Jamie C. Pritchard's Blog, page 7

Unhinged Hitman: Anton Chigurh

The film adaptation of Cormac McCarthy’s No Country for Old Men (2007) is not a horror film but the main antagonist known as Anton Chigurh is very much in those nightmare-inducing realms. Javier Bardem got universal acclaim for his chilling performance and I’d say there is a better than fair chance it will remain his most enduring when the filmography is complete.

You see, there is something about the psychopath that demands our attention, sucks us in. Many house wives who gorge on romance are still partial to shows about killers as there is a part of our nature that loves to spy into the macabre psychology of another – perhaps because it resides in us all but only flourishes in a few. The psycho appears to be tuned into a different frequency.

With Anton the only bit of culture or ‘fair play’ he seems to have lies in a very warped sense of destiny via forcing his potential victims to flip a coin. “I can’t call it for you,” is delivered with floor-rumbling bass. A total lack of expression is occasionally broken with an amused grin as he acts as judge, jury and executioner. Getting shot with a captive bolt stunner would not be a pleasant experience, but it is more so what we read between the lines with Anton that unnerves.

Consider that communication is mainly shaped by tone and body language. The fact Anton is completely unmoved and insistent is what truly defines him. It makes one forget about the immediate danger of being killed and ponder just what exactly you’re are talking to. He’s not simply a bad man. He’s a monster parading as a human. Everything he says comes from a bottomless pit of no remorse.

As far as hitmen go, others may be more efficient, but Anton has no peer when it come to the dread factor. He also was given a hair cut which made him have to suffer the fate of “not getting laid for three months.”

 

Book Review: The Relic (1995)

*SPOILERS*

Daglas Preston and Lincoln Child have collaborated many times in literary works, bringing us fast-paced thrillers and deep characters if you’re willing to commit to a series. Being a fairly slow reader I don’t have the time for that, but I did make sure to check out the first entry of the Agent Pendergast series, the well received monster-horror book from 1995, The Relic.

Things begin interestingly enough in the amazon as an explorer called Whittlesey has ulterior an motive beyond the main objective, namely the Kothoga tribe and their very belligerent protector known as Mbwun. Shit hits the fan, some don’t make it back and so a mystery hangs over the whole expedition.

Switch to a Museum in New York and we’re introduced to a few characters, fairly well written though none really memorable save for Pendergast himself, a cultured, cool-as-ice member of the FBI. Considering the simple plot things take a while to get going as much of the first half is about who has authority over the museum – whether it should be closed for the upcoming exhibition and, when its decided no, how security should be run for this unknown presence which has taken a few lives.

The monster scenes were good. Preston & Child are able to build up something of a claustrophobic atmosphere as everyone must navigate the dim corridors and basement of the museum, but I found the attempted explanations of the monster’s origin and nature more interesting – something that is after a particular hormone that happens to be present in the human brain.

Specifically, Dr Frock forwards his theory of ‘Fractal Evolution’ in which sudden genetic anomalies are a possibility, leading to highly aggressive and intelligent abominations. This brought me closer to the terror than the actual attacks themselves. The idea that Whittlesey himself had become the monster somewhat took me out of the experience but I still appreciated the attempt to try and back this up in its own pseudo-scientific way.

Given the fact it takes a while to get going, and I didn’t care for many of the characters took it a down a peg or two, but Mbwun was a cool creature, there are some effective turns of phrase when things get nasty, and the scientific explanations are fun.

7/10.

Pinhead: Pleasure & Pain

I recognize that a lot of the Hellraiser films are pretty dodgy after the original (1987) but the entity known as Pinhead remains an icon of Horror.

His origins can be found in Clive Barker’s novel The Hellbound Heart (1986) in which he appears near the beginning and doesn’t even have a name – his voice being described as “light and breathy – the voice of an excited girl,” basically the opposite of Doug Bradley’s low, commanding delivery who played the character on the big screen from 1987-2005. Another funny fact is that technically, in the films at least, he is actually Nailhead as pins simply weren’t visible enough!

The unmistakable aesthetics of Pinhead are a result of unique sources of inspiration – one of which were African fetish sculptures. It’s instructive to underline the fact Barker is gay as I think that sexual predilection influenced not only in the S&M-esque attire but the whole pleasure/pain duality that so fascinates the self-proclaimed “explorer in the further realms of experience.”

A casual observers may see a lot of it as sensationalist, but Pinhead is a deep character who has a peculiar way of looking at the world (universe), offering morally-challenging propositions to those he encounters. And one of the reasons he stands out so much as a leader is because we know he’s part of something bigger with the other Cenobites and ‘Lament Configuration’ box.

Of course every classic baddie needs a great entrance, and Pinhead’s unannounced visit to Kirsty in the hospital is a masterclass – powerful, eerie, great back-and forth as they cut a deal, and that iconic threat.

The question is (one Pinhead wants you to answer) – would you be willing to go through unimaginable pain for heavenly pleasure?

 

The Howling (1981): Overshadowed

It’s tough when, in the same year of release, you have to compete not only with a horror classic but one from the exact same genre. The Howling (1981) was certainly a respectable werewolf flick but a few months later it had to take a backseat to American Werewolf in London (1981), specifically its transformation scene which remains a milestone in special effects. However, much like how Elvis’ death overshadowed the passing of Groucho Marx, AWIL went a long way in making The Howling (at least for a time), seem insignificant.

For AWIL, Rick Baker had wanted to create a wolfman – something on two legs while director John Landis was set on a quadruped. In The Howling we have something on two legs yet it is of a classic werewolf design with a long snout – a giant wolf with rabies to be more accurate!

The special effects makeup were done by Rob Bottin who was a year away from really hitting the big time in John Carpenter’s The Thing (1982). On the set of The Howling he was told that he could basically do whatever he wanted so long as it was good. In his own words he “went to town” with the available resources.

He got his first big moment on-screen with the transformation of Eddie. Bottin wanted to convey the breaking of bones and pain involved. The shots are held for much longer as Eddie looks demonic with needle-like teeth sprouting from his gums. The face extends out (much like it does in AWIL). Of course, it must be said that Rick Baker was involved in this here and helped guide Bottin before jumping ship.

Where the big contrast lies is that, when it’s all said and done and man has become beast, the werewolf in The Howling cuts a much different figure, standing very tall with its triangle-shaped head. Its arms are used to take swipes and even lift victims from the ground. Overall, perhaps not as aesthetically nice as Landis’ hound from hell, but very creepy in its own right.

It’s only really when directly compared to the rival of its time that The Howling suffers. It has since gained a cult following and remains one of the genuinely decent werewolf originals – a genre which might be (when compared to its vampiric and brain-eating cousins), the one with the least quality entries.

Monster Music: GWAR

The whole point of seeing live music is to receive a more engaging experience. It also gives artists a chance to do what is generally considered the ultimate high – perform in front of the adoring. Many take advantage of this by incorporating pyrotechnics, wirework or even inviting members of the audience on stage. The band known as GWAR, originated in Richmond, Virginia, circa 1984, would satisfy their paying customers via spraying them with blood and disembowel various personalities, from George Bush to Miley Cyrus.

These guys went one further than The Misfits – not content to merely dress up but attributed a whole mythology behind their comically disturbing attire. The majority of this was the brain work of the late Dave Brockie – a very funny, intelligent and highly creative individual – much better known (and more handsome) under the moniker of Oderus Urungus.

Apparently these Scumdogs (from planet Scumdogia of course) had sex with apes to create us – a fact of which they greatly regretted as we are their greatest annoyance – no better summed up than by what may be there main anthem Sick of You from their original masterpiece Scumdogs of the Universe (1990). And yes, I did say masterpiece, for while GWAR are renowned for their ridiculous lyrics, absurd on-show gore and childish crudity, they were all accomplished musicians who blasted out a libraries’ worth of groovy, catchy, and genuinely well-constructed songs.

Heavy Metal was their thing and after SOTU they pumped out the excellent America Must Be Destroyed (1992) and This Toilet Earth (1994) during what must be considered their commercial peak – a favourite band of Beavis & Butthead! Come the noughties and after welcoming the considerable guitar talents of the late Corey Smoot (Flattus Maximus) the band took on its heaviest and, you could say, most musically accomplished form. War Party (2004) and The Bloody Pit of Horror (2010) are great metal records by any measure.

Sadly, one of Oderus’ many character faults (his obsession with crack) was in fact one of Brockie’s and his truly unique soul left us in 2014 after an overdose, pretty much burying the band as he was the undisputed creative force in it. He released a book in 2010 entitled War Ghoul which I intend to read and has many interviews on YouTube – most of which are hilarious and I urge you to watch, whether you like metal or not.

GWAR are still going today with new and old members – a nice gesture that the Scumdogs will never die – but it’s not the same without their true leader and his Cuttlefish of Cthulhu hanging between his legs.

I guess there’s always the chance Oderus will got bored of Scumdogia and come back to earth…I hope he does…

 

Monster Music: The Misfits

“I got something to say…I killed you baby today, and it doesn’t matter much to me, as long as it’s dead…”

Devilocks, skull-face paint and a hazardous looking guitar called the Annihilator – even if you’re not a fan chances are you’ll recognize them. Formed in 1977, American horror-punk band The Misfits became icons with their rapid-fire songs, provocative lyrics and horror themes – the majority of which were derived from films.

While The Sex Pistols were sticking their fingers up at the establishment and The Ramones were aggressively sulking, Glenn Danzig was screaming about the prospect of having twenty eyes or what it may be like to turn into a martian. Their official debut album Walk Among Us (1982) is a 25 minute assault with great track after great track, genuine sing-along stuff. The songs weren’t just tacky salutes but cool, first-person interpretations.

In terms of direct inspiration, songs such as Brain Eaters and Astro Zombies were taken from the films of the same name whereas the commercial hit Scream was not in fact based on Wes Craven’s famous franchise but actually The Tingler with Vincent Price. The opening lyric, “A chill runs up your spine and crawls into your brain…” gives us a creepy clue. The majority of their songs were inspired by horror from the 1950s-70s, and so there is a good dollop of sci-fi in their musical cannon.

They have inspired all kinds of punk and heavy metal bands while Texas is the Reason were a band named after the same lyric in the song Bullet. The song Scream was not only a commercial success but a great example of the beautiful marriage that can occur between the film and music industry as the video was directed by none other than the late, great George A. Romero.

What I don’t understand is why the band got its name from the 1961 Marilyn Monroe film. Is a 124 minute drama starring Clark Gable really that scary?

Hmm…probably…

 

Monster Showdowns: Any Good Ones?

Usually, by definition, they are crud. The first ever vs. film between two classic monsters was Frankenstein Meets The Wolfman (1943) and while it was amusing it didn’t have very much else going for it (we won’t go into Lugosi’s performance as Frankenstein’s monster). Nearly a century years later and trying to name a good vs. film is difficult if not impossible.

The rule seems to be that when you take a great character from a classic film and try to make a film based on an imposed rivalry it is almost certainly going to be a disaster, like pouring fish stock into beef stew.

Now of course Godzilla produced a slew of vs. films which have a cult following, but I don’t believe any have critical acclaim. One of the biggest modern clashes was Alien vs. Predator (2004), but as we all know that film was terrible – even more so for the fact it spawned a sequel.

I wonder if it’s actually possible to make a good monster clash film…

If I’m forgetting one, do tell!

 

Victims: More Than Targets

I’ve always said that a horror film has to revolve around the evil, be it an unexplainable curse or popular antagonist, but at the same time (for that evil to properly hit us), it has to threaten something we either value or can relate to, and so the victims must be of a high quality.

There are a myriad of reasons why so many modern American horror films are sub-par, from the poorly executed clichés to a reliance on jump scares, but arguably more damning than all of that are the brainless, whiney teens who we wish would die as soon as their car breaks down or they decide to get it on in the middle of rapesville. When all you have to offer are loud screams and an inability to stay on your feet when chased then death is hardly a tragedy.

One of the reasons The Exorcist (1973) was so good is it had characters who felt like real people with real struggles. You feel for both Chris MacNeil and Father Karras because we get a sense of who they are, how they try to make ends meet. Rather than doing their best to burst ear drums they conveyed fear, despair and mental exhaustion in all its soul-sucking stages.

I recently watched Hereditary and while I thought it could have been better it definitely had solid characters. Annie Graham, son Peter and daughter Charlie all carried a lot of emotional baggage which came though every time they were on screen. They compelled to the point I rode their emotions, and so when the evil came a knockin’ I begun to share some of the burden. If that connection isn’t there then there arguably isn’t any terror.

One of the unsung heroes of hysterics for my money is Sally Hardesty in The Texas Chainsaw Massacre (1974), played by the late Marilyn Burns. We all remember Leatherface, the sense of isolation and furniture made of bones but, again, for all this to properly hit we need a someone to react, and Marilyn’s performance ran the full gamut from concern to unhinged, blood-stained delirium.

She deserved to get away.

Suspiria (2018): Repainting A Classic

Hellraiser, Nightmare on Elm Street, Halloween – by the end of 2018 each of these will have another entry to their already bloated franchises. As a discerning fan it doesn’t really pique my interest. Chances are they will suck. However, when someone decides to dig up a stone cold classic and give it a new coat of paint it deserves attention…if only to see what their inspiration was.

For those who haven’t had the pleasure, Dario Argento’s Suspiria (1977) is probably the most critically acclaimed Italian horror film, ever. The simple plot of a ballet dancer going to a new school lures us into an aesthetically beautiful nightmare that still has an atmosphere unlike any other. Fellow Italian director Luca Guadagnino has apparently decided to take up the challenge of seeing if he can add something fresh with a film that is more than okay if left alone.

In his own words he has said this is going to be more of a homage than a remake which I like the sound of, as to merely repeat what was already done (and near perfectly I might add) is an almost certain way to fail. Rather he has quite vaguely said that he is going to try and capture the feeling it evoked when he watched it, to try and bottle some of that awesome atmosphere and recolour it.

Colour of course is one of the things the original is celebrated for. All kinds of reds, blues and greens are effectively used to help us feel both lost and bound by evil forces. From the trailer things look much more subdued – dull by comparison – so on an aesthetical level they are definitely going in a new direction.

The gothic chimes of The Goblins made for an iconic score in the original but I like the similar yet different tune that runs through the new trailer, compliments of Thom Yorke. Particularly, the menacing sounding tuba as the fat letters spell out the iconic title almost raised hairs.

I hope I can once again be lost in a new dream world, drowning in someplace undoubtedly sinister…maybe it’s too much to ask. I guess the most I can hope is when released on November 2nd the old maestro doesn’t let out a groan.

Jaws (1975): Scary or Stupid?

With summer on the way it got me thinking about the film that birthed the summer blockbuster, Steven Spielberg’s 1975 Jaws. It was actually an adaptation of a novel (a snippet I’ve just become aware of) and went onto smash the box office records as well as give people an unrealistic fear of sharks. No doubt I found it unnerving as a kid (the premise along with the foreboding ‘here-it-comes’ score was good enough to spook adults too), but was this film really scary or was it closer to stupid?

“Well, you could tell it was fake.” – My Grandad, 1975

It must be said, for someone who’s prime was in the fifties, to balk at the latest SFX points towards Jaws not having particularly good SFX for the time. Two years earlier crowds had been treated to the visceral brilliance of The Exorcist. Now they were treated to a completely oversized, very stiff looking puppet, for while Jaws is a masterclass in building tension the payoff was apparently having many first time viewers rolling their eyes.

It was also a film that preyed on ignorance.

Perhaps David Attenborough hadn’t schooled us enough yet, but aside from the dodgy appearance of the monolithic fish when one realises what something that big would need to feed on it makes the idea of hunting humans laughable. The average Great White shark, a third of Jaws if that, generally feeds on seals as they have the necessary blubber to satisfy. Instances of attacks on the shore are often the product of a mistaken identity hence why there are many survivors with crescent-shaped scars – they find us too bony and so only bite once.

This does not stop the death of Quint for instance from being disturbing, but because the antagonist lives within the realms of a this world it loses its post-credit power…if you stop to use your noggin.

You would still have to consider Jaws a classic, and it’s still very watchable, but I don’t like how it turned one of nature’s great predators into some insatiable man-eater.

Now Deep Blue Sea (1999) had the right idea with genetically modified Mako sharks…

…unfortunately that film really sucked.