When a trio of believers head into a religious community of fundamentalists living in the woods, they discover faith means different things to everybody.
Don't go into this one expecting horror. At best this is psychological horror, although there's still not enough to really categorise it as such.
An indie that asks us at times uncomfortable questions about our participation in the process of murder on film.
The Demolisher. 2015. Directed & Written by Gabriel Carrer.
Starring Ry Barrett, Tianna Nori, Jessica Vano, Duncan McLellan, Gerrit Sepers, Bruce Turner, Duane Frey, Andrew Bussey, Owen Fawcett, Rich Piatkowski, & Reese Eveneshen. Latefox Pictures.
Not Rated. 85 minutes.
Sometimes the hype of a film precedes it with way too much intensity. The Demolisher is absolutely one of those types. One of the posters is loaded down with so many quotes there’s barely enough room for the poster itself; already utilizing a minimalist style having the main character stand in a meaningful pose by himself, as if representing everything about the film. Yet these quotes, and from reputable sources (mostly), confuse me. After watching this I couldn’t figure out exactly how any of these reviewers managed to come up with those words to describe it. Granted, there are aspects here of which I’m a fan. The atmosphere and overall tone, including the score and some of the cinematography, makes for an audio-visual treat you don’t usually get out of small indie films, except for the excellent ones floating around out there. So director-writer Gabriel Carrer milks some of what he can out of The Demolisher. Only, after viewing it a couple times just to make sure I felt solid on my verdict, I can’t help feeling there are missed opportunities for storytelling inside this loaded story, as if the plot never truly kick starts itself and gets going proper. Instead we’re left with 85 minutes loaded down with intense, booming music in the score from Glen Nicholls, and some good cinematography out of Martin Buzora – too often marred by the use of slow motion at times – rather than a supposedly John Carpenter-esque, low budget Michael Mann flick, as the poster touts. The influences are there, no doubt. But the quality is far from that hallowed territory.
A cable/internet repairman named Bruce (Ry Barrett) takes care of his disabled wife Samantha (Tianna Nori), a former police officer whose injuries came as a result of a gang-related shooting. Slowly, Bruce devolves into his own world where he takes to the streets at night, donning riot gear and a vicious appetite for violence. More and more the nights bleed into his daytime life. He becomes a vigilante of sorts. Except soon enough, his mental health falls apart. And in the daytime, his violence comes out. After killing a man during a house-call repair, Bruce begins to truly go mad.
When he focuses his disturbing, violent psyche on a young girl named Marie (Jessica Vano), his world crumbles into a frenzy of chaotic madness.
I’m just not sure, above all else, what Carrer is trying to say or do with this movie. What I enjoy is that we get an indie film action flick, as there are several great chase and fight sequences. Added to that is the level of brutality and outright horror inflicted by Bruce, a.k.a the titular Demolisher. So what I do get is that Carrer perhaps wanted to do some action-styled sequences on a lower budget, and they turn out insanely awesome at times; when the slow motion doesn’t rear its head too often.
But aside from action, what’s the point of it all? The Demolisher sets itself up as an emotionally charged character study focused on Bruce and his descent towards madness. However, along the way his journey becomes unclear. At first I imagined there was something to his vigilantism. Or is that merely a gateway into this action-oriented horror? Still not sure. If it’s simply a way to make Bruce into this hulking, always stalking killer like a Death Wish Bronson crossed with Carpenter’s Michael Myers, then it works. Sort of, not always. If there’s something more profound to the journey of Bruce, I’ve yet to figure that out. Not saying the elements are all there to make this anything profound, but it feels like there’s something more this film wants to do or wants to be. Somehow, Carrer loses it along the way and The Demolisher transforms into a lazy bit of horror trying to masquerade as partly arthouse. Never is a mark hit either way. And the finale downright makes no sense to me, so at every corner I’m at a loss for compliments.
All style over substance here. Except, even when the filmmakers are trying for style, there are moments this does not work well for them. As I said, the slow motion bits were a tad too prevalent, and they did nothing to enhance things. Other than give us some more time to watch the scenery and the nice-looking cinematography. Outside of that, this technique only makes things look boring, as if we’re watching any other wannabe action-thriller; over and over, the action is slowed down, to the point these brief bits are painful to watch.
I do love some of the filter work, such as a quick couple shots of Bruce in his riot gear, bathed in a reddish wave of light. Definitely Mann-inspired. But these few types of scenes are limited, and they don’t add anything overly special to anything. With the amazing, nerve-wracking score from Nicholls pulsing constantly, it’s a shame the visuals never amount to much in the end. There could’ve been so much more accomplished with the film’s aesthetics. Unfortunately, it’s all for nought.
This movie gets a 1&1/2-star rating. I can’t give it any more without hating myself. Obviously the visuals and the audio make things exciting to hear, and to look at. But none of that is enough to lift this film out of the muck and mire. At first, you expect The Demolisher will rock you with an amazing style. It does nothing except lull you into hoping at some point the plot will break out and do big things. Never happens. Don’t walk into this relying on any of the outrageous quotes put on the poster. In fact, I chose to track down a totally different one to use on this review because I will not let those totally unrealistic expectations poison you. See it, judge for yourself. But this one’s a real rough watch. And not in an awesome horror-like fashion; just rough and forgettable.
A gay couple & their close friend decide on having a baby together. All their plans are derailed when a momentary act of frustration boils over into something unimaginably worse.
The Inhabitants. 2015. Directed/Written by Michael & Shawn Rasmussen.
Starring Elise Couture, Michael Reed, India Pearl, Vasilios Asimakos, Danny Bryck, Judith Chaffee, Erica Derrickson, Edmund Donovan, Victoria Nugent, and Rebecca Whitehurst. Lascaux Media/Sinister Siblings Films. Unrated. 90 minutes.
A few weeks back, one half of the filmmaker duo the Rasmussen Brothers (writers of John Carpenter’s The Ward) contacted me in regards to their new film The Inhabitants. Now available on VOD, the Rasmussen Bros were kind enough to give me the Vimeo link and password to watch the movie ahead of time. Only now getting around to it – busy man here – I must say, the depressingly low rating on IMDB is exactly that: depressing. Now, to start, I don’t go by what IMDB tells me; it’s a site I use, I rate things on my own scale to try and balance so many of the unfair ratings of decent to good (sometimes to great) films. However, it’s not something I gauge films by, as I leave that to my own sensibilities and taste. There are, yes, certain aspects of film you can objectively look at and say “This is well done” or “This is bad”, yet so much of how we experience any art, film included, is entirely subjective. You’ll never separate yourself entirely from the subjective part of your mind because in all your opinions you’re coming from some place, a location. I always keep that in mind with my reviews and ratings, so should you if you’re reading mine or anyone else’s opinion on a film – I recognize my reviews are from a subjective place.
That being said, The Inhabitants is not a great film. Though, it has some really great aspects. Not breaking any fresh ground particularly, the Rasmussen Bros do create a pretty decent aesthetic from their use of the camera itself to the nice spooky sound design. Perhaps a meatier plot would’ve done the film well – it feels a lot like the skeleton is there, the story itself, just not enough actual plot points other than vague elements through which the characters allowed to walk. Still, I found this indie haunted house-style movie effective in terms of its mood and the generally solid atmosphere of creepiness the filmmakers were able to build from start to finish.
When Jessica (Elise Couture) and Dan (Michael Reed) purchase a quaint little bed and breakfast in the New England countryside, it seems like the American Dream – idyllic forest and sprawling landscapes. Then they start to find problems, such as the nagging legend of a witch and the strange occurrences happening throughout the old house.
In the beginning, even the weird moments Jessica experiences aren’t too threatening. Slowly as the couple get acclimated to the bed and breakfast, its surroundings, the nearby Witch Museum, it is painfully clear the house’s own history is much darker, more terrible than any real estate agent would ever be willing to admit.
What I do enjoy about The Inhabitants is the aesthetic overall. The sound design itself adds a wonderful layer of spookiness. There’s no score so much as there are a few small pieces, plus a ton of the sound design in terms of very dark, brooding and destabilizing sounds; it puts you on an edge, even if there’s nothing exactly threatening or sinister happening the at times dark ambient noise in the background makes everything feel uneasy.
Something which makes the sound design better and more effective is how the Rasmussen Bros don’t opt for a bunch of jump scares in order to spook us. Yes, there are some in there, but it’s not a relied upon method the director-writer pair are interested in exploiting. I love a good jump scare, if it’s properly done and doesn’t become a trope within one movie itself; nothing worse than a technique overdone, regardless of what it is in the end. So most of what the Rasmussens are able to create here is a genuinely unnerving mood, with the visuals shot pretty beautifully alongside the sound design’s low, creepy swell.
One of my favourite moments come just barely past the 1-hour mark – Dan has this dream, a terrifying image of Jessica comes to him: she’s breastfeeding a small child, then when he gets closer it appears as some dead corpse-like thing, a skull for a face. It’s so brief that it works wonders for the scare factor! Not even a jump scare so much as it’s a quick little WHOA. Very cool and grim stuff.
My only big legitimate problem with The Inhabitants is the plot, as I mentioned earlier. Not that I feel the plot is bad, there just isn’t enough. The bones of the story exist – it isn’t innovative or new, but at least there’s a story in place which could be used to flesh out a scary plot and some decent characterization. Even further, we get bits and pieces of the main characters, who they are, their personalities. Though, I don’t feel as if there’s enough of Jessica or Dan to truly care and become involved in their personal plight. Ultimately, issue being, in all the wandering of the characters – through the darkness of the house, et cetera – the screenplay wanders about a great deal.
The actors do a fairly decent job with their characters – Couture and Reed do a solid job for the most part with the two leads. It’s simply a problem of character. Sure, we get lots of nice stuff happening as the house sort of takes hold over Jessica in particular. There’s even a part earlier when she finds a sonogram, a few little clever lines thrown in without too much overt and talky exposition. However, none of it pays off in the right sense. The characters aren’t dull, I just wish we could’ve gotten more of a sense about who these two were before the plot of the film begins. As it stands, they’re just two people in a haunted house being affected by all its eeriness, like there’s no way to gauge how the effects are running wild on them because all we get really is a look at the post-haunting couple. But I’ve got to make it clear, I think the Rasmussen Bros do well with the characterization and plot present by at least not going hard on the exposition. Too many films, horror specifically, try to heavy hand the dialogue in and let you know EVERY LITTLE THING THAT IS HAPPENING/HAS HAPPENED, and then there’s absolutely no mystery left. At the very least, the screenplay keeps an air of intrigue instead of hamfisting the plot and story down our esophagus. There are pieces which go nowhere, there are also no pieces where I felt a few morsels ought to bed. Overall, I’m just glad that – while too overly vague at times – the writing isn’t completely spoon fed to the viewer, and the writer-director brothers still try to leave some of the legwork to their audio/visual aesthetic.
I’m not going to be a pessimist about this film and say it’s no good at all; it is good. There are some excellent things happening and I feel, as directors, the Rasmussen Brothers know how to properly create a sense of dread, an atmosphere full of creepy, spooky mood and tone. This is, to me, a 3 out of 5 star film. Definitely could use more work on the plot itself, I would’ve been even more impressed with this independent horror movie if the writer brothers cultivated better characters. Still, the acting wasn’t typically atrocious like a lot of indie horror, and the palpable atmosphere from the first scene right to the last is enough to keep you glued. Plenty of gorgeously dark imagery and the house/the forest is captured visually with such eeriness it’s hard to deny. With a little more work, though, the Rasmussen Brothers are on their way to making really solid horror movies. I hope they’ll keep it up.
Without going for too many of the obvious choices, I wanted to come up with another list of horror for the Halloween season.
Opting to go with anything from traditional zombies to the Romero zombie to infection films and so on, there should be something for everybody on this list. Maybe the more seasoned horror veterans out there have seen just about all of these. But I’m hoping those of you out there looking for a few good flicks to indulge during the lead-up to Halloween might get a good new scare for yourselves and find something new.
These aren’t in any kind of order, just in a list. I’m not saying these are all my favourites either, though, I’ll let you know which ones I love most.
Nightmare City (1980)
For a full review, click here.
This Umberto Lenzi classic is the genesis for fast zombies. It’s been said already – the remake of Romero’s Dawn of the Dead? Would never have been without Lenzi. Sure, someone would have made zombies fast in a cool way, but I still think Zack Snyder owes a ton to Lenzi’s film. There’s something about this one that will get you from the star. Immediately, there’s a sense of chaos, and then the streets are flowing the undead, moving at a face past, fighting the living.
When it comes to zombie films, fast or not, Nightmare City packs the goods. This is a real great movie to put on and watch with a few people or a big group, as you’ll be hooting and hollering at some of the undead action going down under direction of a master like Lenzi.
Day of the Dead (1985)
For a full review, click here.
It’s hard to pick a favourite out of George A. Romero’s films, even considering his others outside of the Dead films; The Crazies and Martin are both pretty excellent, more so the latter, and Creepshow is a wonderful collaboration between him and Stephen King.
But honestly, even above the two previously amazing films, Day of the Dead is my favourite of Romero’s zombie work. There’s something truly dystopian for me above this one. As always, the plot keeps things claustrophobic, even worse the characters are in an underground military base. The best, though, is Bub – Romero introduces a zombie who has essentially been taught, like a primitive human or an animal, to respond and do things more than just eat brains. And if you look at the progression of Romero’s zombie series, include Land of the Dead and how active the zombies become there, I find there’s a lot to enjoy. Plus, you get cool imagery, a great colour scheme as is always the case with Romero, and lots of zombie goodness.
City of the Living Dead (1980)
For a full review, click here.
Lucio Fulci will often turn up on any horror list I make. Not because I think his films are all the best made, though some I think are fucking incredible, but mostly it’s because Fulci swings for the fences on just about horror film he’s made.
In City of the Living Dead there are a bunch of practical horror effects which are going to blow your face off. While I don’t think this is one of Fulci’s best, I do feel it has some of his wildest blood and gore.
From throwing up internal organs, priests committing suicide and dead babies, to heads being torn apart or heads being subjected to power drills, this is one zombie flick you’ll most certainly want to watch around Halloween. Any time you look out and see kids roaming the streets on the 31st, it’s always creepy in a way. After this Fulci film, it might look even creepier.
Dead and Buried (1981)
From a screenplay by Ronald Shusett and Dan O’Bannon (particularly of Alien fame), Gary Sherman crafts a pretty unique and horrific film which you can definitely consider one of the living dead variety.
In a small New England town, Potter’s Bluff, visitors seem to be continually murdered and Sheriff Gillis (James Farentino) is trying to get to the bottom of it. Unaware the other townsfolk have an idea about what’s been happening, Gillis may or may not survive the events transpiring in his own little jurisdiction.
To say a whole lot more than the simple plot synopsis would do you, the viewer, a disservice. Ultimately I’ll say only this – Dead and Buried has a wonderfully dreadful atmosphere, like a bad nightmare torn out of The Twilight Zone, and there is a classic type of feel to the film which makes it feel almost at home amongst William Castle flicks and the Hammer Horror catalogue at times. Perfect for a bunch of friends, but it does have a nice plot so it isn’t only horror-tainment; it also has some horror teeth with a solid script, full of dread and terror.
Shock Waves (1977)/ Dead Snow (2009)/ Blood Creek (2009)
This is honestly a pretty gnarly triple feature. A lot of people would tell you Dead Snow is the only real great movie out of these three. Me? Oh, I’d disagree with that.
First, Shock Waves takes us to an island where Peter Cushing plays a former SS Commander out of Nazi Germany, in charge of a troop of aquatic zombies. There’s lots of madness on the island, lots of almost gothic-like stuff going on.
You can never go wrong with Cushing in a horror, for me anyways. He is classic. Here bringing some of that class to a Nazi zombie movie, a precursor to the next film – Dead Snow.
A newer Nazi zombie flick out of Norway, this one sees a group of friends on Easter vacation in the mountains at a cabin; unfortunately, they run afoul of some buried Nazi troops who are more than happy to unfreeze, come back from the dead, and lay siege to the cabin and the unsuspecting friends.
This is a happily, unapologetically gory film, tons of splatter, blood everywhere. But it’s not one of those types of horror movies where it starts to get boring, because who doesn’t want to see Nazis die? Only Nazis, one could imagine. So get your fill here with tons of nasty horror kills.
Next up is another Nazi horror, though, in a vastly different vein. Blood Creek, also known as Town Creek, did not make an impact in theatres on a limited release, it hasn’t particularly enthused a lot of others since. But I thought it was a nice bit of fun. Featuring Prison Break’s Dominic Purcell and Superman himself Henry Cavill as brothers out for revenge, as well as an incredibly low key and make-up’d Michael Fassbender (of whom I’ve been a big fan for a while), this is mostly a good popcorn romp in the horror genre, with a nice dose of Nazis to boot. Fassbender plays a Nazi officer who was dispatched to track down ancient runes, eventually becoming a nearly immortal, terrible and undead monster whose entire being consists of consuming human blood, and other creepy, nasty, Nazi business. Don’t expect director Joel Schumacher to do anything hugely innovative, but throw this one on after the others to give a different spin on the Nazi living dead sub-genre.
I honestly recommend this as a triple feature. You would not regret it, especially if you’re looking for a group movie night!
[REC] (2007)/ [REC]2 (2009)
For a full review of [Rec], click here.
These are subtitled Spanish films, so those who don’t dig on that may want to move on. Though, I stress as I usually do: if you only watch English language movies, you’re not doing yourself as a filmgoer justice. Horror has some amazing stuff going on in other countries.
Jaume Balagueró and Paco Plaza take the found footage sub-genre and horrified audiences with their infection horror film [Rec] which takes us inside a fire station with a news crew, on a night when they’re called to an apartment building where all hell breaks loose; inside, an epidemic begins. The second film [Rec]2 begins straight after the events of the first, taking a GEO team inside the same apartment building in order to combat the infected humans that are beginning to swarm the entire building and threaten to turn the whole city into a massive horde of infection. But it turns out there aren’t only the interest of police and medical authorities at play, as the Vatican has their hand in things.
Both of these movies do found footage proper justice. So many of the low budget efforts in this sub-genre come out terrible, while only a small number are excellent and more importantly effective; these two movies are in the latter category. Amping up on suspense and tension, Balagueró and Plaza really grind home the terror from beginning to end. There’s a lot of scary moments and the zombies/infected are creepy as all hell! Love the blood and gore here, as well as the jump scares; I don’t often say that, but the jumps here aren’t cheap, they’re the result of good atmosphere and tension, as I mentioned before. Great movies. More for a solo viewing, or just a pair; you don’t need a crowd talking a bit here and there during these, ruins the mood. But you’d be wise to do a double feature viewing on these two movies – awesome continuity and you’ll get your fill of zombified mayhem.
Return of the Living Dead (1985)
More Dan O’Bannon, this time he’s directing.
Honestly, if you’re a horror-comedy fan (I’m actually not a huge one) and you don’t know or enjoy Return of the Living Dead, I don’t know what’s going on with you. I mean, this is just about the perfect marriage of zombie horror and hilariously foolish comedy. On top of all that, it’s slightly meta-fictional in a way.
After two bumbling meatballs end up releasing toxins from the government, which inspired Night of the Living Dead, the living dead begin to rise once more and the world is threatened by zombies walking the earth, tearing and eating human flesh, consuming all which stand in their way!
A classic entry in the zombie sub-genre of horror, this is not one to be missed. Great for a pair or a crew of people, you can never go wrong with this one. There is plenty of goofball comedy and lots of zombie nastiness to boot, not many as great as this out there.
The House by the Cemetery (1981)
For a full review, click here.
Lucio Fulci returns on the list! This time with a different take on the living dead horror movie.
When a new family movies into a house and begins discovering a bunch of unsettling, the house’s past lurches forward from the darkness and into the present.
Victorian era illegal surgery, zombified and rotten corpses, neck stabbings, slashed throats and decapitated heads – Fulci is in fine style here, a (pardon the pun) full-blooded horror.
This is a nasty one with plenty of the director’s signature style. You could also say this fulfills the haunted house quota, even though it’s more of a living dead horror, but still – lots to take in for an October evening, better yet on Halloween night.
Mutants (2009)/ Open Grave (2013)
Another double feature, slightly different; these aren’t exactly the same type of zombie/infected horror movies, though, I think a certain vein runs through the both of these gnarly flicks.
Mutants is a French film about an epidemic turning human beings into mutant-like creatures, basically zombies. The plot concerns a young couple, Marco and Sonia (who is pregnant), attempting to find refuge in a military base. But when Marco contracts the virus, Sonia has to defend herself against her husband, best friend and lover in order to try and survive; for herself and for their baby. So you get a mix of zombie horror, emotional and personal drama, as well as a good deal of horror-action throughout the film. A high intensity and at times downright scary epidemic film.
In a similar more personal sense, Open Grave starring Sharlto Copley examines the epidemic sub-genre of horror through the eyes of a man who wakes up, with no memory, in a pit of corpses, only to eventually come across a group of others who woke under similar circumstances.
I can’t say much else about the plot, and honestly saying that it’s an epidemic/zombie type movie is saying too much, but just know Open Grave packs a real good punch. Copley adds lots of authenticity to the film playing a very believable, real type character. But the screenplay itself is the strongest bit of the movie and drives everything, making this one of those horror films that’s really going to draw you and keep you interested, riveted from the top until the impressively tense finale.
These two movies would fit together in a great way for a double bill, I highly suggest you try these out even if on their own, though. Both a good and terrifying ride.
Night of the Comet (1984)
If you want an interesting, tongue-in-cheek style horror with comedy, then look no further: Night of the Comet is the film you’re searching out!
When a strange astral event involving a comet happens, much of humanity is devastated leaving two young ladies to deal with the few humans, madness, and zombies which remain.
A true classic ’80s movie, this one will satisfy a ton of criteria depending on what you want – there are zombie types, there is throwback music, there are funny women, and there is science fiction abound.
This is a lot of fun and I think it’s definitely a zombie movie, just in its own way. You’re not going to find a ton of gore or anything like that. This is first and foremost a retro comedy with horror and science fiction thrown in, but the post-apocalyptic landscape of Los Angeles and the living dead roaming the streets makes this a proper entry on this list.
The Signal (2007)
Honestly I don’t know how this movie hasn’t gotten huge. That’s all right, though. Some movies are meant for a cult classic status, in another 20 years this will find the proper appreciation, the kind it deserves.
The Signal takes place in several sections, taking place in a city after an epidemic occurs spurred on by the signals transmitting through radio waves and television sets, et cetera. One woman tries to make her way to meet a lover after her husband and everyone seem to go crazy from the signal. For her, it becomes an absolute struggle for survival. As her lover does his best to track her down across the devastated city, they both encounter their own trials and tribulations.
When I first saw this one I was blown away. The acting is solid, which helps put the plot over; notably, a favourite actor of mine A.J. Bowen does a spectacular job with a menacing character. Most of all it’s the mix of science fiction and horror I find real interesting. Lots of weird infected-zombie-like action happening, as the citizens of the city all start to just revert into animalistic, primitive men and women only concerned with fighting and killing the next person before they themselves are fought or killed. Scary stuff, but also there’s a good, organic love story built in which I enjoy – when the love stories are forced into horrors or thrillers, I find it so tiring, this one is primarily a romance honestly yet the horror/sci-fi becomes a huge part of it and makes this an epidemic sub-genre film, absolutely. You could do a lot worse than this one, it’s going to find a bigger audience as time goes by. Good one for two partners who want to watch something creepy while also wanting to watching something together: ideal for the pair who’ve got different tastes slightly. Something for everyone here with this romance-horror-science fiction hybrid.
Splinter (2008)/ The Battery (2012)
One last double feature for the horror hounds. This one is the ultimate indie horror tag team, two vastly different movies but very much innovative and lots of fun in their own respect.
To start is the 2008 Splinter – a couple find themselves trapped in a gas station with an escaping criminal, all trying to find off a virus which splinters the bones and insides of its victims, contorting them into awful, terrifying shapes.
This one is nasty and also has great drama going on. The splinter parasite/virus was so intriguing, adding something fresh to the zombie/living dead sub-genre. A fantastic indie film you really have to see.
Then, you’ll need to throw on The Battery, another hugely satisfying indie horror with a premise not always tackled. While still in a zombie apocalypse, this film goes for a much more microcosmic view of the dystopian-horror landscape: two former baseball players try and make their way through the living dead infested countryside of New England, each with their own grating personality to test the other’s patience. This one also has tons of nice drama, while it continually pushes into the zombie sub-genre with good use of the deadheads in the background. First and foremost, you find yourself interested immensely with the relationship between these two men trying to survive in the post-apocalyptic, zombie world. Second, the zombies, the death and the loneliness of the epidemic stricken world all makes this a worthwhile horror.
Two awesome indie horror movies which fit together real nice! A good double bill, fit for a solo viewing or with a friend. These will suck you in and keep you interested with that indie screenwriting, but you’re going to get a nice swift helping of horror to ring in Halloween right here!
Pet Sematary (1989)
Not all of Stephen King’s wonderful stories end up translated onto the screen appropriately. I’m a huge fan of his writing, yet there’s always problems with the films adapted into film from his work.
Pet Sematary, for me, does not fall into the category of problem films. Some others say differently, I’m pretty sure even King himself isn’t a real fan at all, but this one did a number on me, still does each time I see it again. Of course there are parts that could’ve obviously been better executed (maybe this would be fitting for a remake nowadays other than the endless films being remade which don’t need to be). Still, bottom line is that this horror is actually horrific; its tension is there, the atmosphere of dread pervades almost each solitary scene to which we’re treated, and some of the imagery is truly scary.
One scene in particular, involving the wife’s now dead sister, still scars me to this day. Even when I think about it (she’s in the bed forgotten in a room of their house calling out for help; she looks hideous like a person twisted into a monster), the hair raises on the back of my neck. And the rest of the film is pretty chilling, to say the least. Ignore a few of the flaws and you’ll find yourself taken away into a land of terror. The living dead angle of Pet Sematary is another much more personal, intimate take on the whole sub-genre, in a way only Stephen King can tap into so emotionally. Not all of his original novel makes it through in translation, though, I can’t say there’s any missing horror.
Here’s to hoping you’ve enjoyed some of these films before, or that you discovered them here/somewhere else similar and now have come to love them the way I do!
Cheers to a good October and I’m going to have myself an epic movie marathon over the last week leading up to Halloween. Check back for more lists and movie reviews as we get closer to that beloved devilish night of candy, fun, horror and mayhem.