The Trouble with Christmas

There is just something about the festive season that has never lost its magic. Whether it is the promise of multiple turkey feasts with family or listening to Shakin' Stevens Christmas hits, I just never tire of Christmas. This results in films which I would not even consider normally rising to the top of my priorities if they have a Christmas setting. It is difficult to explain exactly what it is about Christmas that still enchants me so but it is again that time of year when I feel my belly rumble with festive cheer. This blog is going to cover three of my favourite Christmas films ranging from a child unfortunately left alone by their family to those suffering the fear of an altogether more sinister ol' St. Nick. Now that I think about it, that sums up my love for Christmas right there.

Home Alone

Home Alone was my favourite film when I was young. Actually Home Alone 2 was but because I owned the sequel and not the original, the otherworldly allure of its predecessor was too much to resist. I liked everything about the film, the criminals are genuinely villainous and Kevin's out-witting of various adults made him the perfect role model for an impressionable young man. I remember being given a replica Talkboy for my Christmas only to feel utter dejection upon finding that my voice and the 'slow' function did not equal my fathers voice and as such could not book me hotel rooms or explain my absences from school. I was willing to overlook this and just focus on how good the films are. The original (although I am sure you are aware) tells the story of a feuding family who, in the haste of pre-holiday havoc, leave their young son behind as they embark on a trip to France. Kevin quickly adjusts to his role as the man of the house and begins the associated tasks of showering, shopping and defending his kingdom from the advances of two hapless burglars. What ensues is a slapstick series of traps and tricks as the criminal worlds answer to the Chuckle Brothers attempt to defeat Macaulay Culkin. Kevin's success is a victory for all children and his ingenuity an inspiration for my future endeavours to the present day.

This is Christmas, the season of perpetual hope. And I don't care if I have to get out on your runway and hitchhike. If it costs me everything I  own, if I have to sell my soul to the devil himself, I am going to get home to my son.

Elf

Starring Will Ferrell, James Caan and Zooey Deschanel, Jon Favreau's Elf (2003) depicts Buddy the Elf's banishing from Christmas paradise and his struggles to adjust to everyday life in the city. Buddy, previously unaware of his human origins after a mix-up and hasty adoption, struggles to adapt to this new life which brings some hilarious moments with his initial arrival in New York and subsequent attempts to please his father particular stand outs.

It's just like Santa's workshop! Except it smells like  mushrooms... and everyone looks like they wanna hurt me...

Elf is essentially a story about spreading Christmas cheer to those who are not so predisposed  but is also a story about family and the connections that are particularly important to people at this time of year. It is Buddy's persistent insistence which, although at first grating to those around him, endears people to him and the Christmas spirit required to resolve the plight of Santa and his elves. Elf is a genuinely funny and heartwarming film that loses its way a little towards the end. However, Will Ferrell's MTV Movie Award for best comedic performance was very well deserved. Buddy has settled in New York and is telling his tale in a Broadway musical through the Christmas season this year. The films box office takings of $220million display how much affection the movie going public has for this type of festive experience.

I just like to smile, smiling's my favourite!

Rare Exports: A Christmas Tale

In terms of appropriate titles Rare Exports is about as apt as you could request. Rare in terms of its portrayal of Christmas so far removed from that we are accustomed to and exported from Finland to an unsuspecting audience around the world. It is unusual for me to be able to summarise a Christmas film as a creepy horror with comedic moments and under-tones of paedophilia but that is exactly what Rare Exports has to offer. To say that this is a Christmas film not suitable for children evokes memories of Bad Santa et al. but this is a far different proposition. Rare Exports may not be for children but it may not be for most adults either. 

Director Jalmari Helander has created something between an unsuccessful comedy and unsuccessful horror derived from his earlier series of Internet shorts. That is not to say that the film is not enjoyable just that it does not fulfil expectations of either genre. The films tag line proclaims that "This Christmas everyone will believe in Santa Claus", they may well but it is not the same Santa Claus you can expect to see on your Coke can. Children will barricade the doors of their advent calenders, naked elves will chase children through the snow and in time honoured tradition Santa will be nowhere to be seen. In place of the great deliverer or gifts we are faced with the great discipliner of children. Santa is excavated from an icy mountain grave before facing the guile of the local townspeople. The film is strangely unsatisfying regardless of the fact that there are no loose ends at the close of the film but it is also unlike any other Christmas film you will see this year.

I asked through my Twitter account what your favourite Christmas movies were and the replies were so varied that it really reiterated the wide range of circumstances, and as such the cinematic opportunity, afforded by this particular holiday. Christmas films have the wide-ranging appeal of being suited to hard-luck stories of loss and redemption to tales of unbridled joy for family viewing. The Christmas setting can be adapted to almost every narrative and as such we can expect an influx of new additions at this time every year. However, any new additions to my cinematic stocking will struggle to usurp the magic of the three detailed above.

The trouble with Christmas..? It only comes once a year.

The Millennium Bug

Based on the bestselling books by Stieg Larsson the films that comprise the Millennium trilogy have been at the centre of a resurgence in Scandinavian cinema with films such as Let the Right One In also prompting Hollywood remakes. The films focus on the investigative work, on both sides of the law, undertaken by Lisbeth Salander (Noomi Rapace) and Mikael Blomkvist (Michael Nyqvist). Brought together by a series of conspiring circumstances, the two form a bond, or what could be more accurately described as a 'mutual understanding'.

The first in the series is titled The Girl with the Dragon Tattoo and sees Blomkvist, journalist for underground magazine Millennium, investigate the mysterious disappearance of a wealthy businessman's granddaughter while also fighting a court case, and subsequent jail term, handed to him for his expose style journalism. Lisbeth, a talented computer hacker, is initially hired to investigate Blomkvist but becomes involved in his work after finding information pertinent to his case. The two strike up a relationship and uncover a web of deceit through a well-to-do family and the upper-echelons of Swedish business. During this Lisbeth also has to contend with her sadistic custodian which add the scenes of sexual violence to the film and we are also faced with serial killers and Swedish Nazi's as the cherry on top of the already well-baked cake. To be honest there are only two things I would criticise the three films for and they are all apparent throughout each addition to the series. The first is that there are so many characters, and so many sub-plots that the films feel bloated to the point of combustion. The second, related to the first, is the running time for each film with them all coming in at well over 2 hours. The only time I really had a problem with this was in the second installment which I though was the weakest of the three.

During The Girl Who Played with Fire we delve deeper into the psyche of Lisbeth Salander who returns to Sweden after a year abroad to be faced with charges for the murder of a journalist, his girlfriend and the sadistic guardian mentioned earlier. The film sees revelations about Lisbeth's childhood and the film ends with a climatic battle between Salander and her father/brother. This film suffers from being devoid of the chemistry so successful between the protagonists in the first outing. Mikhael's searching for Lisbeth and his continued relationship with his magazine colleague are slightly unconvincing and, after the themes of the first, the second film feels a little tame in comparison.



The Girl Who Kicked the Hornets' Nest is the final film in the series and begins with Lisbeth in hospital following the showdown at the end of the second film. Still facing the murder charges, Blomkvist does what he can to attempt to prove her innocence but has to deal with Salander's continual uncooperative behaviour which threatens to derail their progress at every other turn. Going from hospital to police custody we see less of Salander's talents and are faced with more of a race against time which follows a more familiar 'thriller' narrative structure. Again the film suffers slightly from the sheer number of characters but I did find myself slowing move towards the edge of my seat as the film, and the series, neared conclusion. The consecutive releases of the films within the period of a year worked well and resulted in the characters becoming so familiar that it would have been hard not to care about the outcome and well-being of each.

The influence for the series has been reported as Larsson's real-life witness to the gang-rape of a young girl named Lisbeth and his abhorrence of sexual violence from that point forth. This is also reflected in the original title given to The Girl with the Dragon Tattoo of Män Som Hatar Kvinnor which translated as Men who Hate Women. I have to admit to seeing the films before reading any of the books but was impressed enough with the first film in the series to read the material from which it was adapted. I found the book to be a little slow paced which, although worked well throughout the cinematic series, struggled to hold my attention. I understand how I am in the minority with this opinion but preferred the character portrayals offered by the films.

The Hollywood remake of The Girl with the Dragon Tattoo is due for release December 21st 2011 and will star Daniel Craig and Rooney Mara in the lead roles. I suggest you see the Swedish trilogy first.

Official Site - http://dragontattoofilm.com/

(m)Exploitation

I remember watching the Grindhouse (2007) double bill when it was first released in the cinema and the sense of cinematic superiority I could display upon hearing a patron in the row behind state his excitement at seeing the upcoming feature 'Machete' for which the trailer had just been screened. Little did I know it would be he who was to enjoy laughing last.

I have been excited about the release of Robert Rodriguez's Machete since it was announced that the trailer was to be made into a full length production. My love for exploitation cinema has been well documented throughout my blog and this year has already seen a classic in Black Dynamite receive its overdue UK release. Although I feared disappointment, caused by heightened levels of excitement, I soon found there was no reason to worry. The original trailer for Machete, contained within Grindhouse, promised a full-on exploitation fix whereas, upon first viewing, the official trailer for the actual release was much less encouraging. It just didn't have the same impact and it appeared as the grindhouse look of Rodriguez's Planet Terror (2007) had been ditched in favour of that of the generic action-movie. I was wrong.

The plot sees Danny Trejo in his first leading role playing Mexican immigrant Machete. An ex federale who sets out to right the wrongs resulting from the killing of his wife. Some time later we join Machete as he seeks work as a day labourer in Texas before being offered $150,000 to kill a corrupt Senator. Accepting the cash involves Machete in a plot to win support for the Senator and he is quickly double crossed and hunted for the assassination attempt. Machete is unstoppable in his efforts to seek revenge and assist in the protection of Mexican immigrants to Texas.

The cast is extremely impressive and is notable for memorable performances from Robert De Niro, Steven Seagal and Cheech Marin. I really can't recommend the film enough especially if you, like me, are trying to avoid Potter-mania at all costs. The scenes that I looked forward to from the original trailer were included in the movie and the fact it was quite clear that these were filmed years previous, and sometimes even with different actors, added to the grindhouse feel of the film. I would have liked it to be heavier in terms of stylisation but the action, script and acting is more than enough to satisfy. It has been reported that the sequel, promised during the credits, has already been written and with a 'more violent' directors cut due for DVD release Machete isn't going away anytime soon.

Official Site - http://www.vivamachete.com

Shock Help Us

Although I had read so much about A Serbian Film (2010), and don't remember the last time that a film of this type so split opinion, I was conscious of the need to approach it with an open mind as I wanted to make my own decisions without the influence of others. I had heard opinions ranging from 'avoid at all costs' to 'challenging and provocative' which was more than enough to convince me to track it down before its official release.

The plot follows a semi-retired porn actor who agrees to take a role in an art house film in an effort to alleviate his families financial woes. The films director refuses to disclose the nature of the plot much to the bemusement of protagonist Miloš. After a confusing walk through an orphanage, Miloš is led into the first of many explicit circumstances which go on to have elements of rape, necrophilia and child abuse. I don't intend on going any deeper into the plot or the specifics of the memorable scenes. To do so would be to steal from you some feeling of shock or repulsion that this entitles you to. My recommendation would be to see the film with as little knowledge of the content as possible.

The two main influences I see in the film (or at least the two films I am reminded of upon viewing) are Eli Roth's Hostel (2005) and Pier Paolo Pasolini's Salo, or the 120 Days of Sodom (1975). Hostel is obvious and in some ways  a shortcut to thinking. I am sure this is the film that A Serbian Film will be compared to most which, as unfortunate as you may consider it, is a prominent member of the same genre as this film must be filed. Salo however is a different proposition altogether; a deeply affecting and challenging film, the likes of which I have not seen equaled. Talking in terms of nihilism, exploitation and controversy, that is the benchmark which probably should never be met or surpassed. Exploring themes of  political corruption, abuse of power, sadism, perversion, and sexuality, A Serbian Film does not attain the same level of impact or effectiveness.

I must admit to the feeling that certain scenes were formulated purely for the impact they were sure to cause and the attention that there inclusion would bring to the feature. I don't necessarily consider this to be a negative thing but there are two scenes in particular which stand out to me in this manner. The film is not without social and artistic merit, which are both of particular note when considering the country of origin, but this is somewhat diluted by the extremities the filmmakers take the audience as we join them beyond repulsion and forward to bemusement.

A Serbian Film is going to struggle to function beyond its notoriety which will define the films release. It would be an understatement if I was to tell you that the film is going to be cut upon UK release; butchered would be a better term (a reported 49 cuts made by the BBFC). With this notoriety those who decide to see the film must do so in the knowledge that they may not like what they see and with this knowledge are entitled to view the film in its original form. The days of films being cut, and cut by almost five minutes, are decades past and I don't know if it is a misunderstanding or a refusal to understand that has led to this. Whether you view this film as a social commentary or the next level of torture porn you will remember it and based upon that fact alone I recommend you see it (uncut).

UK Release Date 3rd January 2010.

Men Are From Venus...

The two main DVD releases next week are at opposing ends of the gender spectrum; one film aimed directly at females and the other at their male counterparts. I have to admit to not being a big fan of either television series and this may have influenced the way I approached each of the two films however it is important to note that both were successful at the box office and will fill many a stocking come December 25th.

Man up and get in there! 

The A-Team (or Das A-Team - Der Film as it is known in Germany) was released on 30th July this year and stars Bradley Cooper, Liam Neeson and UFC light-heavyweight Quentin 'Rampage' Jackson as B.A Barracus. The A-Team does not deviate from the tried and tested formula of the series which is no bad thing as this lends itself well to the action blockbuster. Starting with a mission in Iraq, the four horsemen are quickly double crossed and find themselves on the wrong side of the law before creatively freeing each other from the confines of federal housing and embarking on the rectification of the wrongs they have suffered. The A-Team offers little in the way of surprise but is an enjoyable watch and delivers on the big budget entertainment we all expected from the release.

Overkill is underrated

The stand out scene for me involved the steering of a tank using heavy artillery which about summarises what you can expect from the movie. Good performances from the main cast members, and enough of a narrative structure to keep your attention and build suspense.

I have never been a big fan of the Sex and the City series and was further put off the sequel to the first cinematic outing after being reliably informed, by an ardent fan, that it is "dire... it really is". The plot will be immediately familiar to followers as the recognisable protagonists continue their efforts to find love and settle down with the odd mishap added for comedic effect. The original movie was filled with references to the fashion industry to the point where it seemed like a prolonged series of product placements.

You have to take the tradition, and decorate it your way

The thing that has always stood out to me about the narrative of the series was that, for all the proposed Independence and 'girl-power', the protagonists continually strive for male assurance and companionship and it is only when this is realised that the characters can be fulfilled and the series end happily. It does however draw huge audiences and continues to bring in endless amounts of profit for the producers and stars. I am sure that, even after the poor critical reception of this sequel, this will not be the last of these characters on the big screen. Audiences were drawn to the boundary pushing of the narrative content and the frank portrayal of sex has led to a change in mainstream attitudes so the series is not without merit. I hope however that the controversy is not generated in depictions to come through the desperate escapades of the aging cast.

Both movies are out on 29th November but if neither releases tickle your fancy I would recommend a trip to the cinema for Machete or The Girl who Kicked the Hornets Nest.

Official Site
http://www.sexandthecitymovie.com
http://www.ateam-movie.com

The Green Lantern

I tweeted a few weeks back about next year being a big one for the superhero. This overload may not be such a bad thing as quality will be at a premium due to the sheer volume of appearances from Captain America, Green Hornet etc. 

The Green Lantern trailer has just been posted online and, although I have to admit to being more excited about the release of Captain America, it looks an intersting prospect. Starring Ryan Reynolds, Blake Lively and Peter Sarsgaard; The Green Lantern is the story of a pilot with a 'power' ring that bestows the user with otherworldly powers along with membership into an intergalactic squadron with the goal of securing peace for the universe.  Directed by Martin Campbell and with a huge budget of $150 million the hype is sure to build over the coming months.

In a universe as vast as it is mysterious, a small but powerful force has existed for centuries. Protectors of peace and justice, they are called the Green Lantern Corps. A brotherhood of warriors sworn to keep intergalactic order, each Green Lantern wears a ring that grants him superpowers. But when a new enemy called Parallax threatens to destroy the balance of power in the Universe, their fate and the fate of Earth lie in the hands of their newest recruit, the first human ever selected: Hal Jordan.

Release date 17th June 2011.

Toughest Crew of the Century

The hype generated for the release of The Expendables (2010) by action fans the world over was enough to outweigh the combined testosterone of the cast. We had all been reading about the potential for this since it embryonic stages and the excitement continued to grow with the confirmation of each action heroes agreement to participate. The one problem with all this is how any film was going to live up to the promise that was being offered.

We are the shadow, the smoke in your eyes, the ghosts that hide in the night

The premise for the film is simple. Guns for hire undertake questionable work for questionable people. A ragtag bunch of has-beens and never-will-be’s thrown together as they chase financial gain and we hear the explosions ring out. It wouldn’t be a Stallone film without a conscience and it is Stallone’s character, Barney Ross, that provides the film with this. A mercenary with a big heart who is able to draw his team into the heart of battle when the primary gain is not monetary or physical; only Stallone could manage that. He has pulled our heartstrings before with Rocky (1976), with Rambo (1982) and with Over The Top (1987) and hasn‘t lost any of that ability as a writer, director or actor.

Stars from the eighties through to present day, a group of mercenaries and more action that one film should ever contain was the promise. The actuality delivered on certain levels but felt like an opportunity missed. The story, however much importance you place upon it, was posted MIA in my opinion and this led to a struggle for take-off. It is clear that Stallone has put everything into his performance, his reported injuries are testament to that, and Jason Stathman and Dolph Lundgren give you exactly what you expect. The appearances of Bruce Willis, Arnie and Mickey Rourke provided highlights but were all too brief in duration. The Expendables, for the most part, does exactly what it says on the tin. If you approach it expecting an engaging psychological affair then you will be disappointed., if however you take it on face value and consider it as pure entertainment then entertained you shall be.

Only thing you need to know is the job's real, and the money's real

With an estimated $80million budget the film grossed over $100 million in the US alone so in purely financial terms has the right to be considered a success. Due for DVD/Blu-ray release on December 13th, I recommend picking up a copy if you have not already seen it. Check your expectations and an enjoyable experience awaits.. Talk of the sequel and its cast began before the original hit the big screen and if Stallone learns the lessons from the first then the follow-up has the potential to be the greatest action movie of all. I believe.

You got a problem with that?

Official Site - http://www.theexpendablesmovie.net

Back from the Dead

I was inspired to blog about some of my favourite zombie films following the beginning of The Walking Dead series which started showing in the UK on FX last week. This seems to have prompted a resurgence in the genre and has proved popular enough to be commissioned for a second series. This should not be considered a ‘top four’ but represents the evolution of the genre from beginnings in the golden era for horror through to the social relevance of the sixties, the video nasties of the eighties and to the present day.  

The roots of the zombie in cinema can be traced back to 1932’s White Zombie which stars Bela Lugosi as voodoo practitioner Murder Legendre. Acknowledged as the first full-length zombie feature, White Zombie sees Lugosi’s character assist the wealthy Charles Beaumont in his advances towards the young Madeleine Parker. Legendre oversees a sugar cane mill complete with full zombie workforce and decides that Beaumont’s feelings would be best realised by the transformation of his desired. As you would expect Beaumont soon regrets his decision but finds trouble in convincing Legendre to reverse it. Lugosi’s portrayal is the highlight of this film which is plagued by poor acting from many of his co-stars. Following on the heels of Frankenstein (1931) , White Zombie is clearly an attempt to cash in on the success of Universal’s horror boom and was filmed primarily on Universal’s lot; borrowing props from previous films. 

I would argue that the genre can be defined by, and subsequently measured against, George A. Romero’s 1968 classic, Night of The Living Dead. Filmed in black and white with a minuscule budget, Night of The Living Dead has gone on to become one of the most influential films of the sixties. This is in no small part due to the social commentary contained within the story of seven people and their attempts to survive the night. Night of The Living Dead comments on racism and the involvement of the US in Vietnam are easy to interpret from the content. Night of The Living Dead has a stark realism, rarely achieved from the horror genre of its time which results in the content and commentary containing an added relevance. Romero’s film was the catalyst for change within the horror genre and for me it’s influence can be traced through Wes Craven’s Last House on the Left (1972) right through the slasher genre to the present day.

1981 saw the release of Sam Raimi’s Evil Dead starring Bruce Campbell as Ash Williams. Considered controversial for the graphic nature of its content, the film follows college students and their vacation to an isolated cabin where they unwittingly summon the (un)dead. The characters are possessed one by one and become ‘deadites’ before attacking their former friends. One of the most controversy courting scenes sees Ash’s sister Cheryl being raped by a demon possessed tree, which along with the film’s excessive gore and violence, led to it being banned on release in several countries. The Evil Dead continues the low budget trend in the genre, made for $375,000 and resulting in a moderately successful box office take and two sequels. The Evil Dead’s success should be measured more in its elevation to cult status in the years since its production.

A more recent outing for the undead masses was 2009’s Zombieland starring Woody Harrelson and Jessie Eisenberg. Currently standing as the highest grossing zombie movie in the US, Zombieland sees the attempt at survival of four characters from varying backgrounds pitted against the elements of zombie apocalypse and the search for Twinkies. Similar to the horror rules outlined in Wes Craven’s Scream (1996), Eisenberg’s character Columbus has devised a set of survival rules which he adheres to throughout the film. The 30 rules include “Beware of Bathrooms” and “Check the Back Seat”. One of the most memorable scenes is the cameo from Bill Murray who plays himself  as the characters seek refuge in his Hollywood mansion. Zombieland proves that the zombie, and the genre, really is comparable to its depiction of the undead in its timeless appeal.

The Trick is to Stay Alive

Released in the Autumn of 1978, John Carpenter's Halloween was the most profitable independent movie of its time. Filmed on a relatively modest budget of $325,000 in the Spring of that year, Halloween was unlike anything that had come before it. 

The budget constraints led to an increased level of creativity from those involved. This included the creation of season by painting bags full of leaves and actors wearing their own clothes to save production costs. More inherent to the mise en scene of the film is the lack of extras which results in a sense of loneliness. You notice that even in the daytime, save for a few instances, the streets appear deserted. The feeling I get from this is that the townspeople know something that the films main characters are yet to discover. This assists with the tension build that is so important to the success of Halloween.

The introduction is filmed to appear as a single four minute shot, in first person view, that depicts the killing of a teenage girl. It is at the end of this four minute scene that we see that the eyes we have followed are those of a young child. There are cuts in the scene, such as when the mask is put on the camera, but the shot was still particularly difficult to achieve. Filmed on the last day of shooting, the rest of the cast and crew redressed the dilapidated Myers house to appear as it may have looked fifteen years previous. The crew utilised the Panaglide camera set-up (effectively a steadicam) to allow fluid movement and the first person view. This is used to great effect in achieving a sense of voyeurism which allows the viewer to place themselves in any given frame or scene.

From this moment forth we feel an increase in tension which Carpenter refuses to satisfy prematurely. We know that Myers will kill but these killings do not arrive quickly. One of the main vehicles exploited to achieve this sense of foreboding is the films score. Created by Carpenter for the purpose of speed and budget the soundtrack has become iconic and instantly recognisable in the years following the films release.

It can be difficult, within the constraints of the horror genre, to establish characters that the viewer finds are easy to relate to. Often, those on the proverbial receiving end, are shrill,  brainless and devoid of redeemable features. This is another facet through which Halloween is able to establish itself apart from its peers.

The first characterisation that I wish to explore is that of protagonist Laurie Strode who is played by Jamie Lee Curtis in her first 'major' role. Unlike her female counterparts from the genre's history Laurie is clever; her own words "Guys thinks I'm too smart" illustrates how aware she is of this fact. Laurie is not on screen to be exploited, her chastity is intact and it is this that protects her from the evil which befalls her peers. 

The second important point of note for me is the children. Originally titled The Babysitter Murders, Laurie and her friend are babysitting on the night of the murders. Laurie however ends up with the two children as her friends seek seedier undertakings. It is through her exchanges with young Tommy Doyle that we are able to understand the children's interpretation of happenings. It is Tommy who terms Michael the 'boogeyman' and it is also Tommy who correctly advises Laurie that you can't kill the boogeyman. Tommy unknowingly shares the opinions of Dr. Loomis and again, as in the beginning, it is through children's eyes that we are given the clearest view.

A villain as effective as Michael Myers is difficult to create. It is the characters inherent nothingness that primarily contributes  to this. Nothing in the way of emotion, nothing in the way of motive and nothing can stop him. It is the addressing of these points that led to the downturn in success of the latter films in the series. As these points were addressed and the motive and humanisation of the character continued the boogeyman lurking quietly in the darkness was replaced by a relatable man. You can't kill the boogeyman but you can kill what makes him effective.

The main influence that I see apparent is Hitchcock's seminal Psycho which predates Halloween by eighteen years. The direct links are obvious in the casting of Jamie Lee Curtis and the name given to Michael's psychiatrist so expertly played by Donald Pleasence. Psycho can be considered the film which directed the horror genre away from the 'gothic' tones of its predecessors and replaced the monster with the monster inside man. It is this premise that provides us which such an effective villain in Halloween. Michael Myers is the embodiment of the thin line between human and 'boogeyman'; from appearance to strength to indestructibility.

Following production Halloween received regional release and a generally poor reception from critics and audiences alike. The films popularity grew slowly through word of mouth to become one of the most influential films of its time and genre. With a 21 day shooting schedule and a cast derived primarily from B-movie experience Halloween is an example of  what can be achieved by a relatively inexperienced cast and crew when the premise and planning behind a production is of such a high standard.  Halloween reinvigorated a tired genre and if influence can be measured by imitators then this must be considered one of the most influential films of all time. 

Sir, Have These Children Never Heard of Jesus?

I consider The Wicker Man to be the best horror film of all time. For a film completely devoid of archetypal madmen, killings, screaming and the grotesque this is quite an achievement. The original theatrical version joins us with Sergeant Howie as he travels to the secluded Summerisle. The journey is a protracted one which emphasises the distance we are travelling from the mainland and its safe haven. Our lone policeman arrives on the island and immediately we feel that the locals, although not hostile, are at least suspicious of this outsiders presence.

From this point we follow Howie, played exceptionally by Edward Woodward, as he investigates the mysterious disappearance of a young local girl Rowan Morrison. Early in the film I found it difficult to state my allegiance with either the locals or the protagonist as Howie’s  religious fervour can make you feel that his prudish behaviour and beliefs are to blame for his over-zealous interpretation of the regional customs. It does however become clear that forces are conspiring against the policeman who remains at least one step behind those he accuses throughout the body of the film.

Christopher Lee is given a sense of freedom by the character of Lord Summerisle. Set free from the constraints of the Hammer films which made him famous. As discussed during my previous blog, the character of Dracula has a tendency to capture the careers of those who become famous for their depiction. Lee has acknowledged The Wicker Man  as being one of his favourite career moments and it is clear he revels in the character. Summerisle seems no more than slightly eccentric a gentleman who looks to uphold the cultures and practices of old which are still practiced on his land that time (almost) forgot. That is until the celebratory processions which sees the town indulge in the rituals of a bygone era. It is no longer a lingering doubt of madness we feel apparent.  

Come. It is time to keep your appointment with the Wicker Man.

The ending is as horrifying as any ever put to film. The moral high ground has been absolute in its failure to protect Sergeant Howie as he is imprisoned and sacrificed as an offering to the Sun God in the hope of a successful crop the coming summer. The film concludes with a zoom into the setting sun as The Wicker Man and its contents burn.

The influence of The Wicker Man is hard to trace specifically. Problems with distribution hindered the original release and reception was lukewarm at best. Paul Giovanni’s soundtrack has been influential in the folk music genre but the film is so specific in time and depiction that it is difficult to reference for those in direct appreciation.

I have never seen the remake of this classic British horror. For me, the ‘British’ element is absolutely key to the success of The Wicker Man, as is the period. Director Robin Hardy is due to release what he has termed a “spiritual sequel” titled The Wicker Tree which is due for release in 2011.

In his notes for film, Ryan Gilbey states that “You never feel quite the same again after seeing The Wicker Man”. I concur.  

Gentlemen, We are Dealing with the Undead

Visiting my deeply religious grandmother around the age of 8 I was searching through the treasures of her spare room where I came across an extremely old, but well kept, copy of Bram Stoker’s Dracula. I read it from cover to cover in under a week and somewhat attribute this to the horror obsession that developed over the coming years. The book was not what I expected, I did not expect the diary entries or the subtlety of Count Dracula who I had always pictured as a more grotesque character than the original portrayed in Stoker’s timeless novel.  Bela Lugosi captures this perfectly in Tod Browning’s 1931 Universal classic Dracula.

I am Dracula. I bid you welcome

By no means the first film on the subject, Dracula is however the most recalling of the tone and feeling of the book. The story is so familiar to us, depicting the journey through eastern Europe and the Carpathian mountains to Castle Dracula to finalise the property deal that will see the Count relocate to our fine isles. Ignoring the advice of the locals, Renfield continues on his journey with the tales of vampires and a crucifix for protection, neither of which serve any purpose as Renfield is soon hypnotised by the mysterious nobleman. Renfield, now enslaved by the Count, assists in the transfer of Dracula, in coffin, across the ocean as the ships crew become food for the vampire. From this point forth the young ladies of London have no safe haven as they fall for the mysterious, and undead charms of Lugosi’s most refined characterisation. Recognised as a vampire due to a lack of mirror reflection the Count continues to visit the young Mina and Lucy as we follow the plight of Van Helsing and his merry men plotting the downfall of the Transylvanian immigrant.

The strength of the vampire is that people will not believe in him

Lugosi’s depiction could be considered part destiny, part accident. Nowhere near the first choice to play the part Lugosi had experience depicting the Count of the stage. Lugosi’s accent lent itself perfectly to the role and his look is that which has become synonymous with the character in the years since this films release. Unfortunately the success of the role led to Lugosi becoming horribly typecast in years to come which effectively left him unemployed, drug addicted and eventually dead (and buried in full Dracula clobber).

This film has an extremely important place in the history of the horror genre as its success was that which allowed Frankenstein (1932) and all the Universal horrors that followed to be produced. Without this we would not have been graced by the Hammer films or many of the horror genre staples. There have been many reissues of the film but for me the best version is the 1931 original. The original relies upon silence to build atmosphere which serves the film better than any soundtrack has been able to. Released on Valentines day in 1931, Dracula captures a romanticism of the of the unknown and the seduction of the young impressionable female by the worldly and exotic gentlemen. A fear of the unknown coupled with an erotic interest in the mysterious makes for, in my opinion, a more effective horror than it's production mate Frankenstein. Lugosi's Dracula versus Karloff's Frankenstein..? Lugosi for me every time.

 

Listen to them, the children of the night, what music they make. 
 

Things Go Bump in the Night

I have talked briefly before about the ‘found footage’ genre synonymous with the Blair Witch Project (1999) in a previous blog and today’s film(s) are now the flag bearers for this form of horror. For me this genre started with The Last Broadcast (1998) and Alien Abduction: The McPherson Tapes (1998) which were the first films of this type I remember seeing. The roots of the genre could however be traced further back to the 1980 video nasty Cannibal Holocaust, which was banned for some time due to its extreme content.

I initially remember reading about Paranormal Activity around 2007 when it was first being screened around the USA. The promotion followed the path laid by the Blair Witch Project  in its use of the internet and rumour. The most memorable advertising used for the film was the audience reaction films shot during early screenings. This built the hype of Paranormal Activity to the point that I recall a young female in the row behind me proclaiming her nausea at the thought of the film before the pre-movie adverts had even concluded.

The plot is a simple haunting as we have seen countless times over the years. It is the self shot nature of the film that differentiates it from its peers. The film is extremely effective in building an atmosphere however, can become slightly repetitive in it’s narrative cycle. I remember the relief felt in the cinema on daylight and the audible dread that ensued with nightfall. That said, some of the scares and jumps, although you knew they were coming, were excellent and generally in-keeping with the nature and budget of the rest of the film. This was important for me as over the top special effects could have spoiled the low budget effectiveness of the film. I found myself being sucked in by the narrative, made clear to me by my growing hate of protagonist Micah and his constant, and ill-informed, taunting of the ghost/demon.

One thing I felt let down by was the ending which for me changed the tone of the film. The ending I saw originally was the general release version depicting (spoiler alert) Micah’s body being launched at the camera prior to Katie’s demon-esque face lunging for the camera. Watching the two alternate endings immediately following I was happy that the police ending was not used as this didn’t seem to fit the film but was disappointed that in my opinion the most affecting ending, showing Katie slit her own throat after an off-screen altercation with Micah, was overruled. It is clear that the reason this ending was omitted was to make the sequel (and it’s ending) a possibility which is disappointing as, after seeing the sequel, I feel this ending could still have been used and still consider it to be the most appropriate conclusion.

Testament to the success of Paranormal Activity it is said to have made $198 million worldwide which, based on production costs, makes it one of the most profitable movies ever produced. When this amount of  money has been generated a sequel is almost always inevitable.

You cannot run from this- it will follow you. It may lay dormant for years. Something may trigger it to become more active and it may over time reach out to communicate with you.

Paranormal Activity 2 has been top of the UK box office since it’s recent release and has received many positive reviews. I tweeted immediately after seeing the movie to say that, although their were a few scares to be had, I felt that the sequel struggled to build the same atmosphere as the original. This was always going to be difficult as Paranormal Activity, although not necessarily a new idea, seemed fresh on first viewing. The larger budget for the sequel shows in the quality, number, of cameras and the increase in special effects and shocks. Paranormal Activity 2 relies more upon these shocks and effects more than the atmosphere built in the original. More events occur in the daytime which means that the audience cannot feel safe in the light which is particularly efficacious. The main problem with the sequel is in the regurgitated occurrences from its predecessor. This gives a slightly derivative feature to the film which is unfortunate as with the bigger house, bigger family and bigger budget I feel that more, and more originality, was a possible achievement. That being said I still recommend seeing both films, particularly at this time of year. Try and see it in the cinema where it is most effective, if that is not possible it has to be at midnight with the lights out.

For better or worse discussions are ongoing regarding the potential of a third movie.

Official Site - http://www.paranormalmovie.com/

Witchfinder General

I am covering specific films for the month of October but following this I intend to delve deeper into genre, studio, movement and actor. For the moment the focus remains on horror so if you are not interested in all things scary then come back in November!

 Still Here? Good decision…

Filmsite.org offers the following definition

Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience

Michael Reeves’ 1968 film Witchfinder General, starring horror icon Vincent Price, fit’s the above description to the letter. Witchfinder General does not rely upon gruesome images but instead a nihilistic atmosphere more horrific than any camp jaunt through another serial killer spree. 

 To offer a historical perspective within the constraints of this short blog would be to do the subject an extreme disservice. It is however difficult to underestimate the influence of Witchcraft, or at least those supposed of the dark acts, on this period of history. Anyone who has read the Malleus Maleficarum will testify to that.  Character General Oliver Cromwell offers the following

The year is 1645, England is in the grip of bloody Civil War. On the one side stand the Royalist party of King Charles, on the other, Cromwell's Parliamentary party: the Roundheads. The Structure of law and order has collapsed. Local Magistrates indulge their individual whims, justice and injustice are dispensed in more or less equal quantities, without opposition. An atmosphere in which the unscrupulous revel, and the likes of Matthew Hopkins take full advantage of the situation. In a time where the superstitions of country folk are still a powerful factor, Hopkins preys upon them, torturing and killing in a supposed drive to eliminate witchcraft from the country, and doing so with the full blessing of what law there is

Vincent Price plays the part of Matthew Hopkins of whom very little is actually known. A figure who appeared and disappeared from history with equal question. Price depicts the character straight, no hint of the camp apparent throughout some of his better known performances. It is Price’s portrayal that helps make the film so effective. Witchfinder General utilises its English setting perfectly and offers a form of torture porn so far removed from that offered by the more modern like of the Saw and Hostel series’.


Made for a very small budget, of under £100,000, Witchfinder General was largely censored on its release due to the sadistic nature of the content. Hopkins is effectively a con-man. He swindles money from the local magistrates for ridding their towns of the witches they didn’t know were threatening their citizens. It’s the root of all great professions, convince someone they need a service before offering your services to assist.

The ending of Witchfinder General is mentally difficult to comprehend in that we get exactly what we wanted, and what we expected, however we are not pleased by it. You should feel satisfied but instead it is that heightened nihilism that reigns.

My favourite review of Witchfinder General was offered by Alan Bennett in a column for The Listener who proclaimed this film to be

The most persistently sadistic and morally rotten film I have seen. It was a degrading experience…

Although probably not one for a Halloween all nighter I found Witchfinder General to be a deeply affecting movie, one which remains with you for some time after viewing. It is difficult to say exactly what stays with you but it feels somewhat like dirt that can’t be washed from your skin. The more recently released extended cut features an increased level of torture and, if you are going for the full experience, this is the one I recommend.

Men sometimes have strange motives for the things they do.

Circle of Fear

In the lead up to October 31st I am going into horror overdrive climaxing with a 3 day, 3 blog extravaganza to end the month and herald All Hallows Eve.

Horror has always been the genre that inspired the most passion in me. From an early age I was enticed by the characters, the sets, the narratives and also the feeling of watching a film marked for 18 and over. I couldn’t get enough of it, slasher, possession, psychological, it didn’t, and doesn’t matter. Things haven’t changed much in that regard. I find myself drawn to the classics of the genre and allow continual disappointment by offering the opportunity of my affection to new releases which rarely satisfy. Apart from the above it is difficult to state what it is exactly that keeps me coming back. When I think about the reasons that people often avoid the genre I find it is this that best explains the key elements for me.

I want to start this series of blogs with the now well known 1998 Japanese horror Ring. I was introduced to this film when it was screened shortly after its release on Channel 4 as the scariest movie of all time. One of the most effective manners to scare the masses is to take an everyday object or situation and have the horror omit from this. Ring selects the television and videotape which is extremely effective in its universal appeal due to its position as the focal point of millions of households throughout the world.

Ring is simply a ghost story centring on a mysterious videotape. What sets it apart from its peers is the atmosphere built around the inexplicable images and the deaths of the viewers within seven days of witness. The videotape itself is a surrealist collection of images, seemingly unrelated (initially), culminating in an extended long shot of an apparently innocuous water well.

Director Hideo Nakata centres on the efforts of Reiko Asakawa to find a break for the curse of the videotape which she establishes was involved in the deaths of her niece and many others. Uncovering a history of child abuse and with a heightening tension as the clock ticks towards the end of Asakawa’s seven days to live the sense of dread is achieved masterfully through the pace and sound of the film.

Or maybe it isn't our fear, maybe it's what we secretly hope is true.

Looking deeper into the films symbolism could lead you to deduce that the film also contains an element of technological backlash. If a device relied upon for entertainment is subverted to the extent that it becomes an instrument of death then horror is behold, manifest and lasting. The final scene of horrific content has become iconic in the years since the films release and Sadako’s emerging from the well and subsequently the television set is the one that stays with you long after the final credits. 

The influence of Ring has been huge in the horror genre since its release in 1998 and is clear in films such as The Eye (2002), A Tale of Two Sisters (2003) and Ju-On (2002) amongst other. The success and effectiveness of Ring led to a sequel, a prequel and both Korean/American remakes. Nothing matches the effective horror of the original.

Tattooed Teardrops

With a long established affection for the fashion, culture and music of the 1950’s I often approach films reminiscent of the period with a slight trepidation caused primarily by the term ‘retro’ which seems to trivialise, and for a short moment bring into fashion, the iconography of the decade. The 50s heralded the birth of teenage rebellion and rock n’ roll music. For the first time teenagers began to act, dress, dance and sing in a manner not approved by their elders. John Waters, who clearly shares my appreciation of this time in history tackles the subject in his 1990 ‘Square’ bashing Crybaby. 

What a sad vision of today's youth.

Crybaby tells the story of a gang of Drapes and their aversion to the authoritarian, and status-quo adhering, Squares. A pre super stardom Johnny Depp is Wade Walker, the central figure who shares

a nickname with the film title through his ability to shed a solitary tear on command. This ‘skill’ is strangely alluring for the teenage females who are driven to distraction by his longing vulnerability. Depp and his gang of misfits are the archetypal 50’s rebels; leather jackets, quiffs and motorbikes. The music is rock n’ roll pastiche which fits perfectly with the era portrayed. The film has it all, musical performances, comedy and pitch battles between youths (then called a rumble and infinitely more endearing than today’s gang fights).

Crybaby is essentially a love story, set in small town Baltimore, with undertones of Romeo & Juliet in the forbidden love of Walker and his girl Allison. Attempts to keep them apart fail miserably and Crybaby shares an extended embrace with Allison who has taken like a duck to water to the lifestyle of the Drape. Our main character Walker ends up in the clink for defending his turf and his woman where he decides the time is right to make his defining feature permanent with the refrain. This scene leads to my favourite musical piece in the film with the pleading ‘Please Mr. Jailor’.

I've been hurt all my life, but real tears wash away. This one's for Allison and I want it to last forever!

The film ends in the manner that all disagreements were addressed in the 1950’s; through a ‘chicken race’. Walker, issues resolved, ends in the arms of his beloved and we know that the world would be a better place if we all learned to accept others in the same way. Crybaby is often labelled a parody of teen musicals however, over the top acting and scripting aside, this is a film that is quite successful in provoking emotion as the story base is one so familiar. Later adapted into a (not hugely successful) stage musical, Crybaby has aged well and does not feel particularly dated. Depp is excellent as Wade Walker and Iggy Pop’s extended cameo is worth the price of admission alone. If like me you are not quite ready to let go of a sense of teenage rebellion then join me in living vicariously through the teary eyes of king Crybaby. Remember

Juvenile delinquents are everywhere.

Official Site - http://www.crybabydvd.com/

Where is the Horror? - Bubba Ho-Tep

Already a Bubba Ho-Tep (2002) convert I remember my happiness when the film was added to the all night Halloween horror night at the old Odeon cinema in Glasgow a few years back. About 40 minutes into the film a dear young lady decided that she would take film criticism into the realm of the playground and bellow “where is the horror”? It was apparent where the horror was… it was etched across my face! Did she not appreciate that we were witnessing the true story of what became of our heroes?  Anyway…

Directed by Don Coscarelli (of Phantasm fame), Bruce Campbell flawlessly depicts Elvis, or Sebastian Huff - the name of the man who swapped identities to become the King, bound to a nursing home in Texas suffering from various ailments and counting the time until he meets his maker (did God make Elvis or did Elvis make God???).

Ask not what your rest home can do for you. Ask what you can do for your rest home. 

Alongside Campbell is Ossie Davis as Jack, aka JFK, one problem… his skin colour. We remember JFK as the great white hope huh? Well as the victim of a conspiracy he has been the victim of a skin dying. These two characters form the most (un)likely of tag-teams to take on the might of an ancient Egyptian mummy who has been terrorising their fellow patients. Not for the first time in history it falls to the hands of JFK and Elvis to save the world (of the Shady Rest Convalescence Centre in Mud Creek). The price of failure..? The removal of ones soul from a lower orifice. What is worth fighting for more than your soul?

Some of the highlights include the exchanges between Huff and his long suffering carer, the battle between our protagonists and a huge cockroach, and the sense of purpose you share with Jack and Sebastian as they feel reason again, something missing from their lives for some time. Huff asks the question we would all ask Jack Kennedy given the opportunity which leads to the exchange

Elvis: Come on, Marilyn Monroe? How was she in the sack?
JFK: That is classified information! Top Secret! But between you and me... Wow!

As stated before Campbell is excellent as Elvis; he gets the look, the accent and the mannerisms perfect. My favourite depiction of the King. He longs for the fame he willingly gave up but also reminisces for contact with his family. We can accept the ending because we get the feeling early on that both characters would happily give up there current existence for one more shot at the big time. One more opportunity to prove their worth. 

The film is actually a moving depiction of loss, regret and friendship which is given true quality through the depictions offered by the two main performers. Do we believe the two old men’s stories about their identity, think about it, it really does not matter. The film works on both levels. I can’t recommend this enough but I won’t hide the scorn on my face if you return to ask me “where is the horror”?

Don't make me use my stuff on ya, baby!

Go here to play Stab the Scarab and view the trailer 
http://www.bubbahotep.com/