Tagged The Last House on the Left

Lower V. Upper Class: THE HOUSE ON THE EDGE OF THE PARK

The House on the Edge of the Park. 1980. Directed by Ruggero Deodato. Screenplay by Gianfranco Clerici & Vincenzo Mannino.
Starring David Hess, Annie Belle, Christian Borromeo, Giovanni Lombardo Radice, Marie Claude Joseph, Gabriele Di Giulio, Brigitte Petronio, Karoline Mardeck, & Lorraine De Selle.
F.D. Cinematografica.
Unrated. 91 minutes.
Horror/Thriller

★★★
posterRiding on the coattails of The Last House on the Left, Ruggero Deodato came on hard with 1980’s The House on the Edge of the Park, another violent and borderline vile film starring David Hess as one of the aggressors. Of course Deodato is forever infamous for the found footage which started it all – Cannibal Holocaust. But this movie has some equally brutal bits, as well as has a few things to say amongst all the violence.
This is another movie that found itself on the Video Nasties list; sometimes this is a badge of honour for certain films worth the effort, others it’s simply a way of telling whether a horror is outrageous. The House on the Edge of the Park is part of the former group. Not all of its scenes play right, the screenplay could use a nice bit of work to tighten things up. Apparently Hess re-wrote lots of his dialogue, he was given half the film’s rights in order to secure him as a star, so I’m willing to bet the script suffered a bit with so much of the actor’s control exerted over the production. Despite any of its faults, this is one horror-thriller that hits deep with hints of class disparity, cruel violence, and a disturbing look at how tragic events push people into becoming someone far from themselves.
pic1As opposed to Wes Craven’s The Last House on the Left, this one starts out with brutal violence. Instead of lulling us into a bit of complacency Deodato begins in nastiness, then transitions into a more unsuspecting film with shades of class division in its themes, as we watch two men from a much more street life come in contact with the bourgeoisie in nasty, supremely violent ways.
Hess’ character Alex is the physical representation of hedonism – food, sex, violent delights, and more. He only cares about getting off, getting his; whether that’s rape or murder or whatever else. Regardless of this side to Alex, he is aware of his separation from the upper class; he understands his supposed place in the chain of class command. In parallel, his less menacing buddy Ricky (Giovanni Lombardo Radice) is like a more unaware, less conscious member of the lower class. He doesn’t see the people making fun of him for his apparent differences. It takes Alex to make him realise this is what’s happening, thrusting him into that violence he knows well.
When Alex and Ricky crash the party, this borders on Les Liaisons dangereuses in the form of an exploitation flick. The best way to see the class disparity is how the upper class torture Ricky, they act from a privileged position and treat Ricky like a sideshow to watch instead of someone with whom they can party. But then their treatment of people they perceive as lower class is regrettable, as Alex rises up and makes them regret their privilege and how t leads them to treat others. After this the night spins out of control.
pic2SPOILERS AHEAD!
All around the movie’s chilling. During the assault Alex begins this feeling amplifies. Everything is so quiet, there’s an absence of music. Fear is so viscerally present. However, the plot is slow going, and not in a good slow burn manner. The tension dies out after awhile which kills things. It isn’t even as violent as you’d expect, outside of a couple moments that stick. Almost a softcore porn at times, a bit boring. Although the film makes up for these missteps once Alex goes wild near the end.
One of the best moments of tension is the difference between Hess and his partner. This provides a sense of relief from some of the horror involve with the home invasion, though not much.  The ending is bittersweet – it isn’t great, Alex gets shot in the dick followed by a hilariously fun slow motion scream. But the two criminals get what’s coming to them, despite their differences and Ricky’s reluctant complicity with the crime.
In the end, the partygoers take their own revenge. Question is: are they any better for wanting to hurt and kill Alex particularly? They taunt him, pushing him into a pool, and plan to cover up everything afterwards. Not that Alex doesn’t deserve what he gets; he does, indeed. It’s simply that there’s no moral high ground for the victims by choosing to let Alex die, almost killing his partner with a dose of brutish, violent revenge. So what’s left in the end is a group of upper class people dragged down to the level of the disgruntled lower class. But following this encounter, they’re forever changed, and some aren’t sure death wouldn’t be better than living after such viciousness.
What matters is that its all over
But at what price?”
pic3Deodato could’ve done more. Once more, I feel like Hess being too involved, being given such a wide berth as to what he was able to do re: dialogue and the screenplay, this hindered The House on the Edge of the Park. He does wonderfully devilish things with the role of Alex, no doubt. Simply put, Hess should’ve stuck to the acting instead of trying to hard to take control over the writing.
Through it all there’s a sense of violent class warfare above all the nasty bits. Deodato didn’t really focus on that much intentionally, not that I can tell. Outside of using it to drive the violence. Then again, I can’t count him out. When many see no point to Cannibal Holocaust I feel Deodato, in his best works like that dangerous bit of found footage, he’s getting at what are just as dangerous ideas and messages.
Give this a chance. Although there are a good many flaws, The House on the Edge of the Park is one of those movies on the Video Nasties list that’s actually enjoyable. I consider this one of the better Deodato offerings – up there with Live Like a Cop, Die Like a ManCut and Run, and of course Cannibal Holocaust. You might not discover your favourite movie in this one, but if you’re a horror hound it’ll tickle that urge to indulge something disturbing.

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Disturbing Horror for Halloween Season

There are tons and tons of disturbing horror movies out there. I’ve seen plenty of them, but the titles on this list are some of my favourites. Not saying these are the most extreme, the most hardcore, I’m not touting these as the most disturbing horror movies you can watch. Simply, I think these are a good dose of movies running the gamut from thematically disturbing to graphically disturbing, to downright weird.
Without further rambling, here are my picks for a bit of wild horror to throw on this Halloween season, if October really has you feeling like you need to test your limits on film.
Enjoy…?


Possession (1981)
ecfslbxawaseotypjpcl3ibd2prFor my full review and discussion, click here.

The title says it all.
This is probably the strangest erotic horror-thriller you could ever imagine. Even saying erotic horror seems strange, but god damn if this is not full of both horrific and at times erotic imagery.
You could say this is a character study of two people in a relationship and what the ideas of possession mean for both involved.
To say any more would be to truly give things away. Honestly, go in knowing only a very basic plot – a couple falls apart as the wife seems to be having an extra marital affair, which proves to be something far stranger. Just know that when the horror hits you it is going to smash your face into bits, it may even rock you sexually in the worst kind of way imaginable.

Inside (2007)/ Trouble Every Day (2001)
inside-1 You can be guaranteed that if Beatrice Dalle is in it, I’ll watch it! So here is an excellent Dalle double feature which you can indulge on Halloween to scare the wits out of you.
First up is the 2007 home invasion horror-thriller Inside, directed by Julien Maury and Alexandre Bustillo who also directed 2011’s Livid which was on another list I did for this October. This movie is just all out horror and highly female-centric: on Christmas Eve, a pregnant woman alone at home is attacked by a mysterious woman intent on getting inside the house, as well as inside that belly. If you’re pregnant, you may want to avoid this movie honestly, or if you’re super sensitive. Because this horror escalates, from a mild creep to a roaring scare. Be prepared. Also, this whole movie’s drenched in blood and gory bits. Excellently disturbing stuff!
Trouble-Every-Day_1 Second comes auteur director Claire Denis’ version of the cannibal film, Trouble Every Day. Starring Vincent Gallo and Beatrice Dalle, this is the story of sexual cannibalism in humans, as opposed to insects; starting with a husband and wife travelling to Paris for their honeymoon, the husband investigating a strange clinic, and ending with bloody horror. Hard to explain any of the ins and outs, I’d rather not ruin it any more than I already have with this explanation. Either way, Denis is a master filmmaker, someone of whom I’m a huge, huge fan, and this is a really gripping, unsettling movie out of her works. You won’t be sorry. This is disturbing, but it does have a great script held up by a couple solid actors like Gallo and Dalle in particular on whose shoulders the movie ultimately rests.
This is a solid double feature, which really shows off Beatrice Dalle’s talents. Also, it touches on two pretty touchy elements of human nature: pregnancy and sexuality.

The Devils (1971)
THE DEVILS - American Poster 1For a full review, click here.

Maybe this might not be totally considered horror. Honestly, though, if you don’t find Ken Russell’s The Devils horrific I’m not sure how your brain operates.
Both Oliver Reed and Vanessa Redgrave give terrific, agonizing performances in their own right; Redgrave particularly gives a transcendent performance full of religious fervour and Satanic mania.
If you’re going to see this, you need to be able to see it uncut, in its entirety, as even while the most attainable version out there is pretty wild, the uncut version of this Russell masterpiece is unbridled psychosexual horror in its finest.
Just to give you a taste: there’s a scene known as “The Rape of the Christ”. Craziest part is that this whole film, the story and its plot, is partly based on a real story. Need a nice dose of disturbing religious horror? You found it in Russell.

Three… Extremes (2004)
50aee982-8647-40fa-9644-e45f71fc4f42-3_Extremes With three short films in one, this entire anthology only runs around 118 minutes, so you’ve got a great triple feature for the price of one!
Starting off with Dumplings, from Fruit Chan, the Asian horror gets churning with the story of an ageless woman who makes her signature dumplings for other women attempting to capture the elusive fountain of youth and its secrets. Hint: there’s something in the dumplings that ought not be there.
Cut by director Chan-wook Park is the tale of, funny enough, a film director and someone with a grudge. With a trap-like setup surpassing the interest factor of anything Saw ever had to offer, this short is sadistic and incredibly intriguing.
Finally, the short titled Box comes via notorious (and awesome) Japanese director Takashi Miike. I’d like to say a little, but would rather not spoil anything. Let’s just say it involves two sisters who were contortionists, they belonged to a carnival of sorts doing a trick involving a box, and then something bad happened at the carnival. No more, or you’ll know too much! Go in knowing only this: Miike is disturbing, if you’ve not seen his other work you should maybe get ready for a tense ride. Though, each of these shorts has their own test, I find something unsettling about Miike’s approach to stories, like he knows something the rest of us don’t.
Great watch if you don’t mind subtitles. It’s a really disturbing film all over, but Dumplings and Box particularly have always stuck in my mind.

Henry: Portrait of a Serial Killer (1986)/ Tony (2009)

For my full review of Tony, click here.
For a full review of Henry: Portrait of a Serial Killer, click here.
1990-henry-portrait-of-a-serial-killer-poster1 You’ll always hear about John McNaughton’s 1986 shocker when realistic horror is being discussed – raw and savage, Henry: Portrait of a Serial Killer is one of the most unflinching portrayals of serial killers on film. With a central performance rivalling some of the best in horror, Michael Rooker embodies the loose, fictionalization of real life serial killer Henry Lee Lucas; also included is the recently deceased and wonderful Tom Towles as another loose fictional version of Lucas’ actual partner for a time, Ottis Toole. The very brutal and simplistic style McNaughton uses only serves to unsettle the viewer with such an up close and personal view of the inside of a serial killer’s mind and world.
poster23 years down the road, after the release of the McNaughton cult classic, filmmaker Gerard Johnson gives us Tony – another film loosely based on a real killer (this time it’s British murderer Dennis Nilsen the Kindly Killer), this 2009 dramatic horror follows the titular character, Tony: on the spectrum, he is quiet, shy, lonely, disaffected and disassociated. However, at home, Tony cuts up the bodies of those he kills, draining their blood down the drains and the toilet, putting body parts and organs into plastic bags which he later casually dumps into the Thames. The reason Tony is so chilling, and why it’s a great double feature with McNaughton’s film, is because the movie takes us right behind the eyes of the central character – the at times sympathetic yet horrible killer – and never once do we make our way out of his perspective. At certain moments, the film is a slow burning character study; at others there’s an ominous sense of terror. Either way, you’ll be surprised as the film goes on just how depraved this quiet man in his council flat is deep down underneath his unassuming exterior.
Put these two films on – one American, one British – you’ll get an interesting look at the two sides of one coin. Dive into the darkness of the murderous mind!

The Last House on the Left (1972)
the-last-house-on-the-leftFor a full review, click here.

With the lofty goal of making a horror-thriller version of Ingmar Bergman’s The Virgin Spring, itself based on a medieval Swedish ballad, Wes Craven (R.I.P) – at the time a self-professed young and angry man – brought a new style of horror to the screen. There were certainly disturbing movies before 1972, however, Craven effectively brought the ‘rape-revenge film’ to the spotlight with The Last House on the Left.
The first time you see it, something will happen. Regardless whether or not you think Craven’s movie is excellent, mediocre, or not worth the time of day, you cannot deny there is most certainly a lasting impact. After you finish this one, there is a part of you that won’t ever feel the same. I can guarantee you that. Even as, what I’d like to think is, a hardened horror veteran, having seen literally 1,000+ horror movies, there is still consistently something truly disturbing about this one; I own it on Blu ray, though, it doesn’t get played much. Only when I’m looking for a true shock do I throw this on. You may never want to watch it again, but give it one go this Halloween. You may just lock your doors and forget all about the trick or treaters.

Snowtown (2011)
snowtown-1-posterFor my full review, click here.

You may notice the prevalence of movies based on true stories over the course of this list. And here’s another: based on The Snowtown Murders in Southern Australia, Justin Kurzel’s Snowtown focuses mostly on the budding relationship between serial killer John Bunting and one of the sons of a woman he dated at the time of the killings.
A lot of reviews and comments on the internet have stated they find the movie boring, either it’s too slow all around or they feel as if nothing much spectacular happens over the entire course of the film. I just don’t get that. This is a deep character study, once more akin to the earlier Tony/Henry: Portrait of a Serial Killer, and we not only step inside the perspective of a serial killer, we’re bound to the perspective of Jamie – the son of Bunting’s quasi-girlfriend at the time – who did commit horrific acts alongside Bunting in real life. Here, the character of Jamie is mostly seen as sympathetic, both being abused by his half-brother and manipulated by Bunting, and through him the audience is able to both understand and be horrified at Jamie’s new life. Bunting is played amazingly by Daniel Henshall in what is – as far as I know – his first film role specifically; the performance is subtle and extremely unnerving. The whole movie is very involving, if you can forgive it’s at times slow pace. In the end, you’ll be thankful if looking for a disturbing horror, because this is one that really left its mark on me. I’ve forced myself to watch it a couple times and there are scenes in Snowtown burned into my brain; things I don’t necessarily want to see or think about, yet I’m drawn to, as the dark side of reality truly comes out in Kurzel’s film.

Excision (2012)
excision-poster1Anyone know AnnaLynne McCord? I didn’t, until this wonderfully macabre and disturbing bit of cinema. When I found out who she was, what she normally looks like, I was immediately impressed with her performance in this film – not only does she do a great job in her role, McCord physically transforms into another person. To say anything much would ruin the surprise, the sick, disgusting joy you’ll eventually take out of seeing all the nasty visuals of Excision come alive before your eyes.
Basically, this is the story of a young girl’s becoming – she is turning into a woman, mentally, physically. Yet the bloody beginnings of womanhood translate into something entirely different for this high school girl. She fantasizes about crimson waves, organs, tortured and mutilated male bodies, and so much more.
I’d never seen this movie, yet picked up the Blu ray because I found the description of the film, as well as its cover art, extremely intriguing. There’s not only disturbing horror here, the screenplay is full of sass, wit, and oodles of black comedy. Plus, John Waters, Ray Wise, and Malcolm McDowell all show up, so how is that not awesome? Choose this if you want to shake up your expectations, just make sure your stomach isn’t weak because a few moments in this movie really pushed my limit and that rarely, if ever, happens. Still, I love it and could actually throw this nasty little shocker on any time.

Grimm Love a.k.a Rohtenburg (2006)
grimm_loveFor my full review, click here.

Back once more are we to the reality of killers, the depraved and sick, twisted individuals lurking out in the material world, not simply characters banished to the abstract realm of film and television. 2006’s Rohtenburg (English title: Grimm Love) examines, not using the real names, the case of Armin Meiwes who was arrested in 2002 after police discovered he found a man on the internet, a willing participant, to eat; together, they attempted first to eat his penis together, after which Meiwes killed his companion, quartered him up, ate pieces and stored the rest in his deep freeze.
There’s a romantic aspect to the main characters of the film, mirroring the real life pair – even within all the sickness, the cannibalism, each of them and their intensely depressed states, these two men connected on a level most of humanity will never know. Still, no matter their intentions, no matter their feelings after meeting one another, these two men were fatally damaged, eternally flawed. While there aren’t too many graphic bits here, it’s the emotionality and intensity of the plot which makes things disturbing, very real. If you’re able to handle such a wild ride into some of the more twisted aspects of the damaged human psyche, then I suggest Grimm Love as an interesting way to spend an October evening.

Audition (1999)/ Contracted (2013)
audition-cover2 I want to preface this double feature by saying evil comes in all shapes and sizes, all forms, all ways.
The first of two evils is Takashi Miike’s Audition; not surprisingly, Miike shows up twice on this list, first in Three… Extremes. This 1999 psychological-horror starts off with a recent widow looking to start dating again, so with the help of a friend in casting he arranges to interview (or ‘audition’) women to become his new partner. However, after meeting the supposed new woman of his dreams, the man comes to discover she is not whom she appears to be at first. Beginning with a vague romance, this Miike film typically devolves into pure madness, controlled, but madness nonetheless. With some of the most unbearable torture in film history, this is not simply “torture porn” (hate that label; read other reviews to find out why). Rather, Miike brings psychological fear to life – from the fear of meeting someone new, to the thought of losing someone you love and having to start life over again – as well as touches the deepest, most visceral nerve possible in each of us.
contracted-posterFrom the story of a female torturer, we move to Contracted, starting its vicious and horrific descent into psychological/body horror with a cold and ruthless act committed by – this time – a man. People criticized the marketing of this film because it says “one night stand”, when clearly the young female lead is actually date raped at the start. However, unless I’ve not heard all there is in terms of press, I don’t think it’s intended this is meant as a LITERAL one night stand; merely, the tagline says “Not your average one night stand” in a dark, acidic way. Because once you get into this movie, you’ll realize England is trying to make you uncomfortable. Not simply for uncomfortableness sake: there is legitimate horror here. There are bits of David Cronenberg in here, with all the attention paid to the lead character’s body deteriorating after obviously having contracted a virus from the man who date raped her. Even more than that, I think England makes a few highly poignant points about the male mind, in terms of both the man who raped the film’s lead and the man who pines for the lead’s attention. I won’t spoil anything else.
This double feature is bound to leave you shocked, in awe, and maybe not in any kind of good way. Miike’s Audition came before the golden age of online dating, so I imagine it might touch more nerves today than even when it came out 16 years ago. Moreover, Contracted is the Eric England rape metaphor film we never knew horror could produce (the sequel leaves much to be desired) and while it has things to say the most of its power comes from the cripplingly nauseating visuals. If you want a downright unsettling double feature for Halloween or leading up to the special night, this one may be your Holy Grail.

Sleepaway Camp (1983)
Sleepaway-Camp-Poster By now, most anyone who is into slasher horror movies, even in the slightest, has definitely heard of the 1983 classic Sleepaway Camp. Not just that, they’ve definitely heard of, or have seen, the outrageous and terrifying twist finale. I will not spoil anything in the way of its big gem.
What I will say is that this movie is one of those genuine ’80s-era slashers which is deserving of its cult following and infamy. It isn’t perfect, nowhere near that, however, I’m a firm believer this is one of those top notch slashers simply because I NEVER ONCE SAW THIS TWIST COMING! I mean, fuck M. Night even on his best twist endings, this one is the RULER OF ALL TWIST ENDINGS. Sorry, I love Memento, I love The MachinistThe Sixth Sense was a whopper in its day, and there are plenty others… but SleepawayfuckingCamp just rocks all of them out of the water. Say no more. Want a good dose of by-the-lake horror and a finale that will haunt your dreams? You’re welcome.

Antichrist (2009)
1.inddFor my full review, click here.

Lars Von Trier is a name you can say in a room and find a hundred different opinions about from just a couple people: some think he’s trash, others (mostly those who’ve only seen his recent two-part Nymphomaniac) say he’s a pornographer, then there are those of us who think he’s full of unbridled, unadulterated genius. Sure, he doesn’t always hit the mark, but what filmmaker ever has? Not a single one in history has made a full catalogue of perfect movies. But Trier, each and every time at bat, steps up and delivers something, at the very least, worthy of endless hours of conversation.
His 2009 film Antichrist is the study of many things: misogyny + misogyny’s affects on womankind, relationship dynamics, parenthood, as well as so much more thematic material. Containing two of the bravest performances I’ve seen in the past 10 years, both Willem Dafoe and Charlotte Gainsbourg are captivating. Most of this movie touches on subject matter and themes many will find, in moments, almost reprehensible – from genital mutilation on the part of men and women, to the death of a child while his parents have sex. It isn’t all provocation and in your face, nasty horror, Von Trier touches at the heart of issues in all his films, whether people wish to recognize it or not. No matter what, Antichrist will pull you in, chew you up, then spit you out. Then lap you up and chew some more until all the grizzle of your brain is digested. You may never ever forget these 108 minutes, no matter how hard you scrub that grey matter.

Calvaire (2004)
calvaire If you weren’t sufficiently disturbed and left sleepless by Lars Von Trier, I present to you the final offering of my list: Fabrice Du Welz’s 2004 psychological horror-thriller, Calvaire.
The movie follows a struggling entertainer, a singer named Marc, whose latest and slightly sad tour takes him out into the backwoods of Belgium. When he breaks down, Marc comes across an inn through the woods, owned and operated by a Mr. Bartel, the seemingly friendly and welcoming host. After the first night, though, Marc discovers Bartel is not as friendly as once it seemed – the man first stalls on fixing Marc’s vehicle like he promised, then when he tears the battery out and other parts, it’s very clear Bartel is up to something more sinister. Trapped at the inn, Marc’s journey falls quickly into a darkness he could never have anticipated, not in a million years, and the stay at Bartel’s inn transforms into a fight for survival.
This is another one I purchased blind on DVD, not knowing anything more than the description and reading a couple reviews online, as well as based on the neat cover art. When I first saw this, I was completely floored and still, even when I’m in the right mood, Calvaire is full of uneasy moments. There’s a slow burn quality to this one and things don’t jump right out, often the pace is snail-like, yet if you can make it through and continue to watch up to the end of the finale. you’ll be well rewarded in terms of disturbed emotions. And after all, that’s why you came to this list, right? Welz’s shocking psycho-horror is full of chills, thrills, and unwanted uncomfortableness. Watch, but only if you dare.


Here ends another list for the Halloween season! I hope those of you who’ve come to find something fittingly full of shocks and super nasty will walk away satisfied. I’m sure many horror hounds have at least heard of all these, most likely they’ve also seen them, too. If you’ve got any of your own suggestions, at 4,100 films watched it may have been something I’ve already seen – regardless, I want to know what everyone else finds disturbing and what you’re watching to get the creepy October-Halloween vibe happening. Let me know in the comments what you think of the list, or if you have suggestions for other nasties I should include in my own viewing list this season.
Cheers!

Wes Craven & Ronald Reagan: Socioeconomic Horror in The People Under the Stairs

The People Under the Stairs. 1991. Directed & Written by Wes Craven.
Starring Brandon Adams, Everett McGill, Wendy Robie, A.J Langer, and Ving Rhames. Universal Pictures. Rated R. 102 minutes.
Comedy/Horror/Mystery.

★★★★ (Film)
★1/2 (Blu ray release)

I really have a thing for Wes Craven. Do you think he knows?
He’s written and directed some incredibly disturbing, unsettling, and wild horror films. Let’s count the great ones, shall we? The Last House on the LeftThe Hills Have EyesSwamp ThingA Nightmare on Elm StreetThe Hills Have Eyes Part II (maybe I’ll draw some ire by planting that one in here, but I love it, and think it’s unfairly maligned by a lot of critics and horror fans), The Serpent and the Rainbow (directing credit only), Wes Craven’s New NightmareScream (directing again only).
This is not to mention the bunch of other fun horror films he’s had a had in producing, such as FeastWishmaster, and the fantastic remake of his own The Hills Have Eyes. I mean, for A Nightmare on Elm Street alone Craven gets a spot on the top horror masters of all time. Brilliance. But there are a few of his films (such as the aforementioned sequel to his The Hills Have Eyes) which don’t get the credit they deserve.

Cue: The People Under the Stairs.

peopleunderthestairsAt first the film could appear to be a crime thriller about some robbers, but (aside from having Craven’s name on it) you can quickly tell it isn’t going to be the same old story. The film starts off with “Fool” Williams living in a ghetto in L.A. His family is soon to be evicted. Luckily, or realistically unfortunately, for Fool, he knows Leroy who is a lifetime criminal. They quickly decide to rob The Robesons, who lovingly call themselves Mommy & Daddy (played fabulously by former onscreen husband & wife in David Lynch’s Twin Peaks, Wendy Robie and Everett McGill), who live in a big, old house with only their daughter Alice. Once they get inside the house, hoping to find all the supposed riches the Robesons have hidden away, they discover, to their horrible surprise, it isn’t any treasure Mommy & Daddy have been hiding; the secrets in the house are far worse.

I really love the trailers for The People Under the Stairs because it has such a creepy, dreadful feeling. It starts with the ominous “in every neighbourhoodthere is a house that even the adults talk about“, or something similar. Just superbly disturbing. Once you get into the film, past the bits of ham, there are some wild bits that really creeped me out. In particular, Everett McGill puts on a suit at one point that turned me away, by pure fright, from leather – long before I ever enjoyed the devilishly fun first season of American Horror Story, and the Rubber Man.
gimpsuitOne thing I love is how hard Craven attacks the Reagan era. Particularly, you can see how he is really skewed in the Mommy and Daddy naming of the two crazy people who own the house. It’s known that Ronald often called his wife Nancy Reagan “Mommy”. While Nancy called the Commander-in-chief “Ronnie”, you can still see, along with the rest of the film skewing his era of presidency, how the names Mommy and Daddy were certainly meant to really poke at the political & social commentary of The People Under the Stairs. Even at one point when Fool is looking around the house, he comes across a television set, which is clearly blaring graphic news reports of armed forces conflict (most likely they’re videos from the Gulf War which ended the same year this film was released). I mean, Daddy even stalks Fool and Leroy around the house, eventually shooting Lero, using a high-powered pistol with a red dot sight on it. The artillery Daddy is packing in that house is beyond simple home protection. I think there’s a little message about guns, or at least the military, under Reagan floating around here.

It all lines up, with the plot itself of course, to be very clear Craven doesn’t only intend this as a sometimes campy other times disturbing little horror flick. There’s more than meets the eye.
xDP7rThe acting here is generally pretty good. Rhames is decent in his small part. Really it’s McGill and Robie who shine here. They’re perfect for the role. Of course, they were also perfect on Twin Peaks, so I didn’t doubt they’d do a great job here. Everyone else fills out the cast just fine for the most part.

The People Under the Stairs is mainly all about the plot and story. I liked where it all went. It was disturbing and creepy. Plus, there are some fun and camp-ish moments that really fit well with the overall film. I really do think this movie works as a social metaphor. I’ve seen a few good theories. One in particular talked about how there was, especially around that time in the late 80’s and going into the 90’s, a big divide between those being oppressed and those who were aware of the oppression. Maybe even not so much the times, it’s something that always happens. Generally, until a situation completely boils over (such as it would in 1991 after the Gulf War ended and then Rodney was beaten a month later, one of the many, continuing brutalities committed by police against black men), there are pockets of society unaware of how serious a particular group is being oppressed, and often times eradicated. Here, we see a couple black people break into a home only to discover there are white people literally trapped in the walls. The divide between these two groups being held down are Mommy and Daddy, perfectly representative of Ronald Reagan and his administration in the White House.
I don’t know – maybe it’s nonsense. But I happen to agree with the person who was giving out the theory. Others seem to agree. I don’t mean it’s a perfectly and amazingly profound film, it’s still a weird and wild horror, but there is definitely something else behind it. Craven intended The People Under the Stairs to speak both to horror fans, as well as those looking for a bit of social commentary in their movie-going experience.
thepeopleunderthestairsparents-600x325As a film, I’d absolutely have no problem saying this is worth 4 out of 5 stars. I think Craven has taken a few missteps in his career, but this is not one of them. Some don’t particularly put this at the top of his filmography. Me, however, I believe it’s one of the better written horrors Craven has done simply because there is bit more meat to it; it isn’t all blood and guts and scares. There is a little dark comedy, some hammy acting, and disturbing moments, all wrapped into one package. I dig it.

The Blu ray is not great. Aside from the picture, there is nothing worth talking about. Literally nothing. You can put on subtitles, pause the film, or look through its chapters. Other than that? Don’t count on wiling away the hours on special features. There are none at all. Too bad. I wouldn’t have minded a bit of behind-the-scenes stuff, a featurette or two. Nothing here.
It’s still worth it to own this fun horror on Blu ray. The picture quality is fabulous. Makes a great 1990’s horror classic look pristine. If you haven’t yet experienced The People Under the Stairs do yourself a favour and watch it soon. Especially if you’re a fan of Craven; this one deserves more attention and less ridicule. I think it’s a solid horror, a little different from most. There are even some pretty gory bits just before the hour mark hits. This definitely stands out among a lot of shitty 1990’s horror.

The Last House on the Left: Angry, Ugly People

Wes Craven's early work expresses a ton of violence from angry, ugly people at pretty young things.

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