In the 1st edition of "Make a Case," Father Gore discusses the 1990 GRAVEYARD SHIFT, an adaptation of a Stephen King short story.
Cronenberg and his body horror transform Vincent Price's original into remake heaven, as man's reach exceeds his grasp in this nasty modern classic.
Not all remakes are bad. Some are great. This one isn't great, but it is a lot of damn fun!
So many remakes miss the mark. In an uncommon turn, Breck Eisner's remake of THE CRAZIES by George A. Romero actually improves on the original to make for plenty of chills and thrills.
Dawn of the Dead. 2004. Directed by Zack Snyder. Screenplay by James Gunn, based on the original George A. Romero film of the same name.
Starring Sarah Polley, Ving Rhames, Jake Weber, Mekhi Phifer, Ty Burrell, Michael Kelly, Kevin Zegers, Michael Barry, Lindy Booth, Jayne Eastwood, Boyd Banks, Inna Korobkina, & Matt Frewer. Metropolitan Filmexport/New Amsterdam Entertainment/Strike Entertainment.
Rated 18A. 101 minutes (110 minutes – unrated director’s cut)
Remakes are a dime a dozen these days. But when Zack Synder’s Dawn of the Dead released – remade from George A. Romero’s original screenplay, written anew by James Gunn – there weren’t as many as there are today. That’s because this is one of the movies which really got people (a.k.a studios) on the remake bandwagon. Reason being, this is one of those remakes which also does justice to the original. And while Romero’s original film will always be my favourite of the two, as well as one of my favourite zombie horror movies out there, Snyder and Gunn do a fantastic job here crafting something that pays homage to Romero and simultaneously carves out its own niche.
2004’s Dawn of the Dead reignited the public’s love for all things zombie. Afterwards came the avalanche of zombie movies, even another (much lesser) Romero adaptation with 2008’s Day of the Dead, and of course then Frank Darabont got AMC’s The Walking Dead running, now America and the world are captivated weekly by the blood, guts, and societal breakdown of a zombie wasteland.
What Gunn and Snyder manage to do is make zombies terrifying. I’m always going to be a fan of the slow moving zombies, but these guys wring the terror out of zombies that are able to run track and field. On top of everything, they offset all the wonderful undead action with all the various troubles of the humans left in the midst of this new, horrific world. Striking an even balance, Gunn and Snyder cover all the bases, and throw lots of good blood and effects at the viewer to make sure it’s all up to snuff. Again, Romero made the superior film in my mind. Yet this Dawn of the Dead is nonetheless super appealing.
A big reason for why this works well, as opposed to some of the stuff Snyder pumps out, is due in part to the screenplay by James Gunn. I’m actually not a huge fan of Gunn’s films, but his talent as a writer is fairly solid. He can be funny, very darkly comic. He’s also got the heart and soul that’s necessary to paint out an engaging story. And on top of everything else he does well writing action sequences, or anything that’s suspenseful and filled with tension. Again, not a fan of anything else really that he’s done, other than Slither; Guardians of the Galaxy was popcorn fun but felt tedious, and Super is just all right (maybe if Rainn Wilson weren’t in it I’d have enjoyed the movie more). Dawn of the Dead is definitely his greatest achievement so far in the industry, as far as I’m concerned.
Gunn took a beloved horror classic then remixed it into a contemporary setting, new characters and an overall expanded cast, yet also kept so much of what makes the original incredible. Even how he opens the story and takes us into the zombie apocalypse breakdown is masterful. He didn’t try to copy everything, and then kept bits and pieces which felt organic to his reworking of the material. And isn’t that what a remake should do? Equal parts paying respect and also innovating his own character/plot inventions.
Also, for any of the uninitiated zombie movie fans, this is not the first appearance of fast moving zombies. This phenomenon really began with Umberto Lenzi’s 1980 cult classic Nightmare City. I’ve genuinely heard so-called horror fanatics tout this as the first of the infected films to feature zombies that run. That just goes to show how some run their mouth off about being film lovers yet have only seen the well-known movies. All the same, Gunn makes things tense with this increase in speed, and of course the flashy style of Snyder also works to make this aspect more terrifying.
In any zombie film, no matter how much of the human drama and element is present the zombies themselves must always take precedence. Much as I personally do love AMC’s The Walking Dead sometimes their writers forget the main ingredient is the undead. So it’s nice to see that Gunn and Snyder together, along with the talents of the makeup and special effects team (much of the work here is practical which is excellent), made sure to include nice gory zombie action, and a ton of fun, creepy, wild looking zombies.
Some of my favourites follow…
Obviously the whole pregnant infected mother giving birth to the zombie baby is a highlight. I’m always wondering if shows/films in the post-zombie apocalypse will tackle that particular issue. This one does, in fine, nasty fashion.
Something else I admire overall is their use of blood. For different stages of undead decomposition the crew used varying colours for the blood. So the newer zombies have brighter red blood, the slightly older ooze brown, then the oldest of the undead have black, oily blood. That’s a nice subtle touch many people likely passed over.
The big bloated, infected woman that ends up with the survivors in the mall is pretty gnarly, too. They had a man play the role, which adds an even better element to the features. But it’s the nasty wound, the hideous skin, all those gross bits that make this one zombie something special. She is not just gross looking, she is scary and the moment her reanimated corpse gets ready to boogie you’re just rooting for someone to smash its head in.
There are a few blemishes overall. Not enough to make this any less than a damn great zombie flick. More than that, as I’ve said the whole production does justice to its roots in George A. Romero’s original 1978 classic. The finale pulses and pounds at the senses, as this group of survivors tries their best to make through a wall of zombies. For the most part, the actors hold this up well, from Sarah Polley and Ving Rhames who both give fantastic performances in their roles, to smaller parts like Ty Burrell with his comic relief and Michael Kelly as the bad guy who eventually becomes slightly likeable. Everyone works together in an ensemble cast to make this more diverse than the original, so that alone changes the dynamic a whole bunch. Also, the diverse cast makes for a variety of characters that are all different, all looking for something of their own desires, and this allows Gunn to have a bit of fun with some of the scenarios. Added to everything, the blood and gore here holds up to any proper zombie movie. This is probably the only Snyder film that I find actually great, as opposed to how great he thinks all his work comes out.
TNT’s Animal Kingdom
Season 1, Episode 1: “Pilot”
Directed by John Wells
Written by Jonathan Lisco
* For a review of the next episode, “We Don’t Hurt People” – click here
David Michôd’s 2010 film Animal Kingdom was a tour-de-force in acting, tension, and the story of a family’s widening darkness. Of course set in Australia and telling the story of a crime family coming up violently against the police, Michôd did a great job drawing out an impressive drama that was riddled with secrets, power struggles, and so much more.
This new series from TNT begins right where the film did, too. Joshua Cody (Finn Cole) watches his mother overdose, and die. The paramedics come for her. Later, he’s forced to call his grandmother, Smurf (Ellen Barkin), to tell her the bad news. When grandma arrives she goes through her daughter’s things, y’know, in case there’s anything worth taking. Or anything that needs to be taken.
So Josh ends up having to go live with Smurf. They’ve been estranged for a decade. Over at grandma’s the place is like a palace, with nice vehicles outside, all the toys, a pool table inside. On the table next to some strawberries are stacks of cash, bundled. Looks like the Cody family are definitely into some shady shit.
So now we’re introduced to some of Smurf’s boys. Close family friend Barry ‘Baz’ Brown (Scott Speedman), plus two of her sons Craig and Deran Cody (Ben Robson/Jake Weary). They’re ready to party, as it seems is the norm. Grandma is busy getting cupcakes and other grub ready. For the time being, Josh is in the room where his uncle Andrew – a.k.a Pope (Shawn Hatosy) – usually stays.
But outside, the gang are a little at odds. Deran wonders if they can trust their little nephew. The others aren’t so sure, either. They’re wary of him because they don’t know what their now dead junkie sister Julia “put in his head“, but Smurf lays down the law and tasks them with figuring it out. “The kid is in until I say he isn‘t,” explains the matriarch.
Meanwhile, Josh’s mother is still on the hook for money to a local dealer. He knows Josh, he knows where they lived, so what’s stopping him from tracking the kid down? If he really wants that cash. So there’s a lot for the guy to deal with, right after the death of his mother. Lots of feelings delayed. At the same time, Smurf’s house is a veritable party place where her sons frolic. It’s a very free, weird atmosphere. Even more than the original film, which was odd enough re: the relationship between mom and her sons. Smurf wears a revealing gown, showing off her body, as Craig storms out from his room naked. No secrets, though. That’s the strange message that does come across here. There is nothing hiding anything between Smurf and her boys, even if it ventures over the semi-incestuous border.
The uncles take their nephew for some surfing, to try and “suss him out“, as commanded by their mother. And after a confrontation with some other surfers, Craig puts a piece in Josh’s hand. He runs them off and they end up with a couple new boards for themselves.
Life is a general party for Smurf and the boys. A life too good to be true. Baz and his lady Catherine (Daniella Alonso) are usually around, their little girl, too. Big pool parties, all the time. Joints, beers, liquor, women. Lavish lifestyle on the regular. Josh slowly tries to become a part of the clan and get used to this new way of living.
Then, out of nowhere, Pope arrives, almost clandestine. He frightens Josh a little. And now we’re introduced to Pope, his history of bank robbery, jail, so on. There’s a bit of resentment in the air, as he makes clear the time served, out loud, for everybody to hear. His disposition is quiet, subtle. But anyone who knows actor Shawn Hatosy knows he can be volatile, so I look forward to him picking up on the role Ben Mendelsohn played so well in the original.
Josh is on the precipice of becoming part of a dangerous group of individuals. There’s obviously a good person in him. He doesn’t quite fit right in, even holding that gun with his uncle Craig at the beach. But it’s obvious there is a disconnect between him and the things his family are doing.
Speaking of fitting in, Pope isn’t happy with how things are after his jail sentence. Things have changed. Not that they’ve moved on, but naturally a criminal enterprise has to switch things up a little after one of its major players goes to jail. He wants back in, though, Smurf and Baz have to keep him slightly distant.
The worst part is that while Josh is part of the family, by blood, the rest of the family and Baz are not sure about him because he has this total other part of him, a life outside the family. This makes him a liability.
Meanwhile, Baz and the Cody brothers are out preparing for a job. They round up a bunch of junkies, lock them in a vehicle overnight to get it smelling terrible. What are they up to?
Later on with Uncle Pope, Josh talks awkwardly. Well Pope goes on about Josh’s mother, how they were twins, shared a room, all that sort of stuff. He genuinely seems to reach out in their moment together, even if Josh isn’t sure what to think. Either way there’s a budding connection between this uncle and his nephew, maybe that will go somewhere. I wonder how they’re planning on adapting things, so it’ll be interesting to watch the plot and the characters develop in a series.
At the cemetery, Josh finds his family confronted by a neighbour, Dina (Karen Malina White). She knew Josh and his mother, warning him about the family, what Julia did to keep him away from them all. A tense moment. We’ll surely see more of Dina at some point. I only hope nothing bad will happen to her at the hands of the Cody brothers.
Nobody’s all too upset over the death of Julia. The brothers aren’t torn up much. Smurf seems a little thrown of, but not as much as most mothers if their daughter died. Although, it’s obvious Julia pushed away from the family and their ways.
More of Pope trying to get back into the organization. On the side, away from everyone, Baz agrees to let him in on their job a little, without telling Smurf. The arrival of Pope is bound to bring about trouble, in many ways.
Josh gets to hanging out more with the family, his girlfriend Nicky (Molly Gordon) along for the fun. There is a lot of awkwardness which hangs over the crew. At times, Pope eyes Catherine – is there some sort of previous relationship with them? Then there’s Uncle Craig, who plies Nicky for money into catching food in her mouth; this sets up an underlying sexual tension, especially after she tucks the money into her bra afterwards. With all the odd, incestuous behaviour at grandma’s place, this only makes things more tense. A little later Craig is snorting coke in front of everyone, tempting Nicky, though, she opts not to go ahead; in her eye, a sparkle flickers, and there’ll be more to that eventually.
There is a truly eerie presence to Hatosy’s Pope here in this first episode. He even carries Nicky off to bed quietly before Josh finds him standing over her, breathing heavily. Jesus. This doesn’t totally shake Josh, but it obviously gives him an eye into some of the deviousness of his uncles. Next morning, Josh encounters more of his family and their weird behaviour. Pope just walks on in and stands there with his nephew, who is naked in the shower. We constantly see there are no boundaries, no hidden secrets or moments between any of these people. It’s discomforting, unnerving, and yes, downright frightening at times. There’s not even a sexual nature to the semi-incestuousness I’ve mentioned. It’s more like an absolute disregard for any individuality, they’re all just a collective, and nothing is kept secret; not actual secrets, nor the body.
But now we figure out what the junkies and their fluids were for – the boys are pulling a job and want to “keep the crime lab busy“, so aside from being absolutely disgusting for them to endure, it is a rather genius idea forensically.
At home, Smurf is not happy about Pope taking Josh out for some criminal fun. Pope gets very physical, both with Josh and even his own mother. There’s an awful, ugly tension between son and mother here in this scene. Nevertheless, he tells Josh: “You pass.” What a fucked up family, man. Their relationships are incredibly strange, extremely close. Josh doesn’t want much part of it right now. But with the death of his mother there isn’t anywhere else he has to go.
Baz and the Cody brothers pull off their heist. It’s a real smash and grab, which works perfectly with the piss and shit and puke covered SUV they prepared. Only they never expected a run-in with police. This puts a bullet in Craig’s shoulder, too.
Simultaneously, Josh discovers his inner bad ass. When the drug dealer from earlier tries to collect on his dead mother there’s trouble. Josh knocks the gun from his hands, turning the tables, and ends up walking away fine; piece and all. So while there’s a part of his family that can be useful, to teach him not to lay down and take shit, most of it is a dangerous mixture that will prove toxic. Still, he doesn’t see that. All he gets right now is the glamour, the fun, the excitement, all the wild partying.
Then he sees Craig being patched up. Both sides of become more clear. It’s even creepier, too. With Uncle Deran crying in his mother’s lap in the next room. So many angles. When Josh and Pope have a talk later, the uncle tries to make him more at home in the family. Will Josh slide further into their grip? It’s tough to tell.
Excited to see where the series goes from here. The pilot is promising. Not perfect, and nowhere near as amazing as the original film, but it has things to build on. Lots of intriguing plot to mine, great characters to develop. And the acting is stellar to start, especially from Hatosy and Barkin. Stay tuned, we’ll see more again soon enough.
Halloween II. 2009. Directed & Written by Rob Zombie.
Starring Scout Taylor-Compton, Brad Dourif, Malcolm McDowell, Tyler Mane, Dayton Callie, Richard Brake, Octavia Spencer, Danielle Harris, Margot Kidder, Sheri Moon Zombie, Chase Wright Vanek, & Caroline Williams. Dimension Films/Spectacle Entertainment Group/Trancas International Films.
Rated R. 105 minutes.
Rob Zombie is a take-him-or-leave-him-type director. You either love him, or can’t stand him. Much the same as with his music career. But for me, and I’m sure others, Zombie is one director whose entire film career feels like the last bastion of a time before too much CGI, too many remakes (yes; even though he’s done two Halloween flicks). He works like how many directors did during the late 1960s and the 1970s, focusing on performance, practical effects, instead of loading down his horror films with computer generated blood and watering it all down for public consumption. Even if you don’t like his movies, you have to admire the fact he lays it all out there. Particularly, The Devil’s Rejects and The Lords of Salem are my favourites, and are a great representation of how he goes for it, no matter the subject, themes, or style of the movie. He always leaves everything on the table and gives us to us in his typically Zombie-like fashion.
So then there’s Halloween II. Many people I know didn’t even enjoy the first one, the remake to Carpenter’s classic slasher from 1978. Me, I find this sequel to the remake endearing in its own ways. There are some pieces I don’t enjoy. But overall, there’s enough in this Zombie sequel to enjoy apart from the first Halloween II. It doesn’t come as a faithful remake. It’s a furthering of aspects in the Zombie version of Michael Myers. We dive deeper into the mind of the notorious slasher, and the almost supernatural element of Michael, one which came out later in the original series, is on display full force.
After the events of Halloween, Laurie Strode (Scout Taylor-Compton) is left wounded. Both physically, and especially mentally. She’s living with Sheriff Lee Brackett (Brad Dourif) and his daughter Annie (Danielle Harris). They do their best to try and understand her, to try and help. But Laurie is damaged beyond belief.
Meanwhile, Dr. Samuel Loomis (Malcolm McDowell) is shopping his book around and making lots of money, getting famous. Although, people are wary of him, as they believe he’s profiting off the death of many.
And then there’s Michael Myers (Tyler Mane). He’s not dead, and the men transporting his dead body discover that. Michael, driven by visions of his dead mother Deborah (Sheri Moon Zombie), keeps looking for Laurie.
And he will find her. No matter who gets in the way.
One thing I do truly love about this sequel to the remake is that, like the original series as it went on, it really pushes the boundaries on Michael’s brutality. Later on in the original series, either in the fourth or fifth installment, Myers pushes his thumb through a person’s head. Even in John Carpenter’s original classic, his power is displayed pretty clearly with him picking up a teenager and pinning him to the wall with his knife. But here in the new Halloween II, Zombie almost goes further. In the opening 20 minute sequence there is some savagery. A nasty decapitation. Lots of raw, brutal force from Myers, as he starts to murder his way back into Haddonfield, one corpse at a time.
Many people, it seems, had a problem with the backstory to Michael with Zombie’s remake to start. I understand that. Some fans of the franchise just like Michael as this faceless entity. My argument is that, had Zombie not changed anything and done the same thing, people would likely have ragged on him for copying Carpenter. Instead, Zombie brings a fresh face, literally, to Myers. He gives him humanity, but takes it away. He makes Michael human to make him a monster, an even more vicious killer than the original (even though I love Carpenter’s film most). We even get him wandering around sans-mask, which some of course cried sacrilege over. I dig it because that sets him apart as Zombie’s own character, as opposed to a simply copy of Carpenter.
There is a further brutal nature to Michael when he’s this person that became a unrelenting killer instead of just The Shape. So an extension of this version is that psychology plays a big part in what Michael becomes, who he is as the unstoppable serial killer. The whole white horse deal I found a bit of fun. And I like how Laurie, in her trauma, starts having the same vision of her mother. Very eerie, and supernatural without quite being supernatural. It’s like a fever dream.
Now, I don’t dig that the same kid didn’t play young Michael. It was really off-putting. Not only because they’re definitely different looking (and yes I understand the real actor likely changed a good deal in between the films), but the original actor Daeg Faerch has a very perfect charisma and style for the character. So that’s one of the aspects of this movie that truly disappointed me. The actor here didn’t fit the role and his intensity is starkly different, so the flow of this film with the remake is a bit shaky.
I’m back and forth on Laurie as a character in this movie. Her trauma is very real, I don’t doubt she would be a woman torn apart after the events she’d experienced. However, the writing on Zombie’s part makes her so whiny and just too unlikeable. The way she treats her best friend, Annie, who went through lots of trauma herself, is difficult to reconcile. Maybe that was the intention. But still, it actually annoys me, Scout Taylor-Compton makes me hate her and I didn’t during the first one. I can appreciate characters who are despicable, et cetera, this only serves as a way to make me feel like fast forwarding. And I’m already in the minority of people who actually dig this flick.
In the acting department, what saves Halloween II is the fact Brad Dourif, Daniel Harris, and Malcolm McDowell give us pretty good performances in their respective roles.
Dourif is always a treat, especially when given the proper material. His Sheriff Brackett is even better than Charles Cyphers in the first two original Halloween films. I love the way Zombie writes characters, and it shines with Brackett. Performed by Dourif it is a dream. The whole Lee Marvin bit is some of my favourite banter from any recent horror. So funny, even funnier that the girls have no idea about Lee Marvin, nor do they get the barn part of the joke. Just a great sequence. Dourif and Harris are great as a father-daughter combo. Harris herself is a Halloween veteran. Here, as a grown woman, she does a nice job in the tragic role she plays. Her energy is what’s enjoyable, even in films that aren’t so great. But the Annie Brackett she plays is equally as fun as Nancy Kyes (billed as Nancy Loomis). Harris doesn’t get a huge part before the fate she runs into, but what we get is solid.
Finally, it’s McDowell as Dr. Loomis that I enjoy most. I will always love Donald Pleasence and his portrayal above anything in any of the films, truly. He was amazing. What I enjoy here is how Zombie writes Loomis as a fame-whore, a guy who just wants another shot at being well-known, at money and glamour. As opposed to the original, Loomis here is an opportunist, who only after it’s too late realizes the error in his ways. So with McDowell acting his ass off and bringing this new vision of the doctor to life, it’s a ton of fun. Some of the dialogue with his assistant is downright hilarious. But it’s the tragedy of this character, the blind ignorance, which really sells it. McDowell was made for this role, too. He has all the right range to play a man who’s got this saccharine sweetness about him in public and, when pushed, a bitter rage that comes out.
With warts and all, I give Zombie’s second Halloween a 3&1/2-star rating. There is a great dose of horror and terror within. Not all of Zombie’s writing is on par here with the first, or some of his other work. Nevertheless, he gives us a version of the Michael Myers tale that doesn’t try and straight-up adapt the original sequel (apart from a nice dreamy sequence in the beginning). The brutality of Myers is always evident, as is the trauma that his serial killing rampaging has caused. Although the script could’ve been better, I still thought Zombie did some interesting things, as well as brought the savagery required to make this worthy of a watch.
Halloween. 2007. Directed & Written by Rob Zombie; based on the original screenplay by John Carpenter & Debra Hill.
Starring Malcolm McDowell, Brad Dourif, Tyler Mane, Daeg Faerch, Sheri Moon Zombie, William Forsythe, Richard Lynch, Udo Kier, Clint Howard, Danny Trejo, Lew Temple, Tom Towles, Bill Moseley, & Leslie Easterbrook. Dimension Films/Nightfall Productions/Spectacle Entertainment Group/Trancas International Films/The Weinstein Company.
Rated 18A. 109 minutes.
I never imagined, listening to White Zombie in the ’90s, that Rob Zombie would go on to be one of my favourite horror directors working. He always appeared imaginative, but I couldn’t have guessed his love of the horror genre ran so deep. He’s given the keys to the slasher horror castle here, reinterpreting the original screenplay for Halloween in 1978 from John Carpenter and Debra Hill. Instead of providing lackluster jump scares and unnecessary gore to overcompensate, Zombie crafts a new vision of Michael Myers. No more is Myers so much a force of evil, like some wandering, unkillable spirit. Now, he is a boy with a face, a child not just hidden behind a mask, who eventually grows into his skin and becomes the ugliest, most vicious serial killer in America (well, the fictional one anyways).
Switch the subtle techniques of Carpenter for a throwback aesthetic mixed with gritty realism, and you’ve got Zombie’s film in a nutshell. Although many want to try and pick one over the other, they’re different movies, different stories centered around the same characters. You can say what you want. But for me, Carpenter and Zombie both have their merits. No matter if the original is my favourite, and a perfect piece of horror cinema, Zombie brings savagery to the table, plus an interesting style of directing. This makes it more than worth the watch.
Michael Myers (Daeg Faerch) is a young boy with a fairly awful life day to day. Although his mother Deborah (Sheri Moon Zombie) loves him, her sleazy boyfriend Ronnie White (William Forsythe) treats him like shit, all the while sizing up Debbie’s daughter Judith (Hanna Hall). At school, Michael gets pushed around and harassed, specifically about his mother being a stripper at a local club. But at home, alone, Michael dissects animals, getting blood all over his hands. Then once a kid at school finally pushes him over the edge, Michael beats him to death in the woods. The transition begins.
On Halloween night, Michael kills Ronnie, then Judith and her boyfriend. This shocks the town of Haddonfield. The law puts Michael in an institution, where Dr. Samuel Loomis (Malcolm McDowell) picks his brain to try and determine why evil lies in such a young mind. There’s also orderly Ismael Cruz (Danny Trejo) who talks to the boy often, trying to relate with him.
Only after 17 years go by, an older Michael gets a visit from a new, less friendly orderly by the name of Noel Kluggs (Lew Temple). He and his equally disgusting hillbilly cousin take advantage of having keys to the place. They rape a female patient after bringing her into Michael’s room, when Noel underestimates the now 27-year-old man. Michael kills the men and then begins on a path of destruction carrying him back towards Haddonfield, where his reign of terror is about to begin. As if it already hadn’t.
Love the metafictional quote from Dr. Loomis’ book. Like a post-modern version of Carpenter and Hill’s classic, early slasher. The whole character of Loomis is much different from that of Donald Pleasence’s version, and of course that’s mostly the way it’s written. In the original film(s), Loomis is an underrated psychiatrist whose knowledge of evil, and particularly that of Michael, is unparalleled. Here, McDowell’s Loomis is a good man initially. Then he morphs into a fame-seeking, fame-whoring doctor who made his fame and fortune off the dead corpses of a bunch of people in Haddonfield. He’s treated as such, too. So apart from the other liberties Zombie takes, or should I say aside from the expanded history Zombie creates, there’s this totally new role for Loomis, which I love. Pleasence is a classic, though, Loomis is a completely new beast under McDowell and I dig him, as well.
I don’t agree with the stance of people saying oh well we don’t want to see Michael Myers as a child, that’s the scary part. But wait a minute? Doesn’t the original Halloween, which I adore, start with that POV from the perspective of a young Michael? We already see that. Far as I’m concerned Zombie doesn’t really leap too far in reimagining Carpenter here. He takes what we’ve already seen, then elaborates largely. So yeah, maybe you don’t want to see the childhood of Michael completely played out, but the seeds were there in the original. So honestly, if Carpenter really wanted to keep his Myers as the almost supernatural, mythical Shape, then there’s no need to even show us the beginning of the child Michael; may as well jump right in. Not a criticism against him – I love that film, and it’s perfect. Period. That’s a criticism against those trying to rationalize their need for a theory on why Zombie shouldn’t have done it this way. For me, the best thing Zombie does here is humanize Michael. Because for all those people saying something is scarier about an unstoppable force of almost supernatural strength, I believe there’s nothing scarier than human evil, it never stops either. And personally, imagining Michael as a human killer, a kid who grew like weed out of hatred, is far more terrifying.
Carpenter wins overall, obviously. The techniques he used directing, some of those shots they achieved, plus the writing from him and Hill; everything in that movie is perfect. While Zombie’s film is not perfect, it wins on horror. There’s a more brutal aspect to this Halloween that hooks me in. It’ll never beat the quality of Carpenter’s original, but Zombie does a fine job crafting a gritty, raw remake. One of the better remakes that’s come out of the big Hollywood machine. Probably because Zombie isn’t exactly a Hollywood director, he just has the popularity to draw the Weinsteins and such. Regardless, this is miles better than the Friday the 13th and Nightmare on Elm Street remakes, and that glossed over Texas Chainsaw Michael Bay-produced affair.
As I’ve mentioned, there is a stern brutality to many of the kills in this remake. Part of why I still enjoyed some of the later Halloween sequels is due in large to the fact they started to up the pure strength of Michael. In one, he simply jams his thumb right through a victim’s forehead. After that, he became relentless in power. So even better that he’s a real humanized type killer here, coupled with the way he straight up just beats a few people to death. And I’m talking absolutely demolishing people. When he kills the orderly Noel, he repeatedly slams him against the concrete wall until blood starts to fly. It is a savage death. Then he drowns Danny Trejo’s character Ismael, which goes to show how brutal he is – no longer does Michael even care for people who show him any compassion. His heart is dead: “I was good to you, Mikey,” sputters Ismale while trying not to drown. Then a television gets dropped on the guy’s head. So if you didn’t already know this is a remorseless killer, he does not discriminate. Doesn’t matter who or what is in his way, not anymore. Since his mother died, the last of his humanity left, too. Lots of great kills after this, which Zombie captures in perfectly nasty fashion.
Some of my other favourite moments – the fight with Big Joe Grizzly (legendary Ken Foree) that is just pure unadulterated hypermasculinity, though oh-so-horror-good, and once more showcases that sickly strength in Myers; when Michael makes his way into the neighbourhood and goes mad on the young people it gets bloody and unruly; and when Michael goes to see the Strodes awhile before that, things are pretty rough, as well as creepy, and sad.
On top of everything there’s Scout Taylor-Compton in the old Jamie Curtis role. She does a solid job, as she’s cute and personable and she plays a nice good-girl, at the same time she’s got attitude and can be funny. Also, proper at showing fear. Danielle Harris is great, too, even if she doesn’t have a massive role; nice to see her back after the performances she gave as a child in a couple of the original movies. Then there’s a bunch of cameos, such as Ken Foree, Zombie alumni Bill Moseley, Sid Haig, Leslie Easterbrook, Sheri Moon Zombie (though hers is more than a cameo really), William Forsythe, Micky Dolenz of Monkees fame. Brad Dourif is awesome as the sheriff in all his scenes, too. Love seeing him anywhere, solid character actor.
All in all, I’m giving Zombie’s remake a 4&1/2-star rating. I don’t care, man. Dig it so hard. Lots of brutal violence in slasher tradition. Good, old school style filmmaking that both technique-wise and design-wise throws back to the 1970’s. But it’s the reinvention of Michael Myers and his story that draws me in consistently. I can always watch this, right alongside the original. And while I love Carpenter’s Halloween most, this one is a solid modern remake that gives us blood, thrills, and even some sly laughs.
Silent House. 2011. Directed by Chris Kentis & Laura Lau. Screenplay by Lau; based on the original screenplay by Oscar Estévez for the film La casa muda.
Starring Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens, Julia Taylor Ross, Adam Barnett, & Haley Murphy. Elle Driver/Tazora Films.
Rated R. 86 minutes.
Always a sucker for films that attempt to work outside the box, in any degree, the original version of this American remake, La casa muda, was pretty damn good. Seeing a film of this nature with sly editing making everything look like one long shot is ambitious, especially considering it works to great effect. When I heard the remake was coming I didn’t feel too confident it’d turn out near as good. However, with directors Chris Kentis and Laura Lau (the latter also adapting the screenplay) planning on replicating the real-time feel of the original, there came further hope. It isn’t simply a gimmick. What this technique does is pull the viewer into the perspective of the lead character, Sarah, so that as she turns a corner we’re not exactly sure, like her, if something terrifying lies around it. Further than that, the way this interrupted take technique presents itself lends to the story, as a lot of the time you’re busy following Sarah – too busy to try and suss out what’s really going on. Not to say this is a brilliant twist, nor is it unique or original. But as a smart viewer, I like to believe I’m able to sometimes get ahead of the plot. Here, I felt mostly too concerned with riding next to Sarah in the almost P.O.V style filming. With eerie sound design, a dreamy and almost nightmarish feel, Elizabeth Olsen does her part by nailing the lead role and keeping us fettered to terror, as her character navigates the shadowy, silent house.
Sarah (Elizabeth Olsen) heads out to the lakeside summer house she spent time in as a little girl. She and her father, John (Adam Trese), are packing the place up, as it’s about to be sold. They pack up boxes, throw things together, and try to get all the last minute chores finished up. Soon, they’ve got John’s brother Pete (Eric Sheffer Stevens) there to help, although the two brothers don’t exactly always get along. Later on, Sarah runs into a girl named Sophia (Julia Taylor Ross) who says they knew each other once upon a time; at first Sarah doesn’t remember, then says she does but her memory is just a little spotty.
The longer they stay at the house by the lake, Sarah begins to start seeing people lurking in the darkness. When Pete leaves, things get worse. Eventually, John is found bleeding, unconscious, and Sarah sees more people, hears them, including a little girl standing by the road outside. The situation spirals into madness. When Pete comes back he finds Sarah delirious. But as he investigates the house it becomes clear there is something definitely sinister in the making.
Cinematographer Igor Martinovic (D.P on House of Cards, as well as some great documentaries such as The Tillman Story and Man on Wire) gives us a frenetic style almost akin to the found footage genre, but there are also times where the camerawork creeps along with Sarah, as it puts us directly in her perspective. So the balance between nice steady frames and the more bumpy handheld style is pretty good. Because we get that feel of being right alongside Sarah yet there’s also that chaos together with it, and it works to make things unsettling. The lighting is really spectacular here, too. Seeing as how the film is sort of experimental, in that it’s made to look like an entirely uninterrupted take (edited keenly for that effect), I’m amazed they were able to work the lighting out at all. Let alone make things look so dark and gloomy. At a certain point, it feels as if we’re in a dream and floating along through the darkness in the halls of this house, lost and bewildered just as much as Sarah herself.
Adding to the suspense and tension of the cinematography is the sound design, courtesy of Glenn To. Morgan, whose work spans everything from 9&1/2 Weeks to The Crow to Oliver Stone’s Any Given Sunday. Without a score, Silent House manages to wrap itself around you using ambient rumbles, the pulse and swell of noise, combined with all the regular noises of a house amplified due to the near constant silence – doors closing, floorboards underneath the feet, and so on transform into near characters themselves at certain points in time. Whenever a production is able to create such an all around atmosphere of dread by both its use of visuals and also the overall sound design, there’s a good chance I’m at least going to be affected a slight bit. What happens in Silent House completely unnerves me, from the top on down.
In a film where there’s basically only one performance that matters, Elizabeth Olsen brings a theatrical sort of quality to the character of Sarah. Apparently the directors wanted someone with a stage presence, as the demands of long takes and so much focus on Sarah at all times (she’s in every last scene) required that type of disposition. Honestly, no matter how you ultimately feel about this movie as a whole, you’ve got to admit Olsen gives a quality performance. If a lesser actor were in her place it may not have even held my focus for its sparse 86-minute runtime. With only a couple other people in the film, the central cast itself only consisting of three people, Silent House is totally minimalist, and Olsen carries so much of the film’s weight by immersing us into Sarah’s perspective. Especially once the plot details are revealed and the nasty details come out, Olsen depicts the realization of Sarah, the pieces fitting into place in her mind so perfectly; it’s a mix somewhere between astonishment and confusion. But the best of her performance is that she really does not let on anything to the viewer, so that the first time around when you watch this it’s easy to get blindsided with the truth, just as Sarah ends up. Part of that is the writing, as well. Most of it, though, is Olsen. She deserves better recognition, this could’ve turned out terribly misguided were she not cast.
Never afraid of being in the realm of unpopular opinion, Silent House is a 4-star affair. While I try not to be too hard on remakes for no reason, often they never reach the excellence of their original versions. La casa muda was great; so is the remake. Olsen gives herself over to the role wholly. Backing her is a bunch of solid camerawork, as well as the fact it’s edited smoothly to feel like one single take throughout the entire film. The movie is quick, dreamy, disturbing. I can’t spoil any of the plot further than what I’ve said because this finale really ought to be seen without knowing anything; like many films. But the impact of the plot’s conclusions here are part of what makes everything worth it, part of why the whole affected me. Moreover, this one deserves a second watch after you’ve seen what happens, as there are plenty of opportunities to pick out foreshadowing moments, brief pieces that lay out the way forward. Give this its chance and perhaps you’ll be unsettled, if that’s what you’re looking for like me.
The Stanford Prison Experiment. 2015. Directed by Kyle Patrick Alvarez. Screenplay by Tim Talbott.
Starring Billy Crudup, Michael Angarano, Moises Arias, Nicholas Braun, Gaius Charles, Keir Gilchrist, Ki Hong Lee, Thomas Mann, Ezra Miller, Logan Miller, Tye Sheridan, Johnny Simmons, James Wolk, Nelsan Ellis, and Olivia Thirlby. Coup d’Etat Films/Sandbar Pictures/Abandon Pictures.
Rated 14A. 122 minutes.
There’ve been two other films based on the real Stanford Prison Experiment conducted by Philip Zimbardo, at least that I know of – the German film Das Experiment and the semi-remake of that starring Adrian Brody and Forest Whitaker, The Experiment. Many will tell you the former is the best. Certainly none will say the latter. But I’ll go ahead and give you my opinion: The Stanford Prison Experiment is the best of the trio. It is the most raw, real, honest version compared with true events. It showcases best the real results of the experiment Zimbardo setup. Here, we see the worst of the human condition, what people are capable of given power and the ability to judge as they see fit.
As opposed to the other two films, Kyle Patrick Alvarez doesn’t try to add anything extra to the story. Or better put, screenwriter Tim Talbott sticks mostly to the practical facts of the original experiment. Instead of getting too flowery, attempting to intensify themes, Talbott’s script brings out the moral dilemmas inherent in Zimbardo’s supposed experiment. We are thrown directly in the hot seat, both with the people behind the glass and the inmates on the other side. This film focuses best on the human aspect of what really happened, rather than ratcheting up the violence, the threat of rape, or any number of things. Not saying every last bit of this is completely factual. More that it attempts to stick with reality. And things get very raw. For someone who traffics in a lot of horror, many disturbing pieces of cinema, this can actually be tough to watch; it isn’t even graphic. The psychological torture of the men in this experiment bleeds through the screen.
Dr. Philip Zombardo (Billy Crudup) conducts an experiment at Stanford University in the early 1970s. Twenty four men were recruited. They were broken into groups of guards and prisoners. This experiment sees how both groups act under the guidelines of a prison environment in the basement of the university.
Except things start to get a little out of hand. The guards aren’t allowed to physically hurt the prisoners. But they do everything else possible. They psychologically torture the young men playing prisoners. Some of them rebel. Others comply completely. Allowed to leave at any time, a couple do, or at least try to. For Zombardo’s part he tries to keep people there, going beyond acceptable limits; certainly beyond ethical scientific limits. As some of the guards go a little wilder than others, the Stanford Prison Experiment gets further out of hand than even Zombardo could have predicted.
They had two weeks allotted to conduct the experiment. It didn’t even last one.
Many times we see Zombardo lose it. One key moment is when a member of the research/experiment team has to leave, due to a death in the family, and Philip doesn’t lose it, but the lack of care for his colleague’s dead family member is evident. We can see how Zombardo doesn’t care about anything else, anybody else. Nothing other than his precious experiment. So, in subtle scenes like that we see the fabric of his personality wearing away. He meets an older man, either a former mentor or an older colleague, who asks about variables in his experiment; Phil dismisses him in a mix between anger, resentment, and perhaps a small dose of doubt, guilt, too. The character is a loaded one and full of many complexities. We watch as the guy’s mind tears, right alongside many of the inmates and some of the guards in the experiment. Hard to tell sometimes exactly who is slipping most.
Then there’s Michael Angarano. He is a great actor, one I’ve enjoyed plenty on Cinemax’s The Knick. Here he plays the “John Wayne” guard, Christopher Archer. Watching him progress from the first scene where we see him, to the Napoleonic character he becomes later in the film, it truly is impressive. Some may get annoyed by his fake Southern accent – part of the character itself, imitating a character from Cool Hand Luke, and poorly (on purpose). However, I find Angarano excellent here. He plays a young man who is fairly despicable, just as bad as Zombardo, and certainly one of the worst of all the men playing guards. His youthfulness comes in handy because he portrays a guy who, in real life, went too far and thought it was all justifiable, as if being a terrible human being at the drop of a hat, as he was during the experiment, were a situation anybody would find themselves in. His character helps to call into question the individual moral dilemma of such an experiment, and displays exactly the type of behaviour any person in their right mind would be ashamed of if it were them. A few other good performances here, including Ezra Miller and Tye Sheridan plus more. Although, Angarano and Crudup clearly shine. That could also have much to do with their characters’ respective importance to the events in question. Still, they both do an amazing job pulling their share of the weight along the way.
This a dark and raw 5-star film based on true events. In the final fifteen minutes, The Stanford Prison Experiment devolves to madness and presents us with the regression of humanity, all represented in these men posing as the guards. The moment where Crudup’s Zombardo breaks is quietly intense, but it hits you hard. I do not admire anything about Zombardo. This moment just rocked me – especially with the line by Angarano afterward. There’s a despicable quality to the ending, and it lingered with me, yet above all a sense of relief. This film is a visceral one at times, it will get under your skin. Deep; if you let it. The bare human qualities of this movie made it one of my favourites from 2015.
Martyrs. 2016. Directed by Kevin & Michael Goetz. Screenplay by Mark L. Smith; based on the original characters from Pascal Laugier’s film.
Starring Troian Bellisario, Caitlin Carmichael, Kate Burton, Bailey Noble, Toby Huss, Diana Hopper, Lexi DiBenedetto, Taylor John Smith, Peter Michael Goetz, and DaJuan Johnson. Blumhouse Productions/The Safran Company/Temple Hill Entertainment.
Unrated. 81 minutes.
I always try to give remakes a fair shake. Slightly different story when you have to push through a favourite film being remade, especially if it comes out poorly. Though I love Spike Lee, as a filmmaker, his remake of Oldboy is one of the worst in recent memory. And that’s been a favourite of mine for years. When I heard Pascal Laugier’s frantic, bloody, wild movie Martyrs was being remade, it didn’t exactly excite me. Sure, I love when a fresh take or update can be done on a film, such as Alexandre Aja and his efforts on The Hills Have Eyes. But more often than not, an excellent foreign language film gets turned into nonsense by way of North American directors and writers.
Sadly, this new version of Martyrs is not up to the task of making things fresh, exciting, or even much different. It is definitely not a shot-for-shot remake, but it also doesn’t have a lot of what made the original French film so impressively visceral and continually interesting. This re-imagining, remake, or whatever word you choose to employ, didn’t have to go for big gore and get as graphic as Laugier. What it did need, though, is the emotional resonance, the quality techniques of Laugier and the original team, and generally a better screenplay if it were meant for glory. Not near being one of my favourite remakes. Another great film gets an unjust treatment for North American audiences, many of whom are probably too lazy to read subtitles and watch the original, evident by how many foreign films get remade here in the West. If that weren’t the case, if the demand weren’t so high, I’d assume people were seeking out the original pieces of work. In this case, I certainly suggest you watch Laugier’s movie. It’s leaps and bounds better than this mediocre, run of the mill dishwater.
Two young girls come together as orphans at a young age, Lucie (Troian Bellisario) and Anna (Bailey Noble). Lucie escaped from a terrifying, abusive situation of captivity, which Anna helped her get past.
Cut to years later. They’re grown young women. Lucie finds the family who supposedly held her captive, then shotguns them all, including the kids, to death. She calls Anna frantically, telling her what happened. Her friend arrives to try and help things go smoother, as far as is possible. But Lucie spirals out of control. Soon, Anna is in the house, bodies everywhere, and a group of armed people take over.
Brought to room and tortured, Anna discovers what Lucie went through. The two girls are pitted against their captors. Although, the past comes back to bear on their present situation. As things are revealed the capture of Lucie as a young girl becomes more clear, the movie behind it all unearthed. Can they survive this? Will Lucie be able to make it out of the horror a second time?
*SPOILER ALERT: TURN BACK OR THOU SHALT FOREVER BE SPOILED!*
One thing I quickly disliked about this version is that the screenplay from Mark L. Smith (The Revenant, Vacancy) decides to keep both of the main women alive. Whereas in the Laugier original, the Lucie character dies. What I love about that original screenplay is that the Anna character is then forced to deal with the aftermath of the situation, as well as the group who come to find her, forcing her to also suffer the torture her friend once did years ago. In this film there’s this sense of a bunch of subjects captured at once, while Anna and Lucie then also find themselves captives. Part of why I enjoyed the original French film is that Laugier went for a definitively tragic and truly epic plot. Smith, though he did amazing stuff with The Revenant, makes the mistake of going for something more hopeful. Realistically you have to look at the group doing these experiments; they are obviously massive, a solid organization, so to just do another escape thriller with this setup is wasting a lot of potential. The original capitalized on all its brutality, as well as emotions, and went for a dark ending. Without spoiling anything, this remake cops out. Some say the original was all nihilistic. Except for the fact the people torturing the hopeful martyrs, for all their faults and bloody terror, are seeking a way to discover what makes someone into such a portal to view what’s in their eyes, seeing beyond life and into the chasm of death. So, it’s not really nihilistic, not in true terms. But any of the impact of the film is taken away in this screenplay. Not at all impressed with Smith’s choices.
The execution isn’t a whole lot helpful either. Tons of exposition that the original never needed, as well as so much sanitized horror. It all combines into a real mess. There are, yes, several moments of decent blood, and also several intense sequences. Yet none of this adds up to even half the impact Laugier came off with, which does nothing to make me enjoy this needless remake. There was a grim, moody atmosphere and a gritty tone to the original. Here, most of the movie feels glossy, bright even in the darkness, and overall there is nothing technique-wise that ever grabs me. Kevin and Michael Goetz did 2013’s Scenic Route and I actually enjoyed that a good deal. It was entertaining, gritty at times, funny even. Lots of good stuff. Their follow-up film is nowhere near as good. Hopefully next they’ll go with an original film with a better story because they’ve proved themselves on the previous movie. Martyrs is a step backward.
I’ll give the film a 1&1/2 star rating, solely because I did enjoy aspects of Bailey Noble’s performance, even if I wasn’t a fan of the plot. Likewise, Troian Bellisario is decent enough to keep your attention particularly later when the torture commences once more. But this is an unnecessary remake. Honestly, I try to give these remade films a chance, however, they more often than not let me down big time. This one is no different. Over the past few years this is one of the worst. Again, I hope the Goetz brothers go forward and make something better. As I hope Mark Smith pushes on and finds better success with another movie. These are better artists than the movie suggests. Martyrs, the original, is worth your time. Despite what others say about a totally boring, gory film, Laugier made an impact with that one, which I will never forget. Skip this, see his original. You’ll thank me.
John Carpenter’s The Thing. 1982. Directed by John Carpenter. Screenplay by Bill Lancaster, from a story by John W. Campbell Jr.
Starring Kurt Russell, Wilford Brimley, Keith David, Richard Masur, T.K. Carter, David Clennon, Richard Dysart, Charles Hallahan, Peter Maloney, and Donald Moffat. Universal Pictures/Turman-Foster Company. Rated R. 109 minutes.
It’s hard to choose a favourite filmmaker. For me, and for many, there are tons of great directors out there. Especially when you consider the different genres. I often have a hard time saying I like one director – who happens to stick with a certain genre – over another, simply because I feel particular directors are best within certain genres. Still there are a handful of them I’d place at the top of my personal list.
One such filmmaker is John Carpenter.
Not only does Carpenter direct, he is a master of his craft. Something I’ve always admired about his style is that he likes to do his own scores, which is a big part of his overall aesthetic (funny enough – this movie isn’t scored by him: it’s the prolific Ennio Morricone, so fucking awesome regardless!). He pretty much has what I’d call an auteur style. Nobody does horror-thriller as good as him.
The Thing brings all of the best aspects of Carpenter together, alongside the solid performances of the likes of Kurt Russell and Keith David, as well as Morricone’s wonderfully suspenseful and effective score. This is not just one of the best horror movies from the 1980s, it’s one of the best horror movies. Ever. What starts out like a tense thriller evolves into a horrifically existential science fiction film, all based on John W. Campbell Jr’s short story “Who Goes There?” (also the basis of this 1951 film). I can never get enough of the dreadful, isolated horror Carpenter brings out in this movie. There’s a reason people always talk about this one. And a damn good reason Carpenter is a master of horror.
At an American base in the Antarctic, a chopper chases a dog across the snowy mountains equipped with a man holding a high-powered rifle. When the American crew – including R.J. MacReady (Kurt Russell), Dr. Blair (Wilford Brimley), Childs (Keith David) +more – come out they discover two crazed Norwegians. One tries to throw a grenade but blows up their chopper. The other, aiming for the dog, shoots George Bennings (Peter Maloney), so one of the crew shoot him dead.
At first it seems as if the men simply went insane up in the wilderness. However, after the dog transforms into a hideously deformed creature, MacReady and the crew start to deal with a situation beyond their control. Some sort of virus seems to be spreading, but no one is able to tell who it’s infecting – moving from person to person, The Thing inhabits anyone’s skin it wishes.
Will any of them survive? And if they do, is it really them?
Carpenter really sets up his atmosphere well, in every film. Almost none better than The Thing, as he starts out first with a long cinematic stare into space. From there we move to the Antarctic wilderness, vast landscapes of nearly nothing except for the white snow stretching on for miles and miles. It’s an appropriate way to give us that immediate sense of isolation. Once the exterior isolation is setup, Carpenter moves inside to where all the human elements of the story come into play. Then, furthermore, we start to get their sense of isolation – from the moment you see Mac drinking, playing around on the computer and then dumping a couple shots of J.B. into it, there’s an obvious idea of how sick this guy is with his lodgings up north. It only gets better from there, but I’ve always thought the film’s opening sequence really made the isolation sink it quickly, yet easily.
Not only the isolated feeling, either. With the Norwegians chasing the dog, the chopper exploding after a fumbled grenade toss, adrenaline is flowing hard. The tension is instantaneous and you’re already champing at the bit for what’s coming next. The music, the cinematography, the actors – all pistons are pumping. Carpenter is good for this usually. Again, though, I’m inclined to say one of his best instances is here in The Thing. Carpenter’s sense of atmosphere and tone is so important to what makes him great, as well as unique in the horror genre.
While most Carpenter movies have stellar effects, The Thing boasts such an innovative and terrifying creature. It’s truly epic (a word that is overused improperly; I used it in seriousness). Honestly, after the dog becomes that hulking, massive monster, the first time I witnessed it I was awestruck for a minute or two. I still am, really. Such good effects, plus it’s unexpected. Even as I watch it again now, for the who-knows-how-many-times, there is an aspect to that scene I always find reels me in. Plus, afterwards there’s the scene with Dr. Blair (Brimley) dissecting The Thing; even the look on Brimley’s face, his disgust, it makes you almost smell the nasty reek of this alien creature’s insides. Downright incredible, these special effects. From start to finish this movie has such carefully crafted practical effects, you can’t help but admire the work put in.
The entire film isn’t built on effects, nor is it solely leaning on horrific elements to make its mark. Only other stuff Bill Lancaster wrote was Bad News Bears-related. With The Thing, adapted from Campbell’s short story “Who Goes There?” (great read by the way – check it out), Lancaster did some solid work. The screenplay is tight, it’s mysterious and has a ton of suspense, which the master Carpenter draws out perfectly with his style. There are genuinely creepy aspects I find unsettling. Such as when the crew starts watching the grainy videos, then they make their way out to the crater where the ship is sunk down, I find that entire portion so impressive! Morricone’s score is beyond perfectly fitting, it has that classic horror movie feel to it and at the same time there’s stuff you could call very archetypal Morricone (a.k.a dig it). So I’m actually amazed Lancaster did so well with this script, considering he’s never done anything else science fiction or horror. Hats off. Put into the hands of Carpenter this story soars to a new level of terror.
There a few performances in The Thing which help it greatly. Kurt Russell, obviously, is one of the reasons this movie kicks ass. They could’ve put a lot of actors in this role and it would’ve been all right. But with Russell there’s that little extra charisma, he’s tough and yet there isn’t some kind of superhero-ness about him. He gets afraid like anyone else in the same situation. Russell and Carpenter work well together, this may be the pinnacle; I dig Escape from New York and Big Trouble in Little China, but there’s something so perfect about this movie I can’t help single it out as their best collaboration. Then on top of Russell’s skill, Keith David does a nice job – he also did They Live 6 years later with Carpenter, wish he’d been in more of his films. And as much as Brimley gets shit for the “diabeetus” kick, he is spot on here; that scene when he flips and everyone tries to bear down on him, I always thought it was a great moment and shows how well Brimley can play a good character when he wants. Plus his fit lends to some more of the isolated, desolate feeling happening from there on in. All around excellent cast.
The Thing is a 5 star film. Without any shadow of a doubt. There’s so much happening. Above anything else, there’s a supremely existential terror flowing throughout almost every scene. Once The Thing takes hold, nobody knows who is who, who to trust, and it moves from one person to the next, some times even to animals. So there’s this incredibly dreadful horror at play. Then you throw in John Carpenter’s tense style, Ennio Morricone and his suspense-filled score, a well written screenplay with good actors to play it all out. What a mix!
If you’ve never seen this, my god, get out and watch it soon. Not only that, read the original short story by Campbell, as well as see the 1951 adaptation The Thing from Another World, which was a huge influence on Carpenter overall but especially for this film (obviously). I can never forget this movie, and it’s one I’ll put in any time I need a real creep.