Cult of Chucky (2017) [Unrated] – Blu-ray + DVD + Digital HD

October 9, 2017Posted in2017, Authors: Bill Chambers, Blu-ray Disc, Disability, DVD, Horror

Cultchucky1

**/**** Image A Sound A Extras B
starring Fiona Dourif, Adam Hurtig, Alex Vincent, Brad Dourif
written and directed by Don Mancini

by Bill Chambers It’s not uncommon for a long-running horror series to embroider an increasingly convoluted mythology over time, as the kind of premise that launches horror icons also tends to be too primal to sustain a franchise. That’s why Michael Myers became part of the Thorn cult and Freddy Krueger sired offspring while his own backstory continued to blossom. The Chucky saga, the story of a bloodthirsty Cabbage Patch Kid run amok, is no exception, but it’s utterly unique in how the style of these films has pivoted, to use a buzzword, with the evolving narrative. What began as a mostly straight-faced slasher trilogy with a different identity altogether–these were Child’s Play movies–was continued seven years later as a tongue-in-cheek ode to monster mash-ups with 1998’s Bride of Chucky. Post-modernism then entered the picture and the comedy was pushed to the nth in Chucky creator Don Mancini’s directorial debut Seed of Chucky, which seemed to exceed the threshold for camp shared by both the franchise and its fans. Another seven years passed (incidentally, the mythical length of time it takes for the human body to shed its skin) before Mancini’s Curse of Chucky resurrected the title character, this time as the cursed object in an old-dark-house chiller. Now Cult of Chucky sees Mancini retrofitting his Mickey Mouse once again for a Bad Dreams-style psycho-ward thriller. Say what you will about Mancini being a maker of Chucky movies almost exclusively (he’s the rare auteur to initiate, then stay with, a horror franchise), but within these limited parameters he’s had an opportunity to show more range than most genre filmmakers.

mother! (2017)

September 15, 2017Posted in****/****, 2017, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Horror, Mystery, Theatrical, Thriller

Mother2017

****/****
starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer
written and directed by Darren Aronofsky

by Walter Chaw Darren Aronofsky’s mother! seeks to explain the ways of God to Man in an allegory of the monstrousness of the creative impulse that plays at once as apologia and barbaric yawp-cum-mission statement; imagine if Aronofsky adapted Paradise Lost. It’s The Giving Tree and Harlan Ellison’s “Try a Dull Knife” as told by Buñuel and Ken Russell: a marriage of essential truth with exceptional excess–a work of genuine arrogance and pretension. The picture aspires to answer large questions, to lay bare the heart of the artist, and it has as few apologies to offer as it does fucks to give. It’s unpleasant to the point of unwatchability–an instant entry into the films maudit hall of fame, predicting a popular failure and critical evisceration that are at least in part something Aronofsky must have expected, given how dedicated mother! is to destroying pleasure, to refusing the breast that its unnamed female protagonist (we’ll call her X, in honour of Joan Fontaine’s similarly anonymous heroine from Rebecca), played by Jennifer Lawrence, offers her infant in one of the multifarious religious tableaux that litter the piece. In fact, were the film a river to be crossed, the stones you’d step on would all be depictions of holy martyrs and Madonnas. In this way, it resembles Children of Men–even through to its long urban war and siege sequence, which mother! replicates during its feverish conclusion. It resembles Viridiana, of course, and The Exterminating Angel. It resembles all the great symbolist films because it’s one of them.

TIFF ’17: Motorrad

September 13, 2017Posted in2017, Action, Authors: Bill Chambers, Brazil, Film Festivals, Horror, Thriller, TIFF
**/**** screenplay by L.G. Bayão directed by Vincente Amorim by Bill Chambers There is a whole subtext, nay, context begging to be unpacked in Motorrad, yet the filmmaking never inspires much curiosity about it, and it's all too easy to substitute the legacy of George Miller's Mad Max movies for table-setting. Shaggy Hugo (Guilherme Prates) breaks into a seemingly-abandoned garage and sees a carburetor he would like. The proprietor chases him with a shotgun, but an alluring, tomboyish woman (Carla Salle) intervenes, like the farmer's daughter convincing daddy not to shoot the stranger climbing out her bedroom window. Instead, they…

It (2017)

September 7, 2017Posted in****/****, 2017, Authors: Walter Chaw, Coming of Age, Horror, Stephen King, Theatrical

It2017

It: Chapter One
****/****
starring Jaeden Lieberher, Wyatt Oleff, Jeremy Ray Taylor, Bill Skarsgård
screenplay by Chase Palmer & Cary Fukunaga and Gary Dauberman
directed by Andy Muschietti

by Walter Chaw There’s a girl, Beverly (Sophia Lillis), she must be around thirteen or so, she’s standing in front of a wall of tampons at the drugstore, trying to make a decision on her own because her dad (Stephen Bogaert) is alone, and a creep, you know, a little scary in how he keeps asking her if she’s still his “little girl.” So she has to do this by herself, even though it’s embarrassing–but she’s doing it. The next aisle over, a few boys, they call themselves “The Losers” because why not, everyone else does, are gathering medical supplies to help the new kid, Ben (Jeremy Ray Taylor), who’s been cut up pretty bad by bully Henry (Nicholas Hamilton). They need a distraction because they don’t have enough money to pay, so Bevvie provides one, and now she’s a “Loser,” too. I read Stephen King’s It in September of 1986, when I was thirteen. Thirteen exactly the age of its heroes in the “past” of the book, the flashback portion that’s paralleled with the kids, as adults, called back to the Derry, ME of their youth, where they had forgotten that, once upon a time, they fought a thing and won. There is nothing better when you’re thirteen than Stephen King. It was my favourite book for a while, although I didn’t entirely understand why. I think I might now. Better, I believe Andy Muschietti, director of the underestimated Mama, and his team of three screenwriters, Chase Palmer, Cary Fukunaga, and Gary Dauberman, understand that what works about It isn’t the monster, but the fear of childhood as it metastasizes into the fear of adulthood–and how those two things are maybe not so different after all.

Telluride ’17: The Shape of Water

September 6, 2017Posted in2017, Adventure, Authors: Walter Chaw, Drama, Espionage, Fantasy, Film Festivals, Horror, Romance, Telluride, Telluride 2017, Thriller

Tell17shapeofwater

***/****
starring Sally Hawkins, Doug Jones, Michael Shannon, Richard Jenkins
screenplay by Guillermo del Toro & Vanessa Taylor
directed by Guillermo del Toro

by Walter Chaw I watched Guillermo del Toro's The Shape of Water in a packed auditorium in Telluride, CO as a torrential rainstorm pounded the roof of what is, outside of the festival, an ice-skating rink, perched there with a park in front of it, the headwaters of the San Miguel to one side and the mountains to the other and all around. As the main character, cleaning lady Eliza (Sally Hawkins), turned on water for her bath, the cascading cacophony in the theatre joined in with a warm insularity I always equate with the Mandarin term for "cozy": two words that mean, or at least sound like they mean, "warm" and "noisy." The Shape of Water is like that, too, a gothic romance in the new del Toro style (after Crimson Peak, which, for me, was more noisy than warm, but mileage varies), which del Toro introduced as the evocation of a fantasy he had as a child upon watching Creature from the Black Lagoon in which the Creature falls in love with the girl and they live happily ever after. That's it, and were that truly it, The Shape of Water would be an instant classic rather than an acquired taste, perhaps–a future cult classic, certainly, that is forgiven for its odd digressions while justly-celebrated for its audacity. It's a triumph when it focuses in on the essential loneliness of misfits (the melancholic, Romanticist engine that drives del Toro's Hellboy movies), but in a subplot involving Russian spies, it becomes for long minutes time spent away from what works in favour of time spent with what doesn't. When del Toro has allowed intrusions like this in the past (see: his early masterpieces The Devil's Backbone and Pan's Labyrinth), it's been up to us to infer the connection between his dark fables and his political concerns. Here he brings the subtext into text at a cost to the "warm/noisy" coziness of his work. For del Toro, insularity is a strength.

Alien: Covenant (2017) – 4K Ultra HD + Blu-ray + Digital HD

August 31, 2017Posted in2017, 4K Ultra HD, Authors: Bryant Frazer, Blu-ray Disc, Directors: Ridley Scott, Horror, Sci-Fi, Thriller

Aliencovenant1Please note that all framegrabs are from the 1080p version

**/**** Image A Sound A Extras B+
starring Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride
screenplay by John Logan and Dante Harper
directed by Ridley Scott

by Bryant Frazer It’s rare that a perfect film is also financially lucrative. Ridley Scott’s Alien is one such title–a scary movie that really cuts across demographic boundaries. Think of it as a science-fiction slasher flick or a deep-space old-dark-house thriller with a crew of likeably blue-collar mopes facing off against a shape-changing menace that’s part axe murderer, part wild grizzly, and part serial rapist. It works because it’s non-specific. But in the space of its 117 minutes, it finds what frightens you. Alien stands as a singular achievement. Still, because it was released in the age of the sequel, studio 20th Century Fox eagerly founded a franchise on it, and the series immediately began deconstructing itself. James Cameron’s Aliens was downright reactionary, replacing the first film’s working-class heroes with a bunch of Heinlein-esque space marines, transforming its boogeyman into an opposing army of boogeymen, and saddling Ripley with motherly duties, blithely undoing Alien‘s celebrated subversion of such tropes. In Alien3, the game was truly on: Director David Fincher straight-up murdered Ripley’s new nuclear family before powering the film’s narrative towards a climactic conflagration depicting a Christ-like sacrifice and unalloyed abortion metaphor. This was much more in keeping with the subtextually rich original–but it was decidedly audience-unfriendly. It took another five years for Joss Whedon and Jean-Pierre Jeunet to stick a fork in the franchise; Alien: Resurrection was the first Alien movie that genuinely didn’t seem to give a shit about Alien movies.

The Dark Tower (2017)

August 6, 2017Posted in2017, Action, Adventure, Authors: Walter Chaw, Fantasy, Horror, Sci-Fi, Stephen King, Theatrical, Western

Darktower

**/****
starring Idris Elba, Matthew McConaughey, Tom Taylor, Jackie Earle Haley
screenplay by Akiva Goldsman & Jeff Pinkner and Anders Thomas Jensen & Nikolaj Arcel
directed by Nikolaj Arcel

by Walter Chaw If I cared or knew one thing about Stephen King’s revered Dark Tower series, I’d probably really hate this movie in exactly the same way I initially hated Francis Lawrence’s Constantine. I was a devotee of the Vertigo sub-line of DC comics through the early-’90s–the one that produced titles like Neil Gaiman’s “The Sandman”, Jamie Delano’s “Animal Man”, Grant Morrison’s “Doom Patrol”, and Delano/Garth Ennis’s “Hellblazer”, which of course formed the basis for Lawrence’s picture. But I don’t. Care about The Dark Tower, that is. For all that King once meant to me as a kid, it and The Stand were two of his epics I could never get into. I missed the window on Tolkien, too. And in not caring and in my complete ignorance, I like Nikolaj Arcel’s The Dark Tower about as much as I like Constantine now, not needing the four or five years to come to terms with how it doesn’t jibe with images and rhythms I’d conjured in my jealous nerd-dom. (I maintain, however, that if they were going to make Constantine a Yank, they should’ve cast Denis Leary.) In The Dark Tower, the main hero is a kid named Jake (Tom Taylor) who, one day, discovers that all those crazy dreams he’s been having, which have led to all those creepy-kid drawings plastering his bedroom walls, are TRUE. Why won’t you listen to Jake, adults? Obviously modelled after the kid in Last Action Hero, Jake dreams of a dark tower that is not Idris Elba that is under attack by the evil Man in Black, who is not Johnny Cash but is named Walter and is played by Matthew McConaughey. My favourite moment in the film is when Walter shows up in Jake’s parents’ kitchen, frying something on the stove, explaining apologetically that where he’s from, there’s no chicken.

Madhouse (1981) – Blu-ray Disc

July 27, 2017Posted in1980s, 2017, Arrow Video, Authors: Sydney Wegner, Blu-ray Disc, Horror, Italy, Mystery, Thriller

Madhouse1

There Was a Little Girl
**½/**** Image A Sound B+ Extras B-
starring Trish Everly, Michael Macrae, Dennis Robertson, Morgan Hart
screenplay by Stephen Blakley, Ovidio G. Assonitis, Peter Shepherd and Robert Gandus
directed by Ovidio G. Assonitis

by Sydney Wegner The final frames of Madhouse are a title card with a George Bernard Shaw quote: “…life differs from the play only in this…it has no plot, all is vague, desultory, unconnected till the curtain drops with the mystery unsolved.” In that instant, in one of the most beautifully-executed “middle-finger to my haters” moves in cinema, criticism of Ovidio G. Assonitis’s 1981 clusterfuck is rendered irrelevant. Sneaking that in at the end rather than putting it at the beginning is doubly hilarious, as you’ve just spent an hour-and-a-half trying to grasp onto this ungraspable thing, only to have all your hard work flushed away in a second. If your movie doesn’t make sense, it’s because living doesn’t make sense; case closed. Our own plots are never resolved, people flit in and out of our lives without us ever truly knowing them, our familial relationships are tangled and it’s sometimes impossible to figure out where any animosity began. We think we understand people, but it’s rare that we truly do.

Life (2017) – Blu-ray + Digital

June 25, 2017Posted in2017, Authors: Bryant Frazer, Blu-ray Disc, Horror, Sci-Fi, Thriller

Life1

**½/**** Image A- Sound A Extras C+
starring Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada
written by Rhett Reese & Paul Wernick
directed by Daniel Espinosa

by Bryant Frazer If you’re going to steal, they say, steal from the best. It almost works out for Life, which borrows the fundamentals of its premise from Alien–hostile, shape-changing lifeform let loose in the confines of a spacecraft grows larger and more powerful as it eats its way through the crew–and rides that pony for a good forty-five nerve-jangling minutes before running out of oxygen. Alien‘s setting was an interstellar mining vessel that doubled as a haunted mansion, with long hallways, high vaulted ceilings, and other shadowy spaces where the boogeyman could wait for his prey. Screenwriters Rhett Reese and Paul Wernick lose some of those gothic atmospherics by setting their story on board the International Space Station, since it imparts a more sterile, sci-fi feel. Moreover, in what’s arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best-known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX-heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

A Cure for Wellness (2017) – Blu-ray + DVD + Digital HD

June 12, 2017Posted in2017, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Esoterica, Germany, Horror, Mystery, Thriller

Cureforwellness1

***/**** Image A Sound A Extras D+
starring Dane DeHaan, Jason Isaacs, Mia Goth
screenplay by Justin Haythe
directed by Gore Verbinski

by Walter Chaw Gore Verbinski’s A Cure for Wellness is lurid unto beautiful, exquisite pulp, just barmy enough to attract a cult and just smart enough to deserve it. The central conceit is that humans are only really good as biological filters for pollutants; in place of the batteries of The Matrix, the film sees people as distilleries for some sort of immortality potion. The process kills them. I learned when I was young that rabies is a kind of fear of water: its sufferers die of thirst even surrounded by water. The old, rich, white/white-collar victims of A Cure for Wellness entomb themselves in an alpine sanatorium invested in hydrotherapy in hopes of feeling, you know, better. Their sickness is of the soul, alas. The irony of the water cure offered by their ostensible saviours is that the patients become desiccated, mortally. There seems to be a message in there about how the illness of soulless acquisition is self-inflicted, and the amount expended in solution only exacerbates it. Money is bad. The making of it is incestuous, perverse, and insatiable. It’s a strange thing to say in a movie that cost a lot of money, but the point is well taken. Especially now.

The Mummy (2017)

June 10, 2017Posted in2017, Action, Adventure, Authors: Walter Chaw, Fantasy, Horror, Theatrical, Tom Cruise, Zombie

Themummy2017

*/****
starring Tom Cruise, Sofia Boutella, Annabelle Wallis, Russell Crowe
screenplay by David Koepp and Christopher McQuarrie and Dylan Kussman
directed by Alex Kurtzman

by Walter Chaw It took me a while but it finally clicked about an hour into Alex Kurtzman’s hilarible The Mummy that the whole thing wasn’t a really bad movie, but a really bad videogame in bad-movie form. It has the same alternating cadence of leaden exposition drop, interminable and hideously- animated/performed cut-scene, and standard FPS-strictured gameplay culminating in a boss fight. Envisioned as the launch for Universal’s “Dark Universe” franchise (in which the pantheon of classic Universal Monsters are given gritty action reboots, League of Extraordinary Gentlemen-style), it finally functions as a first-generation “Resident Evil” port in which the dialogue, for what it’s worth, was written in Japanese, translated into English, and performed by 64 pixels stacked on top of each other. Awkward doesn’t begin to describe the desperation with which all involved try to seductively reveal/hide their Dark Universe™ Easter eggs while hobbling from one big, button-geeking, CGI-hobbled moment to the next. Look, behind those dust zombies: it’s Dr. Frankenstein’s lab!

C.H.U.D. (1984) – Blu-ray Disc

June 7, 2017Posted in1980s, 2017, Arrow Video, Authors: Bryant Frazer, Blu-ray Disc, Horror, Sci-Fi

Chud1

**/**** Image B+ Sound B Extras B
starring John Heard, Daniel Stern, Christopher Curry, Kim Greist
screenplay by Parnell Hall
directed by Douglas Cheek

by Bryant Frazer Fondly remembered in cult circles as a surprisingly well-acted low-budget horror diversion, this Reagan-era creature feature boasts a roster of game performances, a plethora of vintage locations from the days when New York City was scary enough by itself, and, of course, that title–one of the most vivid and ludicrous acronyms in film history. A CHUD, as any red-blooded FANGORIA subscriber could have told you many months before the movie itself made its way to their hometown, is a cannibalistic humanoid underground dweller. OK, it’s not the most elegant acronym. For one thing, if the underground dwellers are cannibalistic, does that mean they eat humans, or just other humanoids? And if they do eat humans, doesn’t the fact that they are merely humanoid mean they’re not technically cannibals after all? But forget all that. Cannibalistic. Humanoid. Underground. Dwellers. What else do you need to know?

Howling II (1986) – Blu-ray Disc

May 23, 2017Posted in1980s, 2017, Authors: Sydney Wegner, Blu-ray Disc, Horror, Scream/Shout! Factory, UK, Werewolf

Howling23

Howling II: …Your Sister is a Werewolf
Howling II: Stirba – Werewolf Bitch
***/**** Image A Sound B+ Extras A
starring Christopher Lee, Annie McEnroe, Reb Brown, Sybil Danning
screenplay by Robert Sarno and Gary Brandner, based on the novel Howling II by Brandner
directed by Philippe Mora

by Sydney Wegner Let’s get this out of the way first: Howling II–a.k.a. Howling II: …Your Sister is a Werewolf, a.k.a. Howling II: Stirba – Werewolf Bitch–is a mess, an entity that refuses to be judged on any conventional, objective scale. Though originally intended as a comedy, the studio sliced it up to come across as more of a horror movie, and the bizarre result is a tone that changes with each scene. Half new-wave werewolf erotica, half Hammer horror, Howling II‘s themes of grief and rebirth and female sexual empowerment swirl together in a campy, indecipherable whirlwind. Just as things begin to approach being scary, they’re kicked right back down with a novelty wipe effect or a cartoonish facial expression. Christopher Lee, playing werewolf hunter Stefan Crosscoe, was allegedly so appalled by the acting of his co-stars that he spent much of his time offscreen trying to flee the planet using only the power of his mind. You can feel the ennui behind his eyes with every line delivery, yet the attention he commands is undeniable. In a way, his performance is a microcosm of the entire film. The opening shot finds Lee suspended in a sea of stars, reciting werewolf legend from a book, and that is probably the most normal thing that happens in Howling II. It’s ridiculous, it’s stupid; it’s occasionally embarrassing and endlessly fascinating.

Alien: Covenant (2017)

May 19, 2017Posted in2017, Authors: Walter Chaw, Directors: Ridley Scott, Horror, Sci-Fi, Theatrical, Thriller

Aliencovenant

*/****
starring Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride
screenplay by John Logan and Dante Harper
directed by Ridley Scott

by Walter Chaw When you call your film “Prometheus,” you’re borrowing centuries of critical thought, grafting yourself to the idea of the ascension of Christianity on the backs of vanquished pantheons and suggesting the mischief in stealing the light of Heaven (the better with which to build your own unholy automatons). Mary Shelley knew this when she subtitled Frankenstein “Or, the Modern Prometheus,” and Ridley Scott knew this, too, when he partnered with everyone’s favourite half-assed theologian/philosopher/one-eyed king Damon Lindelof to make a prequel to one of his two or three movies that are worth a damn, Alien. Not content to leave well enough alone, Scott is back with Alien: Covenant (hereafter Covenant), whose title invokes either a promise made by God as represented by Jesus’s crucifixion in the Christian New Testament, or the promises God makes in the Old Testament to Noah, Abraham, Moses, and David–each of which, Christians may tell you, predicts the New Covenant. The old ones were written in stone, you see, but the new one is written on your heart. Another Shelley, Percy, makes a cameo in this one as his “Ozymandias” is recited at some length, reminding mainly that it was used better, and more subtly, in “Breaking Bad”. There, it was assumed the viewer knew the piece in question. The film narrates it. It’s the difference between being respectful of your audience, and being a pretentious dick.

The Bye Bye Man (2017) – Blu-ray + DVD + Digital HD

April 13, 2017Posted in2017, Authors: Bill Chambers, Blu-ray Disc, Disability, DVD, Horror, Thriller

Byebyeman1

*/**** Image A- Sound A
starring Douglas Smith, Lucien Laviscount, Cressida Bonas, Faye Dunaway
screenplay by Jonathan Penner, based on “The Bridge to Body Island” by Robert Damon Schneck
directed by Stacy Title

by Bill Chambers The Bye Bye Man begins as Terminator: Nebbish, with a Poindexter in a sweater vest named Larry (Leigh Whannell, of Saw fame) pulling up to a suburban home and asking the lady of the house, Jane (Lara Knox), if she told anybody “about the name.” Affirmative. Larry then returns to his vehicle, retrieves a shotgun, and blasts a hole through Jane’s front door. We see a man jump out of his wheelchair in the living-room window in a tiny, easy-to-miss background detail I suspect would’ve been airbrushed out of a more respectable film, because the prologue ends there in the theatrical cut. In the unrated version on Blu-ray, it continues on to show Larry entering the house, finishing Jane off, executing the wheelchair dude, Rick (Andrew Gorell), as he futilely drags himself across the carpet, and grimly, dutifully marching down the street to kill some neighbours Rick just threw under the bus. Smoothly staged in one take, the sequence reminds not unfavourably of A Serious Man, getting most of its period authenticity–the year is 1969–and middle-class dread from an aesthetic ape of that film. (The chyron-ascribed Madison, WI setting is pretty close to Coen Brothers territory, too.) It’s suitably horrific. Until, that is, you start thinking about Rick: Why does his escape plan involve slumping to the floor like a sack of potatoes? The whole point of wheelchairs, see, is that they have wheels–an innovation that gave disabled people an efficient, dignified way to get a bag of chips from the kitchen or flee an axe murderer. As we will soon discover, the titular Bye Bye Man makes his marks do absurd, irrational things; the problem is, The Bye Bye Man doesn’t quite know how to portray this without being hilarible itself.

Wishmaster Collection: 4-Film Set [Vestron Video Collector’s Series] – Blu-ray Disc

March 31, 2017Posted in1990s, 2000s, 2017, Authors: Sydney Wegner, Blu-ray Disc, Comedy, Horror

Wishmaster14

WISHMASTER (1997)
***/**** Image A Sound B+ Extras A
starring Tammy Lauren, Andrew Divoff, Chris Lemmon, Robert Englund
written by Peter Atkins
directed by Robert Kurtzman

WISHMASTER 2: EVIL NEVER DIES (1999)
*/**** Image B+ Sound A Extras C
starring Andrew Divoff, Paul Johannson, Holly Fields, Tommy ‘Tiny’ Lister, Jr.
written and directed by Jack Sholder

WISHMASTER 3: BEYOND THE GATES OF HELL (2001)
**/**** Image A Sound A Extras B-
starring Jason Connery, A.J. Cook, Tobias Mehler, John Novak
screenplay by Alexander Wright
directed by Chris Angel

WISHMASTER: THE PROPHECY FULFILLED (2002)
***/**** Image A Sound A Extras B+
starring Michael Trucco, Tara Spencer-Nairn, Jason Thompson, John Novak
screenplay by John Benjamin Martin
directed by Chris Angel

by Sydney Wegner The Wishmaster saga begins with a quick infodump about angels and demons from narrator Angus Scrimm, the folklore giving way to a lush array of reds and purples and sandy earth tones as a sorcerer forges a magic red gemstone over the opening credits. In 1127 Persia, something is wreaking havoc on a crowded square; a skeleton rips its way out of a man’s skin and walks around to join several other horrifying atrocities. The sorcerer (Ari Barak) pushes his way through the screaming crowd to the King (Richard Assad), who’s being advised by a Djinn (a.k.a. the Wishmaster, played by a ferociously campy Andrew Divoff) that he must make a third wish to stop the violence. But the sorcerer manages to trap him in the gemstone, stopping the King before his third wish can grant the Djinn the power to rip through dimensions and unleash his Djinn brethren onto the earth. This prologue sets up a world of magic and fantasy and folklore the series never quite re-establishes. While the ancient imagery is vaguely referenced hereafter, the world of Wishmaster won’t feel this sensual or mystical again.

At Midnight I’ll Take Your Soul (1964) + This Night I’ll Possess Your Corpse (1967) – DVDs

March 26, 2017Posted in1960s, 2017, Authors: Alice Stoehr, Brazil, DVD, Esoterica, Horror

Coffinjoe2

À Meia Noite Levarei Sua Alma
***½/**** Image A- Sound B+ Extras B
starring José Mojica Marins, Magda Mei, Nivaldo Lima, Valeria Vasquez
written and directed by José Mojica Marins

Esta Noite Encarnarei no Teu Cadáver
***/**** Image A Sound A Extras B
starring José Mojica Marins, Roque Rodrigues, Nadia Freitas, William Morgan
written and directed by José Mojica Marins

by Alice Stoehr Zé do Caixão, known to English-speaking audiences as Coffin Joe, is like Mr. Hyde without a Dr. Jekyll. Although nominally a small-town undertaker, he has the mien and rap sheet of a supervillain. Attired in top hat and cape, he stalks the countryside, bent on perpetuating his bloodline. He luxuriates in his own depravity. He’s a horror-movie monster, and he loves it. Joe is the brainchild of Brazilian filmmaker José Mojica Marins, who’s been playing the role for decades. He introduced the character back in the 1960s with a pair of colourfully-titled films: At Midnight I’ll Take Your Soul and, three years later, This Night I’ll Possess Your Corpse. Both of those phrases are threats spoken onscreen by Joe’s victims; both hint at ghostly mischief and a lurid tone. Unhindered by understatement, these films dispense atrocities at the rate of about one per reel. Joe’s first evil act, mere minutes into Soul, is blasphemy: he spends Good Friday noshing on a leg of lamb–an unthinkable sin to his pious Catholic neighbours–then, like a schoolyard bully, forces an unwilling bystander to take a bite. Further iniquities pile up quickly in the form of bullwhipping, blinding, and immolation. When an elder dares to challenge him, Joe lacerates the man’s face with a Christ figurine’s crown of thorns.

Personal Shopper (2016)

March 24, 2017Posted in****/****, 2016, 2017, Authors: Walter Chaw, Drama, France, Germany, Horror, Mystery, Theatrical

Personalshopper

****/****
starring Kristen Stewart, Lars Eisinger, Sigrid Bouaziz, Anders Danielsen Lie
written and directed by Olivier Assayas

by Walter Chaw There’s a brilliant song by Patty Griffin called “Every Little Bit” that, among other piquant turns of phrase, includes the lyric “I still don’t blame you for leaving, baby, it’s called living with ghosts.” At around the 30-minute mark of Olivier Assayas’s Personal Shopper, our survivor Maureen (Kristen Stewart) tells a confidante she had made a vow with her late twin brother to make contact from beyond the grave should one pre-decease the other. “And then?” he asks. “I guess I’ll live my life and let it go.” Then a long, gliding shot of Maureen riding her moped through the Parisian nighttime scored to simple, haunted strings that are augmented towards the end of the sequence by percussion, which reveals itself to be a pencil against parchment. Maureen works as a personal shopper for a German fashionista who never seems to be home. In her off moments, she helps her brother’s “widowed” girlfriend Lara (Sigrid Bouaziz) try to suss out if his ghost is unquiet and lurking in the house they shared. Maureen’s a medium, you see, or at least she and her brother played at being mediums–a morbid pastime informed by a heart ailment, unpredictably mortal, shared by the siblings. A doctor warns her against any strenuous activities or emotions. She’ll suffer both before the end.

The Initiation (1984) – Blu-ray Disc

March 14, 2017Posted in1980s, 2017, Arrow Video, Authors: Bryant Frazer, Blu-ray Disc, Horror, Mystery, Thriller

Initiation1

*½/**** Image A- Sound A- Extras B
starring Vera Miles, Clu Gulager, James Read, Daphne Zuniga
written by Charles Pratt, Jr.
directed by Larry Stewart

by Bryant Frazer Turning up at the tail-end of the late-1970s/early-1980s slasher boom, The Initiation is another one made with little ambition by people with no special inclination towards horror, but at least it doesn’t look down on the genre: Despite the sorority-house trappings, it aspires to a perfectly middlebrow level of quality, like a network movie-of-the-week or mass-market paperback original. That’s some kind of achievement for a film that opens with a delightfully ridiculous dream sequence (or is it?) depicting an episode of coitus interruptus involving a little girl with a knife and an intruder who catches on fire and ends with a half-dozen college kids being tracked down by a serial killer with knives and a harpoon gun. Trouble is, The Initiation works a little too hard to lay a foundation for its killing spree in a drama of dark family secrets. The result is a messy amalgam that doesn’t work especially well as a soap opera or a teen sex comedy, let alone as a slasher movie.

The Girl with All the Gifts (2016) + Logan (2017)

March 3, 2017Posted in****/****, 2016, 2017, Action, Drama, Horror, Road Movie, Sci-Fi, Superhero, Theatrical, Thriller, Zombie

Logan

THE GIRL WITH ALL THE GIFTS
***/****
starring Gemma Arterton, Paddy Considine, Glenn Close, Sennia Nanua
screenplay by Mike Carey, based on his novel
directed by Colm McCarthy

LOGAN
****/****
starring Hugh Jackman, Patrick Stewart, Richard E. Grant, Dafne Keen
screenplay by Scott Frank & James Mangold and Michael Green
directed by James Mangold

by Walter Chaw Movements start this way, with one or two events that could be thought of as coincidence in response to some greater trend in our culture, perhaps–or, more likely, in response to some greater corruption. I’ve long referred to movies, especially genre movies, as indicator species in our cultural swamp. They’re the first to show evidence of introduced toxins; at minimum, they’re the first major art form to disseminate warnings widely. Jordan Peele’s sleeper hit Get Out is just the latest in a recent spate of pictures that have caught the zeitgeist. Test the theory: would it have been as popular in another time? Movies are not unlike Percy Shelley’s “dead thoughts… Like wither’d leaves” carried on divine winds to quicken new births. It’s a florid reference to justify an unpopular concept. Not religious in any way, I find sublimity in the idea that human hands work in concert sometimes, and the close study of their products can provide insight into the world as it is, not simply as it was. Find in James Mangold’s Logan and Colm McCarthy’s more or less contemporaneous The Girl with All the Gifts (hereafter Girl) complementary, near identical concepts executed in largely the same way–proof for me of a body politic reacting in concert to poison. As grim as they are (with Logan actually verging on vile and mean-spirited), they are nonetheless, to me, evidence of at least some collective immune response. Artifacts of resistance left for the anthropologists. Despite their apparent nihilism, they are proof, as referenced explicitly in Girl, of hope.