October 31 2020, 08:00
Doctor Sleep (2019)
Director: Mike Flanagan
Danny Torrance is an alcoholic, but finds a place of peace and sobriety in New Hampshire, where he uses his psychic power, which he calls the shine, to ease the deaths of the elderly people in a local hospice. Death isn’t often realistically shown in films — not the quiet deaths, the elderly deaths, the four a.m. in an empty room, afraid and alone deaths – but in Doctor Sleep, we see final breaths leave peoples bodies. It’s shocking, because it is portrayed so simply and truthfully, but it is also life-affirming. Danny is performing the ultimate service, soothing people out of life, just as a midwife brings a baby into it.
We also see a young boy with the shine horrifically murdered by an extended family of vampire-like people, his death deliberately brutal and painful to maximise the amount of dying breath he releases, which is their food. Over several years, Danny has psychic conversations with Abra, a teenager with an incredibly strong shine who he hasn’t met. She witnesses the boy’s death. Using her power, she tracks Danny down to ask for his help, but he warns her to keep her power under wraps, like he has, because the creatures, who call themselves the True Knot, will come for her next.
Rose the Hat is an interesting villain. Her group acts like a family, with strong bonds and loyalty, and we are sympathetic to their ever-worsening hunger, even knowing they are picking off shine children across America. They are at the top of the food chain, above humans, and need to find people who are potent with the shine for nourishment. As Crow laments, children have the strongest shine, before the adult world drains them, but in the modern world technology dulls even children’s shines. When Rose senses Abra, she resolves to track her down. Danny, Abra and Rose the Hat meet for a final showdown at The Overlook, and that’s a fine finale to my 2020 #31DaysOfHorror.
October 30 2020, 08:00
The Bride of Frankenstein (1935)
Director: James Whale
The Bride of Frankenstein contains some of the most iconic images in cinema, but it opens with a scene I really didn’t expect — Lord Byron and Percy Shelley praising Mary Shelley for her book, Frankenstein. In a bold move by the film-makers, Shelley herself continues the story from the end of the 1931 film. Even this is not as bold as the little people in jars, grown by Doctor Septimus Pretorius in his attempts to create a woman, and shown to Henry Frankenstein to get him to help Pretorius’s cause. The mini king, queen, devil, and bishop caper around, providing unexpected surreal slapstick. Like the monster is made of body parts, The Bride of Frankenstein feels like it is made of several films.
Doctor Pretorius is a singularly evil presence. As Pretorius cajoles and blackmails Frankenstein into helping him in his laboratory, the monster wanders the countryside, hungry and lonely. In a famous scene, a blind old man plays the violin, attracting the monster, who is accepted into the man’s home. But the local villagers cannot let the monster alone, and he is eventually caught, but he escapes and meets Pretorius in a nearby crypt.
The final quarter dials up the suspense. The laboratory is familiar from clips played for years on television. It’s amazing to think how thoroughly Bride of Frankenstein has permeated Western popular culture. The score is simply a persistent beat, like the Bride’s heart, and it’s a fantastic touch to have the same actress play both Bride and Mary Shelley. As the Bride opens her eyes, we hear one of the most famous lines in movie history — ‘She's alive! Alive!’.
Letterboxd: The Bride of Frankenstein (1935), dir. James Whale.
October 29 2020, 08:00
The Exorcist (1973)
Director: William Friedkin
The Exorcist is a cultural behemoth. It’s my twenty-ninth film in this year’s #31DaysOfHorror, and I’m feeling horror fatigue. The film has a weighty reputation — I’d seen clips on television, of Regan vomiting on Father Karras, and turning her head fully around, and I remembered the opening sequence in Iraq, probably from the DVD I bought but never watched to the end. I can’t remember why I didn’t watch it to the end.
It’s an astonishing film and deserves the plaudits. As I watched, the question that kept coming up in my mind was, why Regan? Father Karras asks Father Merrin that question directly, in a scene that is cut from the theatrical release. Merrin replies the point is to make humans despair and believe they are not worthy of God’s love. This is a little disingenuous. At the start of the film, Merrin uncovers relics and objects from an archaeological dig, including an image of the demon, and a catholic medal. He heads back to America, saying there is something he has to do. Later, when Karras plays the recording of Regan’s voices backwards, the demon says, ’Fear the priest. Merrin!’. This is before Father Merrin knows anything about Regan. It implies the demon has been exorcised by Merrin before, and we wonder if Merrin’s digging for relics somehow caused Regan’s possession.
These rabbit holes aside, for me this is Regan’s mother’s film. Ellen Burstyn is magnificent as Chris MacNeil. Some of the most affecting scenes are when we see her rage and fight for her daughter’s life, as well as despair and grieve for what her daughter has become. On a lighter note, when Kinderman, the detective, is trying to get Father Karras to help with his investigation (mainly by being creepy, threatening and odd), there is some high quality tennis happening on the courts behind them. I enjoyed that. That’s the power of a 4K restoration for you.
October 28 2020, 08:00
Tenebre (1982)
Director: Dario Argento
Tenebre is set in Rome, but we could be anywhere, because the story stays in hotel rooms, suburban streets and modernist buildings made of concrete and glass. There are artfully sculpted gardens of stone, water and trees. These locations lend themselves to the roving camera, and Argento likes to play the voyeuristic killer. The most famous scene has the camera drift slowly around the outside of a home, music blaring from a woman’s bedroom, focussing on the roof tiles, the walls, and the window slats, moving from room to room, as the killer takes two victims.
Thriller writer Peter Neal travels to Rome to market his latest book, Tenebrae (which means ‘darkness’), but he arrives to find a serial killer is mimicking in real life the murders in his book. The killer leaves notes under his hotel room door, and Neal gets drawn in to the killer’s game.
Argento knows films are inherently voyeuristic, and is aware of the criticism against him, and while the men die, the women do die in much more elaborate ways. He plays with our expectations, and has a protagonist who takes on the charges of misogyny directly. Giallo films usually have convoluted plots that lose me by the end, but this one makes sense. The set pieces are impressive, the story moves at a pace, the locations are fantastic, and the ending works — this is now one of my favourites.
October 27 2020, 08:00
Invasion of the Body Snatchers (1978)
Director: Philip Kaufman
People in the background of shots look directly at the camera. Matthew’s windscreen is a web of cracks that we struggle to see through. The score is spidery and jarring, and the camera is often off-kilter. You are not paranoid if everyone is out to get you. The ending is famous, and even though I know I saw it as a teenager, I had forgotten it all.
It opens with alien spores spreading over San Francisco. A web-like substance cross-pollinates with local plants to create millions of tiny pods. Matthew works at the public health department with Elizabeth, whose husband begins to act like he is someone else. Matthew takes her to see a psychiatrist friend, David Kibner, at his book launch, played by the wonderfully insufferable Leonord Nimoy. They hook up with Matthew’s friends, Jack and Nancy, and as they work out what’s going on, they find themselves isolated among the quickly cloned citizens of the city.
When cloned people come for the group, they are worse than zombies, which at least look dead. These are retired neighbours, police officers and nurses. Everyone is an informant. Nancy tells Kibner what she thinks is going on, and she is right, but she loses her argument as she spins the truth into her personal conspiracy theories. Like QAnon and Trump’s fake news, Nancy trusts the wrong sources, sees patterns where there are none, and chooses not to believe the facts. It’s the uncanny world of fascism. The final quarter goes full horror. Watching Matthew bash in the face of his own pod creature with a shovel is one of the most disturbing things I’ve seen. A perfect film for its time, and for now.
Letterboxd: Invasion of the Body Snatchers (1978), dir. Philip Kaufman.
October 26 2020, 08:00
Land of the Dead (2005)
Director: George A. Romero
I’d been so careful choosing films until last night, and I thought I’d take a chance on this because it’s directed by George Romero. It felt like a safe bet, but I was wrong. This film made me angry. I admire the original trilogy, even if I don’t love them, so I’m surprised at how mindless Land of the Dead is. Romero directs it as an action film, and there is no depth or charm.
In the city of Fiddler’s Green, the moneyed few relax in a tall skyscraper run by Kaufman, played by Dennis Hopper. On the streets below, ordinary people eke out an existence, surviving on supply trips to nearby towns, which are full of zombies who act out zombie versions of their previous lives. Zombie intelligence is evolving, and a zombie garage attendant begins to work some key things out — that fireworks are a deadly distraction, how to fire a gun, and that being dead they can walk across the floor of the river protecting the city.
It’s another take on the conflict between the rich elite and the working classes. The best thing about it is John Leguizamo as Cholo, who at least has a character arc. Asia Argento’s Slack is fun too. But the bar is low, my friends. The bar is low. I’m not sure why I’m so upset. Even bad movies can be fun. I guess I thought I would have some brains to gnaw on, but there were no brains to gnaw on here.
October 25 2020, 08:00
Christine (1983)
Director: John Carpenter
Stephen King is brilliant at weaving vivid teenage experiences into his novels. Christine was one of the formative books of my childhood. The film doesn’t have time to go as deep as the book into the love triangle of Arnie, his best friend Dennis, and new girl Leigh Cabot. This is a horror film first and foremost.
Awkward Arnie and popular high school quarterback Dennis are an odd couple. When Arnie impulsively buys Christine, a dilapidated red-and-white 1957 Plymouth Fury, tension between them mounts, and Arnie’s personality changes. Dennis is the popular one in school, so he is stunned when new girl Leigh chooses the new Arnie over him. But Christine is a jealous and vengeful mistress.
When bully Buddy Repperton gets his gang to trash Christine, and Arnie discovers the wreckage, he realises Christine can fix herself. When he says, ‘Show me’, and stands back to let the car do her thing, it is an intimate, almost sexual act. The car is always more important to him than the girl. The car brings out the worst in Arnie. Like Dr Jekyll and Mr Hyde, Arnie wrestles with his newfound illicit power. Christine channels his unconscious rage and wreaks havoc. It isn’t love. Possessiveness is a power game.
October 24 2020, 08:00
Prom Night (1980)
Director: Paul Lynch
Like Scream’s Ghostface, the killer in Prom Night can be dodged and knocked over. This is not Michael Myers. There is a lot of disco. Jamie Lee Curtis is a fantastic dancer — this role for her comes straight after Halloween and The Fog, so it’s impossible not to compare it with Carpenter’s work, which is unfair. The students all come across as high school kids, and the performances and locations are realistic, but it looks cheap next to Halloween.
Curtis plays Kimberly Hammond, whose sister, Robin, we see killed six years earlier in a bullies’ game which goes horribly wrong. The group of eleven-year-olds — Wendy, Jude, Kelly and Nick — hide what they did, and a local man gets the blame. On their prom night, of course, the man escapes and returns to the scene of the crime.
There are shades of Carrie when bully group leader Wendy plots to ruin Kimberly’s prom, and much of the opening hour is teen drama, but there are some great moments — Kimberly and Nick in an extended dance sequence under the disco lights, the likeable Slick trying to escape the killer by driving his souped-up van in circles, and the awful Lou’s decapitation. The killer is hyperactive and cartoon-like, especially when wielding an axe, and the fighting near the end is unintentionally hilarious, but it does take an unexpectedly moving turn as the credits roll.
October 23 2020, 08:00
A Cure for Wellness (2017)
Director: Gore Verbinski
An ambitious young executive, Lockhart, is sent to a Swiss sanitorium to bring back his company’s rogue CEO, Morris Pembroke. The head of the spa, Dr. Heinreich Volmer, drips bad guy charm, but is also the voice of scientific reason. The patients at the spa are semi-retired high-flying executives, seemingly half-mad with wellness rhetoric, convinced they feel healthy, but never healthy enough to leave.
There are elements of Jacob’s Ladder, The Shining, Shutter Island and even Eyes Wide Shut. It’s an adult fairy tale, and Lockhart suffers at every turn. Like the amateur historian who helps him with his questions about the history of the area and is left a desiccated husk, Lockhart is good at puzzles. Before arriving at the spa, Lockhart visits his mother in her down-at-heel retirement home, and she gives him a ceramic ballerina she has painted. She says the ballerinas eyes are closed because she is dreaming. She also tells him he won’t come back from Switzerland. These two thoughts dominate the rest of the film, because once Lockhart starts drinking the water at the spa, we are given the puzzle of working out what is real and what is not.
The vampiric financial services industry, represented by Pembroke and Lockhart, is in conflict with the parasitic wellness industry, but the driver who takes the rich clientele to the spa does his job, like his father did, and that's enough for him. The rowdy teenagers in the village are poor and can only look up at the wealth on the mountain top. Nobody ever leaves the spa, and as Hannah, the mysterious young woman who drifts around the grounds, says — why would anyone want to?
Letterboxd: A Cure for Wellness (2017), dir. Gore Verbinski.
October 22 2020, 08:00
The Dead Center (2019)
Director: Billy Senese
In a Nashville morgue, an unnamed man comes back to life and escapes. Sheriff Edward Graham investigates the missing body, but across town, psychiatrist Daniel Forrester checks the now unresponsive man into a ward at the psychiatric hospital. These two strands interweave, as the sheriff investigates the man’s background and life, and the psychiatrist tries to get the man to remember who he is.
I didn’t know anything about this going into it. With older films, when I’m jotting my thoughts down like this, I don’t worry too much about spoilers, but with newer films I’m more cagey. The psychiatric hospital is wonderfully realistic. Apparently, consultant psychiatrists helped ensure the routines, types of patients, and medical processes were accurate, and that comes across. Daniel is one of those potentially cliched trouble doctors who break the rules, but Shane Carruth is a good enough actor to make us believe in him.
It does have a hospital drama vibe in places, but this is a short, sharp film, less than ninety minutes long, and it zips along. By the final third we suspect what’s coming. Nothing is over-explained, which along with the smart camerawork, gives the film a nice feeling of dread, and it nails the dismount.