Patrick Rutigliano's Blog, page 20
November 25, 2013
Educational Posts/Articles
I've been putting a number of educational posts on the Daryl Handy blog regarding aspects of the writing business. I figured I'd collect the links and make them easily available here as well:
-Approaching Old Ideas-http://deathsofdarylhandy.blogspot.com/2013/10/approaching-old-ideas.html
-Going Indie-http://deathsofdarylhandy.blogspot.com/2013/10/a-tough-sell-going-it-alone.html-Don't Sell Yourself Short-http://deathsofdarylhandy.blogspot.com/2013/10/dont-sell-yourself-short.html-Polishing Your Book for Publication-http://deathsofdarylhandy.blogspot.com/2013/11/the-aftermath-polishing-your-book-for.html-Blasting Through Writer's Block-http://deathsofdarylhandy.blogspot.com/2013/11/blasting-through-writers-block.html-Writing: The Toughest Medium-http://deathsofdarylhandy.blogspot.com/2013/11/writing-toughest-medium.html
-Approaching Old Ideas-http://deathsofdarylhandy.blogspot.com/2013/10/approaching-old-ideas.html
-Going Indie-http://deathsofdarylhandy.blogspot.com/2013/10/a-tough-sell-going-it-alone.html-Don't Sell Yourself Short-http://deathsofdarylhandy.blogspot.com/2013/10/dont-sell-yourself-short.html-Polishing Your Book for Publication-http://deathsofdarylhandy.blogspot.com/2013/11/the-aftermath-polishing-your-book-for.html-Blasting Through Writer's Block-http://deathsofdarylhandy.blogspot.com/2013/11/blasting-through-writers-block.html-Writing: The Toughest Medium-http://deathsofdarylhandy.blogspot.com/2013/11/writing-toughest-medium.html
November 20, 2013
The Wind Raider - Part One, Now Available!
My latest proofreading project hit Amazon without me even knowing it! If you're looking for something post-apocalyptic with a young adult bent, check it out. Richard Finney does good work.
http://www.amazon.com/Wind-Raider-Part-One-ebook/dp/B00FW9424E/ref=sr_1_1?s=books&ie=UTF8&qid=1384984290&sr=1-1&keywords=the+wind+raider
http://www.amazon.com/Wind-Raider-Part-One-ebook/dp/B00FW9424E/ref=sr_1_1?s=books&ie=UTF8&qid=1384984290&sr=1-1&keywords=the+wind+raider
The Prologue to Bestiary
Now up over here: deathsofdarylhandy.blogspot.com
I'm currently pondering on the best way to start serializing the book for you all. Here's hoping you dig dark carnival thrillers...
I'm currently pondering on the best way to start serializing the book for you all. Here's hoping you dig dark carnival thrillers...
November 12, 2013
My First Sequel
I forgot to mention it last week, but the sequel to Bestiary is now roughed out. I start the first of my three self-editing sessions today. I can also say without hesitation that it was my toughest book to date, taking about three months while its predecessor took about a week and a half. That said, I'm looking forward to getting to work on the third and finishing the story proper.
In crummier news, things didn't work out with a publisher the way I would've liked due to contract issues, but I do have another place in mind...we'll see how that goes.
In crummier news, things didn't work out with a publisher the way I would've liked due to contract issues, but I do have another place in mind...we'll see how that goes.
October 31, 2013
Werewolf Movies
Ah, Halloween has finally arrived. And so we get to our last list for the month.
You know, as difficult a time as I had thinking of good horror remakes, this list was even more difficult to compile. The sad truth is that no werewolf film since Am American Werewolf has surpassed, or even matched, Baker's special effects. That said, there are still some good ones to be found, so let's dive in.
-Werewolf of London. Sadly rather forgotten by modern audiences, Werewolf of London was the first Hollywood werewolf movie, and set a number of precedents. The traditions of the curse passing by way of a bite and the werwolf instinctively seeking to kill the person it loves most both come from here. The fact that the protagonist--a scientist--actively tries to treat his affliction is also rather interesting.
-The Wolfman. The Universal classic and the film that brought the werewolf into the pop-culture mainstream. Simple but effective, Lon Chaney, Jr. sells his tragedy well, and the makeup effects are topnotch for the time. And who doesn't remember the gypsy poem?
-The Curse of the Werewolf. This Hammer offering is unique for a few reasons. The first is that the sufferer of the curse in the film has it from birth, so there are none of the infection by bite elements commonly found in werewolf movies. The second is a color update of the Chaney style of makeup, which looks pretty damn good. While it does take quite a long time to get to any of the werewolf parts (the whole set up for the cursed birth takes up a sizable chunk of the film), the build up does help establish that much more sympathy for the character's situation.
-An American Werewolf in London. Ah, the one nearly every horror movie fan knows and loves. Landis does a great job injecting humor into his narrative (largely by way of the victim's dead friend stalking him, decaying more and more along the way), and Baker's transformation effects remain the pinnacle of the sub-genre.
-Wolfen. Revolving around a series of unexplained murders, Wolfen explores the conflict between nature and man in an urban setting. The origins of the monsters here is a rather unique, making them mystical beings displaced by progress rather than cursed human beings. Animal lovers be warned, the stock footage of wolves being hunted halfway through is extremely hard to sit through (and the reason I've only watched this movie once).
-The Howling. When a female reporter survives an attempted murder by a serial killer, she seeks refuge with her husband in a remote retreat. One of the few movies portraying werewolves working as a group to integrate into human society, The Howling's special effects are the only ones that come anywhere near Baker's, offering some excellent transformation scenes.
-Ginger Snaps. Arguably, this film's greatest weakness is that it starts off on the wrong foot. The viewer's introduction to the teenage protagonists mark them as obnoxiously whiny and goth (they'd fit right in with the clique on South Park), but once the first werewolf scene hits, things rapidly take a turn for the better. Both girls leading the film turn out to be fine actresses (the one playing the younger sister in particular), and they establish a good chemistry quickly. There's plenty of black humor to be found, and a good deal of it works. Interestingly, there is no true werewolf transformation scene as the infected sister's change occurs slowly through the length of the movie, causing the bulk of the havoc as she increasingly loses control of herself.
-The Company of Wolves. Drawing as much from the sexual themes of Little Red Riding Hood as the typical werewolf lore, The Company of Wolves works impressively well as a reimagining of the fable. Characters from the original story are twisted and amalgamated, with sex complicating the final confrontation.
-Silver Bullet. For a Stephen King adaptation, Silver Bullet isn't half-bad. A series of murders begin in a small town, and when a boy's best friend is killed, he takes it upon himself to find the culprit. The tension between the paraplegic protagonist and his sister works well in the beginning of the film, giving some depth to their relationship, and Gary Busey does a fine job as the boy's black sheep uncle. While it has its silly/stupid moments, the film manages to stay watchable even with some sub-par effects.
-Dog Soldiers. A weirdly unique entry on my little list. The film revolves around a military unit sent to compete in a training exercise. Finding the other team dead (minus one survivor who they drag along with them), the group retreats to an isolated cottage. Having competent, armed characters take on the monsters is a real breath of fresh air, and there are a number of impressive action scenes (and a fair amount of gore). My favorite involves a Scottish member of the scene being cornered and going berserk instead of cowering or trying to flee. It's as awesome as it it is over the top.
You know, as difficult a time as I had thinking of good horror remakes, this list was even more difficult to compile. The sad truth is that no werewolf film since Am American Werewolf has surpassed, or even matched, Baker's special effects. That said, there are still some good ones to be found, so let's dive in.
-Werewolf of London. Sadly rather forgotten by modern audiences, Werewolf of London was the first Hollywood werewolf movie, and set a number of precedents. The traditions of the curse passing by way of a bite and the werwolf instinctively seeking to kill the person it loves most both come from here. The fact that the protagonist--a scientist--actively tries to treat his affliction is also rather interesting.
-The Wolfman. The Universal classic and the film that brought the werewolf into the pop-culture mainstream. Simple but effective, Lon Chaney, Jr. sells his tragedy well, and the makeup effects are topnotch for the time. And who doesn't remember the gypsy poem?
-The Curse of the Werewolf. This Hammer offering is unique for a few reasons. The first is that the sufferer of the curse in the film has it from birth, so there are none of the infection by bite elements commonly found in werewolf movies. The second is a color update of the Chaney style of makeup, which looks pretty damn good. While it does take quite a long time to get to any of the werewolf parts (the whole set up for the cursed birth takes up a sizable chunk of the film), the build up does help establish that much more sympathy for the character's situation.
-An American Werewolf in London. Ah, the one nearly every horror movie fan knows and loves. Landis does a great job injecting humor into his narrative (largely by way of the victim's dead friend stalking him, decaying more and more along the way), and Baker's transformation effects remain the pinnacle of the sub-genre.
-Wolfen. Revolving around a series of unexplained murders, Wolfen explores the conflict between nature and man in an urban setting. The origins of the monsters here is a rather unique, making them mystical beings displaced by progress rather than cursed human beings. Animal lovers be warned, the stock footage of wolves being hunted halfway through is extremely hard to sit through (and the reason I've only watched this movie once).
-The Howling. When a female reporter survives an attempted murder by a serial killer, she seeks refuge with her husband in a remote retreat. One of the few movies portraying werewolves working as a group to integrate into human society, The Howling's special effects are the only ones that come anywhere near Baker's, offering some excellent transformation scenes.
-Ginger Snaps. Arguably, this film's greatest weakness is that it starts off on the wrong foot. The viewer's introduction to the teenage protagonists mark them as obnoxiously whiny and goth (they'd fit right in with the clique on South Park), but once the first werewolf scene hits, things rapidly take a turn for the better. Both girls leading the film turn out to be fine actresses (the one playing the younger sister in particular), and they establish a good chemistry quickly. There's plenty of black humor to be found, and a good deal of it works. Interestingly, there is no true werewolf transformation scene as the infected sister's change occurs slowly through the length of the movie, causing the bulk of the havoc as she increasingly loses control of herself.
-The Company of Wolves. Drawing as much from the sexual themes of Little Red Riding Hood as the typical werewolf lore, The Company of Wolves works impressively well as a reimagining of the fable. Characters from the original story are twisted and amalgamated, with sex complicating the final confrontation.
-Silver Bullet. For a Stephen King adaptation, Silver Bullet isn't half-bad. A series of murders begin in a small town, and when a boy's best friend is killed, he takes it upon himself to find the culprit. The tension between the paraplegic protagonist and his sister works well in the beginning of the film, giving some depth to their relationship, and Gary Busey does a fine job as the boy's black sheep uncle. While it has its silly/stupid moments, the film manages to stay watchable even with some sub-par effects.
-Dog Soldiers. A weirdly unique entry on my little list. The film revolves around a military unit sent to compete in a training exercise. Finding the other team dead (minus one survivor who they drag along with them), the group retreats to an isolated cottage. Having competent, armed characters take on the monsters is a real breath of fresh air, and there are a number of impressive action scenes (and a fair amount of gore). My favorite involves a Scottish member of the scene being cornered and going berserk instead of cowering or trying to flee. It's as awesome as it it is over the top.
October 29, 2013
Great Ghost Movies
While I had trouble thinking of movies for this list at first, I was surprised at how many came to me after thinking the topic over a bit. And some of them are pretty iconic, too.
Disclaimer: Ghostbusters is not on this list as I am trying to keep the movies I include firmly on the darker side. That said, it's an amazingly funny, well-made, well-acted movie and does have awesome effects . So yeah, go see that one too!
-The Conjuring. The most recent movie on this list. In the modern era of jump scares, the lack of stingers and crap flying at the viewer's face is a welcome relief. The atmosphere takes its time to build, paying off spectacularly with some truly great scenes. The acting is also pretty good all-around (remarkable considering how many children are in the supporting cast). And while I have my qualms about presenting any of the Warrens' cases as fact, as fiction, it's pretty damn engrossing.
-The Changeling. There's something impressive about a movie that emotionally cripples its protagonist in the first five minutes and does so believably. While the movie's setting is the most traditional of tropes (a haunted, Victorian mansion), the rich story that unfolds more than makes up for it, playing out as much as a mystery/thriller as a horror film.
-Ringu. People love to call the American remake one of the best of all time, but I actually like the original better. Something about the mood of the piece feels weirdly authentic, perhaps due to the inspiration of some real-life events (there was an experiment regarding leaving mental imprints on photographs). Before the crowd of white-clad, pale imitators, Sadako became the first true horror icon of the modern era, able to kill someone with a single glance. I also love the fact that despite a rather tragic past, she is still a monster at heart, and her origin never entirely explained.
-Ju-On. Revolving around a curse that spreads like an infection whenever someone walks into a house (the scene of a double murder-suicide), Ju-On is rife with creepiness. Acting as an anthology film of sorts, the movie has a different vignette for each victim, the tales frequently overlapping. Because of this, the timeline can be a little hard to follow, but each story is effective enough on its own to make up for it. Part of this success comes by way of utilizing three spirits rather than relying on one, keeping things from becoming too predictable. The murdered wife's agonizing crawling toward her victims at the end puts the Exorcist to shame, amplified by her broken-necked wailing. The child and his pet cat (weirdly fused together in death) act as more passive observers. And the paranoid father, prone to rages, adds an even more insidious note as he possesses other bodies to reenact his crimes. Good stuff.
-The Orphanage. This one legitimately took me by surprise when I saw it. Starting with a simple premise (a spirit follows a child home after a trip to the beach), viewers are likely to be taken off-guard by just how dark things get. The lead actress is amazing, completely selling the viewer on her stress and hopelessness after her son disappears (the scene where she's trying to summon the spirits at the end is particularly gut-wrenching), and the background of the story turns out to be pleasantly complex.
-Poltergeist. Oh, for the days when Tobe Hooper still made good movies. This is another film revolving around what has become a typical premise. Family moves into new house, weird stuff happens, family realizes its ghosts, etc. However, the relatable situation of the family actually works to the movie's advantage, and Hooper overcomes the tropes he draws from by upping the ante with the sheer level of batshit insane that eventually goes down, utilizing some impressive effects work along the way. Oh, and all those skeletons? Yeah, they're real. Just thought you should know.
-The Haunting. Easily the most effective ghost film of its day. Successfully blurring the line between psychological suspense and supernatural horror, the Haunting leaves the source of its scares ambiguous, only adding to the unease the viewer is left with after the ending. The scene with the bending door remains eerily effective even decades later.
-The Devil's Backbone. Del Toro knocks another one out of the park (although perhaps not quite as far as Cronos or Pan's Labyrinth). As in all of Del Toro's best films, his characters are multi-faceted and complex, and the foreign, historical setting makes for a refreshing change from the typical gothic mansion. The ghost scenes manage to be genuinely unnerving, but not nearly so much as the actions of the human monsters in the film. The final confrontation between the villain and the child protagonists is particularly effective.
-The Fog. Unlike most of the films on this list, Carpenter went for a pulpier vibe, drawing on the feel of an EC comic book. The story is simple, but effective, as a whole town is suddenly forced face-to-face with the inexplicable. The sheer scale of the ghost's influence also sets it apart from the others on this list, seeking to exterminate the entire town's population in revenge for their own deaths. While some of the characters are a bit too one-dimensional, I get a hoot out of Adrienne Barbeau's performance as a late-night DJ every time.
-The Shining. I have some very mixed feelings about this film, but horror history (and popular opinion) demands it be included. Kubrick's film is simply gorgeous. The shots he gets are incredibly well-constructed and there are more iconic scenes in the movie than I can count. However, while there are some legitimately creepy moments (the scene with Danny traversing the halls on his big wheel, the blood rushing out of the elevator, Wendy finding Jack's pages, etc.), Nicholson detracts from all this by really only working in this film after the point he's SUPPOSED to go nuts. His constant mugging undermines the first half of the movie when put next to the more subtle performances of the other actors. And despite all the film's beauty, Kubrick's style is a bit too antiseptic for this kind of content. Still, it's as worth watching for all it does right as the things it gets wrong.
Disclaimer: Ghostbusters is not on this list as I am trying to keep the movies I include firmly on the darker side. That said, it's an amazingly funny, well-made, well-acted movie and does have awesome effects . So yeah, go see that one too!
-The Conjuring. The most recent movie on this list. In the modern era of jump scares, the lack of stingers and crap flying at the viewer's face is a welcome relief. The atmosphere takes its time to build, paying off spectacularly with some truly great scenes. The acting is also pretty good all-around (remarkable considering how many children are in the supporting cast). And while I have my qualms about presenting any of the Warrens' cases as fact, as fiction, it's pretty damn engrossing.
-The Changeling. There's something impressive about a movie that emotionally cripples its protagonist in the first five minutes and does so believably. While the movie's setting is the most traditional of tropes (a haunted, Victorian mansion), the rich story that unfolds more than makes up for it, playing out as much as a mystery/thriller as a horror film.
-Ringu. People love to call the American remake one of the best of all time, but I actually like the original better. Something about the mood of the piece feels weirdly authentic, perhaps due to the inspiration of some real-life events (there was an experiment regarding leaving mental imprints on photographs). Before the crowd of white-clad, pale imitators, Sadako became the first true horror icon of the modern era, able to kill someone with a single glance. I also love the fact that despite a rather tragic past, she is still a monster at heart, and her origin never entirely explained.
-Ju-On. Revolving around a curse that spreads like an infection whenever someone walks into a house (the scene of a double murder-suicide), Ju-On is rife with creepiness. Acting as an anthology film of sorts, the movie has a different vignette for each victim, the tales frequently overlapping. Because of this, the timeline can be a little hard to follow, but each story is effective enough on its own to make up for it. Part of this success comes by way of utilizing three spirits rather than relying on one, keeping things from becoming too predictable. The murdered wife's agonizing crawling toward her victims at the end puts the Exorcist to shame, amplified by her broken-necked wailing. The child and his pet cat (weirdly fused together in death) act as more passive observers. And the paranoid father, prone to rages, adds an even more insidious note as he possesses other bodies to reenact his crimes. Good stuff.
-The Orphanage. This one legitimately took me by surprise when I saw it. Starting with a simple premise (a spirit follows a child home after a trip to the beach), viewers are likely to be taken off-guard by just how dark things get. The lead actress is amazing, completely selling the viewer on her stress and hopelessness after her son disappears (the scene where she's trying to summon the spirits at the end is particularly gut-wrenching), and the background of the story turns out to be pleasantly complex.
-Poltergeist. Oh, for the days when Tobe Hooper still made good movies. This is another film revolving around what has become a typical premise. Family moves into new house, weird stuff happens, family realizes its ghosts, etc. However, the relatable situation of the family actually works to the movie's advantage, and Hooper overcomes the tropes he draws from by upping the ante with the sheer level of batshit insane that eventually goes down, utilizing some impressive effects work along the way. Oh, and all those skeletons? Yeah, they're real. Just thought you should know.
-The Haunting. Easily the most effective ghost film of its day. Successfully blurring the line between psychological suspense and supernatural horror, the Haunting leaves the source of its scares ambiguous, only adding to the unease the viewer is left with after the ending. The scene with the bending door remains eerily effective even decades later.
-The Devil's Backbone. Del Toro knocks another one out of the park (although perhaps not quite as far as Cronos or Pan's Labyrinth). As in all of Del Toro's best films, his characters are multi-faceted and complex, and the foreign, historical setting makes for a refreshing change from the typical gothic mansion. The ghost scenes manage to be genuinely unnerving, but not nearly so much as the actions of the human monsters in the film. The final confrontation between the villain and the child protagonists is particularly effective.
-The Fog. Unlike most of the films on this list, Carpenter went for a pulpier vibe, drawing on the feel of an EC comic book. The story is simple, but effective, as a whole town is suddenly forced face-to-face with the inexplicable. The sheer scale of the ghost's influence also sets it apart from the others on this list, seeking to exterminate the entire town's population in revenge for their own deaths. While some of the characters are a bit too one-dimensional, I get a hoot out of Adrienne Barbeau's performance as a late-night DJ every time.
-The Shining. I have some very mixed feelings about this film, but horror history (and popular opinion) demands it be included. Kubrick's film is simply gorgeous. The shots he gets are incredibly well-constructed and there are more iconic scenes in the movie than I can count. However, while there are some legitimately creepy moments (the scene with Danny traversing the halls on his big wheel, the blood rushing out of the elevator, Wendy finding Jack's pages, etc.), Nicholson detracts from all this by really only working in this film after the point he's SUPPOSED to go nuts. His constant mugging undermines the first half of the movie when put next to the more subtle performances of the other actors. And despite all the film's beauty, Kubrick's style is a bit too antiseptic for this kind of content. Still, it's as worth watching for all it does right as the things it gets wrong.
October 28, 2013
Horror Remakes (That Don't Suck)
Ah, remakes. So many awful, awful remakes. Floating on the sea of unnecessary garbage made solely to cash in on a familiar name, there are a few gems waiting to be found. I think it's time to give them some love for doing it right.
Again, there are a few films I left out, either because I didn't see them or felt they changed a bit too much to qualify as true remakes. Or because they sucked or were completely unnecessary. And yeah, I'm looking at you, Texas Chainsaw Massacre.
-The Thing. Best. Remake. Ever. Easily the greatest creature flick of all time, the protean shapeshifter/body snatcher in Carpenter's version makes the creature in the original look almost laughable. A deep sense of isolation and paranoia inundates the film, filling the spaces between the creature's appearances with incredible atmosphere. The film's ending is ambiguous, and one of the bleakest you'll find in a film. Easily in the running for my favorite horror movie of all time.
-The Fly. Cronenberg was the perfect choice to make this film. His fascination with body horror brings a whole new element of the grotesque to the transporter mishap, and his characters are far more layered than in the original. The effects are great, and Goldblum's transformation becomes genuinely squirm-inducing as the movie goes on.
-The Blob. Right from the start, this one gets a lot of things right. The characters (even relatively minor ones) are established and made likable even before the monster arrives. The effects work is first-rate for the time, and most of it holds up surprisingly well. This is also one of the only horror movies from its era that had the guts to kill off of one of the child characters, and brutally at that.
-The Horror of Dracula. Oh yeah, I didn't forget Hammer. The studio was the king of horror remakes in its day, drawing inspiration from Universal's monster pictures. The sets are beautiful, perfectly capturing the gothic atmosphere of the scenes. And you know what? Damned if I don't actually like Lee's Dracula a little better than Lugosi's (but only just). Cushing is equally impressive as his foe, Professor Van Helsing.
-The Curse of Frankenstein. My second Hammer entry on this list, and the studio's first color horror film, actually predating the entry above. Cushing's sociopathy and scientific obsession cement his Doctor Frankenstein as a true villain, unlike his more sympathetic, if manic, Universal counterpart. This element actually gives the film a dual protagonist and antagonist, making everything leading up to the creature much more entertaining and losing some of the original's cheese. The gore in the movie was also revolutionary for the time, pushing the boundaries and drawing controversy.
-Invasion of the Body Snatches. Hoo-boy, this is a nasty one. Upping the paranoia in the '50's version to 11, there's not a moment in this film where the characters feel safe, culminating in an incredibly dark final act. And is there anybody who doesn't remember the creepy screaming alarm sounded whenever a pod person spots a human being? Criminey.
-Night of the Living Dead. Yeah, I already covered this one earlier, but like Horror of Dracula, it bears repeating. The update to Barbara from trauma case to increasingly resilient survivor would be enough to warrant a watch, but Tony Todd's performance as Ben is another high point. The ending, while a bit different from its predecessor, still works quite well.
-Dawn of the Dead. While I do have some issues with it (like the most random-ass, unnecessary sex scene I've seen in a movie and a lame extra scene during the credits), the remake of Romero's classic is actually pretty good. The opening scene is very effective at throwing the viewer into a world taking its first steps into hell. The idea of a pregnant woman getting infected was a genuinely interesting idea, and one that panned out pretty well. Having a neighbor across the street was another nice way to add some extra tension.
-Evil Dead 2. Half-remake and half-sequel, but I'm going to allow it. Changing tone from straight horror to horror comedy should've been disastrous, but Sam Raimi pulled it off like a pro. Bruce Campbell's Ash is at his best here, stuck amusingly between action hero and schmuck. There are a ton of great scenes, ranging from Ash battling his demon-possessed hand to a battle against the previous owner's snake-headed wife. One of my favorites.
-Cape Fear. Man, Robert DeNiro sells this thing. Big time. His Max Cady is one of the creepiest human villains to hit the big screen, capable of being cunning, charming, or incredibly brutal at the drop of a hat, making him even more dangerous than Mitchum's earlier portrayal. And he has more validity to his hatred to further sell his motivation. The film's tension never lets up once it gets going as Cady gets ever closer to his target.
Again, there are a few films I left out, either because I didn't see them or felt they changed a bit too much to qualify as true remakes. Or because they sucked or were completely unnecessary. And yeah, I'm looking at you, Texas Chainsaw Massacre.
-The Thing. Best. Remake. Ever. Easily the greatest creature flick of all time, the protean shapeshifter/body snatcher in Carpenter's version makes the creature in the original look almost laughable. A deep sense of isolation and paranoia inundates the film, filling the spaces between the creature's appearances with incredible atmosphere. The film's ending is ambiguous, and one of the bleakest you'll find in a film. Easily in the running for my favorite horror movie of all time.
-The Fly. Cronenberg was the perfect choice to make this film. His fascination with body horror brings a whole new element of the grotesque to the transporter mishap, and his characters are far more layered than in the original. The effects are great, and Goldblum's transformation becomes genuinely squirm-inducing as the movie goes on.
-The Blob. Right from the start, this one gets a lot of things right. The characters (even relatively minor ones) are established and made likable even before the monster arrives. The effects work is first-rate for the time, and most of it holds up surprisingly well. This is also one of the only horror movies from its era that had the guts to kill off of one of the child characters, and brutally at that.
-The Horror of Dracula. Oh yeah, I didn't forget Hammer. The studio was the king of horror remakes in its day, drawing inspiration from Universal's monster pictures. The sets are beautiful, perfectly capturing the gothic atmosphere of the scenes. And you know what? Damned if I don't actually like Lee's Dracula a little better than Lugosi's (but only just). Cushing is equally impressive as his foe, Professor Van Helsing.
-The Curse of Frankenstein. My second Hammer entry on this list, and the studio's first color horror film, actually predating the entry above. Cushing's sociopathy and scientific obsession cement his Doctor Frankenstein as a true villain, unlike his more sympathetic, if manic, Universal counterpart. This element actually gives the film a dual protagonist and antagonist, making everything leading up to the creature much more entertaining and losing some of the original's cheese. The gore in the movie was also revolutionary for the time, pushing the boundaries and drawing controversy.
-Invasion of the Body Snatches. Hoo-boy, this is a nasty one. Upping the paranoia in the '50's version to 11, there's not a moment in this film where the characters feel safe, culminating in an incredibly dark final act. And is there anybody who doesn't remember the creepy screaming alarm sounded whenever a pod person spots a human being? Criminey.
-Night of the Living Dead. Yeah, I already covered this one earlier, but like Horror of Dracula, it bears repeating. The update to Barbara from trauma case to increasingly resilient survivor would be enough to warrant a watch, but Tony Todd's performance as Ben is another high point. The ending, while a bit different from its predecessor, still works quite well.
-Dawn of the Dead. While I do have some issues with it (like the most random-ass, unnecessary sex scene I've seen in a movie and a lame extra scene during the credits), the remake of Romero's classic is actually pretty good. The opening scene is very effective at throwing the viewer into a world taking its first steps into hell. The idea of a pregnant woman getting infected was a genuinely interesting idea, and one that panned out pretty well. Having a neighbor across the street was another nice way to add some extra tension.
-Evil Dead 2. Half-remake and half-sequel, but I'm going to allow it. Changing tone from straight horror to horror comedy should've been disastrous, but Sam Raimi pulled it off like a pro. Bruce Campbell's Ash is at his best here, stuck amusingly between action hero and schmuck. There are a ton of great scenes, ranging from Ash battling his demon-possessed hand to a battle against the previous owner's snake-headed wife. One of my favorites.
-Cape Fear. Man, Robert DeNiro sells this thing. Big time. His Max Cady is one of the creepiest human villains to hit the big screen, capable of being cunning, charming, or incredibly brutal at the drop of a hat, making him even more dangerous than Mitchum's earlier portrayal. And he has more validity to his hatred to further sell his motivation. The film's tension never lets up once it gets going as Cady gets ever closer to his target.
October 23, 2013
Zombie Movies
Ah, zombies. The shambling corpses are everywhere nowadays (thanks in large part to the popularity of The Walking Dead--which I can't say I particularly like). Zombies are truly the every man monster. All it takes is one bite and whatever identity you had is gone and your body is running on its most basic impulses. No curses, nothing sexy or seductive, no newfound power. Just hunger and rot. Let's see if we can't find some good movies for the season, yeah?
Disclaimer: I do realize there are some noticeable omissions of films that probably belong on here (White Zombie, the Fulci films, Zombieland, etc.). However, I can't recommend a film I haven't seen (yet). And there are a few well-known ones I just don't like, as well as a few good films I cut to keep the list in check.
-Night of the Living Dead. The granddaddy of them all. While there were a few earlier zombie films, this was the one that established the tropes. An isolated setting. The mounting interpersonal tensions of the people stuck there. And a level of gore that was pretty new to the period. The fact that Night holds up well today despite all the cliches it invented is testament to how well Romero pulled the whole thing off. And the ending, though a downer, is a perfect finale to the bleak atmosphere preceding it.
-Dawn of the Dead. A lot of people would probably have Dawn at the top of their lists for the best zombie movie of all time. And with good reason. A biting commentary on American consumerism as well as an effective horror film, there's a great deal to appreciate. Despite the rather ridiculous color of the blood, Savini's effects work is top notch, adding to a number of great scenes in the film's climax. Best of all, virtually every character is reasonably likable, or at least believable, adding that much more tension to the dangers faced.
-Day of the Dead. Day has a great opening sequence. Moving the human isolation underground, the environment feels even more claustrophobic and adds that much more to the reality that the fight is already over. Romero's choice to go with a strong female protagonist is a welcome change after Night. The attempts to tame one of the undead specimens while awakening fragments of his memories remain a relatively unique element even today.
-Return of the Living Dead. This is the film that started the whole brain-eating zombie stereotype, and that gives you an idea as to how over the top it is. There's a punk striptease in a cemetery, hungry zombies using a police radio to place a delivery order, and an ending that is complete and joyful overkill. And some of the makeup and effects are surprisingly decent. Return is B-movie zaniness at its best, and one of the finest horror comedies ever made.
-Night of the Living Dead (remake). To this day, one of the ONLY good horror remakes every made. Directed by Tom Savini (who worked on all the films in Romero's Night trilogy), the new Night manages to successfully lift some of the more iconic scenes from the first movie while actually managing to improve on a few of its weaknesses. While the atmosphere isn't quite as effective as the original, the acting is better (for the most part), with Tony Todd in particular putting in a good performance. The changes made to Barbara (played here by stuntwoman Patricia Tallman) are easily the best of the alterations. Here, she manages to overcome her trauma, actually growing more resilient as the plot progresses and providing a voice of commonsense that echoes that of the viewer.
-28 Days Later. The first film that made fast zombies a viable approach. Unlike a lot of zombie films, the acting is well above par. The building of relationships and characters leads to some brutal punches to the gut as the plot progresses. The protagonist's descent into violent frenzy, partly mimicking some of the creatures he's encountered, is particularly chilling. However, I do wish the original, darker ending had remained intact.
-Land of the Dead. Considered the black sheep of Romero's zombie films at the time of its release, Land actually holds up pretty well. Centered around a theme of class division, the rising intelligence and burgeoning social identity of the zombie community depicted are pretty interesting (frankly, I'd love to see a movie centered around that group entirely). While things do end rather predictably at the end, the ride getting there is enjoyable.
-Shaun of the Dead. Ah, and we have another comedy, although a fair bit more subdued in tone than the last two. In addition to being genuinely funny (the record and blending in scenes, in particular), Shaun of the Dead does a lot of other things right. The titular character is genuinely likable (and aspects of his predicament relatable). And the material is elevated by his growth, building a theme of taking control of your own destiny and embracing change when life becomes stagnant. A few of the character deaths also manage to be genuinely poignant.
-REC. The only found footage film on the list (and one of the only movies in its sub-genre that doesn't suck). While REC could technically be considered a demonic possession film, the infection element and the behavior of the victims has far more in common with the zombie genre. This movie has quite a few nasty surprises up its sleeve despite its borrowed elements. The death of a character early on who I thought would be in it for the long haul took me by surprise (I can usually call that kind of thing pretty accurately), and the reveal of the plague's patient zero at the end is a great, creepy payoff.
-Planet Terror. Robert Rodriguez can direct one hell of an action flick. And the first half of Grindhouse let him pull out all the stops while throwing in a good dose of black humor along the way. The zombies look genuinely disgusting (maybe the grossest overall of any movie I've seen), looking only a few degrees away from the melting man in Robocop and the violence is gleefully excessive. And while completely ridiculous, the action sequences are well-shot and damn fun to watch.
Disclaimer: I do realize there are some noticeable omissions of films that probably belong on here (White Zombie, the Fulci films, Zombieland, etc.). However, I can't recommend a film I haven't seen (yet). And there are a few well-known ones I just don't like, as well as a few good films I cut to keep the list in check.
-Night of the Living Dead. The granddaddy of them all. While there were a few earlier zombie films, this was the one that established the tropes. An isolated setting. The mounting interpersonal tensions of the people stuck there. And a level of gore that was pretty new to the period. The fact that Night holds up well today despite all the cliches it invented is testament to how well Romero pulled the whole thing off. And the ending, though a downer, is a perfect finale to the bleak atmosphere preceding it.
-Dawn of the Dead. A lot of people would probably have Dawn at the top of their lists for the best zombie movie of all time. And with good reason. A biting commentary on American consumerism as well as an effective horror film, there's a great deal to appreciate. Despite the rather ridiculous color of the blood, Savini's effects work is top notch, adding to a number of great scenes in the film's climax. Best of all, virtually every character is reasonably likable, or at least believable, adding that much more tension to the dangers faced.
-Day of the Dead. Day has a great opening sequence. Moving the human isolation underground, the environment feels even more claustrophobic and adds that much more to the reality that the fight is already over. Romero's choice to go with a strong female protagonist is a welcome change after Night. The attempts to tame one of the undead specimens while awakening fragments of his memories remain a relatively unique element even today.
-Return of the Living Dead. This is the film that started the whole brain-eating zombie stereotype, and that gives you an idea as to how over the top it is. There's a punk striptease in a cemetery, hungry zombies using a police radio to place a delivery order, and an ending that is complete and joyful overkill. And some of the makeup and effects are surprisingly decent. Return is B-movie zaniness at its best, and one of the finest horror comedies ever made.
-Night of the Living Dead (remake). To this day, one of the ONLY good horror remakes every made. Directed by Tom Savini (who worked on all the films in Romero's Night trilogy), the new Night manages to successfully lift some of the more iconic scenes from the first movie while actually managing to improve on a few of its weaknesses. While the atmosphere isn't quite as effective as the original, the acting is better (for the most part), with Tony Todd in particular putting in a good performance. The changes made to Barbara (played here by stuntwoman Patricia Tallman) are easily the best of the alterations. Here, she manages to overcome her trauma, actually growing more resilient as the plot progresses and providing a voice of commonsense that echoes that of the viewer.
-28 Days Later. The first film that made fast zombies a viable approach. Unlike a lot of zombie films, the acting is well above par. The building of relationships and characters leads to some brutal punches to the gut as the plot progresses. The protagonist's descent into violent frenzy, partly mimicking some of the creatures he's encountered, is particularly chilling. However, I do wish the original, darker ending had remained intact.
-Land of the Dead. Considered the black sheep of Romero's zombie films at the time of its release, Land actually holds up pretty well. Centered around a theme of class division, the rising intelligence and burgeoning social identity of the zombie community depicted are pretty interesting (frankly, I'd love to see a movie centered around that group entirely). While things do end rather predictably at the end, the ride getting there is enjoyable.
-Shaun of the Dead. Ah, and we have another comedy, although a fair bit more subdued in tone than the last two. In addition to being genuinely funny (the record and blending in scenes, in particular), Shaun of the Dead does a lot of other things right. The titular character is genuinely likable (and aspects of his predicament relatable). And the material is elevated by his growth, building a theme of taking control of your own destiny and embracing change when life becomes stagnant. A few of the character deaths also manage to be genuinely poignant.
-REC. The only found footage film on the list (and one of the only movies in its sub-genre that doesn't suck). While REC could technically be considered a demonic possession film, the infection element and the behavior of the victims has far more in common with the zombie genre. This movie has quite a few nasty surprises up its sleeve despite its borrowed elements. The death of a character early on who I thought would be in it for the long haul took me by surprise (I can usually call that kind of thing pretty accurately), and the reveal of the plague's patient zero at the end is a great, creepy payoff.
-Planet Terror. Robert Rodriguez can direct one hell of an action flick. And the first half of Grindhouse let him pull out all the stops while throwing in a good dose of black humor along the way. The zombies look genuinely disgusting (maybe the grossest overall of any movie I've seen), looking only a few degrees away from the melting man in Robocop and the violence is gleefully excessive. And while completely ridiculous, the action sequences are well-shot and damn fun to watch.
October 20, 2013
Halloween...(And Vampire Movies)
Ah, my favorite time of the year has finally arrived. The Halloween season. While I wish the leaves in the Midwest could take a few lessons from their blazing counterparts in New England, there's always something in the air once October hits. The memory of walking the streets decked out in a scary costume, feet crunching on the fallen leaves. The smell of candle-singed pumpkin and of chocolate clinging to the plastic Jack-o'-lantern in hand. And a plethora of horror movies waiting in all their edited splendor on television.
While some of the things I love about the season have changed (I haven't looked forward to a Treehouse of Horror episode in over a decade...or any episode of the The Simpsons, for that matter), a good book read during the gloomy weather or a scary movie watched in the middle of the night always bring me back. Given the pathetic lack of good genre films out in theaters right now, I figured I'd share some of my favorites with you by category.
Today, I think we'll tackle vampires. None of that sparkly Meyer bullshit here. These are the true monsters. The predators.
-Nosferatu. An adaptation of Dracula tweaked just enough to avoid copyright infringement. The fact that it's silent may put people off, but Max Schreck remains the most physically perfect vampire of all time. Gaunt, his features an eerie combination of corpse and rodent, his presence owns every second on screen.
-Dracula (1931). Bela Lugosi became a horror icon for a reason. Although Lugosi wasn't fluent in English, his accent and the strange cadence his inflections bring to his lines make him almost hypnotic to listen to. And then there's Dwight Frye as Renfield. The BEST Renfield. The guy is so good in his role he almost upstages Lugosi!
-The Horror of Dracula. Hammer remakes are some of the only ones I not only like, but love. The film successfully updates the hammier bits of the Universal production, succeeding in maintaining a more serious tone. Christopher Lee (of noble lineage himself) plays the Count with elegance and class, shifting into a monster seamlessly when necessary. The movie also was the first to cast Peter Cushing in the role of Professor Abraham Van Helsing, providing just the right balance of quiet strength and dignity to the character.
-The Last Man on Earth. Probably the most faithful adaptation of Richard Matheson's classic, I am Legend. Vincent Price is at the top of his game as a doctor who may well be the last survivor of the human race. The bizarre schedule the character follows is intriguing, systematically clearing each new area of vampires while they sleep during the day, then barricading himself in his home each night, playing music to drown out their taunts outside. The film is a fantastic example of evil being a matter of perspective.
-The Night Stalker. Okay, it's a TV movie, but I'm going to allow it. Darren McGavin plays Carl Kolchak in the character's first appearance. Narrating to himself via tape recorder (as he always did in the series), Kolchak recounts the events surrounding his investigation of a series of murders in Las Vegas and the cover up that followed. Kolchak has always been one of my favorite characters, sleazy and manipulative while somehow managing to be endearing at the same time. He's at his best here, made only more sympathetic by the alignment of forces both supernatural and human against him.
-Near Dark. A truly unique take on the sub-genre. Bigelow strips away much of the vampire's seductive allure and makes outlaw nomads of the clan in her film. Roving from place to place, killing when the mood or hunger strikes them, the group is forced to pick up an unwitting new member when one of their own gets over-invested in her prey. While the ending is a bit too pat (the "cure" for vampirism in the story is simple to the point of being ridiculous), it's fun watching the actors play off one another. Lance Henriksen's turn as the group's leader and Bill Paxton's as his slightly rabid protege make the film. Notably, Near Dark was probably the first movie to cover the horror of being immortal while trapped in the body of a child.
-Cronos. I am a huge Del Toro fan, and this film is one of his best. Linking the curse of vampirism to an ancient device, an elderly antique store owner accidentally infects himself. Hunted by a geriatric millionaire eager to reclaim his youth (or more accurately his son, played as a rather charming psychopath by Ron Perlman), the old man is helpless to stop the changes happening to his body as the effects of the Cronos device change him into a new being, tenuously anchored to his humanity through his love of his granddaughter. Del Toro's fairtytale aesthete and tremendously original take on the subject make Cronos my personal favorite on the list.
-Shadow of the Vampire. As close to a comedy as I'll put on this list (as much as I enjoy the original Fright Night). The movie depicts the filming of Nosferatu as if Schreck was an actual vampire. While blackly funny in a number of places, the amusement the viewer finds in Willem Defoe's portrayal of Schreck decreases in the third act as his murderous impulses become more and more apparent and Murnau spins increasingly out of control in his obsession to complete his masterpiece. The ending is genuinely creepy. And the scene where Schreck ruminates on the saddest scene in Dracula, insightful and strangely touching.
-30 Days of Night. A ray of hope amid all the atrocious Twilight films and their ripoffs. An Alaskan community's connections to the outside world are disabled by a mysterious stranger. Soon, a veritable vampire invasion in on the loose. Blood-drenched (sometimes, perhaps a little too much) and brutal, there are no seductions or negotiations here. The humans are food, pure and simple, and the vampires fully intend to move through the lines of buildings like a buffet. A scene where they allow a young woman to wander through the street as bait while she calls for help is particularly unsettling.
-Let the Right One In. An adaptation of a Swedish novel. After watching it, I can't bring myself to go anywhere near the remake. A bullied young boy (Oskar) befriends what appears to be a young girl (Eli) who just moved in next door. The young actors in the film prove children can be damn good at the job. The exchanges between the two come off as natural and rather sweet, a sharp contrast between the borderline abusive (and possibly pedophilic) relationship between Eli and her guardian. The climax between the two children and Oskar's tormentors is incredibly tense, and the payoff, the most breathtaking scene in the film. And despite what appears to be a happy ending, there's the niggling feeling that Eli may have tread the same ground before, leaving the viewer wondering just how old Eli's guardian was when the two first met...
While some of the things I love about the season have changed (I haven't looked forward to a Treehouse of Horror episode in over a decade...or any episode of the The Simpsons, for that matter), a good book read during the gloomy weather or a scary movie watched in the middle of the night always bring me back. Given the pathetic lack of good genre films out in theaters right now, I figured I'd share some of my favorites with you by category.
Today, I think we'll tackle vampires. None of that sparkly Meyer bullshit here. These are the true monsters. The predators.
-Nosferatu. An adaptation of Dracula tweaked just enough to avoid copyright infringement. The fact that it's silent may put people off, but Max Schreck remains the most physically perfect vampire of all time. Gaunt, his features an eerie combination of corpse and rodent, his presence owns every second on screen.
-Dracula (1931). Bela Lugosi became a horror icon for a reason. Although Lugosi wasn't fluent in English, his accent and the strange cadence his inflections bring to his lines make him almost hypnotic to listen to. And then there's Dwight Frye as Renfield. The BEST Renfield. The guy is so good in his role he almost upstages Lugosi!
-The Horror of Dracula. Hammer remakes are some of the only ones I not only like, but love. The film successfully updates the hammier bits of the Universal production, succeeding in maintaining a more serious tone. Christopher Lee (of noble lineage himself) plays the Count with elegance and class, shifting into a monster seamlessly when necessary. The movie also was the first to cast Peter Cushing in the role of Professor Abraham Van Helsing, providing just the right balance of quiet strength and dignity to the character.
-The Last Man on Earth. Probably the most faithful adaptation of Richard Matheson's classic, I am Legend. Vincent Price is at the top of his game as a doctor who may well be the last survivor of the human race. The bizarre schedule the character follows is intriguing, systematically clearing each new area of vampires while they sleep during the day, then barricading himself in his home each night, playing music to drown out their taunts outside. The film is a fantastic example of evil being a matter of perspective.
-The Night Stalker. Okay, it's a TV movie, but I'm going to allow it. Darren McGavin plays Carl Kolchak in the character's first appearance. Narrating to himself via tape recorder (as he always did in the series), Kolchak recounts the events surrounding his investigation of a series of murders in Las Vegas and the cover up that followed. Kolchak has always been one of my favorite characters, sleazy and manipulative while somehow managing to be endearing at the same time. He's at his best here, made only more sympathetic by the alignment of forces both supernatural and human against him.
-Near Dark. A truly unique take on the sub-genre. Bigelow strips away much of the vampire's seductive allure and makes outlaw nomads of the clan in her film. Roving from place to place, killing when the mood or hunger strikes them, the group is forced to pick up an unwitting new member when one of their own gets over-invested in her prey. While the ending is a bit too pat (the "cure" for vampirism in the story is simple to the point of being ridiculous), it's fun watching the actors play off one another. Lance Henriksen's turn as the group's leader and Bill Paxton's as his slightly rabid protege make the film. Notably, Near Dark was probably the first movie to cover the horror of being immortal while trapped in the body of a child.
-Cronos. I am a huge Del Toro fan, and this film is one of his best. Linking the curse of vampirism to an ancient device, an elderly antique store owner accidentally infects himself. Hunted by a geriatric millionaire eager to reclaim his youth (or more accurately his son, played as a rather charming psychopath by Ron Perlman), the old man is helpless to stop the changes happening to his body as the effects of the Cronos device change him into a new being, tenuously anchored to his humanity through his love of his granddaughter. Del Toro's fairtytale aesthete and tremendously original take on the subject make Cronos my personal favorite on the list.
-Shadow of the Vampire. As close to a comedy as I'll put on this list (as much as I enjoy the original Fright Night). The movie depicts the filming of Nosferatu as if Schreck was an actual vampire. While blackly funny in a number of places, the amusement the viewer finds in Willem Defoe's portrayal of Schreck decreases in the third act as his murderous impulses become more and more apparent and Murnau spins increasingly out of control in his obsession to complete his masterpiece. The ending is genuinely creepy. And the scene where Schreck ruminates on the saddest scene in Dracula, insightful and strangely touching.
-30 Days of Night. A ray of hope amid all the atrocious Twilight films and their ripoffs. An Alaskan community's connections to the outside world are disabled by a mysterious stranger. Soon, a veritable vampire invasion in on the loose. Blood-drenched (sometimes, perhaps a little too much) and brutal, there are no seductions or negotiations here. The humans are food, pure and simple, and the vampires fully intend to move through the lines of buildings like a buffet. A scene where they allow a young woman to wander through the street as bait while she calls for help is particularly unsettling.
-Let the Right One In. An adaptation of a Swedish novel. After watching it, I can't bring myself to go anywhere near the remake. A bullied young boy (Oskar) befriends what appears to be a young girl (Eli) who just moved in next door. The young actors in the film prove children can be damn good at the job. The exchanges between the two come off as natural and rather sweet, a sharp contrast between the borderline abusive (and possibly pedophilic) relationship between Eli and her guardian. The climax between the two children and Oskar's tormentors is incredibly tense, and the payoff, the most breathtaking scene in the film. And despite what appears to be a happy ending, there's the niggling feeling that Eli may have tread the same ground before, leaving the viewer wondering just how old Eli's guardian was when the two first met...
Halloween...
Ah, my favorite time of the year has finally arrived. The Halloween season. While I wish the leaves in the Midwest could take a few lessons from their blazing counterparts in New England, there's always something in the air once October hits. The memory of walking the streets decked out in a scary costume, feet crunching on the fallen leaves. The smell of candle-singed pumpkin and of chocolate clinging to the plastic Jack-o'-lantern in hand. And a plethora of horror movies waiting in all their edited splendor on television.
While some of the things I love about the season have changed (I haven't looked forward to a Treehouse of Horror episode in over a decade...or any episode of the The Simpsons, for that matter), a good book read during the gloomy weather or a scary movie watched in the middle of the night always bring me back. Given the pathetic lack of good genre films out in theaters right now, I figured I'd share some of my favorites with you by category.
Today, I think we'll tackle vampires. None of that sparkly Meyer bullshit here. These are the true monsters. The predators.
-Nosferatu. An adaptation of Dracula tweaked just enough to avoid copyright infringement. The fact that it's silent may put people off, but Max Schreck remains the most physically perfect vampire of all time. Gaunt, his features an eerie combination of corpse and rodent, his presence owns every second on screen.
-Dracula (1931). Bela Lugosi became a horror icon for a reason. Although Lugosi wasn't fluent in English, his accent and the strange cadence his inflections bring to his lines make him almost hypnotic to listen to. And then there's Dwight Frye as Renfield. The BEST Renfield. The guy is so good in his role he almost upstages Lugosi!
-The Horror of Dracula. Hammer remakes are some of the only ones I not only like, but love. The film successfully updates the hammier bits of the Universal production, succeeding in maintaining a more serious tone. Christopher Lee (of noble lineage himself) plays the Count with elegance and class, shifting into a monster seamlessly when necessary. The movie also was the first to cast Peter Cushing in the role of Professor Abraham Van Helsing, providing just the right balance of quiet strength and dignity to the character.
-The Last Man on Earth. Probably the most faithful adaptation of Richard Matheson's classic, I am Legend. Vincent Price is at the top of his game as a doctor who may well be the last survivor of the human race. The bizarre schedule the character follows is intriguing, systematically clearing each new area of vampires while they sleep during the day, then barricading himself in his home each night, playing music to drown out their taunts outside. The film is a fantastic example of evil being a matter of perspective.
-The Night Stalker. Okay, it's a TV movie, but I'm going to allow it. Darren McGavin plays Carl Kolchak in the character's first appearance. Narrating to himself via tape recorder (as he always did in the series), Kolchak recounts the events surrounding his investigation of a series of murders in Las Vegas and the cover up that followed. Kolchak has always been one of my favorite characters, sleazy and manipulative while somehow managing to be endearing at the same time. He's at his best here, made only more sympathetic by the alignment of forces both supernatural and human against him.
-Near Dark. A truly unique take on the sub-genre. Bigelow strips away much of the vampire's seductive allure and makes outlaw nomads of the clan in her film. Roving from place to place, killing when the mood or hunger strikes them, the group is forced to pick up an unwitting new member when one of their own gets over-invested in her prey. While the ending is a bit too pat (the "cure" for vampirism in the story is simple to the point of being ridiculous), it's fun watching the actors play off one another. Lance Henriksen's turn as the group's leader and Bill Paxton's as his slightly rabid protege make the film. Notably, Near Dark was probably the first movie to cover the horror of being immortal while trapped in the body of a child.
-Cronos. I am a huge Del Toro fan, and this film is one of his best. Linking the curse of vampirism to an ancient device, an elderly antique store owner accidentally infects himself. Hunted by a geriatric millionaire eager to reclaim his youth (or more accurately his son, played as a rather charming psychopath by Ron Perlman), the old man is helpless to stop the changes happening to his body as the effects of the Cronos device change him into a new being, tenuously anchored to his humanity through his love of his granddaughter. Del Toro's fairtytale aesthete and tremendously original take on the subject make Cronos my personal favorite on the list.
-Shadow of the Vampire. As close to a comedy as I'll put on this list (as much as I enjoy the original Fright Night). The movie depicts the filming of Nosferatu as if Schreck was an actual vampire. While blackly funny in a number of places, the amusement the viewer finds in Willem Defoe's portrayal of Schreck decreases in the third act as his murderous impulses become more and more apparent and Murnau spins increasingly out of control in his obsession to complete his masterpiece. The ending is genuinely creepy. And the scene where Schreck ruminates on the saddest scene in Dracula, insightful and strangely touching.
-30 Days of Night. A ray of hope amid all the atrocious Twilight films and their ripoffs. An Alaskan community's connections to the outside world are disabled by a mysterious stranger. Soon, a veritable vampire invasion in on the loose. Blood-drenched (sometimes, perhaps a little too much) and brutal, there are no seductions or negotiations here. The humans are food, pure and simple, and the vampires fully intend to move through the lines of buildings like a buffet. A scene where they allow a young woman to wander through the street as bait while she calls for help is particularly unsettling.
-Let the Right One In. An adaptation of a Swedish novel. After watching it, I can't bring myself to go anywhere near the remake. A bullied young boy (Oskar) befriends what appears to be a young girl (Eli) who just moved in next door. The young actors in the film prove children can be damn good at the job. The exchanges between the two come off as natural and rather sweet, a sharp contrast between the borderline abusive (and possibly pedophilic) relationship between Eli and her guardian. The climax between the two children and Oskar's tormentors is incredibly tense, and the payoff, the most breathtaking scene in the film. And despite what appears to be a happy ending, there's the niggling feeling that Eli may have tread the same ground before, leaving the viewer wondering just how old Eli's guardian was when the two first met...
While some of the things I love about the season have changed (I haven't looked forward to a Treehouse of Horror episode in over a decade...or any episode of the The Simpsons, for that matter), a good book read during the gloomy weather or a scary movie watched in the middle of the night always bring me back. Given the pathetic lack of good genre films out in theaters right now, I figured I'd share some of my favorites with you by category.
Today, I think we'll tackle vampires. None of that sparkly Meyer bullshit here. These are the true monsters. The predators.
-Nosferatu. An adaptation of Dracula tweaked just enough to avoid copyright infringement. The fact that it's silent may put people off, but Max Schreck remains the most physically perfect vampire of all time. Gaunt, his features an eerie combination of corpse and rodent, his presence owns every second on screen.
-Dracula (1931). Bela Lugosi became a horror icon for a reason. Although Lugosi wasn't fluent in English, his accent and the strange cadence his inflections bring to his lines make him almost hypnotic to listen to. And then there's Dwight Frye as Renfield. The BEST Renfield. The guy is so good in his role he almost upstages Lugosi!
-The Horror of Dracula. Hammer remakes are some of the only ones I not only like, but love. The film successfully updates the hammier bits of the Universal production, succeeding in maintaining a more serious tone. Christopher Lee (of noble lineage himself) plays the Count with elegance and class, shifting into a monster seamlessly when necessary. The movie also was the first to cast Peter Cushing in the role of Professor Abraham Van Helsing, providing just the right balance of quiet strength and dignity to the character.
-The Last Man on Earth. Probably the most faithful adaptation of Richard Matheson's classic, I am Legend. Vincent Price is at the top of his game as a doctor who may well be the last survivor of the human race. The bizarre schedule the character follows is intriguing, systematically clearing each new area of vampires while they sleep during the day, then barricading himself in his home each night, playing music to drown out their taunts outside. The film is a fantastic example of evil being a matter of perspective.
-The Night Stalker. Okay, it's a TV movie, but I'm going to allow it. Darren McGavin plays Carl Kolchak in the character's first appearance. Narrating to himself via tape recorder (as he always did in the series), Kolchak recounts the events surrounding his investigation of a series of murders in Las Vegas and the cover up that followed. Kolchak has always been one of my favorite characters, sleazy and manipulative while somehow managing to be endearing at the same time. He's at his best here, made only more sympathetic by the alignment of forces both supernatural and human against him.
-Near Dark. A truly unique take on the sub-genre. Bigelow strips away much of the vampire's seductive allure and makes outlaw nomads of the clan in her film. Roving from place to place, killing when the mood or hunger strikes them, the group is forced to pick up an unwitting new member when one of their own gets over-invested in her prey. While the ending is a bit too pat (the "cure" for vampirism in the story is simple to the point of being ridiculous), it's fun watching the actors play off one another. Lance Henriksen's turn as the group's leader and Bill Paxton's as his slightly rabid protege make the film. Notably, Near Dark was probably the first movie to cover the horror of being immortal while trapped in the body of a child.
-Cronos. I am a huge Del Toro fan, and this film is one of his best. Linking the curse of vampirism to an ancient device, an elderly antique store owner accidentally infects himself. Hunted by a geriatric millionaire eager to reclaim his youth (or more accurately his son, played as a rather charming psychopath by Ron Perlman), the old man is helpless to stop the changes happening to his body as the effects of the Cronos device change him into a new being, tenuously anchored to his humanity through his love of his granddaughter. Del Toro's fairtytale aesthete and tremendously original take on the subject make Cronos my personal favorite on the list.
-Shadow of the Vampire. As close to a comedy as I'll put on this list (as much as I enjoy the original Fright Night). The movie depicts the filming of Nosferatu as if Schreck was an actual vampire. While blackly funny in a number of places, the amusement the viewer finds in Willem Defoe's portrayal of Schreck decreases in the third act as his murderous impulses become more and more apparent and Murnau spins increasingly out of control in his obsession to complete his masterpiece. The ending is genuinely creepy. And the scene where Schreck ruminates on the saddest scene in Dracula, insightful and strangely touching.
-30 Days of Night. A ray of hope amid all the atrocious Twilight films and their ripoffs. An Alaskan community's connections to the outside world are disabled by a mysterious stranger. Soon, a veritable vampire invasion in on the loose. Blood-drenched (sometimes, perhaps a little too much) and brutal, there are no seductions or negotiations here. The humans are food, pure and simple, and the vampires fully intend to move through the lines of buildings like a buffet. A scene where they allow a young woman to wander through the street as bait while she calls for help is particularly unsettling.
-Let the Right One In. An adaptation of a Swedish novel. After watching it, I can't bring myself to go anywhere near the remake. A bullied young boy (Oskar) befriends what appears to be a young girl (Eli) who just moved in next door. The young actors in the film prove children can be damn good at the job. The exchanges between the two come off as natural and rather sweet, a sharp contrast between the borderline abusive (and possibly pedophilic) relationship between Eli and her guardian. The climax between the two children and Oskar's tormentors is incredibly tense, and the payoff, the most breathtaking scene in the film. And despite what appears to be a happy ending, there's the niggling feeling that Eli may have tread the same ground before, leaving the viewer wondering just how old Eli's guardian was when the two first met...
