Scream 4

Tags

2010's, Alison Brie, Courteney Cox, David Arquette, Emma Roberts, Erik Knudsen, Hayden Panettiere, Horror, Marley Shelton, Mary McDonnell, Neve Campbell, Nico Tortorella, Rory Culkin, Scream 4, Wes Craven

Film Title

Scream 4

Director

Wes Craven

Starring

• Neve Campbell as Sidney Prescott
• Courteney Cox as Gale Weathers-Riley
• David Arquette as Dewey Riley
• Emma Roberts as Jill Roberts
• Hayden Panettiere as Kirby Reed
• Rory Culkin as Charlie Walker
• Erik Knudsen as Robbie Mercer
• Marley Shelton as Deputy Judy Hicks
• Alison Brie as Rebecca
• Nico Tortorella as Trevor
• Mary McDonnell as Kate Roberts

A return to the slasher series with a satirical edge, Scream 4 undoubtedly has its flaws. But it would be impossible to reach the heights of the influential first movie and if you look at it from a singular standpoint, Scream 4 is still rollicking and entertaining, albeit with problems. Plus, you’ve got Wes Craven on directing duties, Kevin Williamson back in the writing department and three of the principal actors from the original trilogy. And in those areas, Scream 4 rocks.

It has been ten years since the first spate of slayings in Woodsboro and Sidney Prescott returns. In the time since, she has written a self-help book and become a very confident woman whose no longer scared of her past. She stays with her Aunt Kate and cousin Jill, who is in her teens and surrounded by friends who adore the movies. Her return is part of her book tour and she reconnects with friends Dewey Riley, who is now the Sheriff and Gale, who is married to Dewey and whose career as a writer has somewhat stalled since moving back to Woodsboro a number of years ago. Dewey is having a good enough tenure as Sheriff of his hometown, while Gale has writer’s block and craves a new challenge. Yet as Sidney arrives, her old nemesis of Ghostface makes his presence felt with a rash of grisly murders, akin to the crimes perpetrated all those years ago. With a new generation of wise ass teens on the block, we learn that the killer may be trying to outdo the original in the way that most reboots do. That means it’s up to Sidney, an inquisitive Gale and Dewey to unearth the psycho before more blood is shed from the people Sidney holds dear to her heart. But just who is starting all these killings over again and what is the overall motive?

Wes Craven, that great iconic director of horror, is firmly in the director’s seat and his obvious expertise in the genre are at play. Though some of it feels stale, Craven has enough energy and style to make Scream 4 at least a worthy entry to the canon. In a sad footnote, Scream 4 was Craven’s last directing gig before his death and he left us with a good movie to go out on. While it has some problems, I will say that it has a bit more a better ratio with laughs and scares than Scream 3 did. meta and self referential areas are still pretty much intact, though they can lack some of the panache the other movies had.  Regardless, the many satiric jibes about endless glut of horror movies that attempt to outdo their predecessors by being outrageous and bigger are well-handled. The in jokes here are pretty amusing it must be said, as a new set of reboot rules come out to play. Because so much has changed in the world of movies and technology, Scream 4 can seem a bit forced as it is a totally different age from when the first three where hot. Saying that, quite a lot of the humour regarding us being such a dependent species on the Internet and the lives of others is particularly tart and barbed; something writer Kevin Williamson knows a lot about. Yet for all the mocking of conventions, it slips into many of them a lot more than necessary. Overall though, the script and return of Williamson are inspired and still very witty when it comes to be self-aware. Just that opening film within a film part is wildly entertaining as a send up to relentless sequels in the gore-filled genre. Seriously too, I loved the homages to the other films in the franchise; a lot of them really stuck in my mind and surprised me. Probably the most glaring flaw is the lack of interesting supporting characters, save for movie savvy Kirby, girl next door Jill and geeky Charlie . The rest of the teenagers are mere cardboard cut outs whose main purpose is to die extravagantly( though that does make the film more brutal and pretty scary it must be stated). The other main flaw within Scream 4 is that it overlong and could have been cut better, instead of dragging quite a big chunk of it out. I believe it’s a flawed movie, but it has some excellent moments that bring us back into the feel of the first troika of works. Marco Beltrami also returns on music duties and kicks up the action and winking to the audience that these movies are a dab hand at. The music has always been a big part of why I love these movies and this doesn’t disappoint, along with some side-swiping writing and inventive deaths.

The returning cast members slip back into the roles they know so well and do it with style. Neve Campbell once more impresses as perennial survivor Sidney, who is now older and more confident than ever before. Campbell portrays Sidney at her most hard-edged and ready for battle, even having a bit of sarcasm and as she’s faced this horror before yet refused to be the victim. That quality of overcoming adversity and personal growth has always been the most effective thing about Sidney Prescott, best embodied by the naturalness and heart of Campbell. She is still obviously terrified by events repeating themselves, but by now can take charge and kick ass with both attitude and soul. All bow down to Sidney Prescott and Neve Campbell for bringing this resilient character back to life. Courteney Cox gets to show that Gale can still be a fabulous bitch who wants her part of the glory solving the crimes, in typically defiant and amusing and near dangerous fashion. David Arquette’s puppy like enthusiasm is still there in funny ways, though it is tempered with a weariness now that the character is older. It was nice seeing these three characters return once more and still be interesting to watch. Emma Roberts is good as the cousin of Sidney, while Hayden Panettiere steals the show as the wise ass, movie buff Kirby. Exhibiting a sassy attitude and flirty sex appeal, she was a lot of fun to watch. Rory Culkin and Erik Knudsen are pretty OK as the movie geeks of the piece, though Culkin overshadows Knudsen because he appears more than him. The gorgeous Marley Shelton is unfortunately saddled with an uninteresting part of adoring police deputy who has a thing for her boss and Alison Brie majorly grates as the bitchy publicist with a big mouth and condescending persona. Nico Tortorella is pretty bland and not at all convincing as a creepy ex-boyfriend of Jill’s, while Mary McDonnell is completely wasted in her role as Sidney’s Aunt.

As flawed as it gets and lazy in some aspects it becomes, Scream 4 is largely an entertaining return to the series, aided by some inventive deaths and characters we know and love. Imperfect it may be, but any Scream is better than no Scream, even with some blemishes to its name.

Who Is Your Favourite Horror Heroine?

Tags

Horror, Strong Women

As anyone who follows me will know, horror is probably my favourite movie genre. One aspect that I adore is the roster of strong women or final girls that appear. Nine times out of ten it is the ladies who are left standing. But which of them is your favourite?

Mine are and the reasons why:

Ellen Ripley is the ultimate bad ass who takes control in heavy situations. You wouldn’t want to mess with her.

 

Sidney Prescott is a resourceful and very human character who shows great initiative and resilience. And she’s probably one of the most relatable heroines.

Laurie Strode is a level-headed girl with the great ability to think on her feet with intelligence.

Nancy Thompson is the go to girl for survival and ensnaring the horror that stalks her.

Kirsty Cotton is another resilient heroine sucked into gruesome situations but able to quickly adapt.

So which lady is your personal pick? Mine are just an example, so yours can be any lady from the genre.

Cujo

Tags

1980's, Christopher Stone, Cujo, Daniel Hugh Kelly, Danny Pintauro, Dee Wallace, Ed Lauter, Horror, Lewis Teague, Stephen King

Film Title

Cujo

Director

Lewis Teague

Starring

• Dee Wallace as Donna Trenton
• Danny Pintauro as Tad Trenton
• Daniel Hugh Kelly as Vic Trenton
• Christopher Stone as Steve Kemp
• Ed Lauter as Joe Camber

Although a terrifying and tense film based on the Stephen King novel, Cujo falls down in pacing and a sometimes over the top nature. It’s thankfully saved due to some horrifying sequences and a powerful turn from Dee Wallace that raise Cujo up a few levels, even if the overall product is flawed.

In the opening, we observe the friendly St. Bernard named Cujo chasing a rabbit. He gets his head stuck in a cave when looking for the rabbit, but awakens the bats that reside there. His presence scares the bats(which are rabid) and they respond by biting him. Slowly, Cujo begins exhibiting signs of rabid behaviour, that no one seems to notice. Meanwhile, in the town, various dramas are at play. Housewife Donna Trenton is married to advertiser Vic and has a young son named Tad. Although she cares for both, she has grown restless and dissatisfied. This has led her into an affair with local stud Steve Kemp, although Donna attempts to resist this. A problem with the family’s car forces them to visit alcoholic mechanic Joe Camber, who is the owner of Cujo. The dog is progressively getting more frightening and infected, but everyone is concerned with other things to truly take note of it. Donna, feeling guilty about her indiscretions, admits to her affair to Vic. Having to deal with a crisis at work and the knowledge of his wife’s affair, Vic leaves for business, which makes Donna be in charge of sorting the failing car and grappling with not knowing what the future holds. Little realising what awaits them, Donna and Tad head to Camber’s house to finally get the car sorted out. Unfortunately, by this point Cujo has become a rabid animal that has killed Camber and his friend. The dog soon sets upon Donna and her son, isolating them in their car that the battery has run out of. Trapped inside the car and terrified, Donna must summon up all the resolve she has to survive the attacks of Cujo and ensure the safety of her son.

Lewis Teague makes a good stab at directing this horror tale and does manage some very scary moments. His control over pacing and narrative is less assured, as he could have brought a bit more immediacy to things to increase the shocks. When the movie gets the nitty-gritty of the rabid dog attacking people and ultimately trapping Donna and Tad , is where the big strength and effectiveness of Cujo lies. It’s the build up to the unleashing of violence that provides a stumbling block for the movie. In one respect, some of it builds suspense and comments on how wrapped up everyone is in their own lives, that they fail to notice a change in Cujo. Yet the other narrative points are too melodramatic and soap opera style that they feel extremely out-of-place. It’s a conundrum to be sure, and just when you may consider turning the movie off, the horror kicks in and the better parts of Cujo become noticeable. With odd camera angles and a frenetic energy, the latter half of Cujo makes up for the stale first part. It gets straight to the fear of Man’s Best Friend going awry, which is a frightening notion brought to shocking life here. The use of what at first looks likes the point of view of the beast, that ultimately isn’t is impressively used when Cujo jumps out of nowhere and puts your body in a jolt. The dog of the title is terrifying yet pitiful, as it isn’t the dog’s fault that it became rabid. Still, the sheer size and appearance of the animal is ferociously rendered and towering when it menaces Donna and Tad. Above all, the theme of a protective mother and her child is brought forth, and is what gives Cujo the life-blood it needs to be memorable. Watching as they are holed up in the run-down car, near dehydration and completely traumatised makes for some nerve-shredding suspense and a sympathy for their plight. A creeping and capricious score enables suspense and terror to influence the atmosphere in the film and make it stick.

For all the flaws that Cujo boasts, the main acting from Dee Wallace is not one of them. She really convinces as the desperate mother in a battle to save her child, while almost at the point of exhaustion. Wallace searingly plays the protective mother with committed energy and depth; you genuinely feel worried for her as the attacks from Cujo become more frequent and she must gather what’s left of her strength to fight. Between vulnerable and strong, Wallace brings a much-needed dose of power to the film that is a chief asset among the other less compelling parts. Young Danny Pintauro gets it right as the absolutely terrified child, in a horrific situation. I’ve heard some people say that he’s annoying because he screams a lot in the film, but he is a child and just think how you’d react if there was a rabid dog attacking you. The other roles in the film are OK, but nothing like that of Wallace and Pintauro. Christopher Stone does what he can with the part of spurned lover, but Ed Lauter overdoes it as the hard-drinking owner of the eponymous threat. Saying that, Lauter does have very good and shocking death scene that really kicks the film into gear

An uneven slide of horror that nonetheless has its moments of greatness, Cujo can best be described as a mixed bag. If things had been a bit more focused, it may have attained excellence. Overall a creeping atmosphere, some outstanding camerawork and fine central performance are the redeeming factors that keep you watching Cujo.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.

Carrie

Tags

1970's, Amy Irving, Betty Buckley, Brian De Palma, Carrie, Horror, John Travolta, Nancy Allen, Piper Laurie, Sissy Spacek, Stephen King, Supernatural Horror, William Katt

Film Title

Carrie

Director

Brian De Palma

Starring

• Sissy Spacek as Carrie White
• Piper Laurie as Margaret White
• Amy Irving as Sue Snell
• Nancy Allen as Chris Hargensen
• Betty Buckley as Miss Collins
• William Katt as Tommy Ross
• John Travolta as Billy Nolan

Based on the novel by Stephen King, Carrie is a heartbreaking and frightening take of bullying and the limits that someone is pushed to. With Brian De Palma behind the camera and Sissy Spacek supremely moving as the titular protagonist, Carrie becomes a compelling exercise in horror rooted mostly in the real world, but with supernatural touches complimenting it.

Carrie White is a painfully shy outcast in high school, who is mercilessly bullied by her fellow peers. She has an equally unhappy home life where her mother Margaret is a crazed religious zealot who thinks anything remotely sexual is a sin, regularly beats Carrie and forces her to pray for her alleged sins. Carrie is once again tormented when she experiences menstruation for the first time in the showers and as a result of her upbringing that hasn’t explained it, she is targeted by a number of girls headed by the sadistic Chris Hargensen. Miss Collins breaks up the horror of the situation and attempts to comfort Carrie. She punishes the girls for their horrible treatment of Carrie, resulting in Chris being banned from prom due to her lack of sympathy and refusal to admit she’s done anything wrong. At the same time, the timid Carrie starts exhibiting signs of telekinesis that flair up when she is angry and she struggles to understand. One of the girls involved in the torment,  Sue Snell, starts to feel very guilty about her part in it and wanting to be nice, she asks her boyfriend Tommy to take Carrie to the approaching prom. She sees it as a way to help Carrie and also as an apology for her behaviour of which she feels immense remorse for. Carrie is apprehensive when Tommy asks her as she thinks it is a prank, but after talking and getting advice from the kind Miss Collins, she accepts. Meanwhile, the horrid Chris ropes her boyfriend into engineering some sort of revenge on Carrie. Carrie’s mother is adamant that her daughter will no go to the prom, but Carrie finally stands up for herself and attends. But after a vicious prank set up by Chris and her boyfriend humiliates Carrie just as she feels accepted, she completely breaks and makes those who have bullied her very sorry in a most fatal and gruesome way with the use of her powers.

Brian De Palma directs this film a stylish and surprisingly empathetic touch to showcase the way that Carrie wants to be accepted and is repeatedly bullied for it. Sensitive and compassionate are not often words associated with De Palma, but his approach to the material really hits home in how it presents the horrors of bullying and being seen as different by ignorant others. And while a film that is in the horror genre, the biggest unsettling parts are the depictions of cruelty and nastiness that Carrie endures. When she finally lashes out and unleashes her powers, you can see why this is happening. She has been put to the razors edge and is now acting out retribution of the most fatal kind. Carrie is no monster, merely a misunderstood girl with a gift that finally snaps when torment gets to much, and I think everyone whose ever been mistreated or bullied can at least relate to that feeling of being so downtrodden and yet wanting to get back at those who frighten them. Which brings me onto my next point of interest. Now no review of this film would be complete without a shout out to the justly celebrated prom sequence when Carrie is pushed over the edge with no way back. Utilizing an assortment of techniques( eerie yet tense slow motion, the maximizing of particular sounds and striking split-screen) the results of the scene are simply haunting in how chilling and precise everything is, as Carrie turns the prom into a bloodbath. I could wax lyrical about this forever but the review can’t be a full on essay. All that’s left to say is De Palma is the masterful composer behind the detailed and shocking scene that leaves a big imprint on the mind, and won’t be forgotten for a long time after the movie finishes. Carrie adeptly straddles the tropes of a perceptive high school drama with horror that grows to a jaw-dropping finale, confirming it as a horror film that deals with real life social issues compassionately. The pace of it is just right, building up to the climatic snapping of Carrie’s mind with assurance and some cleverly ironic foreshadowing. And the score is purely amazing in every aspect of the word. Pino Donaggio works wonders as he covers all the emotional ground of Carrie, while bringing in by little nuances, the suspense and shocks that will eventually ignite. You couldn’t have asked for a better score for this film than the lyrical and haunting one it sports.

Sissy Spacek represents the tormented soul of the film with a natural and sympathetic performance. There are times when she is so authentic that it doesn’t seem like she is acting at all, so sincere and expressive in her interpretation of Carrie’s anguish and victimized mind. There is simply no one who could have been so convincing in the part and use their eyes to both moving and unnerving effect, particularly noticeable in the prom sequence when Carrie’s powers come into full force. Piper Laurie is wildly and suitably over the top as Carrie’s crazy mother, who puts fear into her heart and also the audience’s. She really goes for the unrestrained and frightening approach that is superbly played like a pro, which of course Piper Laurie is. This is the mother of your nightmares, and has to rank as one of the most unhinged to hit the cinema screen. In her movie debut, Amy Irving strikes the right notes of guilt-ridden shame and atonement for her actions in a quiet but evocative way. Nancy Allen stars as queen of nasty and vicious Chris, and you can’t fault her performance because you genuinely loathe this character. Betty Buckley is a supportive presence as the kind Miss Collins, while William Kitt displays a sensitivity as Sue’s boyfriend who is persuaded to ingratiate Carrie to the prom. And of course, there is a very young John Travolta, who successfully plays the none too bright boyfriend of Chris who is pulled in to help her exact her shocking prank on the title character.

A dazzling horror and cautionary tale of how you should think about the treatment of others, Carrie is rightfully iconic and cuts deep on a lot of levels.

The Changeling

Tags

1980's, George C. Scott, Horror, Melvyn Douglas, Peter Medak, The Changeling, Trish Van Devere

Film Title

The Changeling

Director

Peter Medak

Starring

• George C. Scott as John Russell
• Trish Van Devere as Claire Norman
• Melvyn Douglas as Senator Joseph Carmichael

A very spooky and understated haunted house horror, The Changeling boasts a genuine suspense and mystery to it, which stand it in extremely good stead. It’s a shining example of the less is more approach that favours atmosphere and twists instead of bloody carnage.

John Russell is a music composer who is one day being helped by his wife and daughter as their car has broken down in the snows of Upstate New York. Yet tragedy strikes when they are both killed in a freak collision between a snow plow and a van. Broken by this, John gets out-of-town and takes a job teaching music to university students. Grief-stricken by his loss, he tries to find somewhere to live in the hope that it will help him get to grips with life alone. Thanks to friends, he discovers a large unoccupied house that he believes will give him peace and time to reflect as well as heal. But while coming to terms with the tragic loss of his wife and daughter, John finds himself plagued by strange things in the house. A loud, repetitive banging sound occurs at the same time for a number of days at the exact same time. This particular incident leads a suspicious John to a secret room, that has been hidden away behind large planks of wood and locked. Most creepy of all is the image he catches of what appears to be a young boy drowning in the bath. At first, John isn’t sure about what to make of these unexplained events as he has no way of piecing anything he finds in the room together( which include an old-fashioned children’s wheelchair and a music box that eerily has the same tune he has been composing) with the strange phenomena of the vision he saw. Yet they continue to occur and John is tried by what he experiences, and he can’t rely deny what is happening right before his very eyes. Bewildered and shocked by these things that he finds to be trying to get his attention in one way or another, he dives into the past of the house with the friendly support of Claire Norman, who helped sell him the house and is a member of a historically related society. Stumbling blocks in the form of missing records and misdirection only add more to the mystery and the obstacles it poses. A séance is conducted that helps reveal something about the presence and the tragic clues as to why it haunts the house. The events have a large impact on John, who slowly discovers a will inside him to bring out the truth before it is too late. It’s a matter of proving the existence of the spirit to anyone that it will impact that is going to be the problem. John takes it upon himself to uncover what lies at the bottom of the haunting and the repercussions it continues to have, with a forceful approach that stirs up trouble for those in relation to the horror of the past.

The Changeling is a film that is driven by an eeriness and a simplicity that enables the spooky goings on to gradual reveal themselves through a measured but never lagging pace. The method of getting jolts of terror from sound and doubt are effortlessly employed , but never in a way that gets overly styled or distracting. While some unusual angles are employed, the direction from Peter Medak is wisely kept to an understated a and marvellously constructed level. For me, the attention to the story and how the ghostly haunting linked where the real hooks and the work from compliments them stunningly. The Changeling is just as much a mystery as it is a ghostly horror, a significant attribute that Medak wields with flair and just the right amount of content( the séance scene is a highlight of unnerving tension and revelations) to keep it ticking over. I found the matters surrounding the haunting very entertaining and spine-chilling as it gave another sheen to the film that went places I was not anticipating it to visit. It really pulls you right into the enigma of the house and what transpired there, with a suitably gloomy visual palette to highlight both the spooky aspects and the mourning heart of John going through his own pain. Take for example the scene of John finding his daughter’s bouncing ball which he knew he got rid of, only to have it repeatedly fall down the stairs towards him on a loop. It’s a simple yet haunting indication of John’s link with the presence as it reaches out to him and how he can’t ignore what he has seen. The lugubrious and spine tingling score( complete with ghostly cries and slithering strings) aids the personal journey John goes on in battling his own grief, while bringing justice to someone from the other side who isn’t at peace.

On the acting front and definitely strong is George C. Scott in a nuanced turn. He plays the man attempting to hold his grief inside and deal with it in some way impressively, as well as showcasing the growing feeling of unease in regards to the house. Scott is a professional who makes the role look effortless and the building feeling of determination that his character attains in trying to uncover the reasons for the haunting are pretty amazing, as well as wholly believable. Trish Van Devere( who was actually married to Scott in real life) is nicely curious and helpful as the concerned Claire, the two working well together in a natural way that isn’t surprising considering their off set relationship. Rounding out the main cast is Melvyn Douglas a powerful Senator who somehow fits into the scheme of things regarding the past of the house. Douglas wonderfully makes the most of the part by displaying a worry and slowly unraveling fragility.

A smartly old school horror that knows the best way to chill the blood is by making things creepy and gradual, The Changeling is for me an underrated horror gem that deserves a hell of a lorn of credit for what it teases out.

Under the Shadow

Tags

2010's, Avin Manshadi, Babak Anvari, Bobby Naderi, Drama, Foreign Language Film, Horror, Narges Rashidi, Under the Shadow

Film Title

Under the Shadow

Director

Babak Anvari

Starring

• Narges Rashidi as Shideh
• Avin Manshadi as Dorsa
• Bobby Naderi as Iraj

Under the Shadow marks the directing debut of Iranian-born Babak Anvari. Drawing on a number of disparate themes and genre tropes, he crafts this eerie horror-drama set in post-revolution, war-torn Iran.

Shideh is a mother living in Tehran in the 80’s as conflict continues between Iraq and Iran. She has been trying to regain a place at university, but due to her past involvement in protests during the revolution, she is turned away from studying to become a doctor. Her husband Iraj, who himself is a trained doctor, attempts to support her, but Shideh is hurt by the rejection and lives in fear of the conflict that is engulfing her and her daughter Dorsa. Her refusal to adhere to many things in her culture also marks her as different, especially in the way people around her view her. Soon after being told that she can’t study, Iraj is called up to the military to serve as a doctor in a particularly under attack area. His absence leaves Shideh looking after young Dorsa all alone. Yet events take a significant turn, in between the runs to shelter and Dorsa developing a fever, a missile that doesn’t explode lands in one of the apartments, coinciding with the death of one of the tenants. After this strange incident that particularly shakes Shideh, peculiar events occur for her and Dorsa. The biggest one is people in her apartment building, who all slowly leave for safety, speak of a Djinn; a spirit brought forth by the wind, that can latch onto people, usually through the taking of a personal object. Shideh simply puts this down to just superstition, but after her daughter talks of seeing something that has stolen her precious doll, things start to get unnerving. With both the threat of death looming large due to the seemingly never-ending war and the possible presence of something unnatural, the worn out Shideh is pushed to the limit as she starts to feel more isolated by the day. As Dorsa becomes more feverish and testing, Shideh is left to decipher whether or not the Djinn is real and after her. Most cases seem to point to something amiss after the missile struck, but can she be sure? In a desperate fight and clinging to her sanity, she fights to protect her daughter and figure out just what is going on around her before whatever it is closes her in.

Under the Shadow may be his full length feature debut, but there are no first movie nerves shown from Babak Anvari, who also wrote the script. The backdrop of the Iran-Iraq War adds a lot of depth and another example of horror. For all the strange and possibly supernatural things happening, the horror of the everyday and the shock of war are just as realised and plausibly frightening. The most compelling part of Under the Shadow is the ambiguity it has going for it. One can look at the film from multiple angles and interpretations. These appear in both the story and what the film is ultimately about, in terms of genre and thematic value. In one way, the movie could be viewed as a woman’s fears of society shackling her for her free-thinking attitude. Or are these strange events that Shideh thinks are related to the malevolent Djinn, just her feelings of anxiety manifesting onto her young and impressionable daughter? Perhaps the missile that landed in the apartment building did bring something sinister with it. We are never given a definitive answer to these questions, which only deepens the impact of Under the Shadow and leaves the viewer seriously chewing the cud. One of the biggest compliments I can give the movie is that I’m certain it will benefit many viewings, that will no doubt uncover things you may have not noticed the first time around. For me the biggest amount of drama and emotion came from the relationship between mother and daughter. With the obvious stress and terror of the war raging on, tensions run high and Dorsa often clashes with her mother; but there is a deep love there that forms the core of Under the Shadow when it gets into the creepy territory of horror and must fight to save her offspring. There is scarcely a moment of complete silence in this film that enables it to become very chilling extremely quickly. Whether it be the wind wailing, static from the radio or the hum of outside, sound is ever-present and menacing too. There is a definite ghostly hum that simmers away in Under the Shadow to creepy effect, almost from the very start.

The acting of Under the Shadow is superb, largely because of how small it is that we get to watch these people act with well-written roles. The striking Narges Rashidi is extremely convincing , resilient and appropriately nuanced as the struggling and free-thinking Shideh, who battles both opposition from others, the terror of war and the prospect of something otherworldly at work. Her face says a thousand things that words can’t and you do feel her struggles in the face of multiple horrors, even when she is being stubborn and get through everything on her own terms that she thinks are the best. Avin Manshadi, as the young girl who appears to have seen the Djinn, is very impressive for someone so young and we want to help her in this time of horror, whatever kind that may be. The bond between the mother and daughter is undoubtedly believable and palpable due to the performances that completely sell their fears and terror in a situation that is unusual and frightening. Bobby Naderi appears briefly as the husband who is then called up to be of medial assistance, but he makes his part good for what small material he is given.

An unusual blend of mother-daughter drama and ghost story, Under the Shadow succeeds on its own spooky and thought-provoking merits, as well as giving us a glimpse of a place and time many of us may be unfamiliar with.

Urban Legend

Tags

1990's, Alicia Witt, Horror, Jamie Blanks, Jared Leto, John Neville, Joshua Jackson, Michael Rosenbaum, Rebecca Gayheart, Robert Englund, Tara Reid, Urban Legend

Film Title

Urban Legend

Director

Jamie Blanks

Starring

• Alicia Witt as Natalie Simon
• Jared Leto as Paul Gardner
• Rebecca Gayheart as Brenda Bates
• Michael Rosenbaum as Parker Riley
• Joshua Jackson as Damon Brooks
• Tara Reid as Sasha Thomas
• John Neville as Dean Adams
• Robert Englund as Professor Wexler

It is a largely derivative of the success of Scream and it does show, but Urban Legend has enough good touches and competent cast to make it stop have a scare factor and fun.

A young girl from Pendleton University is brutally killed by a hooded man carrying an axe in her car, while heading back to campus. The campus is rocked by the murder, especially the studious Natalie Simon, who knew the girl killed and had significant events occur with her in the past. As another body turns up and the students get increasingly concerned about their safety, Natalie starts to form a link between the murders and the urban legends she has heard about in one of her classes, taught by the menacing Professor Wexler. Her classmates, in particular best friend Brenda and ambitious journalist for the paper Paul( who is always looking for a story) discredit her claims as just a matter of grisly coincidence. But Natalie has stumbled on to something indeed and it may just link to an alleged slaying that happened at the university decades before, but was never proven. As the killer continues the violent deaths based around urban legends, it is up to Natalie, who aided by Paul, must unmask the violent psychopath before anyone else dies in this ritualistic way. But with all the panic and so many people who it could be, is Natalie really going to be able to do this without getting herself killed in the process?

Jamie Blanks, who later went on to direct the better than expected Valentine, does some pretty good work in cloaking the movie in a spooky vibe. This is especially true of the muted colour scheme that renders the nighttime sequences in a blue haze that is very creepy as the killer prowls. And the opening scene of the film where the first victim is killed during a thunderstorm and sets in motion further death is a good way to start this kind of film. The script however is pretty problematic in many areas, not least the fact that the aforementioned Scream hangs over the film and shows this up as something of a copy. It does have some very suspenseful scenes in it and some of the humour is employed with spark, but it just starts to feel a bit inferior after a while. And later on in the film, the humour becomes a little bit much and doesn’t hit that jackpot due to the feeling of being stale. Don’t mistake this as that I didn’t like Urban Legend, in fact I enjoyed quite a lot of it, I merely found it to be a little too reliant on jump scares and the fact that it couldn’t measure up to Scream. For all the flaws it has, Urban Legend still has entertainment value and some of the story, in particular the gory methods of dispatch and how they link to stories that people dismiss as made up is realised with a good degree of inventiveness. An impressive score from Christopher Young boosts Urban Legend up a few notches with how effective it revels in the terror on show.

The characters in Urban Legend are nothing really new and are pretty much the people you expect in a generic slasher film. Still, the cast works well with what they are given. Alicia Witt is well cast as the main focal point that is Natalie, who becomes the first to piece the links between the urban legends and murders together. Witt hits the right notes of worry, strength and concealed pain, that plays an important role in how her character acts as she has something that she hides behind her smile. She may not be such an innocent girl, but she is the most accessible character which suits the acting of Alicia Witt very well. The charms of Jared Leto are displayed in his performance as the journalist guy who isn’t quite as cynical, hard-nosed or sneaky as he at first seems to be. Rebecca Gayheart is sparky as the flirting best friend, while Joshua Jackson and Michael Rosenbaum rise above the lack of material for them by playing the practical joker and jerks of campus in a good manner. Tara Reid suffers from a one note part( and performance) that gives her scant to do but be overtly sexy and then die horrifically. John Neville and horror icon Robert Englund add dashes of maturity and creepy experience as respectively the dean and the teacher who speaks of the urban legends that the killer seems to enact.

So so it isn’t original and not quite as hip as it looks to think, yet Urban Legend is far from a bad movie because it does have significant entertainment to be gleaned from the clichéd story.

A Nightmare on Elm Street

Tags

1980's, A Nightmare on Elm Street, Amanda Wyss, Heather Langenkamp, Horror, John Saxon, Johnny Depp, Nick Corri, Robert Englund, Ronee Blakley, Wes Craven

Film Title

A Nightmare on Elm Street

Director

Wes Craven

Starring

• Heather Langenkamp as Nancy Thompson
• Robert Englund as Freddy Krueger
• John Saxon as Don Thompson
• Ronee Blakley as Marge Thompson
• Johnny Depp as Glen
• Nick Corri as Rod
• Amanda Wyss as Tina

A seminal horror classic that is perfect for spooky viewing today on Halloween, A Nightmare on Elm Street is atmospheric and exceptionally directed terror that sucks you right in to the strange story and introduces the world to another horror villain in the shape of Freddy Krueger.

The film centres on a group of teenagers; Nancy, Tina, Glen and Rod, in a quiet town, who begin experience unusual things in their dreams. Tina is the first member to have the vivid nightmares, and who begins to get very frightened of the possibility of death by what she sees. All of the teens seem to have had the same dream of a scarred man with knives on his fingers called Freddy Krueger tormenting them. But these dreams take a definite and more sinister tone when Tina is actually killed while dreaming of this. Thuggish bad boy Rod is accused of the slaying and arrested, but Nancy( who is the daughter of the local police chief) is not to sure as she can’t shake the feeling that the shared experience of dreaming the same thing holds a bearing over this. Nancy is right about the man from the dreams being responsible, but everyone else thinks she his going crazy due to grief. As more blood is spilled, it becomes a struggle to stay awake and not drift to sleep, where Freddy can kill them. It also transpires that there is something hidden by Nancy’s parents regarding Freddy, that may just hold the key to his murderous appearances. Yet Nancy has already deduced a way that she may be able to render the seemingly omnipotent Freddy powerless. With an array of strong plans, she sets up battle against the monster that is Krueger, with the intent on putting a stop to his savage killings once and for all.

The horror maven that is Wes Craven is the man behind this work of cinematic horror. His expertise in the macabre and terrifying are bountiful and for all to glimpse, with most impressive achievement being the way he blurs dreams and reality to become jagged and indistinguishable. By employing this technique, Craven catapults the audience into the confusion of the central teens as they look for ways to stop falling asleep for fear of what will happen. There are numerous times when even we are not sure whether we are viewing a dream sequence or normality as the effect of each is meshed to such a spectacular degree. Memorable moments come from this film and continue to enthrall. My personal favourites being the opening dream of Tina’s in the boiler room that sets the atmosphere of the film, Nancy following a ghostly vision of Tina wrapped in a bloody body bag and Nancy’s setting of traps to ensnare the bogeyman of Freddy for good. A Nightmare on Elm Street established the horror icon of scarred child killer Freddy Krueger, who no doubt had viewers terrified of going to sleep and still no doubt does that today. With that maniacal cackle, gruesome appearance and sly wit, he is one of the best villains to come from the horror genre. The sins of the parents theme is visited quite well and adds another element of tension to the strange mix at work. Where the biggest points are scored in A Nightmare on Elm Street is the aural landscape of spooky synthesizers and repeating percussion to create a haunting, childlike influenced score of sinister backbone that will make even the most serious person afraid and with nerves jangled.

The lead character of scared but plucky Nancy is embodied by the naturalness and likable delivery of Heather Langenkamp. Nancy is the only person who realises the link between the dreams and the deaths and sets out to. She is depicted as a strong and intelligent young girl who is adept at survival and unlike some girls in horror that are thrust into battling, Nancy is the instigator of the fight with a fierce determination. The smarts are wonderfully provided by the assured work of Heather Langenkamp, who shows us a Scream Queen of cleverness and vigor. Robert Englund cements his place in movie history with his creepy interpretation of the knife-wielding Freddy Krueger. With a despicable and unearthly menace, he scares the hell out of everyone because of how powerful the character seems to be(and the fact that dreams are uncontrollable).  John Saxon and Ronee Blakley contribute a sense of unspoken terror and knowledge playing Nancy’s parents, who have more than a little inkling of what is going on. A young Johnny Depp in his movie debut, portrays the goofy boyfriend of Nancy who is also dragged into the creepy goings on that plague him and his friends. Nick Corri and Amanda Wyss are used well as two of the teens who fall victim to the slayings.

Frightening from start to finish and packed with spine-tingling events, not least of which is the ability to traverse reality and imaginary, A Nightmare on Elm Street is deservedly a classic of the horror genre for its execution and ability to scare, even by today’s standards.

April Fool’s Day

Tags

1980's, Amy Steel, April Fool's Day, Clayton Rohner, Deborah Foreman, Deborah Goodrich, Fred Walton, Griffin O'Neal, Horror, Jay Baker, Ken Olandt, Leah Pinsent, Mystery, Thomas F. Wilson

Film Title

April Fool’s Day

Director

Fred Walton

Starring

• Deborah Foreman as Muffy St. John
• Amy Steel as Kit
• Ken Olandt as Rob
• Thomas F. Wilson as Arch
• Griffin O’Neal as Skip
• Deborah Goodrich as Nikki
• Jay Baker as Harvey
• Leah Pinsent as Nan
• Clayton Rohner as Chaz

A very witty and suspenseful slasher, that is also a mystery in its overtones, April Fool’s Day brings the fun factor to the genre and the fact that it’s a bit different stands it in good stead.

On the weekend just leading up to April Fool’s Day, a number of college friends; Kit, Rob, Arch, Chaz, Nikki, Harvey, Nan and Skip are invited to the island home of rich fellow student Muffy St. John. On the way over to her home by ferry, a joke between them unintentionally causes physical harm to the deckhand Buck, who is subsequently hospitalized. Though the group are more than a little shaken by the injury of Buck, they plod in hopes of having a good time on the island. Hostess Muffy immediately sets the playful tone of the weekend with practical jokes for everyone. The party is soon in full swing as everyone gets a little tipsy and some get frisky. As the jokes mount however, hidden secrets from the past are referenced for a few characters which can only spell something bad. Yet while the feeling of the house started as a laugh for everyone in the beginning, darkness takes hold as members of the group go missing and later turn up dead. Just who is the person behind these killings? Does the privileged Muffy have anything to do with the scary turn of events. The terrified teens want to know, if they can live that long that is as the next ferry comes on Monday. Could this be a prank gone way too far or something a lot more sinister? It becomes apparent that not all of them are going to make it until the ferry for the mainland arrives and it’s up to the remaining youths to survive what remains of their time in the house.

Fred Walton brings a workmanlike sense of direction and considerable flair to the material, allowing humour, mystery and horror to converge simultaneously. He establishes the links between the humour of the piece and the creeping horror that will befall all almost from the beginning, when the joking of the kids accidentally causes harm to The trick to getting humour right in horror is knowing when to stop and not overpower the film, which April Fool’s Day does efficiently as it still provides jolts and shocks. While it is a horror/ slasher in many regards, the film masquerades as a whodunnit, with countless references to Agatha Christie. This approach definitely surprised me as I was expecting a full on horror, but the mystery of it all is actually what makes April Fool’s Day a cut above the rest as it takes an atypical route. The biggest asset in April Fool’s Day’s artillery is the well woven and banter filled script that it has. Written by Danilo Bach, it sets up the jokey and playful atmosphere of the title, while cutting in some crafty suspense. The script makes the characters a likable and funny group who you would like to spend time with, if they were real of course. And it says a lot about the film that when certain characters meet death, you are a bit sad to see them depart. With a title like the one the film has, you definitely expected the unexpected. April Fool’s Day delivers heavily in that area, especially the ending which I did not see coming at all. The only thing I will say is that it is a sly conclusion to a well mounted film. For a horror, the film is largely sparing on gore, only showing us the aftermath. Some of the make up effects are more than a little dated, but this flaw can be overlooked as the film is more concerned with the mind games than anything else. A wonderfully composed score hits the right balance between tricky humour and creepy terror, with an eerie whistling sound pervading the music with an enigmatic unease. All of these elements distinguish the film as something different in the genre and make April Fool’s Day a film that should be better known, as I feel it is highly underrated when people discuss films in the genre.

A fresh and competent cast perform very well, supplying April Fool’s Day with good performances that are better than some that you glimpse in horror films. A delightfully off-kilter vibe radiates from Deborah Foreman as the pampered hostess of the weekend. By turns, there is a playfulness and then a kookiness that appears that is pretty mysterious and strange. You get the feeling that there is something not right about Muffy, but thanks to the enigmas created by Deborah Foreman, we are unsure if she is really capable of anything this twisted. Amy Steel stands out as the most resourceful of the teens and the most down to earth one when things get creepy. Rob Olandt is on hand to be the heroic guy of the group and compliments Steel pretty effectively. A lot of the humour comes courtesy of Thomas F. Wilson, who has an infectious laugh and whose antics are comically endearing. The rest of the selected cast are suitably goofy and fun to be around in their own respective ways. And as I said, because they are amiable as characters, you do feel a bit low when they are killed off by the unseen murderer.

A tricky little film with a twist or two here and there, especially in the last half, April Fool’s Day really succeeds on the strength of its cast, direction and above all the excellence of the script. I can give this film a lot of respect for taking a different approach from most and having a lark with it.