Midnight Son (2011)

In Midnight Son Jacob has suffered from a sensitive skin condition all his life where any exposure to the sun will severely burn him. As an adult he begins to notice that more symptoms seem to be appearing, specifically a thirst for blood. Tight for supplies Jacob has to resort to different, and creative, matters to curb his hunger which gets him involved with a blood dealer who provokes trouble in the security guard’s life. All this happens to align with his meeting of Mary, an attractive bar tender/candy cigarette dispenser who doesn’t appear to mind Jacob’s nocturnal lifestyle. As Jacob begins to divulge further into his vampirism his liking of Mary grows and the two begin to connect on an intimate level.

Midnight Son was the only full length film I saw at the Mile High Horror Film Festival and I'm glad I did. It was beautifully shot, beautifully written, and beautifully acted. Basically it was a sublime film that I want to own. It's what most modern vampire love films are not, romantic and horrifying; capturing the trauma of relationships and the inner desires, vampire and human alike. As much as I did love the film its not full horror, as the only truly terrifying part is the last five minutes and the aesthetic last frame. Up until then it’s mainly Jacob adapting to his life and falling for Mary. That’s not to attest that it’s not a horror film, it is but like another in its genre, Let The Right One In, its just not in your face. The subtle and kempt paced finale is a moving and violent build up, and the final image haunts you long after it fades to black.

Writer and director Scott Leberecht created a unique script where Jacob's conditions weren't just amounted to vampirism but diagnosed as actual illnesses (anemic photosensitive anyone?). The love story is not only convincing but quietly played between our two leads Zak Kilberg and Maya Parish. There's that struggle but desire to come back. Kilberg's Jacob is able to let way with his carnal changes in breathtaking pain but doesn't overplay the hatred of what he is. Parish plays a darker Mary with her drug habit, but it’s countered with her tending towards Jacob's unusual lifestyle. Both actors are deeply in-stitched in their roles, and with each other; there was never a moment where I didn't believe that Jacob liked Mary. The lighting and cinematography give way to a more gritty style; with a conducted base of grim tones and camera angles, several scenes stay in your mind from the art alone.

This review isn't particularly long as there isn't much to say about Midnight Son other than that...it's a beautiful film. If ever in need for a definition of the adjective and noun when used together this would be the film to render such. There were a few questions I had that went unanswered but another thing Leberecht did was set up the script so I was able to imagine what happened after the credits (my questions pertain to more of Jacob’s past). I’d also like to note that the image of Jacob holding a blood stained Starbucks coffee cup is really just waiting to become iconic. Midnight Son isn't available for direct watchers as of the current, mostly gaining its viewings at film festivals. Therefore access to this uniquely incredible film is limited. However, if there is a film festival within your range playing this GO SEE IT. Please do not miss it; you won’t regret what I find to be a gorgeously laid out film and what’s currently developing into a favorite of mine. 


Go to the film's website,  http://www.midnightsonmovie.com/, to get more info and try to get it in your area.

Scream Queens

Yesterday was not a good day. While I was able to attend the Mile High Horror Film Festival, which was amazing, there were a lot of other things that attributed to it just not being a good day. Therefore my tone may appear more sullen than wanted, though it's not as if this blog normally reeks of the macabre sort of humor. I'm also blessed with a migraine, so you know as it is basically every week this is not my best writing.

Horror is a torn genre when it comes to its portrayal of woman. Often seen more in a negative light as it is rare for people to make the most rational of decisions when they are avoiding a machete wielding supernatural killer. But I digress woman have an important part in horror and the genre intends to give woman a more dominant role in film, whether people acknowledge it or not. Most often there's the final girl, not the final guy. This weeks list is composed of my favorite leading ladies in horror, they are the final girls (or not) that prove credible and strong, My Top Five Favorite Scream Queens:

#5 Fay Wray (King Kong, Mystery of the Wax Museum)

This is one of those entrants that I don't care too much for, but as a horror fan and in respect to the history of this blog, Fray Wray makes the list. Wray is the first of the Scream Queens playing the damsel in distress in King Kong, and a less demanding part in Mystery of the Wax Museum, where she essentially had to stand there and look good. Wray has been noted saying that she hated her role as Scream Queen, saying she didn't like the term or it's meaning so she moved to Europe. But without her wailing lungs or charming inability to play dumb women wouldn't have an important part in horror without her.

#4 Danielle Harris (Halloween 4 & 5, Rob Zombie's Halloween 1 & 2, Hatchet 2)

Harris rarely plays a final girl in horror as she's backup best friend in the Zombie's Halloween, but she's also been in horror from an early start having been in the original Halloween series as Michael's niece Jamie, and in a number of other less known films. Often remit but I've always liked her and think she surpasses costar Scout Taylor Compton in acting. I've never been sure why Harris hasn't been more publicly noted as a Scream Queen but regardless thereof she makes my list.

#3 Sarah Michelle Geller (Buffy, I Know What You Did Last Summer, The Grudge)

It's a confident statement that Sarah Michelle Geller basically owned the 90's with her regular campy horror TV show and her appearance in horror films. Geller is one of the few who never really abandoned her horror image for more 'respectable' parts, still appearing in horror films like Possession (and before you argue Scooby Doo with me it's a horror film for a kid). In my opinion I wished her character Helen lived in I Know What You Did Last Summer, she had a fair run with that killer and I found her more competent than Julie. Her filmography isn't necessarily bulky but her vampire slaying TV show not only makes her identifiable but arguably the most bad ass female of horror ever.

#2 Jamie Lee Curtis (Halloween, The Fog, Prom Night)

For whatever reason I fell in love with Jamie Lee Curtis in The Fog. Don't misunderstand, she's still one of my favorite final girls and horror characters of all time (Laurie Strode) but something about the drifter who sleeps with Tom Atkins gave her that edge I didn't see in the previous Carpenter films. Curtis was the Scream Queen for quite awhile, only having her mom previously hold the title. Curtis's first film, Halloween, is the classic of the genre and her portrayal as Laurie was sympathetic and likable. It revived the image of woman in horror and transcended them past the victims and into survivors.

#1 Dee Wallace (The Howling, The Hills Have Eyes, Cujo)

Dee Wallace is a horror veteran in all respects. She's done Wes Craven to Stephen King, and then stared in the werewolf cult film The Howling. There's not really any other way that I can say this but I just fucking love Dee Wallace. Dee is an amazing actress among other things but like Ms. Harris she's void of acknowledgement outside the horror community. Mostly recognized as the mom in Steven Spielberg's cult children's classic ET: The Extra Terrestrial, she's stand alone scream queen in Cujo where she had to carry the film with child actor Danny Pintauro inside a broken car. Wallace was also in Zombie's Halloween as Laurie's adoptive mom, and casted based on her legacy as a horror actress. She'll be in his new film Lords of Salem as well, which I'm excited to see her coming back to the genre. As I said I love Dee Wallace, she's an incredible actress and my favorite leading lady of horror.

Honroable Mentions; There's a lengthy list of Scream Queens so in order to even make the honorable mentions the actress had to appear in either a series of films or at least two or more. Janet Leigh (Psycho, The Fog), Barbara Crampton (Re-Animator, From Beyond, Castle Freak), Neve Cambell (Scream 1 - 4), Eliza Dushku (Wrong Turn, The Alphabet Killer), Mary Elizabeth Winstead (Final Destination 3, Death Proof, Black Christmas Remake), Heather Langenkamp (Nightmare on Elm Street 1, 3, & 7), Sigourney Weaver (Alien 1 - 4, The Village), Ali Larter (Final Destination 1 & 2, Resident Evil 2 - 4), Asia Argento (Land of the Dead, Mother of Tears), Brooke Lewis (iMurders, Polycarp). Elizabeth Shannon unfortunately does not make this list, while she's done an extensive list of films (Thir13en Ghost, Cursed, Jack Frost) I find her to be a dead giveaway, meaning which as soon as I see her face I know she's going to die. Therefore she's not an effective scream queen. She even died in Scary Movie...

If you're reading post your own.

The House of the Devil (2009)

College student Sam is looking for a way out of her college dorm and her less than hospitable roommate. With her new house set to move into Sam's only problem is coming up with advanced rent by the end of the week. When she sees an ad for a babysitting job it appears as the perfect solution. But upon arriving at the house Sam finds that the babysitting job isn't really for a baby and the house isn't all that normal. Taking it despite reservations Sam soon realizes that the lunar eclipse aligning with the night is not all that of a coincidence.

The film is set and decorated as an 80's movie, with a splash of Grindhouse. Writer and director Ti West filmed the movie on 16 mm film to give it a grainy appearance reminiscent of the days before HD. The sets are rather homey and realistic and it freely lets you slip into the film as the Ulman's house is resemblant to your neighbor's home. Costume, music, dialogue, all 80's with a hint of modern to keep it current. That's why I say it's an 80's film because if it wasn't for the date it'd easily could be. It doesn't move fast, it takes it's pace cautiously and slow building up the suspense all for a very blood soaked climax. In a way this film could be the cure for the horror dilemma for those who prefer story build up over gore and vice verse, as the latter is almost absent the entire film, but makes an explosive appearance in the last half hour. The horror is present in the glimpses of the Ulman's secret as Sam wanders throughout the house, and in the only death in the first part of the film which will catch you off guard, at the very least.

Jocelin Donahue plays the slightly naive Sam in a very true to form portrayal. She's likable, sweet, and relatable, she's also rather smart, something Ti West did do away with the 80's horror facade; the less than competent final girl. Whenever I see Greta Gerwig I always think she's strung out, as I did in this, however I actually liked her this time around. Her character is the typical extroverted friend to counter the shy and understanding nature to Sam, but she plays it convincing despite it's cliche. However the villains in this don't come off as well as the lead, Tom Noonan and Mary Woronov who play the Ulmans are not good. I know that they are suppose to come off creepy and talk and act a bit weird but it all seems forced. Dee Wallace stops by and makes a five minute cameo, which is just awesome. As mentioned above Ti West worked with cinematographer Elliot Rockett to nail that 80's vibe. I'm hoping that West continues to write and direct films as well as this, since a lack of story substance can be common in today's mainstream films.

I love the 1980's throwback, so much actually that I propose that the torture porn genre retire and this becomes the new sub genre of the decade. In addition to the Grindhouse films that are reviving themselves. As much as I'd like that to happen I don't think it will, if anything the 'Found Footage' is becoming a more dominant category in the genre. Anyways, besides the ending leaving me a little confused I really liked the film, as you can tell, it gets a bit of hate for the slow moving plot but the artistic value alone should be appreciated. If your feeling nostalgic but want something new I'd give it a rent or watch it on Netflix Instant Watch for convenience.

Love Me Despite My Low Budget

I'ts Monday, October 3rd which means...the return of the Top Five Lists! Don't tell me you're not excited to see my arrogant opinion on which film ranks higher solely on the basis of my taste. This years list were a little bit more challenging and required a little bit of research, that I'm still actually in process of doing, but I like them and I think that they are fair. Then again it's all my opinion so if your list is completely opposite of mine please post it.

Not everyone appreciates or even understands the it's so bad its good film concept. I however have always loved those films that tried their best but didn't quite make it. Some of my most enjoyable horror viewing experiences have been laughing at the unintentional humor in films. This set is limited as filtering through the good and the bad is more difficult, and you're more likely to come across the latter. Also this is one of the more nostalgic lists for me, I've never been a huge fan of newer B films for they haven't had the time to ripen. Therefore my honorable mentions are limited to only one film. Anyways for the first list of the month I give you The Top Five Best (Worst) B Horror Films:

#5 The Abominable Dr. Phibes (1971)

This film's raison d'etre is to define the term bizarre. Maybe the most illogical film I've ever seen, I left Dr. Phibes wondering what the hell I had just watched. Not in the sense that it didn't make sense but as to why things happened was more or less beyond me. My only possible conception of a description is House of Wax and A Shot in the Dark having rough sex for an hour and a half. Literally the depiction of a madman fucking the absurd slapstick of inspector Clouseau. The film comes quipped with bats being hung by string and Price's make up peeling off. In addition to being a strange little B-movie the film does have a brilliant display of set pieces, creepy and elegant. A Vincent Price film making this list was inevitable; even if this is not your favorite Price film (as it is not mine) it's for sure a strange film.


#4 Dolls (1987)

Dolls is likely the least known of this list. A small film I managed to catch on Chiller one night, it's like Puppet Master with a more whimsical approach. The meaning of the inner child being discussed and Judy's daydreaming of her parents getting eaten by a giant teddy bear are played in effect towards that. The doll effects are independent movie good of their times (which means not good), with two creepy Madonna wannabe British chicks that may scare more than the actual dolls. Several humorous moments, likable characters, and grotesque kills warranted Dolls a second watch for me.

#3 Plan 9 From Outer Space (1959)

Ed Wood Jr. is the godfather of B-movies. Infamy of such Glen or Glenda can only be mastered by a man passionate to believe that what he's making is good. There's quite a lengthy list of Wood films that are the quintessential of bad B-movies but Plan 9 is the classic. A little slow but mildly entertaining with cult horror stars Bela Lagosi and Vampira. A classic opening by The Amazing Criswall, the psychic, and the iconic image of the toy space craft being caught on fire over a miniature Hollywood model make for the birth place of B-movies. The film is claimed to be the worst film of all time, I disagree, its bad but in a lovable way.

#2 Troll 2 (1990)

A reviewer on Netflix basically summed it up in a sentence "Troll 2 is so bad it transcends film" (And because of Netflix I'm unable to properly quote them, but the rest of their review is available on the Troll/Troll 2 double feature page). Troll 2 is rare in that there is no irony, the intent of the film is to be serious and serious it is not. Director Claudio Fragasso was aiming for a family film, not the hot mess of a film that would reach cult status nearly twenty years later. There's an illimitable amount of discussions as to why Troll 2 qualifies (or doesn't in others opinions) for this list. But where do I start? The actors and their genuinely bad performances? What about the film not even being about trolls but rather goblins? What scene or line do I pick? "Nilbog is Goblin spelled backwards!" or "Oh my GAWWWWWWWWWWWWWWD"? Troll 2 is beyond description, its impractical of me to attempt to accurately convey it in a paragraph; it speaks for itself.

#1 Killer Klowns From Outer Space (1988)

Simulating a few of the lists last year Killer Klowns ranks above the rest because it does more than its genre title limits it. It's one of the few B-movies that looked at itself, knew it was a B-movie, and went all out with it. The film has everything that could be reserved as campy, cotton candy webs, popcorn guns, a space shipped replicate of a circus tent. Who's not drawn in to the love triangle between Mike, Debbie, and Dave? Or what about the two brothers who drive the ice cream truck to pick up girls? Despite none of its being serious, Killer Klowns is able to rest on people's phobia of clowns, so in a way it still manages a scare. I have no doubt that others will disagree with this list, particularly this film in exact, but as I said it's the B-movie that knew it was a B-movie, and embraced itself.

Honorable Mentions: The Gate (1987), two boys discover their backyard is the gateway to hell, through a heavy metal record no less.

If you've made it this far 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.

Horror Short - Microcinema: Improvisation Can Be A Killer (2011)

My blog has been getting a little bit of attention thanks to my followers and people on twitter retweet my reviews. At the same time though I only do one review a week, spare for the Irrelevant Post Friday's which basically do nothing but let me compose a horrific display of random thoughts, all for the public to view of course. A review a week isn't all that encouraging in bringing readers back and since I've been wanting to do something else for awhile I came up with Horror Shorts. It's the same as a film review only where I review horror shorts available via youtube or websites or however else they become accessible to me. The length will be cut into two paragraphs and I'll link to where you can view the short. I'll do these as often as I come across them, so if you're a filmmaker and have one you'd like me to review please send it my way.

Written and Directed by Skip Shea
Staring Alex Lewis and Aurora Grabill
Director of Photography, William Smyth
http://www.watchmicrocinema.com/

Microcinema: Improvisation Can Be A Killer follows Peter Martell, a snuff film fan who is tired of watching and ready to be an active participate in the dark film form he loves so much, but at Peter's peak of voyeurism things turn unexpectedly. The film is an immensely disturbing six minutes of the torture porn variety. As said, for lack of a better phrase, the film really grabs you by the balls and drags you in a direction not anticipated by the common thought. It really has one of those moments where you can honestly say I thought of everything happening BUT that. And in that it's rather disturbing and hard to watch, but all in a professional way; nothing to mimic the low cred snuff films that Peter is addicted too.

Skip Shea is an adept director with equal ability to write, his short film gets more across than most full length films. Acting is also quite proficient by our two leads; Alex Lewis falls into his role with ease, reading off Shea's dialogue as if he's the next Raymond Lemorne. And I most definitely must give my credit to Aurora Grabill for bravely taking a part such as this, one she also pulled off rather well. The cinematography is good, it's from the point of view of a video camera but the look and feel isn't the typical "found footage" style. My only negative I'd say for the film is the violence goes on a little bit to long in its short running time, for my taste at least. Highly recommended Microcinema is available here for a very worth it $0.99, (it's worth more, in my opinion). In addition to watching it you can also read through the description which gives an insight into its beginnings and its creator. You can also follow Skip Shea on twitter.

If you have a short please send me a link, you can contact me at bleedingdead22@yahoo.com or on my Twitter.

Deadgirl (2008)

Deadgirl is about two high school boys who break into an abandoned mental hospital and find a seemingly dead girl locked in the basement. When the supposed dead girl moves the two friends find themselves in an odd situation, sensibly Rickie wants to call the police but JT suggests a perverse taboo that hybrids necrophilia and rape fantasies to a horrifying extreme. Rickie rejects the idea but doesn't stop JT from delving into a sadistic addiction, or from encouraging others to join in. The boys now pressed even more as they are exploring dark passages and repelling against each other find that their new 'toy' is not all helpless, as a bite may give you her illness.

Deadgirl is a surprisingly deep horror film about the human mind paired with the desire of sexual need. It also has a supernatural element about it which adds to the films, surprisingly complex, layers. In one respect we see the chilling portrayal of the dead girl by Jenny Spain, a newcomer who has no films to date but this one, but she gives a creepy performance, and I'm not entirely sure if it's solely because of her facial structure or her ability to work her unconventional looks to her advantage. Then on the other end of the spectrum we have friends Rickie and JT who are committing a horrible act of rape repeatedly by keeping a sex slave, and while JT's true nature comes out under his fantasies Rickie's stays repressed and is fighting against his sanity. I have no idea if the writer and the directors had any intention of making Deadgirl more than just a disturbing film but it came out as a rather deep insight into human nature. The final scene with Rickie being strong proof of that.

As I've been doing research for the review I saw a few people mention how it was degrading to woman in it's brutal rape scenes. I have to disagree with both statements, degrading to woman would be more if they portrayed the sex slave aspect as a light subject that JT and Rickie should be proud of in contrast to the disturbing and sick one that was put out for us. And the rape scenes aren't brutal, in context yes, but highly explicit and graphic? No. There is really only two parts where we see any physical carnation of rape and the second one is treated so casually that it'd be hard to miss if you hadn't been following the film. The acting is also, surprisingly, good. And the character development, once again, surprisingly deep. The director of photography uses a color hue of greens and blues to capture the hospital basement in almost a musty feel for the darker scenes, and in contrast a cloudy sun day for the moments of character reflection.

I may be going too far for Deadgirl as I said that I have absolutely no idea if the film had any intention of being so deep, but seeing that's how I saw it that's how I'm reviewing it. There's also a bit of humor as the scene in the parking lot is good for a laugh. The soundtrack has an indie vibe to it which makes it feel more like a teen horror flick that may be tolerated. The negative I'd say about the film is that it's not a repeat watch, as good and as developed as it is, I don't have any desire to go back. But like all films about rape or a brutal nature as such you don't want to go back. A very good edition to the horror genre, one that I'd recommend to those who are looking for something unique.