Paranormal Activity

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2000's, Horror, Katie Featherston, Micah Sloat, Oren Peli, Paranormal Activity, Supernatural Horror

Using a simple premise of a supernatural threat targeting a young couple captured with a camera, Paranormal Activity builds a creepy atmosphere throughout as the threat gets real. You’ll want to sleep with the lights on after watching this creepy chiller.

Young couple Micah and Katie ( Micah Sloat and Katie Featherston )have been experiencing strange and unexplained phenomena in their San Diego home . The often immature Micah has decided to set up a video camera in an attempt to capture proof of a paranormal entity, though Katie is not enthused by this idea. Katie reveals that she’s had strange events akin to a haunting throughout her life when a psychic comes to visit. The psychic warns the couple not to aggravate the entity that has latched onto them and particularly. It’s not a matter of the house being haunted, it is Katie herself . With his camera and technology, Micah finds the whole idea of a haunting fun and cool. Katie , who really doesn’t see it as something thrilling, becomes increasingly more terrified as the haunting continues. To start, various household objects are misplaced and creaking doors are the extent of paranormal energy. It then becomes a lot more sinister at the days go on. The clashing of viewpoints in terms of how Micah and Katie view the strange events that befall them escalates, as Micah becomes even more interesting in finding out what is haunting them and Katie begins to fall apart emotionally. Following Micah’s blatant disregard for not bothering the haunting presence, the entity ups the ante leaving in a desperate fight to survive this malevolent intrusion. All the while, the seemingly unending threat is being captured on film by camera, often in moments the protagonists don’t see until later.

Oren Peli, who as well as being writer and director , also edited the movie,  does a superb job crafting a horror movie that’s simple but shrewdly done . It’s pretty hard to believe this was his directorial debut because of how assured his touch for suspense is What Peli gets right is the tone and gradual suspense of Paranormal Activity. He knows to to build tension without the film dragging on( it comes in at under 90 minutes) making one chilling efficient exercise in terror. Paranormal Activity deal with the presence of ghosts and haunting , yet the direction and execution of it add a veneer of reality to proceedings which in turn heightens the fear and scares it goes on to generate. And it’s also nice to see a horror movie that relied on mood and atmosphere as opposed to excessive gore. Not that I mind gore in my horror movies, I just often find myself being more disturbed by the psychological approach of dread and anticipation Although a found footage movie, Paranormal Activity has a certain level of sophistication as it doesn’t often feature spinning handheld camera. Yes there are parts of handheld camerawork, but it’s largely the times when the camera is still that the chills occur. As sets the camera up in the bedroom , we begin to observe strange events slowly but surely mainly of the nocturnal variety. We are forced to concentrate intensely to see if something subtle has occurred and whether our minds are playing tricks on us. It’s an effective trick as we get invested in the haunting and it keeps us creeped out along with the protagonists . Often we don’t see anything but the sounds and sense of dread make our minds run wild which is employed with impact in Paranormal Activity.

Special credit must go the sound design here who craft a feeling of escalating dread with every bang or loud noise. This , coupled with periods of almost unbearable silence and it’s a nerve wracking experience that awaits you. The best usage of this is one of the nocturnal sequences when we witness Katie in a seeming trance get up out of bed and stares at her sleeping boyfriend . What’s most alarming is that the camera timer shows she has been doing it for a number of hours without moving. The silence and whole atmosphere of this scene gets under your skin and is one of many that’ll have you spooked. The budget may have been low, but the chills are high in Paranormal Activity.  It’s not really original, but it’s for my money one of the better found footage movies and a downright creepy film in general.

As the two main players in the film, Micah Sloat and Katie Featherston are believable and very authentic as the couple under attack. Both feel like real people who you could know and this goes a long way in this movie. Sloat strikes the right mout of geeky curiosity and immaturity as his over eager antics make the situation at hand a lot worse than he expected. It’s Featherston who is the heart of the film; convincingly displays the deep rooted fears of a young woman seemingly haunted since she can remember. Her increasing desperation and slip into instability at the events around her is one of the driving forces of Paranormal Activity as most of it links directly to her. There are other actors in the film, but the lions share is taken up by the duo of Katie Featherston and Micah Sloat and they certainly deliver throughout.

A terrifying horror that favours psychological chills over excess gore, Paranormal Activity shows his the found footage genre can be to elicit a ruthless and efficient horror movie. Be sure to watch with someone else as terror is best in movies when shared

The Guardian

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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

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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

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

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

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

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

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

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

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

The Devil Rides Out

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.

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.

The Conjuring 2

Tags

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

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

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

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

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

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

Hereditary

Tags

2010's, Alex Wolff, Ann Dowd, Ari Aster, Gabriel Byrne, Hereditary, Horror, Milly Shapiro, Psychological Horror, Supernatural Horror, Toni Collette

A visceral, emotionally haunting and horrifying psychological horror from the debuting Ari Aster, Hereditary plunges you into grief, family secrets and the terror of what we might inherit from our relatives.

Annie Graham(Toni Collette), a miniatures artist, is mourning the death of her secretive mother. She is joined in this by her therapist husband Stephen( Gabriel Byrne)and their two children; bored and dejected 16-year-old son Peter( Alex Wolff) and unusual tomboy daughter Charlie( Milly Shapiro) . The thing is Annie was estranged from her mother and various things in her past impacted their tenuous relationship. while young Charlie, who was her Grandma’s favourite, begins acting even more strangely than usual. Soon enough, a strange force begins plaguing the family. Though she secretly visits grief counselling for guidance, Annie believes she sees her mother again, Charlie also sees visions of this along with unusual phenomena. Peter buried his feelings in smoking pit and trying to get girls but tragedy brings him back around. Stephen is the main point of attempted calm in a powder keg situation that slowly starts to unravel. It all pertains to the deceased Grandmother, but how does it? As grief and tragedy plunge the family further into turmoil, Annie starts to lose her grip on her sanity and events descend into a waking horror for the Graham’s. Matters aren’t helped by the arrival of Joan(Ann Dowd), a mysterious woman who ingratiates herself into Annie’s life with shocking results.

Ari Aster marks himself out as a director with a future. He’s clearly a guy who loves his  spine-chilling, psychological horror and Hereditary is a testament to that. He’s got a fantastic handle over pacing; slowly dropping crumbs of information and things you think are just accidental, but are intentional. It’s a slow burn that’s punctuated by moments of shock horror and extreme situations, while still examining the ups and downs of grief in a bubbling way. Then when we get to the heart of things, all hell breaks loose and Aster unleashes chilling moment after moment. Be warned, the last half an hour is some intense stuff that will make even the most seasoned horror viewer sit up and be freaked out.

You’ll be left with images of great horror and of an unsettling nature once you finish Hereditary. And with good reason as they are plentiful and a credit to the visual team and the exploration by Aster. From slowly zooming camerawork to a mastery over sound( the sound of a tongue clicking will haunt your dreams as will Colette’s roars of grief and an intense dinner scene) , it’s a movie for definite horror fans. The claustrophobic atmosphere, heightened by the abundance of scenes within the family’s large house, helps us ruminate in how grief can isolate is and how familial ties are not always . This film isn’t full of cheap scares as it has more on its mind. Take for instance when Annie believes she sees the ghost of her mother. Most horror films would feature a sudden reveal, not here. Instead, Aster uses a wide shot and gets the audience to really pay attention as to see whether it was real or not, as if daring us not to trust our eyes. I admired Hereditary for the fact it didn’t have to resort to throwaway scares. Hereditary is certainly not for everyone, but for those with a penchant for dramatic scares and unusual imagery, this should be a treat. A rumbling score is the cherry on top of the cake as murmurs, low electronic humming and unusual instances of cacophony blend hauntingly.

One of the finest things in Hereditary is the committed performance from Toni Collette, who turns in some of her finest work. She’s put through the wringer of emotions and just displays them all so convincingly and vividly. From grieving daughter to mentally unstable and all that’s in between, Collette doesn’t miss a beat and often conveys varying feelings within seconds of each other. One can’t stress enough the sheer full throttle force with which she acts here. It has to be seen to be believed and experienced. Gabriel Byrne provides solid support in a role that could have been boring, but rises above such worries. He’s the non believer trying to keep his family together but failing as times passes. Alex Wolff gets the alienated and confused state of mind for his character just right, going between moments of escaping pain to enduring intense suffering that makes no sense to him. Rounding out the family is young Milly Shapiro, who sends shivers down the spine as the daughter seemingly most affected by her grandmother’s death. You never quite know what to make of this little girl but she is damn important to the story. In a small but pivotal role, the ever reliable Ann Dowd exudes an uneasy sense of niceness that is tempered with something that tells you that you can’t trust her as far as you can throw her.

Super unsettling, packed with ideas and thematic value, plus boasting impressive acting and an atmosphere of never ending dread, Hereditary is definitely for those who appreciate a slow burn and a searing drama within a horror movie.

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.