolls die as usual: “We belong dead… goodbye darling, I’ll see you in hell.”

by ·Comments Off on The Timekeepers of Eternity (2021, Aristotelis Maragkos)

Perfect example of a whim of an experimental concept getting painstakingly taken all the way, the arthouse festival-film equivalent of those people who create live-action remake videos of Mario Kart games. In Stephen King’s The Langoliers, the villain’s extreme “idle hands” anxiety has him constantly tearing paper, so Maragkos has printed the 3-hour TV version onto copy paper and ripped and torn it into an hour-long edit.

Cool concept, but the problem with your source material being a 1990’s TV movie is that your experimental film feels a lot like a 1990’s TV movie, which is quite bad, especially when the never-idle Bronson Pinchot is onscreen. Billy Crystal’s wife in City Slickers is top billed, for some reason. Dean Stockwell plays a mystery writer who has Got It All Figured Out (RIP Angela Lansbury). Frankie Faison is here to be the Black guy who gets killed first. There’s a blind Shining-child who helps out by feeling the spooky vibes. Not gonna blame King (who cameos) since I remember digging the original story, and despite all the clunky dialogue, the new version is worth the ride.