Sometimes dead is better. Wait—wrong movie.
C.H. Newell chats with filmmaker Larry Fessenden about his new film, DEPRAVED, Mary Shelley, the state of America, and more.
The newest film from Larry Fessenden is a fresh take on Mary Shelley's Frankenstein that takes aim at our violent patriarchal culture.
Lucky McKee's MAY dives down a dark rabbit hole inspired by Mary Shelley in a modern world.
Frankenstein’s Army. 2013. Directed by Richard Raaphorst. Screenplay by Miguel Tejada-Flores & Chris W. Mitchell from a story by Tejada-Flores & Raaphorst.
Starring Robert Gwilym, Hon Ping Tang, Alexander Mercury, Luke Newberry, Joshua Sasse, Mark Stevenson, Andrei Zayats, Karel Roden, Klaus Lucas, Cristina Cataline, Jan de Lukowicz, & Zdenek Barinka. MDI Media Group/Dark Sky Films/Pellicola/XYZ Films/Sirena Film/Ministry of Culture of the Czech Republic/The Czech Film Industry Support Programme.
Rated R. 84 minutes.
★★★★ There are no end to people sick of the found footage sub-genre, no matter how it’s used or in what genre it gets repurposed. I’m not one of them, though. For me, if a film can find a way to use found footage that’s at least a little fresh, unique in some way, then I’m really able to get into it. Frankenstein’s Army chooses to not only mash-up the horror and war genres, it further throws in some Mary Shelley DNA with a found footage setup. Honestly, even if it’s not your cup of tea in the end, this is at the very least an idea worth giving a chance.
The film has a lot of creepy things going for it, as well as the fact so much of everything is done practically, using long takes that lend themselves to the found footage format. Director Richard Raaphorst tells an interesting story with an incredibly terrifying plot that never quits. While not everything works all of the time, Frankenstein’s Army is fairly well acted, and the monsters – oh, the monsters! Above all, the horrifying creatures are exactly one of the major reasons why this is effective. Plus, the feeling of a movie trying hard to do some unique monster work, especially through practical effects, is something we’re not often seeing these days. With a few things that could’ve been improved most of the movie is entertaining, as well as dark and definitely disturbing.
On orders from Josef Stalin himself, near the end of World War II a group of Russian soldiers are sent on a mission for the Fatherland. Stalin specifically requests they film everything, so that it might make Russia proud. The troop end up hearing of a number of other soldiers in need of help. When the come across the caretaker of a church, the Russians are led into a terrifying house of horrors; a place where strange creatures lurk in every corner. But what starts as merely an isolated incidents devolves into the soldiers pushing through a massive German factory filled with awful monsters, pieced together from living flesh and metal, pieces of machinery, even propellers. When they discover the caretaker is really Dr. Viktor Frankenstein (Karel Roden), descendant of the original Dr. Frankenstein, the group of soldiers descend into what may as well be Hell.
As the nastiness piles up, none of them are sure they’ll survive until the war is over – in fact, it’s just begun.
After 4,200+ films and counting, a good chunk of those horror, I tend to believe not a whole lot truly scares me. Although, every so often there are things that creep me out, give me a few chills. I must say, there are a couple moments here where I found a creep or two. One scene is after Dmitri (Alexander Mercury) gets tossed down a chute by his fellow soldier, then a creature comes in and grabs a dead body nearby – right after, as Dmitri turns the camera I found that, plus several moments afterwards fairly unsettling. It didn’t shock me to the core, but the way it’s filmed is unsettling. Then once Dmitri goes further and ends up in an office, finding a teddy bear with a woman’s head sewn onto it, the whole thing goes from unsettling to disturbing (check the credits; you’ll find out who that woman-teddy bear is). I love this whole section because then we start getting into the Frankenstein aspect.
And that’s another big reason why I enjoyed the screenplay. Because Frankenstein adaptations are a dime a dozen, or movies and stories that draw from Mary Shelley, such as ‘modern retellings’ and so on. Yet Frankenstein’s Army takes the legacy of the infamous doctor and extends it so that World War II, the Nazis and all they were up to, gets included. That opens up a whole new aspect to the story because the Nazis were into a lot of things experimentation-wise, from medical experiments to hopeful tries towards making ‘supermen’. The original Dr. Frankenstein may as well have gone on to be a Nazi doctor because his work was out of control as it was, attempting to essentially play God, which his supposed descendant here takes to an entirely new level of disturbed.
Many found footage films suffer from a dearth of proper acting. Here, though, we get a main cast who do a fairly good job carrying the material. In addition, Dr. Viktor Frankenstein is played by the ever fabulous Karel Roden, whose talent gives the film an extra quality in the final 20 minutes. His exuberance is terrific, as Viktor starts out subtle then moves quickly into mania, with each minute getting wilder and wilder. Watching him walk around the factory explaining his process, talking of his family history and more, it is quite a treat. In the most morbid way possible. If it weren’t for the actor playing Dmitri and Roden as Frankenstein this wouldn’t have such an interesting finale. But really, the entire cast does a decent job, aside from the old German man that ends up with the soldiers for a short time, along with a boy (the kid wasn’t so bad). It’s not award-winning acting, however, it does the job. Again, the final half hour is a ton of fun, especially the last 19 minutes or so. Dmitri has to endure watching plenty of terror, a few patches of blood and guts, too. It is a grueling end, but packs a gruesome punch.
I’ve got to give Frankenstein’s Army a 4-star rating. Yes, things could’ve been improved at certain points, perhaps some of the bits with the soldiers would do well with a tightening of the screenplay. But it is still one hell of an entertaining horror, bits and pieces of action thrown in and a heavy splash of science fiction. The genre mash-up, all captured in the found footage sub-genre, is spectacular and whereas some films try to do that then end up with too much this movie keeps its eye on the prize. Because really what it aims to be is a monster flick, a creature feature of sorts. Only the jumping-off point is WWII, Nazis, with that extra spice of Frankenstein stirred in. You can do much worse than this if looking for a weird horror to enjoy, or a found footage film. It at least employs the sub-genre in a different way than most of the ‘lost in the woods yelling’ or ‘trapped in a mental hospital yelling’ found footage efforts out there already. Give it a chance.
Victor Frankenstein. 2015. Directed by Paul McGuigan. Screenplay by Max Landis.
Starring Daniel Radcliffe, James McAvoy, Jessica Brown Findlay, Bronson Webb, Daniel Mays, Spencer Wilding, Robin Pearce, Andrew Scott, & Callum Turner. Davis Entertainment/TSG Entertainment/MPC/Twentieth Century Fox Film Corporation.
Rated PG. 110 minutes.
As a fan of Mary Shelley’s groundbreaking novel Frankenstein, the various adaptations throughout the years, as well as stories giving homage to the original while taking liberties with its thematic elements, are always of interest to me. Then there’s Paul McGuigan who was announced to direct this film, which grabbed my attention. I love several of his movies, most of all Gangster No. 1 and the underrated Willem Dafoe-starred The Reckoning, so to imagine him doing some sort of retelling of this science fiction/horror classic seemed exciting. However, in comes Max Landis. He’s a guy many enjoy hating, but I don’t, I never enjoy disliking anybody. It isn’t because of his attitude so much as it’s a disdain for his narcissism in light of his abilities as a writer. He constantly blames studios and anyone else other than himself for the failure of the films he writes to make big box office numbers. His screenplays are often cliche-ridden, though, somehow he insists on being this original thinker of some sort. To be honest, Chronicle and Deer Woman (a short for Masters of Horror directed by his father John Landis) are the only things of his I’ve felt were actually top notch – the former an awesome subversion of the superhero genre, the latter a hilarious take on horror and folklore mixed into one. Unfortunately, the writing in Victor Frankenstein is no better, and it is one of the biggest problems of the film. With a creepy monster that is certainly unique in its own right, a couple good performances (most of all Daniel Radcliffe), this could’ve been a retelling that worked. Only the writing drags this down to a barely mediocre romp through beat down territory, masquerading as if it’s something better.
The look of the film is certainly dark and full of wonder. McGuigan and D.P. Fabian Wagner certainly capture a gritty aesthetic, which helps a great deal. If this looked like any other period piece I wouldn’t have much to enjoy. Particularly, I love some of the gruesome imagery when Victor and Igor are first trying to bring things back to life. The monkey thing they manage to resurrect, then have trouble with, is downright terrifying! Dig it, so hard. Even the body parts Igor works on, as Victor brings them to him “piecemeal”, are nasty and hideous to look at. These elements really take us to the time, like sitting in on the early days of modern technique in medicine. Overall, though, it’s the dreary and bleak aesthetic, the creepy atmosphere and dreadful tone which makes the look and feel of Victor Frankenstein the best part of this whole experience. Lots of nice looking visuals, on the opposite end of the spectrum there are all the shadowy and also disturbing scenes/shots. These two opposing elements make the film great to look at. The sound design and the score are also well worth their work, I really liked the music – favourite part is the piece playing when Igor finds Victor in the massive lab working on resurrecting his Prometheus; lots of good horns, of which I’m a fan.
Max Landis can harp on all he wants about this movie not succeeding as well as planned. Ultimately, his supposed knack for writing eludes me. I was a huge fan of Chronicle, still am. Other than that I’m not exactly sure why anybody thinks he’s anything special. Not trying to rag on the guy. I’m a published author in the short story realm, I know it isn’t easy. But he simply can’t take any criticism, or else you’re labeled someone who “doesn’t get it”, or whatever. Case and point re: his poor writing, some of the quips Victor makes throughout the film are impressively lame. Such as the whole “It‘s alive” scene when the success arrives. I get it, Landis tries to be oh-so-clever and subvert a well-known scene concerning Frankenstein. It simply doesn’t fly, it is lame and he can do better than that. Another thing I don’t like is the tone. At times there’s a playfulness which detracts from all the darkness; the dark I love, Landis pulls out the grittiness of the period, especially all the horrors of burgeoning medical practices (think: draining of abscess). I’m not opposed to comedy. There’s a time and a place for it, and Landis forgets each of those things.
In many parts, Victor Frankenstein is a fun amalgamation of Mary Shelley’s original novel, as well as both the 1931 film Frankenstein and its 1935 sequel The Bride of Frankenstein. The reason it falls short is because there are too many reaching qualities that never get where they intend to go. First, there’s the heavy handed in vitro fertilization remark Landis tosses in, as if Victor is some champion of women. Only that’s just a one-off bit of dialogue for Victor to spout instead of it playing further into his advances in modern medicine (maybe Landis is trying to boost his credibility with women; who knows). The screenplay could’ve done something with this bit, instead it comes out to make Victor look crude instead of it being a testament to his visionary qualities. Second reason for this movie’s failure to be what it ought to – another movie that has an artificial, manufactured love story tossed into the middle of it. While the Kenneth Branagh directed Frankenstein did have a love interest that part of the story helped to further the torment of Frankenstein’s creature, the relationship in this screenplay only serves to fill in spots where nothing else is happening. Really, I don’t understand why so many movies have to include a love angle, as if it’s written into the rulebook somewhere. If it’s organic, sure, but why does there have to be one in here? Why does Igor have to fall for a woman in order for us to watch him develop? Yes, he’s living life now outside of the circus and everything is different. There are enough things going on, though, and adding the love interest in only muddies things, taking away from the main relationship between Igor and Victor. The bit of time spent on this other relationship could’ve been spent strengthening everything else happening.
The finale is exciting, if you like loud bangs and sparks flying, yells, those types of things. Other than that I wasn’t too impressed. This is a 3-star film at best. Shelley’s original story is one I love, and there are absolutely some excellent revisions here, making parts of the film fun. But in the end, Victor Frankenstein has tonal issues and drags on due to a lack of focus. The efforts of McAvoy and Radcliffe are not enough to save this picture, which is too bad because they are talented actors with plenty to offer. Everyone here tries, I can’t even fault Landis for not trying. Simply put, a swing and a miss. Entertaining enough to watch some night with the lights down low, but don’t expect any sort of classic in the making. Because this is only a relatively decent popcorn flick.
Halloween H20: 20 Years Later. 1998. Directed by Steve Miner. Screenplay by Matt Greenberg & Robert Zappia.
Starring Jamie Lee Curtis, Adam Arkin, Michelle Williams, Adam Hann-Byrd, Jodi Lyn O’Keefe, Janet Leigh, Josh Hartnett, LL Cool J, Joseph Gordon-Levitt, Branden Williams, and Nancy Stephens.
Dimension Films/Nightfall Productions/Trancas International Films.
Rated 14A. 86 minutes.
I’m not saying this is a spectacular entry in the Halloween franchise. Nor am I saying this is a wonderful slasher horror movie. That being said, I find Halloween H20 a decent enough sequel. Especially taking into consideration the last couple of the series entries are fairly haggard, specifically the one previous to this – The Curse of Michael Myers.
To see Jamie Lee Curtis come back after 18 years is pretty special. While the movie isn’t anything overly dramatic, there’s enough for Curtis to do. Even further, a young Josh Hartnett and Michelle Williams, plus a sassy LL Cool J make things fun. Even while I do like a couple of the sequels, I enjoy how this one retroactively takes on Michael’s story from after the first two movies. Add to that a return to more simplistic serial killer Michael Myers and this is easily a better sequel than the last. With the series’ iconic mass murderer back to terrorize his long lost sister, H20 doesn’t quite make it above mediocre. However, it has heart in the right place – a cold, bloody slasher heart.
20 years after the events of Halloween/Halloween II, Laurie Strode (Jamie Lee Curtis) is now the dean of a private school in Northern California. Her name is now Keri Tate. Better yet, she has a son named John (Josh Hartnett), a boyfriend named Will (Adam Arkin), and she does a great job running Hillcrest Academy.
Unbeknownst to Keri/Laurie, her brother Michael Myers (Chris Durand) has survived. He tracked down a colleague of Loomis, Marion Chambers (Nancy Stephens), killed her, and found a file on Laurie.
With Michael headed towards her, no clue, eventually Laurie must confront her buried past. Not only that, her son and anyone else in Michael’s path must also come to deal with the past Keri a.k.a Laurie Strode has tried so desperately to leave behind.
There are some great moments in this screenplay. For instance, I love how during one of the classes they’re talking about Mary Shelley’s Frankenstein, which almost directly parallels Laurie’s own feelings about her and Michael, as if he’s almost an entity she created now, giving him power over her. Or, it can sort of foreshadow the deadly events to follow in the wake of Myers and his serial killer tendencies. Either way, it’s a perfect scene, great dialogue including both Curtis & Williams. As well, it brings us back to the original film where a similar employment of literature is used. Such a stellar use of this technique, which brings us full circle with John Carpenter’s original. Also nowadays many other horror movies have done the same thing, emulating the first Halloween. So it’s fun to see that here in this 1998 revival. Too bad the studio couldn’t cough up the money for Carpenter; between his would-be duties here and all the money they rightfully should’ve paid him for the first movie of the series, $10-million was probably a decent price tag.
The writing in this one isn’t nearly as dreadful as the last couple. Particularly when you look at the young people, Hartnett and Williams specifically, there’s good dialogue. Nothing groundbreaking, just not weak like so many slasher films saturating the market. Surprisingly enough, there’s no onscreen sex to be seen, nothing like that. So you don’t really fall into many of the sub-genre tropes often used in these movies. Even LL Cool J’s minor character as the security guard I found enjoyable; he’s idiosyncratic, he writes and reads his writing to his wife over the phone while on-shift, and he is fairly bad ass. Too many of the Halloween series characters are one-dimensional, that’s including some of the major/lead characters. However, despite its shortcomings Halloween H20 has a few characters whose identities are fleshed out enough through the screenplay that I find the movie totally competent on that end. I’m not a huge fan of everywhere the plot weaves, certainly not nearing and including the end, but the one solid aspect of the writing is definitely the script’s characters.
Skate to the face of Joseph Gordon-Levitt! This is only one of the good kill scenes in the film. That one comes fairly quick, too. While there is a nice shot of the skate itself, it isn’t exactly overly gruesome. Does the trick, though. There are a few brutal slasher moments, from the skate in the face, to a hanging dead body, to lots of good stabbing on Michael’s part. It isn’t the bloodiest of all the sequels. Still, we get to see some real proper killing for Michael and his insatiable bloodlust. Again his strength is on display – has anyone noticed if Myers lifts a person up in every one of the movies? He does Laurie’s new boyfriend in pretty rough, a hard stab in the guts then lifts him up in the air a foot or more to make a point. Always with the tough guy routine, Michael. I love it, all the same; his nasty style is part of why I love him as a slasher villain, he’s a tough, messed up dude who’s power is all human yet totally evil.
With a decent little welcome back to the slasher sub-genre of horror, Jamie Lee Curtis leads one of the better sequels since the first couple Halloween films. Even though I’m not a fan of the ending, I can still say this is a 3.5 out of 5 star horror. There’s some good performance, from Curtis to LL to Hartnett. Plus, we find Michael Myers away from the supernatural murkiness that started to make things terrible in the past couple sequels. Back again is the psychopath, the serial killer Michael, which is the one we know and fear/love. So don’t expect this to be one of the best, however, I wouldn’t be afraid of it either. Don’t expect this to fall in line with the last couple entries of the series, there are better things here; even if it isn’t amazing, H20 tries to please. If things were tweaked a bit more, maybe even add a couple more nasty scenes for emphasis on Michael’s return to a more real killer, it’s possible this one could’ve added itself into a sort of trilogy with the first two movies. Either way, I think it’s good enough to warrant being watched and enjoyed – who doesn’t like slasher kills and Jamie Lee?
No Telling. 1991. Directed by Larry Fessenden. Screenplay by Larry Fessenden & Beck Underwood.
Starring Miriam Healy-Louie, Stephen Ramsey, David Van Tieghem, Richard Topol, Ashley Arcement, Robert Brady, Susan Doukas, Ward Burlingham, J.J. Clark, Stanley Taub, Francois Lampietti, and John Van Couvering.
Glass Eye Pix.
Not Rated. 93 minutes.
Larry Fessenden has long been a filmmaker in which I’ve had intense interest. There’s a quality about all his films, no matter how far apart thematically or plot-wise they may be, I’m consistently drawn in by and after every watch, regardless which movie, I usually find his stories on my mind for days.
The first time I saw a Fessenden film was about a decade ago – more like 11 years ago, to be exact. I saw his flick Wendigo on a whim. It was being screened by some group in St. Catharine’s, Ontario where I went to school at the time. There’s a mysterious and eerie air to that movie I couldn’t compare to anything else, at least nothing I’d seen at that point. Not only that, I was going to film school and his filmmaking struck me as such a beautiful, natural process. After seeing more of his work, eventually getting the chance to see Habit, Fessenden became a beacon of light in the indie world. Because his movies, while low budget compared to Hollywood, didn’t feel low budget. He makes use of interesting locations, as well as talented actors to make all the horrific and sometimes completely terrifying aspects of his writing come across.
No Telling is perhaps some of his best work, honestly. Though it isn’t a comment on his skills – he’s always improving, like any true artist. But I find most interesting here the weight and execution of what he’s getting across in this film. Plus, there’s a lovably indie quality to this film which gives it a subtle, special quality. Certainly Fessenden doesn’t appeal to everyone as it is. At the same time, if any of his movies might divide people it is this one – paced with a wonderfully slow burn, there are some intensely gruesome moments in terms of animals; something a portion of people appear to have trouble with. Either way, be prepared: it’s a great non-conventional horror movie.
Geoffrey and Lillian Gaines (Stephen Ramsey/Miriam Healy-Louie) move into a a house during the summer, out in the countryside. Geoffrey is a scientist. He does top-secret work in his barn where a lab is setup. His artist wife Lillian becomes friendly with an activist named Alex Vine (David Van Tieghem), which becomes more frequent as time goes on.
Soon enough, though, Lillian begins to wonder what it is exactly her husband does out in the laboratory. Some days she barely sees him at all. Others, he’s there yet not really, or he sweats uncontrollably, nervous and awkward around any other people. Once Lillian manages to get into the secretive lab, she sees pictures of dissected animals, she finds one of the old traps, and their relationship begins to crumble.
In the same vein as Mary Shelley and her mad Dr. Frankenstein, Fessenden’s No Telling pits man against nature, man against man, and even woman again man.
The basic look of this film is actually incredible. Funny enough, the cinematographer David Shaw actually did nothing after this movie, which is a shame. Though, he did operate Steadicam on a film in’95. It’s crazy because one of the first things I enjoyed about No Telling was the look. The Blu ray comes courtesy of the Larry Fessenden Collection, only recently released; also comes with Habit, Wendigo, and the Last Winter, as well as a ton of extras including short films, music videos and lots of commentary. Really this Blu ray collection is a fucking treasure.
No Telling‘s audio and picture are both unbelievably perfect. The exterior shots are something to behold, then there are great contrasted shots of shadowy goodness inside the barn-laboratory and even at times in the house itself. Again, I’m so amazed Shaw didn’t go on to do more work as cinematographer. Between him and Fessenden there is a wealth of beautifully composed shots, interesting camerawork (angles particularly) and an all around nice style.
Obviously, when you look at this film’s alternate title The Frankenstein Complex, you can easily see – even without doing so – there are roots of this story growing out of Mary Shelley’s original novel Frankenstein. Lots of interesting things happening in this movie, courtesy of the tight screenplay from Fessenden and Beck Underwood. Naturally, this comes out from the young doctor and his experiments. However, the movie takes it further into the idea of man playing god using animals as his subject. You can clearly see how Fessenden feels about animal experimentation; at the same time, he makes a good point for the side of the scientist, as well. As I mentioned earlier, there are a couple particularly savage shots where Geoffrey (Ramsey) is in his barn-lab doing work that might get touchy for anyone sensitive seeing animals in horror movies. But this only serves to create a weird character in Geoffrey, the heinous doctor working out in the isolated farmlands on who knows what sort of mental medical experiments.
The whole film is very heavy in theme. We watch this doctor and his wife sort of spiral into a descent towards a place where life is dark and dangerous. To compliment such darkness, again it’s the camerawork and the style of Fessenden which make it all compelling. One specific shot I can’t stop thinking of comes after Geoffrey puts a few small metal traps out to catch animals around the property – as Lillian is upstairs, the snap of a trap comes in the distance and then a red filter takes over the visuals, slowly cutting and cutting, editing towards shots of a fox (or something similar) baring its teeth, no doubt caught in the trap’s jaws. Very, very effective and such a neat moment. I was caught off-guard, in such a perfect sense. Made my eyes widen and excited me with all its horror. This is only one of the awesome sequences out of this fascinating film.
This is one of my favourite Larry Fessenden films. I’ve seen them all now, especially since getting this collection it’s been easy. 4.5 out of 5 stars, none less. No Telling has a ton of spooky horror, but it isn’t conventional like jumpy stuff. Nor is there a lot of the typical sort of reliance on genre tropes. What Fessenden does here is a create a unique and intensely modern story using Mary Shelley as a very basic framework. Too many seem to pass this off as a mere retelling of Frankenstein. It is so much more. Just take a chance and watch this excellent little indie horror. It will compel and disturb you and surprise you even.
In an effort to try and diversify, I’ve done my best to not include anything I included on last year’s Halloween List. Not to worry: plenty of horror for you here.
Wade on in to find yourself something creepy; one title for every day of the month in no particular order but merely numbered for order.
I’ve tried not to do anything too obscure. Most of these titles you should be able to track down somewhere. But regardless, I wanted to try and name at least a few movies other lists don’t suggest this time of year. Huge fan of John Carpenter’s Halloween (my review here) and even the rest of the series honestly, except for the last couple entries. They’re the ones you always hear about! I’d rather try to go for some titles you either might not know or wouldn’t think to watch.
Now… Let’s get spooked! October is upon you. I watch horror just about every single day of the year. Though I always get excited to share that passion with everyone else leading up that creepy day we all know and love.
1) Let’s Scare Jessica to Death (1971)
An obviously low budget movie, this 1971 underrated gem takes us to the depths of the line between sanity and madness.
To say much of anything would ruin this for you, but the movie follows a young, emotionally and psychologically unstable girl who goes out to a little farmhouse with her husband and their friend, only to experience a living nightmare of sorts after meeting another young redheaded woman who is at the house, drifting and living there.
Some people say this is a vampire film, though, I think it’s mostly because there’s a legend of vampire activity in the story itself. Me? I’d say this is psychological horror at its finest with emotional problems and local legends at its root, driving everything that may (or may not) be happening in the plot. Check this one out! It’s been called one of the scariest films ever, as well as the fact Stephen King has often talked about it in various interviews and I’m always keen to see the movies he thinks are scary. But regardless, I find this is a creeper. I watch it, then there’s always a hesitation to watch it again the next time because it’s that damn unsettling.
2) A Horrible Way to Die (2010)
* My full review is here
Director Adam Wingard and writer Simon Barrett have teamed up since this one to make an excellent slasher infused with dark comedy (You’re Next) and one of the best action-thrillers of the past few years with a throwback aesthetic (The Guest).
But honestly, it’s this film of theirs which really gets me in the gut, punches me hard and sucks the wind out of me. Some complaints I’ve seen are directed at Wingard’s directing, believing the handheld and more chaotic style of the film to be either distracting or simply not enjoyable.
For me, I think the handheld vibe helps A Horrible Way to Die because out of it comes a very intimate feeling. In every scene, whether it’s the serial killer (played by fabulous actor A.J. Bowen) or his sweet and emotionally devastated wife (played by an equally fabulous actor Amy Seimetz), no matter if it’s just them or they are onscreen with another character(s), there’s an incredibly intimacy from the style Wingard chooses to go with that really nails home the visceral feeling of this movie.
Not only that, Barrett’s screenplay is pretty great. It’s sparse and it doesn’t particularly telegraph a whole lot where the plot is headed. Then once the finale kicks in, again, it’s like a gut punch. It hits you hard, not once but twice before finally you can’t help but be in awe of how everything plays out. At least I didn’t see it all coming. I thought things were headed in a much different direction. This is one chilling movie; not really a date horror movie, not necessarily something you’ll want to watch with a group of friends, but rather a film you might consider taking in alone, a bit of a personal and riveting experience for a creepy fall evening.
3) Alone in the Dark (1982)
First off, this is clearly not the Uwe Boll shitfest of a video game adaptation.
1982’s Alone in the Dark is possibly one of my favourite ensemble horror cast movies, at least it’s near the very top. Featuring not only Donald Pleasence, we are treated to some horror with two other powerhouses: Jack Palance and Martin Landau.
I mean, isn’t that just the strangest combination for a slasher horror you could ever imagine?
Simple premise: when a massive power outage happens, a bunch of psychopathic patients from a mental ward break out, searching for the new doctor whom they falsely believe to have killed their old doctor. Honestly, it’s a top notch ’80s era slasher. Not to mention the fact, again, that the three top actors are amazing. For me, a lover of the first Batman from Tim Burton and many of his other works, it’s awesome to see Palance as a crazy, nasty maniac here. There’s one scene in particular where they’re driving around in this truck, or some sort of vehicle, and they’re just tormenting people like the mailman, et cetera; it’s classic dark comedy/horror. Great one to get your murder spree fix, especially if there’s a crew wanting to watch a fun and at times horrific slasher.
4) Carnival of Souls (1962)
This is one of the best, creepiest, most unnerving low budget horror movies I’ve ever seen.
Basically, a woman experiences a car crash, flying into the water off a bridge, and after she survives begins to experience strange happenings: she sees people, a man in particular, pale faced, walking after her, stalking her, appearing almost everywhere she goes. She’s also being drawn to a rundown pavilion, an old carnival, where it seems the strange man and other ghostly people are living.
I have no problem with low budget look, as long as the story and the atmosphere of the film can still be achieved. Carnival of Souls does have a highly independent look, but it doesn’t deter from anything. It’s all black and white, which only adds to the creepiness. Director Herk Harvey uses his imagery in a great way, plus the story itself and the plot maintains its effectiveness. Pop this on for an irregular ghost-like story with some shots that will – I guarantee – haunt your dreams, if you let them.
5) Zombi 2 a.k.a Zombie a.k.a Zombie Flesh Eaters (1979)
* My full Blu ray review is here
Despite the often confusing titles of the film, this is not a sequel, but merely a victim of silly, opportunistic marketing.
Lucio Fulci’s 1979 Zombie is one of the most incredible flesh eating films you’ll ever see! Fulci is classic. He was one of those horror filmmakers who went for broke and sought to bring as much bone/eyeball crunching, blood spurting, neck biting, flesh peeling action as he possibly could in an hour and a half or so.
This movie is no more elaborate than any other in the sub-genre – people are being turned into zombies on an island, the disease itself making its way towards New York City on the boat of a scientist. Horrific madness ensues.
If you’re a zombie enthusiast, or a horror fanatic in general, and you have not seen this: you need to, it is mandatory. You’ve not seen zombies until you see this!
6) The Beyond (1981)
Another Fulci classic – it’s hard for me to decide, though, if pressed The Beyond would be my top pick for his masterpiece (tied with A Lizard in a Woman’s Skin).
Beginning with a woman inheriting an aging hotel in Louisiana, soon it becomes clear the Gates to Hell – The Beyond – sit just below its foundation. When she and a doctor try to escape, they discover The Beyond and earth are becoming one, as the gates have opened and the dead are walking the earth.
This is more of Fulci’s savage and visceral horror mixed with an awesome dose of the supernatural, and yes – zombies! Or at least undead, whatever you want to call them. Others may not agree, but I do honestly think this is Fulci’s best. It’s my favourite, anyways, and I’m always keen to tell people this is a great film for Halloween!
7) In the Mouth of Madness (1994)
John Carpenter is truly one of the masters of horror, up there with the greatest. He’s also got an excellent, darkly comic tone in many of his films. Plus, he does wonders with thrillers; he knows suspense and tension more than anyone else in the horror genre.
In the Mouth of Madness is often described as Lovecraftian, as it plunges into familiar territory to the amazingly creepy H.P. Lovecraft. Sam Neill plays an insurance man sucked into looking for a famous horror fiction author, eventually coming face to face with the author’s own creations all crammed into a tiny, supposedly fictional town. It is one amazingly terrifying movie, at times downright chilling, at others there’s that dark comedy Carpenter does so well. The whole time, though, you’ll find yourself beginning to question – like the main character – what exactly is reality and what is imagination. For a weird and involving bit of horror, take this one out on a scary night.
8) Session 9 (2001)
For a full review, click here.
For me, this is one of the scariest movies of all time. Yes, there are a couple rough moments (re: acting), but you can pin that badge right on David Caruso; I actually don’t dislike him, though, I can’t defend him here. Most of the time he’s good, it’s just a few real stinkers sneak out here and there.
Peter Mullan is who you want to pay attention to. Even while Josh Lucas (before he got big) and Brendan Sexton III give two extremely solid performances, Mullan holds this all together.
Directed by Brad Anderson, written by him and Stephen Gevedon (who also plays a nice role in the film), Session 9 is a slow burn horror, which will gradually push itself under your skin like a splinter. By the time you’re near the end, after the climax has really rocked you and the finale begins, there’s this quiet sense of trauma you might feel. That’s a good thing; means this movie does its job.
Scene of note: when Jeff (Sexton) is running through an underground tunnel while the lights are going out behind him, one by one, his screams drifting out of the darkness, I honestly feel my heart race. Terrifying film, but this scene gets me something fierce.
9) The Sentinel (1977)
For a full review, click here.
Haunted house horror movies are a dime a dozen. There are plenty I love, and even more I don’t like at all. However, The Sentinel is one of the most perfect haunted house stories, to me, on film yet.
When a fashion model moves into a Brooklyn apartment, an old building, terrifying appearances begin to emerge, people who are no longer living seem to be still inhabiting their apartments, among other things.
There’s something about this movie which will always draw me in. I only saw it for the first time about 4 years ago and it floored me. It’s a mix of supernatural horror, religious superstition, and psychological trauma/character study. Amazingly creepy at points, plus there are a handful of amazing actors here from a young Christopher Walken to Chris Sarandon to Ava Gardner and John Carradine, Burgess Meredith, and the delightful Eli Wallach. Oh and a mysteriously dubbed over Jeff Goldblum, which is kind of hilarious, and Jerry Orbach. Perfect haunted house film for when you’ve got a stormy night outside – this will draw you in and creep through your bones!
10) Prince of Darkness (1987)
Already we’re back to Carpenter. But with good reason. Plus you may as well get used to it because there’s at least one more on here; not the one you’d expect, either.
1987’s underrated, overlooked, and only cult appreciated Prince of Darkness has a little bit of everything: religion, zombie-like people, Alice Cooper, Donald Pleasence, ’80s babes with hair to match, and of course – Satan!
When a green ooze is discovered in a canister (no you’re still on the right page this is not a review for the second live-action Teenage Mutant Ninja Turtles film) below a church, a priest assembles a team of mathematicians and scientists in order to study the contents. Turns out, the ooze is as old as time itself: it is the devil, evil in pure material, sensory form. When the ooze begins to make its way out gradually, people are taken over by its terrifying power, from the homeless people wandering around outside the church to the mathematic-scientific team working inside. What begins is a struggle between good and ultimate evil.
This is just a downright awesome movie. Carpenter, as I said, knows how to really build up the suspense and execute his tension in the appropriate way. There are incredible effects (on the Blu ray Carpenter explains them in typically excellent Carpenter fashion; one involved the mercury from a crane, I believe, or something similar they were doing highly unsafely), the acting is good, and Carpenter’s writing is also spot on here – he merges the superstitions of religion, the idea of a pure evil, and brings it into the scientific, intelligible world. Interesting stuff and it’s a creepshow of a movie with more of Carpenter and his dark wit. Good for when you want a movie about good/evil/the devil without all the typical stuff.
11) Mr. Sardonicus (1961)
Another movie it took me years to see, one of William Castle’s best, Mr. Sardonicus tells the tale of a man who digs up his father to find a winning lottery ticket with which he was buried, only to also discover his face has become distorted into a permanent and grotesque smile. When he makes a doctor treat him, the results might be worse than the smile itself.
There are certain classic horror movies you always hear about – anything with Vincent Price or Boris Karloff particularly, and so. Yet there’s never enough buzz about this brilliant Castle flick. I also love his gimmicks, he truly knew what audiences wanted. Screw all the same old 3D movies we see nowadays – Mr. Sardonicus let the audience use the ‘Punishment Poll’, letting them determine what Baron Sardonicus received ultimately as his punishment!
But this isn’t just gimmick. The movie is a gothic romp through the eyes of greed and jealousy and heinousness. Fitting for any wild Halloween night. Definitely a good one for a crowd or pair!
12) The Fog (1980)
For a full review, click here.
We’re back to Carpenter. Yet again! Of course we are.
This is another of my favourite Carpenter films, especially in terms of his pure horror. A great script, great actors, on top of the truly creepy zombies. Or whatever you want to call them – zombies, undead, ghosts, I don’t know.
The story is simple yet very scary – a coastal town’s long buried history literally unearths itself when the members of a disrespected and murdered leper colony return from the dead to come, in the fog, to kill anyone and everyone in their path.
Carpenter creates a wonderful sense of dread with all his tension and then the terror comes on hard once people start to die, once the fog knocks at each door and surrounds every little thing in sight. Pop this on for another spooky, stormy October night. Definitely will get you in a Halloween-y mood.
13) A Clockwork Orange (1971)
For a full review, click here.
I’ve got a sneaking suspicion most of you by now have seen Stanley Kubrick’s shattering dystopian classic A Clockwork Orange. I won’t bore with a recap of the plot. What I will say is this: Kubrick makes this story into a carnival of horrors. Perfect for any October evening, as the masks and lights and colours, the mayhem, the carnage of this film truly speak to Devil’s Night in many ways. Throw this on and get your fix of madness.
14) Livid (2011)
I know not everyone is into subtitled films, but when it comes to horror you’re seriously missing out if you only watch English language movies. So I opted to only include one foreign title on this year’s list.
Livid is a French film about a young woman who begins training as a live-in caregiver to an old woman in a virtually eternal coma; discovering she has some kind of fortune kept hidden in her massive estate, the young woman and her two friends try searching for it. But when they make it inside during the night, things start to get extremely strange for the intruders. They discover it is not mere money, nor jewels, which is the actual treasure in the old lady’s home, but rather something far more sinister.
This is one savagely macabre film at times. There are great elements of a thriller, as well as lots of gothic style stuff happening. I can’t think of a creepier flick to add on to the haunted house viewings already on the list; it may not reinvent the wheel, though, it spins one hell of a tale. Lots of scary stuff lurking in this one, fit for any Halloween celebration when you want something aside from the regular tired recommendations on other lists. Even on mine, this one stands out.
15) Feed (2005)
This is perhaps the weirdest of all the films on this list. Absolutely no way to truly describe it without a full-on description and I don’t want to ruin ANYTHING. So go in without a trailer, but I’ll try and give you a bit of a… taste.
Cross a gritty cop thriller with strange and deadly fetishism, you’ve got Feed: a law enforcement agent falling off the deep end, after too long exploring the savage and rampant sickness floating around the internet, and comes up against one of the most depraved serial killers he has ever known.
Have you ever maybe heard of ‘feeders’ or a similar term? These are men who enjoy feeding women; they like to see them gain weight, they love to watch them consume food and drink, it turns them on. Not sure about the psychology, but it is certainly something different. Well, take that fetish to a truly deadly length.
Put this in only if you’re ready to be tested. While there’s very little blood, barely any at all to speak of, this is still a damn nasty horror. Though, there’s lots of interesting stuff happening. Plus you get a weird and wild performance from Alex O’Loughlin.
16) Angel Heart (1987)
I always hear people talk talk talk about both Robert De Niro and Mickey Rourke, yet there’s rarely ever a reference to the fabulous 1987 Alan Parker directed Angel Heart. Recently it went up on Netflix Canada, so I suppose more minds will end up falling into this one. There needs to be more recognition for this one. It’s almost not really a true horror, rather a twisty supernatural thriller more than anything. Above all, I find the performance of De Niro absolutely fascinating – one role out of his vast filmography I believe is different than the rest and also like the film itself doesn’t receive the credit which it deserves – and Mickey Rourke gives us a level-headed effort which gives his character, aptly named Harry Angel, a very real, very sensible place in an otherwise unreal filmic space.
If you’re craving something dark, macabre, dripping of the filth and sleaze of a New Orleans underbelly packed to the brim with voodoo, murder, and double crossing criminal types, this is the film for you. There are some wonderful themes in here which I find fit the Halloween season perfectly.
17) When a Stranger Calls (1979)
* For my full review of this movie’s terror – click here
There have been films before this (think: original & fantastic Black Christmas) and after which use the ‘killer calling from inside the house’ trope. Almost none better than 1979’s When a Stranger Calls.
Babysitting one night, young Jill Johnson is terrorized by a psychopath who kills the children she is meant to be looking after. Traumatized by the experience somehow she manages to go on and live her life normally. Then seven years later, the same madman comes back to haunt Jill again; now older, a little wiser, she must somehow survive her second brush with insanity.
The best part about this movie, for me, is the fact it replaces the masked or hidden killer and early on in the film we see the killer – we know who he is, in fact we’re treated to a good portion of the plot where the focus is him, his mind, his life or at least his attempt at trying to have one. So instead of seeing a maniac without any real reason behind him, the killer here – played by Tony Beckley in fine fashion – is not so much sympathetic, as much as he is utterly, scarily, and wildly human. That’s the scariness here: without a mask, we’re forced to watch this killer be himself, we’re forced to see who he is and deal with everything it implies. Instead of forcing our feelings of fear off on a masked slasher, our fear is right in our faces.
When you need a slasher but want something actually terrifying without the need for jump scares and all the modern bells/whistles, When a Stranger Calls is calling you: view this one and you’ll no doubt find yourself checking the empty, dark bedrooms before heading to bed on Halloween.
18) Hellions (2015)
* My full review is here
Only recently did this become available on iTunes, but what timing! This is a perfect viewing for Halloween; in fact, wait until the actual night, not just during October. This one is set on Halloween, it pushes the fears of masked unknowns roaming neighbourhoods on Halloween, and there is so much going on.
After discovering she’s pregnant, a young teenage girl finds herself home alone on Halloween, when a group of masked children lay siege to her house. Initially undecided about the child inside her, Devil’s Night will shape her decisions to come after coming face to face with pure evil in pint-size costume and form.
This is a unique movie and will not be for everyone. Director Bruce McDonald – a homegrown Canadian talent – used infrared cameras during the filming, which gives several extended sequences and a good bulk of the movie a pink-ish hue, with the whites, greens, and other colours becoming extremely vibrant. There’s an unbelievable Halloween feel through this technique, apparently it was meant to mirror the effect of the Blood Moon (the script set Halloween on such a lunar event). Not only that, the horror and the terror are all there, in spades, from the creepy creeps to insane moments of blood/gore.
You need a nice savage fix for Halloween? You’ve found the one. Support this one, support Canadian/independent film. Hopefully this will bring the fear, too.
19) Spring (2014)
* My full review is here
This is one of the best horrors I’ve seen in a few years, honestly. Up there with some other great titles. Even further than that, you don’t get too many horror-romance hybrids, other than the awful excuse for whatever you want to call it in Twilight. This film from indie pairing Justin Benson and Aaron Moorehead is a true mix between Lovecraftian style horror and a dramatic romance movie set abroad.
When Evan (Lou Taylor Pucci) flees to Italy from his home in the U.S, precipitated by the death of his ill mother, he is not prepared for anything that’s about to happen. First, it’s more of an exciting, exotic adventure to a new place on a whim. But then he meets a mysterious woman named Louise (Nadia Hilker) and his life heads into a spiral; down into love, down into something deeper, more dark than just love. Louise is not who Evan thinks she is and soon he’ll figure it all out.
Part of Spring is Lovecraftian as I’ve mentioned – you’ll figure out how on your own. There’s good horror with an eerie atmosphere of dread hanging over every last scene, even in the more beautiful bits. Part of Spring is also a touching character piece of a man sort of running away from himself, running away from even being human – having to live and love and let people go – when he meets a woman who changes everything. There’s a lot to enjoy here. You’ll get something romantic, in a strange sense, as well as a good dose of creature feature-like horror. Looking for an interesting twist on the horror genre? Definitely find this one and give it a go (decent price on iTunes), it’s a unique piece of film from two interesting filmmakers.
20) The Last Man on Earth (1964)
Ever see I Am Legend and just think to yourself: this would be way better if it was Vincent Price?
The Last Man on Earth is an all around better film than that mediocre bit of post-apocalyptica. Taken from the same source material – Richard Matheson’s I Am Legend – this 1960s era horror/science fiction classic sees Vincent Price as Dr. Robert Morgan, the titular last man alive. Or is he?
What I like about this is the subtlety. I mean, the Will Smith-starrer was in a post-apocalyptic landscape, yet still there’s this huge blockbuster style as if Michael Bay were sitting behind the wheel. Honestly, it’s just not right. Yet in The Last Man on Earth, we get a real quiet, desolate feeling from start to finish. Even better, I love the way the vampire-humans look and act in this, as opposed to a bunch of CGI’d zombie-like infected humanoids. To each their own, but this is a far spookier vision of Matheson’s original novel than its more recent incarnation. And who can’t love Vincent Price? Here he’s a little less hammy than usual, which I love anyways, though don’t kid yourself – there’s always ham with Vincent. Part of his charm. Most of all this is a seriously creepy picture of a decimated world roamed by a single man and hordes of vampiric humans. Want to get creeped out, put this on alone and let yourself be drawn into the world of this terrifying post-apocalyptic vision out of a 1954 novel from one of the great science fiction writers of the 20th century.
21) Candyman (1992)/ Candyman: Farewell to the Flesh (1995)
So what’s Halloween season without a couple double features? This is the first of three you’ll find in the last heap of this list.
Candyman is one of the first horror movies I remember seeing as a teenager which actually scared me bad enough to give me a nightmare. There’s something about Tony Todd’s performance, his voice and his demeanour all together that creeps the hell out of me. And the story itself, adapted into screenplay by director-writer Bernard Rose, is from Clive Barker originally titled “The Forbidden” out of Volume V from his Books of Blood. That in itself makes things interesting, but this is adapted well and the original story is just solid, so you can’t lose.
Basically this is an urban legend brought to life by the supernatural, as two women research a legend at Cabrini-Green housing projects in Chicago, it actually comes into existence. The Candyman, long ago persecuted, begins to kill people and drive one of the women completely mad. The second film, subtitled Farewell to the Flesh, sees a family torn apart by the Candyman and a young woman become a target of his horrific longing.
I love Candyman, and I even love the sequel. Though, the first is still best. Part of it is Tony Todd, hands down. But apart from that, Bernard Rose does amazing stuff and creates a whole scary aesthetic, from the terror of the visuals to the creeping sound design and score. A scary, dark night is the right one for these two films. You should honestly watch them one after another in a double feature, they’re stellar and will chill you to the bone.
22) Black Death (2010)
Oh man, what a work of horror this is – set in medieval times, as the black plague is spreading, an English monk is tasked with heading to a remote village, alongside a knight and his crew of nasty outsiders, in order to figure out where the witchcraft originating the disease is hiding.
There’s sorcery and witchcraft, action involving medieval misfit bounty hunters; there’s Sean Bean being a bad ass; there are medieval zombie corpses; and much, much more.
What I love in this is the story, the plot, as well as the solid acting from Bean and Eddie Redmayne, along with others you’ll surely enjoy. Medieval times are ripe for horror and do not get used enough, at least not correctly. This film in particular, directed by Christopher Smith (Triangle, Severance, Creep), gets just about everything right for this savage period piece. Plenty of weird darkness happening, lots of bloody horror, and you’ll love the finale: it’s a god damn barn burner!
23) The Wicker Man (1973)
For a full review, click here.
Ever see a movie you’ll never forget? One that leaves a mark on you forever?
The Wicker Man is one of those for me. About 15 years ago, I saw this one very late at night and during the climax of the film was absolutely jarred. Stuck to the screen, what happened in the final moments really leapt out at me and latched on, never letting go. Every time I watch this, I can’t get it out of my mind for a good while afterwards.
I won’t say too much, just in case you’ve yet to see it, trust me – it is a really unique experience. With Christopher Lee playing an absolutely delightfully demented local leader, a sort of enigmatic and lord-like cult figure, you’re sure to find this unsettling. Give it some time. At first, and for a little bit, the movie might seem to be something quite unlike any horror you imagined. But once things start moving, the horror is evident underneath it all. Put this on for a real fall-style horror night. Maybe in the early evening, as the changed leaves are hanging in shadow, and the October weather outside seems delightful… this horror thriller, set in the Scottish countryside, will change all that.
24) Starry Eyes (2014)
* My full review is here
Never has the quest for fame ever been displayed so intensely and terrifying as it is in Starry Eyes. Following a young woman trying her best to break into Hollywood, or at least the outer fringes, the story takes us on an aspiring actress’ journey in the film world, which becomes more like a descent into the lower bowels of Hell.
This indie film was on my radar for a year or more before it came out, simply because the poster art was glorious and the synopsis looked to be pretty intriguing. Was I surprised, though! Most of all, amongst the horror and the insane body-horror coming out during the finale, Alex Essoe – who plays main character Sarah – cranks up the bar for indie film acting with her performance. There’s nothing else I can say without giving up too much. Go in without watching a trailer even and you’re going to see something unexpected. This will rock you. A good one for a group of friends, a pair, or solo; just let it grab you and the horror will blow you away.
25) Don’t Go in the House (1979)
For a full review, click here.
A lot of people will probably say this is a horrible attempt at the slasher sub-genre. Somewhere, though, I remember reading one of the best analyses of Don’t Go in the House, and it accurately described how this movie was almost the film metaphor of the death of the 1970s. I won’t go on too much more, just consider that while watching.
Simple pitch? This movie sees a young man, whose tortured childhood under a ruthless and sick mother who burned him (literally and figuratively), stalk women, bring them to his home, then trap them in a steel room downstairs where he’ll burn them alive.
Nasty enough for you? There’s lots of silliness here, no doubt whatsoever. But there is more to it, there is some kind of really palpable atmosphere here amongst everything else. With disco music and burning humans, there is certainly a bit of Halloween-y goodness happening in a good portion of scenes. Naturally, there is ’80s cheese, too.
An amazing flick to choose if you’re going to have a few people over to watch some movies. Have a laugh with this, but remember – keep in mind there may be more to it, no matter how low budget or whatever else you deem it the movie may be. Despite any of that, there’s lots of nasty horror here in slasher movie form to please your needs and wants this Halloween season.
26) Asylum Blackout a.k.a The Incident (2011)
* For a full review – click here
This one came out of nowhere for me. Usually I like to pride myself on keeping an ear to the ground for all sorts of horror; even the most diligent of us fanatics fall short some times, right?
Well Asylum Blackout, while deemed amateurish by others, is an awesomely creepy piece of horror.
After a power outage knocks the communications and electricity out at an asylum, the guards and staff members must band together in order to try and survive through the night, or at the least until some sort of help and hope arrives in the form of police. But the inmates overcome the main guard and some of the others, leaving only the staff, the young stoner musicians in the kitchen to face off against the violent and mentally unstable patients running amok in the corridors.
There’s lots of style in this one, but also some nice bits of substance. We get more character than you’d expect, though it isn’t exactly sprawling – still, it’s nice to get any when it comes to modern horror, so many movies opting only for scares and style without anything beneath as its foundation. With this movie, I found myself really falling into feeling for the guys in the kitchen, they weren’t all the smartest or all hugely stand-up guys, yet they were sympathetic characters and I was putting myself right in their shoes. The very last shot is a bit foolish and I wish the filmmakers opted for a different close. Other than this moment, I loved everything else.
Close to Halloween, when the mood is right, put on a copy of this one (available through Google Play at a great price to rent or buy). A group watch is definitely recommended; you’ll be talking to the characters, laughing at times, gasping at others. Hopefully this one will terrify you because it certainly pulled a number on me.
27) Murder Party (2007)
Admittedly I’m not huge on horror comedy. I love dark comedy in horror, and I do love comedies (obviously a horror hound). There’s just something about horror-comedy I’m not always game for, but time and time again there are movies which prove as exceptions – big time – to this self-imposed rule of mine.
One such film that many people I know haven’t yet seen, or even heard of, is Murder Party. This is a fantastic little indie horror-comedy from director-writer Jeremy Saulnier; you may have heard of his impressive indie revenge-thriller Blue Ruin, or perhaps the film I’m DYING TO SEE, his new Neo-Nazi versus punk band concoction Green Room.
Beginning with a nice, quiet guy who finds an invitation to a Murder Party on the street, this movie is full of hilariously hipsterized characters (who you’ll be aching to see perish), nasty horror effects done practically and wonderfully, and then there’s the main character’s journey which will make you laugh and cringe at times.
If you want a good movie for Halloween day/night, this is perfect! A great comedy with equal amounts of fun horror, this is not one you’ll regret spending time to watch. Lots of fun for the 31st here! Maybe even one to put on whilst the little trick or treaters make their way to and from your door.
28) Maniac (1980)/ Maniac (2012)
Another double feature, this time a horrific, savage opus – the 1980 William Lustig-directed, Joe Spinell-starring Maniac versus the Alexandre Aja-produced, Franck Khalfoun-directed 2012 remake. Honestly, I’m a huge fan of both, for different reasons.
The original is a character study in absolute depravity, focusing in on Spinell’s version of a real, raw, genuine maniac whose issues with women have turned into something absolutely awful. There’s something painful about this character, which Spinell brings across in such a clear way it almost hurts you to see him resorting to the murders he commits out in the night, stalking the city streets.
Then in the 2012 remake, there’s not just Elijah Wood doing a great job with a partly sympathetic but mostly vile and horrible character, Khalfoun further makes things interesting by employing the use of 1st-person P.O.V throughout the entire film. There’s something really creepy about finding ourselves directly behind the eyes of the killer, only stepping outside his immediate perspective in a few brief shots.
Each of these movies has its merits, but for me I’m a bigger fan of the 2012 version. Seriously. I bet I’ll piss off tons of so-called horror movie purists. Whatever. I haven’t the time or effort to pretend I care. I love Wood as the character, even more than Spinell whose creepiness is astounding – and he’s a good actor generally – there’s something in this new one that just gets to me further. I think Spinell lent himself to the role because of his natural appearance and also his acting talents, but Wood’s boy-nextdoor appearance countered with the maniac in him becomes something wild over the film’s runtime.
Want gore and depraved characters, plus really incredible practical makeup effects? You’ve come to the right place. Double feature these two and you’ll be set for a Halloween season night when full-on, balls out horror is knocking at your door.
* My full review of the 2012 remake is here
29) Shivers (1975)/ Rabid (1977)
This last double feature is from a favourite director of mine, a fellow Canadian – David Cronenberg. The master of body horror, a true auteur.
His 1975 film Shivers takes psychosexual horror to another plateau, as an apartment complex becomes overridden with zombie-like humans – not dead, these are humans with pulses. However, these living, breathing people are sex crazed, and they’re passing on a terrible virus, multiplying, over and over.
If there were ever a pre-It Follows classic concerning sexually transmitted disease – hell if there were ever a precursor to some of the epidemic films we see today – Shivers is one of the most significant out there. Word has it Dan O’Bannon saw this film and loved it, inspiring in part his ideas for Ridley Scott’s Alien four years later. You want to get terrified of sex and the human body? Shivers will get you and it will work its way under your skin, under your nails; it will get inside you.
Two years after Shivers, Cronenberg came back at it again with Rabid starring Marilyn Chambers – the story of a young woman whose experimental plastic surgery after an accident turns her into a unsatisfiable zombie-like creature, rabid, seeking out blood, and this soon becomes a city-wide infection, reaching far and wide.
Another foray into the epidemic sub-genre of horror, Cronenberg’s Rabid is a low budget, fierce piece of work that is very much a visceral experience. As is usual, this movie is all-out body horror right from the start and Cronenberg is right at home in this area.
I think if you’re looking for zombies this October/Halloween, forego all the typical stuff one night and opt for the David Cronenberg epidemic duo of Shivers and Rabid; a healthy meal of zombie-styled horror in a devilish, excellent Canadian wrapper.
My full review of Shivers is here.
30) May (2002)
For a full review, click here.
Lucky McKee attracted me immediately to his work with this modern reinterpretation of Mary Shelley’s Frankenstein.
May follows the young alienated titular woman whose only friend is a doll she’s had nearly her entire life; it helped her get through all the tough life moments, especially difficult for May with her lazy eye problem and distant nature. She has an obsession with hands and meets an interesting young guy whose love of all things weird draws her close. But after his rejection, May is determined that each person is horrible except for ONE SINGLE PART; or in this man’s case, two small parts. From there, her journey to find and create the perfect companion, the perfect friend and lover begins, and there is no telling how far May will go in order to secure a happy and fruitful relationship.
What I love about this? Everything. The acting, the plot, the writing, plus it has a great soundtrack to boot. Including a few costumes on Halloween, this is a perfect movie to spook you out, as well as make you laugh inappropriately a ton and feel awkward a little. What good horror doesn’t do those things? Okay, well not all make you laugh, but a real horror movie is absolutely going to make you feel uncomfortable at least once or twice. Dive in – this one is unique and a nice spin on an old story.
31) The Others (2001)
From the director of another fabulously chilling work of horror, Tesis, this is a stellar story of despair, ghosts, and haunted places. While you could say this is a haunted house style film, I think it’s more strictly about ghosts than an overall haunting. I say that for a particular reason, which I’m sure you’ll understand after watching.
The Others gives us a story of a reclusive family and their new caretakers, all of whom end up dealing with spooky presences all about the large estate on which they live. While the husband is off with the war presumably, the mother of the family looks after her children, doting on them, protecting at all costs. Once ghosts begin to all but leak from the very walls around them, the mother tries to discover exactly what is going on.
The performance from Nicole Kidman is solid, the music and atmosphere are all perfectly sinister and beyond scary with lots of suspense and tension. There’s nothing I can complain about here and it makes for some fine ghost story telling. The ending still surprises me now, even though I know it, simply because I find myself gripped by the plot and the aesthetic of the film overall just really works its magic. Perfect ghost film for an October night, certainly for Halloween when the night is dark and people are roaming the streets, sounds filtering through the windows in bits and pieces. This really has a fitting atmosphere for that type of evening.
I hope everyone found something worth watching off the list. If you’ve got any suggestions, I’m likely to have seen them but still want to hear what everyone else likes to watch for October and the Halloween season of fright.
Drop a comment if you want and I’d love to hear what you’re watching, as well as if you’ve been digging the movies here.
Happy Halloween to all, my friends!
Closer to God. 2014. Directed and Written by Billy Senese. Starring Jeremy Childs, Shelean Newman, Shannon Hoppe, David Alford, and Isaac Disney. LC Pictures. Unrated. 81 minutes. Horror/Sci-Fi/Thriller.
Usually I keep my ear out and head up for any new horror films that sound different, or for whatever reason pique my interest. Closer to God went on the checklist of my IMDB account a long while back, before there was ever a trailer, any pictures online. It was just a poster. Not the one I’ve put on here, but a simple red background with a black outlined tree extending its roots out underneath down towards the movie’s title.
I was surprised when I finally got to see Closer to God because, though it’s not a masterpiece by any stretch of the imagination, the film was really interesting. Billy Senese, both writer and director, crafts a decent tale of horror, which acts as a film metaphor for the fears people get over human cloning, genetic manipulation, and the ethical/moral implications and ramifications of these practices. While it very literally tackles the subject, the ideas work well with the horror element of the film. This turns out to be more horror than science fiction, even if it wishes to be more the latter.
Dr. Victor Reed (Jeremy Childs) has completed the first successful cloning of a human being. He creates a baby girl – Elizabeth. She is a full-on experiment; made for research and genetic modifications. Not to mention little Elizabeth is made with the genetics of Dr. Reed/an unnamed individual. Naturally everyone is outraged. People hate what the doctor is doing, but they’ve got no idea what else is going on inside the house.
While the storm of angry people push on, morally outraged by the new cloned baby, another child is causing trouble – Ethan.
The housekeepers at Dr. Reed’s home, Mary and Richard (Shelean Newman and Richard Alford), are trying to take care of this boy, troubled little Ethan, who seems to be proving too much. Things only get more difficult, and it turns out Ethan is growing, he’s hurting, and he might just want to get the hell out of the good doctor’s family home.
Something I’m a little tired of is all these indie films, horror or science fiction, which try to be the next Frankenstein. I love Mary Shelley – I’ve read the book, loved it, and I even enjoy the Kenneth Branagh starred-directed version. What I’m sick of is the fact that either critics try to claim a movie is drawing from Shelley, or the film itself relies too heavily on those comparisons within the script. I mean, there’s even a point where we see someone hold up a sign that says – you guessed it – FRANKENSTEIN! And someone literally calls Dr. Reed – Dr. Frankenstein.
Plus, Dr. Reed’s first name is Victor. Y’know, it just feels like a thick layer of cheese over top of what could be a good enough film on its own.
It’s a tired, tired comparison. And I get it, the obviousness of it sits right in front of us. I’ve discussed the ethics of human cloning enough via university courses in Philosophy and English Literature to last me a full lifetime.
My biggest issue is that, by relying on the comparison between its own material and Shelley’s Frankenstein, Senese creates an environment where there’s too much reliance on the comparison itself. Frequently the Frankenstein connection comes out, as I mentioned before, and it’s so often that the whole concept becomes annoying. Senese easily created an atmosphere of dread and tension without invoking Shelley, over and over.
When Closer to God really works, though, it works.
A scene truly got to me a little ways in; when Mary (Shelean Newman) goes up to bring Ethan some food. We get a glimpse of him in the corner – you can only barely make out his face, but it is one of pure evil, or emptiness, a void lacking any humanity. He doesn’t make a sound, Mary is clearly unnerved. She leaves, but just as she does and the camera moves back with her Ethan comes running out to the table, smashing things, and screaming in this utterly soul crushing voice that cuts through your skin and your bones. I like to think I’ve seen a lot of horror – in general I’m up to almost 4,100 films in total – but this moment genuinely frightened the shit out into my pants. I was wide-eyed and actually had to text my girlfriend, who is out on a Saturday night unlike her cinephile boyfriend, to tell her how scary the damn scene came off. A great, great bit of subtle horror.
There’s another creepy, brief scene I like, but it’s not nearly as terrifying. There’s an almost horror-beauty to it: Dr. Reed heads out to the gate in front of his house and watches as protesters lob burning plastic baby dolls over and into the yard, just about right at his feet. The way Childs simply stands there, watching these flaming plastic heaps come at him – it’s eerily appealing.
As most of the reviews so far have pointed out, the perhaps greatest part of the entire film is the central performance by Jeremy Childs as Doctor Victor Reed. He is an unconventional looking guy to be the lead of a movie – not that I care because I love movies that feel like their characters are real people. There are just so many perfect moments where Childs pulls off the doctor so well. A great exchange happens after SPOILER AHEAD Mary is killed by Ethan – Victor and his wife Claire (Shannon Hoppe) have a short yet rough argument, and Childs does great work with the dialogue between them. He is believable, and that’s what sells the character of Dr. Reed; no matter how cheerily named after Shelley’s titular doctor he may be.
I think if the lead in Closer to God had to have been someone weaker there are tons of scenes that wouldn’t have been able to carry the emotion they did. The chemistry between Childs and Hoppe as the troubled married couple is good stuff. Too many independent films suffer from having wooden acting, along with bad dialogue. These two really sell the fact they are a married couple, it feels like a bad relationship of course, especially considering the circumstances of the film, but it’s real, it doesn’t come out forced and you don’t see two actors acting as husband and wife. The movie is immersive, and certainly the fact Senese wrote a decent script helped that along.
In the end, I think what detracts most from this movie being great is the fact it doesn’t pay out on all the ideas of morality and ethics surrounding the original premise. We get excellently developed tension, a slow and steady pace for most of the film, and then it devolves from what could’ve been, at times, fairly profound horror/science fiction.
Instead of doing more with the science fiction angle, Closer to God drops off into complete horror. Not that there’s anything wrong with that either, I am a horror hound. But I can’t help feeling at least slightly cheated, in a sense. There’s a promise of grand concepts here. The finale of the film becomes a typical sort of thing – I don’t want to fully ruin the ending or anything. Mainly, I love how creepy the Ethan character was, I just don’t think Billy Senese went anywhere innovative or fresh with what he was doing. Essentially all those Frankenstein comparisons never truly go anywhere, all paths leading to a slasher film-like conclusion.
I think Closer to God, for all its creepiness and tension and the incredibly believable performance by Jeremy Childs, is still only a 3 out of 5 star film for me. There was so much promise in the whole project, but I feel as if Billy Senese squandered a lot of what he’d built up. Again, the comparisons to Mary Shelley’s famous gothic horror novel is an angle I’m frankly done with unless it gets taken somewhere useful.
Don’t get me wrong. There are some beyond creepy scenes in this film. So much of the material involving the failed experiment of Dr. Victor Reed’s that is his “son” Ethan could have really went into incredible territory. Unfortunately, that territory never gets explored. What Senese does with the material is creep us out awhile and then go for the jugular with a far too heavy handed approach at the finish.
Check this out if you’d like to see some interesting horror/science fiction, but know this: it is mostly generic horror you will find. Even with the supremely creepy bits sprinkled throughout, Closer to God is closer to nothing special. See it for, if anything, Jeremy Childs, and a handful of eerie scenes.
The Bride of Frankenstein. 1935. Dir. James Whale. Screenplay by William Hurlbut.
Starring Boris Karloff, Elsa Lanchester, Colin Clive, Valerie Hobson, Ernest Thesiger, Gavin Gordon, Douglas Walton, and Una O’Connor. Universal Pictures.
Rated G. 75 minutes.
★★★★ (Blu ray release)
For my earlier Blu ray review of James Whale’s original Frankenstein click here.
I can tell you one thing off the bat – I really could have done without Gavin Gordon’s eloquently rolling speech as Lord Byron in the opening scene. Really love how the film starts, I just cannot handle his dialogue. It nearly prompted me to fast forward, but I rarely ever do that.
Plus, if I did that I would’ve missed a beautiful shot I love: as the present day gives way to the story’s plot, starting after The Monster has apparently died and fire burns, the camera pulls away from Lord Byron, Percy Bysshe Shelley, and Mary Shelley while they all talk about her story Frankenstein. This shot slays me. It is as beautiful as anything you could ever see. The camera hauls back, transitioning to the story, and while it does we see the room grow larger and larger, looming around Byron and the Shelleys. There’s a haunting quality to it.
The Bride of Frankenstein for me is almost better than its predecessor. It has to do with the fact I didn’t particularly care for a lot of the changes the first film made to Shelley’s original novel. Where The Bride of Frankenstein is itself a new story, inspired by parts of the original novel and of course the film before, it thrilled me more because it was James Whale taking on fresh material; essentially, building on his vision of Frankenstein further.
There is a little bit more hamming in regards to acting. You can’t let that take away from this film. In 1935 there was still, naturally, a lot of reference to the stage. Film was not exactly an old medium. Many actors no doubt relied on their training as stage actors in plays or musicals, whatever, to guide their performances on film. The one performance which I really can’t stand (aside from the irritating portrayal of Lord Byron in the opening scene, which I can forgive as it isn’t long) is that of Una O’Connor who plays Minnie. She was apparently a favourite of Whale’s, and supposed to be comic relief from what I gather. However, this film could have, and would have, worked just as well with no overbearing comedy, which is exactly what O’Connor provides. Her shrieking and wailing does nothing for me. I hated every minute of it. I particularly hate her overreaction to meeting The Monster, just moments after he has grimly dispatched a couple people (that part is actually crazy for the time). O’Connor’s reaction to The Monster is so over the top it pains me to watch. It could’ve been a really frightening moment. Instead they go for a real gag almost. May as well have been Curly, Larry, or Moe instead of Minnie.
Aside from O’Connor, however, I really enjoy a lot of the other performances. Clive, again, is a good Frankenstein, albeit still named Henry of course. Ernest Thesiger comes as a great addition to this sequel. He plays the part of Doctor Septimus Pretorius, who is the former mentor of Henry Frankenstein. His performance is more than adequately creepy and quirky.
Not only that but the inclusion of the character provides a particularly memorable scene for The Bride of Frankenstein when Pretorius shows his protege a bunch of miniature people he has created, homunculi, such as a king and queen, and more. For the time, especially, this one scene was incredibly innovative. Today we take those things for granted. In 1935, showing a doctor displaying a bunch of tiny people in snowglobe-like encasements, moving around and talking, et cetera, was incredible. It looks flawless. On Blu ray this scene looks really incredible, the picture is beautiful and it would be hard to imagine someone not being able to appreciate it.
One of my other favourite scenes from The Bride of Frankenstein is the meeting of The Monster and the blind hermit. The Monster wanders into his home because the man is playing the violin; he does a beautiful rendition of “Ave Maria”. This scene looks wonderful, as does most of the film, but it’s also emotional. The two meet and become friends. The blind man identifies with the grunting man-monster; neither of them are working with their full faculties. Of course it doesn’t last long. While it does, though, it is spectacular. Karloff again does a great job of subtly portraying The Monster as a misunderstood and confused character. He truly was one of the greatest actors. In the first film he did a magnificent job, here he is able to expand upon that characterization, and really makes The Monster a good tribute to what I believe were Shelley’s intentions for him in the original novel. They fit very well together. Also, this pairs well with Elsa Lanchester’s portrayal of The Monster’s eventual life partner, which is a sight to behold.
Though The Bride of Frankenstein Blu ray doesn’t have as many features as the first film’s release by Universal Pictures, there is still a great featurette (featuring the ever-knowledgeable Joe Dante) called “She’s Alive! Creating The Bride of Frankenstein“, which examines all sorts of aspects related to the film. This includes interviews with a bunch of people, such as Bill Condon and and great narration by Dante. I really enjoyed this small documentary. The focus honed in on James Whale in particular. Everyone discusses The Bride of Frankenstein, but touches on his other horror films, and the incredible visionary outlook he had. Also included on the Blu ray release is some nice commentary by film historian Scott MacQueen, as well as “The Bride of Frankenstein archives” which is a lot of production stills from the film set, posters, artwork, and so on.
As a film, I would have to give The Bride of Frankenstein a 4 out of 5 stars. I really wish some of the outright comedy didn’t find its way in here. They say Whale is known for his playfulness in that sense, and in other films I can totally jive with it, but here it feels out of place to me. Or maybe it’s only out of place for my taste, and that could be because of O’Connor’s performance. Regardless, there is a still a ham-ish quality to The Bride of Frankenstein which I don’t feel totally belongs. I know the concept is a bit out there, and perhaps due to that the slight bit of comedy in here works for some. I just don’t necessarily believe that in a horror film an out there concept needs to be treated with any sense of comedy. It’s not as if the laughs are dripping out of every scene, not even many really, but it is there, and if the whole film were played with an even more deadly serious tone it would have worked. It works as is, but that’s just my opinion on something it may have lacked.
The Blu ray release also gets a 4 out of 5 stars. I really did like the special features included, but I feel like for a Universal Pictures film, one that is so adored according to most sources, there’s a lack of extras. The featurette narrated by Joe Dante is awesome, but really – they couldn’t find anything else except a slideshow of pictures over music and a film history’s commentary? I just find it strange. The Blu ray restoration of Whale’s 1931 Frankenstein has a lot of great stuff, and this just seems like they didn’t have much. Maybe there wasn’t much, but still – I find it hard to believe. Enjoyable features included nonetheless, though not as much as I would’ve liked.
The picture itself is unbelievable. Whale’s film uses setting and atmosphere, as well as makeup and lighting, to really make its story work. There are beautiful and horrifying moments, sometimes all wrapped into one, throughout the film. The mood is set completely through how Whale makes everything so grim and gloomy. The Blu ray definition makes this classic truly worthwhile. Especially if you have never seen the film, you will be blown away at how gorgeous the picture quality looks here in this release. You’re able to capture all the shadows and the creepy lighting and the terrifying makeup in such beauty here. Really an incredible job.
Anyone who has yet to see this film, do check it out as soon as possible. It is no doubt a classic. However, don’t feel like it’s untouchable. Classics aren’t perfect just because they’re classics. No matter, The Bride of Frankenstein is a beautiful horror film worth watching, and will always remain a classic.
Frankenstein. 1931. Dir. James Whale. Screenplay by Garrett Fort & Francis Edward Faragoh.
Starring Colin Clive, Mae Clarke, John Boles, and Boris Karloff. Universal Pictures.
Unrated. 70 minutes.
★★★★★ (Blu ray release)
For my review of the excellent sequel, 1935’s The Bride of Frankenstein, click here.
I won’t bore anyone by recounting the plot of Frankenstein because, not to sound snobbish or anything, if you haven’t seen it by now then that’s ridiculous. This really is one of the classic horrors of the film world. Regardless, everyone knows the story of Frankenstein because it’s one of those tales that really stood the test of time; in fact when Mary Shelley wrote the book it was ahead of its time. And if you haven’t seen it you’ve probably seen some other work which had its primary influence developed due to Shelley’s novel.
That being said the film is excellent. My personal problem with this version of Frankenstein is mainly a subjective thing. I try not to negatively judge the film adaptation of a novel of which I’m a fan. It isn’t fair. Film and novels are two entirely separate universes. While reading a novel you have no choice but to use your imagination, guided by the words of an author. However, while watching a film you’re essentially subjected to the imagination of the filmmakers. You have no choice but to shut off your imagination, for the most part (depending on what sort of film you’re watching – avant garde film, for instance, usually requires the imagination to be in full gear). Either way, I can’t help but feel as if James Whale’s adaptation of the Shelly novel missed out on some spectacular opportunities.
Now, of course, this was made in 1931. Though at the time I’m sure it was a lot of money, the film only cost a little over $250,000 to make (it would go on to make $12-million in domestic box office and who knows how much in video sales, and continues to make). I can forgive them to a certain extent for not fully going along with the entire story. There’s also the fact portions of Shelley’s novel are written in epistolary pieces, which frame the story; letters to and from characters. These, which occur right at the beginning of Frankenstein, are set on an expedition near the North Pole. My first thought as to why the screenwriters (the credits for the writing are actually a mess, as far as I’m concerned) decided not to start the film the way in which the novel begins is because maybe they felt audiences at the time might not respond to Henry Frankenstein (another change I just didn’t like) the same way. In the novel, we meet Victor Frankenstein through the eyes of Captain Robert Walton (who is writing the letters); he is near the North Pole, in the freezing cold, disturbed, lost, all sorts of a mess. Before he recounts the story of his terror-filled life, we already know he has suffered the consequences of whatever he’s done. I just feel as if the novel’s opening works perfectly for the characters. But of course, Henry Frankenstein is quite a different sort than Victor.
The monster looks great for 1931. Not to mention Boris Karloff does an incredible job of acting as Frankenstein’s monster. The performance isn’t overdone. Some of the subtleties in Karloff’s Monster are amazing. The first time we actually see him it’s brilliance. Everything moves so slow. And of course there’s the famous scene of the Monster befriending a little girl; you almost well up with fear beforehand, wondering exactly what will happen, and the Monster goes right ahead subverting our expectations. Until things go a little bit too far. It’s a really wonderful moment.
However, all that being said, I still prefer the descriptions of the monster in Shelley’s novel to the visualization in film. You can’t simply pass that off as this being done in 1931, either. It’s not the problem. They simply toned it down. Yes, that has to do with audiences in 1931, but that didn’t totally limit them. The make-up effects didn’t have to be terribly gruesome. I just imagine Frankenstein’s monster looking less like a man in a lot of regards. Karloff looks great, and actually does appear creepy a lot of times, mostly in his facial expressions. But the Monster in the novel is far more terrifying. I know, again, this is a very subjective line of critiquing. Whale’s film did a fine job enough with the horror, but that there were a lot of other opportunities he could have mined to really horrify audiences. I can only imagine seeing this at the time – I would’ve shit myself. Still, this movie does a great job even today of being highly creepy. There are just a lot of missed chances I wish Whale had taken.
Aside from my problems with the translation into film, it’s still a classic, as I mentioned in the beginning. The iconic status of Frankenstein’s Monster is unparalleled. He is parodied in countless other films and television shows (I think of, more recently, a skit on Chappelle’s Show involving African-Americanized versions of Frankenstein’s monster, as well as the Mummy and the Wolf-Man). The core of the story about Frankenstein and his Monster has been used in various other novels, films, and so on; the idea of playing god, making a man, et cetera. It is something that endures on and on. It’ll continue to do so, as every Halloween you no doubt see at least one kid walking around with a Frankenstein’s Monster costume on (although everybody mistakenly calls the Monster Frankenstein when really he has no name, and is Frankenstein’s Monster… but whatever). It’s one of those tales we cannot forget. And film adaptations help these novels extend their lives further into new generations.
The Blu ray release by Universal Pictures is absolutely magnificent. The picture was digitally restored, and it’s shocking how great the film looks in such beautiful high definition. I’d seen Frankenstein countless times before. Once I watched this I couldn’t believe my eyes. Not only is the picture worth the price, but there are a bunch of really interesting special features. One such extra is a short film called Boo! which is a comedy lampooning Universal’s own horrors such as The Cat Creeps and Frankenstein, as well as their own Dracula; however, instead of using footage from their own version they used the German Nosferatu, eine Symphonie des Grauens. It’s actually a riot. You can imagine this being done today, honestly. A few jokes about cosmetic surgery and congress, a couple more using quick reverse-fast forward sequences, and hilarity ensues.
Other extras include a fun little bit called Monster Tracks: basically at various points throughout the film bits of trivia will pop up on the screen. For instance, there are some fun pieces concerning the scene where Frankenstein ‘plays’ with the girl by the lake (such as how Whale wanted Karloff to throw the girl in insisting “You see it’s all part of the ritual”). Furthermore, you’ve got some little documentaries & featurettes like “Karloff: The Gentle Monster” (including interviews with everyone from several Karloff biographers to the likes of Joe Dante, Ramsey Campbell and Richard Gordon) and “The Frankenstein Files: How Hollywood Made a Monster”. These are some awesome little bits to fill in the release. We got a lot of great insight behind the film itself, as well as its star, the Monster himself Boris Karloff.
As a film, I give Whale’s Frankenstein a 4 out of 5. It’s classic, it’s amazing, yes, but I really do feel they missed opportunities here. If they were able to adapt Shelley’s actual novel they should have used some of the best bits, which unfortunately they did not. It doesn’t ruin the film at all. Look at this as a much more subjective review than I would normally do. I only do it this way because the novel is an absolute masterpiece. Some say different, that it’s overrated. So wrong. It’s near perfect as a horror novel can be.
The Blu ray release gets a flawless 5 out of 5 star rating. How can it not? The picture alone is enough to justify buying the Blu ray. I can’t get over it. Everything looks so wonderful for a film that was done over 80 years ago now. Plus, all the features included on Universal’s restored version are a blast. You can spend hours going through this disc just to get through all the wonderful material they’ve added.
I highly recommend anyone who hasn’t seen this film, please, go do it. Especially if you’re a horror fan, or consider yourself a horror buff. Your viewing isn’t done until you’ve seen this. And also, if you have yet to read the novel, go get a copy. Shelley is an absolute master. A really wonderful read. And just like a film, it will grip you, and shock you at times. One of my all-time favourites.