With Kyle and his father Simon together again, the beacons are faced with the new step in their journey: seal the darkness, or face the consequences.
An old face returns to Rome, and suddenly Sarah Barnes is missing from the hospital. Meanwhile, Sidney's left at the hands of Rev. Anderson.
Kyle & Allison take their daughter Amber on the run from the demons, as Reverend Anderson brings Megan to the Lighthouse.
Megan must face the consequences of her actions. Meanwhile, a disappearance in Rome leads Kyle & Anderson to a new, dangerous consequence of the rise in possessions.
FOX’s The Exorcist
Season 1, Chapter One: “And Let My Cry Come Unto Thee”
Directed by Rupert Wyatt
Written by Jeremy Slater
* For a review of Chapter Two: “Lupus in Fabula” – click here
Here we are at the premiere of The Exorcist, a new series based on the classic from William Friedkin and based on the novel by William Peter Blatty.
We start on a familiar image, one of a man in a long coat and a brimmed hat walking, bag in hand, to some destination; it is Father Marcus Keane (Ben Daniels). In the distance are strange and unsettling noises.
In a brighter, more sunny place, Father Tomas Ortega (Alfonso Herrera) gives a sermon to his congregation, which includes Angela and Henry Rance (Geena Davis & Alan Ruck), as well as their daughter Casey (Hannah Kasulka). Off near the street outside after the service, Father Tomas sees a man who he believes is speaking to him, mouthing words. But when he talks to Angela a moment, turning back, the man is no longer there. At the same time, something seems off about Henry. In church he’s aloof, heading home he is distracted and not altogether there. Is headed for demons, possession and the like?
Ortega has issues of faith going on. Maybe. His sister Olivia (Camille Guaty) believes he doesn’t want to be a priest anymore, that he’s in love with a woman named Jessica. Of course, he denies it. Looking forward to more of that.
In Mexico City, Father Marcus sits disillusioned yet firm in that “the power‘s in the repetition.” Another priest, Father Bennett (Kurt Egyiawan), has come to try talking sense into him. Although he didn’t anticipate Marcus having a gun. There’s more to him, as we’re seeing a man of the church, a man of god whose path clearly strays from that of the Roman Catholic Church as an institution. And why? What drove someone to take the vows of priesthood but then divert to his own method? On his own again, he tries to help the boy that’s been possessed at the moment. He prays, flicking holy water at the beast inside the boy, the one that speaks to Marcus by name.
Back at Casa del Rance, Angela hears odd noises, whispers in the walls. She shakes it off quickly, though something clearly bothered her. Then we find the other sister Catherine (Brianne Howey) upstairs, depressed, in her own world. So is dad going to get demonic? Or is it going to be Charlotte? Hmm.
Love the digital organ system that plagues the organist – the ancient church and its customs meet the modern world. More importantly, this takes Father Tomas downstairs into the dark basement for a little jump scare when Angela turns up looking for him. She’s worried for Catherine, saying there are “things going on in the house.” Such as furniture moved, books thrown all over the floor, voices in the walls. Y’know, standard haunting madness. Angela straight up believes a demon is trying to take Catherine. Father Tomas explains demons are a construct of the church, as a way to rationalise through “metaphors” in regards to mental illness, et cetera. But Mrs. Rance can’t take those answers. She knows better. Particularly once a bad omen flies into the window: a raven gets stuck and bloodied smashed through a crack in the glass. Nasty.
Ortega goes to see Catherine. She doesn’t put much stock into the thoughts of others. Not after losing someone close to her in a car accident. She’s merely in a depressed state after such an emotional trauma. Nevertheless, the family sits at the table eating along with Father Tomas, too. More and more we see the fact Henry is not who he was once. Catherine notices it, even if she’s the only one who says anything. I continue to believe he’s the one that’ll be possessed, one way or another. He gives Ortega an ominous sort of message about Father Marcus. This sets the young priest aflame wondering: who is this man? He has visions of Keane, the young boy’s possession, the exorcism. Until the boy jumps from his bonds, his neck twists around, and his spine breaks. Fuck, that’s vicious.
Father Tomas meets with a man called Brother Simon (Francis Guinan). He’s a little cryptic, offering up the supposed right question to be asking next: “What now, God?” Out of the corner of his eye, Tomas spies someone familiar. He follows the man to find it’s Father Marcus and tries to chat him up about demonic possession. However, the older man is pretty reluctant to say much. Finally though, Ortega gets more out of him and he reveals the circumstances of that possession Tomas dreamed. It seems that Father Marcus has become afraid of what lies beyond, as he’s seen it up close and personal, the damage it can do in the real world and not just in the spirit. His faith is quite broken.
Eventually Father Tomas goes to see Angela once more. They have a heart to heart about God, their faith, family. He’s driven by the pure faith in his heart to help the Rances in their distress, no matter what it is truly. Then, upstairs comes a noise, a scream from one of the girls. In the attic, Ortega finds Casey lurking, killing rats without touching them, moving in an extremely weird way. Once Angela turns the lights on, nothing is as it seemed a moment ago. Casey is fine. Nothing looks out of the ordinary. But one thing’s for certain, Father Tomas is shaken; badly. Great throwback in this sequence to old school music from Friedkin’s classic with “Tubular Bells” by Mike Oldfield playing – we see Ortega walk off in the night, and simultaneously Father Marcus gears up, ready to take on this next possession.
I personally loved this premiere episode. It doesn’t remake the original film, it’s merely an extension, inspired by Blatty’s work. I say give it a chance! Next up is “Chapter Two: Lupus in Fabula” and I think it’ll bring some great stuff. Ben Daniels is a favourite of mine, so I look forward to what he brings. And you can’t go wrong with Geena Davis, either. Plenty we can expect from this series. Let’s see if it holds up in the second episode.
Be careful who you decide to unfriend on Facebook. Could be the last mistake you ever make.
As if Alzheimer's weren't scary enough, Adam Robitel takes us into a vision of the disease which will likely haunt you until the end of time.
FX’s American Horror Story
Season 2, Episode 3: “Nor’easter”
Directed by Michael Uppendahl (Ray Donovan, Mad Men, Shameless)
Written by Jennifer Salt
* For a review of the previous episode, “Tricks and Treats” – click here
* For a review of the next episode, “I Am Anne Frank: Part I” – click here
Back to the framing narrative of Asylum now, as we see Bloody Face once again stab poor Leo Morrison (Adam Levine) to death, then break into the cell where Teresa Morrison (Jenna Dewan Tatum) is trembling in fear. Between the two, as Leo is not completely dead just yet, they manage to knock Bloody Face down and stab HIM to death with a small ice pick (one once used for prefrontal lobotomies).
However, it turns out two more Bloody Face-masked young guys show up and shoot the Morrisons dead. I guess it was another serial killer enthusiast situation. Sort of like Season 1’s “Home Invasion” did it, but slightly different.
Except out of the darkness comes the real Bloody Face – or is it? Now we’re in present day, Bloody Face was killing back in 1964. So what exactly is happening here, anyways? Well, writer Jennifer Salt, as well as creators Ryan Murphy and Brad Falchuk, have interestingly eerie subplots we’ll see coming out in this episode. Even further, this will all stretch out over Season 2 and gives us plenty to enjoy.Back to 1964, as Sister Jude Martin (Jessica Lange) receives mail Sister Mary Eunice (Lily Rabe) delivers for her. The newspaper on her desk appears to Jude as one from 1949 – harkening back to when she hit a girl with her car, then took off. It’s easy to see Jude is starting to unravel slightly.
While she’s in the kitchen downstairs getting more bread ready to bake, she has flashbacks to the killing of that girl. Her mind is breaking bit by bit. Putting more pressure on her aside from this is Dr. Oliver Thredson (Zachary Quinto). He wants to try and make things more light for the patients; her corporal punishment is frowned upon by scientific men such as himself.
Well, Sister Jude has some plans to help the patients through the big storm planning to blow through. She is getting a projector sent over so that the inmates can watch 1932’s The Sign of the Cross. But all good intentions can’t hold back the floodgates of her own mind, washing away sanity. It seems she’s starting to think like some of her inmates more than a wife of Christ. Paranoia is gradually working its way into Jude’s brain with every episode now that goes by, especially since last episode’s encounter with the demon inside Jed Potter. She even has guard Frank McCann (Fredric Lehne) keep tabs on Thredson in order to determine if he’s “on the up-and-up.”
The new Mary Eunice has arrived. Everything about her has become different, more confident and… devilish, might I say. The way she holds herself talking to the inmates, you can see right from Lily Rabe’s acting that it is Satan himself hiding within her bones. I love Rabe’s performances in American Horror Story, she does such a wonderful job in the horrific universe of the series.
Moreover, Mary Eunice – as the devil – begins to wreak havoc amongst the halls of Briarcliff. First, she seems to blow on The Mexican (Gloria Laino) who appears to see beyond the Sister’s surface; she prays and prays as Eunice walks over to her and casually blows air at her. Then, she temps the alcoholic Sister Jude with communion wine, as well as wearing some bright red lipstick she claims came from Dr. Arthur Arden (James Cromwell).
At the same time, Arden is still examining Kit Walker (Evan Peters). Last episode, he found a tiny piece of something inside Kit’s neck, embedded below the skin. He deemed it too hard to be a tumour, now in this episode he finds it’s a strange bit of technology; the pieces he dug out of Walker come together by themselves, almost magnetized. Arden does not yet know it is from the extraterrestrials. He thinks it is some form of government looking for him, trying to “infiltrate my labs.” We’ll see this develop more now, as Arden comes to figure out the truth behind what has actually happened to Kit.
Sister Mary Eunice goes to The Mexican’s room. It’s clear the woman is afraid of Eunice, and rightfully so: the possessed nun brutally murders her, stabbing her in the throat with a massive pair of scissors, then stabbing her more all over the torso. Luckily, Sister Mary has a good place for disposal. Out in the forest, where Lana Winters (Sarah Paulson) caught her feeding something at the end of the first episode, Mary dumps the body for some weird creature hissing out in the bushes.
What I love about the devil is that he’s non-partisan. Inside Mary Eunice, the evil Satan goes after anyone and everyone in its path. Not just Sister Jude. Mary goes to see the doctor and she taunts Arden with sex, seducing him saying “I‘m all juicy.” But the doctor wants none of it; at least he pretends not to, anyways. We know he has a thing for nuns, after his date with the young prostitute went awry. He only denies what he wants most likely because of fear it will out him in some way. Regardless, I just love how Sister Mary Eunice has been taken over by the devil, and even the other evil entities in Briarcliff aren’t safe from the devil; he will use and abuse everyone.
Almost even better, the devil pits Dr. Arden versus Sister Jude even more than they’d been butting heads before now. This also helps to setup an event later on in the season, which is MASSIVE! I won’t say anything about that at this point, but just remember: this tension between Jude and Arden becomes larger than simply a few arguments in the basement like in “Nor’easter.” Even Arden sees that Jude is “coming apart at the seams.” Perfect foreshadowing scene here that comes to bear later on down the road.
We also see the first meeting between Lana Winters and Dr. Oliver Thredson, most likely her only hope in escaping the horrors of the asylum. Neither of them realize Bloody Face has already killed Lana’s lesbian partner, but she tells Thredson to get a message to her in hopes of eventually getting her out. This is the start of an excellent relationship throughout Season 2. There is such a wealth of plot and character between Thredson and Lana that if they hadn’t had two wonderful actors like Paulson and Quinto, this would’ve been a drab storyline; with two great talents, it works incredibly well, time and time again until the end of the season. Great stuff in its beginning here!
Thredson later goes to see Wendy, but discovers there are similarities between her disappearing and some of the Bloody Face victims. A devastating blow for Lana, in several ways.
Already, only three episodes in, Jude is having great troubles. She receives a call from beyond in her office – the girl she struck and ran down 15 years ago calls her on the phone, even her broken glasses turn up in front of Jude on the desk. So, sadly, Sister Jude falls down through the tight neck of a bottle again. She picks up the booze and starts drinking. This doesn’t help when The Sign of the Cross is put on for the inmates; she stumbles and mumbles her way around, introducing film night for everyone, and it’s clear to all she has had more than a drink or two. I feel bad for Jude, but again like Ben Harmon in Season 1 she is the type who is hard to like. At the same time, it isn’t hard to pity Jude even if she has committed horrible acts of violence, and essentially murder. However, this too will flesh out more once the season pushes on further and you might be surprised where the story of Jude Martin leads by the final handful of episodes.
The end of “Nor’easter” is most compelling.
Prisoners try to escape – Kit, Grace (Lizzie Brocheré), and Shelley (Chloë Sevigny) – while the storm rages. Sadly this doesn’t turn out very well for anyone, least of all Shelley who finally ends up in the hands of someone she does NOT want to be with at all. The others end up out in the storm and they come across what lay in the woods, the things Sister Mary Eunice was feeding for Arden – and it is HORRID.
Best of all is Jude – she wanders around trying to find The Mexican with the guards, but cannot find her. What Jude does come across, though, is a drunken glimpse of a horrific and ugly extraterrestrial creature. Amazing moment where a nun comes in contact with such a strange being!
All the while, Arden is raging against both Sister Jude and Mary Eunice, marking up a statue of who I can only assume to be the Virgin Mary with lipstick, shouting WHORE. He then comes across Shelley, and yes – into his hands she falls. This is terrible for her, as Arden is not just a misogynist, he is a depraved sadist.
This episode’s finale sees things end on a savage note, so we can expect the next one titled “I Am Anne Frank: Part I” will go further down the dark and seedy rabbit hole; it is directed by Michael Uppendahl once more, which is excellent for continuity amongst the season. Stay tuned for more depravity and blood and murder!
The Amityville Horror. 1979. Directed by Stuart Rosenberg. Screenplay by Sandor Stern; based on the book by Jay Anson.
Starring James Brolin, Margot Kidder, Rod Steiger, Don Stroud, Murray Hamilton, John Larch, Natasha Ryan, K.C. Martel, Meeno Peluce, Michael Sacks, Helen Shaver, and Amy Wright. American International Pictures. Rated 14A. 117 minutes. Drama/Horror.
When it comes to the haunted house movies that go for the possessed angle – the house driving someone crazy or literally possessing them – I still think The Amityville Horror is near the top of my favourites. Different than The Exorcist where that’s a demon, I love this even without all the true story aspects of it, which are likely a hoax as far as I’m concerned. But that’s a discussion for another time.
This movie just creeps me out. I mean, when the priest is in that room with the flies covering his face, then all of a sudden you here it softly first – “Get out” – the priest looks around in awe and it says once more, louder and raspier this time – “GET OUT” – every time I see that part, I know it’s coming, and consistently it freaks me out. Love it! Always enjoy a movie which continually scares me any time I watch it over the years.
Plus, there’s something about the idea of a house’s history affecting the people who live in afterwards that gets to me at my core. Because, although I don’t believe in any life after death, I’m forever sceptical at the same time. I’m always questioning. So, I can’t fully discount that there may be something we don’t know about yet, something that could be proven eventually. For me, watching horror movies is not always about realism. In this type of film, you have to try and remove yourself a little from reality, but at the same time you can still stay slightly grounded. Just imagine, what would you do if a house started driving you crazy? What could you do, really? When I watch horror, I’ll usually try to put myself in the shoes of the characters involved. That’s one reason this movie scares me because if I were in that house with James Brolin going slowly mad, I’d probably have been terrified right to the bone.
The Amityville Horror is based on the, supposedly, true events which transpired in the house of George (James Brolin) and Kathy Lutz (Margot Kidder) – where years before, Ronald “Butch” DeFeo Jr. murdered his family in cold blood as they slept at night. Moving in with their children, the Lutz family find a great new home; spacious, a boathouse out back with a small dock, good land. Once moved into their house, strange things begin to happen. George begins to wake up every morning at 3:15 AM on the dot. The young daughter starts talking about an imaginary little girl named Jodi who actively becomes more and more involved in her life. Even a priest comes to the house trying to bless the place when Kathy sends request, but he is driven from the premises by some evil force, screaming at him, sending him away by any means. Things get worse and worse, and slowly George seems to be sucked into whatever terror lays beyond the veil between the living and the dead.
I think a part of what makes The Amityville Horror work is the family dynamic. When considering the real supposed story, George Lutz (Brolin) is the husband of Kathy (Kidder), but the children are his stepchildren. Apparently he was not exactly the perfect stepfather and he was a bit tough on them. He’s running a business and everything is on him, so while the house exerts its evil influence over George his business begins to suffer. Then Kathy is of course concerned about him, trying to figure out what’s going on. There are so many things at play within the Lutz family. It’s as if the house feeds off any already negative energy or presence within its walls, it uses that to generate more of the negative energy still left over from the past. That’s what makes this movie real interesting for me.
In the early scenes as Brolin and Kidder stroll through the house, there’s some really excellent editing which truly caught me off-guard. I didn’t expect the quick cuts to, what ultimately are, the murders of Butch DeFeo Jr. These are the murders of course that happened in the now haunted house. I love how they’re incorporated here. As I said, some spot-on editing. Great stuff from editor Robert Brown, whose work includes Damien: Omen II, Brubaker, The Pope of Greenwich Village, The Lost Boys, and Flatliners. Kudos to him for the stuff in this film. He has a real touch for the horror genre, as far as I’m concerned.
All the little touches are creepy. Such as George’s waking up at exactly 3:15 AM. This is supposedly the time when Butch DeFeo killed his family in their beds. So even though the supposed hauntings are inspiration for this, and I don’t believe the real story in so far as I’m concerned, I still find the whole thing utterly unsettling. The movie stands well enough on its own for me.
Still, the part that has always gotten to me the most is the scene when the babysitter gets locked in the closet. Damn, does it ever work on my nerves. I always feel so bad for her because I don’t like closed spaces, so I think if I’d have been locked in there – by a child or a ghost or whoever – I would lose my mind eventually. Plus, the blood on her knuckles, rapping on the door, beating against it; such a vicious image. Then the light goes out, and to this day, no matter how many times I’ve seen it my spine will chill. From bottom to top and back again. Great, spooky stuff!
The reason my love for this movie endures is the atmosphere. Time and time again I’ve said it: atmosphere and tone, these are things which work for me. If a movie has those and can keep up relatively nicely with a bit of solid dialogue, add in some decent characters and you’ve sold me!
Stuart Rosenberg, as far as I’m concerned, is a classic director. Not everything he did was perfect, but I think he has enough wonderful pictures under his belt we can look back on his career to say it went well. He did some great ones – Brubaker with Robert Redford, Cool Hand Luke including the classic performance of Paul Newman, and The Pope of Greenwich Village featuring Eric Roberts and Mickey Rourke in maybe the performances of their careers or at least close to it. So, I’d throw this film on the list. He’s good at crafting tension and suspense, in everything he has done. Most certainly here. There are a ton of moments that have me held close to the screen each time I see the movie. Some of the shots of the Lutz house are downright ominous and foreboding, I absolutely love them. That iconic red filtered shot of the Lutz house from the outside is KILLER! Dig that one, so much.
A particularly favourite shot of mine is at almost the 40 minute mark. George (Brolin) is putting wood in on the fire. The flames are crackling and licking up. You can barely see his features, but the fire casts on his face in a reddish glow; his beard/goatee looks as if it were the devil himself. Then, as he leans back, the glow leaves and he looks like a frightened man, losing his mind. Perfect stuff.
Not only do I love the shot, we get to see a great bit between Kidder and Brolin. The look in Brolin’s eyes is insanely perfect. He is one great actor, man. I’ve always thought that, anyways, aside from this movie. But there is something in his face, a great gift of expression, which works like a charm for the character of George Lutz. While I love a movie like The Shining, I’ve always agreed with Stephen King when he says that Jack Nicholson sort of starts off crazy; I mean, you get that typical Nicholson feel right from the very beginning in the opening car scene. Here, with Brolin’s depiction of George Lutz, it gives the genuine feeling that he is a man who is going crazy. At the beginning he’s definitely a sombre guy – I attribute that mostly to the fact he’s a bit of a serious guy, lots of stuff going on with his business, buying the house, probably how a lot of people might be in the situation. There’s something, however, which changes as time goes on, and as opposed to something like Nicholson’s performance – which I do enjoy – there’s that honest feeling something is going seriously awry in the Lutz house.
Margot Kidder is no slouch either. Ever since seeing Black Christmas and the under-seen/under-appreciated Brian De Palma horror-thriller Sisters I have been in love with this woman! Wonderful, talented actress. She is a true great. Her performance here matches the intensity of Brolin at the right times and we really get the feeling this is a woman who loves her husband, as she tries so hard to help him hold onto reality, but also works to the bone trying to protect her children.
Oh, and Rod Steiger – bad ass. Constant bad ass. I love him in this and I could watch it a hundred times just for his scenes because they’re enough to make you stand up and shout. He’s a classic actor and this is one role that will always, always come up when I think of his name. Solid stuff out of him, as is to be expected. He plays a typical role we’ve seen, a million times since, yet it’s one I would rank up there with Max Von Sydow in The Exorcist. Absolutely.
While I love this horror movie, tons, I’ll only be able to say it’s a 4 out of 5 star film. There are a few points of dialogue I’m not too keen on, mostly when it concerns other characters outside of the Lutz’s themselves. I think at times the script in general could’ve been tighter, mainly to compact things a bit more. Great film, in spite of its dubious “true” roots – still, I tend to find it’s a little longer than it needs to be. I think with Brolin and Kidder, with Steiger thrown in for good measure, this movie didn’t need to be close to 2 hours long. A solid hour and a half would’ve done the job quite proper.
Either way, it is a classic of the genre and will forever be a favourite of mine in the haunted house genre. Near the top. Great performances are what drives the best bits here, as well as good atmosphere and quality editing. Always recommend this to anyone who has to see it.
Evil Dead. 2013. Written & Directed by Fede Alvarez; based on the screenplay by Sam Raimi.
Starring Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, Elizabeth Blackmore, Phoenix Connolly, Jim McLarty, Stephen Butterworth, Karl Willetts, Randal Wilson, and Rupert Degas.
Rated 18A. 91 minutes.
So, to start, I want to just say that I love the original Evil Dead. I don’t think the remake is better, not at all. However, I think that as far as remakes go this one does a pretty good job at updating things and changing perspective just enough so that it isn’t a carbon copy of the original from Sam Raimi.
Of course there are obvious similarities and there are things which feel identical, but Fede Alvarez has really brought a script that tweaks Raimi’s original to make it his own while simultaneously remaining a remake of the beloved horror classic.
While this Evil Dead is stripped of the comedic element Raimi infused the film with – or should I say the man, the one and only Bruce Campbell really executed that aspect – this incarnation has replaced the comedy with absolute fear.
Now, before we go any further – this is how I feel about being scared by a horror movie.
When I say that a horror creeps me out, that it’s disturbing or scary, unsettling, any of these descriptors, I don’t mean that I’m sitting there in the dark cowering, that I can’t sleep at night. I’ve not been that scared in a long, long time. But I’m still scared by things in horror films. For me, there’s disturbing and creepy things going on in Evil Dead and it doesn’t mean that I’m up all night, terrified to turn out the lights; just means I’m unsettled by certain elements.
So when I say that this film replaces that comedic essence of the original with an air of terror, don’t try and say that I don’t understand what is scary or what is not. We all have our things. This remake comes with a lot of heart, good performances, and a ton of big fat horror balls.
Fede Alvarez’s Evil Dead remake begins with David (Shiloh Fernandez) meeting with his girlfriend Natalie (Elizabeth Blackmore) at a cabin in the woods. Their friends, Eric (Lou Taylor Pucci) and Olivia (Jessica Lucas) are also there. Everyone’s gathered to help David’s sister Mia (Jane Levy) do a homemade rehab, like a willing intervention or the second half of one anyways; she is a recovering heroin addict. Unfortunately, for more than one reason this won’t be near as easy as they’d imagined it would be.
A smell keeps bothering Mia, as if something is dead. Eventually they discover a door in the floor, leading to a room full of strange artifacts, dead animals, and other weird things. One of which is Necronomicon.
In a terrible decision, Eric keeps picking at the book, determined to look inside and read things he’s found. He releases something from its vile and wicked pages. Soon enough, the things Mia does to try and get out of her rehabilitation become more and more violent, more heinous, as if she’s not only jonesing for heroin: she is possessed.
But the possession doesn’t stop there. It won’t stop. Not until they’ve all been deal with.
I’m not exactly a huge fan of remakes. There are some I do enjoy – Alexandre Aja’s The Hills Have Eyes, that’s one I’m a particular fan of, and even though some hate it I thought Rob Zombie did a fun and disturbing job with Halloween. However, a lot of the remakes we get are sad, glossy jobs, then again much of those are the Michael Bay produced trashjobs like the jeans commercial that was The Texas Chainsaw Massacre starring Jessica Biel’s ass, the pitiful Friday the 13th reboot, as well as the downright shameful remake of A Nightmare on Elm Street.
But to my mind, I think that the Evil Dead remake does justice to the original. It isn’t better, though, I can’t say that it’s any less fun. To me, anyways.
Because the premise of the film is the same – people get possessed and terrorized by a host of demonic presences at a cabin in the woods. Still, Fede Alvarez changes things a little. Now we’ve got a new reason for these people being in the woods; not a massive game-changing move, but it’s enough in the script to make this his own, a remake yet fresh in a way. Evil Dead was awesome the first time around. This time, we get a bit of a different spin. Because even as things get creepy for the friends, before it all gets out of hand, there’s still an element in their minds which says “Mia is just tripping and getting crazy from withdrawals”. Of course, that changes, and then some! I just thought it was a good twist. Alvarez could’ve simply just updated things enough to feel like the 2010s, but he chose to bring something different and make the characters a little less similar to the first movie.
We get lots of awesome reminders to harken back to the original, I just feel that Alvarez did a nice job with adapting things and switching some stuff up. That’s what a remake should do. Yet people still want to trash it and say it’s garbage, yadda yadda. Whatever, man.
Love how the little electric meat cutter is first seen slicing up some quite raw – pork, I think it is. Can’t be sure. Either way, I thought it was great when you can juxtapose how viciously the electric kitchen accessory comes into play later. Not that this is anything super innovative concerning horror movies, I just love when a film does that in an effective manner. Alvarez could’ve just used the thing as a gimmick, thrown it in there wildly, but instead he takes the time to set this up early on so that you either remember it and enjoy seeing it come back into the movie in such a brutish way, or you’re just surprised; that works, too. I like that Alvarez makes specific use of the tool early within 15-20 minutes, especially watching it cut through some meat. Later, as it does some real cutting, it’s that much better.
There are some great effects all around – the face slicing, that whole part, I really loved. Even when Eric tries to back away, he slips and cranks his back on the toilet seat. That was just perfect. I love when horror doesn’t try to be perfect with its choreography; in horrific, terrifying moments there would definitely be so much clumsiness and ineffective escape. This was a classic moment like that.
A favourite line of mine from the movie I thought was darkly comedic yet a good piece of writing – the script recognizes horror movie tropes and how characters often don’t question each other enough. David is trying to rationalize what has been happening, saying it could be a virus, to which Eric replies:
“What kind of virus makes someone cut off their face with a piece of glass?”
I thought that Jane Levy was superb as Mia. From start to finish. There’s one scene particularly, the look in her eyes as she talks with her brother David – right after the forest has come alive and raped her – it is classic horror cinema acting, right there. If you say different, fine, but you’re blind. I liked Levy in the first season of Shameless, after which she was replaced/left. Here, I got to see her do some excellent work. Once she becomes Abomination Mia, it is really something.
What I love most about the Mia character is once the Abomination has hold of her, the make-up effects are beyond incredible. Excellent, gruesome stuff. Plus, the voice is creepy as all hell. I love when a film can go for great practical effects. Sure, there are pieces of CGI mixed in there no doubt, but so much is done practically with make-up special effects.
That part with the electric meat cutter is savage! I thought that was just pure gritty gore horror. So much in this movie, definitely once the last half hour starts to roll, is balls-to-the-wall gory horror fun. It is supremely nasty at times, in the best sense of the word when it comes to scary movies.
And I mean, the original Evil Dead was meant to be a wild horror. A bit of comedy mixed in, but mainly horror. That’s what we get here: in droves. It keeps coming and coming, over, over, until the last scene finishes. There’s a ton of blood, lots of pain and torture and death. It is what horror is all about, in the end. If people disagree, I understand. Well – I don’t. I’ll just agree to disagree.
I loved this remake. It’s one of those I’ll put on the list of remakes I truly enjoy because it deserves to be on there. For me, this is a 4 out of 5 star horror. I think a lot of diehard fans of the original are big time upset because Bruce Campbell isn’t Ash and Ash isn’t the big hero – instead we get a female hero, a recovering drug addict who overcomes the insanity of the demons pressing down on her, her friends, and that cabin out in the woods.
There are for sure a couple points I didn’t like, mainly those had to do with dialogue; some of it certainly could’ve been tweaked. Yet overall, I love the script because I thought Fede Alvarez did a wonderful bit of work adapting Sam Raimi’s original into something a little more today and a bit different. Because if a movie being remade simply goes for everything the original did – same story and effects and twists and characters – what is the point then? Why even do it? I’ve never understood shot-by-shot remakes, like Gus Van Sant’s Psycho (even though I dig it simply because it’s an update with new actors while most hate it and I love Van Sant regardless). At the end of the day, it’s useless to remake something that way, even if it’s enjoyable; you’re not bringing anything new to the table. Even enjoying something like Van Sant’s exact duplicate of Alfred Hitchcock, I can’t say it’s a good movie because Hitchcock did it already, exactly the same.
So basically, Alvarez here with Evil Dead impressed me by not having to copy everything completely identical, even if so much of it is familiar and obviously derivative of the first. It doesn’t matter that it’s a remake because Alvarez has given it enough heart and effort to say that this is a worthy effort. One of my favourite remakes out there, and will continue to be, no matter what other reviews might try and have me believe. This is a lot of fun, a LOT of gore to the point of absolute savagery at times, and a solid central performance from Jane Levy.