The Invisible Man

Tags

2020’s, Aldis Hodge, Elisabeth Moss, Harriet Dyer, Horror, Leigh Whannell, Michael Dorman, Oliver Jackson-Cohen, Storm Reid, The Invisible Man, Thriller

An update and reimagining of an old idea , The Invisible Man successfully crafts tension and scares, while lacing the story with topical awareness  and psychological chills.

We open with Cecilia Kass( Elisabeth Moss)escaping from her boyfriend Adrian Griffin(Oliver Jackson-Cohen) who she lives with in his high tech house. She is aided in her escape by her sister Emily(Harriet Dyer) and following this she goes to live secretly with childhood friend/ cop James (Aldis Hodge) and his daughter Sydney( Storm Reid).  After this we learn that Adrian had been controlling every aspect of their relationship and would regularly abuse Cecilia to the point that she thought she was losing her mind. Then Cecelia hears that Adrian has supposedly committed suicide.  Cecelia is shocked by this because Adrian was so in control of everything, including her and enjoyed the feeling of owning something. But nonetheless with his apparent demise, she attempts to recover from the abuse she suffered and start a new life. Unfortunately, a lingering presence won’t let that happen for Cecelia . What first appears to just be her being paranoid because of strange coincidences soon becomes clear that something is stalking her, though everyone thinks it is just the trauma talking. With events turning dangerous and her friends questioning her sanity, Cecelia starts to feel cut off from everything with no one believing her that Adrian is doing this somehow. Desperate and isolated by this point, Cecelia must muster all her strength in order to avoid going insane and figuring out just how Adrian is still able to torment her despite being apparently dead.

Right from the opening, in which we see Cecelia escape from Adrian’s grasp , Leigh Whannell places us right in the middle of tension and keeps it ticking away like a time bomb. Once Cecelia escapes, the tension and uneasiness is never far away as it bubbles away before steadily ratcheting things up notch by notch. Whannell is a skilled director and writer  who truly brings this creepy story to life and knows how to make an impact on the audience by pushing the right buttons and also throwing in some unexpected moments too .The themes of oppression of women and particularly abuse inflicted by toxic masculinity echo the real life events across the entertainment industry the past few years. The Invisible Man understands just how suffocating and damaging dealing with abuse like gaslighting can be and what it can do to your head. For that reason, it really stuck in my mind and I’m sure it will do the same to others who see it. One tiny niggle is that the film loses a bit of steam in the midsection and a little editing could have been a tad more efficient. But this is a minor gripe in one chilling and suspenseful horror thriller. Visually, the cold colours of The Invisible Man are hauntingly rendered and the usage of wide shots to test the audience into noticing whether something has moved is alarmingly effective . I mean the way the camera lingers with tension is so assured that you feel genuinely unnerved by it . And it’s put to amazing use during a particularly brutal sequence that is one continuous moving shot that has to be seen to be appreciated . The low hum of the score further exemplifies an unearthly presence that won’t stop until it is satisfied.

What gives The Invisible Man a lot of its power is the central turn from the always talented and watchable Elisabeth Moss. Exploring the desperation, isolation and eventual strength of her character, Moss doesn’t miss a beat as the abused woman slowly piecing things together. We buy into her anger, sadness and confusion, as well as the burning resilience waiting to burst through. And it’s all down to Elisabeth Moss, who has the ability to make us feel often without speaking a word( her expressive face does that to stunning effect.) For the time he’s on screen, Oliver Jackson-Cohen makes Cecelia’s abusive ex suitably slippery and chilling; you really buy into the fact that he could manipulate you anyway he wanted to. Harriet Dyer convinces as the sarcastic but caring sister , while the supportive and strong duo of Aldis Hodge and Storm Reid adds to moments of levity for Cecilia as she attempts to rebuild her life, little realising the nightmare has only just begun . Michael Dorman excels as Adrian’s mysterious brother who you are on the fence about and can’t help but question which side he is on given his familial ties. Not to take anything away from any of the other cast, but The Invisible Man belongs to Elisabeth Moss

Scary, unnerving and above all well acted(particularly by Moss), The Invisible Man is a horror/thriller that manages to get under your skin from the very beginning. Trust me, you’ll be checking over your shoulder when this movie finishes

The Guardian

Tags

1990's, Carey Lowell, Dwier Brown, Horror, Jenny Seagrove, Supernatural Horror, The Guardian, William Friedkin

I would like to thank both Gabriela and Gill for inviting me to the Other Than a Bond Girl Blogathon. Both women are amazing writers and I was thrilled to be offered the opportunity to take part. I decided to highlight the delightful Carey Lowell, below is my review. 

A supernatural horror movie from William Friedkin, The Guardian is a strange movie that is by turns cheesy and then creepy. While it is a definite mixed bag , The Guardian does hold moments of interest.

Phil( Dwier Brown) and Kate (Carey Lowell) Sterling are a young couple who have relocated from Chicago to Los Angeles as Phil has been offered a lucrative advertising job. Kate also works as an interior decorator. Soon they are blessed with a baby boy who they name Jake. To ensure that they can both be around for their son as well as have successful careers, they decide to hire a nanny. The woman in question is the English Camilla Grandier(Jenny Seagrove), who comes with impeccable manners, charm and a great deal of attention to little Jake. Camilla becomes a vital part of the household, though things are really not what they seem. She is in fact a druid, and she plans to sacrifice Jake when the time is ready to a nearby tree that she worships. Phil and Kate don’t realise this at first, but various things begin to make Phil question the woman who he has hired to care for his newborn baby. The seductive and conniving Camilla begins invading his dreams and we see the extent of her power when a friend of Phil and Kate’s stumbles onto her evil secret. For Camilla, it’s all about biding her time until she can snatch Jake and complete her act of horror. The question is will Phil and Kate be able to save their baby son from the diabolical plans of the evil but charming Camilla before it’s too late?

William Friedkin has long been a director who I’ve admired. While his films haven’t always been great, he still has flashes of crazy brilliance in his work. His work here is pretty good in quite a bit of it; it’s just let down by various other areas. The Guardian is a film that’s very much up and down in terms of quality and while it has creepiness, I wouldn’t really classify it as scary in terms of horror. The constant re-writes behind the scenes and troubled production come through because of this in terms of the overall product. It’s as if the film can’t decided what it wants to be(evidenced by the often choppy editing). It can’t fathom whether it should be totally serious in terms of subject or pretty outrageous and decadent . But some moments of brilliance shine through these many flaws , like the creepy effects used on the trees coming to life and some atmospheric dream sequences. Plus, when things do get really crazy, its quite thrilling stuff. Which makes it a shame that the rest of the film couldn’t deliver on this promise and decide what it wanted to be. A good enough score, punctuated by synth and piercing strings is employed to a fairly decent degree, even if it does feel a little sparse. 

Jenny Seagrove heads the film with a mysterious and unnerving turn as a charming woman with deception and treachery in her mind. Seagrove, who is a strikingly beautiful presence, uses this to her advantage by showing little by little that Camilla is in no way to be trust because of how dangerously powerful she can be. Dwier Brown , while not being the finest actor in the business, has a few good moments later as the father unearthing his son is in danger. Brown just unfortunately has a habit of overacting, which can be rather grating after a while. And the woman who I’m here to write about is Carey Lowell. Her role isn’t exactly what you’d call the deepest role(new mother realising something is very wrong with the woman she has trusted with her child, Lowell brings out a convincing concern and sense of terror that is very watchable. I would have liked to have seen more of her in the film, but for when she’s on the screen, Carey Lowell gives a pretty fine performance of maternal vulnerability and underlying strength. In essence, it’s the main ladies who dominate this film. 

So I must conclude that The Guardian is rather messy as a film with an editing scheme that renders parts as scattershot.  But with a competent  cast, notably Jenny Seagrove and of course Carey Lowell , plus some good visuals, they provide interest in what is a flawed but watchable film from William Friedkin. 

Poltergeist

Tags

1980's, Beatrice Straight, Craig T. Nelson, Dominique Dunne, Heather O’Rourke, Horror, JoBeth Williams, Oliver Robins, Poltergeist, Supernatural Horror, Tobe Hooper, Zelda Rubinstein

A horror movie with a heart, Poltergeist provides the chills and thrills as a family is beset by a mysterious presence. With a strong story and a mixture of creepiness and wonder, Poltergeist lingers in the mind.

The California town of Cuesta Verde is an ideal looking suburban town of nice lawns and high standard of living. It’s a planned community where everything looks strikingly similar. We are introduced to the Freeling family; real estate developer father Steven( Craig T. Nelson) , loving and devoted mother Diane(JoBeth Williams), eldest daughter Dana(Dominique Dunne), only son Robbie(Oliver Robins) and adorable five year old daughter Carol Anne(Heather O’Rourke) . One night when the television broadcast finishes and the static appears, little Carol Anne awakes from her sleep, approaches the set and starts communicating with something. Then various phenomena start in the house like chairs rearranging themselves and cutlery bending. At first the family sees it as something funny yet unexplainable, but events soon take a very dark and sinister turn. On a stormy evening, all manner of supernatural and startling terror unfurls and Carol Anne is snatched through her bedroom closet. The family search for her, but can’t physically find her. Then they start to hear the voice of the kidnapped little girl. It transpires she can communicate at times through the static on the television as she is in another dimension. Terrified and uncertain of what to do, Diane and Steven contact parapsychologists headed by Dr. Martha Lesh( Beatrice Straight) about this . Lesh and her co- workers are intrigued and want to help but find even their open minds challenged by this haunting and kidnapping they come upon. That’s when they call in the small but powerful physic Tangina( Zelda Rubinstein) who goes about attempting to figure out what snatched into another dimension. Darkness descends as the family, Tangina and the paranormal investigators do battle with the restless spirits that have an axe to grind in order to bring Carol Anne back to them.

Tobe Hooper is in the directing chair and though it’s often debated whether he was the sole director or if Steven Spielberg was more a part of it, he deserves credit for what he fashions here. His direction is pacy and allows for the opening to appear a little spooky but innocuously wholesome and then allowing the onslaught of scary encounters that are wonderfully executed. It’s a rollercoaster that’s akin to a fun ride with added jolts of scary material. The film may be almost two hours but the content and story carry everything along to a satisfying degree that pulls you in. Long shots are used that capture the little details of the house and how the haunting envelops it with an insidious glee. It’s all in aid of the intense set pieces that show the special effects which are mainly ones that hold up now( some have dated a fair bit naturally) and are used to maximum effect. From the static hands reaching out from the television, the attack of the monstrous tree on Robbie, one of the poor investigators having one squirm inducing hallucination, a clown doll that’ll give you a many jolts terror and the filling of the swimming pool during a storm with corpses after Diane falls in, it’s dazzling and horrifying in equal measure . With a screenplay by Steven Spielberg( who you can see the influence of in the film with the blending of spectacle, awe and tension), the film while frightening and thrilling has some real depth and drama to it. Plus there’s also a deliciously ironic take on television culture and also how suburbia isn’t all it’s cracked up to be considering some of the foundations it’s literally and metaphorically built on. Also of note is how the characters act in situations; with most of them being grown ups there’s a level of maturity that’s sometimes missing in films that focus on teenagers. The family reacts in a very believable manner to the shock and mind blowing events befalling them and it adds to how much we care for their plight. Jerry Goldsmith contributes a sensational score that has a spry innocence at first before layering on the spooky vibes as the haunting continues.

As mentioned earlier, the cast is very convincing. JoBeth Williams heads proceedings with a commanding performance of maternal determination and strength in the face of adversity. She’s human and relatable, acting wonderfully alongside the stalwart Craig T. Nelson as her husband.  Nelson contributes a strong performance as a hardworking man thrown into a hellish ordeal and attempting with his wife to stay above it instead of sinking. The two stars create a believable bond as husband and wife and crucially as parents. Beatrice Straight exhibits the right amount of compassion and shock as the parapsychologist called in, while the dynamic Zelda Rubinstein  steals her scenes as the medium with a lot of power and eccentric manner about her. Both ladies contribute a lot to the film as memorable supporting characters, particularly the highly entertaining Rubinstein. By far one of the most memorable things in Poltergeist is the presence of the cherubic Heather O’Rourke. With her wide eyes and genuine sense of wonder combined with terror, she provides most of the memorable moments in the film. And considering she’s not in the film as much as you’d think, O’Rourke definitely makes a huge impact in her scenes and is iconic, especially for her delivery of the line “They’re Here” . Dominique Dunne as the eldest daughter also makes her presence felt. On a sad note, Dunne was murdered after the film was released, leading to the belief in their being a curse on the film and the inevitable sequels. Oliver Robins is also extremely impressive as the traumatised son going through one hell of an ordeal.

Spooky, thrilling and certainly memorable, Poltergeist is a great staple film as we reach Halloween. With its invective imagination and soulful story of family against the odds, Poltergeist is a must.

Dracula: Prince of Darkness

Tags

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

Tags

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

Tags

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

Tags

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

Tags

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.