The previous 12 months were interesting ones for the horror genre. I won't say outstanding, but I also won't say terrible. There certainly was a bunch of entertaining and engaging films released last year, but not as many as in some previous years. I can't say I'm totally thrilled with this top 10 list, but I can at least honestly say that the top 7 were films I genuinely found to be terrific. The rest may very well have been bumped if I had had the pleasure of seeing movies like The Crazies and Daybreakers, for example.
But alas, I was invited by the incomparable Scott Weinberg of Cinematical and FEARNet (by way of the delightful Britt Hayes of Brutal as Hell and CHUD) to take part in a vast Ultimate Horror Top 10 of 2010, and so here is the list I came up with, when pressed. My list, along with those of many others across the horror blogosphere, have been tabulated to create a soon-to-be-published master list of the best horror flicks of 2010. I'm thrilled to be a part of it, and here's the list I sent in!
10. Afterlife The inclusion of this one is definitely proof that I needed to see more new horror films in 2010. Ah well, what can I say, life got pretty busy. Still, there are worse ways to kill a couple of hours.
9. A Nightmare on Elm Street Sorry, people, I actually enjoyed it, OK? Sue me. No, not as good as the original, but I thought it was a decent little horror movie, and the "Dream, Dream, Dream" drugstore scene is pretty classic.
8. The Wolfman A flawed film, but one I enjoyed nonetheless. I've long been waiting for a remake of this Universal classic, and I can't say I was disappointed.
7. [REC] 2 Alright, now we're getting into the really good ones. I am a huge fan of the original [REC], and though I found it far scarier than this, I will go on the record as saying this was the better film.
6. Piranha 3-D Just a ton of fun, and when it comes to horror, that's really what I've been gravitating more and more toward in recent years. Great gore, and a balls-to-the-wall attitude you don't see too often anymore.
5. Shutter Island Not really horror in the truest sense, but a very well-made psychological thriller from Martin Scorsese.
4. The Human Centipede I enjoyed this far more than I ever imagined I would. I also was amazed that it really wasn't the gross-out flick I was expecting, but actually a very cerebral horror film. And Dieter Laser definitely plays the best villain of the year, not to mention having the coolest name ever.
3. Survival of the Dead I championed this flick like nobody's business, and I stand by that. As a lifelong Romero fan, I found this to be the maestro's greatest zombie flick since Dawn of the Dead. And I fully realize I'm of the minority opinion.
2. I Spit on Your Grave Another pleasant surprise, although nothing about this movie could really be described as pleasant. In the end, I found it much better than the original, even if it was surprisingly even more brutal.
1. Black Swan Another psychological thriller, but one that has Oscar written all over it, especially in the case of the always-excellent (when she's not being directed by George Lucas) Natalie Portman. I just had the pleasure of seeing it, and can honestly say it was my favorite horror film of 2010. Expect a review of this amazing film a little later this week...
There you have it, Vault dwellers. So, what do you think of my choices? What would yours be? Let me know!
Happy Thanksgiving, everyone! It may not be Tuesday, the day I typically break out my Top 10 lists, but I figured this day would be a fine occasion to list some of the things for which I am thankful at this time of year. So have a seat, loosen up your belt, shake yourself out of that turkey coma, and read on!
Practical Blood: If I never saw another CGI "squib" again, it would be too soon. There's nothing that takes you out of a horror flick like a splash of blood that looks like something out of Call of Duty. I realize it's cheaper to go the computer route, but come on, people--blood is one of the main reasons many of us watch horror in the first place. Let's make it look good, OK?
Boris Karloff: Why? Do you really need a reason? The big guy just celebrated another birthday in horror heaven, and the legacy of classics that he left behind continues to warm my heart. A sorely underrated actor, Karloff was a treasure and a joy to watch on screen, always. The anniversary of his birth is a convenient reminder of the greatness he lent to the genre we love.
The End of Friday the 13th: My loathing of this ever-popular series has been harped upon ad nauseum. But let me just say, that it gives me great pleasure to realize that after all these years, after countless sequels, and even a remake that was among the most odious in recent years, the seemingly deathless Jason franchise seems at last to have run out of steam. Platinum Dunes pulling the plug on the latest installment would seem to indicate that, anyway. Here's hoping we've seen the last of that machete-wielding bore.
The Walking Dead: Finally, a zombie TV series, and boy is it ever worth the wait. Having been a fan of the early issues of the comic book series, it's been wonderful watching it all play out on television, in blood-drenched living color. Speaking of which, kudos to AMC for not holding back on the good stuff. Just when you thought the zombie craze was over, along comes this excellent piece of boob tube drama.
Film Festivals: Is it just me, or does it seem like the sheer number of horror-related festivals seems to be growing? With the Hudson Horror Show, Horrible Imaginings, Bleedfest, and so many more, this is a great time to be a fan of quality horror on the big screen.
Ingrid Pitt: The first lady of Hammer horror passed away on Tuesday at the age 73, leaving behind an unforgettable legacy and legions of adoring fans. In a male-dominated genre, the standout female talent is unfortunately few and far between, but Ms. Pitt was one of the shining exceptions. From Countess Dracula to The Wicker Man, her body of work is just as impressive as she was beautiful.
Ghostbusters 3: After years of back and forth--will it happen? will it not?--we finally have the answer that yes, indeed, the boys in gray will be coming back for a third chapter very soon. Or more accurately, the old men in gray, as sources indicate a new generation of 'busters will be taking up the proton packs from Drs. Venkmen, Stantz and Spengler. In fact, Anna Faris--cited way back right here in the Vault as an excellent choice--looks to be among them.
Horror Comics Renaissance: Not since the heyday of EC has there been such an abundance of solid horror material on comic book racks. Maybe it's just because I'm more attuned to it all because of the Vault these days, but books like Victorian Zombies, American Vampire, iZombie and North 40 have really given me hope for the future of the medium.
Russell Edgington: Just when I thought True Blood might lose me, along came one of the greatest characters in TV history. Denis O'Hare is sublime as the irrepressible vampire King of Mississippi, and the episode-closing scene in which he ripped out a TV anchorman's spine during a live broadcast literally had me cheering in my living room. If you really think he's going to stay buried under that cement, keep dreaming...
Captain Cruella: Many of you may have noticed that 2010 has brought a new promotional partner to The Vault of Horror. I'm talking about the other half of what's come to be known as the "Terror Team," the Captain of the Carnivorous Cadavers. It's been my pleasure to become associated with the good captain, and the Vault has been thriving more than ever, in part thanks to her efforts and to the many events and activities they have brought my way. It's a partnership I'm quite thankful for indeed, and I'm proud to say that this is just the beginning!
Let's face it: Is there anything cooler than robots? I vote no. As old and wise as I get, there is still a part of me that will never cease to be floored by the concept of robots, like all little boys invariably are. Hell, I wanted to actually build one as a kid--had the blueprints drawn up and everything.
And if there is one thing cooler than a robot, it would be a killer robot. You can keep all your Datas, Number Fives and Small Wonders--give me a robot on a rampage every time (I'll make an exception for Paulie's robot from Rocky IV, she can stick around.) The idea of a mechanical creation wreaking havoc, turning on its creators--or on other living things--and using its cold, amoral intellect and steely musculature to maim, crush and pulverize is both terrifying and fascinating. And in the world we live in today, more close to reality than ever. I mean, have you seen those creepy Japanese android things?
So on that note, I've brought back the Tuesday Top 10 (alright, I know it's technically Wednesday, calm down) to catalog my all-time favorite mechanical monsters. Domo origato, Mr. Roboto...
10. The Gunslinger Some vacationing softies get more than they bargained for at a futuristic theme park in Michael Crichton's Westworld, in the form of a cybernetic Yul Brynner dressed as a cowboy. And unlike in The King and I, here Brynner is far less interested in "Getting to Know You" than he is in "Getting to Kill You". I don't know when the follically challenged Russian was more bad-ass, as a robot cowboy here, or a real one in The Magnificent Seven.
9. The Sentinels From the world of Marvel Comics come everyone's favorite mutant-hunting giant machines. Programmed with one mission and one mission alone--to hunt down and destroy all specimens of homo sapiens superior--the sentinels are cold, calculating and horrifying, and do it all while painted pink and burgundy. You have to give them points for that. They desperately need a big-screen appearance--and no, I don't count that throwaway cameo in X-Men 3.
8. Maria She doesn't actually cause any of the damage directly, but this iconic robot from Fritz Lang's Metropolis is the veritable hand that rocks the cradle, using the womanly wiles instilled in her by sorcerer/scientist Rotwang to incite hapless men to absolute riot. Played by the sublime Brigitte Helm, Maria's design also inspired a far-less threatening, and nearly as feminine movie robot, C-3PO.
7. ED-209 It may not have been the state of the art in urban pacification, but old Ed sure was one hell of a killing machine, wasn't he? Rumor has it that that sicko Paul Verhoeven had to significantly cut out portions of the already dizzyingly gruesome boardroom scene in order to avoid the once-dreaded X rating. This stop-motion menace is one of the highlights of Robocop, even if Officer Murphy dispatches the big guy without much effort.
6. Gort Apparently, you just need to say the words "klaatu barada nikto" to keep this towering silver behemoth at bay in The Day the Earth Stood Still. Unfortunately, matters aren't always as simple as that (as Ash discovers in Army of Darkness, incidentally). Although technically a force for good, Gort is just intimidating enough to warrant inclusion here, even if he does look like a professional wrestler wrapped in tin foil.
5. Ash Speaking of Ash, I simply couldn't forget Ian Holm as the milk-blooded homicidal android who shares a name with Bruce Campbell's signature character. Holm's performance as Ash might be the very best one in Alien, a film that includes one of the finest dramatic ensembles ever assembled for a genre film. Plus, his head appears to be filled with condoms, which one would think must come in handy, even for a robot.
4. Maximilian I'm firmly convinced that I was the only little boy in Brooklyn in 1980 in possession of a Maximilian model kit. Needless to say, The Black Hole--Disney's often-misunderstood response to Star Wars--had a strong effect on me, in large part due to Max Schell's crimson, faceless, floating Cuisinart. This robot is the most memorable thing in the picture, and for a film featuring Tony Perkins, Robert Forster and a flying garbage can voiced by Slim Pickens, that's saying a lot.
3. Cylons The revamped Sci-Fi Channel version may have been far superior as drama, but give me the Darth Vader-esque centurions of the kitschy 1970s original any day over the completely non-robotic toasters of the new show--or even over the CGI centurions who serve as nothing more than lackeys. And this choice has nothing at all to do with the 12-inch posable Cylon action figure with moving red eyelight which I owned during the Carter administration.
2. Mechagodzilla Call me biased, but who isn't floored by the notion of a 300-foot-tall robot Godzilla? Best of all, in his original appearance, in Godzilla vs. The Cosmic Monster, Mechagodzilla first shows up as a perfect replica of Big G, only to have his prickly green hide shorn away to reveal the metallic hull underneath. Bristling with weaponry and awesomeness, Mechagodzilla is easily the finest Godzilla foe of the 1970s.
1. The Terminator And speaking of shearing away skin, what better example of the cinematic killer robot than the Terminator, a humanoid machine constructed for the sole purpose of murdering human beings? Arnold Schwarzenegger brings Termy to life--at least as much as someone with the acting ability of a dining room chair can be expected to do. The beauty of it is that this was one of the few roles in which Arnold's lack of convincing emotional range was actually an advantage--another one being the governor of California.
*Honorable Mention*The Daleks I had to be a stickler here, since these unforgettable Dr. Who baddies are technically not robots but living organisms residing within a mechanical shell. But really, who cares? These malicious, single-minded, computerized tyrants inspired true terror, even as they glided around like floor buffers with plunger attachments. "Exterminate! EXTERMINATE!!"
And now, the end is near, and so I face the final curtain... Hmmm? Oh, hello there, dear reader, and welcome to the final installment of the horrific adventure in which Brutal as Hell and the good ol' Vault have been engaged over the course of the summer. That's right, the Lucky 13 has reached its final destination, so to speak. We've reminisced and pontificated over a series of beloved horror genres, and what better way to end it all on this ominous 13th week than with slasher cinema, that guilty pleasure that has terrified and titillated us for a good third of a century now?
Personal bias: Slashers have never been a favorite of mine. In this, I often feel in the minority. That said, even I freely admit to being impressed and surprised at the level of diversity within this sub-genre. Perhaps it's time I give it a reappraisal. Take a look at this final collection of favorites, and judge for yourself...
B-Sol on A Nightmare on Elm Street
One of my biggest issues with slashers is the relative lack of imagination I often find in them--the slavish loyalty to formula. Perhaps this has a lot to do with my preference for supernatural horror. Knowing that, it would come as no surprise that the slasher film which has always had the most appeal to me would be Wes Craven's jewel, A Nightmare on Elm Street--undoubtedly the most successful and popular horror film of the 1980s.
Craven takes the slasher motif so far into supernatural territory, in fact, that some may even question whether or not NOES is a slasher film at all. But it is. We have the single-minded murderer stalking morally ambiguous teens with sharp objects. The ineffectual parental and authority figures. The tenacious and virtuous final girl. The killer with an origin out of classic urban legend. It's all here, only wit far more imagination, and thus far of an opportunity to frighten and disturb.
Freddy Krueger is a classic movie monster right up there with the likes of Dracula, Mr. Hyde and the Wolf Man. He is timeless, particularly in this first installment, after which the purity of the terror would be increasingly watered down. Stalking us in our dreams, he is the embodiment of the intangible fear from which we can never truly escape. Craven had been growing steadily more potent as a horror film-maker, and this, I believe represents him at the apex of his powers. It's a powerful little gem which he has yet to equal.
It’s a fact among film writers that our favorite films are the most difficult to write about. And when I sat down to write exactly what it is about Black Christmas that makes it so damn special, well, I just had no idea what I’d say. I could go on about the eye behind the door, the Glass Menagerie murder (which is a highlight of the film), the inclusion of the always welcome and totally awesome John Saxon, or the presence of a drunken Margot Shitter—excuse me, Kidder. But all this would be a horror nerd’s reasons for loving the film, and that’s not all there is to love with Black Christmas. Simply put, Black Christmas is effing scary.
It’s Christmas holidays for the ladies of the Pi Kappa Sig house. The girls have been receiving obscene phone calls from an anonymous male who wants to… well, do dirty things to whichever girl answers the phone. As each of the girls embarks on their plans for the break, the house thins out, and the few girls left are forced to fight for their lives from a psycho who’s holed up in their attic.
The fact that Black Christmas is a slasher will bring up certain images and ideas, but it does something that most films of the sub-genre can’t seem to do. It follows the formula very well, and it does so four years before John Carpenter would wow us with Halloween and even longer before Wes Craven would revive the dying sub-genre with Scream. Black Christmas is a benchmark film. It’s a standard by which we can compare all other slasher films, but for some reason, most people outside the horror community don’t know about it. Perhaps it’s that My Bloody Valentine became known as the Canadian slasher. Perhaps it’s that it was released the same year as Tobe Hooper’s Texas Chain Saw Massacre.
Whatever the reason for mainstream ignorance of this film, it should be recognized as the genesis point of an entire sub-genre. It’s a slow-burner, and that makes for one of the most frightening experiences you’ll have as a viewer.
Hey, if you disagree, you can always reach me at “Fellatio 2-0-8-8-0.”
If I had to pick any one sub-genre as my favorite, it's the '80s slasher. It's what I grew up on. It's what formed my love of the horror genre. It's the one sub-genre I can revisit over and over without ever tiring of it. With this week's post I not only get to tell you about my favorite slasher, I get to tell you about my favorite '80s horror film, period.
Night Warning (aka Butcher, Baker, Nightmare Maker) was one of those unfortunate films that fell by the wayside, because it's distributor had no idea how to market it. Campaigns suggested it was a teen slasher, and while it is indeed a slasher mixed with elements of mystery, there's much more to it than that. Susan Tyrell turns in the performance of a lifetime as the over-protective Aunt Cheryl. See, she's got the community in a bit of a tizzy after murdering the local TV repair man claiming he was trying to rape her. However, Lieutenant Carlson (Bo Svenson) doesn't buy her story and thinks that the orphaned teenage nephew (Jimmy McNichol) that she raised is the guilty party. As Carlson digs around, he doesn't realize he's about to set off a chain of murders, and he just may end up as the next victim.
Night Warning was one of those films that was ahead of its time as it mixed story threads involving racism, the nearly incestuous relationship between an aunt and her nephew, and the bigotry of a small town towards the homosexual population. With a lesser director, these story elements would have probably come across as ridiculous, but William Asher shows assurance and conviction with the material. All the more surprising, considering the bulk of his career was making beach blanket films and TV directing gigs during the '60s.
As for the performances- when you think of a lineup that includes McNichol (Kristy's brother), Svenson (Walking Tall), Julia Duffy (TV's Newhart), and Broadway actress Marcia Lewis, you really wouldn't expect much, but they're all terrific. It's as though everyone involved had to prove their worth as either director or actor, because they've never been better then they were here. Night Warning is one of those films that as I watch it over and over, I always pick up a new little detail or nuance. It's also one of the rare times when the movie is actually better then the book.
Code Red, a company facing tough times right now, has been promising a release of this film for the longest time. They have even put together special features for it, and conducted interviews with several of the people involved. Here's to hoping that the winner of the Best Horror Film of 1982 from The Academy of Science Fiction, Fantasy and Horror Films gets it's proper due one of these days, and gets a chance at a wider audience with a proper DVD release.
The premise, simple. A crazed killer stalks a babysitter on Halloween night. Seems rather elementary, right? But Halloween is easily one of the most, if not the most influential movie in the history of slasher films. So what makes it so special?
Originally using the working title 'The Babysitter Murders', John Carpenter and Debra Hill co-wrote a screenplay that allowed the most basic elements of fear and anticipation to wreak havoc on the viewer's nerves. The point-of-view technique used to let us watch young six-year-old Michael murder his older sister in cold blood without a scratch of remorse catches our attention in the first five minutes, immediately dragging us into the psyche of a madman. The scenes of a desperate Dr. Loomis at the institution and the outrage and anxiety he projects at the Michael's escape only worsen with every moment he tracks him closer to Haddonfield.
Michael Myers is the most fundamental of slashers, wielding a kitchen butcher knife while sporting his Shatner mask and lumbering along like a zombie at best. And yet he is at his most menacing when we see him in subtle and sometimes quick shots: behind the laundry clothesline, outside Laurie's school, stepping out from behind the sidewalk hedge. Moments of unexpected lurking and outright stalking that take the viewer by surprise.
Halloween also is home to one of the genre's most beloved final girls, Laurie Strode. Selfless, virginal Laurie, always one to take in an extra ward on a babysitting job so her horny friends can get laid. A girl who has no idea (yet) why this escaped lunatic is dead-set on killing her, and yet fights back with all the gumption and determination of an alley cat in heat.
A moment to also thank the incredibly multi-talented director for his score contribution. In the same way John Williams is to Jaws, Carpenter is to Halloween. A distinctive, simple few notes that resonate throughout the film and create an atmosphere of terror and creeping doom. Without that recognizable score, the film would not succeed on the same level.
Taking more than just a few cues from the undisputed godfather of all slashers, Psycho, all in all Halloween is the perfect slasher film: Low on gore, high on suspense, setting the standard and watching (nearly) all replicas go down in embarrassing flames.
When most people think of camp-based slashers, their minds will turn to Camp Crystal Lake and the hockey masked momma’s boy who lives (and kills) there. Somehow, Friday the 13th has become known as the definitive camp splatter movie, which is hard to believe considering the series has only ever featured one fully-functional camp (Camp Forest Green in Jason Lives). Myself, I’d much rather be enrolled at The Burning’s Camp Stonewater any day of the week. Sure, dealing with Cropsey and the sight of George Costanza in short shorts would be terrifying, but it’d be a lot of fun otherwise. It’s got everything you would want from summer camp: pranks, campfire tales, and a group of fun people to hang around with. Just about the only thing missing from these hijinks is Bill Murray rallying the troops against a rival camp.
Of course, it also has everything you would expect from a slasher: gratuitous sex, drugs and death. Whenever Tom Savini’s effects are handling the latter part there, you’re usually in good hands, and The Burning is no exception. The Sultan of Splatter carves the cast up in a variety of ways as they fall victim to Cropsey and his garden shears. The now infamous raft massacre scene is one of the best in any slasher, and is one of the few that manages to be effective despite being set in broad daylight. Body parts get hacked off, throats are slit, and kids are stabbed in a splattery mess that cuts right to the heart of what slashers are all about.
The best slashers often make use of an urban or town legend, no doubt because everyone can relate to the primal nature of such tales. Whether you ever attended camp or not, you surely heard whispers of some sort of local legend that was designed to send shivers up the spines of kids everywhere. Cropsey himself is the ultimate campfire tale brought to life, as stories of a maniacal “Cropsey” have been told around northeast campfires for decades. This particular version is actually the brainchild of the Weinstein brothers and Brad Grey (quite an impressive pedigree), and he’s a gruesome character with a monstrously deformed and melted face.
He’s always been a sort of bridesmaid and never the blood-spattered bride, overshadowed by the likes of Mrs. Voorhees’s baby boy, but I’ll give Cropsey his due. The Burning is not only one of the best camp slashers, but one of the best body count movies the '80s had to offer, period. It’s basically a bowl full of Meatballs with a side of Friday the 13th, and the only thing missing is an endless line of sequels. That’s a shame because it would have been fun to see Cropsey make the shores of other camps run red with the blood of more victims. Of course, if we’re to believe the campfire tale, he’s still out there somewhere--just “don’t look--he’ll see you. Don’t move--he’ll hear you. Don’t breathe--you’re dead!”
The giallo is the Italian cousin to the all-American slasher film. Whereas the slasher has become synonymous with images of masked psychos lurking amongst a group of horny teenagers, the giallo is a bit more stylized in its (ahem) execution. One of the masters of this form was director Dario Argento. Having helmed the three films in the so-named “Animal Trilogy” (The Bird with the Crystal Plumage, Cat O’Nine Tails, and Four Flies on Grey Velvet), Argento’s next outing was something that broke the conventions of the standard giallo mystery and thus all of his previous efforts in the genre. With the arrival of Deep Red, Argento delved into a fantastic night world where death was the norm and any hope for good was all but diminished.
Deep Red, along with 1977’s Suspiria, is perhaps the prime example from Argento’s resume that fully displays his artist’s eye for colorful cinematography and composition. The hues and shades in this film are a visual feast for the eyes, their vibrancy and starkness almost too much for our vision to process at times. Nightmarish images crowd the proceedings, from the murderer’s strange den filled with child paraphernalia to the haunting and brooding house, occupied only by a corpse frozen in a silent scream, that lies at the center of the film’s mystery. And as the title most rightfully suggests, Deep Red bubbles to the brim with scarlet colors. It assaults our eyes as it springs forth in a cascade of glowing blood against the charcoal-black of the surrounding environment. It serves as a constant reminder that Death presides over all.
The eerie musical score by rock group Goblin is the perfect compliment to Argento’s mind-bending images. It pulses and pounds in the darkness, matching every thud of your heart against your chest. It’s music that gets you anxious and makes you anticipate the worst… and in the case of this film, that’s usually what you get. The killings sprinkled throughout are sudden, brutal, and leave lingering pictures in your mind for some time. I mean, what is more terrifying than the thought of going to answer your front door and suddenly being at the other end of a meat cleaver? Or groping through the shadows of your own home while a maniac intently watches you? And there is probably no scene more horrifying to those who despise dolls than the one in which a giggling dummy comes dancing across the room straight at the camera! That’s nightmare fuel on the rocks.
Deep Red is not only my favorite film in the slasher/giallo genre, it would most likely get a place in my hypothetical Top 10 of horror films. It evokes such a beautiful sense of strangeness and terror that you forget at times that you’re watching a movie about a psycho in leather gloves slinking around and chopping people up into finger food. Argento’s mastery of film-making elevates it to a level of true art, and it’s one of the more mentally engrossing gialli you will have the pleasure to witness. It’s one of the greatest things to meet a knife’s bloody edge.
The Horror Effect's B-Movie Becky on Behind the Mask: The Rise of Leslie Vernon
Somewhere between the post-modern fallout of Scream and the remake-centric splurge of horror films came one of the most original slashers constructed upon unoriginal concepts. After a brief theatrical stint, Behind the Mask: The Rise of Leslie Vernon flew onto the shelves of Best Buy, Fry’s, and Wal-Mart with barely a flutter in 2006. Half mockumentary, half serious, and all campy, what surprises could this movie bring to the jaded horror fan? Plenty.
I walked past this movie about a dozen times before finally deciding to Netflix it. The cover, sporting a creepy, sunken-eyed face, had always intrigued me. However, I’ve seen a few direct-to-DVD duds boasting a Robert Englund appearance and a psychopath in overalls. Still, I couldn’t resist the plot: a documentary crew follows the moves of a notorious serial killer in-the-making, as he selects his victims and prepares his locations for the ultimate slasher finale. Much to my surprise, the two things that make this quirky plot come together are the actors and the self-referential humor.
Under the direction of Scott Glosserman, the cast is almost too believable. Nathan Baesel as the documentary subject, Leslie Vernon, manages to be simultaneously charming and disturbing. Looking up to the Freddys and Jasons of the world, I found myself cheering Leslie on just as I would the other icons of horror. This happened without decade(s) of sequels and excessive merchandising. He became one of the boys in a completely different way. Supporting Leslie’s hilarious and strangely compelling performance are Angela Goethals as the reluctant filmmaker, Robert Englund as the Sam-Loomis-inspired Doc Halloran, and Scott Wilson as the veteran slasher. Glosserman’s actors effortlessly transition between low-key, docu-style acting and more cinematic representations of themselves at all the right moments.
One of the most challenging aspects of creating a post-modern horror film is capitalizing on the referential humor without stepping all over the genre. Behind the Mask brings homages, cameos, name drops, and plenty of genre sarcasm to the table, but always manages to stand on its feet as its own unique film. The spirit of the movie is captured in its tagline: “Jason, Freddy, Myers. We all need someone to look up to.” Reverence for the slasher is weaved into the very structure of the movie. It is a world where these icons exist in reality, not fiction. Vernon emulates their work, while having a sense of humor about it—the same way a slasher fan does. From the brief view of Kane Hodder on 1428 Elm Street to the scene of Vernon scoring tree branches to break when his victims inevitably attempt to escape from the second story, Behind the Mask lives, breathes, and bleeds slasher.
2006 may not be the year of the slasher. And it may not be the year the slasher was reinvigorated. But sometimes you have to sort through a lot of things in the ol’ junk drawer before you find what you’re looking for. It’s not a rehash of familiar slasher territory. It’s not a subversive look at the rules of the masked stalker. It’s not a modernized gored-out splatterpiece. Behind the Mask is simply an innovative slasher produced in a time when the trite outweighed the true.
Vault dweller Angela Howeth on The Texas Chainsaw Massacre
I love slasher films; they make up a vast majority of the movies that came out during my childhood. I remember the first time I laid eyes on The Texas Chainsaw Massacre; I was about ten years old. My cousins where babysitting my brother and I, and had brought the movie over. From that moment on, I will never forget Leatherface (Gunnar Hansen) opening that large metal sliding door and pulling his prey into the depths of hell. You know that anyone who walks through that old screen door is doomed to be chopped, sliced and diced by Leatherface. He is not your typical slasher, he does not lurk in the shadows, wielding a knife. Instead, he is like an inbred linebacker armed with a chainsaw, seeing his victims as a large chunk of meat. The fact that his character was based on true life slasher Ed Gein is enough to send an eerie chill down anyone’s’ spine. The scene in which he takes Pam (actress Teri McMinn) and places her on a meat hook, then proceeds to cut up and dismember her friend right in front of her is pure terror. Leatherface simply goes about his duty to get the meat ready for BBQ.
Leatherface is a monster; he hides behind his mask made of human skin and a slaughter house apron. He is a slasher that holds many weapons: carving knives, meat hooks, cleavers and his favorite, the chainsaw. Although many slashers in other movies are portrayed in an undead demonic sense, Leatherface is alive, a kind of twisted Frankenstein that was created by his family. All of the bloodshed and screams of terror make up his meal ticket; he is a relentless killing machine. To him there is no humanity, only the thrill of the kill. This is what makes him one of the most memorable slashers to this day; in fact, Texas Chainsaw Massacre is one of my favorite movies. To this day, I get creeped out about stopping at gas stations in the middle of nowhere out here, whether it’s Iowa or Nebraska. After all, you never know who is watching you! But that’s a whole different story!
Slaughter High, where do I begin? I've loved you since I was young enough to fall in love with movies; I can remember the first time I saw you vividly. I was fifteen, and my dad had got me my first-ever TV set to have in my room. My teenaged self was so excited, I could hardly wait. Through having that TV set I learned that all the best movies are on after midnight, and Slaughter High was no exception to this. As soon as I heard the heavy metal theme tune (that I swear can be heard at least 10 times throughout the movie's duration), aptly named 'April Fools Day', I fell head over heels into obsession with Marty and his murderous ways.
So let's cover the basics, shall we? Because I know you're probably thinking, if you haven't already seen it, wow this Slaughter High sounds interesting, I wish I could find out more about it! Our murderer in this movie is Marty Rantzen, your Grade-A typical nerd. He's sweet and lovable, but weak, so he's the victim of severe bullying from his peers. In the first scene, this real bitchy girl called Carol pretends to be into Marty--she's all like "Oh Marty, will you have sex with me?" Marty, being a little desperate, agrees, even though I'm pretty sure he knows in real life Carol will never sleep with him. Anyway, they trick him, do all sorts of mean, cowardly things that only bullies do and they all get punished, but it doesn't stop there--it gets worse. These sick kids give Marty a joint to smoke, but it's poisonous, and they also rig up a chemistry set to explode in his face, and as his face is burning, Marty walks into a brilliantly placed shelf that has a jar of acid perched on it. I mean literally this shelf could only exist in the movies.
Then in true slasher movie fashion, Marty comes back. He's got 3rd degree burns and he's pissed--really, really pissed. So pissed, in fact, that Marty invites everyone back to the now-desolate and abandoned school where they tortured him so he can have a little bit of fun himself. I won't spoil the movie for you, but it's a slasher, so people die in some really incredibly funny ways. OK, I said I wouldn't ruin it for you, but I have to talk about this one guys death. He drinks a can of beer which has clearly been tampered with, and his stomach literally explodes. I'm talking a shed-load of intestines and obviously fake blood, complete with girly high-pitched screams and panic.
Slasher movies don't get any better than Slaughter High. The theme song is brilliant, the acting is mediocre and the deaths are ambitious and hilarious. To put it simply, I'm still in love with this movie and I think I probably will be for eternity. Marty lives on inside of me, his half-burnt face etched into my memory forever.
Cinema Suicide's Bryan White on Friday the 13th: The Final Chapter
It didn't take long for Friday the 13th to descend into sequel hell, did it? Part 2, though not what the producers imagined it would be, turned out to be a strong sequel; a movie that I happen to think is better than the first. Part 3 loses its footing, however, poorly utilizing 3-D, and if it weren't for the first appearance of the hockey mask, it would be a forgettable sequel, entirely. But you can't argue with numbers, and the box office dictated that the fans wanted more. This is pretty much how Friday the 13th dominated the first half of the '80s. There's a simple formula in Hollywood that determines if a movie gets sequelized: How much did it cost vs. how much did it gross. If the box office gross exceeds its budget while in general release, it's a strong indicator that there will be more of the same. Friday the 13th flicks cost nothing to produce and pulled in tremendous box office. It was this series that crafted the endless sequel horror paradigm.
The Friday movies were rushed into production time and time again, year after year, each featuring a similar plot to the prior, and producer Frank Mancuso, Jr. was ready to move on to other projects. To put the Friday movies to rest, he crafted a script with an ending that he felt Jason Voorhees couldn't return from, and planted it right at the end of your average slasher flick. It's the usual story: Randy teens party in the woods near Camp Crystal Lake, completely unaware that they're doomed, much to our delight. But where the previous Fridays were happy to leave it at that, The Final Chapter adds a remarkable dynamic to the bodycount. By Friday standards, the script for The Final Chapter is one of the most sophisticated in the Friday canon. Jason becomes less a shadowy figure in the woods who steps out at the right moment and becomes a hulking terrorist that makes a lot of noise and advertises the fact they you're all going to die; and if the previous victims are any measure, your death is assuredly going to be gory.
This is a flick that starts so slow, though, and that's the downside; but while Jason is making his way back to the lake, we're entertained by Crispin Glover's dancing, a true sight to behold. There's also the matter of endless slow-mo out-the-window stunt shots. Whether you're being thrown through the window by Jason or the dog is abandoning his master and beating a hasty retreat through a closed window, the slow-mo window gag never loses its appeal. It's hilarious every single time. Honestly, Peckinpah and John Woo combined never used this much slow-mo. Also, I always felt that Part 2's final girl, Ginny, was the gold standard for the survivor girl. The Final Chapter's Trish, however, takes on Jason in the final showdown with the unprecendented use of her bare hands! Friday 4 seems to be the most colorful of the early series and for that, it wins out in my contest of preference. I love this movie more than any in the series and more than any other slasher flick. The only thing I want to know is where did Jason get a speargun and who the hell needs a spear gun on the edge of Crystal Lake?
When the topic of slasher films came up, I had a small argument with myself. This wasn't the normal argument that occurs when someone asks me to pick a favorite in some genre/subgenre; this was an argument that went something like “If Halloween's already been picked, there's not really anything I feel is worthy of a list like this”. The slasher genre and I have had many disagreements over the years, despite my stubborn refusal to leave them for dead (I wish I knew how to quit them, maybe?), and it's gotten to the point where I often argue that Halloween doesn't even belong under the “slasher film” label. (This argument often is vocalized by me pointing out that film's lack of blood and supernatural/philosophical message, though inside I'm usually just thinking that Halloween is far too good to be downgraded into the slasher genre.)
As a point of protest against a majority of the entertaining but mind-numbing films that make up the slasher canon, I decided that I'd talk about another film that exists on the fringe of that universe; the 1986 anomaly April Fool's Day. I've never quite been sure what to make of the film, which could be read as a loving spoof of or as a giant middle finger toward the slasher craze, which had been eating up cinema screens for half a decade in the wake of the first Friday the 13th film. What I do know is that it's a complete blast, regardless of its intentions.
In retrospect, it's relatively safe to say that the plot of April Fool's Day--which I won't divulge on behalf of the unfortunates who've not experienced it yet--is among the most ridiculous things ever filmed. And, unlike most slasher films of that era, the film is relatively tame, playing like an R-rated Scooby Doo at times.
But there's an incredible amount of charm in the film thanks to the cast (the lovely Deborah Foreman, the strong Amy Steel, and the dependable Clayton Rohner all shine) and the execution of the film's plot, which never takes itself seriously. The result, in my eyes, is the perfect slasher experience for someone who loves the silliness of the slasher and wants a film that embraces the movement's flaws. In a sub-genre that has become a parody of itself, April Fool's Day is a breath of fresh air. (Even if it is air from a Whoopee cushion.)
While I pride myself on being a horror fangirl chock full of movie preferences far beyond my years, I have no problem admitting that I was born in 1990. In my short 20 years on this planet, I've discovered the wonderful films of yesteryear, and fully understand the lack of staying power the majority of horror films that have come out in the past 20 years possess. The slasher genre is by far one of the most prevalent in horror films, and the '90s were all about trying to spark the fire of slasher films that had previously taken over the horror genre. My personal favorite, was I Know What You Did Last Summer.
IKWYDLS is in no way/shape/form a quality horror film. However, the film followed the outline for a slasher film to a T, and had a power packed cast that drew me in instantly. The typical "teens in trouble make their lives even more complicated" scenario follows a group of friends that hit someone with a car and presumably, kill him. Instead of notifying the authorities, they throw the body into the water and vow to never speak of it again. A year later, the friends find themselves stalked and attacked by an unknown assailant with a fish hook.
The film is ridiculously silly and borderline laughable, but for some reason, I can't look away. Maybe it's the grace of Jennifer Love Hewitt in a babydoll T or Ryan Phillipe's character having the last name of "Cox", but I can't stop watching it. The kills aren't that gory nor original, but like every slasher film...there's plenty of them. Much like most slasher films, there are scenes running through closed quarters, steamy showers with words written in the fogged mirrors, and the main characters turning on each other. I Know What You Did Last Summer was easily the first slasher film I saw on my own, without the guidance of my horror obsessed parents. And for that reason, I'll always cherish it.
I didn’t even finish Pieces the first time I saw it. I remember turning it off about 15 minutes in, just thinking it was one of the most ridiculous things I had ever seen. It was, and it still is, but now in hindsight I wonder if I would’ve liked it more if I would’ve just waited through? Maybe it did take seeing it in a theater full of people to fully appreciate it. Let me explain.
I had the great opportunity to see Pieces in its 35mm glory this past May at the Hudson Horror Fest in Poughkeepsie. From the first few minutes I could tell that this was going to be a different experience than the one I had watching it alone. There were muffled giggles from the first swing of the ax, maybe even before.
For those unfamiliar, Pieces is a unique slasher in the sense that the slashing comes by way of a chainsaw. There are a series of murders on a college campus that show that only certain pieces (ha! Get it?!) of the female co-ed’s bodies are missing from the crime scenes. From the beginning we can see this is a slasher based on a psychological premise. The film starts with a young boy being caught with a pornographic puzzle, and once his mother lashes out at him, he hacks her in the skull with an axe. Then the film swiftly cuts to 40 years later as we see an almost giallo-like touch, as gloved hands paw a bloodied shoe and the puzzle, which is also bloodied. From here on out, there is so much unintended hilarity it’s almost too much to handle, and this is why Pieces can hold my heart the way it does.
From the awkwardness of the suspect professor, to the macho man suspect gardener Willard, to the “ladies man” Kendall driving a girl to beg him to gag her so she’ll be quieter while he ravages her, there are so many gems. That doesn’t even start to scratch the surface of the premise, in which a famous tennis player is also a cop who goes “undercover” at the university. The scene in which she meets Kendall’s kung fu professor is worth the price of admission alone. To be fair, the gore in this film is great. And the ending will leave you in stitches…literally. I have grown addicted to this film. I seriously find myself watching it at least once a week since I bought it a few months back. I try to show it to any new friends I am meeting to gauge their sense of humor and see how compatible we are as compadres. So far they have all passed with flying colors.
Pieces is most definitely an acquired taste, and perhaps you’ll be like me and find it unwatchable at first. If you let it play on, you too could find the subtle…I mean, blatant charm of J.P. Simon’s Pieces.
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A deeply heart-felt thank you goes out to all those writers who contributed pieces to the Lucky 13 over the course of the past 13 weeks. It's been one hell of a ride, both here and over at Brutal as Hell, where another group of exceptional scribes has been hard at work chronicling their favorite horror flicks, as well. This whole thing sprang from a very simple notion hashed out on Twitter, and I'm certainly glad it did. I hope you've all enjoyed reading it as much as I've enjoyed putting it together.
And so, adieu to the Lucky 13. Although, perhaps not. For, just as the slashers discussed this week, I have a distinct feeling it may come lurking back one day in the not-too-distant future, stronger than ever and out for more blood...
What happens when you combine horror and science-fiction—those two vaunted pillars of genre entertainment? You wind up with some of the most fascinating, challenging, and downright kick-ass pieces of cinematic gold ever created. The key to great horror/sci-fi is maintaining that balance between the horrific and the…well, science-fictiony elements. This week, we here at the Vault, and the crew over at Brutal as Hell, have selected a bunch of films that do just that.
I've always felt that, generally speaking, science fiction's goal is to make you think, and horror's goal is to make you feel. One's intellectual, the other is visceral. Together, they make for a fascination combination, and this week I have a record-setting number of contributors chiming in to give us some prime examples...
B-Sol on Gojira
The absolute high watermark of giant monster movies--and I'm including the original King Kong in that assessment. If you've only seen this film in its watered-down Americanized edit as Godzilla, King of the Monsters, you're doing yourself a major disservice. Seen in its original Japanese version, Gojira is a stark, terrifying vision, a horror film in the truest sense of the word. In fact, if you're wondering why I'm writing about Godzilla on a horror blog, than you've clearly never seen this film.
Not to take anything away from the many films that followed, but Gojira is infinitely better than any of them. This is not a fun popcorn flick, good for a laugh with your buddies. This is cinema--a viewing experience that moves, and provokes thought. From the opening titles--one of the single most powerful openings credit sequences of any movie, for my money--it grabs hold of you, and doesn't let go.
Director Ishiro Honda is masterful at creating this aura of fear, but massive amounts of credit must also go to score composer Akira Ifukube, whose music is inextricably tied to the power of the film. It is hard to imagine the movie without his iconic score, as much a part of Honda's work as Ennio Morricone's compositions are to the work of Sergio Leone. By turns insistently dire, broodingly nightmarish and profoundly sad, Ifukube's masterpiece of a score is among the most effective ever written.
While The Thing was completely unappreciated in its time in the theaters, and roundly panned by critics great and small, over the test of time it has become one of the most beloved and fiercely defended horror films out there. At least this fanboy says so.
The alien creature in The Thing, as presented by two special effects geniuses, Rob Bottin and Stan Winston, is pound for pound, cell for cell, slimy tentacle for slimy tentacle, the scariest, most invasive and probably most dangerous movie monster of all time. It is no man in the "rubber suit." It is a monster of Lovecraftian proportion and perfection, but don't take my word for it... The incredible, pre-CGI effects steal the show, and are superior to much of what we get nowadays. But that is not why this is my favorite horror movie, or one of my favorite films of all time.
No, The Thing is so great because it has it all. The sets, though spare, were effective, especially on location in snowed-in Alberta. The synthesized Ennio Morricone score is simple, but a perfect match to the piano wire-like tension, and also was probably the inspiration for half of the theme songs of the 1980s. The camera work is perfect. The script is executed to near perfection, with each character built rapidly, yet effectively in each sequential appearance. The cast is excellent, with several very accomplished actors, and all in top form.
Unlike most films, much less of the horror variety, The Thing has an onion-like quality. What I mean is that it is a film that keeps on giving upon repeated views, not unlike a film such as The Godfather II, (I know, big comparison). When watched over and over, the significance of the "little things" comes to light, increasing the viewer's joy. An example is the scene when MacReady has been locked out of the compound. Palmer and Norris make statements sowing seeds of doubt about him, and when MacReady breaks in through a supply room window, they silently give each other knowing glances, and Norris says:"All right, all right, we've got no choice now!!" That little sequence gets better every time, and there are others.
Finally, R.J. MacReady is one of the great heroes in cinema, and I don't mean the Han Solo variety. In addition to being a world class drunk--meaning he doesn't let his copious hard drinking get in the way of saving the world--he is smart and ruthless. He rapidly picks up on the threat after only one warning, seizes control, and makes the correct calculation that there is no cost too high to prevail in the battle against the thing[s]. He is uncowed and unbowed by failure, terror and the terrible odds. When his chips are down, he goes all in.
I'm not usually one for movie sequels. We all know that they are usually (with some rare exceptions) inferior to the original, and usually just the studio's way of wringing some extra cash out of a successful intellectual property. The original Alien was one of the first four horror movies I had as a kid, when VCRs were a luxury item and movies on VHS were extremely hard to come by and very expensive (the other movies being The Thing, Jaws, and An American Werewolf in London). Alien always held a special place in my heart, mixing sci-fi and horror so seamlessly. So how do you top one of cinema's best sci-fi horror movies?
Enter James Cameron. Cameron took the concept of a vicious alien stalking crew members on a spaceship and just multiplied the horror a thousand-fold. For me, Aliens was a much more terrifying movie than the original because of the sheer number of aliens. I'm not afraid of a zombie. I don't think anyone is afraid of a single zombie. The horror of zombies is that there's dozens or hundreds of them, swarming you with a single-minded mentality. The cocky and technologically superior space marines are quickly overwhelmed by the aliens, who seem to be crawling out of every air duct, around every corner. The motion detectors showing hundreds if not thousands of aliens approaching their location was almost claustrophobic.
But the aliens weren't the only enemy. Paul Reiser turns in an excellent performance as the slimy company puppet Carter Burke, who has his own devious motives. Lance Henriksen, a staple of horror films, plays Bishop, another "unknown" amongst the crew. The android couldn't be trusted in the first "Alien;" could he be trusted now? Of course, Sigourney Weaver as Ripley continues to do an excellent job as the ass-kicking heroine, thus solidifying her place in movie history. Michael Biehn plays Hicks with a tough yet subtle calm. But Bill Paxton steals the show as Hudson, whose "Game over, man!" line has forever been immortalized in popular culture.
It's a shame the franchise went so off-course with the third and fourth movies. But Aliens is still one of my all-time favorite horror movies, and I watch it whenever it's on TV.
Many overlook the upsetting horror of 1997’s Event Horizon. Perhaps he sour taste of Paul W. S. Anderson’s previous effort with Mortal Kombat is to blame. But with Laurence Fishburne and Sam Neill as the principle roles, the film has a solid foundation of acting, and its chilling story and visual sensibilities have made it noteworthy among horror fans. Exuding a stylized sense of hyper-violence that The Texas Chainsaw Massacre coupled with Hellraiser, Event Horizon upped the ante, with its graphic depictions of death. There are no laughs or love interest, and there’s no hope to be found.
The story packs in a lot of theoretical elements, and really aims to create a unified vision of future space travel. By creating an artificial black hole, an experimental starship is able to travel vast distances through a gateway in the space time continuum. But this gateway actually opens a portal to another dimension: Hell itself. Unbeknownst to the rescue team that intercepts a distress signal from the missing starship, their boarding of the experimental rig will only trigger their downfall. The starship has returned with a supernatural presence aboard, and it begins to infect and kill the crew members in ghastly ways. With only 20 hours of oxygen, things go from bad to worse when their rescue ship is destroyed, forcing the crew to take shelter on the starship.
The special effects seem all too real, almost like a snuff film from the future. The quick flashes of Hell shown to Laurence Fishburne are almost too much to bear at their formatted speed; woe to those that watch them in slow motion. The film walks a fine line between philosophy and technology, fear and faith, religion and science, offering a solid example of sci-fi horror. But the one universal truth is that life is pain, and you’d wish for death before returning to where the abandoned starship has traveled.
Sadly, test audience research led many studio executives to the opinion t that the initial director’s cut was too unnerving, so they ordered a trimming of 30 minutes from the film, with large snippets to be taken from the graphic violence and gore. Anderson has said he regretted the edits, and one can feel for him, as he turned down the original X-Men to make Event Horizon.
I can’t say for sure when exactly I saw Night of The Creeps for the first time, though I am sure it was around the age of 11. I can tell you that I rewound it and watched it twice more within the same six-hour span. I was smitten. It blew my mind in a way I couldn’t remember a film having blown my mind before. I had seen Alien and I had seen Predator, but here was a straight-up horror film with sci-fi elements. I felt like this was meant for me for some reason. I guess I had never really been a huge fan of sci-fi--hell, I can’t really say I am the biggest one now. But NOTC took me in, sat me down and made it OK to be fully embroiled in a sci-fi mindset.
The film itself focuses on Chris Romero (Jason Lively) and JC Hooper (Stephen Marshall) as they unwittingly unleash an alien-infused zombie epidemic on campus. And if you’re thinking they’re named after George A. Romero and Tobe Hooper, you’re 100% correct. Another great nod comes in the form of classic bad-ass cop, Ray Cameron (yes, named after James Cameron, a friend of Dekker’s) as played by veteran actor Tom Atkins. To this day Tom Atkins says of his storied career, this is his favorite role of all time.
It’s truly remarkable now as an adult when I realize what a feat Dekker’s first film was. When I first saw it I just remember the childlike wonder as I saw the “creeps” slither for the first time, and when I saw the first head explode only to be eviscerated further by a flamethrower. The special effects were done by three hugely talented artists; David Miller of the Nightmare on Elm St franchise, and Howard Berger and Robert Kurtzman who would soon go on to KNB EFX along with Greg Nicotero.
I recently had the pleasure of meeting both Fred Dekker and Tom Atkins in person. The T-shirt company I work for, Fright Rags, hosted a double feature of Night of The Creeps and The Monster Squad here in Rochester, New York. I spent an entire weekend with one of my film-making heroes, and a living legend. It was a fangirl dream come true. I have more memories than I can include in one post, but one conversation that I found quite interesting was on the subject of James Gunn’s Slither. I am one person who wholeheartedly looks at it as a rip-off of Creeps . Fred said that James Gunn vehemently denies this, and that he could indeed be telling the truth. Fred said when his film came out, that people accused him of ripping off an old sci-fi film he had never even seen. His message was to simply understand that there is never a definite answer when it comes to those accusations. Maybe he did get ripped off, but so be it, Fred Dekker has far more on his mind than to worry about it. Another sidebar: The line that Atkins delivers, “Good news is your dates are here, bad news is they’re dead,” was from a day of pick-ups, and improvised.
All in all, what do I have to say about Night of The Creeps that hasn’t been said before? Maybe nothing different, but the point to be made is, if I had to choose my favorite sci-fi horror film of all time, I would choose Night of The Creeps. Go ahead, Thrill Me!
Even a seasoned sci-fi fan wants something different once in awhile. Moon is one of those films. While at first it seems like you may be watching a rehash of 2001: A Space Odyssey, you soon realize things are not as they seem. And if I do say so, Sam Rockwell really puts on a tour de force performance here, carrying nearly the entire movie by himself. Written by Duncan Jones, Moon tells the story of one Sam Bell, an employee of Lunar Industries, Inc. who is nearing the end of a three-year contract in which he is alone on the moon, extracting helium-3 to be used as energy for Earth. His only companion for the long venture is GERTY (voiced by the wonderfully monotone Kevin Spacey)--think HAL, but less controlling. Sam is anxious to get back to his family, a wife and daughter which he can only see through long distance video hookup pre-recorded transmissions that are far and few between.
The scares here are mostly psychological, which to me is more than just creepy when you're the only one on an entire planet. But then again, is he?
Moon succeeds on so many levels. The feeling of complete and utter isolation is so tangible here, so frightening, that you can't help but to be a bit anxious. GERTY, while certainly Sam's only friend and confidant, still has us curious if "he" knows more than he is letting on. The movie keeps you wondering--you'll be guessing, and you'll be wrong. Confusion abounds, but not in a Memento kind of way. It's a good confusion, one you will be thinking about long after the final few moments.
I'm not your average sci-fi fan. I love Alien, The Thing, and am a huge X-Files fanatic, but I'm not as well-versed in the sub-genre as many others. But Moon comes highly recommended. It's one of my favorite films of the last year.
Hardware was the last of the post-nuke films to get a theatrical release. Audiences didn't get it. Critics were all over the place on their feelings for the film. As a result, the film flopped at the box office and the post-nuke genre died down after soaring with films like Mad Max and The Running Man. Hardware takes place during the Christmas season in the post-nuke future, as a scavenger (Dylan McDermott) presents his artist girlfriend (Stacy Travis) with some robot parts. After a passionate night together, the robot reassembles itself to continue on with its life mission--population control.
I was lucky enough to catch this back when it was released in theaters. I was only 8 or 9 at the time, but it was a breathtaking experience for me. The visual aesthetic of the film captivated me. The film's pulsating techno score by Simon Boswell added to the excitement of the film's on-screen carnage and gore (which had to be trimmed to avoid an X rating). A shocking death about two thirds into the film added to that breathtaking factor for me.
As I got older, I was able to appreciate to an even greater degree that Hardware was one film that didn't play by genre rules and was willing to take chances. From director Richard Stanley's claustrophobic, voyeuristic atmosphere. To his willingness to try out experimental camera angles and to commit to one of the bleakest portraits of the future ever portrayed on screen. The colorful supporting cast included the likes of character actors John Lynch and William Hootkins, mixed with musicans like Iggy Pop, Carl McCoy of the goth band Fields of Nephilim, and Lemmy of Motorhead. The use of religious iconography and references contrasted against the film's strong use of sexuality and violence gives it a bit of a sense of irony.
Hardware went pretty much ignored during the '90s, but luckily for us, the film gained a cult following over the years and went on to receive both a DVD and Blu-Ray release. Hardware is hands down my favorite film to mix elements of science fiction with horror. It also ranks as one of my top five favorite films of the '90s.
From my point of view, the most plausible dystopias are the most menacing ones, and Soylent Green (1973), set a mere twelve years on from the time I’m writing this, seems increasingly, uneasily recognizable. The 2022 of the film--riddled with environmental damage, grotesque overpopulation, hunger and an increasing gap between rich and poor--could so easily be our own legacy, and Detective Thorn’s final discovery speaks a familiar language of corruption, bleak utilitarianism and desperation. ‘Desperation’ is the single word I’d choose to sum up Soylent Green: it runs through the film like a seam; in its malnourished masses, its non-status women and its euthanasia depots (the latter providing one of the film’s most poignant--and most appalling--scenes).
But, for all that palpable desperation, all that horror, there’s a real sense of humanity here, too. Detective Thorn (Charlton Heston) has a long-standing friendship with Sol (Edward G. Robinson in his final role). They take a real pleasure in life, in each others' company: when Thorn can get hold of ‘luxury’ food items, he shares them. Thorn also loves Shirl (Leigh Taylor-Young), and implores her to ‘LIVE!’, to get any happiness she can, when he is no longer able to protect her. And, of course, Thorn’s determination to get to the bottom of the ‘Soylent Green’ brand mystery comes from his sense of decency and honesty. Ultimately, there’s a grain of hope here that basic humanity can remain intact, can avoid being consumed, even when humans are unwittingly consuming each another. Humanity stands opposite the cold rationale of the Soylent Corporation, so when the tagline declares ‘People are still the same’, perhaps that bleakness has something positive embedded within it, even when a startling and ambiguous ending keeps us wondering.
Profound, clever, with a stellar cast and a pervasive, disturbing atmosphere, Soylent Green derives both its horror and its hope from a hell that might be right around the corner…
Though there's no good reason, from a technical (or even logical) standpoint, that I should call this my favorite film in which the sci-fi and horror genres cross their streams; I'll be damned if I don't have an immense amount of love for Jack Harris & Irvin Yeaworth's production of The Blob. A large reason for this was the impact the film had on me at a young age--it was one of the first monster movies I was allowed to watch on VHS--but time has only helped the film tunnel its way deeper into my heart.
It was the late 1950s, and Harris' idea was simple. Take two of the most popular sub-genres going--Earth-based science fiction and teenage delinquency drama--and put them together in one film. (To the trained viewer, there's no hiding the fact that this movie borrowed more from Rebel Without a Cause than any of the “Watch the Skies!” films of the '50s.) This didn't matter to me when I was a kid. I was too busy pondering how the Blob worked and wondering how big it could get if it kept eating. The kids were running around trying to convince the adults that they weren't just punks, and I was too busy trying to figure out how many people Sir Blob would have to eat to get big enough that he could cover my family's entire house. And I loved it.
But with age, I've come to love the human aspects of The Blob just as much as any of the carnage the gelatinous carnivore starts. Unlike other teen flicks of the era, there's so much hope for humanity at work in this film. These kids fit the same stereotypes that films like Rebel put them in...and still go out of their way to help others. There's no bad guy who's out to settle a petty score, and there's no evil mastermind who we need to hate. As a film, The Blob breaks from dramatic traditions, showing that it understands that people aren't generally as bad as movies paint them to be.
Of course, I wouldn't be ranting about this sentimental favorite if it didn't have one of the most fun monsters ever put on screen and a slew of horror and sci-fi staples. They were the hooks that got me to watch the film, and they still bring me back to it frequently. But when I look past those hooks, and remember how much I love the film's ability to spread hope alongside its camp and fear, I'm reminded why The Blob still stands as one of the most beloved flicks I've ever known.
John Carpenter immortalized this one by making it a part of Tommy Doyle and Lindsay Wallace’s Halloween night monster movie marathon in 1978, but it was always destined to be a classic. Few films manage to capture a dread sense of isolation and paranoia as well as The Thing From Another World; released at the dawn of McCarthyism and the UFO craze in a post-atomic world, the film conceptualizes all of these very real fears into a horrifying story (as good science fiction often does). The mysterious, single-minded monster that’s “devoid of morality” represents anti-Communist rhetoric that no doubt was frightening Americans from coast to coast.
Even stripped of its historical and allegorical contexts, it’s still a great, suspenseful monster movie. The titular creature is brought to life by James Arness, and the hulking monster tears apart everything in its path. The isolated, arctic setting intensifies the suspense by creating no escape for the protagonists. However, in typical fashion, these characters might be more of a threat to each other than the monster is; though the creature isn’t a shape-shifter like in Carpenter’s redux, the situation still creates a natural dissension and paranoia among them all. It’s a standard horror motif that’s been used countless times since: a group of survivors trying to keep itself from unraveling while fending off something hideous (George Romero has practically made a career out of this plot).
In particular, The Thing From Another World presents a divide among military and scientific lines, with each side battling to determine the fate of “The Thing.” Captain Hendry wants to destroy it, while Dr. Carrington wishes to study it to learn from it, no matter how deadly the results. This conflict might be the film’s ultimate legacy, because it’s one that’s shown up a number of times since, with each side taking their share of the blame over the years. Here, Carrington, the meddling scientist, is the untrustworthy character that reminds us of how dangerous unbridled scientific ambition can be.
At the end of the day, though, it doesn’t matter who comes out on top because the movie preys on the fear of the unknown to the end. For a '50s monster movie, it’s rather ominous and plays well as a spookfest on Halloween or any other cold, dark night. Even as the film comes to a close, we’re warned to “keep watching the skies,” because something might still be out there, waiting…
Planes, trains, and extraterrestrials… Horror Express is not your average alien-goes-amok story. After hearing about this film a few years back, I finally took the time to sit down and watch it on one of those glorious 50-film packs that you can find in the dusty recesses of the bargain bin. I was astounded by what I had seen; for all the typical trappings of a Eurotrash feature with cheesy, rubber-suited monsters, this little chiller was quite effective. I have subsequently re-watched and resoundingly enjoyed this film more than some may think it deserves.
The story is entertaining in and of itself. Sure, the science may be hokey and totally off-the-wall, but the craziness only serves to make the film that much more enjoyable. You can’t help but grin as the scientists calmly reason the possibility of an intergalactic mental vampire sucking passengers dry on the very train they’re on.
With the added benefit of having Christopher Lee and Peter Cushing in the film, it’s guaranteed to serve as a full evening of entertainment. The duo’s chemistry is spot-on as always, both of them playing rival scientists here. While they may be a bit competitive and pushy towards one another, they actually stick together and work as a team for the majority of the film. It’s a delight to see them as partners instead of being at opposite ends of a wooden stake. Lee goes about with his usual somber and demanding presence, while Cushing lightens things up with his ever-affable and charming personality. He also gets probably the best line in the entire film. When accused of being possible hosts for the galactic monster, Cushing responds with genuine shock: “Monsters? We’re British you know!” Telly Savalas pumps some sadistic energy into the piece when he shows up later as the iron-fisted Captain Kazan, rounding out an already impressive cast.
Upon viewing the film recently, I was also taken by how astounding some of the musical pieces are. Especially awesome is the heavy bass that plays every time the creature’s eyes glow that ominous red as it prepares to kill. The pacing of the film is just perfect, each minute growing with more tension as the alien stalks about the claustrophobic aisles of the train. It all builds and climaxes in an appropriately fiery finale that caps off this terror from beyond the stars in a most satisfying manner. If you haven’t already heard of this film, it comes with my highest recommendation. You may be prone to just throw it away as another cheapie feature, but Horror Express is probably the most exciting and charming ride you’ll take into the dark realms of sci-fi madness for a while.
Originally, I was set to write a love letter to Ridley Scott's Alien--until yesterday when I found myself trying to explain to a skeptical friend of mine why Forbidden Planet is so cool. If you were to make a venn diagram of horror and science fiction, the crossover would be ridiculous. The human race, in general, has a strange fear and fascination with technology, so there's not a lot of sci-fi out there that doesn't have at least one foot in horror territory. Forbidden Planet is no different. Inspired, at least a little bit, by Shakespeare's The Tempest, a spooky favorite or writers looking to add horror and mystery to their scripts, the film easily qualifies as my favorite sci-fi horror flick, as well as my favorite flying saucer movie.
A crew of astronauts are dispatched to the planet Altair to investigate the disappearance of an expedition lost some 20 years earlier. What they find is that the missing Dr. Morbius has set up a permanent home on Altair with his daughter Altaira and robot servant. There he survives using the amazing technology left behind by a long dead race called the Krell; but a powerful and invisible force keeps them there, and intruders out.
It's a killer flick from top to bottom. I can't find a single negative criticism to level against it while I explore it. Forbidden Planet is a seriously broad vision at the height of the flying saucer phase in Hollywood. In 1956, everyone was still aping every move from The Day The Earth Stood Still, and the era produced some of the shoddiest, crappiest science fiction in the entire history of Hollywood. But Forbidden Planet took a different route and chose to eschew the entire notion of the red scare in favor of something a little more classic hidden beneath a slick science fiction veneer.
The cast is absolutely astonishing, featuring Leslie Nielsen, better known for his zany comedies, in a serious role as the ship captain, and the flamboyant Walter Pidgeon as Dr. Morbius. Anne Francis is beautiful and hypnotic in every scene, and her costuming covers just enough of her to keep the censors at bay. To top it all off, we're treated to a set of stunning special effects and amazing sets and props. The C-57D flying saucer and the iconic Robby the Robot suit go on to make many appearances on The Twilight Zone, and this fantastic setting is rounded out with some amazing matte paintings that convey the sheer size and anthropology of Altair. It's amazing, I tell you! But we're not done. Often mistakenly believed to have a full-on theremin score, Forbidden Planet is scored by musique concrete masters, Louis and Bebe Baron. A multi-layered soundtrack of circuitry modulation that sounds alien and psychedelic at all times, Forbidden Planet's score is the first all-electronic score.
I really can't say enough about this piece of classic sci-fi. Afficionados celebrate it until the cows come home, but I have such a hard time selling your average movie viewer on it. Forbidden Planet is timeless!
* * * * * * * * * *
Now head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the FINAL installment, just give Marc or myself a holler.
10. Afterlife
8. The Wolfman
6. Piranha 3-D
4. The Human Centipede
3. Survival of the Dead
1. Black Swan
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