Sasha's invited to a strange ceremony at the Lefevre home in honour of Becky.
Mary Lambert-directed, King-penned PET SEMATARY is a stunning, gruesome exploration of grief.
A woman once named Jane now goes by Offred, living under the rule of an authoritarian, patriarchal nation-state ruled with an iron fist.
The Wicker Man. 1973. Directed by Robin Hardy. Screenplay by Anthony Shaffer; based on the novel Ritual by David Pinner.
Starring Edward Woodward, Christopher Lee, Diane Cilento, Britt Ekland, Ingrid Pitt, Lindsay Kemp, Russell Water, Aubrey Morris, Irene Sunters, Walter Carr, Ian Campbell, & Roy Boyd. British Lion Film Corporation.
Rated R. 94 minutes.
DISCLAIMER: as of this writing it’s been 43 years since the release of this classic, so if you haven’t see it I really don’t even need to tell you about any possible SPOILERS! Yet I do so anyway. This review is going to talk about the ending later. If you head on through expect for that to get talked of openly. This is your final warning.
Upon hearing Robin Hardy passed today, I was torn up. Honestly there’s nothing else he’s done that I’ve particularly been interested in. It’s the influence of his mysterious folk horror The Wicker Man that endeared me to him permanently. When I was young I remember catching this movie on some channel, whether it was Show Case here in Canada I can’t be sure; likely, but not positive. I remember how strange and dreamy the whole thing was, and the way in which its songs mixed into the creepy story to make something altogether different from anything else I’d ever seen at the time. So as an early teen Hardy influenced me greatly with a single hour and a half of film.
There are a few reasons for Hardy’s influential touch. First, it wasn’t until about age thirteen that I finally shed the influence of my Roman Catholic upbringing, after my parents were smart enough to give me a choice – church or not. I saw this movie around age eleven, maybe twelve at most. It was before that choice of mine to stop going to church and taking communion, all that. The religious elements at play in this film were incredibly interesting to me. Second off all, Hardy’s finale is one of the single most horrific sequences of all time. To me it is the epitome of folk horror, including the gradual build up to those moments. This is a successful horror movie that does not rely on an entirely physical element to make things scary. Rather, The Wicker Man pries up your skin and slithers beneath it, both disturbing you and even making you smile (or laugh) from time to time.
One thing’s for sure: imitators be damned, there is NOTHING like this one.
Shaffer has done some good work other than this film, mainly Frenzy, Sleuth, Murder on the Orient Express come to mind. This is his crowning achievement. There’s of course the inclusion of David Pinner’s novel Ritual, but his work together with Hardy made for some terribly interesting story and characters. Forget the simple fact all that folk music thrown in is so unique and fun, Shaffer makes this paganism-styled religion out on the fictional Scottish island Summerisle partly unnerving and also an equal part intriguing. You want to know more, and as Sergeant Howie (Edward Woodward) discovers more then you sort of want to know less – in the best, mystery-horror hybrid kind of way. I love that there’s a great deal of attention paid to the Celtic traditions, paganism, as well as drops of history here and there. Shaffer uses all kinds of things, such as the Middle English folk tune “Sumer Is Icumen In” (you can find a proper copy of this in A Middle English Anthology edited by Ann S. Haskell) that you’ll find comes at a crucial moment. The song is a terrifying sound to hear when it’s sung. It is also very poignant for that scene, too. If you know a book called The Golden Bough by James Frazer then you can see how much Shaffer drew from when writing this script. What I love is that he creates a purely organic way for us to discover this Summerisle religion alongside Howie. Instead of feeling like a terrible load of exposition, while still being completely expository, the journey on which Howie goes to figure out what’s happening allows us to sift through the pagan island religion with interest. Other screenplays might make that feel boring. Shaffer manages to keep the pacing steady. Then you can also count the interesting musical pieces as a way to make everything feel compelling. Between the unique atmosphere, the songs and the dancing and the pagan-like rituals we witness, all the odd visuals (those first animal masks are horrifying), there’s enough to make this more than weird for weird’s sake.
Some of the more enjoyable aspects stem from the theme of religion v. paganism, the centrepiece of the screenplay. Howie is a direct parallel to Lord Summerisle (Christopher Lee), whose hippy-like vision of religion appals the lawman, a staunch Christian. There are some genuine looks of horror courtesy of Woodward’s talented acting which really make you see how devastating the idea of pagan worship is to the straight laced, God fearing Christian worshipper. The awful irony is that Woodward’s Christianity leads him into curiousness and duty that is his downfall. That apprehension and judgement becomes a gateway into paranoia. In the end, this Christian paranoia re: heathenism alongside Howie’s dutiful police sensibilities combine in a lethal cocktail of curiosity. Something that’s worth noting is that on his way toward the finale, and his doom, Howie momentarily loses himself in the heathen pagan traditions: whilst wearing the disguise to follow Summerisle and his people, Howie sheds his Christian repression and slaps a few women on the ass gleefully. If only for a second he forgot his devout Christianity and let loose with the heathens. Probably all for the best, as the poor Scottish policeman isn’t long for this world, anyway.
As I’ve mentioned, The Wicker Man is successfully filled with horror not because of any blood or gore, nor any jump scares. It isn’t due to anything typical. All the fun elements like the songs eventually transform into something treacherous and evil. By the final scene, singing is nothing but a vortex into madness. The masks and the pagan symbols are appealing early on, like the marks of island/small town charm. Later, as Howie discovers himself the ultimate fool – perfectly dressed just like Punch, eternal fool himself – those animal masks and all the nature imagery, it’s positively chilling. Christopher Lee gives a charismatic performance that set him so far apart from the typical Hammer Horror roles it’s amazing, and his determined attitude as Lord Summerisle is nothing if not psychopathic. Likewise, Woodward plays Howie perfectly, and for all his foolishness you truly pity him, especially once he sees the eponymous structure from which the film takes its name. Robin Hardy will always be remembered, fondly, for his weird and wild The Wicker Man. It is not merely a load of hype. It is a fantastic piece of folk horror and an unforgettably unique moment in cinematic history. Relish that. I do, every so often, and as damned often as I can.
We’ll miss you, Mr. Hardy. Thank you for your strange vision; it is forever a fever dream in my memory.
Pod. 2015. Directed & Written by Mickey Keating.
Starring Larry Fessenden, Lauren Ashley Carter, Brian Morvant, Dean Cates, John Weselcouch, and Forrest McClain. High Window Films.
Rated R. 76 minutes.
If any of you may have read my reviews before, you might know that I’m a big fan of films which are of a specific genre and still they have the ability to cross over genres. The classic example is Alfred Hitchock’s adaptation of Psycho by Robert Bloch – the way we think the story is all about Marion Crane, but then Norman Bates shows up and the story takes on a different air. Same goes for Proxy, a viscerally intense horror thriller from Zack Parker, which I believe took much inspiration from Hitchcock and his classic horror film and seems to move between genres in a similar fashion.
So, for all its faults, I do like the way Pod starts out with an opening scene that’s very horror-ish, or at least highly suspenseful, then moves for a while into an extremely serious, often dour family drama before coming back to its horror elements.
Pod tells the story of Ed (Dean Cates) and his sister Lyla (Laurence Ashley Carter) who are heading up to a cabin in the winter in order to retrieve their out of control brother Martin (Brian Morvant). He needs an intervention of some sort. When they arrive, though, things are far worse than they’d ever anticipated. Ed is already worried, having received a frantic and terrifying call from Martin.
Once there, Martin tells his siblings he has something trapped in the basement, that there is a “pod”. He reveals scratches all over his body, infected and sore.
But after the worst happens, Ed and Lyla must confront what really is down in the basement. It most certainly is not of this world. Suddenly everything their crazy brother Martin had told them seems to be horrifying true.
I’ve been a huge fan of Larry Fessenden now for a good 14 years probably. I remember I saw his film Wendigo, an eerily low budget psychological horror, on some television channel late at night. Totally floored by it, I sought out anything he’d done before then kept my eyes on him afterwards.
What’s great about Larry is that he’s a fun horror director, while also popping up in the films of others as an actor. I think he likes to take on roles with young filmmakers he finds interesting, or just any filmmakers in general, young or old, he thinks has some talent. So to see him in this film is pretty great. He was in Mickey Keating’s previous directorial effort Ritual, which I’m planning to see soon, so I gather Fessenden must enjoy Keating and his filmmaking to have signed on for another of his films. He isn’t in this one much at all, though, to see him show up a little is enough for me most times.
Then there’s also the talented Lauren Ashley Carter who I’d first seen in The Woman and enjoyed. Then I caught her on an episode of Law & Order: Special Victims Unit in a decent role. However, it wasn’t until the film Jug Face, which I own and love, that I saw what Carter is really made of. She has great range, as is evidenced by watching her across a couple films.
Here she plays a young woman whose family clearly has issues. She’s an alcoholic, her brother Martin (Brian Morvant) is most obviously a man with drug problems and all sorts of other compounded issues. It’s intriguing to watch her here, as opposed to Jug Face in particular, because this character is even more complex.
I really found the chemistry between Lyla (Lauren Ashley Carter) and her brother Ed (Dean Cates) worked very well. The beginning of the film for the first 10-15 minutes is a lot of them, alone together as they travel to give Martin a sort of impromptu intervention. It’s definitely a rocky relationship, though, we’re able to glean a sense of their family, their past, and it doesn’t require a huge amount of expository dialogue. There’s definitely some of it, but we get tons simply from how Ed and Lyla interact with one another. Once Martin actually comes into the picture, there’s plenty more family tension and further dynamics at work.
We get bunches of history about the family, especially Martin. Turns out he did something pretty terrible to a woman named Edith – flashes of a couple Polaroids with a VICIOUS BLOODY injury to her face come up really quick – he thought she was feeding him arsenic, that she was a spy of some sort. So it’s obvious why Ed, and to a lesser extent Lyla, is reluctant to initially believe anything Martin is saying. No matter what horror may come later, at the time it’s certainly relatable and understandable; Martin’s got psychological issues, plus the fact he was in the military and who knows what he truly saw, but it’s affected him in some highly real ways due to delusional thought.
A while later, Ed reveals to Lyla that the woman named Edith was a nurse. Martin tried to essentially rip her face off and escape from the hospital. So again, we see more of why the siblings – mostly Ed as Lyla seems to believe Martin slightly – have a tough time trying to trust anything Martin might say.
This all sets up the drama of the family, but what that serves to do is make all the thriller and horror aspects of the script come out even more intensely, as we’re sort of riding alongside Ed and Lyla listening to the insanity of Martin before – BAM! – everything kicks in.
Loved the style of how the film was shot. Not only that, the sound design and the score helps the suspense and tension of so many scenes. One awesome bit is just before the 30 minute mark, as Martin retells the story of waking up in a government lab; he’s a soldier who’s clearly seen some SHIT. But what I love is the score, the sound design with its crackling fuzzy noises slamming loud with the music at the right intervals, and all the while we’re closing in on the door of the cabin Martin has locked. There are scratches around the door, near the locks, it’s clear something is in there whether brother Ed wants to believe it or not. Definitely creepy style.
This sets up a really great atmosphere, another aspect of what I love about good horrors and thrillers; any films really. If a nice atmosphere and tone can keep up throughout a movie, then there’s a good chance no matter what I’ll walk away with something positive to think and feel about it, even if not every aspect is great. What Pod absolutely has going for it is a tense atmosphere throughout, a dark and sketchy tone.
One amazing, brief shot is after Ed pulls Lyla off to talk in private. There’s an excellent slow motion style shot, as Lyla stares wide-eyed at Martin while heading upstairs; she sees her brother grabbing his head, like a million voices are pounding his brain, and he looks so tortured you can almost feel his pain.
There’s a genuinely shocking moment near the 50 minute mark. I knew Martin was pretty crazy, despite the obvious weird happenings at the cabin, however I couldn’t see what he did coming. Not by a long shot. I don’t want to spoil anything too much, so I won’t say exactly what it was, but be prepared! It’s not vicious, definitely gory though. Mostly it’s just a good, solid shock that puts the final half hour into a really thrilling frame.
Once Ed and Lyla open up the padlocked door in the cabin, I thought the room itself was superbly creepy. It’s cast in this reddish light, there are drawings and doodles everywhere, writing on pages just tacked to every open space on the wall – the set design and anyone who worked on the room sure spent a nice bit of time making the place look like the stronghold of an insane man. We’ve seen this kind of thing before, but the way Keating directs these scenes it’s definitely tense and has a spooky air of mystery.
My most exciting moment, personally, during the film is when we get the first bits in the basement. Ed is walking around with a flashlight, and at first it seems like we’re simply watching an angled shot of him, when in reality it’s a view from the eye of the pod, or whatever it is hiding down there. VERY VERY EFFECTIVE! I loved this moment because it was a nice touch, unexpected and a little unnerving at the same time, too.
I’m not saying that Pod is a perfect movie, not at all. My problem is that when I went online to see what people were saying, so many moviegoers – likely many of whom pirated the film instead of paying for the pleasure – seem to say “Oh it’s like an hour of arguing and screaming”. There is plenty of arguing, definitely some screaming at points, but what did you expect? This is a riveting family drama for the first quarter or so, then it plunges into a mystery thriller before hitting the horror stride full-on within the last half hour. I mean, there’s no real doubt Ed and Martin would be yelling at one another. First of all, Martin’s psychologically damaged, he’s probably taking some drugs, Ed is completely fed up with his brother. Naturally there will be some fighting. So I just can’t agree with anybody saying this is ALL arguing and yelling. It’s not. Plus, this is a horror film and there are intense scenes of – you guessed it – horror. So I don’t see it as totally unrealistic that maybe people would be yelling at certain points. You don’t think you’d be frightened? Not even when a hideous, terrifying creature of some sort is coming up the stairs out of the dark after you? I call bullshit.
With one whopper of a final 20 minutes, I can’t say that Pod is a bad film. Honestly when I go on IMDB and I see that a good indie horror film, with sci-fi elements, has a low rating like 4.5 (which would equate to about a 2 out of 5 star rating by my site’s terms), I’m consistently amazed at how lame a lot of people rating online have become. What’s so bad about this movie you’ve got to rate it THAT low? The acting isn’t bad. Lauren Ashley Carter does a great job as Lyla, Dean Cates is solid in his role as the caring and serious brother Ed, but can you really deny that Brian Morvant did a terrific job with the character of Martin? If you say he’s no good, I just feel you’re kidding yourself. It was a frenetic performance and it came off well.
I did love the inclusion of Fessenden, at the same time his character and how quick that aspect lurches into the film is one of my only big problems with Pod. I’m fine with the whole angle of someone protecting the pod, or having a part in the pod being there – whatever. The part I cannot abide is how swift that part came on, there’s no real buildup to this scene. I’m not asking to have things spelled out for me, though, there’s no way I can jive with how suddenly Fessenden’s character showed up and what he’s done (I won’t spoil it fully).
Ultimately, I’ve got to say this is a 3.5 out of 5 star film. There’s an intensely horrific final 30 minutes, beginning with a gory throat cut then introducing the alien/pod in the basement, which all ramps up to the creepy and messy finale as Ed faces off against whatever the thing is Martin had been warning him of all along. The effects are KILLER here and I thought the pod/alien design all around was so perfect! The sounds it makes at the end while fighting with Ed are outrageous, I loved it. Unsettling piece of horror with that small sci-fi twist.
See this and absolutely DO NOT pay attention to all the slagging going on over at IMDB and other online sources. People who probably don’t appreciate film are the ones commenting, I see many of them brag they’ve not paid for it in any way and downloaded it for free, so honestly I don’t take people that seriously if they’re not willing to pay for films. Just sours my view on someone’s perspective when they’re robbing filmmakers then shitting all over their movies.
So get a copy legally, watch it, then tell me how you feel. I’m not saying everyone will love it, merely I believe this deserves more attention than the people online are giving it. They’ve clearly not paid attention to the worthy aspects of Mickey Keating’s film because there are likeable elements which I enjoyed a great deal. Nice little indie horror film for a rainy day when you want to get creeped out.