Creature Features in Review: Jaws (1975)
What is your greatest fear? Everyone is afraid of something, everyone. Some people are skittish about insects, usually particular ones like roaches or spiders. I for one get bugged out, forgive the pun, over roaches. I don’t know why there’s just something about those six-legged bugs that freak me the hell out. Maybe it’s because they are so intrusive. Maybe it’s something on an instinctual level, something to do with the fact that roaches have been on the earth far longer than humans have. They’ve survived greater tests, while we humans, on the other hand, have fundamentally just begun our evolutionary journey. To be perfectly honest, roaches are not my greatest fear. I’m not really afraid of roaches. I get freaked out by them, sure. But to say they conjure from me that primitive nonsensical non-rational feeling of terror, they do not. Do you know what does? The ocean. More particular, sharks. Have been since I was young. And I blame two things for my unconditional dread of the deep blue, the Discovery Channel’s Shark Week program…and Jaws. Why? Why not! Have you seen a shark? They are the apex predators in the water. And me, personally, I’m rather fond of land. Irrational or not, sharks are bloody huge with jagged rows of sharp teeth, the quintessential image of horror. And I’ll leave it to our guest author to tell you why Jaws is probably one of the most terrifying of all Creature Features.
Jaws (1975)
By: Chad A. Clark
In the history of cinematic scoring, there has been a ton of legendary work. The landscape is about as rich and varied as the movies themselves. However, one theme stands out above all the rest as one of the most evocative, one that, whenever you hear it, you’re going to have a reaction. And the composer, John Williams, managed to accomplish it with two notes. Daaaaa-dum.
Daaaaa-dum.
Seriously, chances are you already know what I’m referring to, just by reading it. It’s a movie theme that will stay with us until the end of time. And if you are roughly of my generation and disposition, it is a movie that has forever scarred you whenever you dare to swim in open water.
The irony about Jaws is that many people likely don’t even consider it to be a horror movie. Maybe because, instead of serial killers or vampires or zombie clown nazis, it’s about a fish.
And yes. Sharks are fish, not mammals.
Don’t lie, you were thinking it.
Anyway, while Jaws might not be a film that people would classify as horror, there has been no other film that has had such a long-lasting effect on my psyche. I wasn’t lying or being sarcastic at the outset. I have never been comfortable swimming in anything other than a pool. Even in fresh water ponds and lakes, I’m usually convinced that a twenty-five-foot shark is poised to drag me to a watery grave.
The shark in Jaws is no different than any other horror movie monster, it just happens to be based on a real world animal. But real sharks don’t act like that. Real sharks don’t have those kinds of proportions. Or at least, they’re very rare. The shots in the film of Richard Dreyfuss’ character underwater in the shark cage? They did that by putting a tiny person in a miniaturized cage to make the sharks look bigger than they really are. The shark in Jaws is a caricature.
It’s a monster. Of the worst kind.
Jaw’s (I’m just going to start using that as if it’s the shark’s name) is unrelenting. Jaw’s don’t give a damn who you are, what your hopes and dreams are. Jaw’s looks at you and he sees a warm-blooded, walking and talking snack. He sees you when you’re blissfully unaware, paddling away until those teeth clamp down and that’s all she wrote. Jaw’s comes along as a massive metaphor for our own mortality and takes anyone in its path and turns them into digestive material.
You can’t control him. You can’t fight him. You can’t beat him.
Well, unless you’re Roy Scheider. Then you can beat him. I guess.
I think part of what makes Jaws brilliant as a creature is how little we see of him in the film. Other than some images of his face and head, some teeth gnashing and blood and gurgling, we don’t really see him until the very end of the film. Otherwise, he is mostly an ominous presence in the water, something that can show up at any time.
One of my favorite moments in the film is so terrifying and graphic but at the same time is so straight forward, you almost miss it. It’s the shot of the boy being attacked while on his inflatable raft. It happens far off from shore and all you see, through the crowd of other swimmers is something come up out of the water. He’s knocked off the raft and as he rolls, there is this fountain of blood up into the air. It happens in a few seconds and almost goes unnoticed. There is this moment of shocked silence before the whole beach becomes bedlam as everyone scrambles for shore. That moment in the film has stayed with me for so long. Just seeing a casual, relaxing environment turned instantly into a killing field is classic and brilliantly done. The speed and viciousness of the kill is still chilling to watch for me, even after so many years.
I have been scared plenty of times by movies. The slasher movies of the eighties scared the crap out of me and there have been plenty of supernatural based films that have had me up at night. But for the most part, the effect of those films is temporary and fades with time. I have never lost the inherent, fundamental fear that was planted into my root programming by seeing Jaws. It is a movie that forever changed me, as well as my ability to ever comfortably swim again.
Thanks, Spielberg.
Chad A. Clark is a frequent flyer here on Machine Mean. He has reviewed for us before with commentary on House of Dracula (1945) and House of 1000 Corpses and Jeepers Creepers. Mr. Clark is a midwestern author of horror and science fiction. His artistic roots can be traced back to the golden era of horror literature, Stephen King and Robert McCammon being large influences. His love for horror began as well in the classic horror franchises of the eighties. He resides in Iowa with his wife and two sons. Clark’s debut novel, Borrowed Time, was published in 2014. His second novel, A Shade for Every Season was released in 2015, and in 2016 Clark published Behind Our Walls, a dark look at the human condition set in a post-apocalyptic world. You can keep up with all of Mr. Clark’s works by following him on Amazon here.
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Creature Features in Review: Cabin in the Woods (2011)
Wes Craven’s 1994 New Nightmare was a movie ahead of its times. In that I mean, the way the story was told, the significance of something we make-believe into being real (knowing it is actually fictional) and having it given back to us as this make-believe thing made real by our own imagination. That was kind of the genius of Craven’s New Nightmare. Freddy wasn’t real, but we pretended he was, as we do with all characters we watch on the big screen, small screen, or even in print, and yes even the horrorish ones. New Nightmare played on that, trapping the imaginative character Freddy in the make-believe world until the “movies” ended and thus releasing the bonds that kept imagination captive. Suddenly Freddy is real because WE made him real. Very clever, if you sit for a spell and think about it. Unfortunately, much like Jason Goes to Hell, audiences, and fans of the Nightmare on Elm Street series were expecting…well…what they have been accustomed to and not this metaphysical metaphor of fantasy meets reality through a sort of cognitive mythological construct. Not all movies fall prey to being ahead of their time. Take 2011’s Cabin in the Woods as a perfect example of the right kind of out of the box thinking movie coming out at the right moment in our social environment, which is to say at the very least uncertain.
Cabin in the Woods
By: Jeremy Flagg
I was raised on 80’s slasher films. Friday the 13th, Nightmare on Elm Street and Halloween filled my nights, and as an adolescent, they may have altered my childhood. However, these classic horror films provided ample education. I learned at an early age, you never separate from your friends, you never skinny dip, you never get drunk, and by all means, never lose your virginity in a sketchy locale. While a multitude of movies have attempted to recreate these classic tactics of terror, few have ever lived up to the original.
In walk Joss Whedon and Drew Goddard with Cabin in the Woods.
Horror movies have a recipe. With an ample suspension of disbelief, a movie builds tension, redirects our fear, and then in a moment of complacency, it scares. This recipe is repeated with variation for a little over an hour and somehow, at the end, our “final girl” perseveres by eliminating the big bad. We are put again into suspense as the credits end and claws emerge, or a hand rises from the grave, or a mask is picked up. There is a formula we’ve grown comfortable with, when it is tampered with, we get uneasy. However, Cabin in the Woods examines this formula, uses it, stomps on it, laughs at it, uses it again, and at the end, we’re left blinking in an entertained disbelief.
It starts with scientists talking about child safety cabinets and how only they and Japan remain viable options. What? Isn’t Cabin in the Woods a movie about a group of people going on a mini vacation to a vacant cabin in the middle of the, well, woods? Cue title scene and then onto the movie we expect. A fun flirty vibe, filled with sunshine, dreams and the need for relaxation. We have all the expected character tropes necessary to make a mediocre horror film; the jock, the overachiever, the stoner, the sexy girl and the kind of nice guy who we instantly forget is in the movie. Everything about this post screams “middle of the road.” Or does it?
True to form, we’re ten minutes into the film and the group of soon to be killed young adults have met the old man who gives foreboding advice. However, in every scene, we see a hint of something. A man following them reports to his superiors. The old man makes a phone call asking for approval. A flying eagle crashes into an unseen wall. A room in the cabin holds a one-way mirror. There is a horror movie laid on top of something, perhaps a conspiracy? We’re barely into the movie and we already know we’re being played with and it’s not being subtle. Are we seeing hints of a twist? It must be a twist because goodness knows every movie has to have an obnoxious twist at the end. That’s how horror is done.
As the screen zooms out, we realize the scientists are watching the five young adults. Wait, that’s not how horror goes? These goons are watching them, luring them into this horrific situation. Lowering inhibitions with chemicals and increasing their libido, we have no idea to what end, but we know they’re setting them up for disaster. It’s only made more comical as they take bets on how the group will die. We have no idea why this is happening, but we know that the scientists can only lead them to a dangerous situation. The group must begin the catalyst that will set them up for death.
Now let’s recap, cause from here on out something serious changes in this movie. We know it’s a horror movie. We know the scientists are setting the scene for this horror movie. We know death is coming, but we’re still not entirely sure why. As they are led to the basement where a variety of talismans and treasures are stored, we discover they will choose their fate. Zombie redneck tortured family. Meanwhile, a similar fate is befalling a group of Japanese school children, a scenario competing with our movie for victims.
The movie adds a new element, horror movie as a spectator sport. However, the darker, and even more genius aspect is that we, the viewer are part of the movie. Much like the scientists watching their hidden cameras, we are rooting for the body count to begin. As danger looms on the horizon, we are hoping for a massacre. We want those partaking in dangerous activities such as drinking, drugs, or sex to fall victim to the classic horror deaths. And when the sex kitten is about to pull off her blouse, we want her to die. Then she resists and plays coy and we, along with a room full of watching spectators groan. Then science jumps in, releasing a pheromone mist.
Wait, does this potentially explain why in every horror movie stupid stuff happens? Were deranged scientists aiding Jason and those campers were all just victims of a mastermind game player? Did chemicals being pumped into the bedrooms of teenagers bring on Freddy as a hallucination? I’m left pondering if everything I’ve been told is a lie. But wait, I’ll worry about that later, because redneck zombies are about to start killing people. Did I just cheer? Maybe.
!!! Spoilers Below !!!
As redneck pain-loving zombies achieve their first kill (a girl about to get her groove on) we’re introduced to a new piece of the puzzle. Somehow, the scientists are culling the blood of the victims in some sort of ceremonial effort. Our next clue comes from the drug-addled hippy that is so used to altering his mind, the chemicals created by the scientists do little to affect him. Cue more classic death scenes, often times paired with comedic lines from the viewers in the bunker of scientists. When the victims refuse to split up, scientists manipulate the scene forcing the classic tropes to align to their 80’s horror counterpart.
Cabin in the Wood teaches us that a healthy addiction to Weed can save us in a horror movie.
The movie gets, even more, meta as the remaining two survivors find themselves in an elevator going down into the bunker hidden beneath the cabin. Locked in cages, we see a variety of classic horror monsters. Werewolves, giant bat things, even a unicorn are kept in cages, waiting to be called upon to slay the innocent. As the fool, our high-as-a-kite unlikely hero and the virgin unleash havoc on the underground bunker, releasing hordes of b-rate horror atrocities, we find ourselves cheering on the death yet again. We’re not quite right in the head.
As the final showdown begins, we’re not given a Final Girl showdown of immense proportions. Sigourney Weaver says that if the heroes live, they will destroy the world. The heroes, the ones we’ve been rooting for, either die, or we all die. I’m not sure if I’m annoyed or I commend them as they decide to live, thereby destroying the world. But, you know, it happens.
The snappy dialogue mixed with this meta look at horror creates something entirely new to the genre. We find ourselves cheering on the heroes, only to condemn them, and wanting more mayhem. We learn quickly that we, the viewers of this disaster, are really quite twisted. Most of all, we’re really excited that we got to watch a unicorn slaughter a man. At the start of the review, you had no idea a unicorn would be whom we cheered on. Cause you know, it’s a horror movie.
Jeremy Flagg is no stranger to Machine Mean, having reviewed for us Final Girls during our Freight Fest series, he also is the author of the CHILDREN OF NOSTRADAMUS dystopian science fiction series and SUBURBAN ZOMBIE HIGH young adult humor/horror series. Taking his love of pop culture and comic books, he focuses on fast paced, action packed novels with complex characters and contemporary themes. For more information about Jeremy, visit www.remyflagg.com.
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Creature Features in Review: Jeepers Creepers (2001)
Maybe I’m a bumbling fool to have forgotten to post this most excellent addition to Creature Features in Review…or perhaps a certain kind of mad genius. For those State-side and for those abroad, our neighbors to the north and our neighbors to the south, from the Atlantic to the Pacific (and it’s not all that terrific), the world awaits the inauguration of our (America’s) 45th President. Controversy. Disunity. Anger. Resentment. Strife. Uncertainly. It all feels at the moment to seep from the fabric of our country. That hidden fear of the unknown, the same fear H. P. Lovecraft spoke of in his many works, has captured, or should I say strangling, our attentions. This same mood thrives in the electrical grid of most Creature Features, especially Jeepers Creepers. There may be some criticisms and creepiness surrounding the infamous director Victor Salva, but separating the art from the artist, Jeepers Creepers (for me) is a perfect example of a modern American gothic tale. You can literally watch this movie in black and white and still enjoy it, probably more so. The moral compass of puritanism and rational versus irrational is present throughout the entire film. And it’s one of Justin Long’s best performances. Here to help us navigate these precarious times and this very precarious movie is our esteemed guest writer, Chad Clark.
Jeepers Creepers
By: Chad Clark
When Jeepers Creepers came out in 2001, the cinematic horror landscape seemed to be in an interesting place, and not all of it was necessarily good. My memories of this time period were of mainly reboots and PG-13 horror films. Other than Final Destination, there seemed to no longer be such a thing as horror franchises anymore and even in the case of FD, there had only been one installment. So it was within this environment that I was generally suspicious of Jeepers Creepers. The way it was marketed and the vibe I got from it was that this was just another glossy, hollow interpretation of what made horror movies great. I remember seeing ads for this while it was in the theaters but I wasn’t sold and gave it a pass.
Spoiler alert: that was a mistake.
I finally took the plunge with Jeepers Creepers, via the newly created online rental company at the time, Netflix. There wasn’t any streaming, only waiting for the physical DVD’s to arrive in the bright red celebratory envelopes. I was skeptical but to be honest, the first half hour or so of the film is one of the best openings I have ever seen. It starts out so innocently with a brother and sister leaving for the long drive home from school. Before they can get there, the movie takes a turn for the dark side and they quickly find themselves the target of a powerful creature that they don’t fully understand.
The monster in Jeepers Creepers is fantastic and it seemed like they took a lesson from Jaws in that we don’t see it in its full glory until late in the film. What is great though is that even seeing quick flashes of it early on, it’s still scary as hell. I love the image the brother and sister arguing and then the brother (Justin Long) sees this thing dumping what looks like human bodies down a huge pipe in the yard of an old church. By all appearances, it’s just a tall guy wearing an overcoat and a large, wide-brimmed hat, but the design of that costume is incredibly creepy and evocative.
The pacing of the movie is very well done as the monster proceeds to chase the two of them across a rural landscape. Along the way, they get some bits and pieces of information that may give them some insight into the thing and how powerful it is. But mostly, I think we just gradually figure out how screwed they really are. I can tell you this, before seeing this movie, I would have never guessed that the song, Jeepers Creepers would ever feel foreboding. That said, they managed to accomplish that very thing, to the point that I can’t help but think of the film whenever I hear that song.
The movie also has some pretty good acting, something that is occasionally glossed over in the horror franchise as being less important. The cast of actors was pretty much unknown at the time but I thought they all managed to fit in together pretty well. This was especially true with the main players, in that they managed to create two characters that I genuinely cared about and rooted for. It’s a cliché, but I felt like I was on the edge of my seat for these two all throughout the movie, all the way up to the ending, which was brutal and brilliant. I don’t want to give anything away but the movie ends with a slow zoom out to a point and a perspective that left me with my jaw hanging open. It really was that good.
I’m not normally a viewer who pays a lot of attention to things like costume and makeup but I thought they did a phenomenal job making the monster authentic and scary. In a world that was increasingly becoming about CGI, this was a monster that felt physically present and the makeup department did a great job bringing a feeling of grittiness and gore to the monster.
In short, if you are looking for a great example of the modern monster movie, I would definitely start with this one. Jeepers Creepers is a fun film that gives you all the visceral escapism that great horror movies should provide. I can’t recommend it enough.
There is an elephant in the room here, namely that of Victor Salva. He was the director of Jeepers Creepers. Salva was convicted early on in his career for child molestation. I am not going to go into the specifics of his crime. If you are already aware of it, I don’t want to take column inches rehashing common ground. And if you happen to be unaware of what he did, Google can get you there in less than a minute.
The reason why I bring it up is because it has been commonly argued that Salva’s movies should be boycotted. And I want to make sure one thing is clear before I go on to state my position on this. I think that what Salva did was despicable. In no way would I ever want to imply support for or endorse that kind of behavior. I want to make sure that is absolutely clear before I move on. I also believe that he should have received a harsher punishment. The sentence passed down by the court was laughable and that doesn’t even take into consideration that he didn’t serve the full sentence that he was given. I think that a reasonable case could be made for not allowing him to work in movies, mostly due to the fact that he used his power and position as a film director in order to do the things he did.
All that said, he was convicted in a court of law and he served the sentence that was passed down to him by our judicial system. I don’t think that this was right. I don’t think it was justice. And I absolutely support the victim and everything he does to try and make himself healthy again.
Still, I cannot bring myself to support the notion of a boycott, and my reasoning is as follows.
If there was a way to financially hurt Salva and only him, I think that would be one matter. But the fact is that when you were talking about a big budget Hollywood film, we aren’t talking about just Victor Salva anymore. There are literally hundreds of people employed in the process of developing and releasing a feature-length film. Obviously, there are the actors but also all the individual departments that are responsible for the physical look of the film as well as the process of filming. You have the people who spend countless hours with the actors in their studios applying makeup and costumes. There are the people who take the time to set up and dress the sets, keeping things in motion as production moves along. There are the musicians who develop a score for the film, one of the most important parts and record all of that music. Even the caterers who provide food and the marketing firms who promote the movies. There are a lot of people here.
I have always thought that directors got a little too much credit for what ends up on the screen. They function as an organizing force with a global perspective, but there are a lot of different people who work hard at the ground level to make that finished product. The director is responsible for the totality of the thing but it is rarely their hands actually on the product, crafting it. So if I felt like a boycott would be destructive to Salva and only Salva, I might be more inclined to go along. But because of the countless other people who worked their butts off in order to create this film, I can’t support it.
Jeepers Creepers is a brilliant film, and my compliments go to all the cast and crew that dedicated themselves to the creation of it.
Chad Clark is a frequent flyer here on Machine Mean. He has reviewed for us before with commentary on House of Dracula (1945) and House of 1000 Corpses. Mr. Clark is a midwestern author of horror and science fiction. His artistic roots can be traced back to the golden era of horror literature, Stephen King, and Robert McCammon being large influences. His love for horror began as well in the classic horror franchises of the eighties. He resides in Iowa with his wife and two sons. Clark’s debut novel, Borrowed Time, was published in 2014. His second novel, A Shade for Every Season was released in 2015, and in 2016 Clark published Behind Our Walls, a dark look at the human condition set in a post-apocalyptic world. His latest book, Down the Beaten Path, released in September 2016. You can keep up with all of Mr. Clark’s works by following him on Amazon here.
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My Top 5 Favorite William Henry Pratt (aka Boris Karloff) Movies
It has just occurred to me that I have never written a biographical piece on English-India born character actor William Henry Pratt, aka Boris Karloff. Never. Not once. Sure, I’ve had other writers on here talking about some of the movies he has been in, namely Frankenstein and Bride of Frankenstein and even The Mummy, but never, not once have I stepped up to plate. That ends here. For those who are betrothed to the dark and unusual of filmage, that this, horror movies, the name Boris Karloff is not unfamiliar, it is, in fact, legendary. And for good reason. Even tempered natured folks who do not ordinarily dabble in nightmare landscapes know, rudimentary, who Boris is, that is, the Monster, that Frankenstein monster that is. And they wouldn’t be wrong. That’s his role, after all, no skirting the issue or sipping from your craft beer or wine, dressed in some flannel button up with a shaggy beard, pretending as if he never endured the makeup. Just because you saw him in The Black Cat (1934) or Targets (1968) doesn’t negate his crowning achievement. He was the Monster. Don’t walk through the past with blinders on. He will always be the Monster. And here and now, I’d like to correct my above-mentioned misstep and celebrate his career (his work), as it is, highlighting briefly my top 5 favorite Boris Karloff movies.
5. House of Frankenstein (1944). I’m not entirely sold on House of Frank, particularly concerning the Dracula character and how easily he was dispatched; however, I cannot negate Boris’s role as Dr. Niemann, a mad scientist who has supposedly discovered Frankenstein’s secret to immortality and the creation of a new human race of perfectly made people. His role here, obviously, is not the Creature. And as a tip of the hat, I would say he was very dark in this movie, uncaring of dispatching anyone who got in his way.
4. How the Grinch Stole Christmas (1966). Say what you will, but I would feel horrible if I did not mention this classic film. Especially now that we’re shuffling towards the holiday season and Turkey Day tomorrow, I would be amiss to ignore one of my favorite Christmas movies. Even at the tender age of 79, Boris’s voice, his deep growls, and slight lisp is uncanny. His performance as the narrator is actually what draws me to the cartoon. If it had been anyone else, I’m not sure I’d enjoy it as much.
3. Bride of Frankenstein (1935). Seems like a total cop-out, but no, back to my above argument, we cannot ignore his masterpiece of horror cinematography. The Frankenstein monster was a role that was limited in dialogue, and so he had to manipulate audience reactions and emotions through gesture and skewed hardened facial expressions. Bride of Frankenstein showcases the evolution of the creature, from mute stumbler to an array of humanistic-like qualia. He was driven, not by fear, but by necessity, the most basic human desire, companionship, a mate.
2. The Black Cat (1934). One of my favorite Edgar Allan Poe adaptations in a string of Poe-inspired films, among such as The Raven (both 1935 and 1963), House of Usher, The Pit and the Pendulum, etc etc, The Black Cat wins the prize, for me at least. The story is adapted for the 1930s era and is based just after The Great War, which ended in 1918. Dr. Vitus Werdegast is on a quest for revenge against the man who took his beloved wife and daughter, an old friend and comrade in arms, Hjalmar Poelzig. Poelzig is harboring a few dark secrets, most of which he shares openly, all but for his insidious religion. Caught in the middle is a young American couple on their honeymoon. The Black Cat is not action oriented, but rather, filled with an overwhelming sense of dread and some of the best dialogue I’ve heard in a long time. If you’ve been holding out, you need to see this movie. This 82-year-old movie may shock you.
1. The Mummy (1932). Without a shadow of a doubt, unashamedly, The Mummy is my all time favorite movie starring Boris Karloff. Why? Sure, we know and love and celebrate him for his role as Frankenstein’s monster, however, for me, his total sum of charisma and stage performance is defined in his role as Ardath Bey, aka Imhotep, priest of Pharaoh Amenophis, mummified for attempting to resurrect his forbidden lover, the princess Ankh-es-en-amon. regarding the other Mummy movies, though Lon Chaney Jr. did his best with what he had to work with, they did not, however, capture the tragedy that is Imhotep. Is he the villain? Perhaps. He certainly has his own agenda in mind. But there’s more. He’s a romantic. Deeply so. All he wants is his beloved princess. Not power or gold or influence, nothing political. He manipulates those he must. And strikes down those who get in his way. Love is not all puppy dogs and rainbows, it’s brutal at its core. Violent even. A man desperate enough to do whatever he must so he can attain that which he desires the most. True love. And Karloff, he plays the role wonderfully.
And there you have it folks, my top 5 Boris Karloff movies. I’m sure you’ve got a few in mind. What are some of your favorite Boris Karloff movies? Comment below in the comment box to enter for your chance to win a signed copy of my latest book, Conceiving (Subdue Book 3), scheduled to release next week on November 29, 2016. Now available for preorder on Amazon (wink wink), you can get your copy here. And if you are curious about my other books, you can find them on the altar of Amazon by following this link here. As always, you can stay connected with me on Facebook, where I post reviews, new book info, and other horror related topics. Thanks for reading everyone!
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