Tagged Robert De Niro

TAXI DRIVER Rides Through the Moral Soup of Murder

This Martin Scorsese classic is the barometer for movies dealing with PTSD - not an overt military movie, but one that examines the effects of war and isolation and the lack of help for those who come home.

Read more

The Godfather: Part II Redefines the American Classic

The Godfather: Part II. 1974. Directed by Francis Ford Coppola. Screenplay by Coppola & Mario Puzo.
Starring Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, G.D. Spradlin, Richard Bright, Gastone Moschin, Tom Rosqui, Bruno Kirby, Frank Sivero, Francesca De Sapio, Morgana King, Marianna Hill, Dominic Chianese, Joe Spinell, James Caan, Abe Vigoda, Danny Aiello, & Harry Dean Stanton. Coppola Company/Paramount Pictures.
Rated 14A. 202 minutes.
Crime/Drama

★★★★★
POSTER
The first Godfather film was being received so positively even before it hit theatre that the studio greenlit a sequel quickly. This surely gave Francis Ford Coppola not only the money and freedom to keep doing what he saw fit with the story, but it likely also instilled him with some degree of confidence. Rightfully so. As I’ve said in my other review, the first movie is an American classic, a masterpiece of crime cinema and a giant of artistic, studio filmmaking crossed into one package. This sequel only builds upon all that momentum and all that dark beauty. The screenplay that Coppola and Mario Puzo manage to twist around through two separate time periods – the life of a younger adult Vito Corleone (Robert De Niro) after he left Sicily as a boy and came to America, one of the huddled masses that entered through Ellis Island; then there’s the personal and professional troubles of Michael Corleone (Al Pacino) having now taken his place as Boss of the Corleone crime family. Again, it’s a powerhouse of cinematic technique and writing. On top there’s the delicious cherry of a crackerjack performance out of Pacino and De Niro, all in the same damn film. How can it get any better?
The answer is, it can’t. Not really. Because there are only so many Godfather: Part IIs that are going to happen. There are other perfect movies out there (I consider this perfect, by the way). This one takes the cake. I have other favourites, but this is a genuine work of art that will last in the collective consciousness of film lovers worldwide, until there’s no such thing as consciousness any longer. Coppola redefined the classic film he’d put out a couple years earlier by making it even better through the sequel. I can’t think of many movies that are so well written and executed on all ends. So many beautiful shots, perfect scenes, the capable eye and blocking of Coppola… it’s hard to figure out what’s most enjoyable.
One thing’s for sure: this is the greatest sequel of all time, one of the greatest films period.
Pic4
Let’s talk of oranges again, shall we?
When Michael meets with Johnny Ola (the fantastic Dominic Chianese), the latter actually brings an orange. From Miami, Ola says. An ominous gift in the world of Coppola’s notorious crime family and their shady business. This should be our first inkling that something’s wrong with Ola, or that something is eventually going to go wrong involving him. Later, this is all confirmed when the plot plays out down in Havana. Ola also wears plenty orange, if that’s not enough to convince you of a foreboding death.
Another instance of the infamous orange omens comes in the younger days of Vito. When he drops the talk of making Fanucci an offer, one he can’t refuse, there’s a stand with oranges on it behind him. After Vito gives Fanucci money, the greasy extortionist grabs himself an orange before getting popped with a couple bullets; perhaps the strongest one of the entire series.
Apart from oranges there are so many iconic scenes and shots that it’s hard to talk about even half of them. Certain moments stand out, though. Near the end when Michael tells Fredo – “You broke my heart” – and gives him the kiss of death, I love how it’s all set against this New Year’s Eve party, such a happy, joyous celebration, and then in the midst is this really deadly confrontation between brothers. Subtle, quiet, yet deadly. Consequently the shot later when Fredo is taken out for a boat ride is a serene and beautiful moment, if not a dark one. Most of the amazing parts during The Godfather: Part II are not the action, the guns, they are the more subdued and gentle shots. That being said, one of my absolute favourites is the sequence where Vito takes care of Fanucci; everything from how it looks and sounds and feels, to the manner in which Vito carries out the deed, wrapping his gun, unscrewing the light bulb, and the gruesome shooting of Fanucci. There’s something for everyone, in the sense there’s drama, great looking cinematography, violence. All turned into a masterpiece by the hand of Coppola.
Pic1
Once again there’s an immersion in the Italian-American Mafia lifestyle. We have this ridiculously massive celebration for Michael’s little boy and his First Holy Communion. Yet it’s tradition. The Italians are proud of their heritage. Sure, it’s funded by mob money, but they’re celebrating religion, faith, all that. And I think the greatest part about those opening scenes with Michael, the big party, is how they’re all juxtaposed with meeting Senator Pat Geary (G.D. Spradlin) and his disrespect for the Corleone family, as well as Italian-Americans as a whole. Seeing such a beautiful, if not outrageous, celebration of culture and heritage followed by a dose of white American bigotry, it’s almost shocking at first. However, for all the mafioso stuff, the Corleones and many of their associates are atypical gangsters. Particularly compared to lots (/most) of the gangsters that came before these two movies. This is why getting a look at Vito in his early years, to the early days of his own family burgeoning in New York City right near the tail-end of WWI in 1917, is a super important aspect to the screenplay. This movie wouldn’t be near as powerful were it a simple sequel. Instead, Coppola mixes a prequel element into his story, which allows us to see the simple family man Vito was at the start. Before any of the gangster lifestyle and the illegal business.
Pic3
Effectively, Coppola and Puzo give us a window into why these men do what they do. In the first film it was more a broad look at these people as more than mafia stereotypes. Here, we explore exactly how these men start out on the path with the Black Hand. Vito’s tale is a microcosm of the Italian-American Mafia experience. In that Vito only became what he was due to the fact he and many others around the neighbourhood were being extorted by Don Fanucci (Gastone Moschin in a properly despicable performance you can’t forget). And in the Italian-American community at the time, there wasn’t much reliance on the police, so where could a person turn in a city where they were all but forgotten? Vito simply stepped up and took a position that afforded him respect, power, and above all a means to provide for his family AND his community. You will likely never agree with the mafia life, nor do I. Although it’s easy to understand, especially in the early 20th century when so many Italian-Americans were being mistreated, forgotten, left out (purposely along with other cultures), and all around discriminated against.Pic2Vito is so wonderfully written. De Niro is a large part of why the character works on screen. But it’s undeniable the writing makes him a human being, alive off the page. One worth of empathy and the sympathy of others. Just the power of that scene where he’s being let go, reluctantly, at his job is enough to create the depth of his character. Most importantly, we see how Vito became a loved leader. Never mind fear. Vito has the power of faith in him as a leader, something others see and of which they take notice. His kind heart is evident from the start; his boss tries to give him some food as a token of appreciation after having to let him go, Vito won’t even take it. He has a sense of pride along with the warmth, a willingness to never let anybody have to take care of him. His principled way of living is clear so fast. This is a brilliant component to the performance of De Niro, he at once gives his own performance while calling us back (or forward depending on how you see it) to Marlon Brando and his older Vito Corleone. Certain aspects of Vito’s personality ring loudly through De Niro, ones that we can likewise pick out from the first film and Brando’s performance. Not only the voice. There’s the way Vito works from his heart and from his mind and always on principle, which De Niro shows us at the root, from where it originated.
On the opposite side there’s Michael. He is a completely different type of man, and therein lies the ultimate distinction between Vito and his son – Michael can never be Vito. He never had to haul himself up with absolutely nothing. The generation of men that came over to Ellis Island from the old country in Sicily were faced with building their entire life up. Vito chose the life of the gangster because, in the end, it was really one of the only things available to him. Otherwise, he might have been in service to some greasy, corrupt guy like Fanucci. Instead he decided to turn himself into a man completely on the other end of the spectrum, a tough and powerful and dangerous man, though one with a code of honour and a sense of respect for others around him (so long as the respect is returned). Michael simply falls into the troubled game of the American Mafia, murdering his way to the top, then he questions why danger has come to his door, constantly, threatening both him and his family. Someone like Vito didn’t deserve any of what came to him. He only did it for his family. Michael does all this for his family, but unlike his father none of it is by necessity. It isn’t until The Godfather: Part III does Michael realize the error of his ways and tries to repent. On the one hand, Vito never had to repent because he never did anything that you can truly call underhanded. Illegal business doesn’t mean immoral. On the other, his son Michael has done immoral, terrible things. Just consider what he does to Fredo (John Cazale). Despite all the dumb Corleone brother does and lets happen to the family because of his careless actions, he’s still Michael’s brother. And for him to do that to Fredo speaks to his character. You’d never see Vito do that. He’d maybe send him away, somewhere far nobody would ever find him, something other than death. Michael proves the difference between himself and his father with deafening finality via this act.
Pic4
I could say plenty more about this classic. This is one perfect piece of cinema. It’s fine if you don’t agree. On a technical level, I don’t see how you can’t call this a work of art, of mammoth proportions. If ever epic were a label suited for a film, The Godfather: Part II deserves it, every step of the way. Pacino and De Niro go back, forth with their acting talent, as the screenplay moves us from focus on a young Vito Corleone working his way into the business because of necessity, to his son Michael Corleone at that age later having essentially fallen into the grasp of the crime family business and becoming a totally different, more brutal person than Vito ever was, even at his worst. I’m always amazed at the power of this movie each time I see it. Never changes. Coppola is a master. He could make 100 shit films, and I’d still call him that for this film alone, let alone the trilogy as a whole. He deserves the label for making a work of art out of the crime genre, allowing a different perspective on Italian-American mobsters other than what the mainstream media offered up to that point. Not meant to change any perceptions, this sequel expands upon a look at the Corleone family, specifically Michael, and how absolute power corrupts absolutely.

Advertisements

Terry Gilliam’s Brazil is a Dystopian Vision of Not-So-Distant Future

Brazil. 1985. Directed by Terry Gilliam. Screenplay by Gilliam, Charles McKeown, & Tom Stoppard.
Starring Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, Michael Palin, Ian Richardson, Peter Vaughan, Kim Greist, Jim Broadbent, Barbara Hicks, Charles McKeown, Derrick O’Connor, Kathryn Pogson, Bryan Pringle, & Shella Reid. Embassy International Pictures.
Rated R. 132 minutes.
Drama/Sci-Fi

★★★★★
POSTER
Merriam-Webster defines the word ‘bureaucracy’ as the following: 1) a large group of people who are involved in running a government but who are not elected; 2) a system of government or business that has many complex rules, an administrative policy-making group; 3) government characterized by specialization of functions, adherence to fixed rules, and a hierarchy of authority.
Terry Gilliam’s Brazil is the filmic epitome of a not-so-far off future, nearly a dystopian present, where bureaucracy has created such a perfectly tailored society for the upper echelons that they can do just about anything they want, to whomever they please. What Gilliam does so well is expose the saccharine sweet surface of such a society, as a disturbingly rotten core lies further at its core. Since my dad introduced me to them at a early age Monty Python have always been a big influence on me. Partly a reason why when Gilliam made films on his own, they intrigued me immediately. At a young age I also saw his movie The Fisher King, and that had a tremendous impact on me, both due to the whole story and plot, as well as the fact Jeff Bridges and Robin Williams did fantastic jobs in the lead roles.
However, with all the great work he’s done in cinema it is always Brazil to which I return, that always keeps me coming back and wanting more. It’s funny because, as great an actor Jonathan Pryce is, I’ve never considered him a leading man; more a supporting guy, even a character actor at times. Yet here, he is perfect. It’s as if all pistons were pumping, every thing in its right place, and this masterpiece of dystopian film fiction came to us in all its quirky, unabashedly strange glory.
Pic1
The bureaucracy is utterly skewered by this screenplay. And while it’s right there, so open, that doesn’t make it any less funny. An entire system is made out to be incredibly inept through all the different departments, the divisional hierarchy making one hand completely unaware of what the other is doing. What’s so great is that Gilliam, Charles McKeown, and Tom Stoppard do their own thing, but much of their madness also does feel Kafkaesque at times. From the beginning mix up between Buttle and Tuttle that causes a man to, eventually, lose his life, to the various fuck arounds Sam has to through, there is no shortage of incredibly wild existential grief. One thing I’ve always loved is that the bureaucracy is epitomized in the fact there’s no Orwellian figure at the top, the hierarchy goes nowhere. It’s a perfect little touch. Not only that, there’s a vaguely futuristic, sci-fi element to the entire production, yet the story feels extremely contemporary rather than something being predicted. That truly aids the entire movie, as it feels like this bureaucratic, totalitarian society is just one step away. Especially when you watch it now, as the U.S. Presidential campaign is underway, getting zanier, more dystopian than possibly ever before at times. Even in ’85, Gilliam put this out there at the right time, as people like Margaret Thatcher and Ronald Reagan were running their respective countries and things, though sold in a pretty package, were looking quite bleak underneath the political rhetoric and doublespeak.
Pic2
Spoiler Alert: Do not go on if you haven’t actually finished the film, or else be spoiled.
Ultimate irony, though dreamily, ends with Tuttle (De Niro) eventually being swallowed up by paperwork; the very thing he’d earlier told Sam Lowry (Jonathan Pryce) was a reason why he hated the system nowadays. I love a lot of the imagery like this. Sam goes to help Tuttle only to find nothing in the mound of papers that seemed to be choking him. This entire sequence during the finale is actually something I remember seeing on Showcase, a Canadian channel, years ago. For some reason Brazil was on in the late afternoon, I’d landed on the channel after school. I caught the last few minutes or so right after Tuttle disappears, so out of context it looked like absolute insanity. It was creepy. Years later when I was seventeen or eighteen, I tracked this down and watched the whole thing. Then it went on to be one of my favourite films, ever. But those crazy moments with the casket, the eerie masks, all that stuff, it stuck with me. Because you finally get a look totally beneath the mask of that society. The rotten core is visible, fully. We still see bits of the sweet slip in, only Lowry is hallucinating, off in the Brazil of his mind, as the physical body remains back in the dingy, dark tomb-like auditorium where he’s likely to waste away.
Pic4
The world of Brazil is part camp, part visionary, part horrific. A 5-star bit of dystopian fiction on film. Terry Gilliam’s Monty Python brain comes together with an even more sophisticated sense of satire resulting in one of my picks for best films of all-time. Absolutely on my top list. The acting is terrific, from Jonathan Pryce to the fantastic Ian Holm and equally awesome Robert De Niro everybody pulls their weight, and then some. The set designs, the dream sequences, all of it is just downright perfect. At the same time it’s liable to give you nightmares remembering those creepy fat faced masks. To this day I’ll have a bad dream where those faces show up. Seeing it so randomly on television when I was young it always crept into my brain when least expected. But after actually watching it through, many times and on Criterion at that, Brazil has presented itself as one of the more chilling and daringly accurate visions of a near future that I’ve personally seen onscreen.

31 Days of Horror for Halloween Season

In an effort to try and diversify, I’ve done my best to not include anything I included on last year’s Halloween List. Not to worry: plenty of horror for you here.
Wade on in to find yourself something creepy; one title for every day of the month in no particular order but merely numbered for order.
I’ve tried not to do anything too obscure. Most of these titles you should be able to track down somewhere. But regardless, I wanted to try and name at least a few movies other lists don’t suggest this time of year. Huge fan of John Carpenter’s Halloween (my review here) and even the rest of the series honestly, except for the last couple entries. They’re the ones you always hear about! I’d rather try to go for some titles you either might not know or wouldn’t think to watch.
Now… Let’s get spooked! October is upon you. I watch horror just about every single day of the year. Though I always get excited to share that passion with everyone else leading up that creepy day we all know and love.


1) Let’s Scare Jessica to Death (1971)
lets-scare-jessica-to-death-movie-poster-1605114445An obviously low budget movie, this 1971 underrated gem takes us to the depths of the line between sanity and madness.
To say much of anything would ruin this for you, but the movie follows a young, emotionally and psychologically unstable girl who goes out to a little farmhouse with her husband and their friend, only to experience a living nightmare of sorts after meeting another young redheaded woman who is at the house, drifting and living there.
Some people say this is a vampire film, though, I think it’s mostly because there’s a legend of vampire activity in the story itself. Me? I’d say this is psychological horror at its finest with emotional problems and local legends at its root, driving everything that may (or may not) be happening in the plot. Check this one out! It’s been called one of the scariest films ever, as well as the fact Stephen King has often talked about it in various interviews and I’m always keen to see the movies he thinks are scary. But regardless, I find this is a creeper. I watch it, then there’s always a hesitation to watch it again the next time because it’s that damn unsettling.

2) A Horrible Way to Die (2010)
a-horrible-way-to-die-5
* My full review is here

Director Adam Wingard and writer Simon Barrett have teamed up since this one to make an excellent slasher infused with dark comedy (You’re Next) and one of the best action-thrillers of the past few years with a throwback aesthetic (The Guest).
But honestly, it’s this film of theirs which really gets me in the gut, punches me hard and sucks the wind out of me. Some complaints I’ve seen are directed at Wingard’s directing, believing the handheld and more chaotic style of the film to be either distracting or simply not enjoyable.
For me, I think the handheld vibe helps A Horrible Way to Die because out of it comes a very intimate feeling. In every scene, whether it’s the serial killer (played by fabulous actor A.J. Bowen) or his sweet and emotionally devastated wife (played by an equally fabulous actor Amy Seimetz), no matter if it’s just them or they are onscreen with another character(s), there’s an incredibly intimacy from the style Wingard chooses to go with that really nails home the visceral feeling of this movie.
Not only that, Barrett’s screenplay is pretty great. It’s sparse and it doesn’t particularly telegraph a whole lot where the plot is headed. Then once the finale kicks in, again, it’s like a gut punch. It hits you hard, not once but twice before finally you can’t help but be in awe of how everything plays out. At least I didn’t see it all coming. I thought things were headed in a much different direction. This is one chilling movie; not really a date horror movie, not necessarily something you’ll want to watch with a group of friends, but rather a film you might consider taking in alone, a bit of a personal and riveting experience for a creepy fall evening.

3) Alone in the Dark (1982)
Alone_in_the_dark_ver1First off, this is clearly not the Uwe Boll shitfest of a video game adaptation.
1982’s Alone in the Dark is possibly one of my favourite ensemble horror cast movies, at least it’s near the very top. Featuring not only Donald Pleasence, we are treated to some horror with two other powerhouses: Jack Palance and Martin Landau.
I mean, isn’t that just the strangest combination for a slasher horror you could ever imagine?
Simple premise: when a massive power outage happens, a bunch of psychopathic patients from a mental ward break out, searching for the new doctor whom they falsely believe to have killed their old doctor. Honestly, it’s a top notch ’80s era slasher. Not to mention the fact, again, that the three top actors are amazing. For me, a lover of the first Batman from Tim Burton and many of his other works, it’s awesome to see Palance as a crazy, nasty maniac here. There’s one scene in particular where they’re driving around in this truck, or some sort of vehicle, and they’re just tormenting people like the mailman, et cetera; it’s classic dark comedy/horror. Great one to get your murder spree fix, especially if there’s a crew wanting to watch a fun and at times horrific slasher.

4) Carnival of Souls (1962)
carnival-of-souls-movie-poster-1962-1020198638 This is one of the best, creepiest, most unnerving low budget horror movies I’ve ever seen.
Basically, a woman experiences a car crash, flying into the water off a bridge, and after she survives begins to experience strange happenings: she sees people, a man in particular, pale faced, walking after her, stalking her, appearing almost everywhere she goes. She’s also being drawn to a rundown pavilion, an old carnival, where it seems the strange man and other ghostly people are living.
I have no problem with low budget look, as long as the story and the atmosphere of the film can still be achieved. Carnival of Souls does have a highly independent look, but it doesn’t deter from anything. It’s all black and white, which only adds to the creepiness. Director Herk Harvey uses his imagery in a great way, plus the story itself and the plot maintains its effectiveness. Pop this on for an irregular ghost-like story with some shots that will – I guarantee – haunt your dreams, if you let them.

5) Zombi 2 a.k.a Zombie a.k.a Zombie Flesh Eaters (1979)
zombi-2 * My full Blu ray review is here

Despite the often confusing titles of the film, this is not a sequel, but merely a victim of silly, opportunistic marketing.
Lucio Fulci’s 1979 Zombie is one of the most incredible flesh eating films you’ll ever see! Fulci is classic. He was one of those horror filmmakers who went for broke and sought to bring as much bone/eyeball crunching, blood spurting, neck biting, flesh peeling action as he possibly could in an hour and a half or so.
This movie is no more elaborate than any other in the sub-genre – people are being turned into zombies on an island, the disease itself making its way towards New York City on the boat of a scientist. Horrific madness ensues.
If you’re a zombie enthusiast, or a horror fanatic in general, and you have not seen this: you need to, it is mandatory. You’ve not seen zombies until you see this!

6) The Beyond (1981)
TheBeyond1 Another Fulci classic – it’s hard for me to decide, though, if pressed The Beyond would be my top pick for his masterpiece (tied with A Lizard in a Woman’s Skin).
Beginning with a woman inheriting an aging hotel in Louisiana, soon it becomes clear the Gates to Hell – The Beyond – sit just below its foundation. When she and a doctor try to escape, they discover The Beyond and earth are becoming one, as the gates have opened and the dead are walking the earth.
This is more of Fulci’s savage and visceral horror mixed with an awesome dose of the supernatural, and yes – zombies! Or at least undead, whatever you want to call them. Others may not agree, but I do honestly think this is Fulci’s best. It’s my favourite, anyways, and I’m always keen to tell people this is a great film for Halloween!

7) In the Mouth of Madness (1994)
in_the_mouth_of_madness_ver21John Carpenter is truly one of the masters of horror, up there with the greatest. He’s also got an excellent, darkly comic tone in many of his films. Plus, he does wonders with thrillers; he knows suspense and tension more than anyone else in the horror genre.
In the Mouth of Madness is often described as Lovecraftian, as it plunges into familiar territory to the amazingly creepy H.P. Lovecraft. Sam Neill plays an insurance man sucked into looking for a famous horror fiction author, eventually coming face to face with the author’s own creations all crammed into a tiny, supposedly fictional town. It is one amazingly terrifying movie, at times downright chilling, at others there’s that dark comedy Carpenter does so well. The whole time, though, you’ll find yourself beginning to question – like the main character – what exactly is reality and what is imagination. For a weird and involving bit of horror, take this one out on a scary night.

8) Session 9 (2001)
session_nine_xlgFor a full review, click here.

For me, this is one of the scariest movies of all time. Yes, there are a couple rough moments (re: acting), but you can pin that badge right on David Caruso; I actually don’t dislike him, though, I can’t defend him here. Most of the time he’s good, it’s just a few real stinkers sneak out here and there.
Peter Mullan is who you want to pay attention to. Even while Josh Lucas (before he got big) and Brendan Sexton III give two extremely solid performances, Mullan holds this all together.
Directed by Brad Anderson, written by him and Stephen Gevedon (who also plays a nice role in the film), Session 9 is a slow burn horror, which will gradually push itself under your skin like a splinter. By the time you’re near the end, after the climax has really rocked you and the finale begins, there’s this quiet sense of trauma you might feel. That’s a good thing; means this movie does its job.
Scene of note: when Jeff (Sexton) is running through an underground tunnel while the lights are going out behind him, one by one, his screams drifting out of the darkness, I honestly feel my heart race. Terrifying film, but this scene gets me something fierce.

9) The Sentinel (1977)
sentinelFor a full review, click here.

Haunted house horror movies are a dime a dozen. There are plenty I love, and even more I don’t like at all. However, The Sentinel is one of the most perfect haunted house stories, to me, on film yet.
When a fashion model moves into a Brooklyn apartment, an old building, terrifying appearances begin to emerge, people who are no longer living seem to be still inhabiting their apartments, among other things.
There’s something about this movie which will always draw me in. I only saw it for the first time about 4 years ago and it floored me. It’s a mix of supernatural horror, religious superstition, and psychological trauma/character study. Amazingly creepy at points, plus there are a handful of amazing actors here from a young Christopher Walken to Chris Sarandon to Ava Gardner and John Carradine, Burgess Meredith, and the delightful Eli Wallach. Oh and a mysteriously dubbed over Jeff Goldblum, which is kind of hilarious, and Jerry Orbach. Perfect haunted house film for when you’ve got a stormy night outside – this will draw you in and creep through your bones!

10) Prince of Darkness (1987)
PrinceOfDarkness-Bluray Already we’re back to Carpenter. But with good reason. Plus you may as well get used to it because there’s at least one more on here; not the one you’d expect, either.
1987’s underrated, overlooked, and only cult appreciated Prince of Darkness has a little bit of everything: religion, zombie-like people, Alice Cooper, Donald Pleasence, ’80s babes with hair to match, and of course – Satan!
When a green ooze is discovered in a canister (no you’re still on the right page this is not a review for the second live-action Teenage Mutant Ninja Turtles film) below a church, a priest assembles a team of mathematicians and scientists in order to study the contents. Turns out, the ooze is as old as time itself: it is the devil, evil in pure material, sensory form. When the ooze begins to make its way out gradually, people are taken over by its terrifying power, from the homeless people wandering around outside the church to the mathematic-scientific team working inside. What begins is a struggle between good and ultimate evil.
This is just a downright awesome movie. Carpenter, as I said, knows how to really build up the suspense and execute his tension in the appropriate way. There are incredible effects (on the Blu ray Carpenter explains them in typically excellent Carpenter fashion; one involved the mercury from a crane, I believe, or something similar they were doing highly unsafely), the acting is good, and Carpenter’s writing is also spot on here – he merges the superstitions of religion, the idea of a pure evil, and brings it into the scientific, intelligible world. Interesting stuff and it’s a creepshow of a movie with more of Carpenter and his dark wit. Good for when you want a movie about good/evil/the devil without all the typical stuff.

11) Mr. Sardonicus (1961)
MR-SARDONICUSAnother movie it took me years to see, one of William Castle’s best, Mr. Sardonicus tells the tale of a man who digs up his father to find a winning lottery ticket with which he was buried, only to also discover his face has become distorted into a permanent and grotesque smile. When he makes a doctor treat him, the results might be worse than the smile itself.
There are certain classic horror movies you always hear about – anything with Vincent Price or Boris Karloff particularly, and so. Yet there’s never enough buzz about this brilliant Castle flick. I also love his gimmicks, he truly knew what audiences wanted. Screw all the same old 3D movies we see nowadays – Mr. Sardonicus let the audience use the ‘Punishment Poll’, letting them determine what Baron Sardonicus received ultimately as his punishment!
But this isn’t just gimmick. The movie is a gothic romp through the eyes of greed and jealousy and heinousness. Fitting for any wild Halloween night. Definitely a good one for a crowd or pair!

12) The Fog (1980)
fog_ver2For a full review, click here.

We’re back to Carpenter. Yet again! Of course we are.
This is another of my favourite Carpenter films, especially in terms of his pure horror. A great script, great actors, on top of the truly creepy zombies. Or whatever you want to call them – zombies, undead, ghosts, I don’t know.
The story is simple yet very scary – a coastal town’s long buried history literally unearths itself when the members of a disrespected and murdered leper colony return from the dead to come, in the fog, to kill anyone and everyone in their path.
Carpenter creates a wonderful sense of dread with all his tension and then the terror comes on hard once people start to die, once the fog knocks at each door and surrounds every little thing in sight. Pop this on for another spooky, stormy October night. Definitely will get you in a Halloween-y mood.

13) A Clockwork Orange (1971)
CSK_10275_0114For a full review, click here.

I’ve got a sneaking suspicion most of you by now have seen Stanley Kubrick’s shattering dystopian classic A Clockwork Orange. I won’t bore with a recap of the plot. What I will say is this: Kubrick makes this story into a carnival of horrors. Perfect for any October evening, as the masks and lights and colours, the mayhem, the carnage of this film truly speak to Devil’s Night in many ways. Throw this on and get your fix of madness.

14) Livid (2011)
livid-poster I know not everyone is into subtitled films, but when it comes to horror you’re seriously missing out if you only watch English language movies. So I opted to only include one foreign title on this year’s list.
Livid is a French film about a young woman who begins training as a live-in caregiver to an old woman in a virtually eternal coma; discovering she has some kind of fortune kept hidden in her massive estate, the young woman and her two friends try searching for it. But when they make it inside during the night, things start to get extremely strange for the intruders. They discover it is not mere money, nor jewels, which is the actual treasure in the old lady’s home, but rather something far more sinister.
This is one savagely macabre film at times. There are great elements of a thriller, as well as lots of gothic style stuff happening. I can’t think of a creepier flick to add on to the haunted house viewings already on the list; it may not reinvent the wheel, though, it spins one hell of a tale. Lots of scary stuff lurking in this one, fit for any Halloween celebration when you want something aside from the regular tired recommendations on other lists. Even on mine, this one stands out.

15) Feed (2005)
225231This is perhaps the weirdest of all the films on this list. Absolutely no way to truly describe it without a full-on description and I don’t want to ruin ANYTHING. So go in without a trailer, but I’ll try and give you a bit of a… taste.
Cross a gritty cop thriller with strange and deadly fetishism, you’ve got Feed: a law enforcement agent falling off the deep end, after too long exploring the savage and rampant sickness floating around the internet, and comes up against one of the most depraved serial killers he has ever known.
Have you ever maybe heard of ‘feeders’ or a similar term? These are men who enjoy feeding women; they like to see them gain weight, they love to watch them consume food and drink, it turns them on. Not sure about the psychology, but it is certainly something different. Well, take that fetish to a truly deadly length.
Put this in only if you’re ready to be tested. While there’s very little blood, barely any at all to speak of, this is still a damn nasty horror. Though, there’s lots of interesting stuff happening. Plus you get a weird and wild performance from Alex O’Loughlin.

16) Angel Heart (1987)
angel_heart_xxlg I always hear people talk talk talk about both Robert De Niro and Mickey Rourke, yet there’s rarely ever a reference to the fabulous 1987 Alan Parker directed Angel Heart. Recently it went up on Netflix Canada, so I suppose more minds will end up falling into this one. There needs to be more recognition for this one. It’s almost not really a true horror, rather a twisty supernatural thriller more than anything. Above all, I find the performance of De Niro absolutely fascinating – one role out of his vast filmography I believe is different than the rest and also like the film itself doesn’t receive the credit which it deserves – and Mickey Rourke gives us a level-headed effort which gives his character, aptly named Harry Angel, a very real, very sensible place in an otherwise unreal filmic space.
If you’re craving something dark, macabre, dripping of the filth and sleaze of a New Orleans underbelly packed to the brim with voodoo, murder, and double crossing criminal types, this is the film for you. There are some wonderful themes in here which I find fit the Halloween season perfectly.

17) When a Stranger Calls (1979)
when-a-stranger-calls-3* For my full review of this movie’s terror – click here

There have been films before this (think: original & fantastic Black Christmas) and after which use the ‘killer calling from inside the house’ trope. Almost none better than 1979’s When a Stranger Calls.
Babysitting one night, young Jill Johnson is terrorized by a psychopath who kills the children she is meant to be looking after. Traumatized by the experience somehow she manages to go on and live her life normally. Then seven years later, the same madman comes back to haunt Jill again; now older, a little wiser, she must somehow survive her second brush with insanity.
The best part about this movie, for me, is the fact it replaces the masked or hidden killer and early on in the film we see the killer – we know who he is, in fact we’re treated to a good portion of the plot where the focus is him, his mind, his life or at least his attempt at trying to have one. So instead of seeing a maniac without any real reason behind him, the killer here – played by Tony Beckley in fine fashion – is not so much sympathetic, as much as he is utterly, scarily, and wildly human. That’s the scariness here: without a mask, we’re forced to watch this killer be himself, we’re forced to see who he is and deal with everything it implies. Instead of forcing our feelings of fear off on a masked slasher, our fear is right in our faces.
When you need a slasher but want something actually terrifying without the need for jump scares and all the modern bells/whistles, When a Stranger Calls is calling you: view this one and you’ll no doubt find yourself checking the empty, dark bedrooms before heading to bed on Halloween.

18) Hellions (2015)
Hellions_poster_goldposter_com_1-400x593 * My full review is here

Only recently did this become available on iTunes, but what timing! This is a perfect viewing for Halloween; in fact, wait until the actual night, not just during October. This one is set on Halloween, it pushes the fears of masked unknowns roaming neighbourhoods on Halloween, and there is so much going on.
After discovering she’s pregnant, a young teenage girl finds herself home alone on Halloween, when a group of masked children lay siege to her house. Initially undecided about the child inside her, Devil’s Night will shape her decisions to come after coming face to face with pure evil in pint-size costume and form.
This is a unique movie and will not be for everyone. Director Bruce McDonald – a homegrown Canadian talent – used infrared cameras during the filming, which gives several extended sequences and a good bulk of the movie a pink-ish hue, with the whites, greens, and other colours becoming extremely vibrant. There’s an unbelievable Halloween feel through this technique, apparently it was meant to mirror the effect of the Blood Moon (the script set Halloween on such a lunar event). Not only that, the horror and the terror are all there, in spades, from the creepy creeps to insane moments of blood/gore.
You need a nice savage fix for Halloween? You’ve found the one. Support this one, support Canadian/independent film. Hopefully this will bring the fear, too.

19) Spring (2014)
spring_poster_art* My full review is here

This is one of the best horrors I’ve seen in a few years, honestly. Up there with some other great titles. Even further than that, you don’t get too many horror-romance hybrids, other than the awful excuse for whatever you want to call it in Twilight. This film from indie pairing Justin Benson and Aaron Moorehead is a true mix between Lovecraftian style horror and a dramatic romance movie set abroad.
When Evan (Lou Taylor Pucci) flees to Italy from his home in the U.S, precipitated by the death of his ill mother, he is not prepared for anything that’s about to happen. First, it’s more of an exciting, exotic adventure to a new place on a whim. But then he meets a mysterious woman named Louise (Nadia Hilker) and his life heads into a spiral; down into love, down into something deeper, more dark than just love. Louise is not who Evan thinks she is and soon he’ll figure it all out.
Part of Spring is Lovecraftian as I’ve mentioned – you’ll figure out how on your own. There’s good horror with an eerie atmosphere of dread hanging over every last scene, even in the more beautiful bits. Part of Spring is also a touching character piece of a man sort of running away from himself, running away from even being human – having to live and love and let people go – when he meets a woman who changes everything. There’s a lot to enjoy here. You’ll get something romantic, in a strange sense, as well as a good dose of creature feature-like horror. Looking for an interesting twist on the horror genre? Definitely find this one and give it a go (decent price on iTunes), it’s a unique piece of film from two interesting filmmakers.

20) The Last Man on Earth (1964)
the-last-man-on-earth-movie-poster-1964-1020144093Ever see I Am Legend and just think to yourself: this would be way better if it was Vincent Price?
The Last Man on Earth is an all around better film than that mediocre bit of post-apocalyptica. Taken from the same source material – Richard Matheson’s I Am Legend – this 1960s era horror/science fiction classic sees Vincent Price as Dr. Robert Morgan, the titular last man alive. Or is he?
What I like about this is the subtlety. I mean, the Will Smith-starrer was in a post-apocalyptic landscape, yet still there’s this huge blockbuster style as if Michael Bay were sitting behind the wheel. Honestly, it’s just not right. Yet in The Last Man on Earth, we get a real quiet, desolate feeling from start to finish. Even better, I love the way the vampire-humans look and act in this, as opposed to a bunch of CGI’d zombie-like infected humanoids. To each their own, but this is a far spookier vision of Matheson’s original novel than its more recent incarnation. And who can’t love Vincent Price? Here he’s a little less hammy than usual, which I love anyways, though don’t kid yourself – there’s always ham with Vincent. Part of his charm. Most of all this is a seriously creepy picture of a decimated world roamed by a single man and hordes of vampiric humans. Want to get creeped out, put this on alone and let yourself be drawn into the world of this terrifying post-apocalyptic vision out of a 1954 novel from one of the great science fiction writers of the 20th century.

21) Candyman (1992)/ Candyman: Farewell to the Flesh (1995)
1992-candyman-poster2 candyman_farewell_to_the_fleshSo what’s Halloween season without a couple double features? This is the first of three you’ll find in the last heap of this list.
Candyman is one of the first horror movies I remember seeing as a teenager which actually scared me bad enough to give me a nightmare. There’s something about Tony Todd’s performance, his voice and his demeanour all together that creeps the hell out of me. And the story itself, adapted into screenplay by director-writer Bernard Rose, is from Clive Barker originally titled “The Forbidden” out of Volume V from his Books of Blood. That in itself makes things interesting, but this is adapted well and the original story is just solid, so you can’t lose.
Basically this is an urban legend brought to life by the supernatural, as two women research a legend at Cabrini-Green housing projects in Chicago, it actually comes into existence. The Candyman, long ago persecuted, begins to kill people and drive one of the women completely mad. The second film, subtitled Farewell to the Flesh, sees a family torn apart by the Candyman and a young woman become a target of his horrific longing.
I love Candyman, and I even love the sequel. Though, the first is still best. Part of it is Tony Todd, hands down. But apart from that, Bernard Rose does amazing stuff and creates a whole scary aesthetic, from the terror of the visuals to the creeping sound design and score. A scary, dark night is the right one for these two films. You should honestly watch them one after another in a double feature, they’re stellar and will chill you to the bone.

22) Black Death (2010)
black_death_poster_01 Oh man, what a work of horror this is – set in medieval times, as the black plague is spreading, an English monk is tasked with heading to a remote village, alongside a knight and his crew of nasty outsiders, in order to figure out where the witchcraft originating the disease is hiding.
There’s sorcery and witchcraft, action involving medieval misfit bounty hunters; there’s Sean Bean being a bad ass; there are medieval zombie corpses; and much, much more.
What I love in this is the story, the plot, as well as the solid acting from Bean and Eddie Redmayne, along with others you’ll surely enjoy. Medieval times are ripe for horror and do not get used enough, at least not correctly. This film in particular, directed by Christopher Smith (TriangleSeveranceCreep), gets just about everything right for this savage period piece. Plenty of weird darkness happening, lots of bloody horror, and you’ll love the finale: it’s a god damn barn burner!

23) The Wicker Man (1973)
wicker_man_poster_03For a full review, click here.

Ever see a movie you’ll never forget? One that leaves a mark on you forever?
The Wicker Man is one of those for me. About 15 years ago, I saw this one very late at night and during the climax of the film was absolutely jarred. Stuck to the screen, what happened in the final moments really leapt out at me and latched on, never letting go. Every time I watch this, I can’t get it out of my mind for a good while afterwards.
I won’t say too much, just in case you’ve yet to see it, trust me – it is a really unique experience. With Christopher Lee playing an absolutely delightfully demented local leader, a sort of enigmatic and lord-like cult figure, you’re sure to find this unsettling. Give it some time. At first, and for a little bit, the movie might seem to be something quite unlike any horror you imagined. But once things start moving, the horror is evident underneath it all. Put this on for a real fall-style horror night. Maybe in the early evening, as the changed leaves are hanging in shadow, and the October weather outside seems delightful… this horror thriller, set in the Scottish countryside, will change all that.

24) Starry Eyes (2014)
starry-eyes-poster * My full review is here

Never has the quest for fame ever been displayed so intensely and terrifying as it is in Starry Eyes. Following a young woman trying her best to break into Hollywood, or at least the outer fringes, the story takes us on an aspiring actress’ journey in the film world, which becomes more like a descent into the lower bowels of Hell.
This indie film was on my radar for a year or more before it came out, simply because the poster art was glorious and the synopsis looked to be pretty intriguing. Was I surprised, though! Most of all, amongst the horror and the insane body-horror coming out during the finale, Alex Essoe – who plays main character Sarah – cranks up the bar for indie film acting with her performance. There’s nothing else I can say without giving up too much. Go in without watching a trailer even and you’re going to see something unexpected. This will rock you. A good one for a group of friends, a pair, or solo; just let it grab you and the horror will blow you away.

25) Don’t Go in the House (1979)
0b6e1283327aadb61313d79ca1f4e2a7For a full review, click here.

A lot of people will probably say this is a horrible attempt at the slasher sub-genre. Somewhere, though, I remember reading one of the best analyses of Don’t Go in the House, and it accurately described how this movie was almost the film metaphor of the death of the 1970s. I won’t go on too much more, just consider that while watching.
Simple pitch? This movie sees a young man, whose tortured childhood under a ruthless and sick mother who burned him (literally and figuratively), stalk women, bring them to his home, then trap them in a steel room downstairs where he’ll burn them alive.
Nasty enough for you? There’s lots of silliness here, no doubt whatsoever. But there is more to it, there is some kind of really palpable atmosphere here amongst everything else. With disco music and burning humans, there is certainly a bit of Halloween-y goodness happening in a good portion of scenes. Naturally, there is ’80s cheese, too.
An amazing flick to choose if you’re going to have a few people over to watch some movies. Have a laugh with this, but remember – keep in mind there may be more to it, no matter how low budget or whatever else you deem it the movie may be. Despite any of that, there’s lots of nasty horror here in slasher movie form to please your needs and wants this Halloween season.

26) Asylum Blackout a.k.a The Incident (2011)
ensYQ* For a full review – click here

This one came out of nowhere for me. Usually I like to pride myself on keeping an ear to the ground for all sorts of horror; even the most diligent of us fanatics fall short some times, right?
Well Asylum Blackout, while deemed amateurish by others, is an awesomely creepy piece of horror.
After a power outage knocks the communications and electricity out at an asylum, the guards and staff members must band together in order to try and survive through the night, or at the least until some sort of help and hope arrives in the form of police. But the inmates overcome the main guard and some of the others, leaving only the staff, the young stoner musicians in the kitchen to face off against the violent and mentally unstable patients running amok in the corridors.
There’s lots of style in this one, but also some nice bits of substance. We get more character than you’d expect, though it isn’t exactly sprawling – still, it’s nice to get any when it comes to modern horror, so many movies opting only for scares and style without anything beneath as its foundation. With this movie, I found myself really falling into feeling for the guys in the kitchen, they weren’t all the smartest or all hugely stand-up guys, yet they were sympathetic characters and I was putting myself right in their shoes. The very last shot is a bit foolish and I wish the filmmakers opted for a different close. Other than this moment, I loved everything else.
Close to Halloween, when the mood is right, put on a copy of this one (available through Google Play at a great price to rent or buy). A group watch is definitely recommended; you’ll be talking to the characters, laughing at times, gasping at others. Hopefully this one will terrify you because it certainly pulled a number on me.

27) Murder Party (2007)
murder_party Admittedly I’m not huge on horror comedy. I love dark comedy in horror, and I do love comedies (obviously a horror hound). There’s just something about horror-comedy I’m not always game for, but time and time again there are movies which prove as exceptions – big time – to this self-imposed rule of mine.
One such film that many people I know haven’t yet seen, or even heard of, is Murder Party. This is a fantastic little indie horror-comedy from director-writer Jeremy Saulnier; you may have heard of his impressive indie revenge-thriller Blue Ruin, or perhaps the film I’m DYING TO SEE, his new Neo-Nazi versus punk band concoction Green Room.
Beginning with a nice, quiet guy who finds an invitation to a Murder Party on the street, this movie is full of hilariously hipsterized characters (who you’ll be aching to see perish), nasty horror effects done practically and wonderfully, and then there’s the main character’s journey which will make you laugh and cringe at times.
If you want a good movie for Halloween day/night, this is perfect! A great comedy with equal amounts of fun horror, this is not one you’ll regret spending time to watch. Lots of fun for the 31st here! Maybe even one to put on whilst the little trick or treaters make their way to and from your door.

28) Maniac (1980)/ Maniac (2012)
maniac-movie-poster-1980-1020197244 maniac-poster-exclusiveAnother double feature, this time a horrific, savage opus – the 1980 William Lustig-directed, Joe Spinell-starring Maniac versus the Alexandre Aja-produced, Franck Khalfoun-directed 2012 remake. Honestly, I’m a huge fan of both, for different reasons.
The original is a character study in absolute depravity, focusing in on Spinell’s version of a real, raw, genuine maniac whose issues with women have turned into something absolutely awful. There’s something painful about this character, which Spinell brings across in such a clear way it almost hurts you to see him resorting to the murders he commits out in the night, stalking the city streets.
Then in the 2012 remake, there’s not just Elijah Wood doing a great job with a partly sympathetic but mostly vile and horrible character, Khalfoun further makes things interesting by employing the use of 1st-person P.O.V throughout the entire film. There’s something really creepy about finding ourselves directly behind the eyes of the killer, only stepping outside his immediate perspective in a few brief shots.
Each of these movies has its merits, but for me I’m a bigger fan of the 2012 version. Seriously. I bet I’ll piss off tons of so-called horror movie purists. Whatever. I haven’t the time or effort to pretend I care. I love Wood as the character, even more than Spinell whose creepiness is astounding – and he’s a good actor generally – there’s something in this new one that just gets to me further. I think Spinell lent himself to the role because of his natural appearance and also his acting talents, but Wood’s boy-nextdoor appearance countered with the maniac in him becomes something wild over the film’s runtime.
Want gore and depraved characters, plus really incredible practical makeup effects? You’ve come to the right place. Double feature these two and you’ll be set for a Halloween season night when full-on, balls out horror is knocking at your door.

* My full review of the 2012 remake is here

29) Shivers (1975)/ Rabid (1977)
rabid_poster_05they_came_from_within_1975_poster_01.previewThis last double feature is from a favourite director of mine, a fellow Canadian – David Cronenberg. The master of body horror, a true auteur.
His 1975 film Shivers takes psychosexual horror to another plateau, as an apartment complex becomes overridden with zombie-like humans – not dead, these are humans with pulses. However, these living, breathing people are sex crazed, and they’re passing on a terrible virus, multiplying, over and over.
If there were ever a pre-It Follows classic concerning sexually transmitted disease – hell if there were ever a precursor to some of the epidemic films we see today – Shivers is one of the most significant out there. Word has it Dan O’Bannon saw this film and loved it, inspiring in part his ideas for Ridley Scott’s Alien four years later. You want to get terrified of sex and the human body? Shivers will get you and it will work its way under your skin, under your nails; it will get inside you.
Two years after Shivers, Cronenberg came back at it again with Rabid starring Marilyn Chambers – the story of a young woman whose experimental plastic surgery after an accident turns her into a unsatisfiable zombie-like creature, rabid, seeking out blood, and this soon becomes a city-wide infection, reaching far and wide.
Another foray into the epidemic sub-genre of horror, Cronenberg’s Rabid is a low budget, fierce piece of work that is very much a visceral experience. As is usual, this movie is all-out body horror right from the start and Cronenberg is right at home in this area.
I think if you’re looking for zombies this October/Halloween, forego all the typical stuff one night and opt for the David Cronenberg epidemic duo of Shivers and Rabid; a healthy meal of zombie-styled horror in a devilish, excellent Canadian wrapper.

My full review of Shivers is here.

30) May (2002)
MAY (2002) posterFor a full review, click here.

Lucky McKee attracted me immediately to his work with this modern reinterpretation of Mary Shelley’s Frankenstein.
May follows the young alienated titular woman whose only friend is a doll she’s had nearly her entire life; it helped her get through all the tough life moments, especially difficult for May with her lazy eye problem and distant nature. She has an obsession with hands and meets an interesting young guy whose love of all things weird draws her close. But after his rejection, May is determined that each person is horrible except for ONE SINGLE PART; or in this man’s case, two small parts. From there, her journey to find and create the perfect companion, the perfect friend and lover begins, and there is no telling how far May will go in order to secure a happy and fruitful relationship.
What I love about this? Everything. The acting, the plot, the writing, plus it has a great soundtrack to boot. Including a few costumes on Halloween, this is a perfect movie to spook you out, as well as make you laugh inappropriately a ton and feel awkward a little. What good horror doesn’t do those things? Okay, well not all make you laugh, but a real horror movie is absolutely going to make you feel uncomfortable at least once or twice. Dive in – this one is unique and a nice spin on an old story.

31) The Others (2001)
others_ver1 From the director of another fabulously chilling work of horror, Tesis, this is a stellar story of despair, ghosts, and haunted places. While you could say this is a haunted house style film, I think it’s more strictly about ghosts than an overall haunting. I say that for a particular reason, which I’m sure you’ll understand after watching.
The Others gives us a story of a reclusive family and their new caretakers, all of whom end up dealing with spooky presences all about the large estate on which they live. While the husband is off with the war presumably, the mother of the family looks after her children, doting on them, protecting at all costs. Once ghosts begin to all but leak from the very walls around them, the mother tries to discover exactly what is going on.
The performance from Nicole Kidman is solid, the music and atmosphere are all perfectly sinister and beyond scary with lots of suspense and tension. There’s nothing I can complain about here and it makes for some fine ghost story telling. The ending still surprises me now, even though I know it, simply because I find myself gripped by the plot and the aesthetic of the film overall just really works its magic. Perfect ghost film for an October night, certainly for Halloween when the night is dark and people are roaming the streets, sounds filtering through the windows in bits and pieces. This really has a fitting atmosphere for that type of evening.


I hope everyone found something worth watching off the list. If you’ve got any suggestions, I’m likely to have seen them but still want to hear what everyone else likes to watch for October and the Halloween season of fright.
Drop a comment if you want and I’d love to hear what you’re watching, as well as if you’ve been digging the movies here.
Happy Halloween to all, my friends!