Horror Short: The Devils Walks Among You (2011)

Written and directed by Ryan M. Andrews
Staring Robert Nolan, Sandra DaCosta, and Katie Uhlmann
Director of Photography Fraser Brown

Alluring and mysterious Lilith Mastema tells of tales in her live spoken word show, showcasing a classic old jazz style to her stage. Tonight's tale is of a late night diner that receives an elliptic customer after closing, whom later reveals himself to be the Devil. The Devil Walks Among You is a short, 8 min run time, thriller that doesn't dwell on literal horror. Unlike you expect the Devil doesn't enter the dinner and upon doing so raises 'hell' but rather in an subtle yet haunting etiquette chills you to the bone with his simple message of walking among us. Often fit with short films is the grab or rather the shock and awe moment, but Andrews script and direction risks for a tame story that flows fealty into its disquieting end. Basically, don't expect an abundance of blood but anticipate a quiet thriller that's more about the essence of horror rather than the incarnation of it.

Robert Nolan again comes in as the sly but ever so charming Devil, another expo in the actors unbound talent. Sandra DaCosta is stunning, a fitting portrait for her cool lounge character as her voice narrates the story with a chilled ease. Ryan M. Andrews direction is crisp and there's little pitfalls in his overall well made short. I may like the style of the film the most though, with the interweave of the 1950's diner and early 1930's lounge den. As a lot of the shots, especially those showing DaCosta, are up close it limits the view of the sets making the photography key in conveying the tone. The detailed design of the diner is accurate in its depiction and the mood lighting in both sets captures the feel. The diner under gray florescent sets you off balance and the lounge is dimmed to tense and focus the mood. Although I rarely do I'd also like to note the costume department who I think dressed their cast appropriately, letting way to more of the characters personalities. The Devil Walks Among You was an enjoyable, well made horror short, that I'd recommend to most for its appreciated style and familiar concept.

Horror Short: Out of the Night (2013)

Written and directed by Skip Shea
Staring Gwendolyn Callahan
Director of Photography William Smyth

Lost in a sullen neighborhood a wealthy woman is lured out of her car by falling hundred dollar bills, despite the shadows she's seen skulking in the fog. Out of the Night is similar in Shea's previous short film, Microcinema, in that it uses its events as an analogy for a more deeper understandings of the human condition. As voyeurism and obsession was the topic of the former the latter helms topics of greed, desire, and how in light we view strangers. The woman in the film is lost, scared, and likely at the other end of the tracks, however her lust of money leads her out into the night to gain more wealth even with the figures hidden in the fog. Of course for those who don't look so deeply the surface level horror is done well with the fear of being lost at play as well as the sense of dislocation. We never find out where the wealthy woman has wander off too, whether it be an odd neighborhood or some city of the afterlife.

Shea has a way of taking our expectations as an audience as well as the expectations of the character to offer us a different alternative. His films have a knack for unveiling the illusions of reality and exposing the often brutal truth. Not all is so bleak as Shea's dark humor is subtly placed in the film, mostly near the end. Gwendolyn Callahan is great, her role consists of no dialogue but her often lurid expressions fill in that utter terror of being lost in a neighborhood that vastly differs from her own. The score was taunt, lucidly attendant to the chilling atmosphere that's been set. The photography is simply gorgeous, utilizing classic black and white. There's a really exceptional image of Callahan vanishing into the fog; it fluently lacing around her, dissolving her figure into the darkness. I really liked Out of the Night, however it was a film I had to watch a few times to fully grasps the concept. In that I do recommend with a little hesitation as this film will likely go over a few people's head. But if your like me and you love reading into horror with deeper meanings than I'd say don't miss it.

Out of the Night will premiere at the SENE Film, Arts & Music Festival on Sunday April 28th at the Cable Car Theater in Providence, Rhode Island. For more information you can visit - http://www.senefest.com/dramatic-short-films.html

Of Silence (2012)

WARNING: May Contain Some Spoilers

Colby is man confined by his past horrors and the current ones that invade his broken life. After an accident causing damage to his ear Colby's love of scuba diving is lost, as well as a steady pay. And with the death of his wife following in recent wake it doesn't help as Colby becomes more withdrawn from family and life. Debt collectors, a worried family, and no other job passion Colby is falling further into depression. And to make matters worse he begins to hear strange and frightening noises, ones his family and the people around him cannot hear. As Colby divulges further into isolation and deeper into his wife's death, he's to uncover a horrifying presence that could take away the only meaningful thing left to him, his sister Haley.

Of Silence is a different kind of horror film. A simple but aesthetic piece that looks more to a sophisticated level than that of something floating around the indie circuit. Although I can see where a few people may not care for it as writer, director, and star of the film Jeremiah Sayys pays more attention to the subtler build than to a hellacious climax. There's not much visually occurring as the director wants you to listen rather than see the nightmares that surround Colby's life. As any void of dialogue is filled with unique sounds that don't attest to the common horror noises. There's an unsettled sense in your incapability to define what they are. However, your not denied entirely of a monster as the final product does offer a creature but still yet it remains mostly in the shadows. The special effects department creates creatures that look rather interesting, a bit of shame as you never get full exposure but that of course adds to the effect. Less detail is attended to some of the smaller effects, i.e. the smoke, but an overall professional effort on their part.

Usually when a person tries to write, direct, and act in a film they tend to be mishandled, with the qualities varying between the fields. But Jeremiah Sayys seems to have it down as he's preeminent in all aspects. There's a small moment in the film where Colby shows a remote bliss, one that really isn't seen throughout the rest. A smart directorial and acting choice for the film as the slight act elevates both the performance and the character. It let's way to a Colby that the audience never really gets to know, but at one point did exist. And of course the rest where he's imprisoned by his melancholic temper is acted out in a a believable and appropriate manner. The supporting cast is good with noteworthy Ashlee Gillespie as Haley, who acts as the somewhat brighter note of the film. And Matthew Lawrence as the brother, who I recognize from my nineties childhood. On a visual standpoint Of Silence in flawless in cinematography. Scenes in blackness appear intentional and not because of misused lighting. And the set design is captured in a serene gloss that I personally care for as a visual palate.

Outside of the strong technical structure there's also a lovely score that fit to the film perfectly. A defined and disturbed lullaby of sorts that I could recognize in an instant if played again. Not all may like Of Silence, as I said it's a cautious film that paces itself before any horror moment. Some may not personally like the surreal world Colby's life becomes as it fades in and out of memories, visions, and overall bizarre occurrences. Which is a weaker point in the film as it's often hard to decipher exactly what happened and what didn't. I hope to watch it again some day to maybe fill in some of the blanks that it left for me. It's also tending to characters before action, as your often more involved in Colby's state of dejection than the weird noises. But don't let it mislead, Of Silence is a stunning little film that I quite enjoyed. I'd watch again and I'd recommend as a watch for any slow burn horror fan.

Play Misty For Me (1971)

Radio jockey David has long been receiving a single phone call with the seductive and soft voice of a woman asking him to 'play misty' for her. David has a reputation of sleeping around a bit and has been trying to change his habits. He makes a slip though when one night he by chance meets the play misty woman at a bar and the two spend the night together. To David it's just another one night stand but to the woman, Evelyn, it becomes her everything. Evelyn begins to make herself persistently present in David's life, simply harmless at first but she becomes much more psychotic and obsessive as he continues to turn her away. When David's old fling, Tobie, appears back into his life Evelyn's insanity is redirected and Tobie is left in danger.

Clint Eastwood's directorial debut features that of a femme fatal in likes to the destructive relationship of that in Fatal Attraction. Where as that film posed as a cautionary tale to cheating husbands Play Misty For Me could be a warning to all men, and women mind you, to be careful who you mess around with. In honesty though the film is a little bit anti-climatic. I would of liked to have seen a longer fight between Evelyn and David instead of the short one we are given. The film mimics similar nature of the song in which it's named after, it reflects that slow instrumental strum to create cool a lightly tinted thriller.

As Eastwood handles the duo role of acting and directing I felt he gave more attention to the latter than the former. Not to attest that he's bad in this film but I believe more of his worries were on how he'd look as a director and less as an actor. From an acting point Eastwood is able to capture that run of the mill douche quality to the earlier part of David's character and tone it down just enough in a subtle yet convincing play for the romantic side that is shown towards the end. Jessica Walter is quite insane as Evelyn, she in general at first appears sweet and only a little bit obsessive and then manages to blow her mind out entirely and lose it. The photography is about average, there's a waterfall lovemaking scene for the romantic horror loves out there that might be of interest but other than that a good but nothing exceptional use of shots. But I loved the retro seventies set design and look for the film, it was diverting for a nostalgic such as myself.

The interesting thing about Play Misty for Me is that unlike Fatal Attraction the two main characters didn't experience this passionate affair in which the man led the woman astray, but rather it consisted of a one night stand a few seductive 'Play Misty for Me' phone calls. Evelyn's obsession towards David was a lot more grounded in her likely not being sane from the start and when she got close it took her past her limitations. Which is why I say it poses as a cautionary tale for men and women, this isn't a 'being faithful to your wives' warning, this is be careful who you bring home. Eastwood's early directorial effort peaks at the later efforts in his career and makes for a good thriller. Not my favorite suspense film but Play Misty for Me is a decent watch for any of those a fan of Eastwood or of the femme fatal films.

Blue Velvet (1986)

Jeffrey Beaumont has returned to his small suburbia home town to help out with his ill father. When he's walking home from the hospital one day he comes across a severed ear in a field. Being the proper raised college boy that Jeffrey is he takes the ear to the police in search of answers. But when the police reply with ambiguity and he realizes that they've been quiet about all they know he seeks out answers for himself. His romantic in the police chief's daughter Sandy leads him to Dorothoy Vallens apartment, a lounge singer who's dark secrets take Jeffrey on an erotic and dangerous journey to a man named Frank Boothe. However, Jefferey doesn't realize that he's no longer in his safe suburbia and has entered Frank's world, a dark place rooted with childhood trauma and wielded by a man with a short temper.

A arch in the psycho-sexual thriller from the preeminent director of the bizarre. Blue Velvet sets you off balance from the opening sequence of bright red roses against a white picket fence and ocean blue suburban sky as the cadences of "Blue Velvet" linger in the background. The uncanny temper is at play in the film's script, acting, and optics as there's nothing quite right in a David Lynch film, and the term Lynchian creates a genre of it's own. This is my first Lynch film to be quite honest, I'm familiar with the term Lynchian and know of Eraserhead and his series Twin Peaks (both on my list to watch), but this is the only actual exposure I've had. That being said I get it, he precede's logic and perceives the abnormal, but in ingenious way that it doesn't really qualify among other scripts that are driven by the macabre. The score to Blue Velvet is for, lack of a better phrase, the cherry on top of a deeply disturbed film. I could of done without the love music to Sandy and Jeffery's characters but the off-set rhythm to the score when Jeffrey leaves Dorothoy's apartment and of course the haunting flow of the title song "Blue Velvet" tightens an already tense halo.

I don't care to think in absolutes as I believe that limits how I percieve things but if you're not bothered or intrigued by Dennis Hopper's performance you have no taste in acting, and are likely a sociopath. Hopper takes a risk and plays Frank Booth with an over the top performance but in that it feels so real, your under the belief that this man is undoubtfully delusional. There's a tinted hilarity in the portrayl as well which adds to the more unsettling nature of it. Kyle MacLachlan is awful, I'm sorry but his performance did not seem sublte, often he was stiff and monotonic as well as a little troubling, and not in a good way. He upset me with his leering stare and soft voice, maybe if he was playing a child molestor this would have been a good acting exploit but he's suppose to be the unsought out college hero. Isabella Rossalini is almost as delusional as Hopper in the lost sanity of Dorothy, you see the victim but also the disturbed woman that's taking over, as well as other layers. Complex photography intertwines with the plot to create a very delude sense of reality. The apartment scene is disquieting in it's unimaginable play out. Lynch takes the script and the viewer to a place absent of safety.

Execution in surrealism is hard and often falls to the absurd and unrealistic. Lynch knows surrealism likely better than he knows reality. Blue Velvet is weird but rhythmically strung with tension and moments to make you feel lost, as Dean Stockwell's lip syncing of In Dreams pulls you from the film. I was also a bit lost as to where to place this film, I almost wanted to say giallo but ill-fitting as even though Jeffrey goes about his own investigation there not enough blood or close ups of murder. Then I possibly thought Suburban Gothic but PissedOffGeek on twitter rebut that with his insightful depiction that though Jeffrey lives in Suburbia there's never any danger there, it's all in the urban constants of the apartment where the real horror occurs. Therefore all I can conclude is that the film doesn't fall under any category as it is a class of its own, hence Lynchian. Blue Velvet is an important cinematic piece that should be seen by not only horror lovers but film addicts as well. I was captivated and seduced by Lynch's use of medium and therefore loved it. It's unlike any viewing experience and commands that attention of being unique. Not everyone will like it per say but everyone needs to see it. 

After.Life (2009)

Anna's life has begun to fray as she seems to be a little lost in her job, relationship, and the generality of her life. As life is though it gives Anna no time to mend the broken and she dies in a car accident, leaving behind a grieving boyfriend. When she wakes up in the basement of a funeral home, being prepared by the funeral director Elliot, she's afraid and bemused by what's happening. Understandably addled, Elliot explains to Anna that this is what happens after a person dies and that he's been given a gift to speak to the dead to help them pass over. Anna can't leave the feeling though that she's not quite dead, despite an autopsy proving dead-on-sight to her car accident. Trying to convince her Elliot's only response is frustration and his only solution is for her is acceptance. Her boyfriend Paul however is also not convinced that Anna is gone and finds suspicious in Elliot's character. As Anna's funeral draws closer there is no indication as to what really happened to her, leaving you to question is Anna dead or alive?

The film does have genuine creepy moments but overall it suffers from a lack of intrigue. The characters are uninteresting, dully pulled by the happening and the mystery of Anna's death. Maybe it was just me but I felt that so much more time had passed than that suggested in the film. Anna had till Friday to get her after.life together, I believe which was only three days away, instead it felt like two weeks had passed. Also ridiculous was the use of CGI in unneeded scenes. In visual perception it wasn't quite as clear, there are shots of beauty and then shots of nothing special. A common thing I hate in films is when they try far too hard to create a color scheme and it's painfully obvious, here it isn't so vibrant but the noticeable color of red was throughout. It didn't compliment against the morticians green walls but overall it wasn't bad to look at.

The script isn't bad and as said the concept has some weight to it, but falls flat and never really picks up. As does characters, most are just unlikable and account for nothing more than that. Christine Ricci plays out most of her role a la nude, a favorable asset to you male viewers I'm sure. She does what she can with the cold Anna and is consistently good throughout. Liam Neeson is the man to shine here though, his character is by far the most interesting, a little bi-polar and psychopathic with his very polite manner to the living and his low patients towards the dead. I wouldn't go as far to say he's creepy, more or less odd with his lurking at love ones saying goodbye and his ability to speak to the dead. Paul is prone to fits of alcoholism and crying, all understandable as he's really the only one appropriately mourning over Anna. Justin Long is fine in the role, he seems heartbroken enough, if not more so than those around him.

At the end it just feels useless. In doing research I peaked on the film's IMDB discussion board and there are rather intriguing opinions and analysis's of the film from fans as to what it all means. I even saw one in how this film could be a literal interpretation of how the brain dies slowly and what people really experience in near death experiences could be similar to Anna's story, or in likes too. But those still prove far more interesting than the film. I've also seen a few comparisons to another film of this supernatural thriller nature, Dead Awake, but the difference is Dead Awake is awful, where as this mostly just boring. Not my recommendation for a psychological thriller but it's not an entire waste neither.

Rage (2010)

 WARNING: Contains Spoilers

As Dennis Twist leaves his suburban home early one morning to run a few errands all seems fairly prosaic, in a good way. He's got a beautiful wife, nice home, and appears to be a friendly enough guy, offering to help out his neighbor with a chainsaw problem. Dennis irreproachable image however is shattered to the viewers when we see that he's been having an affair. With intent to break it off Dennis heads into town but on his way his day turns sour when he blindly incites the anger of a motorcyclist. The biker taunts and stalks Dennis for what starts as a simple case of road rage but soon accelerates to a violent horror as the biker is now intent on killing Dennis. But when Dennis thinks he's escaped and heads home he's unaware that he's not only put his life in danger but his wife's as well. Chris Witherspoon's independent film draws heavy influence from the Steven Speilberg classic car thriller Duel in it's first hour and then climaxes to a bloody finale.

I had apprehension beforehand in viewing Rage. The heavy influence to Duel turned me off a bit as I didn't care for Duel at all. Also Rage is in every way an independent film, having been written, produced, directed, photographed, and even acted by one man, Chris Witherspoon. I'm much more nervous in reviewing independent films because they aren't big studio films that I can piss all over, these are films that are trying to get out to the public. The last thing any independent filmmaker needs is a bad critical review, even from a little blogger myself. That doesn't make them insusceptible to my critism though, independent or not if I don't like it I will say so. All that's irrelevant though because I quite enjoyed Rage. As mentioned Witherspoon was able to create a tense thriller in which he took liking to the similar plot in Duel. Not to set you on the idea that Rage is Duel because Rage has a much different tone to it. It effortlessly changes from thriller to slasher film, my favorite aspect about it, the former which instills the tension that the latter shatters with intensity. I genuinely found the biker to be quite scary in his rage, he remained faceless for the entire length of the film but still after certain scenes and images of his walk stay with me. The bedroom scene is by far the most tragic. It captures, in effect to shame, the death of a marriage and may be the scene to make the film. 

Though the affair is a fault to his character it doesn't distract from the likeability of Dennis or the overall sympathy that the script offers. His dewy-eyed stealing of the parking space from the biker is much more innocent than that of Weaver's arrogant cut-off of the trucker in Duel. Rick Crawford is quite good as Dennis. A little weak with his line deliveries but repairs it with an exceptional use of his eyes, which Witherspoon as a director knew to take focus too. In a collaborated effort the two are able to draw so much emotion, and not with just Crawford but Audrey Walker and notably the biker as well, to almost tell the story on it's own. It's quite phenomenal when watched on a second viewing to see how often the use is and how effective it is. It's the visuals in Rage that arrest the viewers though. Again Witherspoon served as DP and it may arguably be his strongest aspect in film, he uses a compilation of different techniques to create a photographed display of emotion. The camera and film used creates this odd post modern grit that I'm particularly drawn into, as I don't like HD but this offers the more high tech version of 16mm film. He also picks up the vibrant colors of the filming location and Dennis's stunning red car.

Usually I don't pick up or take too much notice to sound unless it's prominent and in this I noticed there was a unique way of sound lays. Specifically a scene towards the end where the starting of a chainsaw lapse's over the sound of a phone ringing, making a very provoked sense of fear. As well as early on in the film where it switches in conversation from a clear range of hearing to a muted sense, not sure if that was intentional or by accident but it was really quite fascinating to listen too. The last half hour to Rage is the best though as it really just explodes what ever suspense it carefully built up before hand. This is all acclaim to Witherspoon as every job he was a part of was executed to absolution. It's notably hard in straying the line between paying homage and directly ripping a film off. Though Rage has many moments that are pulled from Duel (i.e. Dennis inner commentary, never seeing the bikers face) it's still its own film and superlatively good. If you a fan of Speilberg's classic undoubtedly you'll appreciate the references but if not it's an antsy small budget thriller that doesn't show its limitations.

The Crow (1994)

Devil's Night - Halloween Eve - is a night with a reputation of arson and murder for inner city Detroit. On this night Eric Draven and his fiance Shelly Webster were brutally murdered and she brutally raped. Leaving behind a grieving surrogate-esque daughter, Sarah, and a fearful city. The gang composed of TinTin, Skank, Funboy and T-Bird are free without even an arrest. A year later though the Crow, which has been said to carry you to the afterlife, brings back Draven in his grief. He seeks revenge on the four men who killed Shelly but is unbeknownst that the gang is part of a larger criminal empire run by the high class katana wielding Top Dollar. When Top Dollar finds out about Draven's invincibility and the Crow's powers he seeks after Draven with the only thing he has left, Sarah.

I'm not sure if it's because of the on set tragedy (Lee was accidentally shot in the making of the film) or just the somber context of the script but The Crow has a drear veil in its viewing. That's not to attest it as uninteresting but rather the opposite as I'm always drawn into the tenebrous subject matter in that it never fails to evoke emotions from me. The film borders revenge flick to Gothic thriller, tending to shy away from the more violent scenes, but not denying us the final product; the gun shoot out felt more like it belonged in a action film than it did with the rest. Towards the hour mark it drags some and I lose focus for a minute or two, whenever I watch it. And as goes the plot is a bit absent minded and one dimensional. But I've always attribute character to surpass plot and I love Draven's character so I could care less if the plot was less attended too. The special effects are not great, even for its time and likely standout the most in the film.

Inevitability praise for Lee's work has been questioned by the close occurrence of his death on set, similar to Heath Ledger's Joker, many claim that the only reason the film is known and his performance accredited is because of the tragic accident. I make no mistake in saying that's absolutely wrong, tragedy or not Brandon Lee is immense in the role of Eric Draven. The sinister clown exteriors the broken angel, both which make for a memorable character. Draven's one liners and his depression from his and Shelly's death create a character that is to stay with you, despite an unstable plot. Ernie Hudson is good at being Ernie Hudson...that's a little harsh, I honestly don't mean it as a negative. His self portrayed likable cop is a nice character to relax on, you always know he's going to be the good guy in that sense it relives the tension from the dark script. And Michael Wincott is great as the baleful Top Dollar. This is a Gothic visual stimuli in a more natural approach than Tim Burton's inspired work. The prominent color of black is painted on nearly everything but it never hides or darkens the screen. Instead it blends with the gray skies and red flashbacks to bleed a comely cinematographic show. Attribute to director Alex Proyas and director of Photography Dariusz Wolski, who I hold this to be his best work.

The film like most of my favorites is a beautiful flaw, not perfect but hits my right notes. I consider it a great piece similar to Guillermo del Toro's Hellboy, not strong on plot but excels in character development and visuals. I love the soundtrack as well with a mix of rock songs and romantic scores to capture the dense sadness and angst. Another thing I picked up was Lee's usual of martial arts in his stance and actions. They didn't really need a stunt double as the martial arts expert was able to do most of the stunts himself. Not necessarily a martial arts fan (odd considering my favorite movie is Kill Bill Vol 2) but I love when it's present in outside genre films. The Crow conceived quite a bit of sequels and a TV spin off; the films holding under a five star rating on IMDB. I believe one of them even has Edward Furlong in it. I can't speak for the sequels as I have not seen them myself but the 1994 film The Crow is a stunning Gothic entry in the horror genre. A must watch but be weary of the black subject matter as it's not for a light viewing.

Dead Awake (2010)

It's not fair, how am I suppose to summarize a film if there is no coherent plot to describe? I've had to do this twice now and I'm becoming a little irksome of it. Oh well, I'll try my best. Dylan is a funeral home assistant, or Morticians assistant, or whatever, plagued by the memories of his past. When one of Dylan's old high school football teammates dies and it brings a reunion of his class to his funeral home Dylan gets reunited with his ex love Natalie. Seeing his friends death and Natalie Dylan gets a bit bummed on himself and bets his boss that if he faked his own death no one would come. Taking the bet Dylan waits the day in the coffin for what appears to be a no show, that is until an unhinged junkie crashes the wake.

I almost forgot to post this review which may have been a sign. It's full of intolerance towards the director and the screenwriter, with a sparingly few nice things said towards the actors. Proceed with caution. The concept, a man faking his own death, is provocative in theory but poor in execution. Dylan fakes his death for one scene and the rest is of him trying to get back with Natalie and following the junkie around to inconclusive events. The film consistently tries to discuss a larger meaning of death and redemption but the writing is so up and down it doesn't work out. They show flashbacks to recap what's occurring in the film (aka, nothing) but often replay scenes we saw five minutes ago, rendering the technique pointless. The car crash doesn't intrigue you so when the big mystery is revealed you could care less. I'm usually able to excuse a plot less film if the characters hold strong, but they don't in this. Dylan, though having a tragic past, doesn't care about himself and neither do you. In general for a thriller it lacks thrills.

Rose McGowan is the only intriguing character, and she's well played, as McGowan rarely disappoints. Nick Stahl, who suspiciously looks like Michael C. Hall in this, is good. There's one rather dramatic moment between him and Decko and if it wasn't for Decko's acting it may have pulled through. Amy Smart is good too although I've seen her in better. The two Irish sub parents to Dylan, Decko and Liz, are awful. It's apparent that their accents are fake (or at least sounds thereof) and that the screenwriter gets a kick out of Decko saying Shit in the accent, so it sounds like sheit. The director and cinematographer try to hard to make the tone of the film dark and edgy, that has a lack of consistency as well. There were deep shots of grungy indie lighting and then scenes shot in clear day, neither which flow with the visual palate of the film.

I was done with it at an hour in and the last half didn't seem to end. There was no plot and hence no climax. The film does make sense though when the last minute twist is revealed and you understand what the purpose of it all was. That doesn't change how it tried to basically bore and drive you into insanity for the first hour, and not in a good way. Still the plot holes are immense and there are still unexplained elements (the detective anyone?). The film steals, not pay homage but actually steals, the tagline "Death is only the beginning" from The Mummy remake, and the poster is a clear rip off of the Twilight Saga posters. From reviews on Netflix and on IMDB some people acclaimed this as an indie Sixth Sense and found the story different but good. Personally I found it to be poorly written, poorly directed, and I hated it. It more or less just bored me, as it is managing to still do now. Not deserving of a recommendation from me, sorry.

House of Wax (1953)

WARNING: May contain some spoilers 

In House of Wax Vincent Price plays the wax curator of a modest exhibit that showcases moments in history, his favorite being his Marie Antoinette life-like creation. But Price's business partner does not share his love for the museum and burns it down, with Price inside, to cash in on the insurance money. A few months pass and with what seems like a dead Price and a happy Matthew Burke is awaken to reality when Burke dies by a disfigured man, and Price resurfaces with a new exploitative exhibit. Among the opening night viewers is Sue Allen, a traumatized woman who discovered her friend Cathy dead and was chased by the disfigured killer. While walking the exhibit Sue takes particular notice to the Joan of Arc figurine, which posses the face structure of her late friend Cathy, and despite comfort Sue takes notice to how eerily the wax resembles that of real people. Meanwhile Price is hoping to use Sue as a model for the re-sculpting of his beloved Marie Antoinette.

It's rather curious to me but I knew from the beginning of House of Wax that I was going to love it, the shot of Price working on a sculptor, it was in his stance and attitude that made my heart melt and I became a Price addict here on out. This is one of those films that I prefer to not see in high definition as for on a personal matter I am nostalgic and in favor of the film I think the infrared vision works in that the wax figures do appear to be tediously real. The actors are posing in still but the gritted screen makes it less likely to catch any unwarranted movements, and regardless you start on with Sue's suspicions of the origins of the figures. The film is mostly just suspenseful and thrilling, but the disfigured murderer and the uncanny aura of the museum might unsettle some.

Price is enlivening in the role of Jarrod, the passionate wax artist who may not be all they way there. He's able to let way enough when he's playing normal in the character the madness within, and it's just incredible to watch an actor that can actually do that. This is the film, as far as I know, that started Vincent Price's career as a legendary horror icon, as he plays the madman so distinctly. Phyllis Kirk is good as Sue Allen, she's likable and though she has that paranoid 'there's something wrong' syndrome you as an audience feel it equally so it doesn't come off as a being vexatious. Frank Lovejoy and the rest of the cast are all good and in par with the acting of their decade. Directing is done well, although this is one of the first 3D films ever made and there are scenes where it's apparent that certain things are aimed at the audience members, but other than that no real complaints.

Unfortuantly House of Wax does hold me down on one aspect of the film...the ending. Call me a sick individual but I did not want the happy Sue lives ending. Not that I had any particular dislike towards her, I mean she was right about Jarrod, but maybe it's just my horror rooted mind that wanted to see the recreation of the Marie Antoinette in the The Chambers of Horror. That's nothing to turn you off however, House of Wax is a classic and I may not really even have to recommend it because I'm sure all horror fans have seen it. Regardless of, for new horror fans who have not seen it my opinion is that it is an exceptional horror film that may not scare for modern audiences (it's rated PG for today's standards) but probably did in it's time, and it's far better than its slashed up remake...let's just be honest it's not even on the same level.

The Master of Horror - Dario Argento

Next year's lists will not be so crammed, I promise. I'll admit I tried to squeeze a few viewings in of films the night before, having not seen them but knowing they had a strong legacy in the genre. I'm sure some that I critiqued or rather ignored will grow on me and the list will inevitably change, hell Boyfriend's With Fangs needs a drastic update since last year. So do know that none of them are absolute or near such (maybe with the exception of Stephen Kings) and that all contain the fine print "So far".

Thus to prevent addressing it in ever paragraph of this list (as it inevitably would be) lets just mention the flaws of Argento's work; awful sound transfers, not the best acting, and plot instances that fail. Its safe to say character development and the logical plot are not his strong points. What are? Setting up atmosphere in set design (I've heard he's meticulous about such things), collaborating well with composers, directing his DP's to gorgeous cinematographic heights and creating a beauty in death, something I don't believe any other filmmaker has done quiet so well. To note I didn't get distinctly different in separating the giallo's from the true horrors as I would therefore not have a list and they are scary despite trying for a more crime fiction motif. Not solely a master of Italian horror but basically a master of horror in general Dario Argento's films established a cult following based of his work. Not all can be Argento fans (understandably) but those who are appreciate them for what they are, broken masterpieces. So for this year's Master of Horror I focused on my favorite country of horror by one of my favorite directors, My Top Five Favorite Dario Argento Films:

#5 Phenomena (1985)


This is Argento's heavy metal rock film of the 80's, a combination I couldn't dream up if I'd even believed it to work. However, it does in this outlandish piece of cinema. Usual Argento the film has excessive flaws in plot, where most lead dead or near death, and dialogue. Often I'm afraid that he's more interested in surprising us with a killer than establishing a substantial reason as to why this person is murdering everyone. Regardless Phenomena did capture my heart briefly at it's start, young Jennifer Connelly and Donald Pleasence are good in their roles which they play against a beautiful Swiss Alps scenery. The soundtrack is killer as it plays loud chords and blares inside the story, and unlike other films its never inaptly played (I'm looking at you Deep Red). Jennifer's creepy bug telepathy and the rest of the works I've praised place this as number five on my list.

#4 Opera (1987)

Another gore fest Argento with surrealism at play. Again he creates a beautiful sculptured film that transcends the expectation of art. A deeply unhinged but emotionally sympathetic lead makes this the closest thing Argento has had to a character study. Of course bad dubbing doesn't precede the film but no less tolerable than normal. This is by far the most brutal flick ever conceived from this MOH. Harsh and stunning at the same time.

#3 The Bird with the Crystal Plumage (1970)





Oddly The Bird with the Crystal Plumage is less known or rather less acclaimed than his other films. I'm a little confused to this; yes there's an absence of blood but this is one of the best Argento films ever, and it happens to be the first he directed. It follows the basic giallo plot of a writer who witnesses an attempted murder outside an art gallery and begins to investigate for himself. In a way I felt that Deep Red was almost a remake of this, between the similar plots and Sam eerily wearing the same black button up shirt and khaki pants as Marc Daily. The film, though mostly giallo, has a very haunting atmosphere, curtosy of an enchanting score by Ennio Morricone. It takes a real horror turn when Sam's girlfriend is locked in her apartment and the killer is trying to break in. A little excessive reaction but ultimately effective in capturing the terror of that moment, which is to attribute to good acting, especially by lead Tony Musante. No amateur directing shown on his half, Argento's first try was impressively good and a tense suspenseful watch, with a bit of humor.

#2 Deep Red (1975)

If Phenomena hadn't of fallen apart towards the end it had a better chance at ranking higher than Deep Red. But overall Deep Red is the more composed film and the quintessential of his giallo's. A complex range of characters speaking between Italian and English this was the film that scared me since seeing Suspiria. A breach of safety in my seat when I jumped from that laughing doll, a provoked chill from the break in and the death at Amanda Righetti's house, and essentially a great build of tension for the Italian thriller. Deep Red is a quite important viewing in the world of giallo films, not only Argento's most significant but arguably one of the most significant of the genre. And even better a killer with motivation! Deep Red is topped with good performances and an astounding soundtrack (though not the best, in my opinion) which makes it a must see.

#1 Suspiria

This was likely obvious as my header is of the film's eloquent cover but it's not as if there's any other choice. As gathered I liked/loved the other four films on this list nothing comes close to the bravura of Suspiria; a bleeding array of colors via the director of photography and a deafening soundtrack by the Goblins escalate the film to horror movie greatness. The lost in translation aspect appears here as Jessica Harper's Suzy is attending a ballet school in a foregin country. The plot doesn't succumb to the typical monsters as we tend to expect (vampires, werewolves, etc) but does a more rare fear of witches. Suspiria is the work of an preeminent nightmare caught on film, the images, the blood, the lack of distinction to what's going on, the distorted set pieces...nothing is right within the film. Captured soundly by Argento, bad dubbing and odd dialect aside this I'd argue is Argento's most seamless film. Unlike the others which become tangled in themselves Suspiria stays generally focused (I didn't say absolute now did I), and delivers a horror induced ending. As said Suspiria does not go without faults but I don't care, my favorite Argento film is certainty not Oscar worthy, nor is my favorite horror movie. Two titles that Suspiria shares.

Honorable Mentions: Inferno (1980), the sort of sequel to Suspiria that takes a focus on the Mother of Darkness, with a beautiful underwater sequence guest directed by Mario Bava. Tenebre (1982), another giallo piece that follows the murder surrounding a novelist's new book; a blood spattered ending is undoubtedly to satisfy fans.

If you're reading post your own.

Death by Engine

I...don't have much to say this week other than THANK YOU! For the obscene amount of comments I got, specially from Carrie Green, Demented Dreamer, and Drymonema. The former whose novels you need to buy and the two latter who have exceptional reviews; Drynmonema is also doing a collection of lists. As my limited five list B-movies likely isn't enough try his top ten for the more obscure B horror films. And if my review of The House of the Devil didn't intrigue you Demented Dreamer should with his in-depth review. I'm also tired from work today and three shots in so my grammar isn't perfection (like how I have an excuse every week), please forgive the inane writing style and continuous use of the word 'tension'.

This week's list is a bit uncommon as it's not all the way horror as it is more of thrillers. But thrillers have a tendency to provoke an anxiety for characters whereas horror doesn't always. There's two things that are guaranteed when watching these types of genre film; the cover art of the rear view mirror and a lot of tension. If you don't know what I'm talking about then don't worry I doubt your alone. There's not a lot of films such as these and even less of what I've seen. Without any more delay this week's list is My Top Five Favorite Car Thrillers:

#5 Christine (1983)


Christine is not the best of Carpenter, nor is it the best of King, but it's not bad. The horror is odd as it relates to a car being possessed and having an emotional fixation on it's owner, Archie. But while it's not the most relatable it is unique in concept. My favorite scene is where Christine repairs herself in front of Archie, his look is darkened as he intently watches her and the atmosphere gives way to an uncanny moment.



#4 Duel (1971)

A man driving home makes the commonly rude act of cutting off a trucker, a mistake he wont make again as the truck now wont stop chasing him until he's dead. I am one of the few that don't hold Duel high in regards, that's not to say I didn't like it but I don't praise it like some do. It's not the film's fault per say but rather Dennis Weaver's character, I'm not sure how to put this without being rude but...he's an asshole. He cuts the trucker off in the first place! I have little sympathy for him. Despite that though Duel does have several thrilling moments as the truck stalks Weaver and does its very best to kill him. Increasing tension provided by Steven Speilberg's directing makes Duel a good car thriller.

#3 Joy Ride (2001)

Joy Ride is the most horror of the five film on this list, two brothers who teasingly fuck with a trucker over a radio are paid the price when the trucker comes after them. Joy Ride isn't a film beyond flaws, not even close, there's a lot of cliche teen horror decisions and the ending fell a part a little bit for me, but good acting by Leelee Sobieski, Paul Walker, and Steve Zahn prove as strong points for the film. As well as a significant amount of tension squeezed out of the plot.


#2 The Hitcher (1986)

Yes The Hitcher ranks higher than Duel, hate me all you want but I love the HBO film staring ET's friend, C. Thomas Howel, and Rutger Hauer as the serial hitch hiker (what more can you ask for in a villain?). The lesson in never picking up a hitch hiker proves true when immediately Howel picks up Hauer and he waste no time in being sketchy. The film made Bravo's 100 Scariest Movie Moments (as does Duel and Christine) and the moment that still continues to shock is when Hauer has Jennifer Jason Leigh tied between two trucks, her limbs resting on his foot on the gas peddle.

#1 Death Proof (2010)

I've gushed about Robert England (far too much, I'll admit), and Craven and King, but have I really gotten around to how much I love Quinten Tarantino? No I haven't since he writes more action movies than he does horror. The lovely exception is this thrilling film where Tarantino plays homage to the old car films but provides us with a holy shit moment like no other. The film has eight set of women, all being stalked by Kurt Russel (why doesn't he play more bad guys?), an ex stuntman who has an erotic fixation on killing women with his stunt car. The first set of girls are the more relateble of the eight but the second set is what escalates the film's suspense. Zoe Bell, Tarantino's go to stunt girl, plays herself and willing straps herself to the hood of the car while driving hundred plus miles down a stretch of road to create an edge of your seat nerve splitting moment.

Honorable Mentions: Rubber (2010) director Quentin Dupieux social commentary on a rubber tire's telepathic powers, which he productively uses to kill living things, all while chasing the love of his life. I'd like to note two things, the first in relation to the film Rubber. Netflix recommended this to me based on my interest in Wristcutters: A Love Story, I Love You Phillip Morris, and Trick 'r Treat. If that doesn't convey this film than I don't know what does. Also I apologize for another short honorable mentions, but this type of film is rather slim. Of course there's great films like Gone in 60 Seconds and Vanishing Point but those feel more action than they do as thrillers.

If you're reading post your own.

Deep Red (1975)

WARNING: May Contain Spoilers

After a performance jazz pianist Marc Daly is witness to the brutal murder of psychic Helga Ulmann, who read the mind of the precocious killer earlier in the day. Marc with little leads from the police begins his own investigation with the help of a feisty local journalist. Dissecting the clues though proves as a challenge as the killer is always a step ahead of Marc, and is now targeting him. Drawn into different leads, only to be left dead by the killers actions Marc begins to uncover that this killer isn't all that new to murder and has a very dark past. I must apologize ahead of time, though I'm not comparing it to Suspiria, the film comes up several times in this review, but do know that I do not measure this based on my love of Dario Argento's masterpiece, merely just using it as reference.

Deep Red, or Profondo Rosso,  is the first of Argento's stuff that has scared me since seeing Suspiria years ago. I admittedly jumped when that doll came running out of the closet in that absurd bit of laughter, it about scared the piss out of me. In true Italian Horror, or rather maybe just signature Argento, the deaths are gory and run a bright red color of blood. Always memorable my personal favorite was the bathroom scene murder, where it was actually absent of blood but made for a rather haunting death that doesn't leave you. The murder mystery proves to be as deceiving as can be, I only guessed it seconds before the reveal. As in all his films Deep Red is quite visually stunning to look at, with the dazing use of red and surrealistic lights of blues. In this however Argento uses a distinct lack of color, painting a portrait with neutral tones, which I may find more gorgeous to look at than the former. The music, though phonemically composed by the Goblins, is ill-fitting at times (i.e. Giordani's death, Marc scaling the balcony), but very tone setting in others (Amanda Righettani death, the uncovering of the drawing).

I'm an Argento finantic as much as the next horror movie lover but I'm not shy toward admitting there's faults in his work. In watching a Dario Argento's film I've noticed that generally the same story occurs, or rather the same basics. The beginning usually opens up with a woman who we never really get to know dying a gruesome death only to be followed by more unattached deaths, all of course in full giallo style. Also in having a love for his films that does mean you substitute certain qualities over the others, i.e. I'm willing to forgive the poor sound editing in respect to the DP and camera movements. The construction of characters is more developed in this as opposed to his prior films, and oddly human with their faults and personalities. David Hemmings Marc, the pianist, is sensitive in his work as an artist, which is humorous in contrast to Daria Nicolodi's Gianna as the high strong reporter. And then the darker side of the film, Gabriele Lavia as Carlo, the talented composer suffering from alcoholism.

In reading reviews prior to viewing the film most acclaimed this as the best of his giallo's, which as far as I've seen might be true. Hoping that my next film to watch by him does not disappointment me as the dreaded Tenebre, which unfortunately might be attributed to me watching it after I watched Suspiria. When renting the film make sure you get the Italian version, not the American. For those who hate subtitles you'll be disappointed as putting it in English there still are bits in Italian for scenes that had to be re-edited in after being cut. But that's the film in full form and has several important if at the very least enjoyable moments. Nothing will ever be Suspiria, I'm sure most know this, but Deep Red is rather a good on its own terms and defiant of the genre giallo. I really enjoyed the film and found it scary, I'd recommend for Argento or Italian horror fans.

The Vanishing (1988)

WARNING: May contain some spoilers.

The Vanishing is a Dutch/French language film about a heart broken boyfriend's obsession over his kidnapped girlfriend and, a film about the obsession of a sociopath. Rex and Saskia are on their way to a holiday weekend when Saskia goes missing. Rex, torn by her disappearance, takes on a three year search to find out what happened to her. Raymond, our kidnapper, is a family man, teacher, and incredibly intelligent. The film derives into his preparation of the kidnapping, even taking a comical approach to it as his first few attempts are a bit of a fail. Raymond, in respect of Rex, has decided to send him postcards awaiting the moment where they can talk face to face. Eventually Raymond approaches Rex in person and offers him everything he's wanted to know but only if Rex goes with him. This poses the question, would you go?

I can't relay what kind of viewing experience for this film might be to someone else but for me it was calm. Surprisingly for a movie about kidnapping I never felt anxious or overtly scared for Rex. The only thing was after the movie ended a creepy feeling over came me and I became genuinely disturbed by the entire experience. That was the movie's underlying effect. I attribute these elements to our killer, Raymond, who's very precise and in complete control of the movie and the viewers experience, which if you pull away is the utterly terrifying nature of the film. The movie might be a bit slow for some but if you are patient you'll see Saskia's disturbing kidnapping and her horrifying fate, which evokes a certain phobia (I won't mention it because it'll spoil the ending).

I don't watch a lot of Dutch films, in fact this is my first, so I can't say for certain how the acting fairs but from just what I like I thought the two male leads, Bernard-Pierre Donnadieu and Gene Bervoets, were very interesting to watch. My favorite kinds of films are where the villain has more depth than just being evil and that's defiantly what we get with Raymond's character. His thinking process reveals to us that he doesn't kidnap out of sheer pleasure or from a psychological mishap during his childhood development. He just calculates that he can't be one extreme without the other. It's a bloodcurdling thought of a sociopath.

The directing and the writing are good. Tim Krabbe wrote the book and the screenplay and it's doubtful that he messed up his own novel, though I haven't read it. George Sluizer directs and later went on to direct the American remake which has mixed reviews. There's a lot of other little details that I appreciated about the film. Such as casual conversations about items that later show up in helps of the kidnapping.

If you can't tell I'm in love with this movie. From one horror fan to another, there are those who might be disappointed with the absence of gore. But the suspense, the ending, and the affair of watching these two men's obsession over the same woman compensate for it. It's a very good film, maybe of my favorites, but either way I'd say it's something to watch.

Open House (2010)

If your like me than your a True Blood fan and the draw to this was Anna Paquin and Stephen Moyer's names in the title. Although I hate to spoil anything think Janet Leigh and Drew Barrymore. I'd say five minutes total, and that's together. I'm guessing they were used as a marketing device to lure audience in to what would otherwise be an ignored film.

Aside from that and from not knowing anything about this film I came out liking it, for the most part. The plot lingers at the border of suspenseful thriller but it never truly picks up, yet somehow it remains interesting enough to where you have to watch it to the end. The original concept of it is decent enough, but the kills tend to be unmotivated and random. I also wished we had gotten bit more back story of our killers since they hinted at an interesting and possibly disturbing past but it doesn't get explored any further than a single conversation at the diner table.

The acting is good, especially from Brian Geraghty, whose relationship between his sister/girlfriend/wife (it's never fully explained) and the victim is the focus of the movie. If you're also a Burn Notice fan you'll recognize Tricia Helfer (Carla) who plays Brian's other half. Rachel Blanchard is also good as Alice, the victim and homeowner, but you're not going to see her face on the cover, which is sad considering she's as much of a character as David and Lila.

The gore was iffy since at one part, I swear, it looked like tomato soup. But the kills honestly keep your hold on the movie since it's a bit slow without them.

It's hard to say whether or not I can recommend this. Its not a bad film and not really all that awful for first time director Andrew Paquin (Anna's brother) but if your looking for a good thriller that draws you in this isn't the choice.