Luke heads back to Hill House. Steven and Hugh bond after years of estrangement.
Ten zombie flicks perfect for any creepy Halloween season movie marathons you might have planned
A list of TV episodes to quench the deadly thirst of Halloween season— BEWARE!!!
Mallory harbours a secret. New arrivals turn up from out of the wasteland at Outpost 3.
On Halloween, Will witnesses another vision of the Upside Down.
Halloween. 2007. Directed & Written by Rob Zombie; based on the original screenplay by John Carpenter & Debra Hill.
Starring Malcolm McDowell, Brad Dourif, Tyler Mane, Daeg Faerch, Sheri Moon Zombie, William Forsythe, Richard Lynch, Udo Kier, Clint Howard, Danny Trejo, Lew Temple, Tom Towles, Bill Moseley, & Leslie Easterbrook. Dimension Films/Nightfall Productions/Spectacle Entertainment Group/Trancas International Films/The Weinstein Company.
Rated 18A. 109 minutes.
I never imagined, listening to White Zombie in the ’90s, that Rob Zombie would go on to be one of my favourite horror directors working. He always appeared imaginative, but I couldn’t have guessed his love of the horror genre ran so deep. He’s given the keys to the slasher horror castle here, reinterpreting the original screenplay for Halloween in 1978 from John Carpenter and Debra Hill. Instead of providing lackluster jump scares and unnecessary gore to overcompensate, Zombie crafts a new vision of Michael Myers. No more is Myers so much a force of evil, like some wandering, unkillable spirit. Now, he is a boy with a face, a child not just hidden behind a mask, who eventually grows into his skin and becomes the ugliest, most vicious serial killer in America (well, the fictional one anyways).
Switch the subtle techniques of Carpenter for a throwback aesthetic mixed with gritty realism, and you’ve got Zombie’s film in a nutshell. Although many want to try and pick one over the other, they’re different movies, different stories centered around the same characters. You can say what you want. But for me, Carpenter and Zombie both have their merits. No matter if the original is my favourite, and a perfect piece of horror cinema, Zombie brings savagery to the table, plus an interesting style of directing. This makes it more than worth the watch.
Michael Myers (Daeg Faerch) is a young boy with a fairly awful life day to day. Although his mother Deborah (Sheri Moon Zombie) loves him, her sleazy boyfriend Ronnie White (William Forsythe) treats him like shit, all the while sizing up Debbie’s daughter Judith (Hanna Hall). At school, Michael gets pushed around and harassed, specifically about his mother being a stripper at a local club. But at home, alone, Michael dissects animals, getting blood all over his hands. Then once a kid at school finally pushes him over the edge, Michael beats him to death in the woods. The transition begins.
On Halloween night, Michael kills Ronnie, then Judith and her boyfriend. This shocks the town of Haddonfield. The law puts Michael in an institution, where Dr. Samuel Loomis (Malcolm McDowell) picks his brain to try and determine why evil lies in such a young mind. There’s also orderly Ismael Cruz (Danny Trejo) who talks to the boy often, trying to relate with him.
Only after 17 years go by, an older Michael gets a visit from a new, less friendly orderly by the name of Noel Kluggs (Lew Temple). He and his equally disgusting hillbilly cousin take advantage of having keys to the place. They rape a female patient after bringing her into Michael’s room, when Noel underestimates the now 27-year-old man. Michael kills the men and then begins on a path of destruction carrying him back towards Haddonfield, where his reign of terror is about to begin. As if it already hadn’t.
Love the metafictional quote from Dr. Loomis’ book. Like a post-modern version of Carpenter and Hill’s classic, early slasher. The whole character of Loomis is much different from that of Donald Pleasence’s version, and of course that’s mostly the way it’s written. In the original film(s), Loomis is an underrated psychiatrist whose knowledge of evil, and particularly that of Michael, is unparalleled. Here, McDowell’s Loomis is a good man initially. Then he morphs into a fame-seeking, fame-whoring doctor who made his fame and fortune off the dead corpses of a bunch of people in Haddonfield. He’s treated as such, too. So apart from the other liberties Zombie takes, or should I say aside from the expanded history Zombie creates, there’s this totally new role for Loomis, which I love. Pleasence is a classic, though, Loomis is a completely new beast under McDowell and I dig him, as well.
I don’t agree with the stance of people saying oh well we don’t want to see Michael Myers as a child, that’s the scary part. But wait a minute? Doesn’t the original Halloween, which I adore, start with that POV from the perspective of a young Michael? We already see that. Far as I’m concerned Zombie doesn’t really leap too far in reimagining Carpenter here. He takes what we’ve already seen, then elaborates largely. So yeah, maybe you don’t want to see the childhood of Michael completely played out, but the seeds were there in the original. So honestly, if Carpenter really wanted to keep his Myers as the almost supernatural, mythical Shape, then there’s no need to even show us the beginning of the child Michael; may as well jump right in. Not a criticism against him – I love that film, and it’s perfect. Period. That’s a criticism against those trying to rationalize their need for a theory on why Zombie shouldn’t have done it this way. For me, the best thing Zombie does here is humanize Michael. Because for all those people saying something is scarier about an unstoppable force of almost supernatural strength, I believe there’s nothing scarier than human evil, it never stops either. And personally, imagining Michael as a human killer, a kid who grew like weed out of hatred, is far more terrifying.
Carpenter wins overall, obviously. The techniques he used directing, some of those shots they achieved, plus the writing from him and Hill; everything in that movie is perfect. While Zombie’s film is not perfect, it wins on horror. There’s a more brutal aspect to this Halloween that hooks me in. It’ll never beat the quality of Carpenter’s original, but Zombie does a fine job crafting a gritty, raw remake. One of the better remakes that’s come out of the big Hollywood machine. Probably because Zombie isn’t exactly a Hollywood director, he just has the popularity to draw the Weinsteins and such. Regardless, this is miles better than the Friday the 13th and Nightmare on Elm Street remakes, and that glossed over Texas Chainsaw Michael Bay-produced affair.
As I’ve mentioned, there is a stern brutality to many of the kills in this remake. Part of why I still enjoyed some of the later Halloween sequels is due in large to the fact they started to up the pure strength of Michael. In one, he simply jams his thumb right through a victim’s forehead. After that, he became relentless in power. So even better that he’s a real humanized type killer here, coupled with the way he straight up just beats a few people to death. And I’m talking absolutely demolishing people. When he kills the orderly Noel, he repeatedly slams him against the concrete wall until blood starts to fly. It is a savage death. Then he drowns Danny Trejo’s character Ismael, which goes to show how brutal he is – no longer does Michael even care for people who show him any compassion. His heart is dead: “I was good to you, Mikey,” sputters Ismale while trying not to drown. Then a television gets dropped on the guy’s head. So if you didn’t already know this is a remorseless killer, he does not discriminate. Doesn’t matter who or what is in his way, not anymore. Since his mother died, the last of his humanity left, too. Lots of great kills after this, which Zombie captures in perfectly nasty fashion.
Some of my other favourite moments – the fight with Big Joe Grizzly (legendary Ken Foree) that is just pure unadulterated hypermasculinity, though oh-so-horror-good, and once more showcases that sickly strength in Myers; when Michael makes his way into the neighbourhood and goes mad on the young people it gets bloody and unruly; and when Michael goes to see the Strodes awhile before that, things are pretty rough, as well as creepy, and sad.
On top of everything there’s Scout Taylor-Compton in the old Jamie Curtis role. She does a solid job, as she’s cute and personable and she plays a nice good-girl, at the same time she’s got attitude and can be funny. Also, proper at showing fear. Danielle Harris is great, too, even if she doesn’t have a massive role; nice to see her back after the performances she gave as a child in a couple of the original movies. Then there’s a bunch of cameos, such as Ken Foree, Zombie alumni Bill Moseley, Sid Haig, Leslie Easterbrook, Sheri Moon Zombie (though hers is more than a cameo really), William Forsythe, Micky Dolenz of Monkees fame. Brad Dourif is awesome as the sheriff in all his scenes, too. Love seeing him anywhere, solid character actor.
All in all, I’m giving Zombie’s remake a 4&1/2-star rating. I don’t care, man. Dig it so hard. Lots of brutal violence in slasher tradition. Good, old school style filmmaking that both technique-wise and design-wise throws back to the 1970’s. But it’s the reinvention of Michael Myers and his story that draws me in consistently. I can always watch this, right alongside the original. And while I love Carpenter’s Halloween most, this one is a solid modern remake that gives us blood, thrills, and even some sly laughs.
Halloween: The Curse of Michael Myers a.k.a Halloween 6: The Curse of Michael Myers. Directed by Joe Chappelle. Screenplay by Daniel Farrands.
Starring Donald Pleasence, Paul Rudd, Marianne Hagan, Mitchell Ryan, Kim Darby, Bradford English, Keith Bogart, Mariah O’Brien, Leo Geter, J.C. Brandy, Devin Gardner, Susan Swift, and George P. Wilbur. Halloween VI Productions/Miramax/Nightfall/Trancas International Films. Rated R. 87 minutes.
Michael Myers (George P. Wilbur) and his niece Jamie were apparently swept away by a stranger from the Haddonfield Police Department. After six years, a teenage Jamie (J.C. Brandy) is pregnant. Her baby is born on Devil’s Night, the one previous to Halloween. There’s a sort of Druid style cult who takes the child. But a little later, a midwife helps Jamie and her baby get away. Though, Michael is still killing, never stopping.
Jamie gets away and tries to call into a Haddonfield radio station. The DJ ignores her as a ‘crazy’ instead of listening. At the same time, Dr. Samuel Loomis (Donald Pleasence), Dr. Terence Wynn (Mitch Ryan), as well as a grown up Tommy Doyle (Paul Rudd) hear her over the airwaves. She warns of Michael’s return.
Will the sleepy town of Haddonfield survive another 12 rounds with Muhammad Al-Michael?
Part of everyone’s problem with Halloween VI (that’s what I’ll call it if I reference the title from here on in) is the mythology behind Michael Myers. In the first film, while John Carpenter did instill The Shape with a certain amount of inherent, universal evil, there’s still a completely human aspect to Michael. Regardless how many times he survives death, no matter how impossible it has seemed up until now, Myers is a human. He is a damaged psychopath, driven by his own evil mind. Yet in this movie, as well as beginning in the last one, there’s a supernatural type aspect to his character starting to emerge. I don’t dig it. Honestly, if it were simply a cult worshiping Michael – like a sick serial killer fan club – I would’ve been way more into that. As I said, starting in Halloween V this supernatural stuff comes into play. Not a big fan, at all really. Because part of what I enjoy, or find scary I suppose, about Michael as a slasher villain is that he’s still compelling as a man; just a guy. Nothing against Freddy, or Jason, both of whom I enjoy a good deal. There’s simply a more terrifying aspect to a down to earth killer. Yes, again, there are some unreal aspects to Michael at times. Still, though, I always found him more effective as a true to life serial killing maniac.
On top of all that, there are a few points of the plot I don’t understand whatsoever – why would members of the Strode family ever live in the Myers house? I mean, isn’t that a sensible question to ask? Sure, the brother couldn’t sell, so the husband of this family took it. It still doesn’t make any sense to me why any member of the Strode family would move into that house. Unrealistic to imagine nobody before Loomis ever bothered to go mention it to someone in the family. It’s not a huge plot hole or anything. Just a nonsense bit of the screenplay, one of many, I find fairly ridiculous.
Something I do enjoy at least are the kill scenes. Even fairly simple ones, like when Debra Strode (Kim Darby) gets chopped. That’s actually one of the less gruesome kills of the series. Probably because of how it’s cut, the blood hitting those pristine white sheets on the line right after Michael takes a big golf swing with some sort of bladed weapon – the whole thing is effective, and dare I say fun. Good splash of blood to get things going back on the Myers home turf.
When John Strode (Bradford English) gets it, I’m always amazed at how nasty it gets – one second, Michael’s lifting the big dude up after stabbing him. Then onto the electrical panel he goes, before John’s head explodes into bits. I mean, are you kidding me? Takes anything wild that ever happened before in the Halloween series and surpasses it by a few notches. Not that it’s good, not at all. But wild, certainly. And it’s not cheesy, to my mind. It’s a well-done head explosion. Just in the context of Michael and his kills, crazy as they’ve been in the previous films, this one is a god damn doozy; out of control.
Overall, there’s just a lot of primeval brutality from Michael. Even in the way he stabs people. Then there’s the douchebag guy hosting that big event, his corpse gets put up in a tree with lights around it. Fairly grim, macabre stuff. I dig those things in a slasher horror movie. But aside from the slasher elements in the screenplay, the kills, there’s not a whole lot to admire about the writing in this one. The screenwriter, Daniel Farrands, did a great job with the adaptation of Jack Ketchum’s devastating novel (based on a true case) The Girl Next Door. I can’t say his writing abilities were on point in 1995 with this one, not in the slightest. There’s a ton of typical slasher trope-style material, to the point of nausea. If it weren’t for Joe Chappelle’s decent enough direction so many of the decent horror bits would never have come off as well as they manage to, so really Farrands’ script doesn’t do anyone justice. Now I know there were some major problems throughout development and filming, but still there’s nothing here suggesting his work was destined for greatness either way. Just the whole thing really stinks. Except, as I said, for a few truly good slasher scenes and deaths. Otherwise the whole movie would be completely useless.
So in this movie Paul Rudd is completely ridiculous. Honestly, he’s someone I’ve enjoyed as of late (haven’t seen his Marvel turn; not into superhero movies the past year or two). But back in this ’95 flick, he did some over-the-top nonsense. Not even in his mannerisms, I just feel like there’s a creepy factor to him; an unintended one. Yes, he’s meant to seem like a loner, all that. There’s something about the character of Tommy Doyle that ought to come across as loner-ish, definitely, but in the sense he’s lonely, not a creepy weirdo. And Rudd really does make him feel like a creeper, to me. It’s a weird performance.
Luckily, there’s Donald Pleasence. Even among all the shit, he still manages to do a fine job with the character of Dr. Loomis. In fact, this is probably his best performance as Loomis since Halloween II. Truly, I believe that. In the last couple of entries, I found Pleasence good. Though, there was a bit of hammy stuff starting to come out of him, which is great when called for. What I love about Loomis is his determined nature, his stubborn headed-ness in the face of Michael’s eternal evil. Back comes this aspect of him, a more subtle and restrained performance from Pleasence. It’s a treat to see in a fairly dreary movie, we actually don’t get as much as we should. Part of the entire overlapping problem of this film – it moves further and further away from most of the things which make the series, and Michael in particular, so damn great.
In all, I can give this movie a 2 star rating and not feel bad about it. Those stars are entirely earned through blood and Donald Pleasence. If you’ve frequented this site before, or look up at the top of my page’s screen, you’ll figure out I’m a fan of the Halloween series. There are a few real awesome slasher movies out of the lot, plus Halloween III: Season of the Witch with its own incredibly weird/neat vibe. Then we get a couple mediocre efforts, capped off with a few abysmal entries; this being one in the latter category. Even the music in this one isn’t up to par with any of the mediocre Halloween movies. If you’re a completist, watch this one. If not don’t bother – the next sequel undoes all the nonsense conjured up in this one concerning the Thorn cult, or whatever. You won’t regret seeing it, though, you won’t regret not seeing it either. Your choice. A rainy day might be best for this one.
With a list for the disturbed, one for zombies/living dead/infected, a 31-day map of horror and even a list for Halloween-ers who aren’t horror fans, I’ve come to one with a special disturbing dedication: blood and gore and uncomfortable pains!
While the other disturbing list is a bunch of general unsettling movies, this one is based mainly around effects and the visual nastiness. Now, these aren’t meant to be the BLOODIEST, or the wildest gore imaginable, nothing like that. The movies on this list are some of the ones with the effects I enjoy most, the nastiest depictions of violence, and so on, which I’ve found throughout the 4,100 films I’ve seen in the past 30 years.
Hopefully you hardcore horror fans will enjoy some of these and you’ve probably seen a few, if not all. Either way, let me know what you think and if there are any others you enjoy that ought to be shared.
Anthropophagus (1980)/ Absurd (1981)
A perfect double feature if you want a big helping of senseless violence, relentless terror and creepy atmosphere. These two landed on the Video Nasty list during 1983; they were also prosecuted successfully.
Joe D’Amato’s Anthropophagus sees a group of friends on a Greek island terrorized by a tall cannibalistic man of mysterious origin. No more explanation needed because there’s honestly nothing much else to say. It’s the way D’Amato shows everything, his style, which really makes this something to see. Truly nasty bit of work. Goes well together with a want for blood, guts, and flesh wounds of all shapes and sizes.
Moving on to 1981, D’Amato comes back with a spiritual sequel to his earlier Anthropophagus from 1980 – Absurd is the story of a priest chasing down a monster whose blood coagulates incredibly fast, rendering it near impossible to kill, and its killing is unstoppable.
This isn’t near as good as Anthropophagus, still it is some more savagery from D’Amato whose nastiness knows no bounds at times.
A ton of head action here: no, not a blowjob, I’m talking heads being drilled, heads being sawed, et cetera. If you’re in need of a bit of rough violence, this is certainly the ticket. However, as I said, D’Amato doesn’t come back near as good with this film as he did with the previous.
These two films make an interesting, nasty double feature. Don’t say I didn’t warn you – not plot heavy, but definitely thick with murder!
Blood Feast (1963)/ Two Thousand Maniacs! (1964)
The second double feature (out of 4) on this list, it’s another one with both titles from the same director. This time, it’s the Godfather of Gore, Mr. Herschell Gordon Lewis.
The entree: 1963’s Blood Feast.
While this is by no means a great film, it’s definitely ambitious in terms of the blood and gore. With Blood Feast – the story of a killer slaying women in order to get blood to appease an Egyptian goddess – Lewis began introducing the world to his vibrant brand of gore horror. Right from the very beginning of the film, its first sequence comes off totally awesome and bizarre; a proper portion of H.G. Lewis signature style gory makeup effects. So pretty much immediately you’ll know whether or not you’re in for his type of filmmaking. I dig it and think it’s nasty as hell. This is one ridiculously fun and equally rotten bit of gore horror.
After Lewis shocked with the previous little blood & guts flick, he came back swinging with a much better film the next year: Two Thousand Maniacs!
This one is the story six people who find themselves trapped in a town, deep down amongst the Southern U.S. and one by one they’re killed, as part of a celebration/their revenge for the town being destroyed in the Civil War.
Talk about bloody! The poster does not lie. Early on in the days of splatter horror movies, H.G. was rocking it hard. Furthermore, there’s a real dreamy quality to Lewis’ filmmaking and I feel that’s a part of appreciating what he does; sure, it’s kind of cheap, yes it is also tame compared to things today. But is it really tame? I don’t think so. Either way, there’s a certain atmosphere Lewis creates which not a lot of people take into account. Sort of an avant-garde-trash mixture. Bless him. This is a wonderfully fun and bloody piece of work.
These two Hershell Gordon Lewis movies work so well together, though, the second is much better. This gives me my fill of organs and bleeding cuts and slashed throats and more. A perfect Halloween splatterfest!
My full review is here.
One of my three favourite Davids – another one comes later (and the third is my dad) – Lynch dropped his first feature film onto the midnight circuit in 1977 with the existentially horrifying and viscerally churning Eraserhead.
The story… ah, if you don’t already know what this movie is, there’s no real point trying to explain it. Maybe best put: the story of a man living in an unbearable industrial landscape, whose girlfriend gets pregnant and then they both must deal with it after coming out a tiny monster. Oh, and don’t forget the woman who lives in the radiator.
A whole mind trip of a film, this Lynch masterpiece has tons of the existential dread happening, from start to finish. But the visuals – holy fuck, the visuals! There are moments even some hardcore horror hounds find nauseating, simply because of the way Lynch shows us his imagery. I won’t ruin anything for those who’ve not seen it. Needless to say, you may never look at a turkey or chicken again in the same way once you’re ready to carve it up.
Fun note: Lynch still says to this day no one has ever really pinpointed what the film is about, for him.
Dans Ma Peau a.k.a In My Skin (2002)
This French film is the story of a woman who experiences a bad injury while at a party, then becomes increasingly obsessed with self harm – serious cutting.
A lot of people might find themselves flinching throughout large portions of this one. Honestly, it’s a tough piece of cinema. The amount of nasty cutting and self-violence here is extraordinary. Perhaps what makes the blood and makeup effects here so devastatingly effective is the fact we get inside the headspace of the main character – also the director and writer, talented woman – and come to actually care about her, maybe some of us will identify with her. So this takes it to another level. Go into this expecting you may turn it off due to discomfort.
Hostel (2005)/ Hostel: Part II (2007)
For my full review of 2005’s Hostel – click here
For my full review of the sequel – click here
Another double bill, again each from the same director. This one would actually make a great quartet feature with H.G. Lewis, come to think of it.
Say what you want about Eli Roth, he’s effective. Can you honestly say the special makeup effects in Hostel aren’t well executed? If so, you’re kidding yourself. You might not like how Roth plays out his film, you may not even like the content. There’s just simply no fucking way you’re convincing me the blood and gore here isn’t properly nasty.
Hostel came out and turned up the label “torture porn” (get what it implies but hate the term). The whole thing, to me, is a sleazy masterpiece of bloody horror. Its first half plays like a roadtrip comedy with the three dudes, cut with bits and pieces of murder. Once the second half begins, Roth takes us on a gory ride. That eyeball effect? Come on… don’t let whatever your opinion of Roth/the movie overall may be cloud your judgement: this is some hardcore brutality. There are plenty more bits to “enjoy” when it comes to all the bloody goodness, the eyeball is my favourite.
I wasn’t expecting a good follow-up, honestly. Regardless of that, though, Hostel: Part II is one hell of a sequel from Roth. Of course the end turns out to be a nice little feminist twist, but most of the film sees a trio of women in peril, as opposed to the three dudes from the first. The savagery is just as prevalent here. Love the homage to Erzebet Bathory with the bloodletting bath scene. Also, I’m always a big fan of piece of shit men getting their dicks cut off. So there’s that.
Both of these films are incredibly horrific, in their own ways while still being similar. Even better than that, I find the sequel Roth came up with did well with creating an entire universe with the story, going deeper into the global club of psychopaths who round up victims for murder tourists to have a go at. On top of all the bleeding and the screams and the terror, there’s also a cherry of a decent plot, too.
Island of Death (1976)
Back to another of the infamous Video Nasties. And I’m not putting this on the list all due to it being on there, either. Only awhile ago did I actually get the chance to see this, but christ… what a doozy.
In 1976, director Nico Mastorakis put out Island of Death after seeing how well Tobe Hooper did with his indie shocker The Texas Chain Saw Massacre only two years before. Except without much of an intent, as I feel Hooper had with his own film, Mastorakis only wanted to bring the awe with a sadistic and perverse plot based around a British couple – who say they’re recently married yet are actually later revealed to be a brother-sister incest duo – wreaking absolute havoc on people while visiting a Greek island. Strangely enough, for two inbreeding siblings, they kill people who they deem sinful.
You’ll find yourself, most certainly, struggling to get through this because it’s not particularly good, in regards to plot or story. Neither is it overly well-acted. It’s the brutish violence and boundless depravity which will take you in. The blood flows and the gory scenes will make you understand easily how this ended up on the Video Nasty list.
Masters of Horror: “Imprint” (dir. Takashi Miike) (2006)
My vote for most disturbing segment ever made for television – Takashi Miike’s Imprint from the horror anthology series Masters of Horror.
Miike has turned up on another list I did for Halloween this year (for his 1999 horror-thriller Audition). He comes back here again with a vengeance.
Without giving away too much, an American traveler who once visited Japan for a time goes back for another trip. When he looks to find the geisha with which he connected so emotionally on his first visit, she is nowhere to be found, and he soon begins to unravel the devastating mystery surrounding her disappearance.
Think it sounds okay? One of the most disturbing movies I’ve ever seen, and it was a television episode; though, it wasn’t allowed to air if I’m not mistaken. I bought the two seasons of this show and found myself blown away by this one in particular. Lots of nastiness from one of the true masters, Takashi Miike.
For my full review, click here.
A personal favourite of mine, David Cronenberg’s Videodrome is similar, in a few respects, to what he was doing in eXistenZ later down the road. However, they’re definitely different, vastly so, as this 1983 classic goes much harder and more metaphorically at the body horror sub-genre.
Sleazy TV producer Max Renn (James Woods) searches for the ultimate in raw, real content for his channel. In his search, Max comes across an ultra-real show named “Videodrome”, featuring what seems to be actual snuff and torture, et cetera. Slowly drawn in, his quasi-girlfriend Nick Brand (Deborah Harry) goes to audition for the show, having an interest in masochism particularly. What happens next takes Max to the brink of reality and sanity at once.
Cronenberg is one of the genius filmmakers of cinema, even better that he’s Canadian (as I am one; he’s a national treasure). He’s very much an auteur, I would say he’s pretty much the king of body horror. Even further than that, I’d definitely say Cronenberg is at least ONE of the godfathers of the sub-genre. Lately he’s moved a little bit away, which is fine. You just cannot deny his power. Some of the effects here, provided by maestro artist Rick Baker, are simply unforgettable – the fleshy VHS tape, the mutilated/deformed bodies, and so on. Plus, on top of all the body horror, as is his style, Cronenberg also gets into how we relate to media, whether movies or television, what have you. Very interesting movie and also harrowing in terms of its body horror imagery.
Haute Tension (a.k.a High Tension a.k.a Switchblade Romance) (2003)
For my full review, click here.
Alexandre Aja is a favourite of mine, in terms of modern horror filmmakers who have emerged over the past 15 years. He’s vicious, funny, he’s displayed – in some of his films – that practical special makeup effects still have a place in post-2000 horror, it isn’t all about CGI. Most of all, I think he wears the biggest and best of his influences on his sleeve.
The story of Marie and Alexia, two college friends – they head for a vacation back to Alexia’s parents home in the country, deep in the cornfields. On their first night, a killer comes knocking at the door. Systematically he murders the family, except for Alexia – all the while, Marie is hiding upstairs in a room at the top of the house. Marie manages to slip into the killer’s creepy truck before he whisks Alexia off. This begins an intensely vicious night of cat-and-mouse maneuvering, swimming in blood.
I never once saw where this horror movie was going the first time I saw it. Then when you watch it over and over again, which I’ve done (because I fucking love it), it’s interesting to watch knowing where it will go and still find yourself enthralled. There are some of the most perfect special makeup effects in High Tension. It has such a great 1970s/1980s horror sensibility, one of the biggest reasons why I can’t get enough of this Aja masterpiece. Some will tell you the twist is something you’ll see coming. I don’t believe that; people who say those things, some of them anyways, are usually just naysayers unable to point out anything particularly bad about a movie they don’t like (for whatever reason). You’ll be blown away, or in love depending on how sick you are like myself, by all the blood and gore from start to finish. Plus, the performances are incredible, even the near mute killer. This one is a definite shocker you need on the Halloween movie marathon list. If you don’t dig subtitles, get over it or miss out on a fantastic piece of modern horror-gore cinema.
Macabre (1980)/ Demons (1985)
Moving on to our next – and fittingly final – double bill: back to back Lamberto Bava madness!
To start, the 1980 horror (amazingly it is loosely based on a true story) Macabre. This one is insanely fun in the sickest horror sense. A woman is reeling from the death of her extramarital lover; they were in a car accident and he was decapitated. After a 12-month stay in an institution, she gets out and heads back to the apartment where she and her lover would meet to make love and be together. Soon, her landlord begins to suspect there’s still something going on between the woman and her lover.
So that description alone should intrigue you + the poster art there! To tell you the truth, the poster itself I’ve got there is a bit telling. But still, not like my description wasn’t either. If you want some nasty horror dealing with dead bodies and psychosexual tension, this will make any Halloween properly disturbing with a nice spate of – you guessed it – macabre imagery.After Macabre‘s more subtle story, believe it or not, is the 1985 cult classic Demons. For those who don’t know, Lamberto Bava is the son of revered Italian horror/giallo director Mario Bava (see: A Bay of Blood & more). So while his father was an absolute powerhouse overall in cinema, not someone I would banish to simply being a great genre director but a true artist, Lamberto doesn’t quite rise to that height. That being said, he is still an amazing horror director. Demons is an all-out barn burner: a bunch of people are trapped in a theatre, home to demonic entities, and they proceed to kill/possess everyone possible inside. Honestly, there’s nothing else to say about the plot – it is what it is, and that’s all right. This is one wild piece of horror, similar to a zombie film yet these are demons; the more they possess people, the greater their numbers. Not only that, the special makeup effects in this one are gnarly and awesome as hell. You have to put this one on if you’re watching Lamberto Bava, it’s a wild ride, and a nice contrast piece to Macabre, a very different sort of horror. These two movies together will really get your blood flowing. Turn Halloween into a night of terror with this double feature full of depravity and utter chaos.
It’s strange because so many people seem to have seen Lucky McKee’s The Woman from 2011, yet inexplicably ignore its predecessor – the 2009 indie Offspring.
Based on a novel by Jack Ketchum, and subsequently his screenplay for the film, this is a tale of the remaining cannibals from an old clan who move in on a nearby town and begin to wreak havoc on its people.
There are some intense bits here, especially with the inclusion of the feral children in the clan; one scene immediately comes to mind when a woman walks into her kitchen, only to find blood and body parts and kids nibbling on the tasty little bits they’re holding. This is one really macabre story and its execution I find pretty damn good; not perfect, but good enough. Not sure why this one has a super low rating on IMDB, perhaps some might find it cliched or overdone, I don’t know really. The mind of Jack Ketchum comes out pretty nicely, to my mind. He is a unique and terrifying writer.
Either way, I do know this has enough satisfyingly disturbing bits of gore and morbidity in it you might spend a few minutes before bedtime making sure no cannibals are hiding out in the kitchen.
For a full review and examination of this shocker, click here.
Loosely based on the real murderer Werner Kniesek, Angst is the tale of a madman released from prison, after which he brutalizes and murders a family in their small home.
Truly, to me, this 1983 cult horror film out of Austria is actually an examination of institutionalization crossed with an already violent psychopath, almost the meeting of two immovable forces crashing against one another. Right from the first scene, we know how madly gone the psychotic (Erwin Leder; best known from Das Boot) has become in his time through the prison system.
And that’s part of why Angst is so powerfully disturbing – aside from the messy, bloody bits, the entirety of the film has us knocking around in the head of this man. We’re never given any of what’s going on outside of him, anything from a different perspective, but rather this depraved killer is our guide, our sherpa into the heart of utter darkness.
If your Halloween season hasn’t been viscerally disturbing enough, get ahold of Angst. It’s becoming better known over the past few years, particularly with the Blu ray release, however, it’s still not widely recognized enough in my opinion. There are easily drawn comparisons between John McNaughton’s Henry: Portrait of a Serial Killer. Though, trust me: this movie is far different, it gets deeper into the brain matter of its killer and really tries to strip things down to push us into the main character’s uncomfortable headspace.
Salò, or the 120 Days of Sodom (1975)
This 1975 Pier Paolo Pasolini-directed shockfest is one you’ll undoubtedly see turn up on most of the disturbing horror lists out there. Anybody in their right mind will find this completely raw and hateful nasty, no doubt about that. The most hardcore horror fans readily admit this is one insane piece of cinema.
While I do think there’s a major part of this movie speaking to fascism, et cetera, the majority of what you’ll find incessantly horrifying here is the imagery. And it’s not subtle, not even for a hot second.
Think – have you ever thought to yourself “I’d love to see a movie where people commit sodomy, eat human faeces, then throw in some violent torture/murder and a suicide to boot”? If so, this one is for you!
Okay, I don’t make this one sound in the slightest appealing. Because it’s not and I’m not trying to fool you here. This is a list of disturbing horror to do solely with imagery, effects, and so on. You won’t find a more visceral piece of cinema ever, maybe. Many argue this has no purpose, but under all its nasty and in-your-face nausea, Pasolini had something to say with Salò and after all these years – four decades later – people are still debating it, still fighting it, the controversy surrounding the film and Pasolini himself continues to burn in the public heart of film lovers. So can you say, either way, love it or hate it, that Pasolini’s movie is not effective? You’re kidding yourself if the answer is no.
Putting this one on could ruin October for you; the entire month. But if you’re adventurous, and a little messed up, pop this in and rock out to the Pasolini mindfuck machine.
Thanks for reading another of my Halloween lists this year. Once more, as always, I’m hoping you’ll find at least one flick to put on during October. Especially the closer it gets to the 31st. This list will induce shock and awe, I know it does for me. These are all pretty wild movies, to me. If you have any other suggestions for blood, guts, skulls and assorted nasty stuff, please drop a comment and let me know in what sort of madness you’ll be indulging over the next couple weeks.
FOX’s Scream Queens
Season 1, Episode 5: “Pumpkin Patch”
Directed & Written by Brad Falchuk
* For a review of the previous episode, “Haunted House” – click here
* For a review of the next episode, “Seven Minutes in Hell” – click here
The fifth episode of Scream Queens kicks off with Chanel Oberlin (Emma Roberts) and the Chanels – new addition Hester (Lea Michele), #5 (Abigail Breslin), & #3 (Billie Lourd) – they’re planning a Pumpkin Patch Fundraiser. Both Fergies – the Dutchess and the Black Eyed Peas frontwoman – are coming, little whoops from #3. Seems they’re mostly letting the original Chanel down, yet she’s laying down the law.
The Wives of Fallen Presidents = theme for the Chanels. Hilarious and morbid all at once. Of course, Chanel #1 chooses Jackie Onassis – stylish as she was certainly. More constant bickering between #5 and #1, though, now Hester is puckering up and kissing lots of ass becoming the new go-to-girl for Chanel #1.
Far as I remember, this is the first episode we’re treated to the full-on Scream Queens theme song and an elaborate credits sequence. At first I kinda thought it was a little lame, but it grew on me. More great music comes out in this episode in terms of the overall score throughout various scenes, so I’m loving the electronic stuff from the credits to everything else. Works so well for the show’s aesthetic.
Back to the task at hand – Zayday Williams (Keke Palmer) has been abducted and everyone is gathered at the sorority, or at least everyone of interest and pertinent to anything happening. Chad Radwell (Glen Powell) gives another ridiculously foolish speech, trying to plea for an open campus instead of Dean Munsch (Jamie Lee Curtis) opting to cancel Halloween and shut the place down. A curfew is enforced and the Chanels are pissed, as the Pumpkin Patch Fundraiser will not get to go ahead.
Hester is rounding up Chanel #5, as well as others such as Jennifer (Breezy Eslin), in order to try and oust Chanel #1 from the presidency.
In class, #1 gets bothered by her professor before getting taken out by police to one of their cars. Hilarious sequence, I loved it.
Then a quick shift to Zayday, who finds herself holed up in some basement-like room. Down the halls, we hear Culture Club, Boy George belting it out, as the Red Devil’s workshop is presented to us. He stands up above Zayday, holding a puppy, just like Buffalo Bill in The Silence of the Lambs. Awesomely executed homage, all around in this scene.
Pete (Diego Boneta) and Grace (Skyler Samuels) are worried about Zayday, obviously. But everyone else seems pretty unconcerned. In fact they’re downright horrid and could not care any less. The Chanels are all pretending to eat and way too busy to be bothered with anything else – like a twisted version of the Lost Boys from Hook except they were poor and actually had no food to begin with, unlike these stuck-up sorority ladies.
When Grace goes for help trying to find her father, dear ole dad Wes (Oliver Hudson) is in bed with Gigi Caldwell (Nasim Pedrad). Awkward bedroom interruption scene, as Grace and Pete walk in on the two of them banging. Real good moment, though. A crack up; Pedrad in particular makes me laugh out loud often.
Even better scene is right afterwards when Chanel #1 is talking away, as if to her Chanels, yet it’s in jail. She has a few “besties for life” after having impressed one of them with Chanel-O-Ween presents last year. I mean, if you don’t find this stuff funny, totally fine. But to me, it is hilarious! I’m not even a big horror-comedy fan yet I find myself consistently in laughter while watching Scream Queens.
Denise Hemphill (Niecy Nash) and Dean Munsch are bonding, hilariously. Nash is one of my favourites on this series so far, her character is way too funny. Security guard Denise is stuck on Zayday actually being the killer, though, we clearly know the difference, don’t we?
And while everyone sensible, or half sensible, is trying to find Zayday – in some way – Chanel #1 and #5 are still having at it, back and forth. Ultimately, #1 wants her Pumpkin Patch and she will god damn have it.
Roger (Aaron Rhodes) and Dodger (Austin Rhodes) help #5 light all the Jack-O-Lanterns for the fundraiser. The designer ended up making a life-size replica of The Shining‘s hedge-maze, full of snow, so we get another fun homage in this episode. As the Red Devil chases them all, Roger and Dodger give us lots to laugh at, arguing with #5, making her choose one of them. However, eventually one of the brothers gets disemboweled by the Red Devil, his guts flopped out in his lap. Sick! Awesome scene in the maze, both full of laughter and again harkening back to Kubrick’s creepy (loose)adaptation of Stephen King.
The rest of the crew – Pete, Grace, Wes & Co. – go searching for Zayday, taking along the proper weaponry and defense mechanisms. They find their way to where we saw the Red Devil earlier, in his/her workshop, and even stand atop where Zayday was kept. Is she still there? No, only the red velvety pillows on which she was last seen sitting.
Bit of a Saw homage here, as well! Lots of stuff happening. Denise and Gigi come upon a room much like something out of one of the Saw films. Another quasi-homage back to Silence of the Lambs with the Red Devil using night vision to move around a room. And just when you think the Devil is caught, they’re gone again. Or is it really how it seems? We saw Gigi in the old house where the hag supposedly lived, so can we trust her saying Gigi saying the Red Devil cranked her in the head before taking off? Hmm.
Zayday shows back up at Kappa House triumphant. Just in time for the big vote for presidency of the sorority.
Flashback to the Red Devil wining and dining Zayday back at the workshop, as he hauls her up from the pit where she’d been kept. Managing to stab the Devil’s hand and take off, she was able to get back in one piece.
Of course, no one believes Zayday until Grace runs in confirming the story of the lair, the romantic dining set, et cetera. Still though, the vote is on!
Nice creepy sequence with Gigi walking alone, the Red Devil following behind. FINALLY – they meet! They are officially in cahoots, now we know for sure Gigi has something to do with what’s going on in the overall plot. Unsettling stuff, who knows where this will head now.
Looking forward to the next episode, “Seven Minutes in Hell”, directed by a regular Ryan Murphy brother-in-arms Michael Uppendahl. Stay tuned for the next one, fellow fans! I’m still loving these episodes, one by one they add up to more excitement and more horror and tons of laughs.
So I’ve already done several lists for October and the anticipation of Halloween. Up until now it’s been for those who really love horror, or at least the initiated. This list is a little different.
Knowing many friends of mine aren’t exactly huge horror-ites, and also realizing tons of people out there like a little spook around the fall when Halloween approaches, I decided to put together a nice list for those types.
Here’s a list of movies for a decent scare at the right time of year. Hope you’ll enjoy!
Eyes of Laura Mars (1978)
This 1978 thriller, written by David Zelag Goodman and John Carpenter whose Halloween came out the same year, is a nice spooky treat for Halloween. Especially if you want something creepy but would rather not spend the rest of the night wondering if someone is going to kill you.
Chic photographer Laura Mars (Faye Dunaway) begins to see through the eyes of a murderer – transported to the scene of the crimes, during the crime itself, she sees visions of death. When she goes to the police and tries to get their help, she becomes further involved in a series of killings that she is powerless to help and forced to watch.
Eyes of Laura Mars definitely has power, it isn’t not scary. However, there’s not a ton of slasher killings or any kind of super graphic horror. Plain and simple: this is a solid thriller film with a supernatural element. You can watch this to get a decent chill and actually get to sleep. Good one for a nice October evening.
The Innocents (1961)/ The Haunting (1963)
Here’s a solid double feature full of ghosts, spirits, or the otherwise disembodied. Plus, they’re both based on wonderful literary sources.
First up, based on Henry James’ novel The Turn of the Screw, 1961’s The Innocents follows a young governess in Victorian England whose charge of caring for two children becomes a battle of wits against the supernatural, as she comes to believe they are being possessed, the house itself – in her mind (or is it?) – a haunted tomb of ghosts.
There are plenty of reasons to love this film. One: Truman Capote was one half of the screenwriting duo alongside William Archibald. Two: The Turn of the Screw is not lost in this adaptation, as so many great sources come to find themselves in more modern adaptations of classic novels/stories. Three: Martin Scorsese always lists this as one of the scariest movies of all-time and though I don’t care about celebrity opinions, I consider Scorsese an artists first and foremost, as well as a a film lover and fan, so his opinion carries weight for me. Four? The movie is fucking scary. Honestly, you don’t need a bunch of new, modern looking sets or special effects, none of that, when the story and the atmosphere of the film are crafted so well together. This is one of those ghost stories that may honestly stick in your mind, but there’s nothing nasty here: just pure haunted goodness.
That leads me to the second feature on the bill – 1963’s Robert Wise-directed classic, The Haunting. Again, this is based on a piece of literature which is most certainly on a scale of greatness: The Haunting of Hill House by Shirley Jackson. There’s something truly haunting about this movie. Before Wes Craven and his brand of horror, long before Eli Roth, Rob Zombie, and other modern horror filmmakers I dig, legendary director Robert Wise gave us this atmospheric, moody and completely unsettling ghost story. The plot itself is deceptively simple yet amazing: Dr. Markaway, whose research involves that of the afterlife, the supernatural, conducts experiments in Hill House; two women and a young man are a part of the events. The way Wise creates a palpable air of dread, not unlike The Innocents, it creeps up under your skin and really takes hold for every last bit of its 112-minute runtime. There’s nothing disturbing, so to speak, but you will find yourself spooked afterwards.
No two ghost stories put onto film have ever gone so well together on a double bill as these classic movies. I’d recommend them for a couple partners or solo viewing, as they’re films you really want to listen to, pay attention and let their aesthetic draw you in. Nice scare for two people sitting in a dark room!
* For my full review of The Haunting – click here
Sleepy Hollow (1999)
Honestly, if you don’t like Tim Burton’s latest stuff over the past few years, fine. But please don’t try and tell me he’s never done anything good. That’s bullshit. From Beetlejuice to Edward Scissorhands to the 1999 adaptation of a classic creepy tale into Sleepy Hollow, there’s no Halloween done proper if you don’t at least toss on SOMETHING by Burton. Even his Batman films were gothic and very dark.
Here, you’ll get a dose of awesome actors, riotous wit, spooky Halloween-like imagery, and even a tiny dose of nastiness with decapitated heads rolling around like it’s nobody’s business! Burton brings his beautifully macabre cartoon-ish style to this timeless, classic story, and Johnny Depp puts in a solid performance as the clueless yet somehow knowledgeable Ichabod Crane. Pop this on for a nice treat near Halloween, or better yet on the very night. Real good one for a group, too.
Invasion of the Body Snatchers (1978)
Many will probably vote that the best adaptation of this Jack Finney novel is the original from 1956. Me, I like this 1970s version, as it came about after McCarthyism, all the Black Listing in Hollywood, along with all the new paranoias and fears of new generations, as well as the growing fears of the older generation slipping into the twilight.
In San Francisco, several people begin to discover humans are being replaced by clones, which are really an alien life form inhabiting humanity from the inside out. As they start to take over more rapidly, the group bands together in order to try and survive.
A bunch of solid actors (one of my favourites included – fellow Canadian Donald Sutherland), a tight and tense script jam packed with paranoid madness, and everything executed so well in terms of the look and feel of the movie, you couldn’t ask for better. This will give you enough of a scare to satisfy those spooky needs this October. And you may never forget the final frame, I certainly haven’t yet.
House of Wax (1953)/ The Abominable Dr. Phibes (1971)
The next double feature is all about that Vincent Price, baby!
To start: House of Wax from 1953. Anybody ever says “Whann remakes whann I hate them”, say “Shut the fuck up!” and remind them even in the ’50s remakes were a thing. Starring Price as a disfigured wax sculptor, this was a remake of Mystery of the Wax Museum from two decades previous. There’s a definitely creepy aspect to the entire movie and not just that, it looks fantastic. Some people nowadays, mostly young, young people, say they can’t “get into” certain old movies. To that, I don’t know what I’ll say… sad, really. Because some films from the 1940s and 1950s are better to look at than any modern movies. Not that I prefer old films over newer ones; honestly, a lot of what I love comes from the ’70s, ’80s, and post-2000, so really I’m not trying to be hip here. I honestly generally feel there was a beauty to the look of pure film, everything shot on stock back then, as opposed to so much digital in this era. Don’t mean to bash digital either, it’s great and has advantages. Just throw this in and let it take you away. The horror will come at you through the dark and beautiful imagery of the film.
After a bit of ’50s era Vincent Price, get a load of The Abominable Dr. Phibes from 1971.
Over three decades before Jigsaw reared his terrifying head, the operatic and horrible Dr. Phibes was exacting revenge on the nine doctors whom he deemed responsible for his wife dying. With lots of candy campiness, an on-point Price, and some of the most extravagant art design/set decoration you’ll ever see in a horror movie, The Abominable Dr. Phibes is absolutely a good, creepy little horror movie that’s not full of unsettling slashing. Rather, it comes off very much like a horror musical of sorts, without the musical numbers, but in the sense it takes on that grand artistic form, like a massive stage play.
These two Vincent Price movies go well together, displaying two very different sides to the same incredible actor. As well as the fact you’ll find a few scares throughout this double bill while having fun.
Taste of Fear a.k.a Scream of Fear (1961)
This 1961 Hammer horror film, best known as Scream of Fear, is – according to co-star Christopher Lee, legend, gentleman – the best the studio ever put out. I’d probably agree with that sentiment, honestly. As much as I love a bunch of the Hammer horrors which came out years and years now, there’s something terribly dreadful about this one. It’s made out of pure suspense, streaming out of every scene.
I’ll give you only this: a young woman in a wheelchair goes back to her father’s estate after a long time away, continually seeing his dead body on the property though told he is on a trip. From there, the terror builds.
Perfect for a couple people or just a solitary watch. Let this one creep on you and it’ll be a rewarding bit of horror without scarring you for life.
Nightwatch (1997)/ Zodiac (2007)
Another double feature – each about a killer, though, one happens to be based on a real life case.
Beginning with Nightwatch, the director’s English-language remake of his own 1994 film Nattevagten, this is the story of a young man named Martin Bells (played by Ewan McGregor) who gets the job as nightwatchman at a morgue. Unfortunately, at the same time, the city is under threat of a serial killer taking the lives of various women. When Martin becomes a suspect in the murders, things get tricky.
This is a slow burn and it’s full of red herring material, which makes a fun horror with tons of excellently executed thrills full of suspense and taut tension. Also, there’s McGregor, Patricia Arquette, Josh Brolin, Nick Nolte, even ole Brad Dourif comes out to play. Nice, creepy flick.
From 1997, let’s jump a decade to David Fincher’s Zodiac, based on a book by Robert Graysmith (played here by Jake Gyllenhaal) about the real life case of the Zodiac Killer who to this day has never been caught, nor identified concretely.
Fincher is one hell of a filmmaker, as a director he is another person I’d easily classify as an auteur. No matter the subject, you can tell you’re watching a Fincher film almost soon as the first frame has faded or cut. With Zodiac, the complex look of Fincher comes to the darkness shrouding everything over the 1970s when the Zodiac terrorized the San Francisco area. He gives even more depth to all the fear and chaos surrounding the hunt for this madman, along with a great script and amazing actors like Gyllenhaal, Robert Downey Jr., Mark Ruffalo, and more. This one is chilling and it sticks to you like smoke after the finale. You almost want to turn around after it finishes, just to make sure the Zodiac hasn’t wandered up behind you.
These are two looks at the process of a murder case – one fictional, the other all too real – each film with their own aesthetic, this is an interesting double feature to go for closing in on Halloween.
The Night of the Hunter (1955)
Starring the excellent Robert Mitchum and Shelley Winters, The Night of the Hunter was the first film to give knuckle tattoos a bad name (coming from a man with tattoos on his knuckles). Most wouldn’t call this horror, they’d say it’s mystery and film-noir wrapped up into one maybe. To me, this has the markings of a good psychological horror-thriller. With Mitchum playing a man after a huge sum of money, and willing to go through anyone – even some kids – to get it, there’s plenty of room for terrifying moments, suspense ratcheted to the max, and actor-turned-director Charles Laughton uses every chance he gets to execute all of the tension built up throughout the film. Also, apparently Mitchum did some uncredited directorial work alongside Laughton, which is pretty neat. Either way, this is an intense little movie which I’d definitely call spooky, creepy at the very least. And it came out 60 years ago! Still has a lasting effect.
The Changeling (1980)
Directed by Peter Medak (The Krays/Romeo Is Bleeding) and starring one of the greatest actors ever, George C. Scott, this 1980 horror is a haunted house film with a great plot and wonderful story.
The Changeling sees Scott’s character move into a large, old mansion after a tragic accident takes his wife and child from him. Within the walls of the new place, he begins to experience strange, supernatural events all around. Soon, he figures out the house’s secrets.
While there are a couple disturbing plot elements, I do feel like Medak’s haunted house horror movie is scary while not being too outrageously unsettling. So for the people who want a nice little spooky movie for Halloween season, The Changeling makes for a solid pick – especially if it’s the haunted house sub-genre you’re craving.
Pan’s Labyrinth (2006)
Guillermo del Toro is a consistently, constantly interesting and evolving artist. There’s something utterly magical about his 2006 dark fantasy film Pan’s Labyrinth, which is just about indescribable.
Taking place in Spain during 1944, del Toro’s story follows a young girl whose life around her crumbles while the eye inside her mind comes alive, sometimes in the most terrifying ways imaginable.
Not saying there isn’t anything at all disturbing here; most certainly, there is. However, I think it’s somehow presented in a digestible way. Doesn’t lose any of its impact in that del Toro gives us everything wrapped in fantasy. Just makes the terror more palatable, in a way I can’t describe any better than I’ve already done. Mostly, it’s the incredible and fascinating visual architecture of this movie that will draw you in: whether it’s simply beautifully captured exterior shots or the dark realm of the fantastical imagination at work, this fantasy horror film has teeth and yet still I would recommend it to anyone who isn’t strictly into horror. This is mostly fantasy with little horror edges.
The Last Will and Testament of Rosalind Leigh (2012)
I’d heard the name of this movie announced a long while before it ever got released, and knew of the premise, so altogether I was pretty pumped to finally get a look at this one. The Last Will and Testament of Rosalind Leigh is extremely interesting in that it’s centred around a single character while an entire world almost is built around him through the story and its plot.
A young man who collects antiques inherits his mother’s house after she dies, and goes on to discover it’s a place devoted to a strange cult; believing his mother to somehow, some way still be present in the house, she may or may not be trying to send him a message, possibly even a warning.
There’s no way to describe this film any further without ruining things. You’ll find yourself surprised if you go in knowing only the basic premise. Even what I said there is probably more than you need to know beforehand. Still, this will slowly grow on you. There’s a dark and sombre aesthetic all around about this film and the lead actor, Aaron Poole, does great stuff with a plot he basically has to carry almost entirely on his own. Featuring excellent narration/voice-over by the massively talented Vanessa Redgrave, I can’t think of a creepier yet fitting movie for the non-horror initiated. It’s a Halloween season film, deserving of your time. Scary, but won’t wreck you. Some fun, spooky storytelling.
Nosferatu (1922) /Vampyr (1932)
The last two titles, one more double feature, are fittingly along similar lines.
First, F.W. Murnau’s Nosferatu – perhaps the first unofficial adaptation ever? I’m no film historian, though, I don’t think I’m far off. That’s no matter. This is basically Bram Stoker’s Dracula adapted to screen in the silent era, without proper authorization from the Stoker estate; Murnau was promptly sued, I believe.
Doesn’t change a thing. The origin of creepiness in the horror genre comes out of Murnau and his German Expressionist take on famous Count Dracula and his visit from Jonathan Harker. Of course here it’s Count Orlock and Hutter. What a haunting classic. Isn’t the FIRST horror movie, though, it’s one of the first – if not the first – with such a heavy impact. Not overrated in the slightest; the only people who say those types of things are the ones who have no idea about what good movies are, anyways. The individual shots are almost all tableaus of expressionism, especially once Orlock begins to creep among the shadows in the night throughout his castle.
That brings me to the other half of the bill – Carl Theodor Dreyer’s 1932 horror Vampyr based on a book by Sheridan Le Fanu.
Talk about method and technique when it comes to horror, here Dreyer piles on the surrealist, dreamy imagery until there’s absolutely nothing left to us but brain and bone. It’s not one of those floor you, devastate you, terrifying your dreams into nightmares sort of horrors, but Vampyr came far before its time. It is one of the most wonderfully eccentric and gorgeous to look at black-and-white films I’ve ever seen with my own two eyes, personally. I’ve owned the Criterion Collection DVD for years now and it’s a movie I can watch over and over. Perfect to get your spook on during October.
This double feature will have you in a dream-like state of imagery, where you won’t find terror in blood or gore or jump scares. Instead, you’ll find the horrifying aspects of these movies build up in your brain and the lingering shadows of these movies together will have you remembering scenes for weeks to come. Great duo of classics from the early half of the 20th century, like a lesson in horror history.
Another list has come to an end. As I’ve said before, I’m hoping there’s at least one or two titles on here you’ll come across, enjoy the sound of, and then indulge over the month of October. So many of these are perfect for Halloween. These are great movies in general, though, I really feel they’re right for movie lovers who aren’t exactly into the horror genre but don’t like the stuff us other horror hounds are lapping up regularly. Find a scare or two in here, ripe for Halloween. And please, let me know what you think or if you’ve enjoyed (or hated) any of them before now.
Cheers and #HappyHalloween!
There are tons and tons of disturbing horror movies out there. I’ve seen plenty of them, but the titles on this list are some of my favourites. Not saying these are the most extreme, the most hardcore, I’m not touting these as the most disturbing horror movies you can watch. Simply, I think these are a good dose of movies running the gamut from thematically disturbing to graphically disturbing, to downright weird.
Without further rambling, here are my picks for a bit of wild horror to throw on this Halloween season, if October really has you feeling like you need to test your limits on film.
For my full review and discussion, click here.
The title says it all.
This is probably the strangest erotic horror-thriller you could ever imagine. Even saying erotic horror seems strange, but god damn if this is not full of both horrific and at times erotic imagery.
You could say this is a character study of two people in a relationship and what the ideas of possession mean for both involved.
To say any more would be to truly give things away. Honestly, go in knowing only a very basic plot – a couple falls apart as the wife seems to be having an extra marital affair, which proves to be something far stranger. Just know that when the horror hits you it is going to smash your face into bits, it may even rock you sexually in the worst kind of way imaginable.
Inside (2007)/ Trouble Every Day (2001)
You can be guaranteed that if Beatrice Dalle is in it, I’ll watch it! So here is an excellent Dalle double feature which you can indulge on Halloween to scare the wits out of you.
First up is the 2007 home invasion horror-thriller Inside, directed by Julien Maury and Alexandre Bustillo who also directed 2011’s Livid which was on another list I did for this October. This movie is just all out horror and highly female-centric: on Christmas Eve, a pregnant woman alone at home is attacked by a mysterious woman intent on getting inside the house, as well as inside that belly. If you’re pregnant, you may want to avoid this movie honestly, or if you’re super sensitive. Because this horror escalates, from a mild creep to a roaring scare. Be prepared. Also, this whole movie’s drenched in blood and gory bits. Excellently disturbing stuff!
Second comes auteur director Claire Denis’ version of the cannibal film, Trouble Every Day. Starring Vincent Gallo and Beatrice Dalle, this is the story of sexual cannibalism in humans, as opposed to insects; starting with a husband and wife travelling to Paris for their honeymoon, the husband investigating a strange clinic, and ending with bloody horror. Hard to explain any of the ins and outs, I’d rather not ruin it any more than I already have with this explanation. Either way, Denis is a master filmmaker, someone of whom I’m a huge, huge fan, and this is a really gripping, unsettling movie out of her works. You won’t be sorry. This is disturbing, but it does have a great script held up by a couple solid actors like Gallo and Dalle in particular on whose shoulders the movie ultimately rests.
This is a solid double feature, which really shows off Beatrice Dalle’s talents. Also, it touches on two pretty touchy elements of human nature: pregnancy and sexuality.
The Devils (1971)
For a full review, click here.
Maybe this might not be totally considered horror. Honestly, though, if you don’t find Ken Russell’s The Devils horrific I’m not sure how your brain operates.
Both Oliver Reed and Vanessa Redgrave give terrific, agonizing performances in their own right; Redgrave particularly gives a transcendent performance full of religious fervour and Satanic mania.
If you’re going to see this, you need to be able to see it uncut, in its entirety, as even while the most attainable version out there is pretty wild, the uncut version of this Russell masterpiece is unbridled psychosexual horror in its finest.
Just to give you a taste: there’s a scene known as “The Rape of the Christ”. Craziest part is that this whole film, the story and its plot, is partly based on a real story. Need a nice dose of disturbing religious horror? You found it in Russell.
Three… Extremes (2004)
With three short films in one, this entire anthology only runs around 118 minutes, so you’ve got a great triple feature for the price of one!
Starting off with Dumplings, from Fruit Chan, the Asian horror gets churning with the story of an ageless woman who makes her signature dumplings for other women attempting to capture the elusive fountain of youth and its secrets. Hint: there’s something in the dumplings that ought not be there.
Cut by director Chan-wook Park is the tale of, funny enough, a film director and someone with a grudge. With a trap-like setup surpassing the interest factor of anything Saw ever had to offer, this short is sadistic and incredibly intriguing.
Finally, the short titled Box comes via notorious (and awesome) Japanese director Takashi Miike. I’d like to say a little, but would rather not spoil anything. Let’s just say it involves two sisters who were contortionists, they belonged to a carnival of sorts doing a trick involving a box, and then something bad happened at the carnival. No more, or you’ll know too much! Go in knowing only this: Miike is disturbing, if you’ve not seen his other work you should maybe get ready for a tense ride. Though, each of these shorts has their own test, I find something unsettling about Miike’s approach to stories, like he knows something the rest of us don’t.
Great watch if you don’t mind subtitles. It’s a really disturbing film all over, but Dumplings and Box particularly have always stuck in my mind.
Henry: Portrait of a Serial Killer (1986)/ Tony (2009)
For my full review of Tony, click here.
For a full review of Henry: Portrait of a Serial Killer, click here.
You’ll always hear about John McNaughton’s 1986 shocker when realistic horror is being discussed – raw and savage, Henry: Portrait of a Serial Killer is one of the most unflinching portrayals of serial killers on film. With a central performance rivalling some of the best in horror, Michael Rooker embodies the loose, fictionalization of real life serial killer Henry Lee Lucas; also included is the recently deceased and wonderful Tom Towles as another loose fictional version of Lucas’ actual partner for a time, Ottis Toole. The very brutal and simplistic style McNaughton uses only serves to unsettle the viewer with such an up close and personal view of the inside of a serial killer’s mind and world.
23 years down the road, after the release of the McNaughton cult classic, filmmaker Gerard Johnson gives us Tony – another film loosely based on a real killer (this time it’s British murderer Dennis Nilsen the Kindly Killer), this 2009 dramatic horror follows the titular character, Tony: on the spectrum, he is quiet, shy, lonely, disaffected and disassociated. However, at home, Tony cuts up the bodies of those he kills, draining their blood down the drains and the toilet, putting body parts and organs into plastic bags which he later casually dumps into the Thames. The reason Tony is so chilling, and why it’s a great double feature with McNaughton’s film, is because the movie takes us right behind the eyes of the central character – the at times sympathetic yet horrible killer – and never once do we make our way out of his perspective. At certain moments, the film is a slow burning character study; at others there’s an ominous sense of terror. Either way, you’ll be surprised as the film goes on just how depraved this quiet man in his council flat is deep down underneath his unassuming exterior.
Put these two films on – one American, one British – you’ll get an interesting look at the two sides of one coin. Dive into the darkness of the murderous mind!
The Last House on the Left (1972)
For a full review, click here.
With the lofty goal of making a horror-thriller version of Ingmar Bergman’s The Virgin Spring, itself based on a medieval Swedish ballad, Wes Craven (R.I.P) – at the time a self-professed young and angry man – brought a new style of horror to the screen. There were certainly disturbing movies before 1972, however, Craven effectively brought the ‘rape-revenge film’ to the spotlight with The Last House on the Left.
The first time you see it, something will happen. Regardless whether or not you think Craven’s movie is excellent, mediocre, or not worth the time of day, you cannot deny there is most certainly a lasting impact. After you finish this one, there is a part of you that won’t ever feel the same. I can guarantee you that. Even as, what I’d like to think is, a hardened horror veteran, having seen literally 1,000+ horror movies, there is still consistently something truly disturbing about this one; I own it on Blu ray, though, it doesn’t get played much. Only when I’m looking for a true shock do I throw this on. You may never want to watch it again, but give it one go this Halloween. You may just lock your doors and forget all about the trick or treaters.
For my full review, click here.
You may notice the prevalence of movies based on true stories over the course of this list. And here’s another: based on The Snowtown Murders in Southern Australia, Justin Kurzel’s Snowtown focuses mostly on the budding relationship between serial killer John Bunting and one of the sons of a woman he dated at the time of the killings.
A lot of reviews and comments on the internet have stated they find the movie boring, either it’s too slow all around or they feel as if nothing much spectacular happens over the entire course of the film. I just don’t get that. This is a deep character study, once more akin to the earlier Tony/Henry: Portrait of a Serial Killer, and we not only step inside the perspective of a serial killer, we’re bound to the perspective of Jamie – the son of Bunting’s quasi-girlfriend at the time – who did commit horrific acts alongside Bunting in real life. Here, the character of Jamie is mostly seen as sympathetic, both being abused by his half-brother and manipulated by Bunting, and through him the audience is able to both understand and be horrified at Jamie’s new life. Bunting is played amazingly by Daniel Henshall in what is – as far as I know – his first film role specifically; the performance is subtle and extremely unnerving. The whole movie is very involving, if you can forgive it’s at times slow pace. In the end, you’ll be thankful if looking for a disturbing horror, because this is one that really left its mark on me. I’ve forced myself to watch it a couple times and there are scenes in Snowtown burned into my brain; things I don’t necessarily want to see or think about, yet I’m drawn to, as the dark side of reality truly comes out in Kurzel’s film.
Anyone know AnnaLynne McCord? I didn’t, until this wonderfully macabre and disturbing bit of cinema. When I found out who she was, what she normally looks like, I was immediately impressed with her performance in this film – not only does she do a great job in her role, McCord physically transforms into another person. To say anything much would ruin the surprise, the sick, disgusting joy you’ll eventually take out of seeing all the nasty visuals of Excision come alive before your eyes.
Basically, this is the story of a young girl’s becoming – she is turning into a woman, mentally, physically. Yet the bloody beginnings of womanhood translate into something entirely different for this high school girl. She fantasizes about crimson waves, organs, tortured and mutilated male bodies, and so much more.
I’d never seen this movie, yet picked up the Blu ray because I found the description of the film, as well as its cover art, extremely intriguing. There’s not only disturbing horror here, the screenplay is full of sass, wit, and oodles of black comedy. Plus, John Waters, Ray Wise, and Malcolm McDowell all show up, so how is that not awesome? Choose this if you want to shake up your expectations, just make sure your stomach isn’t weak because a few moments in this movie really pushed my limit and that rarely, if ever, happens. Still, I love it and could actually throw this nasty little shocker on any time.
Grimm Love a.k.a Rohtenburg (2006)
For my full review, click here.
Back once more are we to the reality of killers, the depraved and sick, twisted individuals lurking out in the material world, not simply characters banished to the abstract realm of film and television. 2006’s Rohtenburg (English title: Grimm Love) examines, not using the real names, the case of Armin Meiwes who was arrested in 2002 after police discovered he found a man on the internet, a willing participant, to eat; together, they attempted first to eat his penis together, after which Meiwes killed his companion, quartered him up, ate pieces and stored the rest in his deep freeze.
There’s a romantic aspect to the main characters of the film, mirroring the real life pair – even within all the sickness, the cannibalism, each of them and their intensely depressed states, these two men connected on a level most of humanity will never know. Still, no matter their intentions, no matter their feelings after meeting one another, these two men were fatally damaged, eternally flawed. While there aren’t too many graphic bits here, it’s the emotionality and intensity of the plot which makes things disturbing, very real. If you’re able to handle such a wild ride into some of the more twisted aspects of the damaged human psyche, then I suggest Grimm Love as an interesting way to spend an October evening.
Audition (1999)/ Contracted (2013)
I want to preface this double feature by saying evil comes in all shapes and sizes, all forms, all ways.
The first of two evils is Takashi Miike’s Audition; not surprisingly, Miike shows up twice on this list, first in Three… Extremes. This 1999 psychological-horror starts off with a recent widow looking to start dating again, so with the help of a friend in casting he arranges to interview (or ‘audition’) women to become his new partner. However, after meeting the supposed new woman of his dreams, the man comes to discover she is not whom she appears to be at first. Beginning with a vague romance, this Miike film typically devolves into pure madness, controlled, but madness nonetheless. With some of the most unbearable torture in film history, this is not simply “torture porn” (hate that label; read other reviews to find out why). Rather, Miike brings psychological fear to life – from the fear of meeting someone new, to the thought of losing someone you love and having to start life over again – as well as touches the deepest, most visceral nerve possible in each of us.
From the story of a female torturer, we move to Contracted, starting its vicious and horrific descent into psychological/body horror with a cold and ruthless act committed by – this time – a man. People criticized the marketing of this film because it says “one night stand”, when clearly the young female lead is actually date raped at the start. However, unless I’ve not heard all there is in terms of press, I don’t think it’s intended this is meant as a LITERAL one night stand; merely, the tagline says “Not your average one night stand” in a dark, acidic way. Because once you get into this movie, you’ll realize England is trying to make you uncomfortable. Not simply for uncomfortableness sake: there is legitimate horror here. There are bits of David Cronenberg in here, with all the attention paid to the lead character’s body deteriorating after obviously having contracted a virus from the man who date raped her. Even more than that, I think England makes a few highly poignant points about the male mind, in terms of both the man who raped the film’s lead and the man who pines for the lead’s attention. I won’t spoil anything else.
This double feature is bound to leave you shocked, in awe, and maybe not in any kind of good way. Miike’s Audition came before the golden age of online dating, so I imagine it might touch more nerves today than even when it came out 16 years ago. Moreover, Contracted is the Eric England rape metaphor film we never knew horror could produce (the sequel leaves much to be desired) and while it has things to say the most of its power comes from the cripplingly nauseating visuals. If you want a downright unsettling double feature for Halloween or leading up to the special night, this one may be your Holy Grail.
Sleepaway Camp (1983)
By now, most anyone who is into slasher horror movies, even in the slightest, has definitely heard of the 1983 classic Sleepaway Camp. Not just that, they’ve definitely heard of, or have seen, the outrageous and terrifying twist finale. I will not spoil anything in the way of its big gem.
What I will say is that this movie is one of those genuine ’80s-era slashers which is deserving of its cult following and infamy. It isn’t perfect, nowhere near that, however, I’m a firm believer this is one of those top notch slashers simply because I NEVER ONCE SAW THIS TWIST COMING! I mean, fuck M. Night even on his best twist endings, this one is the RULER OF ALL TWIST ENDINGS. Sorry, I love Memento, I love The Machinist, The Sixth Sense was a whopper in its day, and there are plenty others… but SleepawayfuckingCamp just rocks all of them out of the water. Say no more. Want a good dose of by-the-lake horror and a finale that will haunt your dreams? You’re welcome.
For my full review, click here.
Lars Von Trier is a name you can say in a room and find a hundred different opinions about from just a couple people: some think he’s trash, others (mostly those who’ve only seen his recent two-part Nymphomaniac) say he’s a pornographer, then there are those of us who think he’s full of unbridled, unadulterated genius. Sure, he doesn’t always hit the mark, but what filmmaker ever has? Not a single one in history has made a full catalogue of perfect movies. But Trier, each and every time at bat, steps up and delivers something, at the very least, worthy of endless hours of conversation.
His 2009 film Antichrist is the study of many things: misogyny + misogyny’s affects on womankind, relationship dynamics, parenthood, as well as so much more thematic material. Containing two of the bravest performances I’ve seen in the past 10 years, both Willem Dafoe and Charlotte Gainsbourg are captivating. Most of this movie touches on subject matter and themes many will find, in moments, almost reprehensible – from genital mutilation on the part of men and women, to the death of a child while his parents have sex. It isn’t all provocation and in your face, nasty horror, Von Trier touches at the heart of issues in all his films, whether people wish to recognize it or not. No matter what, Antichrist will pull you in, chew you up, then spit you out. Then lap you up and chew some more until all the grizzle of your brain is digested. You may never ever forget these 108 minutes, no matter how hard you scrub that grey matter.
If you weren’t sufficiently disturbed and left sleepless by Lars Von Trier, I present to you the final offering of my list: Fabrice Du Welz’s 2004 psychological horror-thriller, Calvaire.
The movie follows a struggling entertainer, a singer named Marc, whose latest and slightly sad tour takes him out into the backwoods of Belgium. When he breaks down, Marc comes across an inn through the woods, owned and operated by a Mr. Bartel, the seemingly friendly and welcoming host. After the first night, though, Marc discovers Bartel is not as friendly as once it seemed – the man first stalls on fixing Marc’s vehicle like he promised, then when he tears the battery out and other parts, it’s very clear Bartel is up to something more sinister. Trapped at the inn, Marc’s journey falls quickly into a darkness he could never have anticipated, not in a million years, and the stay at Bartel’s inn transforms into a fight for survival.
This is another one I purchased blind on DVD, not knowing anything more than the description and reading a couple reviews online, as well as based on the neat cover art. When I first saw this, I was completely floored and still, even when I’m in the right mood, Calvaire is full of uneasy moments. There’s a slow burn quality to this one and things don’t jump right out, often the pace is snail-like, yet if you can make it through and continue to watch up to the end of the finale. you’ll be well rewarded in terms of disturbed emotions. And after all, that’s why you came to this list, right? Welz’s shocking psycho-horror is full of chills, thrills, and unwanted uncomfortableness. Watch, but only if you dare.
Here ends another list for the Halloween season! I hope those of you who’ve come to find something fittingly full of shocks and super nasty will walk away satisfied. I’m sure many horror hounds have at least heard of all these, most likely they’ve also seen them, too. If you’ve got any of your own suggestions, at 4,100 films watched it may have been something I’ve already seen – regardless, I want to know what everyone else finds disturbing and what you’re watching to get the creepy October-Halloween vibe happening. Let me know in the comments what you think of the list, or if you have suggestions for other nasties I should include in my own viewing list this season.
FOX’s Scream Queens
Season 1, Episode 4: “Haunted House”
Directed by Bradley Buecker
Written by Brad Falchuk
The opening scene is excruciatingly funny and so acidic in terms of how it takes on popular “bitches” like Chanel #1 (Emma Roberts). Chanel-O-Ween sees her send presents to tons of girls who idolize her, supposedly the “losers” or whatever you want to substitute for a description.
Way too funny. Hard to describe, yet it’s just so good. Solid opener for the episode.
At Kappa House, Dean Cathy Munsch (Jamie Lee Curtis) is being questioned by the police, but not really. She is great friends with the detective questioning her. Not only that, she does make sense – it would be awfully hard for her to get out, dress up as the Red Devil, climb down unnoticed outside, and then attack. Or is it? Wes Gardner (Oliver Hudson) is not convinced, neither is Gigi Caldwell (Nasim Pedrad) particularly. I am, though. Munsch is dirty, just not a killer, I don’t think. Then in bursts guard Denise Hemphill (Niecy Nash) trying to tell everyone Zayday Williams (Keke Palmer) is the real killer.
Mostly this part is an amazing showcase, once more but longer this time, of Niecy Nash kicking out the comedy jams. She is awesome and perfectly fits this character. We always hear how black women are “sassy” or something similar. I think Nash allows herself to be goofy, which is super fun. Not that she’s a weak character, but she doesn’t necessarily have to be strong, she just gets to be silly and it works proper.
In another confrontation between Denise and Zayday, we find out Denise was rejected from Kappa House at the same university she now guards. Great, quick flashback to her being tossed – once again showing off Nash’s hilarity.
Meanwhile, Grace Gardner (Skyler Samuels) and Pete Martinez (Diego Boneta) track down the woman who was once a sorority pledge at Kappa House – Mandy (Jennifer Aspen). She tells them about how her life is “split in two: before that night and after“.
Flashback to 1995 where Dean Munsch talks through the process of covering up the young girl’s death in that bathtub. Then, she makes the girls wear hoods on the ride out to bury the body, so they’ll never know where it is buried. Munsch locks them all down with a highly nasty little plan, all to cover her own ass – though, she claims it’s to protect them, to protect their families. Real chilling scene. More and more, we see how sinister Munsch is, but again: not a killer. I’m sure there’s someone, or a couple someones, out to get Munsch and anyone else linked to Kappa House, or the original women.
SHOCKER? The baby was/is a girl, confirmed by the woman who was there. Hmmm, the plot thickens.
Chanel #1 gets a big smack in the face when Zayday reveals her intentions to run for president of Kappa House. Ms. Oberlin makes a bit of a threat, then takes off somewhere to grieve. The other Chanels find her in the shoe closet, sharpening kitchen knives.
I think Emma Roberts is pretty great, too. Honestly, she pulls off the incredibly awful sorority girl role. Slightly similar to her role in American Horror Story‘s third season, but very different than the one she played in the fourth season. There’s more comedy here obviously and it’s a satirical, even farcical look at the sorority/fraternity mentality which is especially rampant in this day and age in America, particularly. So while some think it’s either over-the-top, or what not, I find it on the nose and Roberts does well with making us truly believe she is a stone cold bitch of a young lady.
A bit of nice horror in this episode. Mandy, in her little trailer out in the dark, out off the grid somewhere, finds herself at the mercy of someone outside causing mischief. She walks around brandishing a baseball bat. Then, in the mirror behind her, the Red Devil appears, knife in hand. As she screams out, the Devil stabs her to death. Nice little clip of Leprechaun plays in the background, cut in briefly; I’m pretty sure it’s one of those films, anyways.
Chad Radwell (Glen Powell) is out in the graveyard about to have a yank over a grave, when Hester Ulrich (Lea Michele) shows up with her new look going on. She proposes they’ll have sex in a “very scary location“, and that maybe he can head in the “back door“. Hilariously twisted scene.
Professor Gardner is showing more horror again in class. This time it’s Children of the Corn. He’s going on about children in horror movies attacking the adults, that we “can’t escape our inner child“. More of the film professor nonsense, or is it? You be the judge. I think it is, if you’re examining a film like this, others maybe not so silly.
Grace shows up then to question her father about her mother, who went to the same school, supposedly pledged Kappa. She point blank asks if her mother died in the bathtub, to which her father replies with surprise. She’s convinced something is going on with him, in some way. I am, too. All the same, the moment between them here feels genuine, like he’s telling the truth: “I saw you come out of your mother”
We’ll see where it all goes.
Grace then heads off to meet Pete at a local haunted house, or so Pete and Denise say – the house on Shady Lane. At times this sequence is spooky, others it’s fucking riotous with Pete and Denise telling the tale simultaneously, or in tandem more so, which comes off like a scary version of Abbott and Costello. They talk about a hag living in the house, shrieking and wailing coming from inside, et cetera, typical legend type stuff. A super creepy room full of weird little dolls is found to boot. Turns out the woman lived in the house around 1995, when the Kappa House tragedy happened, or just after – that’s where the screaming must have come from, I imagine.
There’s a PERFECT scene where the Chanels are about to eat cotton balls, dipping them in sauce, when Hester speaks up and changes Chanel #1’s mind. They decide to go for pizza. Then, the world of the sorority at Kappa changes. Great little feminist bits where Chanel #1 points out the hypocrisy of how men can look versus how women are expected to look. Then, a moment between the girls and a couple fratbro douchebags where they lay it out for the men: don’t whistle at me, don’t ask me to give you a smile, don’t belittle women under the guise of trying to talk to them, and so on. Love, love, loved this bit! Such an excellently written scene.
Right afterwards, Chad is being brought out to the house on Shady Lane, where Hester seems to be letting him “throw her a bone”. Then comes the HORROR – bodies everywhere! First, it’s Ms. Bean and Hester pokes a hole through her leg accidentally, believing it to be a wax replica of some sort. Then there’s Chanel #2, Denise’s partner Shondell, Coney a.k.a Aaron Cohen, and more. Even poor Mandy who was recently dispatched by the Red Devil.
Solid homage to John Carpenter’s Halloween with Ms. Bean’s headstone above the bed where she lays. Love all the homages and references in the episodes so far.
I thought this part was absolutely fitting. Using all the real dead corpses of those killed off previously in the series as supposed props in the haunted house, it’s genius!
Chad: “Don’t go to the haunted house on Shady Lane! There are dead bodies. Like real, live dead bodies.”
Zayday gets nabbed by the Red Devil in a great freeze frame with red filter. The aftermath sees just about every main character at Kappa House, the detective and other officers present to try and suss out what’s been going on around their campus. So much madness and mayhem and murder. Professor Wes wants answers, threatening to go to the media if nothing is done in regards to the safety of the students.
Pete and Grace decide they have to discover who the Hag of Shady Lane was, the woman in that house, that way they may break through to find out more about the murders and the original tragedy.
Perfect closing shot sees Gigi sitting in the Shady Lane house, in a chair with all those dolls, hooded in the Hag cloak, wailing away. Very, very spooky!
Can’t wait for the next episode titled “Pumpkin Patch”. Stay tuned for another review next week! Hope at least some of you are enjoying the show as much as I am. Been having a blast, full of comedy and equal parts horror. Cheers.