Release date: March 1980
Director: Peter Medak
Staring: George C. Scott, Trish Van Devere, Melvyn Douglas
Synopsis: “A man staying at a secluded historical mansion finds himself being haunted by the presence of a spectre.”
Review: “The Changeling: Why Do You Remain?” by William D. Prystauk (aka Billy Crash)
Tales of haunted houses trace their eerie legacy back to Horace Walpole’s The Castle of Otranto in 1764 to Edgar Allan Poe’s The Fall of the House of Usher from 1845, and beyond. As horror goes, nothing seems to be creepier than having one’s own home become a threat. The sanctuary turns against its owner and the protective womb of wood and stone may become a tomb. Continue Reading
Legion: The Exorcist III
Release Date: August 17 1990
Starring: George C. Scott, Brad Dourif, Ed Flanders, Jason Miller, Nicol Williamson.
Written and Directed by: William Peter Blatty, based on his novel Legion.
Review by: D. S. Ullery
I have a list I’ve compiled over the years consisting of movies I feel were grotesquely underappreciated in their initial release. Not too long ago, readers read an earlier piece I wrote about one such title – the late Tobe Hooper’s fantastic science fiction horror opus Lifeforce (you can read that article here).
The film I’m discussing today isn’t merely on that list, it holds the top spot. The Exorcist III (originally titled Legion: The Exorcist III after the novel it’s based on, but shortened to just The Exorcist III on screen and in later promotional materials) is the definitive example of a sequel hampered by both the poor reputation of an immediate predecessor (which this film thankfully ignores entirely) and a cinematic climate that didn’t really have much room for this sort of film at the time. In a bit, I’ll break down some of the specific reasons why I regard this film not only as an equal to the original but a masterpiece in its own right. Continue Reading
The ideal of motherhood is often posited as the pedestal upon which society is built. Mothers are supposed to be the ones who protect us, civilize us. Women are expected to flow gracefully into the role of motherhood with full acceptance and wisdom. Fear or resentment are taboos women are expected to repress. The theme of the perversion of motherhood is a popular one in horror, and is a central theme of writer and director Ari Aster’s HEREDITARY.
Even stripped of all supernatural elements, HEREDITARY is a devastating film about a family destroyed by secrets and mental illness. The death of Annie’s (Toni Collette) mother, after a long illness, serves as a catalyst for the family’s final breakdown. They are also attacked by some bizarre force they are powerless against. Annie, her husband Steve (Gabriel Byrne,) son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro,) all seem disoriented and disheveled, pulled along like the puppets Charlie is constantly making. Annie’s mother was very manipulative, especially of Charlie, who tells Annie, “She wanted me to be a boy.” She also asks who’s going to take care of her after Annie dies. Continue Reading
Directed By: John Carpenter (Halloween, Escape from New York)
Starring: Donald Pleasence (Halloween Franchise, Phenomena), Victor Wong (Tremors, Big Trouble in Little China), Dennis Dun (Big Trouble in Little China, The Last Emperor), Lisa Blount (Chrystal, An Officer and a Gentleman), and Jameson Parker (The Bell Jar, Jackals)
Written By: John Carpenter (They Live, The Fog)
Release Year: 1987
Review By: Andy Taylor
As the son of a preacher-man, it should surprise no one that I’ve always had a strong interest in religion. Christianity, Islam, Hinduism, Buddhism, and so many others have long fascinated me, ever since I found reading the Bible, the only reading material available during church, to be more interesting than listening to the sermons. I might not prescribe to any particular one, though what my beliefs are remain immaterial to this review, but I’ve read most of the different religion’s main holy books to sate my curiosity, finding each one to be a fascinating look at how early humans tried to explain the world around them. Another big interest of mine is science. I might not understand a lot of it, but I love how science continues to delve the depths of our universe for answers we’ve been asking as a species for thousands of years. In some cases, both science and religion can be blended together, though many times the two are diametrically opposed, and this can make blending them effectively a difficult task. Thankfully, John Carpenter seems to have those same interests, and being the talented writer that he is, did a good job mixing the two into a strange, but fascinating tale, even if it does suffer from a couple of issues. Before we get to that, let’s look at the weird tale of Liquid Satan. Continue Reading
I decided to take a trip down amnesia lane and revisit an old classic with the Evil Dead, the movie that would launch both a franchise as well as (arguably) the career of Bruce Campbell.
I’ve always loved the punk rock, cult atmosphere around these films, for as much more attention as they have gotten in recent years with first the remake and then Ash vs Evil Dead. These films exuded what I have argued is crucial to the heart of great horror movies.
Practical special effects.
The thing that I consistently love the most about this movie is how it feels like it’s occupying an actual physical space. And despite the fact that the budget was so low, they did a phenomenal job making that practical space seem terrifying. Despite having very little backstory, preamble, prologue or exposition, I immediately felt the unease and discomfort around this cabin. Everything has an aged, worn- down look to it, as if the thing is rejecting life itself.
The people who were responsible for dressing the set were geniuses. Everything from the groaning and creaking of the wood, to the look and feel of the faded book which our heroes find, to the sound of rain dripping down through the ceiling and onto the floors. The basement was incredible, with buckets and tools clanking against each other, the sound of it all really brought you into this frightening place, more so than many other movies I’ve ever watched.
I think another area where the film excels is in that it proves that you don’t need make the development of a concept overly complicated. These aren’t difficult machines that we are putting together. It is entirely possible to scare people and engage with the viewer while at the same time laying down some fairly basic brushstrokes. We know nothing about this cabin or how this group of friends came to renting it. We don’t know what’s going on in those words or what the history of that location is. But with a few simple and basic scenes, the film manages to infuse a huge level of dread and foreboding in every set piece that comes onto screen.
All it takes is for our heroes to find a creepy looking book along with some tape recordings from who I assume used to live at the cabin. We have all the basics we need to figure out pretty much exactly what ends up going on for the rest of the film. And while we have an intellectual understanding of what’s happening, the fact that we don’t really have any clue what the hell is going on makes the story that much more captivating and scary.
This is certainly not without its flaws. I’m not going to stand here and try and trumpet some ridiculous song about how this is the pinnacle of modern cinema. The acting isn’t great, pretty much all around. And I realize that Bruce Campbell has achieved a certain level of adoration from his fans. Hell, I’m a fan of his as well, but it’s not like his acting is that dynamic. He plays a character and he’s great at it. His reputation and popularity is well deserved. But I don’t think anyone would mistake this movie for high-level craft. And I don’t think that was what they were going for. This is not meant to be a deep or insightful film. It’s supposed to be fun. It’s supposed to gross you out and scare you.
This is about the ride.
Evil Dead is the epitome of fun horror. The premise and the atmosphere are scary. The monster is implacable and disturbing and there are some beautifully cringe-worthy moments. It’s the kind of film that can stand on its own or can function as a part of a series. It’s not the peak of cinema but it’s the perfect movie to order a pizza and include as a part of a horror flick marathon.
For as low budget as this was, the film still works surprisingly well, even after all these years. It’s a movie of heart and soul and writhing guts that I often find to be a defining product of this time period, the likes of which I have rarely seen again, before or after.
Review by: Carissa Ann Lynch
In order to fully appreciate The Blair Witch Project, you have to rewind the tape twenty years. Go on—I’ll wait.
It’s 1999—I’m fifteen years old, piled in the back of some goober’s pickup, watching the film on a grungy, old drive-in movie screen. I’m pretty sure it was after midnight.
Here’s the thing—back then, there was a lot of secrecy surrounding this film. Whoever did the marketing—or lack of marketing, I should say—really set the tone for viewers like me. The actors were unknown; their names in the credits were the same as their characters’ names. And in the very beginning of the film, the viewer learns that this film is “recovered footage” of three film students who went into the hills of Burkittsville, Maryland to film a documentary about a local legend—the Blair Witch—and never returned. So, right from the start, we know they’re doomed. The people in the film aren’t actors—they’re dead people. And now we’re going to watch this footage of what happened leading up to the moment of their deaths… Continue Reading
Starring: Jack Nicholson, Shelly Duvall, Danny Lloyd, and Scatman Crothers.
Written By: Stanley Kubrick and Diane Johnson
Directed By: Stanley Kubrick
Review By: Joshua Macmillan
Synopsis: Jack Torrance is in recovery, now that he is clean and sober, he is on his last legs. Needing to provide for his family, Jack takes a job as the winter caretaker of The Overlook hotel. For the winter, he will move his family in the hotel and he will maintain the building and grounds. Jack doesn’t know that the hotel has its own plans, that the hotel has more than a few dirty secrets of its own. Jack’s son, Danny, has a secret of his own. Danny has the ability to read minds- a trick he learns is called The Shine. Through the shine, Danny learns that his father is deteriorating mentally and the hotel has its own evil agenda.
The shining, arguably one of the most beloved films from director Stanley Kubrick, is a film that has been discussed and dissected by so many people that the task of writing a review for it is rather daunting. Honestly, I put off writing this review as long as possible because the film has become something more than just an adaptation of a Stephen King novel. I am not the type of movie-goer that goes into a movie looking for hidden messages. I want to be entertained and taken on the ride that the story wants to tell me, taking me out of my world and thrusting me into the world of the characters. When looking at writing about The Shining, I find that you can enjoy the film whether you want to dig in deep and search out those hidden themes or if you just want to watch a movie that will take you into its world. Continue Reading
The Entity is a 1982 supernatural horror film based on the 1978 novel of the same name by Frank De Felitta, which in turn was based on the Doris Bither case. Bither claimed to have been repeatedly raped by a trio of spirits–two holding her down while the third raped her–over a period of many years, the assaults eventually becoming less and less frequent until, apparently, they finally stopped altogether.
The film stars Barbara Hershey as Carla Moran, who is based on Doris Bither. It also starred Ron Silver as psychiatrist Dr. Phil Sneiderman; Alex Rocco played Carla’s boyfriend, Jerry Anderson, David Labiosa plays her son, Billy, Jacqueline Brookesplayed parapsychologist Dr. Elizabeth Cooley, and George Coe played psychiatrist Dr. Weber. Continue Reading
Starring: Ethan Hawke, Juliet Rylance, James Ransone, Fred Dalton Thompson, Michael Hall D’Addario, Clare Foley, and Vincent D’Onofrio.
Written By: Scott Derrickson, and C. Robert Cargill
Directed By: Scott Derrickson
Review By: Joshua Macmillan
Synopsis: A washed up true-crime author moves his family into the home of a mysterious murder. While researching the crime, he finds a mysterious box in the attic full of super 8 home videos depicting multiple grisly homicides, leading the author down a path he is not prepared to take.
2012 was a weird year for the horror genre. We saw Sinister release, as well as Excision, American Mary, The Collection, The Possession, and many others- most of which fell below the mark and found themselves in the realm of obscurity. Sinister was one of the few that didn’t fall to the wayside, instead it was one of the best horror films of the year if you look at the “mainstream” releases. Continue Reading
[PRAAAAWBABLY SOME SPOILERS IN THIS ONE]
I actually just had to go through my now-double-digits past write-ups for Machine Mean to see if I was right on this…but HHLLC will be the first found footage film I’ve actually reviewed. And by found footage, I mean the shot-on-video incarnation, and not earlier films with an in-progress-documentary-film conceit like Cannibal Holocaust, Man Bites Dog, etc..
Coincidentally, I think I was supposed to review The Houses October Built but maybe didn’t for scheduling reasons or something. I say ‘coincidentally’ because that was another found footage film about the “Haunt” industry—commercial haunted house attractions run by professionals during the fall season, especially around Halloween. HHLLC goes a very different way with its scares, mostly due to revealing itself as a different subgenre of horror to THOB, which was something more like The Blair Witch Project meets The Strangers. Continue Reading