American Horror Story: Hotel

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2010's, American Horror Story, American Horror Story: Hotel, Angela Bassett, Cheyenne Jackson, Chloë Sevigny, Denis O'Hare, Evan Peters, Finn Wittrock, John Carroll Lynch, Kathy Bates, Lady Gaga, Lily Rabe, Mare Winningham, Matt Bomer, Sarah Paulson, Wes Bentley

With Freakshow emerging as my least favourite season of American Horror Story, my expectations were high for Season 5. Thankfully, though not without some flaws, Hotel is a resounding success of horror, style and game acting. Be warned, spoilers may follow in this return to form for the show.

John Lowe( Wes Bentley) is a Los Angeles detective on the edge; he’s estranged from his doctor wife Alex(Chloë Sevigny) and on the hunt for a brutal serial killer who murders victims in accordance to The Ten Commandments. Plus he is haunted by the disappearance of his young son Holden years prior. He feels responsible for the disappearance and this is what he has to live with every day. One day he is given a tip off that his answers can be found in the Hotel Cortez. A glamorous yet run down establishment with a history of horror, it soon pulls John into its depravity and history of death. The owner of hotel is the fabulously dressed and very mysterious Countess( Lady Gaga). She is a vampire like creature infected with a virus that leaves the sufferer craving blood. Her companion of late is the handsome Donovan(Matt Bomer), who she goes hunting with. She was the one who took Holden as well as other children who she turns into creatures like her in order to create something of a makeshift family. She is a fearsome creature, but is secretly hiding her true self and tragic past. The Countess finds her head turned by volatile male model Tristan( Finn Wittrock) , which enrages Donovan. Also in her sights are the soon to be owner Will Drake( Cheyenne Jackson), a fashion designer who doesn’t realise he’s part of a scheme to get his money. There’s the ghost of James Patrick March( Evan Peters), the founder of the hotel in the 20’s, who turned the place into a murder palace and was helped by the ever loyal, cleaning fanatic Miss Evers( Mare Winningham) . On front desk there is Donovan’s surly mother Iris(Kathy Bates) who longs for a relationship with her son and Liz Taylor( Denis O’Hare), a transgender bartender who seems to see everything and everyone. Also traipsing about the Hotel is the ghost of one Sally McKenna(Sarah Paulson), a trashy junkie in a constant state of sadness and mania, who was pushed out of a high window by Iris for getting Donovan hooked on drugs in 1994. Arriving later on the scene is Ramona Royale( Angela Bassett) a former lover of The Countess with a big axe to grind. Everything comes to a head once John takes up residence and gets a lot more than he ever bargained for.

I think straight from the opening, Hotel stands higher than its season just passed. For starters, I found the characters had more flavour and personality than in the last season. Plus, you could connect with many of them too, primarily Liz Taylor and Iris who both convince as outsiders wanting something more in life. And though the story had many different angles and sub plots, it largely worked and it was fun seeing how various threads connected. Sure, some parts don’t amount to much, but I found it a lot more compelling than which seemed to run out of steam rather quickly. The themes of loss and rebirth form the main crux of Hotel and it was excellent how we watched the characters change and influence one another. Hotel ranks at least in my book as the bloodiest season thus far. As it has done in the past, the blood is shocking and grisly, but definitely used to fashion a twisted delight that scares and compels at the same time. Scenes that stand out for their brutality are The Countess and Donovan slaughtering a couple during sex, a junkie being mercilessly abused by a faceless demon, a corpse rising from a rotting mattress and most shocking, a band of infected children making a meal out of one of their teachers.American Horror Story references some of the best content in the horror genre with style and panache. The crimes of the killer are a stylish homage to Seven, while the hotel of the title takes its cues from The Shining. And I’m a big fan of the flashbacks to March’s mayhem and murderous ways as the show employs a grainy black and white to emulate the time and bring out events in horrifying detail.

As it has done in the past, American Horror Story always succeeds when taking influence from real life events. Here, the hotel is similar to that of the one the depraved murderer H.H. Holmes and the poor fate of the child of chambermaid Miss Evers blends with that of the Wineville Chicken Coop Murders. And the best of all the real world allusions is an episode entitled ‘Devil’s Night’. In it, March hosts a feast for the ghosts of dead serial killers, such as Jeffrey Dahmer, Richard Ramirez, Aileen Wuornos and John Wayne Gacy. An already starting to lose it John finds himself thrown into this horror show and under the influence of absinthe, watches as these killers enjoy their depravity and find merriment in their sickening handiwork. Watch out for memorable work from John Carroll Lynch and Lily Rabe. For some reason, its something that works in the scheme of the show. Visuals are a strong component in the show and Hotel is no exception right from the opening frames. It’s an extravaganza for the eyes and senses that’s for sure and certain. Particularly good is the fish eye lens employed at times that suits the unstable nature of the establishment and turns things into something unusual. I’m not the biggest fan of the overlapping of seasons as American Horror Story was originally billed as an anthology. Though saying that while some of the bringing back of other characters fails, I found the callbacks to Murder House were particularly effective and the return of the medium( also played by Sarah Paulson) in the finale was a very well handled part and one I really liked seeing. And I can’t not praise the production department who pull out all the stops when it comes to design. The Cortez becomes a dark hotbed of violence and style, clashing with each other with reckless abandon. A well chosen soundtrack and electric, humming score add further to the delirious ride through death, horror and story.

The cast surrender to the madness and horror with fantastic results.Leading the cast is the new addition of pop superstar Lady Gaga, who shows that acting is yet another skill in her arsenal. She plays the Countess as a seemingly aloof being who dresses and lives to kill, but is looking for something more. Her performance is very multifaceted and extremely impressive at showcasing various sides to the character, in particular deep tragedy coupled with ruthless sex appeal. Then we have Wes Bentley, who is suitably intense as the emotionally scarred detective finding himself falling into madness. He just burns across the screen with a vulnerability, quivering seriousness and frightening devotion. Matt Bomer, with his strong appeal and good looks, is ideal as the latest lover in the life of the Countess. He enjoys the position but it has grown a tad stale for him and his resentment starts to form. Plus, when he’s with Lady Gaga, they make a sizzling duo. As the new paramour of The Countess, Finn Wittrock is all scowls and attitude, with a few other layers underneath. Chloë Sevigny, who I’ve always admired as an actress, turns in emotional weight and desperation as a grieving mother who goes to extremes for her son. I liked her arc in this series as she begins as a broken woman and slowly gets in touch with another unexpected part of herself.

The best performances comes courtesy of Denis O’Hare, Kathy Bates , Evan Peters and Sarah Paulson. It’s good to see a transgender character portrayed on television with respect and honesty and Denis O’Hare acts his socks off. From the great one liners through the backstory of the transformation into the person she is today, it’s all played beautifully and sympathetically by the always watchable Denis O’Hare. Thankfully in recent times, many forms of media have followed suit by showcasing characters that are transgender and actually treating them with understanding and decency. Long may that continue. Ably complimenting him is the excellent Kathy Bates, who puts in another fantastic performance . Going from dark humour to crushing sadness and then a rebirth, Bates captures the attention with her convincing acting and A Game. The always impressive Evan Peters, playing probably his most extreme character thus far, is electrifying. Mixing a Clark Gable accent with a sadistic hunger for murder, he crafts March as a supreme being of evil that is strangely charming. Peters turns in one of his finest performances in the run of the show. Rounding out the standout quartet is the wonderful Sarah Paulson. Always seen here with a mournful look( complete with smudged eye liner and the appearance of never ending tears) that also shares itself with a sly underbelly, her portrayal of the messed up Sally is riveting. You really don’t know what you’re going to get with her character and Paulson rocks it. I adore Angela Bassett and how she embraces the outrageousness of the material. She just embodies the sassy, fierce and out there nature of American Horror Story. And even if her character’s arc doesn’t feel well utilised enough, Bassett makes it sensationally watchable all the same. Providing the unusual but also tragic is Mare Winningham as the chamber maid with a love of cleaning. At first glance she’s strange and you don’t know what to make, but Winningham discovers pathos and depth in this woman who could have just been one dimensional. The main cast member who isn’t really given a chance to make an impression is Cheyenne Jackson. I’ve seen him in other things and think he’s a good actor, but he just doesn’t really get a look in here.

Hotel finds American Horror Story back in fine fettle, owing to well written characters, a theatrical staging and plenty of chills.

American Horror Story: Coven

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2010's, American Horror Story, American Horror Story: Coven, Angela Bassett, Denis O'Hare, Emma Roberts, Evan Peters, Frances Conroy, Gabourey Sidibe, Jamie Brewer, Jessica Lange, Kathy Bates, Lily Rabe, Sarah Paulson, Taissa Farmiga

I decided to go back to American Horror Story again to catch up as I felt I’d fallen behind. This will be my review of Season 3, subtitled Coven. While still as chilling and weirdly perverse as Murder House and Asylum, I just feel like there’s something missing from it to make it a better entry. Not that the season is bad, in fact its far from it with excellent acting, chills and atmosphere, it just slightly pales in comparison with its predecessors. Be warned, spoilers will follow in this review.

Coven is set in modern-day New Orleans. Zoe Benson( Taissa Farmiga) is a young girl whose life appears pretty normal, until a strange and tragic incident reveals that she is in fact a witch. Her power is that when anyone comes into sexually contact with anyone they will die horribly. Feeling alone and afraid, she is bundled off to Miss Robichaux’s Academy that doubles as a haven for witches to harness their powers and survive intolerance thrown at them. The school is watched over by the demure Cordelia Foxx( Sarah Paulson), whose mother Fiona Goode( Jessica Lange) is the reigning Supreme ( in other words the most powerful witch). Fiona has been out-of-town on a personal vanity trip to find a way to restore her waning youth. She returns and takes charge of the school, much to the chagrin of her estranged daughter. Fiona is still obsessed with retaining youth and her position as Supreme and no one is going to stand in her way, even if it includes murdering the next in line. Fiona’s integrity and less than perfect rise to being the Supreme is constantly questioned by the council, specifically Myrtle Snow( Frances Conroy), her most sworn enemy. Little by little, we see how devious she can be and how only Spalding( Denis O’Hare), the mute butler of the Academy knows of her past misdeeds. Meanwhile Zoe befriends fellow witches Madison Montgomery( Emma Roberts), the catty movie star who is telekinetic, Queenie( Gabourey Sidibe), an African-American girl who can inflict pain on other much like a voodoo doll and the wise clairvoyant and telepathic Nan( Jamie Brewer). As the series progresses the witches come under attack from outside forces. A long truce between witches and voodoo practitioners comes to a bitter end when Fiona over steps the mark when searching for eternal beauty and angers priestess Marie Laveau( Angela Bassett) with harrowing results. We also have Delphine LaLaurie( Kathy Bates), a wealthy women who murdered slaves in the 19th Century and was cursed with immortal life by Laveau resurfacing again after Fiona finds her unmarked grave. She’s not the only person returning as we have Misty Day( Lily Rabe) a nature loving witch with the power of resurrection who dwells in the swamps after being burned at the stake for her gift by the zealously religious community . Zoe meets nice guy Kyle Spencer( Evan Peters) at a party and takes a liking to him. But when his frat brothers rape Madison, the movie star gains revenge by flipping over their bus and killing them. Zoe is devastated that Kyle is dead because he was innocent and Madison, who is clearly more confident with magic makes a bargain with her. Through dark powers and an assembling of assorted body parts in the morgue, they resurrect Kyle again but their experiment turns him into a Frankenstein like being of immensely violent and unpredictable rage. Intolerance from the outside world and unrest among the girls also threatens to sneak in as they must not only band together, but ultimately eliminate the others to rise to being the new Supreme.

I think I’ll start by talking about the main things that didn’t work for me first. While I know that subtlety is not what American Horror Story is all about, I just felt that Coven overdid it with the sheer outrageousness this time around. And while the campy humour and crackling dialogue is often a Godsend on this show, it really went overboard. Hopefully when I get to the next season, this can be a bit more controlled and not as disjointed as it is here in Coven. Also, I felt certain plot elements( such as almost a million resurrections) were used repetitively and thus became a little stale. I mean in the beginning the resurrection thing is interesting for certain characters like Misty and Myrtle, but then when it shifts to other it becomes a little dull. Many of the episodes feel disjointed and this does have a negative impact on this season.

And now onto the good stuff of this flawed but still watchable season, of which there is a lot. I really liked the whole arc of witchcraft and voodoo clashing and the history of it. It also introduces in various ways the subject of prejudice and intolerance. It can be seen with the young girls of the academy as they are shielded away to avoid abuse and the racism of the past that still lingers on. Coven delivers the horror in spades, with little nods here and there to films that populate the genre and a few new spins. Like most of the seasons, I don’t think anyone will find it easy to sleep after watching the horrifying and brutal episodes that abound. I mean just listing some of the things that happen doesn’t do it justice: we’ve got killer zombies, rituals, cascades of dripping blood, necromancy, beheading. You named it, Coven’s got it. And I can’t do a review without mentioning yet another sinister title sequence. This time we have stark black and white images of fire, tarot cards, witchcraft rituals, a Minotaur and plenty more disturbing imagery that is designed to disturb.

The music throughout is spine-chilling with an intense electronic pulse that seems to predict the gloom that will inevitably come once the war breaks out. Unusual camera angles and strange jump cuts only add to the effect of the season and capture the alienation that is felt primarily by Zoe because of her gift. The location of New Orleans offers a Southern Gothic atmosphere that is palpable and memorable. From the swamps to the cemeteries, it has such a mystical and mysterious aura surrounding it.

Once again, we have many amazingly written and played female roles on display here, which is one of the show’s biggest strengths. Jessica Lange is at her glorious best in the role of Fiona, a powerful witch and a ruthless bitch. Lange successfully embodies the fabulous personality of her, while showing us that as despicable as Fiona is, there is a heart in there somewhere beneath the hard exterior. The talented Lange is at her best when delivering catty lines, going to extreme methods to stop her from being usurped and exuding menace as the vanity obsessed Fiona, which gives the show that something else. Kathy Bates is an excellent addition to the show, bringing her always high calibre skills to the role. She portrays Delphine as initially remorseless for her cruel and twisted actions in the past. Yet Bates goes beneath this and shows that is remorse in there and injects the character with eccentricity and mordant humour as she has the tables turned on her by having immortality and struggling to accept the modern world. The fact that she strikes up an unusual friendship with Queenie( an excellent Gabourey Sidibe) shows a different side to Delphine. Angela Bassett rounds out this trio of excellent women with her fierce performance of the voodoo queen Marie Laveau. Bassett exudes rage, a sense of mystery and unquestionable power as she declares war on the coven. It’s safe to say that the combined talents of these three amazing actresses, armed with one-liners and put downs, ensures that Coven is watchable, despite a few flaws.

The rest of the cast is none too shabby either. Taissa Farmiga is superb at getting under the skin of isolated Zoe who discovers the extent of witchcraft along the way. Sarah Paulson ably charts the emergence of Cordelia from her insular and demure facade to powerful witch who is not to be trifled with. A lot of this change comes when she is blinded by acid, by this she gains the power to see the true nature of people and sends her on the way to battle. Emma Roberts obviously is relishing the role of Madison, who is trashy, flashy and bitchy. Roberts brings this seemingly stock character who is criminally underwritten to life with verve and tongue in cheek delivery. Jamie Brewer and Gabourey Sidibe both turn in great work as two of the witches of the coven that befriend Zoe, while the always reliable Denis O’Hare gives the role of the silent butler Spalding menace and intrigue. Lily Rabe is ethereal and dreamlike as the nature-loving, Stevie Nicks fangirl and very strong Misty. Rabe just radiates this glow that is hard to describe but you just can’t take your eyes off when she appears on screen. Frances Conroy stole whatever scenes she was in as the determined, wildly dressed and ostentatious Myrtle Snow. While Evan Peters did a credible job as the resurrected Kyle, I personally felt he wasn’t given enough to do in comparison with the characters he has played in the past.

Flawed it may be and probably the series of the show that so far I didn’t fully enjoy, Coven is far from unwatchable thanks to a game cast and overall craziness.

American Horror Story: Asylum

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2010's, American Horror Story, American Horror Story: Asylum, Chloë Sevigny, Evan Peters, Frances Conroy, James Cromwell, Jessica Lange, Joseph Fiennes, Lily Rabe, Lizzie Brocheré, Sarah Paulson, Zachary Quinto

The second installment of American Horror Story comes courtesy of Asylum. With the twisted success of Murder House and the returning of many of the cast, Asylum promises to be scarier and more disturbing. Revolving around the events of a mental institution in 1964 and the attitudes towards mental health at that time( as well as murder, deceit, religion and possession), Asylum is on taboo breaking form from the get go and unravels with fiendish delight and a whole lot of twisted horror to match. Be warned, spoilers will follow in my review.

Briarcliff Manor is a mental asylum in 1964 Massachusetts to house the criminally insane. It is run by the ambitious Monsignor Timothy Howard(Joseph Fiennes) and is maintained by the vicious Sister Jude(Jessica Lange) and childlike novice Sister Mary Eunice(Lily Rabe). The sinister Dr. Arthur Arden(James Cromwell) treats the patients but is secretly conducting illegal experiments on many of them for his twisted medical research. Into this disturbing atmosphere comes Lana Winters(Sarah Paulson), a secretly lesbian journalist is trying to find a scoop on the place and expose the cruel procedures that the patients endure at the hands of the staff. Also, a young man by the name of Kit Walker(Evan Peters) has been admitted to the facility after he is accused of butchering his wife and many other women. He is suspected of being the renowned killer Bloody Face, although Kit protests his innocence and says that a strange life form has kidnapped his wife and how she is still alive. Lana gets more than she bargained for when she trespasses into the secrets of the asylum and the cunning Sister Jude craftily has her admitted as a patient at the brutal asylum. Traumatized and brutalised, Lana has her world turned upside down as she realises the power that Sister Jude and Dr Arden possess. Other patients in the facility include the mysterious Grace Bertrand(Lizzie Brocheré), a young girl accused of murdering her family and Shelley(Chloë Sevigny), a troubled nymphomaniac who often tries to tempt the evil Dr Arden. Lana has to adjust to her surroundings and attempt to escape the asylum before it is too late, with the at first reluctant help of Kit and Grace. Elsewhere, strange creatures lurk in the woods out of sight but always hungry. Dr. Oliver Thredson(Zachary Quinto), a new psychiatrist arrives and begins to question the gruesome treatment of patients. A young boy is possessed and after an intense exorcism, the demon inside of him transfers itself into Sister Mary Eunice. This causes her personality to alter drastically as she transforms from timid girl to sly and manipulative woman. We get flashes to the present where a morbid couple visit the rundown Asylum and get much more than they had intended to in grisly fashion. There’s even an appearance from the Angel of Death(Frances Conroy) who appears to those who want to die and bestows them with a death kiss. And to top that off, each of the main characters has deep dark secrets that begin to slither out into the light.

The most prominent aspect of inducing terror is the setting, full of long, unending corridors and laboratories for sickening experiments. The visual style of harsh contrasts between light and dark, as well as jittery cuts, builds up tension and establishes this season as a creepy force of nature that won’t let go. The house in the first season may have been terrifying, but in Asylum they up the ante in terms of creepy environments.The disturbing title sequence will no doubt send shivers down the spine with its mix of gruesome experiments, stormy weather and ambiguous religious icons to the strains of the eerie theme song. Asylum exploits the deep fear of being locked away and not being believed with Lana as the embodiment of the audience’s concern. The 60’s setting allows Asylum to delve into taboos and social issues of the time, such as lesbianism, abuse of power and prejudice. It may be just a show, but Asylum does show in sometimes graphic detail how misunderstood and intolerant people were about mental health back then and how far we have come today. Religion and hypocrisy surrounding it comes under the spotlight in even more uncomfortable terms as the clash between faith and passion arises within the many members of staff as events spiral out of control .Once again American Horror Story isn’t afraid to push boundaries and make for disturbing viewing. It is almost certain that you won’t be sleeping soundly after viewing Asylum.

With members of the first season cast returning as well as newcomers, Asylum more than delivers on the acting front and adds another jolt of terror into an already scary brew of chills and carnage. Sarah Paulson makes for a relatable central heroine in Lana, with her melding of brutalised fear and burgeoning strength, as her yearning for escape increases and she tries anything to free herself from confinement. Jessica Lange once again steals the show, this time as the cruel and vicious Sister Jude. Yet rather than make her a one-dimensional monster, Lange fleshes out the character to show her vulnerability and regret for her past actions. Initially a boozy lounge singer, she became a nun after her involvement in a hit and run accident. Through her vows, she tries to atone for her crimes but realises she can’t run from her past forever. Lange runs the gamut of emotions from A to Z and delivers very impressive work. Lily Rabe comes a close second with her bewitching and challenging role as the novice Sister Mary Eunice. At first she is a sweet-faced and caring girl who wants to impress Sister Jude, but after her possession she morphs into something very different as her innocence is poisoned with the taint of evil. A sly, sexually provocative and twisted woman, she now delights in tormenting those around her as she slips out of her innocent nun’s habit and into the personification of the Devil. Rabe carefully shows this transformation with subtle assurance that is very unsettling to watch. Evan Peters is fearful and confused as the accused Kit, whose story of abduction starts to play a big part as the season goes on. James Cromwell is evil personified as the sinister and imposing Dr. Arden, whose experiments get out of control as his mental state crumbles and his treacherous past comes back to bite him. Joseph Fiennes makes for a self-righteous and beatific presence as the Monsignor in over his head, while Zachary Quinto subtly contributes care yet a bristling menace to his role as the new psychiatrist. Lizzie Brocheré and Chloë Sevigny are also effective as two of the inmates at the asylum;Brocheré adding mystery and whispery uncertainty and Sevigny with her mix of sexuality and fear. Frances Conroy is impressively ethereal and wise as the Angel of Death, who makes many appearances towards the end of the season.

Unpredictable and filled with many twists along the way, Asylum is a provocative and terrifying entry into the American Horror Story canon.