The Dorm That Dripped Blood (1982) – Blu-ray + DVD Combo Pack

Death Dorm
Pranks
***/**** Image B- Sound B- Extras A
starring Laurie Lapinski, Stephen Sachs, David Snow, Daphne Zuniga
screenplay by Stephen Carpenter, Jeffrey Obrow, Stacey Giachino
directed by Jeffrey Obrow and Stephen Carpenter

by Jefferson Robbins There may be nothing groundbreaking or new about a bunch of film nerds in their early twenties running around making a horror movie on the cheap, but that’s because Jeffrey Obrow and Stephen Carpenter probably did it first. Created with the kind of zeal, energy, inventiveness-on-a-budget, and adherence to forms that are symptomatic of most youthful endeavours, The Dorm That Dripped Blood–written, shot, and released under a multiplicity of titles–is very much a product of its time and zeitgeist. That doesn’t mean it lacks worth–in fact, it manages to be both fun (in an ironic, cheesemongering way) and, in its final minutes, quite compelling and suspenseful.

Night of the Living Dead (1990) – Blu-ray Disc

**½/**** Image C- Sound B Extras B
starring Tony Todd, Patricia Tallman, Tom Towles, McKee Anderson
screenplay by George A. Romero, based on the screenplay by John A. Russo and Romero
directed by Tom Savini


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by Walter Chaw SPOILER WARNING IN EFFECT. George Romero's Night
of the Living Dead
is a watershed: a quintessential drive-in/B-movie that
demonstrated without equivocation how horror/exploitation pictures are often "indicator species" in the cultural swamp–the ones that most
quickly, most effectively locate the toxins in the ecosystem. Appearing in
1968, Night of the Living Dead addressed the rise of televangelism in
its legion of communion-taking, slow-walking white people; predicted the generation gap (alongside Rosemary's
Baby
) and a spate of evil-children flicks that appeared in the early-'70s; and spoke to the
Civil Rights war in its blithe casting of black actor Duane Jones and not-so-blithe murder
of his character by a posse of hillbilly vigilantes in the final frames. There's
something super-charged in the image of Jones holing up in a farmhouse with
whiter-than-white, meeker-than-meek Barbra (Judith O'Dea), something explosive
in the social microcosm represented by survivors trying,
unsuccessfully, to work together to affect their escape from what's really just a metaphorical threat. The movie resonated then; it resonates still.

The Raven (2012) – Blu-ray + DVD Combo Pack

ZERO STARS/**** Image B+ Sound A Extras C
starring John Cusack, Luke Evans, Alice Eve, Brendan Gleeson
screenplay by Ben Livingston & Hannah Shakespeare
directed by James McTeigue


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by Walter Chaw I'm
no nineteenth-century cop, but I personally would begin by interrogating the guillotine-pendulum maker. James McTeigue's abominable The Raven posits
legendary Marylander Edgar Allan Poe (John Cusack) as a crazed, alcoholic, frustrated-artist type who has a bar tab the length of his arm to go with a fiery temper
and a quite-requited, it turns out, affair with toothy Emily (from Aardman Studios: Alice Eve), daughter of Captain Hamilton (Brendan Gleeson).
Alack-alay, what should happen but a wax museum breaks out as a critics-hating
serial killer (just like Theatre of Blood, which I should've revisited instead) enacts scenes from Poe's stories whilst
dressed in the hat and cape of McTeigue's V for Vendetta protag. Good copper
Det. Fields (Luke Evans) is hot on the miscreant's trail, enlisting Poe as a
Poe expert to try to get one step ahead of the well-read marauder. There is,
alas, no ratiocination the equal of the mystery of Ben Livingston and Hannah
Shakespeare's (no relation, I hope) bewilderingly bad screenplay. No one, no
one
, could deliver these lines–a mush of anachronistic phrases and
"period" posh–with conviction, much less the miscast Cusack and a motley
band of supporting players. The good news is that The Raven is funny. The bad news
is that it's so awful, it makes you the kind of person who watches a
movie just to be superior to it.

Torso (1973) + Maniac Cop (1988) – Blu-ray Discs

I corpi presentano tracce di violenza carnale
***½/**** Image A Sound B Extras B
starring Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson
screenplay by Ernesto Gastaldi and Sergio Martino
directed by Sergio Martino

MANIAC COP
**½/**** Image B Sound A Extras B
starring Tom Atkins, Bruce Campbell, Laurene Larson, Sheree North
screenplay by Larry Cohen
directed by William Lustig

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by Jefferson Robbins Slasher movies are concerned with not just murder, but with its root cause–not motive, really, but motivation. There has to be a detonator, or else stalker-horror is what its most strident critics accuse it of being: all body-count, no brains. The films have leeway to be less concerned with motive than, say, those Ustinov-as-Poirot adaptations, where the whole cast learns whodunit while seated for tea and cakes in the third act. (I sort of miss those; I wish "mystery" hadn't been usurped by "thriller" in the moviemaking lexicon, and in part I blame Jonathan Lynn's 1985 Clue.) But they have to successfully allude to a trigger point, some match to the killer's keg of gasoline.

Child’s Play (1988) [Chucky’s 20th Birthday Edition] – DVD|Blu-ray Disc + Chucky: The Killer DVD Collection

CHILD'S PLAY
***/****
DVD – Image A- Sound A- Extras B+
BD – Image A Sound A Extras B+
starring Catherine Hicks, Chris Sarandon, Alex Vincent, Brad Dourif
screenplay by Don Mancini and John Lafia and Tom Holland
directed by Tom Holland

CHILD'S PLAY 2 (1990)
**/**** Image C+ Sound A-
starring Alex Vincent, Jenny Agutter, Gerrit Graham, Brad Dourif
screenplay by Don Mancini
directed by John Lafia

CHILD'S PLAY 3 (1991)
*/**** Image B- Sound A-
starring Justin Whalin, Perrey Reeves, Jeremy Sylvers, Brad Dourif
screenplay by Don Mancini
directed by Jack Bender

BRIDE OF CHUCKY (1998)
**/**** Image B Sound B Extras C
starring Jennifer Tilly, Brad Dourif, Katherine Heigl, Nick Stabile
screenplay by Don Mancini
directed by Ronny Yu

SEED OF CHUCKY (2004)
*/**** Image A- Sound B Extras C-
starring Jennifer Tilly, Brad Dourif, Billy Boyd, Redman
written and directed by Don Mancini

Childsplaycap

by Ian Pugh SPOILER WARNING IN EFFECT. Twenty years and four sequels later, it's obviously pointless to try to conceal that Child's Play is about a serial killer (Brad Dourif) who transfers his soul into an innocuous doll, but watching it today–more than a decade after it thoroughly traumatized me as an impressionable preteen–I was surprised to learn that the film itself didn't do much to hide that fact from the start. Oh, sure, when you first approach Child's Play, you're ostensibly supposed to wonder whether little Andy Barclay (Alex Vincent) is responsible for the murders peppered throughout, despite his loud protestations that Chucky did it. But no, it never really tries to pretend that these horrible acts are being committed by anyone other than that godawful doll. In taking that perspective, Child's Play preys upon the irrational fears we all harbour–that sting of dread we get at the sight of an unintentionally unsettling toy, immediately wished away by safe, immutable reason: that's impossible–a doll can't hurt you.

Dark Shadows (2012) – Blu-ray + DVD + Digital Copy

Darkshadows3

*½/**** Image B+ Sound A- Extras B-
starring Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter, Eva Green
screenplay by Seth Grahame-Smith, based on the television series “Dark Shadows” by Dan Curtis
directed by Tim Burton

by Angelo Muredda Like so many of his recent dioramas, Tim Burton’s Dark Shadows starts off looking suspiciously like a real movie. The director’s tendency to Burtonize cherished texts into gauche self-portraits is suppressed in an economical opening that tells with a straight face the dolorous tale of Barnabas Collins, once-imprisoned and newly-freed vampire star of Dan Curtis’s late-afternoon soap. The mood is sombre–a nice hat-tip to Curtis’s morose series, which, if you’ll pardon the wonky chronology, played out like a Smiths song drained of irony. Alas, before long Barnabas awakens in 1972 to meet his distant relatives and dissipated hangers-on, and the mere presence of pasty-white, pink-shaded, ginger-wigged Helena Bonham Carter as family psychiatrist Julia Hoffman is enough to break the spell. Carter’s mannered and carefully sculpted weirdness alerts us that this is yet another wax museum standing in for a film no one had the heart to finish.

Friday the 13th: From Crystal Lake to Manhattan [Ultimate Edition DVD Collection] + Friday the 13th [Uncut]|Friday the 13th Part 2|Friday the 13th Part 3 3-D – Blu-ray Discs

FRIDAY THE 13TH (1980)
**½/****

DVD – Image B+ Sound B-
BD – Image A Sound B Extras B+
starring Betsy Palmer, Adrienne King, Harry Crosby, Laurie Bartram
screenplay by Victor Miller
directed by Sean S. Cunningham

F131capby Alex Jackson

“Do you think you can get through the summer?”

“I don’t think I can get through the week.”

One look at the teenagers in Sean S. Cunningham’s Friday the 13th and we can see they’re displaced, without religion or identity. Shallow, dim, they don’t have any past and they don’t have any future. Their existence is entirely ephemeral and half-developed. Their lives consist solely of pot, sex, and menial work. We know that they’re really talking about life in the above-quoted exchange–life as a biological process that will come to an abrupt stop for most of them by the end of the week, if not by the end of the summer. They think they’re just talking about work and boredom.

Beyond the Black Rainbow (2012) – Blu-ray Disc

***/**** Image A Sound A Extras F
starring Michael Rogers, Eva Allan, Scott Hylands
screenplay by Panos Cosmatos, inspired by the book Be Your Self by Mercurio Arboria
directed by Panos Cosmatos


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by Angelo Muredda Panos Cosmatos claims he wasn't allowed to watch R-rated movies as a kid and had to make do with the lurid box covers he saw on video store shelves. Rising above those less-than-ideal conditions, the first-time helmer and son of famed Cobra and Rambo: First Blood Part II director George P. Cosmatos makes an auspicious debut with Beyond the Black Rainbow. As befits its retro title, this is a bravura pulp homage that recreates the feeling of a preteen creeping down the hall to catch a sidelong glance of the bygone genre cinema pulsing out of the living-room TV and painting the walls orange. Still, it's best approached not as a found object from that time, but as a mood piece–a sustained exercise in atmospheric nostalgia for what LCD Soundsystem eloquently called the "unremembered '80s."

TIFF ’12: Antiviral

Antiviral*½/****
written and directed by Brandon Cronenberg

by Bill Chambers Featuring more close-ups of needles piercing flesh than a booster-shot training video, Antiviral, the debut feature by Cronenberg offspring Brandon, takes place in a world evolutions ahead of TMZ, where fans pay to have themselves infected with viruses extracted from their celebrity crushes. ("Biological communion," the film calls this process–a phrase that links father and son filmmakers as efficiently as a paternity test.) The slightly repulsive Caleb Landry Jones is Syd March, a rogue technician for The Lucas Clinic who breaks protocol by contaminating himself with the disease that is rapidly, unexpectedly killing superstar Hannah Geist (Sarah Gadon), making him a target of Hannah's family–who figure he'll be useful in their search for a cure–and fans, who want to watch him expire as a proxy for their beloved Hannah. Yes, it's pretty silly.

Jaws (1975) – Blu-ray + DVD + Digital Copy

****/**** Image A Sound A- Extras A+
starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary
screenplay by Peter Benchley and Carl Gottlieb, based on the novel by Benchley
directed by Steven Spielberg

by Walter Chaw What’s not mentioned in very many conversations about Jaws is the pleasure it takes in work. That it’s one of the most influential films of all time–a picture commonly identified as the one responsible for the studio summer-blockbuster mentality–is a given by now. The miracle of it, though, is that it gets better every time you see it. I have the movie memorized at this point; I can recite it like a favourite song. I still jump when Ben Gardner appears in the hole in the hull of his boat, and I still laugh when Hooper helps himself to Brody’s uneaten dinner. More than a fright flick, Jaws is a beautifully rendered character piece, establishing Spielberg as–a little like Stephen King, oddly enough–a master of the easy moment. (They’re artists I’ve conflated in my head for their popularity with and influence on a generation of people my age.) It’s a little nasty, too, Jaws is, in throwaway moments like the one on the beach where, after a giant fin appears in the water, Spielberg cuts to a group of old men picking up their binoculars. They’re there to looky-loo; they’re expecting carnage. It’s not a Hitchcockian moment of audience critique (though it functions that way), but a brilliant character beat expressed with Spielberg’s savant-like visual genius. But above all, Jaws is about function and work–not unlike Star Wars, the final nail in the New American Cinema, will be two years later.

The Island of Dr. Moreau (1996) [Unrated Director’s Cut] – Blu-ray Disc

**½/**** Image B Sound B+ Extras F
starring Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk
screenplay by Richard Stanley and Ron Hutchinson
directed by John Frankenheimer

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by Walter Chaw This is a tough one. As an avowed if guarded fan of director John Frankenheimer, his involvement with The Island of Dr. Moreau is something like a gobsmacker. Sure, he'd ventured into genre before with the ridiculous Prophecy, while, arguably, his two best films–The Manchurian Candidate and Seconds, his masterpiece–are genre pieces, too. But I think at the time, bringing in Frankenheimer three days into a troubled shoot to replace that assclown Richard Stanley was more an act of expediency than of ingenuity. If New Line thought they were getting a closer, they were right; if they thought they were getting someone who could corral the downward-spiralling Val Kilmer, they were less right ("Will Rogers never met Val Kilmer," Frankenheimer famously said). What they probably weren't expecting was that Frankenheimer would turn in something that, though critically-savaged at the time, had some legs. No, The Island of Dr. Moreau isn't a whole, falling apart as it does in the last half-hour or so, but it is the sort of movie that hints at larger issues and boasts enough indelible moments to deserve another look. Truth is, only movies this odd and discomfiting earn this amount of misdirected ire. It's not to say there's not a lot wrong with the film, but rather to suggest that the chief criticisms of it being strange and "a mess" aren't among them.

Dexter: The Sixth Season (2011) – Blu-ray Disc

Image A Sound A+ Extras D+
"Those Kinds of Things," "Once Upon a Time…," "Smokey and the Bandit," "A Horse of a Different Color," "The Angel of Death," "Just Let Go," "Nebraska," "Sin of Omission," "Get Gellar," "Ricochet Rabbit," "Talk to the Hand," "This Is the Way the World Ends"

Dexters6cap1

by Bill Chambers LIGHT SPOILER WARNING IN EFFECT. My favourite episode of "The Incredible Hulk" is the two-hour premiere of the second season, "Married." One of the unfortunately-few instalments written and directed by series creator Kenneth Johnson (a genuine pulp talent), it sees David Banner falling in love with the terminally-ill shrink (Mariette Hartley won an Emmy for the role) helping him contain the Hulk, a hypnotic process that involves David visualizing the Hulk trapped in a giant birdcage in the middle of a pristine desert–a tableau that clearly inspired the dream vistas at the outset of Tarsem's The Cell. Kindred spirits, they eventually marry, but although unleashing the Hulk protects her from harm when external forces threaten her life, it can't save her from the Grim Reaper. "Married" ends on an unusually hopeless note as a young boy who befriended the doctor informs David he's going to devise a cure for her disease when he grows up and David more or less tells the boy he's deluded. One of the most devastating pieces of genre television ever produced, it really could've been the series finale. Unfortunately, the show continued long enough to lapse into self-parody and longer still. Much like "Dexter"–though come to think of it, that happened about halfway through the pilot.

Priest (2011) [Unrated] – Blu-ray Disc

***/**** Image A Sound A Extras B
starring Paul Bettany, Karl Urban, Cam Gigandet, Christopher Plummer
screenplay by Cory Goodman, based on the graphic novel series by Min-Woo Hyung
directed by Scott Stewart

by Walter Chaw I'm completely unfamiliar with the Min-Woo Hyong graphic novels on which visual-effects guy Scott Stewart's Priest is based, and the biggest surprise of the picture isn't that the guy who did the abominable Legion managed to make something so watchable, but that Priest made me want to track down Hyong's work. Before seeing this movie, I just sort of assumed that the comic was another weird west thing along the lines of Vertigo's Preacher; after, I'm led to believe that it's a canny little mélange of cyberpunk, weird west, and horror comics, with some solid Ghost in the Shell manga tossed into the mix. There's not a minute of the film, mind, that's without a clear antecedent–not one second that passes without a namecheck of not only stuff like Blade Runner (on the "Final Cut" of which Stewart served as an uncredited techie during his time at ILM) and, most obviously, Alien/Aliens, but also The Searchers as tortured, titular Priest (Paul Bettany) declares that if his vamp-abducted niece Lucy (Lily Collins) becomes infected, it would be his pleasure (?) to dispatch her.

The Rite (2011) – Blu-ray + DVD + Digital Copy

**/**** Image A Sound A+ Extras D
starring Anthony Hopkins, Colin O'Donoghue, Alice Braga, Rutger Hauer
screenplay by Michael Petroni, suggested by the book by Matt Baglio
directed by Mikael Håfström

by Walter Chaw Though it's not particularly surprising that The Rite isn't scary or innovative, it is a bit of a surprise that The Rite doesn't completely suck. It's not good, but there's some ambition in its tale of a tortured seminarian. Michael (Colin O'Donoghue) is dealing with his odd childhood at the knee of his dad, a widower and overzealous mortician (Rutger Hauer), as well as a crisis of faith handily addressed by the traumatic, traffic-related death of an innocent whom God, the picture suggests, throws in front of a truck to get Michael to reconsider leaving the priesthood. In the same stroke, God cripples Michael's mentor, Father Matthew (Toby Jones), leading one to revisit Arthur C. Clarke's "The Star" for a dose of non-Scriptural skepticism and rage if one were so inclined. No matter, as Michael, because of his lack of squeamishness, is packed off to The Vatican to attend a modern exorcism school. Which is also something of a surprise, I guess–that said exorcism school really exists and is alive and well, well into the 21st century. Although that surprise is ameliorated a little by the fact that Catholicism also still believes in a literal transubstantiation of the host. Small wonder that Catholicism is my favourite Christian sect.

Abraham Lincoln: Vampire Hunter (2012)

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ZERO STARS/****
starring Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead
screenplay by Seth Grahame-Smith and Simon Kinberg, based on the novel by Seth Grahame-Smith
directed Timur Bekmambetov

by Walter Chaw That idiot Timur Bekmambetov continues his reign of terror with Abraham Lincoln: Vampire Hunter, an adaptation of a Seth Grahame-Smith novel co-written by Grahame-Smith himself that tries to walk the Pride and Prejudice and Zombies line between reverence and camp but only manages to be ugly and stupid. Abe’s (Benjamin Walker) superpower is honesty, natch–and a silver-coated axe. One night, as a child, after witnessing a vampire kill his mother but somehow not turn her into a vampire (vampires don’t fear the sunlight in this one, either, or at least fear it only as much as Edgar Winter does), Abe embarks on a vengeance-crusade aided by vampire hunter-trainer Henry (Dominic Cooper). Henry has a secret! It doesn’t matter. Nothing matters. Abraham Lincoln: Vampire Hunter inspires a sense of absolute despair and hopelessness in the viewer, as it’s not just bad, it’s misguided in every way a film can be misguided, from conception to execution. There’s a horse-stampede fight, a burning bridge and a train, grotesque misuse of slow-motion and CGI, and nary a naked Angelina Jolie anywhere to leaven the stew. I want to muster up some outrage at the portrayal of Confederate soldiers as bloodsucking legions of the damned, but that actually strikes me as the least offensive of the film’s myriad offenses.

True Blood: The Complete Fourth Season (2011) – Blu-ray/DVD/Digital Copy

Image A- Sound A Extras B
"She's Not There," "You Smell Like Dinner," "If You Love Me, Why Am I Dyin'?," "I'm Alive and on Fire," "Me & the Devil," "I Wish I Was the Moon," "Cold Grey Light of Dawn," "Spellbound," "Let's Get Out of Here," "Burning Down the House," "Soul of Fire," "And When I Die"

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by Bill Chambers SPOILER WARNING IN EFFECT. To recap: "True Blood"'s third season ended with Vampire Bill (Stephen Moyer) and his queen (Evan Rachel Wood) revealing a heretofore-unseen ability to defy gravity as they prepared to duel to the death; Hoyt (Jim Parrack) and Jessica (the staggeringly beautiful Deborah Ann Woll) receiving a creepy housewarming present (unseen by them) in the form of a moldy doll; Tara (Rutina Wesley) departing Bon Temps for anywhere less likely to be a hub of supernatural activity; and a newly liberated Sookie (Anna Paquin) disinviting Bill and Eric (Alexander Skarsgård) from her home before vanishing in a ball of light with her literal fairy godmother.

Prometheus (2012)

*/****
starring Noomi Rapace, Michael Fassbender, Guy Pearce, Charlize Theron
screenplay by Jon Spaihts and Damon Lindelof
directed by Ridley Scott

by Walter Chaw It’s time, probably long past time, to admit that Ridley Scott is nothing more or less than Tim Burton: a visual stylist at the mercy of others to offer his hatful of pretty pictures something like depth. If either one of them ever made a great film (and I’d argue that both have), thank the accident of the right source material and/or editor, not these directors, whose allegiance is to their own visual auteurism rather than any desire for a unified product. For Scott, the conversation essentially begins and ends for me with Alien, Blade Runner, and Black Hawk Down (for most, it’s just the first two, with a political nod to Thelma & Louise)–genre films, all, and each about the complications of mendacity given over to lush, stylish excess: the gothic, biomechanical haunted house of Alien‘s Nostromo mining vehicle and its hapless band of blue-collar meatbags; the meticulously detailed Angelino diaspora of Blade Runner and its Raymond Chandler refugee; and Mark Bowden’s Mogadishu, transformed in Black Hawk Down into a post-apocalyptic hellscape. Again, there’s that utility. Without it, Scott’s films are impenetrable monuments to style, as smooth and affectless as a perfume advertisement–and the more you watch them, the less memorable that style becomes.

Killer Nun (1979) – Blu-ray Disc

Suor Omicidi
**/**** Image B Sound B- Extras C+
starring Anita Ekberg, Joe Dallesandro, Lou Castel, Alida Valli
screenplay by Giulio Berruti and Alberto Tarallo, from an idea by Enzo Gallo
directed by Giulio Berruti

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by Bryant Frazer It sounds like a grand old time, all right. First, there's that title. Killer Nun. Adjective noun, conveying irony and promising subversion. Then there's the cast. How can you not want to see Anita Ekberg star with Joe Dallesandro in a killer-nun movie? And the premise (dope-addled sister at a convent hospital starts abusing patients) does not disappoint–imagine a season of "Nurse Jackie" under showrunners Dario Argento and Abel Ferrara. Yet somehow, director Giulio Berruti blows it: A derivative slasher pic and an only mildly lascivious sex film, Killer Nun is the sort of sleepy-eyed misfire that could give nunsploitation a bad name.

The Woman in Black (2012) + The Innkeepers (2011)|The Innkeepers – Blu-ray Disc

THE WOMAN IN BLACK
*/****
starring Daniel Radcliffe, Ciarán Hinds, Janet McTeer, Liz White
screenplay by Jane Goldman
directed by James Watkins

THE INNKEEPERS
***½/**** | Image A- Sound A Extras B

starring Sara Paxton, Pat Healy, Kelly McGillis, George Riddle
written and directed by Ti West

by Walter Chaw A beautifully-outfitted, brilliantly-designed Victorian jack-in-the-box, James Watkins's The Woman in Black will likely be remembered, if it's remembered at all, as Daniel Radcliffe's Harry Potter commencement (given that no one saw December Boys). Alas, it squanders a pretty nice, 'Tim Burton Sleepy Hollow' set-up in bumfuck England for a solid hour of crap jumping out of shadows. Popping up from behind bushes is startling, but it isn't art (it's not even clever), and at the end of the day, it's only really entertaining if you or your date is a sixteen-year-old girl. Carrying the Hammer imprint and boasting production design so good that long stretches of the film are devoted to looking at it, the piece only ever honours its legacy and appearance with the brutality with which it handles its dead children and a delirious dinner scene in which a grief-besotted lady (Janet McTeer) treats her little dogs like babies and carves something on her dinner table whilst possessed of a hilarious fit. The rest of it is garbage.