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.
Snyder and Gunn, above all else, help make zombies terrifying again.
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.