State Trooper Yuka has to deal with an eerie stranger in her tiny Alaskan town on Christmas Eve.
Charlie starts noticing his dad seems like someone else. Then everybody else seems like someone else, too.
Alien. 1979. Directed by Ridley Scott. Screenplay by Dan O’Bannon; story by O’Bannon & Ronald Shusett.
Starring Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto, Bolaji Badejo, & Helen Horton. Brandywine Productions/Twentieth Century-Fox Productions.
Rated R. 117 minutes.
I’m not even a huge science fiction fan. Of course I love any good movie, no matter the genre. But even as a nerd, someone who grew up loving Star Trek: The Next Generation and plenty of other science fiction, it isn’t my first choice. Yet you can’t keep a great film down. No matter if it’s your preferred genre or not. Now, when you start to mix genres together, that’s my favourite. So at a crossroads between horror and sci-fi, Ridley Scott’s Alien converges on my tastes to make for an altogether frightening experience. The undeniable legacy of the film is plastered over many genre films that have come out since. Likely that’ll be the case for a long, long time. Scott’s genius as a director is matched in the writing of screenwriter Dan O’Bannon, collaborating here on the story with Ronald Shusett. Working on the isolation of space, in ’79 still a relatively new frontier with untold terrors lurking in its dark and uncharted territories, Alien coils you into madness through its horrifying scenario playing out on a previously quiet ship called the Nostromo amongst a bunch of shipmates trying to get home to Earth.
The atmosphere here is tantamount to actually being out there in the depths of outer space, stuck on a ship somewhere where nobody can hear you scream. Scott makes you feel the despair, the fear, the isolation and its effects. Each set piece is better than the last, every corner and hallway exudes the sense of a real environment. The writing of O’Bannon is one thing. The imagination of Scott is entirely another beast, one that isn’t finished working as of this writing. But the clever effectiveness of one of his most satisfying works never fails to hook me. Watching it right now, nearly 3 AM here in Newfoundland, I’m watching Harry Dean Stanton’s Brett walk through the corridors alone, calling out for Jones the cat. And when he finds that facehugger skin, the chills still run up my spine.
First and foremost, Sigourney Weaver as Ripley is obviously the star of the show. What I dig, though, is how O’Bannon sets the entire crew up as characters. Once we get to the excitement and all the wonderful thrills(/chills), Ripley is our woman. She carries us through the action, the horror, as our tour guide almost. Regardless of her status as protagonist, O’Bannon gives us the time to get to know the others around her, so as not to stick us totally in one perspective. It’s a testament to good writing when a screenplay is able to setup a cast of characters behind the one real main character, to make them interesting, to have us spend time with them and let each one build instead of ending up as simply expendable victims for the alien to kill. Mostly, O’Bannon writes the characters so that they’re natural. In any genre, any writer will have a better chance at making their script more powerful if the characters feel like they’re organic. With a crew like those on the Nostromo, the chemistry has to be tight, like the sort of chat and relationships you’d generally see from any group that spend so much time together. Add to that a bunch of good actors who give it their all and you’ve got one enjoyable feast of emotions that run the gamut from strength to paranoia to bald fear and everything in between.
That first reveal of the Xenomorph is forever etched in my mind. Having the cat there makes it unique. Those shots of Jones hissing, then the eyes watching poor Brett get nibbled up, they’re really something spectacular. Not sure why it’s so interesting. Perhaps to see a cat, a fine predator in its own right, witness such an apex predator at work is the reason this scene works to such a degree. Either way, when the Xenomorph, so quiet, drops down behind Brett, there’s a HOLY SHIT moment, and you immediately understand how threatening this creature is truly. Forget the size, the look, the nasty jaws and acid blood, just the sheer physical prowess of the Xenomorph to curl down from above, slow, silent: that is horrifying. Later, the scene with Dallas (Skerritt) and the Xenomorph is the stuff of which nightmares are made. Then things only get more frightening, the tension mounts until you feel your spine sucking up against the inside of your stomach. There’s a lot of downright exciting moments, too, but it’s the frights that keep me enthralled with Scott’s work in this movie every damn time.
My favourite sequence? When Ash (Holm) goes haywire. The first time I’d seen the film I never once expected it to happen. Now, I’m still impressed. The eerie way Holm plays the scene, the unsettling close-ups shot tight on Ash’s face as he starts leaking a bit of liquid, starting to go crazy. Then when Parker (Kotto) discovers the secret Ash is hiding, the nastiness of the simple effects make it all the more wild.
The sets are elaborate and Scott is able to take us away to another place. You become completely absorbed in the future world. Right down to how they’re shot and the way we initially follow a tracking shot through portions of the Nostromo before coming upon the crew in their stasis. A fine opener to the film, but a visual aesthetic Scott keeps up throughout the film’s entirety. The coldness of the camera, the silence, I find it works well with the advanced looking technology of the ship itself. At certain times you’re sure to be reminded of Stanley Kubrick. Others, you’re most definitely in a Scott landscape. What I like most are the exteriors, as opposed to the clean looking interiors. Outside we get this idea that yet it’s the future, but it is a dirty, rough and tumble one.
There’s no denying Alien is a whopping 5 stars. A fantastic ride into the heart of science fiction-horror. Scott blew everybody away, and still does with this piece of work. When people try to tell you horror or sci-fi can’t be art, you show them this film. Tell them they’re wrong. The imaginative direction on Scott’s part, the writing of O’Bannon. The strong central performance of Sigourney Weaver as the beloved Ripley, the beyond excellent support of a cast with the likes of John Hurt and Ian Holm. There is much to love. I can never get enough. I personally love the first three films of the series, and Prometheus.
But this one started it all. The dangerous aliens of the outer reaches have never been so vicious, so adverse to humanity as they are in this Scott masterpiece. Feast on it. Learn from it. This film won’t ever get old, except in the way that it gets better with age in all its horrific, science fiction goodness.
Shivers. 1975. Directed & Written by David Cronenberg.
Starring Paul Hampton, Joe Silver, Lynn Lowry, Allan Kolman, Susan Petrie, Barbara Steele, Ronald Mlodzik, Barry Baldaro, Camil Ducharme, Hanna Poznanska, Wally Martin, Vlasta Vrana, Silvie Debois, Charles Perley, & Al Rochman. Cinépix/DAL Productions/Canadian Film Development Corporation.
Rated R. 87 minutes.
Even if I love Alien to death and think it’s a masterpiece of cinema, the fact remains that Dan O’Bannon definitely saw David Cronenberg’s Shivers a.k.a They Came From Within. And not just that, he loved it. This was the original piece of dreadful science-fiction-horror that preyed upon an isolated environment, high up above everything else, a nearly self-contained atmosphere where a predator on the inside starts to take out the residents, one by one. Just like Weyland-Yutani were terraforming and the government or whoever were planning to use the Xenomorphs for sinister purpose, the creatures of Shivers were created for a purpose but then that purpose went terribly awry. Is it a coincidence then that the residential apartment complex where this film is set happens to be named Starliner? I’m not accusing O’Bannon of anything. He’s already been accused, anyways. I enjoy the little similarities because it shows the legacy and intrigue of Cronenberg. He is an important artist who dares to ask questions about human nature, the social effects of technology and medicine and more, as well as so many other things. Only his third feature, Shivers asks of us what the price of advancement is in terms of our social lives, as a whole in society. The more we isolate ourselves, jamming our life into smaller spaces so that we can cram more people in around us, the further at risk we put ourselves of becoming something entirely other. In that case, there is no progress, no evolution. We only evolve into something mindless, swallowed whole by a concern for economic and social status, consumed by our consumption. Through his trademark body horror Cronenberg explores the terrifying downfall of a society within society inside the Starliner apartment building, and much like J.G. Ballard’s High-Rise, as well as the recent Ben Wheatley adaptation, this film depicts how a self-contained environment can eat itself alive
The big horror here is Cronenberg’s use of phallic, slug-like creatures to represent an invasion of otherness. Again, it is man-made. But it is other, a parasite. What we know know as typical Cronenberg comes here through those slugs squirming their way into the human body. Of course it happens many ways. However, the most eerie and prominent in this screenplay is sexual intercourse. These parasites drive the hosts sex crazy. One of the first women we see infected attacks a man and yells, terrifyingly enough: “I‘m hungry. Hungry for love!” Later, the most disturbing moment for me is when a family of three that were earlier stuck in an elevator are now infected, and they tackle a man; the little girl kisses him on the lips with her bloody mouth. This one scene really gets to me, as it is creepy anyways, but then with the girl kissing the man, the blood on her, the family all gone raving mad. It’s a sight to behold. Otherwise, Cronenberg does give us a few graphically pukeworthy practical effects, as the slugs slip out of mouths, flop out onto clear umbrellas leaving yucky streaks, one even slips its way up from a bathtub drain and between the legs of an unsuspecting woman (precursor to Craven’s famous bathtub scene in A Nightmare on Elm Street). So many effective, bloody little moments.
Amongst everything else, the symbolism of Cronenberg’s Shivers is what makes it a worthy and enduring piece of Canadian cinema. While there’s the invasion of otherness and becoming something else, there are more elements at play. The whole sexual angle of people just trying to ravish everyone, gone mental from lust, this comes to represent how the close proximity to the others in these buildings, jamming everybody together no matter if it’s high class suites or what is a recipe for social disaster. Essentially, it is the idea of assimilation, the conformity to a group norm and a way of life that’s accepted as singular. Because they’re not attacking each other like madmen and madwomen, they collectively seek out more people to pass the parasite onto. So it’s like this roaming group of social power, these parasitic citizens of the Starliner apartment complex gradually spreading their diseased love around until finally everybody has conformed, they all fit perfectly in their little boxed apartments(/compartments).
Also, if you want to go deeper, the idea of all these people living in a deluxe apartment complex sort of quarantined off from the rest of society can serve as a statement about how the upper class is sort of an incestuous group of people that perpetuate a system of disease amongst themselves by remaining sectioned away in their own little world. Not everybody here is big time rich or anything. But it’s a suburban residential building, so we’re certainly not talking about a rough neighbourhood. So the way these people descend into a madness of orgy and violence is a comment on how these people mingle only with their own kind, and anyone from outside – such as the man who worked with Dr. Hobbes, the original one guilt of scientific hubris by inventing the sex slugs – ends up killed. The new people, they’re simply indoctrinated and likewise infected with the parasitic, aphrodisiac slugs. So these types of cut-off suburban environments within societies only begets more isolation, in turn more madness.
That climactic scene where the Starliner’s own doctor, Roger St. Luc, who’d been fighting against the parasitic invasion this whole time finds himself being crowded and mauled in the pool with all the residents is a doozy. It is the epitome of the anxieties of the suburban social life, closed and boxed in, stuck into the cookie cutter frame with all the other mindless, sex-crazed, consumerist zombies. Honestly, there are few scenes in a film which get to me as deeply and have resonated as long-lasting as this one did. From the first time I saw this film about 12 years ago or so, it stuck. And watching it again now, especially where the kiss lands on St. Luc, similar to how the frame slows down on it like with the little girl earlier, the impact is just as weighty.
There are obviously flaws, as this is a low budget picture and also it was one of David Cronenberg’s first trio of feature films ever. With Shivers, he began to explore the physiological body horror that went on to become his trademark, and here his interest in the social life of humans started to really take off. In a disturbing, poignant fashion. Initially dismissed as completely useless, particularly after the CFDC and others were not happy about its content, Shivers has gone on to be better understood, also more appreciated by certain people. By no means perfect it has a unique charm. Moreover, it is effective body horror with plenty to please even some seasoned veterans of the genre.
Cronenberg is certainly king in the realm of body horror. Always. Forever.
Pod. 2015. Directed & Written by Mickey Keating.
Starring Larry Fessenden, Lauren Ashley Carter, Brian Morvant, Dean Cates, John Weselcouch, and Forrest McClain. High Window Films.
Rated R. 76 minutes.
If any of you may have read my reviews before, you might know that I’m a big fan of films which are of a specific genre and still they have the ability to cross over genres. The classic example is Alfred Hitchock’s adaptation of Psycho by Robert Bloch – the way we think the story is all about Marion Crane, but then Norman Bates shows up and the story takes on a different air. Same goes for Proxy, a viscerally intense horror thriller from Zack Parker, which I believe took much inspiration from Hitchcock and his classic horror film and seems to move between genres in a similar fashion.
So, for all its faults, I do like the way Pod starts out with an opening scene that’s very horror-ish, or at least highly suspenseful, then moves for a while into an extremely serious, often dour family drama before coming back to its horror elements.
Pod tells the story of Ed (Dean Cates) and his sister Lyla (Laurence Ashley Carter) who are heading up to a cabin in the winter in order to retrieve their out of control brother Martin (Brian Morvant). He needs an intervention of some sort. When they arrive, though, things are far worse than they’d ever anticipated. Ed is already worried, having received a frantic and terrifying call from Martin.
Once there, Martin tells his siblings he has something trapped in the basement, that there is a “pod”. He reveals scratches all over his body, infected and sore.
But after the worst happens, Ed and Lyla must confront what really is down in the basement. It most certainly is not of this world. Suddenly everything their crazy brother Martin had told them seems to be horrifying true.
I’ve been a huge fan of Larry Fessenden now for a good 14 years probably. I remember I saw his film Wendigo, an eerily low budget psychological horror, on some television channel late at night. Totally floored by it, I sought out anything he’d done before then kept my eyes on him afterwards.
What’s great about Larry is that he’s a fun horror director, while also popping up in the films of others as an actor. I think he likes to take on roles with young filmmakers he finds interesting, or just any filmmakers in general, young or old, he thinks has some talent. So to see him in this film is pretty great. He was in Mickey Keating’s previous directorial effort Ritual, which I’m planning to see soon, so I gather Fessenden must enjoy Keating and his filmmaking to have signed on for another of his films. He isn’t in this one much at all, though, to see him show up a little is enough for me most times.
Then there’s also the talented Lauren Ashley Carter who I’d first seen in The Woman and enjoyed. Then I caught her on an episode of Law & Order: Special Victims Unit in a decent role. However, it wasn’t until the film Jug Face, which I own and love, that I saw what Carter is really made of. She has great range, as is evidenced by watching her across a couple films.
Here she plays a young woman whose family clearly has issues. She’s an alcoholic, her brother Martin (Brian Morvant) is most obviously a man with drug problems and all sorts of other compounded issues. It’s intriguing to watch her here, as opposed to Jug Face in particular, because this character is even more complex.
I really found the chemistry between Lyla (Lauren Ashley Carter) and her brother Ed (Dean Cates) worked very well. The beginning of the film for the first 10-15 minutes is a lot of them, alone together as they travel to give Martin a sort of impromptu intervention. It’s definitely a rocky relationship, though, we’re able to glean a sense of their family, their past, and it doesn’t require a huge amount of expository dialogue. There’s definitely some of it, but we get tons simply from how Ed and Lyla interact with one another. Once Martin actually comes into the picture, there’s plenty more family tension and further dynamics at work.
We get bunches of history about the family, especially Martin. Turns out he did something pretty terrible to a woman named Edith – flashes of a couple Polaroids with a VICIOUS BLOODY injury to her face come up really quick – he thought she was feeding him arsenic, that she was a spy of some sort. So it’s obvious why Ed, and to a lesser extent Lyla, is reluctant to initially believe anything Martin is saying. No matter what horror may come later, at the time it’s certainly relatable and understandable; Martin’s got psychological issues, plus the fact he was in the military and who knows what he truly saw, but it’s affected him in some highly real ways due to delusional thought.
A while later, Ed reveals to Lyla that the woman named Edith was a nurse. Martin tried to essentially rip her face off and escape from the hospital. So again, we see more of why the siblings – mostly Ed as Lyla seems to believe Martin slightly – have a tough time trying to trust anything Martin might say.
This all sets up the drama of the family, but what that serves to do is make all the thriller and horror aspects of the script come out even more intensely, as we’re sort of riding alongside Ed and Lyla listening to the insanity of Martin before – BAM! – everything kicks in.
Loved the style of how the film was shot. Not only that, the sound design and the score helps the suspense and tension of so many scenes. One awesome bit is just before the 30 minute mark, as Martin retells the story of waking up in a government lab; he’s a soldier who’s clearly seen some SHIT. But what I love is the score, the sound design with its crackling fuzzy noises slamming loud with the music at the right intervals, and all the while we’re closing in on the door of the cabin Martin has locked. There are scratches around the door, near the locks, it’s clear something is in there whether brother Ed wants to believe it or not. Definitely creepy style.
This sets up a really great atmosphere, another aspect of what I love about good horrors and thrillers; any films really. If a nice atmosphere and tone can keep up throughout a movie, then there’s a good chance no matter what I’ll walk away with something positive to think and feel about it, even if not every aspect is great. What Pod absolutely has going for it is a tense atmosphere throughout, a dark and sketchy tone.
One amazing, brief shot is after Ed pulls Lyla off to talk in private. There’s an excellent slow motion style shot, as Lyla stares wide-eyed at Martin while heading upstairs; she sees her brother grabbing his head, like a million voices are pounding his brain, and he looks so tortured you can almost feel his pain.
There’s a genuinely shocking moment near the 50 minute mark. I knew Martin was pretty crazy, despite the obvious weird happenings at the cabin, however I couldn’t see what he did coming. Not by a long shot. I don’t want to spoil anything too much, so I won’t say exactly what it was, but be prepared! It’s not vicious, definitely gory though. Mostly it’s just a good, solid shock that puts the final half hour into a really thrilling frame.
Once Ed and Lyla open up the padlocked door in the cabin, I thought the room itself was superbly creepy. It’s cast in this reddish light, there are drawings and doodles everywhere, writing on pages just tacked to every open space on the wall – the set design and anyone who worked on the room sure spent a nice bit of time making the place look like the stronghold of an insane man. We’ve seen this kind of thing before, but the way Keating directs these scenes it’s definitely tense and has a spooky air of mystery.
My most exciting moment, personally, during the film is when we get the first bits in the basement. Ed is walking around with a flashlight, and at first it seems like we’re simply watching an angled shot of him, when in reality it’s a view from the eye of the pod, or whatever it is hiding down there. VERY VERY EFFECTIVE! I loved this moment because it was a nice touch, unexpected and a little unnerving at the same time, too.
I’m not saying that Pod is a perfect movie, not at all. My problem is that when I went online to see what people were saying, so many moviegoers – likely many of whom pirated the film instead of paying for the pleasure – seem to say “Oh it’s like an hour of arguing and screaming”. There is plenty of arguing, definitely some screaming at points, but what did you expect? This is a riveting family drama for the first quarter or so, then it plunges into a mystery thriller before hitting the horror stride full-on within the last half hour. I mean, there’s no real doubt Ed and Martin would be yelling at one another. First of all, Martin’s psychologically damaged, he’s probably taking some drugs, Ed is completely fed up with his brother. Naturally there will be some fighting. So I just can’t agree with anybody saying this is ALL arguing and yelling. It’s not. Plus, this is a horror film and there are intense scenes of – you guessed it – horror. So I don’t see it as totally unrealistic that maybe people would be yelling at certain points. You don’t think you’d be frightened? Not even when a hideous, terrifying creature of some sort is coming up the stairs out of the dark after you? I call bullshit.
With one whopper of a final 20 minutes, I can’t say that Pod is a bad film. Honestly when I go on IMDB and I see that a good indie horror film, with sci-fi elements, has a low rating like 4.5 (which would equate to about a 2 out of 5 star rating by my site’s terms), I’m consistently amazed at how lame a lot of people rating online have become. What’s so bad about this movie you’ve got to rate it THAT low? The acting isn’t bad. Lauren Ashley Carter does a great job as Lyla, Dean Cates is solid in his role as the caring and serious brother Ed, but can you really deny that Brian Morvant did a terrific job with the character of Martin? If you say he’s no good, I just feel you’re kidding yourself. It was a frenetic performance and it came off well.
I did love the inclusion of Fessenden, at the same time his character and how quick that aspect lurches into the film is one of my only big problems with Pod. I’m fine with the whole angle of someone protecting the pod, or having a part in the pod being there – whatever. The part I cannot abide is how swift that part came on, there’s no real buildup to this scene. I’m not asking to have things spelled out for me, though, there’s no way I can jive with how suddenly Fessenden’s character showed up and what he’s done (I won’t spoil it fully).
Ultimately, I’ve got to say this is a 3.5 out of 5 star film. There’s an intensely horrific final 30 minutes, beginning with a gory throat cut then introducing the alien/pod in the basement, which all ramps up to the creepy and messy finale as Ed faces off against whatever the thing is Martin had been warning him of all along. The effects are KILLER here and I thought the pod/alien design all around was so perfect! The sounds it makes at the end while fighting with Ed are outrageous, I loved it. Unsettling piece of horror with that small sci-fi twist.
See this and absolutely DO NOT pay attention to all the slagging going on over at IMDB and other online sources. People who probably don’t appreciate film are the ones commenting, I see many of them brag they’ve not paid for it in any way and downloaded it for free, so honestly I don’t take people that seriously if they’re not willing to pay for films. Just sours my view on someone’s perspective when they’re robbing filmmakers then shitting all over their movies.
So get a copy legally, watch it, then tell me how you feel. I’m not saying everyone will love it, merely I believe this deserves more attention than the people online are giving it. They’ve clearly not paid attention to the worthy aspects of Mickey Keating’s film because there are likeable elements which I enjoyed a great deal. Nice little indie horror film for a rainy day when you want to get creeped out.