Hap and Leonard face the KKK in a brutal brawl that doesn't go exactly as planned
Leonard tracks down Bacon, who saw Florida before she disappeared. Hap is introduced to the head of the KKK in Grovetown.
Florida's gone to Grovetown, but Dt. Hanson worries for her safety, so he sends Hap to find her. And you know Hap is taking Leonard, too.
Carnage Park. 2016. Directed & Written by Mickey Keating.
Starring Ashley Bell, Pat Healy, James Landry Hébert, Michael Villar, Bob Bancroft, Larry Fessenden, Andy Greene, Alan Ruck, Graham Skipper, & Darby Stanchfield. Diablo Entertainment.
Unrated. 90 minutes.
Ever since seeing Ritual, I’ve been hooked on Mickey Keating. His directing and writing are a sight for sore eyes in the world of indie cinema. These days there are lots of talented people coming out of the independent scene. But Keating has an old school sensibility, a practical effects-driven manner of taking on horror specifically. The way he directs has a wonderfully rock n’ roll-style feel. The atmosphere of his movies is always wildly palpable, no matter what the ultimate main genre. Most recently Keating wowed me with Darling; a trip down the rabbit hole of guilt, murder, shame, and more.
Carnage Park does not come with anything overly original. It’s the way in which Keating gives the material over to us that’s exciting. Best of all, like Darling and its Roman Polanski vibes, this movie – via Keating admittedly – is fashioned after the Sam Peckinpah, machismo-filled 1970s films about dangerous men running wild on the fringe with guns and knives and big steel balls. At the same time, the movie switches genres, transforming from action-thriller into something more horror oriented as the various characters collide out in the eponymous park.
The opening sequence, while deranged in its own right even in comparison to what comes later, is a lot of fun. It has an energy that kicks the story off right. We get a taste of Wyatt Moss (Pat Healy) right off the bat, then it switches into us spending time with Scorpion Joe (James Landry Hébert), his soon to be dispatched buddy Lenny, and the kidnapped Vivian (Ashley Bell) in the trunk of Joe’s car. Keating keeps the pacing solid, moving fast. Everything gets really interesting then once the different characters come together, and the movie shifts gears.
Isolation is the key here. Under the cinematography of Mac Fisken the desert looks like a gaping, open wound, a vast and dry sore in the earth. Watching Vivian try to make her way through the large lot of privately owned land is akin to somebody wandering a giant hedge maze, but instead of any hedges it’s all sand, shrubs, rundown billboards, so on. The isolated hills in between which Vivian finds herself lost are so huge and far reaching that it’s impressive the way Fisken and Keating create a claustrophobic sense of that isolation. Like The Thing or any similarly remote set script, Carnage Park takes us out into the open while simultaneously bringing us deeper into our own minds, into the head of Vivian who’s faced with outrunning a maniac in the vast desert.
What I love is that this story Keating draws out, the characters and their respective plots, is all a disturbing little slice of Americana from the late ’70s. The unstable Army veteran at the centre of it all, Wyatt, has so clearly been affected negatively by the war. Meanwhile, his brother is the local sheriff, whose ideas about his brother seem pretty clear despite what he tells himself, and especially despite anything he admits to knowing. Within these two characters there’s wrapped a whole bunch of socioeconomic significance, as we consider everything from the dishonesty of those charged with serving and protecting, to the right of land owners in America (in certain states) to shoot anyone that comes onto their property, to the concept of all those men coming back from Vietnam, devastated emotionally and mentally, not receiving any proper care other than some cash and a pat on the back. Instead of a simple setup of a madman with no backstory there’s the fact Wyatt has been psychologically traumatised in the war, which sort of ups the ante on the usual scenario. Watching the various, hideous bits of American life unfold out across the sprawling hills on Wyatt’s property is a tense nightmare that’s hard to predict re: where it may head next.
The performances really help sell the whole thing. Bell does a nice enough job with her character, especially considering all the back and forth moments we see, going from being Scorpion Joe’s hostage to being at the fingertips of a demented ex-soldier, to the shocking scene where she stabs the wrong person than who she intended. She does well showing us the breakdown this woman experiences while going through the most trying day of her life. But best of all, Pat Healy – the god damn man, as far as indie movies are concerned. He’s been in lots of stuff, though never better than when working on something daring, something small, things like Cheap Thrills and The Innkeepers, among more. As Wyatt, we see him become a truly scary individual. At first you almost don’t know if he’s going to be some kind of anti-hero, the sort we’d expect out of a neo-noir-Western hybrid like this becomes now and then. Then when it’s becoming clear that Wyatt is the big evil in the situation there’s a feeling you start to get each time his eerie, smiling face comes into the frame that tells you: this guy is bad, bad, bad news. This is a great role, one that might end up as a load of generic garbage were it left to a less talented actor. Rather, Healy gives us lots to enjoy, as he touches all corners of the spectrum, creeping about, charming a little, and above all else terrifying his victims.
I do prefer other Keating films about this one. However, Carnage Park is a good time; through and through. The performances are one thing. The adrenaline pumping pace is what kept me glued. I can sit through all sorts of films, but a great effort usually has me consistently stuck to each scene, wondering where exactly things are about to move. Not once did I know for sure where the plot might go, or which characters would go on to survive. The ending didn’t totally eclipse me in any way. Still, it is a fantastic finish to a nicely executed bit of indie cinema. Whereas other filmmakers could have gone in vastly different directions throughout, Keating sticks to his old school style, his simple though beautiful way of directing. This way nothing strays too deep into familiar territory so as to bore the viewer. Ultimately, the cat-and-mouse thriller that frames the entire film is jammed full with suspense and the tension you’ll feel is like a chokehold. Keating takes you into the darkness fully, never once really letting you go. Take the ride, even more so if you dig his other directorial efforts. This one is yet another top notch instance of his talents.
The Innkeepers. 2011. Directed & Written by Ti West.
Starring Sara Paxton, Pat Healy, Kelly McGillis, Alison Bartlett, Jake Ryan, Brenda Cooney, George Riddle, John Speredakos, and Lena Dunham. Glass Eye Pix.
Rated R. 101 minutes.
Every time I’ve got a particular bias going into a review, one that I can recognize, I always like to take a moment to recognize that. Such is the case with myself and Ti West. I love his work, even when others tell me personally they don’t like a movie of his I can’t help but find myself thinking “Why the hell not?”. I just love his movies. Years ago I got the chance to see The Roost, which I thought was a clever genre film and a gnarly creature feature horror movie. After that I had him on my radar, then as soon as I’d seen that out he came with The House of the Devil, and that one floored me; an overall amazing aesthetic, harkening back to the best of the 1980s, this is a slow burn horror with that Satanic Panic edge. After that I secured a copy of Trigger Man and, while much different than his other films, I enjoyed it. Even later, after he did this movie, his segment in the first V/H/S was probably my favourite – “Second Honeymoon” – his “M is for Miscarriage” out of The ABCs of Death was a saucy piece of raw, reality driven horror. Perhaps my favourite of all his work, The Sacrament is an obvious re-telling of the Jonestown Massacre yet using found footage and the VICE News name he makes it into so much more, something visceral and savage.
So, have you got an understanding of how much I’m a fan of Ti West? Maybe that paints my view of The Innkeepers a little too subjectively. Who knows. Either way, I think this is a fun little ghost story in a spooky location. It’s got a good atmosphere, something to which West is no stranger at pulling together. As well as the fact Pat Healy and Sara Paxton give good performances which are effective and at the same time quirky, but not so quirky you want to roll the eyes out of the back of your head. This film has charm, darkness, and even a few good old fashioned horror jump scares.
In the last few days before the Yankee Pedlar Inn closes down forever, two employees – Claire (Sara Paxton) and Luke (Pat Healy) – attempt to find evidence of the ghost of a woman named Madeline O’Malley (Brenda Cooney) who supposedly haunts the halls. They’re amateur ghost hunters; Luke runs a website about Pedlar’s apparent hauntings, Claire just dropped out of college.
As the last few guests arrive for a stay at the Pedlar, Claire in particular gets closer and closer to the spirit of Madeline, whose story is a sad one; how and why she ended up trapped at the hotel in the afterlife. But once Claire gets a little too close, things may change – and definitely for the worse.
One unique little scene/shot I love is when Claire (Paxton) is using the recording equipment. The first moment is so cool, as the camera tracks along as if on a soundwave, moving slowly around almost wandering. The music and everything make this a creepy little bit, even with nothing creepy happening. I think this is the first scene where Ti West begins to set up a definitive atmosphere and tone for the scarier bits of the film.
The music gives way to more of a silence, a dim hum, some static, while watching Claire listening in another room than the one previous. This also leads into Claire discovering a presence in the big dining room, a piano playing softly amongst the hum of the static in her headphones. Nice little scene following her as she finds the piano itself around the lobby and watches it play by itself. Or rather it bangs the keys by itself. Spooky and an effective jump scare.
Really dig the score for The Innkeepers. Sure enough, when I looked up the composer it was Jeff Grace. For those who may not know, Grace has worked on some incredible stuff. Most recently he’s composed scores for Jim Mickle’s Cold in July and We Are What We Are, Night Moves, Mickle’s Stake Land, Meek’s Cutoff. Then he’s done other probably lesser known films – though they ought to be more recognized – such as Bitter Feast, The House of the Devil, The Last Winter, Joshua, and another of Ti West’s again The Roost.
Part of any great horror, in my opinion, is a solid score to help with the atmosphere. Grace’s excellent music feels very haunted house worthy. This is, essentially, a haunted house horror movie. Instead of a house, we’re getting the Yankee Pedlar Inn, which is just as creepy in the end. Grace does a good job with ambient noise, strings, and some electronic sounds in aiding the direction of West to supply a nice feeling from start to finish. At times it grabs us, gripping hold and not letting go, other times it lulls us into a spooky mood or a false sense of security before a nice scare; proper horror score.
Aside from the lead characters played by Healy and Paxton, I couldn’t get enough of the fact West included Kelly McGillis in the cast. What a wonderful surprise. Most known for her work in the ’80s like Witness, Top Gun, and The Accused, in the past few years she’s been a part of the indie horror revival. Particularly, after being cast in Stake Land by Jim Mickle, McGillis put in a performance here, as well as in the remake of We Are What We Are again from Mickle. So I love that she’s been a part of these films. She adds a great air of authenticity, I’m not sure what it is, but there’s an elegant quality to her; no matter the character. One of those classy older women with a lot of grace, at the same time there’s something sassy and fun about her, too. Here her turn as an actress turned psychic is a good show, wonderful addition and she works great opposite Paxton.
Which leads me to Pat Healy and Sara Paxton. They’ve got real good chemistry in their scenes, reminding me of employee-employee relationships I’ve had at jobs in the past. What I love is that they aren’t two characters of the same age, like two young people. Having the character of Luke (Healy) as a bit of an older guy compared to Claire (Paxton) made for a more interesting relationship between the two, in opposition to so many horror movies featuring all young, teenage-ish characters with the same attitudes, same inflections in their voice, same problems and lives. Not saying it’s some revolutionary tactic, but I do think it was a smart writing move on the part of West, who could’ve easily strayed into complete typicalness. Rather, here he gives us two fun, weird characters who’ve got an equally fun, weird relationship.
Paxton is my favourite, though. Because so often horror movies have characters that do not feel real. Claire, on the other hand, feels real to me, she’s a new college dropout, she works at an old school hotel that’s shutting down after one last weekend. There’s a sort of angst built up inside Claire that I understand; a lot of people could understand her. Yet she isn’t some snotty young girl or anything, merely she gives me that sense of being a woman who is straddling the edge of being young – a woman, maybe not totally prepared to become one.
Most likely the greatest part of The Innkeepers is how Ti West shot it on film. I mean, I don’t have anything against digital, not in the slightest. That being said, there’s something to be said for movies still shot on film. There’s a depth to it, perhaps that’s the best way I can describe it – a fullness – that isn’t always present when shooting on digital. I don’t know, I could be talking out my ass. My love for the look of film has to do with a richness, a broader spectrum of what it can capture. This provides West the opportunity here to frame so many wonderful shots and catch every last bit of it in lush, dark detail. Makes a haunted house horror movie creepier. Honestly, I think that’s part of why so many found footage horrors ultimately fall flat is because on digital the exposure issues end up blocking out so much of a frame that, at times, this renders much of what’s in the frame not as creepy as it might have been had the movie been shot with film. With this movie, it helps West insisted on using film because there are a lot of wonderfully constructed shots here which pull their style from out of every corner of the frame.
I think some of the complaints about The Innkeepers seem to revolve around the fact there’s not a HUGE amount of ghost activity or full-on horror. However, I’d say to those detractors that it isn’t mean to be that sort of film. If you want that type of haunted house horror, stick with even something more like Insidious – West works more here at mood and tone than anything else, and I think that’s totally fine. There are most CERTAINLY a few classic horror movie scares, both of the jumpy variety and real tense, suspenseful moments. They don’t come in spades, it’s a slow burn film. Regardless, to me the all-out scary stuff here pays off because West does a good job slowly cultivating a spooky atmosphere.
With a slow and deliberate style – aided by great editing – a creepy backstory that isn’t served up for us like a prequel within the movie itself but rather alluded to appropriately, and good writing/directing, Ti West’s The Innkeepers is a pretty solid haunted house horror. 4.5 out of 5 stars on this one, all the way. Again, as I started out in this review, I could be biased towards West and his films because I’m such a hardcore fan of his. I don’t think so, though, because there’s just something special about his filmmaking to me. He has old school sensibilities while also bringing a modern, fresh edge to his subjects at the same time.
If you haven’t yet seen anything by West, I suggest starting with The Roost if you can find a DVD copy; worth it. Afterwards, move on to this, The House of the Devil, The Sacrament, and see if there’s anything about him you’ll agree with me on. I know others who feel he’s decent but nothing special. Me? I think he’s one of the new hopes for horror cinema and genre filmmaking, right alongside Adam Wingard (The Guest, You’re Next, A Horrible Way to Die).