Dracula: Prince of Darkness

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1960's, Andrew Keir, Barbara Shelley, Charles Tingwell, Christopher Lee, Dracula: Prince of Darkness, Francis Matthews, Horror, Philip Latham, Supernatural Horror, Suzan Farmer, Terence Fisher

I was invited to right about the fantastic Christopher Lee by Barry and Gill and I was very happy to do so. 

A Hammer Horror with the iconic Christopher Lee back as the eponymous being, Dracula: Prince of Darkness is atmospheric and has a lot going for it.

A group of proper English tourists; brothers Charles(Francis Matthews) and Alan(Charles Tingwell), plus their wives Helen( Barbara Shelley) and Diana( Suzan Farmer) are visiting near the Carpathian Mountains. They are warned about not going to a certain region by Father Sandor( Andrew Keir) . Sandor isn’t your average man of the cloth as he speaks his mind and seems always on the lookout for danger in a similar way to a hunter. The group don’t pay much attention and attempt to reach a castle that doesn’t show up on a map. The worried Helen doesn’t think this is a good idea, but she is overruled by her husband and the brash Charles . After a carriage appears from nowhere following , they decide to get into it. It suddenly springs to life and transports them to the infamous castle. Not wanting to be outside as darkness approaches, much to the annoyance of Helen, the group enters the castle . There they find the castle in reasonably good condition, considering that it’s been abandoned for years . We learn that the reason for this is that it’s been taken care of by the creepy servant Klove( Philip Latham) . His dead employer told him to always make the castle welcome to those travelling through. But Klove has a more menacing plan for the guests. That night he murders Alan and strings him up over a tomb. This fresh blood resurrects the evil and powerful vampire Dracula(Christopher Lee) who then goes on to turn the strait laced Helen into a sensual creature of the night like himself. Realising the danger they are in, Charles and Diana  run from the castle before finding Father Sandor in his church. The couple now team up Sandor with in a battle against the nocturnal bloodsucker.

Terence Fisher, who was always one of the most reliable directors for Hammer Horror, is in his element here. His confident and nicely unobtrusive direction helps flow smoothly and with a genuine feeling of dark tension. The less is more approach works well in many areas here, leaving much to the imagination while not shoving it in your face.The eeriness builds before being fully unleashed in the last half when the stakes are raised and a desperate plan to slay Dracula comes into play. From the get go, you just know it’s going to be very creepy. It doesn’t just start with everything being rosy and ideal for everyone; we hear of darkness from right at the start of the film as well as a prologue of Dracula’s history(which is a flashback from the very first outing for Lee as the bloodsucking count.)That is the through line of and moves the plot along nicely with an exquisite slow burn before unleashing. Also of note is how some of the characters don’t fall victim to some of the dumb horror cliches out there. For example, Charles and Diana once sensing that something is wrong flee the castle instead of sitting and waiting to be picked off, along with other smart traits. Yes they do eventually have to go back to the castle for the climactic battle(which makes sense in the big scheme of things), it’s just nice to see characters who aren’t complete morons and at least boast some substance . Its a little thing but one I do appreciate it .Prince of Darkness has enough of a difference in terms of folklore to single it out among vampire movies, particularly the eventual way that the remaining characters try to use in order to kill Dracula. Dracula: Prince of Darkness also feels even by today’s standards rather erotic in a Gothic way. Dracula’s ability to hold people in thrall is a great example of this as is Helen’s flip from staid worrier to untamed vixen. Granted age has diminished some effects and it can come off dated in stages, the creeping aura is still there in a way only Hammer can provide . On the visual front, Prince of Darkness is gloriously done with a lot of the colour red mixing with a dark and unusual feeling of impending dread. Hammer Horror always has that special something in terms of how they look and is no exception. A swelling and rather grand score suits the movie as the action and atmosphere is cranked up to high levels as darkness falls.

Christopher Lee is what really makes this movie, returning after a number years following his first outing, to play the role of the indelible villain that is Dracula. Despite not speaking a single word, his imposing presence and intense, bulging eyes are all that’s needed to give us the audience and the potential victims the creeps. Lee plays the wicked but seductive Dracula with a sense of movement and hypnotising skill; brilliantly luring in the unsuspecting prey he has his designs on. He’s obviously enjoying himself and the menace he provides as the bloodsucker is second to none. Simply stated, the film wouldn’t be the same without the iconic Lee playing it. Francis Matthews is appropriately down to Earth and charming as the free living young Charles, who has to rise up and face Dracula. Barbara Shelley is wonderful playing essentially two different parts: sheltered, fearful killjoy Helen and her enticing, seductive vampiric form that is chilling and daring . Both sides are finely judged by her and stand out for how different they are and it’s down to the excellent of Shelley . Bombastic energy and portents of doom come courtesy of Andrew Keir as the unorthodox but forceful Father who isn’t going down without a fight.  A convincingly  insidious sliminess provided by Philip Latham as the ever loyal servant intent on raising his evil master from the great beyond is another effective tool used to elicit genuine uneasiness and terror to sublime effect. Suzan Farmer and Charles Tingwell have smaller roles but are nonetheless very good as the rest of the quartet happening upon terror. The cast is pretty stellar, but it’s the presence of Christopher Lee that truly lingers in the mind thanks to the talents of the legendary star.

A stylish and atmospheric horror from the iconic Hammer Homer, Dracula: Prince of Darkness is an impressively movie with an eerie and memorable Christopher Lee at the centre of it all.

The Devil Rides Out

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1960's, Charles Gray, Christopher Lee, Horror, Leon Greene, Niké Arrighi, Patrick Mower, Paul Eddington, Sarah Lawson, Supernatural Horror, Terence Fisher, The Devil Rides Out

A thrilling and very creepy film from Hammer Horror, The Devil Rides Out stands as one of their finest films. It’s the whole atmosphere and compelling story, aided by a pacy running time, The Devil Rides Out is a must see. 

It’s the 1920’s in the English countryside and the cultured, well-respected Duc De Richleau(Christopher Lee) has become concerned about a friend. This friend is the young and often irresponsible Simon Aron(Patrick Mower) ; De Richleau knew his father and since that friend’s death he has looked out for Simon along with fellow chum Red Van Ryn(Leon Greene). The concern regarding comes from Simon seemingly cutting contact off with those closest and disappearing for long periods of time. Aided by loyal best friend Rex, the two men soon unearth that the reckless has fallen in with a secretive society of devil worshippers who wish to baptise him once more as a follower of darkness. The sect is headed by the powerful and dangerously charismatic Mocata (Charles Gray), who is known to be ruthless and extremely gifted in getting people . After knocking Simon out and whisking him away, De Richleau and Rex must contend with the knowledge that they are marked for something dark by the evil Mocata  . They also help rescue a female follower Tanith( Niké Arrighi )who hasn’t been initiated into the bit is struggling with the pull of it. He shelters both Simon and Tanith with his niece Marie( Sarah Lawson) and her husband Richard(Paul Eddington) , who live in a large house in the country. Protecting the potential victims isn’t going to be a cakewalk for as the wicked Mocata can use mind control and hypnosis to make unsuspecting victims do his bidding.  Now De Richleau must fight to save Simon and from the clutches of Mocata , who has set his sights on the rest of De Richleau’s family in a cruel blow that will require a lot of faith to overcome. Let battle between good and evil commence in entertainingly spooky fashion. 

Terence Fisher adopts a restrained, low key approach here that allows for the story to become front and centre, while moving it along at an acceptable pace of mounting chills and unnerving mystery. That doesn’t mean that is without set pieces, it simply means that they are done in a way that isn’t too razzmatazz and more slithering menace. The scene of Mocata intensely putting Marie under hypnosis is gloriously creepy and stands out as a piece of dark filmmaking as the psychology of the situation and overall ambience is cranked up higher in a battle of wills. The other big standout is the protection circle scene where the group have to face off against the dark forces that don’t let up. It knows how to up the ante excellently in the best possible way. Hammer was known for its villains in the guise of Dracula and Frankenstein’s Monster, but the fact that the main enemy in The Devil Rides Out is actually people who believe in a dark purpose makes a very unnerving prospect. Supernatural events occur throughout in the form of dark sorcery and satanism but the battle between good and evil feels more rooted in some semblance of reality while still retaining the magic of Hammer that you’d expect. The lack of bloodshed is also a stroke of genius; it allows us to focus more on the story than just parts that are possibly grisly. As mentioned earlier, the approach of a bit more subtlety adds immensely to the atmosphere of the piece as it unfolds deliberately but in a manner that is very fascinating. The film also has a dazzling colour scheme within in that highlights the richness of red and purple, plus there’s some great camerawork that employs intense close ups of eyes to startling by effect. A few special effects don’t measure up to modern eyes, but the main focus of the spooky story is the true crux of things that outweighs niggle. The score by James Bernard( himself a Hammer Horror regular) is one of great tension and action, which is exactly what you’d want in a film like this. 

Christopher Lee heads a very good cast in a role that is a change of pace for him; the hero. But Lee quickly displays how adept he is at surprising us with a passionate turn as a knowledgable man fighting to save a friend with a sense of great dignity to his core. Lee acquits himself well with force and gravity it must be said and provides the centre of this film. Charles Gray is his counterpart and he relishes being very evil throughout. For Gray, it’s all in the eyes as he uses them to such creepy effect as the character he plays manipulates those around him unsettling skill. Even before we’ve seen Mocata, we get an impression of the man and Charles Gray plays to that spectacularly. loyal friend who is supremely tested by the ordeal and along the way develops romantic feelings for the beautiful Tanith. And speaking of Tanith, she is played with the right amount of sex appeal by the enticing Niké Arrighi. There’s something a little otherworldly quality to her and it’s utilised nicely in The Devil Rides Out. Patrick Mower has the role of the reckless and foolhardy man caught in something he is starting to regret. The part isn’t the biggest stretch for the actor, but he puts in a very good performance nonetheless. Really standing out from the moment she’s introduced is the role of Marie, played by Sarah Lawson. She starts out as seemingly immensely vulnerable, but Lawson shows that the character is actually more switched on and important than people think. In fact, later becomes quite integral to the plot and a lot of this is down to Sarah Lawson. Paul Eddington rounds out the cast as the sceptic among everyone who soon comes to believe in the darkness about to surface.

A creepy and very enthralling Hammer Horror, The Devil Rides Out stands at least in my book as one of their finest. This owes much to a great cast, somewhat low key approach and feeling of elevating tension.

Crawl

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2010's, Alexandre Aja, Barry Pepper, Crawl, Horror, Kaya Scodelario

A simple premise of two people against a vicious pack of creatures, locked in a fight for survival, Crawl does what it says on the tin and is all the better for that. Well acted and suspenseful, it’s a decent little horror flick.

In Florida, Haley(Kaya Scodelario) is an aspiring young swimmer, who nevertheless feels like a letdown as she hasn’t had much success. A lot of this stems from her father Dave(Barry Pepper), who coached her and pushed her very hard as a child. Haley has never felt good enough and is not dealing with her parents divorce very well. While she is estranged from him, she still gets a call from her out of town sister who is worried. Dave hasn’t responded to any of her calls, even though Florida has been warned of an approaching Category 5 Hurricane. Haley decides to check in on her father, despite the warnings of others and the harrowing weather conditions. When she arrives at his place, she can’t find him at first. With the guidance of his dog Sugar, Haley discovers her father in the crawl space, where he lies injured from a vicious bite that has broken his leg. While attempting to move her incapacitated father, Haley is menaced by an alligator that forces her to find what she can of safety in the crawl space. When her father comes around, Haley must work with him in an attempt to escape. It becomes apparent that there is more than just one alligator with them, as they got through via the storm drain . Trapped in the house that is beginning to flood and being terrorised by the vicious predators that are patient but can spring out at any minute , it’ll take all of Haley and Dave’s strength to make it out of this. But with flooding becoming more rapid, hopes of help dashed when looters meet a violent end and the alligators gaining momentum, surviving this hellish ordeal is not going to be so easy for Haley and David.

Alexandre Aja is well known for his films in the horror genre and Crawl fits in nicely with his capabilities. It’s not going for revolutionary horror, but Aja constructs immense suspense throughout, with the dual threats of catastrophic weather and killer alligators proving both a terrifying prospect for the main characters . Setting the film in predominately one location, mainly the crawl space and flooded interior of a house, was a very deft move that lends something claustrophobic to Crawl. Sometimes a simple premise can be successful through entertaining execution. Crawl certainly does that with some added bite, from the direction of Aja and an unexpectedly effective script. It has moments that do make you scratch your head and suspend your sense of logic,  but is largely a tense exercise in thrilling horror that is purely there to give you a thrill. The bleak visual style conveys the terror of a hurricane and the damage, added to with a slimy green and moody blue in the crawl space moments that are mightily impressive. Point of view shots crank up the feeling of dread as Haley has to make her way through the crawl space in hope of escaping and saving her father. The effects for the alligators are rather good too, never becoming overly reliant on obvious CGI to create these brutal creatures that feast with ferocious glee, particularly on a group of unsuspecting looters nearby. The running time of just under an hour and a half benefits Crawl as it leaves no space for any excesses or superfluous ideas. It’s a lean, mean horror that boasts good suspense and scenes of bloody terror. Added in is the underlying drama of family that thankfully doesn’t overstay its welcome; rather it allows for something grounded to emerge between who are more alike than they’d care to admit. The fact that Crawl isn’t traversing anything newfangled doesn’t matter because it proves intense and is done with a level of style. A score laden with pervading doom and bubbling atmosphere lends itself well to Crawl; soaking events in a dark and menacing sphere of growing panic, while also putting forth music that has an unusual emotional depth to it for a horror flick.

In what is essentially a two hander , save for other fleeting characters who are mainly there to be food for the alligators, Kaya Scodelario and Barry Pepper give it their best as the fractured daughter and father. Kaya Scodelario is especially good at navigating a character who isn’t the easiest to warm to at first but who earns our sympathy as she refuses to give up in the horrific situation she finds herself stuck in. Scodelario exhibits a troubled and spiky demeanour that’s tempered by ingenuity and depth that you don’t expect. is required to be both emotional and immensely physical, which she roses to with great energy . Barry Pepper is also a reliable presence as an injured, cranky man who is nevertheless someone who when out to the test, can rise above it. Pepper plays the part greatly, showing a man desperate to survive and eventually reconcile with the daughter from whom he is estranged. The characters aren’t given the biggest arcs ever, but what we have proves good enough as we watch their relationship starting to heal amid the carnage before them.

Entertaining, thrilling and filled with tension, Crawl is a suspenseful horror movie that takes advantage of a limited setting and good cast to craft an exhilarating film with snap.

Boogeyman

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2000's, Barry Watson, Boogeyman, Emily Deschanel, Horror, Lucy Lawless, Skye McCole Bartusiak, Stephen Kay, Supernatural Horror, Tory Mussett

A supernatural horror that has some promise, The Boogeyman sadly dies a quick death in terms of watchability and any form of effectiveness as it goes on. A truly missed opportunity hampered by lazy writing, plotting and overall sense of being.

As a child, Tim was terrified of a Boogeyman he believed lived in his closet. This was heightened one night when his father came to comfort his son from what he believed was a nightmare. His father was snatched by an unseen force and never seen again, traumatising young Tim.  Memories of that night are dismissed by others who believe that he was just trying to process his father leaving him and vanishing from his family. Now grown up( and portrayed by Barry Watson), the scars of that night have never left him. He doesn’t have doors on cupboards, keeps lights on even when sleeping and has a dozen locks for his front door. He’s in a relationship with Jessica(Tory Mussett) but there is a hesitancy on his part to further things, which doesn’t bode well with Jessica. Around this time, he receives news that his troubled mother (Lucy Lawless) has passed away. Now without either parents and lots of questions regarding his childhood incident, he contacts his childhood psychiatrist. She suggests staying in his old house to purge the demons that have tormented him. He reluctantly does this and along the way reconnects with childhood friend Kate(Emily Deschanel), who is concerned by his emotional state . Tim knows that he will have to face his fears and confront his demons once he steps back into the house from his childhood. At first nothing happens, but soon enough creepy events besiege the house.  But just what demons will Tim have to fight , literal or imaginary?

Stephen Kay tries to be edgy with a dizzying visual style of quick zoom shots and wind machines a plenty, but it’s ultimately rendered hollow and without a sense of substance. A lacklustre script does the movie no favours whatsoever, resulting in what can only be called a mess. As aforementioned, Boogeyman does have some moments that suggest it could get better. The opening specifically is very creepy and seems auspicious, before delivering sub par work from that moment on. As the film goes on and the jarring editing and sloppy effects take hold, Boogeyman falls apart spectacularly and it’s rendered just dull. Boogeyman is the definition of a film with a seemingly decent set up only to be completely blown apart by awful execution. I can live with a movie being predictable but shoddiness and laziness is another bag. The supposed mystery at the centre is anything but enigmatic as it’s obvious whether the eponymous spectre is real or not. The music is also very obvious and leaves nothing to the imagination, which is a shame as it’s done by Joseph LoDuca, who has done great work on many a film and tv series.

Barry Watson gets the haunted look of someone clearly dealing with a deep sense of trauma but he isn’t particularly given much to work with. Watson himself resembles Timothy Olyphant but sadly doesn’t really show off near enough star presence to make him memorable. Emily Deschanel doesn’t stand out either, despite being a good actress. The problem once again lies with the script that seems to just place her in the story and not really given much depth or reasoning. There’s a small role for Lucy Lawless, but it’s practically a nothing part thats insubstantial. It’s a shame to waste the talents of Lawless in such a thankless and blink and you’ll miss it part. Skye McCole Bartusiak and Tory Mussett are also hampered by underwritten roles that lead to nowhere.

So my advice is to avoid Boogeyman, unless you’re a fan of horror that isn’t really that scary and doesn’t add up in the slightest. It’s best to set your sights on watching some effective horror instead of this piece of drivel.

Ghost Ship

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2000's, Alex Dimitriades, Desmond Harrington, Emily Browning, Gabriel Byrne, Ghost Ship, Horror, Isaiah Washington, Julianna Margulies, Karl Urban, Ron Eldard, Steve Beck, Supernatural Horror

A derivative horror movie that never quite reaches the greatness of its startling opening, Ghost Ship still has some good moments. Overall it’s a rather routine affair that isn’t exactly going to go down as a horror classic.

The film begins with a salvage crew retrieving a substantial amount of money following another successful operation. The crew consists of much experienced Captain Sean Murphy ( Gabriel Byrne) , tough talking Epps( Julianna Margulies), second in command Greer(Isaiah Washington) , pair of jokers Dodge and Munder( Ron Eldard and Karl Urban). This is rounded out by mechanic Santos( Alex Dimitriades) . After their latest success, a man by the name of Jack Ferriman( Desmond Harrington)inquires about their skills and wants them to help him with something. Being a guy who works with the weather department, Jack has seen a ship floating and seemingly abandoned in Bering Sea . As it’s in an area that’s classed as international waters, whoever finds something valuable there owns it. This intrigues the crew, though they don’t realise that this trip will be something very chilling for everyone involved. Using their salvage tugboat, the group that’s headed by Sean and joined by the mysterious Jack, head into the Bering Sea on what they think is just going to be another standard operation that they’ve carried out time and time again . Soon enough after sailing through stormy and extremely treacherous conditions, they come across the Antonio Graza, a large Italian liner that was declared missing in 1962 and hasn’t been seen since. Once boarding the creepy ship that catered once to the rich and powerful of the world, all manner of strange and supernatural events happen. Epps swears that she sees a little girl who swiftly vanishes following a near fatal fall through unsafe flooring by Munder, dead bodies are found in a flooded compartment and doors seem to lock by themselves. Discovering a multitude of boxes filled with gold bars, the team think they’ve got it made, but a malevolent force has other ideas. Tragedy strikes when they return to the tugboat, resulting in a fatality and the vessel being severely damaged when an invisible, mysterious force causes most of it to blow up . With the tugboat now out of action, the group must go back on the in hopes of getting it started again. The ghostly atmosphere and events from the past is not going to make it easy for any of those remaining as a haunting begins to occur with gruesome intent on its mind.

Steve Beck as director manages some moments of tension and scares but parson the pun, is all at sea when it comes to the nitty gritty of events. As a result, Ghost Ship never rises above being merely watchable. Now the main area to praise is the opening sequence which also sadly provides the big highlight for Ghost Ship. We begin back with misleading titles that look romantic and sweeping in the grand Old Hollywood tradition . Drinks are flowing and the party is in motion, just before carnage strikes. A thin wire cord is tightened by an unseen person then set free across the dance floor. It manages to leave all the passengers bisected in immensely graphic fashion because of how taut and quick it is. The only one spared is a terrified and lonely little girl named Katie(Emily Browning) , who because of her petite stature avoided being brutally butchered. The scene is pretty horrifying and the use of practical effects and camerawork truly makes it one that stays with you. It’s such a shame that after such a promising opening and hints of greatness, Ghost Ship retreats down the seen it all before route. Still some of the ambience works on the ship, especially from a visual standpoint. Unfortunately mostly everything ends up hamstrung by stupid decisions from characters and some questionable moments that really make it seem very amateurish. Take for instance when we learn a bit more about the ship; this is told from the perspective of Katie, who initially survived and is now something of a haunted presence. What should be intense sequences of dread and startling revelation are drowned out by a modern cross between rock and some kind of ambient dance that just does not fit at all. It baffles me as to why the people behind the film decided to go down this avenue, also peppering events with no real sense of logic to glean.

The cast for the most part are pretty decent in what is a misstep of a movie. Gabriel Byrne bristles with intensity and a sense of leadership, complimented well by his authoritative voice and internal struggle that threatens to burst out. The big standout of Ghost Ship is Julianna Margulies, who brings a tough attitude and feeling of grounded emotion to the part. Margulies makes Epps the most resourceful character as well as the one who is explored the most throughout. It helps that she’s the most rational person as well, making it easy for her to stand out even when at the mercy of unfocused material. Desmond Harrington has a certain enigmatic quality that makes you wonder if his character is letting more on than he is. Unfortunately, the rest of the cast predominately isn’t that great. Isaiah Washington is pretty ineffective as the second in command who seems to spout various parts of exposition and attempts at knowing, while falling foul of the cliches inherent in the genre. Ron Eldard and Karl Urban are left with thankless roles as the alleged comic relief with the same also going for Alex Dimitriades. Thankfully a young Emily Browning is rather impactful as the young guide through the ship; her haunted visage and habit of appearing then vanishing greatly benefitting a threadbare story.

So with a cracking opening and decent cast, Ghost Ship has two things in its arsenal. Sadly, there’s little else to really get excited about here. Anyone who watches will see what I mean.

Lake Placid

Tags

1990's, Betty White, Bill Pullman, Brendan Gleeson, Bridget Fonda, Comedy, Horror, Lake Placid, Oliver Platt, Steve Miner

A horror-comedy hybrid about a giant crocodile terrorising a quiet Maine waterway, Lake Placid is something of a mixed bag. For all the flashes of humour and parts that have great tension, the rest of the enterprise fails to impress with the script straddling actors with roles that aren’t that interesting. Still, it’s a fun if slightly forgettable movie but it has some entertainment value amid its often confused identity .

A brutal attack that renders a scuba diver cut in half on Black Lake, Maine, raises immense concern for the safety of others. Gruff Sheriff Hank Keough( Brendan Gleeson) ,who was there with the river but didn’t see what killed him is understandably worried about the future at this point. He is soon joined by a diverse group of people from different fields who arrive to discover just what caused this bloody death. We have the calm and collected Fish and Game Warden Jack Wells( Bill Pullman) , who is skilled in the art of sarcasm. Following him is uptight and prissy palaeontologist  Kelly Scott( Bridget Fonda)who is assigned following a botched fling with her boss and is there because the fragment of an unidentified but very sharp tooth was discovered in the body, though she is not prepared for outdoor conditions in the slightest . And finally we have the eccentric mythology expert Hector Cyr( Oliver Platt) with oodles of money and not much in the way of tact. At first, some think it might be the result of a bear, though Hector is convinced that it is from a crocodile as he is something of an expert in that field. Everyone begins butting heads over the best course of action for the still unseen predator, but soon everyone must band together when terror strikes. It transpires that the creature in the lake is in fact a 30 ft saltwater crocodile that has a rather ferocious appetite. The rag tag group has to decide what to do before they end up as the beast’s next meal. But will any of them actually survive the carnage to tell the tale?

The directing of Steve Miner is passable enough and at least the running time is quite short which means Lake Placid is at least not a long movie. I must give kudos to some great set pieces that give bite to a muddled film. One really stands out for the suspense it induces. In it, the unusual Hector ,who believes that crocodiles are mythological and that he is immune to danger as he’s never been attacked, finds himself in the lake with the beast right behind him. His mix of awe and fear is palpable as it draws closer to him as if studying his every move and patiently waiting to pounce. If only the rest of the film could have been this thrilling, Lake Placid would have had it mad. Miner does very well in these parts, but can’t save the whole exercise from a feeling of lethargy. The script is the point of contention here. Scripted by David E. Kelley, who is known for rapid fire and very dry dialogue, some parts of his ideas work. They just end up feeling repetitive and juvenile as it goes on which doesn’t help matter. Some of it really has a snap too it with some humorous exchanges, but it ends up not mixing with the horror elements effectively.  At least Lake Placid looks good from a visual standpoint and the crocodile is rendered very well, it helps that we only see snippets of it before it lets loose. Stan Winston and his skilful animatronic work, blended with some pretty nifty CGI, make the predatory crocodile intense and believable, even if the film that houses it is not. The music is decent enough at dialling up notches of tension when it needs to but is nothing groundbreaking.

As the leads, we have Bill Pullman and Bridget Fonda. Both are actors I admire and have seen plenty of great work from. The thing is both are somewhat left with roles that don’t stretch them or really let them come alive. Pullman comes off better with his casual attitude and sarcasm providing a few great moments. Unfortunately Fonda is saddled with an annoying character which even her considerable talents can save. The part is whiny, bitchy and often obnoxious . Make no mistake, Bridget Fonda does what she can with material, she’s just left all at sea with a part that should have been better written. The best acting comes from Brendan Gleeson and Oliver Platt, who form something of a chalk and cheese duo who are always at each other’s throats. Gleeson is all scowling, not too bright but authoritative law enforcement, while Platt is out there ideas and an overzealous dedication to his vision that puts everyone in danger. Together the two are a complete blast, sparking off the other with witty retorts and snarling disdain that gives Lake Placid a much needed shot in the arm when it really needs it. They are by far the most entertaining actors and characters here it must be said. And if we are speaking of scene stealing, there’s a very amusing and outrageous small but memorable role for Betty White. She’s loud, foul mouthed and all knowing, plus clearly having a blast in a part you wouldn’t expect from her. I loved it whenever she appeared on screen and went for the jugular with her attitude.

So taking everything into account, Lake Placid is a daft, sometimes funny and scary film. But it just could have mingled better when melding the genres for my liking. It has its good parts though so at least that is something to take away.

Crimson Peak

Tags

2010's, Charlie Hunnam, Crimson Peak, Guillermo del Toro, Horror, Jessica Chastain, Jim Beaver, Mia Wasikowska, Tom Hiddleston

Guillermo del Toro indulges his love of old Gothic chillers and ghost stories with the visually sumptuous Crimson Peak. It’s not one of his finest movies, but is still one that has a level of pizzaz and a well appointed cast.

In the late 19th Century in New York, young Edith Cushing(Mia Wasikowska) lives with her businessman father Carter(Jim Beaver). She has been tormented by ghosts since childhood, the first being a spectral visit from her deceased mother warning her “Beware of Crimson Peak” . Edith is a forward thinking woman when we rejoin her as a grown up and about to experience great changes in her life. The primary one is her meeting with Thomas Sharpe(Tom Hiddleston); an English baronet visiting America with his piano playing, all seeing sister Lucille(Jessica Chastain). Though Edith is a woman who chides at society’s placing of woman as just objects to be married off, she can’t help but be intrigued by the dark, handsome yet immensely charming Thomas, who we learn has a title but who has not much in the way of money. Her father disapproves of this match and has a detective do some digging. He learns something sinister, but the audience doesn’t know what. Brutality intervenes when Carter is gruesomely murdered, leaving Edith the heiress to his fortune. At this point, she decides to impulsively enter a whirlwind romance with Thomas . This results in marriage, which crushes the hopes of local doctor and family friend Alan McMichael(Charlie Hunnam). He has been in love with Edith as long as he can remember and was close with her father, so he’s naturally left feeling despondent by Edith’s rejection. Thomas brings Edith over to his large house in the English countryside. Although a grand house, it is dilapidated with a hole in the main roof that. The fact that the house is built atop a clay mine, which causes the substance to appear red against the wintery surroundings and often it leaks through the walls. The foreboding and decaying house also houses Lucille, who is regularly icy towards Edith and warns her not to wander around the house as there are areas deemed ‘unsafe’. With the house being so mysterious and a certain uneasy tension in the air with regards to the relationship between Thomas and Lucille, it’s not long before Edith begins seeing ghosts throughout the house. She’s understandably terrified, yet determined to figure out why they are haunting her new residence. Upon learning that the house is often referred to as Crimson Peak , she begins her journey even as she seems to be suffering in terms of physical health and emotional instability not helped by Lucille’s cryptic nature and how enigmatic Thomas is. Soon the history and secrets of the eerie house begins to surface gruesomely and things get more unbalanced for everyone involved, especially the increasingly tormented Edith. But what will the old house known as Crimson Peak reveal?

Guillermo del Toro is in the directors and writers seat and his style is evident from the get go. Even though it’s not one of his finest films and doesn’t quite have the power we usually expect from his output, del Toro still has a cinematic touch that can’t be denied. Crimson Peak isn’t exactly an out and out horror movie( as del Toro has stated numerous times in interviews), though it involves ghosts and much in the way of grisly and thrilling events. It owes quite a lot to Gothic romance and atmosphere of old school chillers of which del Toro is evidently a fan. And that isn’t to say, it just isn’t creepy in parts( it delivers on crafting something eerily lurid and unsettling). From the opening of Edith being tormented, there’s something unusual and on edge about it. Crimson Peak just isn’t your standard horror film in the conventional sense of the word even though it seems it is. It is in the horror genre and that is evident from its influences, yet its more of a ghost story with horror elements and dashes of twisted romance vibe going for it that’s very del Toro. There’s a level of almost fairy tale darkness and dramatic feeling to parts of it, mixed with Wuthering Heights and Jane Eyre esque ambience with the house becoming a looming and haunting presence throughout. This is something del Toro is known for, as well as splicing both beauty and brutality side by side. Both shock and ravishing visuals are present in Crimson Peak, with production design and simply bewitching cinematography that takes us into this creepy world of darkness and ghostly happenings. The special effects are used amazingly to craft the ghosts; often red and with what’s left of tissue flowing away like leaves in the wind. There’s a disquieting nature to the spectres and they sure are very spooky to behold. Plus when you’ve got the mind of del Toro working, you know you’re in for something unusual and lavishly baroque. If Crimson Peak was judged purely on its visual content, it’d be heralded as a Fantasia and cinema at its best. Sadly, there is more to a film than just what we see. It’s just a shame that sometimes the elements don’t mingle together as well as they could and some parts are left very vague. I think the sometimes predictable parts and how it can get long winded are what stops Crimson Peak being in the illustrious company of del Toro’s impactful masterworks. It just falls short of reaching those heights, but the score is one of cool atmosphere and melancholy refrains that suits the tone of the movie. 

The cast adds strength to the uneven film, with the three principal stars all excellent. In the lead, Mia Wasikowska , with her arresting face and air of strength blended with vulnerability, is ideal casting as the young lady finding herself haunted by her surroundings. Yet Wasikowska wisely makes Edith not a shrill victim, in fact although she’s put through the emotional wringer, the character is determined and has agency despite the confusion surrounding her. Tom Hiddleston is all moody yet troubled soulfulness and Byronic charm as the husband who is clearly involved in something, we just aren’t sure how on board he is with it which adds to the ambiguity. 
However it’s Jessica Chastain that provides the true acting standout in Crimson Peak. Alternating between icy, knowing and ultimately unbalanced, Chastain navigates this terrain with verve and really gets into the part. It’s through Jessica Chastain that Crimson Peak kicks into high gear in the layer stages as she’s so amazing to watch as her character goes off the deep end and then some. It’s obvious that she’s enjoying playing such a layered and unbalanced character and she truly delivers. As the noble and honest doctor pining after Edith, there is Charlie Hunnam. He probably has the least developed part but he does what he can with such scant material in the way of growth. An entertaining appearance comes courtesy of Jim Beaver, exuding wisdom and fatherly concern. 

A ravishingly beautiful Gothic horror film influenced by the genre of old school horror, Crimson Peak has that going for it as it does have del Toro at the helm and a fine cast. I just felt that it did get a tad predictable and long winded for me and that stopped it from being in league of del Toro’s other films. Saying that, there is much to enjoy here I’ll give it that.

Krampus

Tags

2010's, Adam Scott, Allison Tolman, Comedy, Conchata Ferrell, David Koechner, Emjay Anthony, Horror, Krampus, Krista Stadler, Michael Dougherty, Stefania LaVie Owen, Toni Collette

A seasonal horror comedy , Krampus provides a respite from the overly cheesy and schmaltzy stuff that gets dished out this time of year. Not perfect by any means, but very fun and creepy enough, with a good message at the core, Krampus is a dark Christmas delight. 

It’s just before Christmas for one family and it’s going to be one to remember. Young Max(Emjay Anthony)still believes in the magic of Christmas and Santa Claus, though he’s struggling with the knowledge that he’s going to have to endure the dysfunction of his extended family over the holidays . His parents, Tom(Adam Scott) and Sarah(Toni Collette) are good people who work hard and do their best and even they are sort of dreading this family get together at Christmas as they believe they know the outcome. Arriving at their house for the holidays are gun-toting arrogant spitting Uncle Howard(David Koechner) , his put upon wife Linda(Allison Tolman), their four kids, and drunken, foul mouthed Great Aunt Dorothy(Conchata Ferrell) . Also in this family are Max’s sullen sister Beth(Stefania LaVie Owen)and the knowing Eastern European mother of Tom, referred to as Omi(Krista Stadler). Tensions rise over dinner when the bratty, nasty children of Howard and Linda read aloud Max’s letter to Santa Claus. Feeling embarrassed and that everyone has lost their spirit, Max renounces his joy at the holiday and storms off to his room. He tears up his letter and throws it into the wind. Quickly, a blizzard arrives and knocks the power out at the house and the entire neighbourhood. The squabbling family panic with what to do. Beth goes out to see if she can find her boyfriend who lives nearby, but she doesn’t return. This puts everyone into desperation as horror begins. are attacked while searching for people by a strange creature from underground, a mysterious sack of presents comes to life and there’s something sinister lurking in the attic. And to top it all off, a demonic being with hooves and horns seems to be controlling this. He is Krampus, a sort of anti-Santa who punished those who don’t believe in the spirit of Christmas. When , he inadvertently summoned the demon which is now enacting its brand of retribution to what he sees as ungrateful people. Now it’s a battle for survival as Krampus and his minions lay siege to the house and death begins to envelope the dysfunctional family inside. It may not be a Holly Jolly Christmas for all if they can’t make it through.

Michael Dougherty keeps the atmosphere building well and the humour present( watch for a hilarious opening sequence of frenzied shopping and scrapping between customers portrayed in slow motion to the sound of ‘It’s Beginning to Look a Lot Like Christmas’) as we enter the story with a message of togetherness after much horror and how it’s navigated. Krampus isn’t necessarily insanely terrifying and bone chilling as it could be, but it’s undeniably tense and boasts a sprightly, creepy nastiness to it once chaos begins to rain down. The humour parts work, the characters are mainly archetypes but I think that is the main point of them as it adds a level of familiarity to the proceedings. The family in question actually learn quite a bit once they come under attack and Dougherty has a good understanding of this and the way that often in times of hardship or shock, pulling together is the only thing to do in order to make it out of the situation. Events are played lost entirely straight, which allows both the creep factor and underlying biting humour to nestle next to one another. Plus, I enjoyed the mythology  surrounding Krampus( who can be discovered by looking up Ancient European folklore) where it stems from. From my research, it’s something very intriguing and the film fills us in too via Omi who recaps her own experience and it’s displayed quite strikingly in stop motion. This sequence took me by surprise and really made an impact on me, while also clueing the audience up on the scary creature that’s on screen. 

And speaking of visual effects, the ones used in Krampus are a fine mix of practical and CGI, though the majority are practical and boast a certain old school appeal while being immensely creepy. There’s an army of viciously vindictive gingerbread men who take it upon themselves to terrorise eveyone, a spine tingling Jack in the box that boasts a multitude of fangs. Then of course there is the titular demon who we are wisely shown little of until near the end. A little sighting here and a bit of a reveal there is enough to keep us on the edge of our seats and entertained in this Christmas horror comedy. And for a film with bad 5ings happening, it’s refreshing to see that Krampus doesn’t really on blood and gore for chills. There’s hardly any blood to speak of, but that doesn’t mean that horrible things don’t happen in an atmosphere that grows more tense as it continues. The film does feel a bit stretched in its run time and parts of it sag for no apparent reason, this is especially present in the middle half which meanders. But the opening build up showing us just how dysfunctional this family is and the latter stages that show them truly understanding that their bickering actions have caused this horror, is very well executed and should be praised on that score alone while making up for the parts that don’t work. The ending is a divisive point which I won’t spoil. All I’ll say is that I’m on the fence regarding it and how it capped off Krampus. I’ve not made my mind up on whether I think it’s a satisfying and open ending or a cop out. Time will eventually tell no doubt I’m sure about that, but I feel like it’s growing on me as I write this review. A score of devilry and mischief compliments the film very well by being so strangely cheerful at the start then switching it up as horror engulfs.

A game cast is a big plus in Krampus. Adam Scott and Toni Collette are excellent as the stressed out parents who have to do battle with horror as they attempt to reconnect once more. It’s nice how they actually come across like genuine people too, instead of just overly cliched. Most of the characters in Krampus are by and large familiar but that doesn’t detract from what the cast does with them which is rather entertaining.Young Emjay Anthony stands out as the kid whose faith in the holiday is tested and whose actions accidentally lead to the arrival of Krampus. Anthony is a likeable kid and this transfers to us as we can sympathise with his feelings of alienation from family and how he just wants a nice Christmas. David Koechner gets a lot of the laughs as the boorish uncle who puts the red in redneck; though he comes in  useful as the gravity of the situation hits home. He undergoes a convincing transformation as does Allison Tolman as his much neglected wife, evolving from doormat to fierce. Conchata Ferrell gets some of the best moments of the movie and the best lines. Playing the slovenly, trashy and acidic Aunt with a major attitude problem, Ferrell is evidently having a total blast. She’s both despicably funny and capable as the story intensifies, showing a strength that is unexpected but welcome. A quiet yet haunting presence is found in the hands of Krista Stadler. Essaying the part of the wise old Aunt who knows more than she’s initially letting on, her sagacity and eventual revelation about the creature allow her to really strut her acting stuff beautifully and have probably the most emotional arc of Krampus. Stefania LaVie Owen is saddled with an uninteresting role as eye rolling sister who goes into the blizzard and never comes back. 

So while it’s got issues of its own that stop it from being truly excellent and a Christmas horror classic, Krampus should satisfy fans of horror comedy at Christmastime with its humour and dark chills. And I for one found it to be a surprise and mostly a positive one I must say. 

Saw

Tags

2000's, Cary Elwes, Danny Glover, Horror, James Wan, Ken Leung, Leigh Whannell, Michael Emerson, Monica Potter, Saw, Shawnee Smith, Tobin Bell

A horror movie that gave rise to a series of increasingly brutal follow ups, Saw was the benchmark of pushing the envelope yet retaining a story. Shot on a small budget and completed on a quick schedule, director James Wan and writer/ actor Leigh Whannell created a film that was grisly yet very well executed and with more psychological underpinnings than what followed. 

Two strangers, prominent surgeon Dr. Lawrence Gordon(Cary Elwes) and photographer Adam(Leigh Whannell) wake up in an underground bathroom. They are both chained to pipes and between them is a bloodied corpse holding a cassette player and a revolver. Both men seem to have no recollection of how they arrived in this dank, disused place. Soon discovering that the room is filled with clues and objects that may be useful, the two men use the cassette player to listen to the messages left. A gargled voice explains that Lawrence’s wife Allison(Monica Potter)and daughter Diana have been kidnapped and will be killed if Lawrence doesn’t kill Adam by a certain time. Adam is urged to escape, though it seems the only way to do that is to saw off his foot and crawl to hopeful safety. Soon memories start coming back to Lawrence who realises something awful about their predicament. Him and Adam are part of an elaborate and disturbing game set up by The Jigsaw Killer(Tobin Bell). He is a man who puts people who don’t appreciate life in horrifying situations involving torture to see how much they want to survive. As time keeps ticking by, we also witness a former detective named David Tapp(Danny Glover) who had previously runs in with Jigsaw, becoming dangerously obsessed with finding him. Both scenarios promise much in the way of horror and brutality for everyone involved with a killer twist.

Debuting director James Wan made a splash with Saw and its clear to see why. Wan possesses a keen sense of what unnerves the audience and a hold over a gloomy sense of style. Setting the film largely in one location was a great idea that paid off, with the flashbacks setting the scene even further for us in a gradual fashion. The cold,  washed out colour pallet adds to the grimness of Saw; bathing events in an uneasy hue that makes your eyes almost readjust to the bleakness. Certain comparisons can be drawn to Seven, and that’s quite a movie to take influence from. Saw however does it well and has its own twisted agenda going for it, so it is far from a copycat of the masterful aforementioned movie. Though later films would up the gore to excruciating levels, Saw itself is a bit more tame. There is definite gore and much unpleasant imagery to behold( like one unfortunate victim of Jigsaw in a maze of barbed wire), but it’s often shown briefly or in ways that don’t display everything. Take for instance when we see a victim of Jigsaw with a reverse bear trap strapped to her head. Instructed by the madman to retrieve the key to release her from sudden death, she must brutally kill a sedated man and find the object in his stomach. It would have been easy to make it a full on bloodbath, but Wan chooses to speed up footage and only display various parts do that our imagination does the rest of the work and makes us picture the horror. It’s one of many scenes where you see bits of the gore but it’s largely left up to us to visualise what is happening in the story in that particular grisly. 
Once the film opens up in narrative terms, it feels more expansive and puzzling with the history of characters explored after what seemed like such a straightforward premise. Granted the set up is simple but effective, but Wan and Whannell are clearly interested in playing with the formula as well as injecting some pertinent questions on the nature of morality and desperation. Saw isn’t without its flaws( sometimes the script shows that it’s from a novice and a few times things can move too quickly to focus), yet this shouldn’t detract from a creepy as well as horrifying film that knows how to get under your skin. It’s hard to forget the clown like puppet that acts as the terrifying mouthpiece for Jigsaw, uttering the now infamous line “ I want to play a game”. This moment and visual has become synonymous with the film and rightfully so as it’s chilling. One of the best elements in Saw is the score from Charlie Clouser. It has an industrial influence that hums away with an electronic pulse that underscores the mounting terror of the film. 

Cary Elwes and Leigh Whannell head the movie as the imprisoned men. Elwes is all trying to remain calm under pressure with a seemingly sensible and arrogantly strait-laced head before really cracking up, while Whannell in an early acting role is the more showy and in your face, never seen that still for long. Occasionally both actors go a little overboard( especially Whannell in a few stretches), but what still remains is good acting as we buy into the shared terror between them that can’t be denied. Sure no Oscars are coming their way for this, but they are acceptably good in their given parts and sell a lot of the horror we witness. They must be commended for holding our attention as the people who are basically on screen the most from start to finish. 
Danny Glover is suitably intense as the obsessed and verging on full breakdown former detective who provides the other half of the story and an axe to grind with Jigsaw. Ken Leung provides more backstory to the case as Glover’s parter in investigation and the two work well off each other. Michael Emerson, with his large eyes and uneasy demeanour, has us on edge with his delivery of a man caught him the game but not in the way you might think. Monica Potter on the other hand is just required to be terrified and not much else, as her character doesn’t have much in the way of development. Props must be given to Shawnee Smith for her one scene that truly traumatises; the reverse bear trap one where most of her acting is through her eyes and they evoke such a feeling of desperation and visceral pain it’s astounding. Despite limited screen time and mainly just the use of his voice, Tobin Bell creates one of horror’s most memorable villains in Jigsaw. That voice will send unending shivers down your spine and it’s down to that and Bell’s embracing of the twisted philosophy of the character that you buy into it.

A creepy and nail biting horror that is both stomach churning and psychological, Saw is a definite recommendation for horror fans out there. 

The Conjuring 2

Tags

2010's, Frances O’Connor, Franka Potente, Horror, James Wan, Madison Wolfe, Patrick Wilson, Simon McBurney, Supernatural Horror, The Conjuring 2, Vera Farmiga

A successful spine chilling sequel to the first hit film, The Conjuring 2 continues with genuine scares, atmospheric events, inspired by the investigations of paranormal investigators Ed and Lorraine Warren. This time it’s the Enfield Haunting that is explored and it delivers on both the scare front and having a depth that can often be missing in horror movies.

It’s 1977 and in a council house in Enfield, London, the Hodgson family lives hand to mouth. There is harried single mother Peggy(Frances O’Connor) , who tries to do her best and her four children. When not contending with poverty or ridicule at the hands of either school kids or others, something strange begins for them. Following Janet( Madison Wolfe) playing with a makeshift ouija board, seemingly supernatural things begin to happen. She begins sleepwalking and communicating with something angry that claims to be a former occupant of the house. This is followed by objects being thrown about the house and terrorising the family in an abundance of ways. Terrified, the family flees to their neighbours and away from were the haunting originates. Meanwhile, paranormal investigators Ed and Lorraine Warren( Patrick Wilson and Vera Farmiga) are taking a break from their jobs, following their encounters in The Amityville house a year before. Lorraine was put through the mill when conducting a seance and terrorised by a demonic nun figure who predicted the death of Ed. Still reeling, Lorraine has taken time away to spend it with her husband and young daughter. Yet it’s not long before news of unexplainable events in Enfield reach across the pond thanks to a media circus in England. The Warrens being experts in the field of the supernatural and haunting are asked to assist in investigating the unusual phenomena. After her experience a year prior, Lorraine is very reluctant to get involved in another case. Eventually, she and Ed travel to Enfield to act as observers and possibly help. Though they said they’d just observe, it becomes clear that Ed and Lorraine will have to really take on this force of evil as it gets more menacing. Upon entrance into the residence, Lorraine senses something deep and dark. The second oldest child Janet,seems to be the one most affected by the supernatural occurrences out of the family, leading to Ed and Lorraine investigating why the entity is using her as a conduit. The Warrens realise that they are up against an immensely evil being that seems to take pleasure in torment and may in fact be something relating directly to both of them. It’s up to Ed and Lorraine to fight this malevolent spirit that threatens to terrorise all in its path with no end.

Horror maestro James Wan is directing once more and his imaginative flourishes and ability to really generate fear in an audience is in huge supply once more. Wan is gifted in how he blends real feeling for characters and putting them through all manner of terror. An attention to characters and suspense building is what I really dig about this movie. Among all the scares, there is depth to be gleaned and relatable moments, especially pertaining to Ed and Lorraine. They are a fantastic couple whose open minds and devotion to each other is really amazing to watch as they compliment each other so well. The Conjuring 2 ups the stakes by making the main form of terror feel more personal towards the Warrens. There is the dual threat of a figure that takes the form of a nun that predicts bad things and the seemingly evil spirit of an old man who once lived in the Hodgson house. Both are the stuff of nightmares and really get under the skin whenever they appear. The nun especially has one very goosebump inducing scene in which she toys with Lorraine and it’s a doozy of a moment as it gradually begins to really unnerve the dedicated medium. Plus some sequences really stand out, in particular Janet sick at home and experiencing the full force of the ghost and Ed conferring with a possessed Janet in a one shot that obscures her. This visual trick is a nifty one as even though our view is blurred, you can see little differences as the demonic possession carries on and begins taunting Ed with inhuman glee. It doesn’t show us everything, but knows the trick of showing us enough to keep you on edge. It’s old school horror style at its finest. And speaking of style, the cinematography of moody blues and unusual camerawork really help us feel unsettled yet fascinated as we join this investigation. The colour scheme really highlights the period and setting, with the Warren’s providing the light that is unwavering through the darkness of their discoveries. And people may being skeptical about how true these events are, which is interestingly portrayed here as if it knows they’ll be naysayers. Amusingly, there are areas of the film that actually examine this in the form of investigator Maurice Grosse( Simon McBurney) and skeptic Anita Gregory( Franka Potente) but regardless of your belief or disbelief in the supernatural , you can’t deny that it isn’t one eerie and chilling film. The main flaw with The Conjuring 2 is that it does feel a bit overlong. Mind you, with that being the only real niggle with the film, I can’t find much fault with anything else on display. The score is appropriately nerve shredding in the best way there is, with low sounds and sudden jolts the order of the day. Plus, you get great periods of silence that truly maximise the tension and force you to keep your ears peeled for anything changing. 

Patrick Wilson and Vera Farmiga head proceedings with commendable and believable performances. Wilson is dependable, amiable yet equally as adept in bringing home the serious nature of the job, while Farmiga is graceful, quietly forceful and tenderly beautiful as the gifted Lorraine. The chemistry is a big highlight and what makes us truly care for these people who are clearly devoted to each other and stalwart in their belief to do the right thing. Frances O’Connor is subtly devastating as the vulnerable single mother going through hell with her children; she truly comes alive with fear and terror as events spiral against her thanks to the great acting from O’Connor. Madison Wolfe really gives it her all as the besieged Janet and it’s amazing to watch such a young performer really hold the attention with a performance. She manages to be both very sympathetic and very alarming depending on whether she’s herself or possessed. Whichever side she’s portraying , Wolfe truly delivers fine work that is very memorable. Simon McBurney and Franka Potente, although assigned more supporting roles, at least get great moments as people on opposite ends of the believer spectrum.

Mixing creepy horror and human drama, The Conjuring 2 is an excellent sequel that features fine acting, eerie scares and a classy sense of horror that doesn’t go for hack and slash( instead opting for psychological terror). You won’t be having sweet dreams following this chiller.