Simon Barrett's new film is fun, and its strong cast helps its story work, as it tells a tale of urban legends and privilege.
It is Halloween, baby, and these supermonster queens are READY!
Dani makes a sacrifice with untold future consequences.
The dark history of Bly Manor comes to light.
After Robb reveals his true self, he takes his new friends to meet his tribe in Alaska.
Frank makes a deal with an old friend. Sasha finds the footage from the camera hidden in Becky's room.
The bounty on Jim's head proves difficult for him. Bruce attempts to save Selina, any way he can.
Luke's memories of Hill House haunt him
The Crain family experienced terrible tragedy at Hill House. Now, some of them are going back, whether they like it or not.
Mayor Penguin is interviewed on live TV. A hit is put out on Dt. Gordon by Falcone.
Beetlejuice. 1988. Directed by Tim Burton. Screenplay by Michael McDowell & Warren Skaaren.
Starring Alec Baldwin, Geena Davis, Michael Keaton, Catherine O’Hara, Jeffrey Jones, Winona Ryder, Annie McEnroe, Glenn Shadix, Patrice Martinez, Sylvia Sidney, Robert Goulet, Dick Cavett, and Susan Kellermann. The Geffen Company. PG. 92 minutes.
Tim Burton doesn’t always appeal to everyone. His style, as far as I’m concerned, makes him an auteur. Even in his less cartoony, gothic-styled films, there is always an ever present sense of Burton and his unflinching vision of the stories he tells. Most of his movies I do enjoy, though, some I’m not huge on. Either way I can’t help deny my major love for a few of his movies.
One such title is the 1988 fantasy, quasi-horror, full-on comedy Beetlejuice, which later toned down into the 1989-1991 cartoon series of the same name. This is one strange piece of work, at the same time it’s amazingly near perfect in other ways. With a refreshingly innovative take on the afterlife, hauntings, the “life” of ghosts on the other side and tons of fun Burton-like imagery and makeup effects, this is one hell of a fun film. Beetlejuice has a bit of everything: death, suicide, laughs, calypso music and dancing, and Micheal Keaton.
After a tragic car accident, Adam and Barbara Maitland (Alec Baldwin/Geena Davis) find themselves back at their house… only a little removed from reality. They find a book in their attic – The Handbook for the Recently Deceased – and then eventually discover a way into the waiting room of the afterlife, where a case worker named Juno (Sylvia Sidney) explains they’ve died and are contracted to remain in their old home for many, many years. Tasked with scaring out the new owners – Charles and Delia Deetz (Jeffrey Jones/Catherine O’Hara) along with their young daughter Lydia (Winona Ryder) – Adam and Barbara eventually come across an unethical ghost named Betelgeuse (Michael Keaton) who would much rather kill the new owners than just scare them out. And once Betelgeuse sets his sight on Lydia to be his wife, the newly deceased couple have to decide whether they’re ready to give up their home, or give up the life of an innocent young girl.
So much to enjoy about this slice of Burton work.
One of my favourite sequences of the film happens early on when Adam (Baldwin) and Barbara (Davis) try to scare the new owners, before they’re initiated into the world of being dead. First, Barbara hangs herself in the closet, then rips the skin off her skull when Otho (Shadix) and Delia Deetz (O’Hara) look inside, yet to no avail. Then, Barbara stands – knife in hand – with Adam’s bloody, decapitated head in the other, trying to look sinister. Nothing works! But the kicker is when Adam tries to run up and lock the attic door, with no head, and he’s banging into things, bumping every object nearby. Riot, love it. Awesome few scenes here, especially in terms of makeup effects and horror imagery; the skin off skull bit is nasty and cool.
The waiting room scene is another perfect bit. We see the various dead people sitting around until their name is called: one man is a hunter of sorts, his head shrunken to a prune; another merely charred remains of a man smoking a cigarette; a guy who choked to death, chicken bone still sticking through both sides of his neck; an attendant showing patients in whose body is hung on strings, flattened out from tire tracks; and a man hung by the neck, on the same track as the other attendant, passing files off to a secretary while he’s carted about the office building. What a great and also tragic sequence. This is also part of why I’m so in love with Beetlejuice; because of its unique charm in the face of death.
Lydia: “My whole life is a dark room; one… big… dark… room.”
What I dig most about Beetlejuice overall is its take on the afterlife. On one hand, you’ve got all the “regular” ghosts who are merely regular people moving onto another plane. On the other hand, there’s Beetlejuice himself. But it’s the little handbook, for the recently deceased, the waiting room, the giant sandworms, and so on, which intrigues me. Such a neatly cartoonish and macabre world for Burton to play around in. At the same time, I find the way it portrays ghosts pretty unique. So underneath all Beetlejuice’s gnarly exterior and vulgarity, beneath the story of a haunting, there’s a genuine attempt here to dissect what a true afterlife might be – instead of the idealized heaven or hell, Burton’s film taps into a more satirical approach to being dead and trying to move on. Plus, seeing things from the side of the deceased doesn’t hurt either. While we’re right alongside the Deetz family, even in the scarier moments after the Juice runs loose, much of our perspective comes from Adam and Barbara, as well as later a similar yet different perspective from the still-living Lydia. All in all, the way this movie presents death and the afterlife is both hilarious and fresh.
There’s plenty of creepy horror stuff going on, but the dark and sometimes raunchy comedy is very much happening here. For instance, even in the morbid scene where Lydia (Ryder) contemplates her suicide writing a note for her family to find later, there’s a downright funny, laugh out loud moment as she rearranges the words, choosing better ones to put in place to make the note sound more appealing. The whole character of Lydia is fun and funny at once. She’s simultaneously deep and gothic while also playfully satirizing the whole goth lifestyle.
When it comes to comedy, though, obviously Michael Keaton as Beetlejuice is the centrepiece of this entire thing. Clearly, right? Even more than you think. For those who don’t remember properly, Beetlejuice is a dirty dude, both physically and in his speech. In the original screenplay, the character was much darker and more violent; he wanted to rape Lydia, here it’s toned down slightly to a creepy crush. But the darkness all around, from his actions to his comedy, is still quite present. Keaton brings Beetlejuice to life from one moment to the next. He’s mostly hilarious, yet always with the chilling side directly under the surface, every now and then coming out into the open fully. Some of my favourite bits are when Beetlejuice is still stuck in the tiny model town, in its cemetery; Keaton did a nice bit of improvisation, if I’m not mistaken, which is awesome because he did a great job with the character.
Beetlejuice: “I’m the ghost with the most, babe.”
Even with the changes inflicted upon the original screenplay, the toning down, the film’s finale remains pretty dark. Regardless of the cartoon-ish, at times, quality Burton gives the story and its visuals, there are equal amounts of very macabre and eerie sequences. When Beetlejuice is called back into reality by Lydia the final time, in order to try and save Adam/Barbara, the movie turns into a dark carnival. This section starts out in a sort of lighthearted horror-comedy way. Then, slowly, it moves towards treacherous territory, as Beetlejuice attempts to take Lydia as his bride. I mean, it’s sketchy! Very creepy, unsettling stuff. Delia’s sculptures come alive to hold the witnesses in place for their impromptu ceremony, which are super weird and gothic through Burton’s eyes. Just cannot get enough of this effective finale. Also, the very last couple scenes are a whole ton of fun capping things off on a more lighthearted ghost story note.
Totally a 4.5 out of 5 star film for me. Always loved this and truly feel it’s an effectively dark comedy using shades of horror in the best way. Plus, it’s a satirical look at the traditional ghost, which makes the comedy work that much better. Combining the eccentric talent of Tim Burton with a couple of great performances, namely Michael Keaton as the titular ghost with the most, Beetlejuice elevates itself from just another comedy to something near legendary.
I’m beyond excited there’s going to, hopefully, be a sequel with Burton, Keaton, and Ryder all supposedly onboard for the ride! With that team, as well as the spirit of the original at heart, I bet a sequel could be almost as spectacular this time around as it was the first. Watch this for Halloween; great to put on any time, but even better around the fall season as the 31st approaches on the calendar.
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).