Horror Dose

Troll Hunter (2010)

2012-02-12T15:32:00.003-05:00

Is there still life left in the found footage genre? Yes. I discovered this gem thanks to the jaded reviewer (great blog; check it out). The best part about the movie is that there are no false pretenses. It's a movie about trolls. Yes, trolls. And a troll hunter. You know this from the start, so you can press play and roll with it. I had a blast from start to finish, savoring the incredible landscapes of Norway throughout. I usually don't care for fantasy and folklore, but this is really, really well done. Too bad I missed it when it dropped on DVD last year.

The Woman (2011)

2012-02-08T09:49:00.005-05:00

Think Halfway through I thought to myself, This seems like something Jack Ketchum would write. Well, it is; it's based on the novel by Mr. Ketchum and Lucky McKee. Admittedly, I've fallen out of touch with the publications from Dorchester (Leisure Books)--especially since I've read everything in print by Richard Laymon (including those that I had to order from the UK publisher, Headline Books). The Woman definitely has that Girl Next Door vibe and the cinematography is very similar to the aforementioned, Red, The Lost, and the nauseating Header. Of all the Ketchum adaptations, this one has the most to love. No real revelations or game-changer moments, but it's a solid movie with well-balanced black humor, steadily building tension, and eerie moments akin to those of Deadgirl.

2011: Top 10 DVD Releases

2012-02-07T16:29:00.007-05:00

With limited time to watch movies last year, I definitely didn't get a chance to see all the titles I planned to watch. But of the movies I did see, here are my top picks. As usual, my list is limited to DVDs that released through Netflix during 2011.

Overall, I don't feel that 2011 was a very sensational year for horror, mostly, I feel, due to Hollywood genre-buzz pollution. This list was difficult to construct once I selected the top 5 because there were so many duds (e.g. My Soul to Take, The Ward). In any case, here's my very late list. I haven't watched any movies yet for 2012, but my Netflix Saved queue is full of promising titles: The Woman, The Pack, The Divide, The Innkeepers, ATM, Excision, John Dies at the End, Livid, and more.

10. Insidious
9. Paranormal Activity 2
8. Buried
7. Let Me In
6. The Clinic
5. Tucker & Dale vs. Evil
4. The Last Exorcism
3. I Saw the Devil
2. Dream Home
1. Hatchet II

Cold Fish (2010)

2011-09-16T08:44:00.004-04:00

Like a lot of Asian horror films, this one was about one hour too long. Had that been trimmed, I probably would've walked away more satisfied. As it is, I'm just sort of indifferent to the film, nothing really stuck with me except my impatience for the thing to be over. It's your typical good-guy-gets-bullied-and-caught-up-in-the-wrong-crowd plot, and it seems the movie was made more to make gratuitous use of Megumi Kagurazaka that anything else. So, if you're in the mood for a crime drama wrapped in typical black humor, this great. But, then again, I guess I have to be thankful that I watched a J-horror flick sans ghosts!

The Clinic (2010)

2011-09-15T08:36:00.004-04:00

Now here's a film that surprised me. In my usual fashion, I had eschewed information about the movie, including trailers, reviews, etc., so the only preconceptions I had were based on the cover art printed on the Netflix DVD. And based on that, I figured this was either (a) another vacation that ends in a black market ring for body parts, or (b) another gross-out torture flick. Well, sure, conventions are used from both subgenres--many well known horror conventions are melded together--but it ends up being fresh and interesting nonetheless. I commend James Rabbitts for his ability to keep the pacing with a slowly unfolding exposition regarding what, exactly, the point is with everything that's going on. There are carefully placed moments of plot-thickening and mystery, which compels the viewer to stick around until the very end. And there are a lot of wince-inducing flaws that are inevitable with such an ambitious, heavy plot, but overall the movie is very well done and interesting from start to finish.

Tales From The Hood (1995)

2011-09-14T08:00:00.000-04:00

I was just talking to someone the other day about how there seems to be a serious lack of good horror from the 90s; there are mostly brainless slashers and teen screams. And it's strange, too, because most people are bias toward the music and movies they grew up with. In my case, I grew up with 90s horror movies, but I favor the 70s, 80s, and 00s. Not sure why it took me so long to see Tales From the Hood, but before this one I could cite Braindead (Dead Alive), Event Horizon, and a couple others as good 90s horror. Now I can add a new selection! This one is packed with racism and social commentary, intertwined with big laughs and the quirky sci-fi format of Tales From the Crypt storytelling. Not to be missed!

Malevolence (2004)

2011-09-12T08:52:00.004-04:00

Having watched Bereavement first, i.e. out of chronological order, I wondered how the experience would be. But it was hardly a factor; I probably could've watched them in either sequence with the same effect because the "big reveal" isn't so grand whether you know or not. There's more focus on the composition of shots, the coldness of kills, and the score. I didn't catch this with Bereavement as much, but in Malevolence Stevan Mena is essentially recreating Carpenter's Halloween. And the crazy thing is that, for me, it isn't off-putting. I quite enjoyed watching Mena work with Carpenter's materials: pillow case/mask, pulsing, stinging score, nondescript mechanic's jumpsuit, and so on. So, in sum, the movie as a whole is average, but as an homage to Halloween it is highly enjoyable.

Frostbitten (2006)

2011-09-08T11:38:00.003-04:00

If I didn't know any better I'd think this was a product of the UK, for it displays that brand of British humor wrapped into a conventional vampire plot. But, lo, it's a Swedish export that proves they can do more than the no-nonsense, steadily paced, artistic Let the Right One In. When it comes to Swedish cinema, most are familiar with the bleak, fractured oeuvre of Ingmar Bergman; and coupled with the aforementioned 2009 hit (remade in the US as Let Me In), it's easy to view Swedish movies as inherently ominous and gloomy. Frostbitten is a fun, entertaining vampire flick devoid of dull moments, with well-paced and well-placed comedic value.

Bereavement (2010)

2011-09-06T10:17:00.003-04:00

This year I'm doing everything I can to stay on top of all the DVD releases so as to increase my selection for my end-of-year top ten picks. Not sure how I came across Bereavement, but after watching it I found that it is actually the prequel to a 2004 release entitled Malevolence, also helmed by Stevan Mena. So I'll be watching Mena's films in chronological order at least. The plot isn't as interesting as I'd hoped (perhaps watching Malevolence first would've changed that), but the production value was high enough to enjoy the film despite it surpassing the standard 90-minute mark. The acting was decent throughout with superb screaming that conveyed pure dread. Alexandra Daddario carried the weight of her heroine role deftly, even in the face of parodic family drama. So, all in all, worth a watch if you're not expecting too much. Also, bonus points for nods at Halloween.

Carrie (1976)

2011-08-26T20:07:00.002-04:00

Sissy Spacek was absolutely the perfect choice for this adaptation of Stephen King's debut novel. Her performance was repugnant and charming, often at the same time. I felt terrible for her but I was horrified of her. In the end, though, I was rooting her on. Brian De Palma didn't waste any frames on this one; and the pacing of the final climactic prom scene creates whiteknuckled tension. Extra points for the effect of the car going backwards in the dream sequence!

BOOK: Shock Value (2011)

2011-08-22T12:20:00.003-04:00

Just finished Jason Zinoman's book Shock Value, and I'm thoroughly satisfied with my experience. Zinoman's goal is to locate, trace, and analyze the transition from Old Horror (the costume dramas of Frankenstein, Dracula, etc., dominated by Vincent Price, Boris Karloff, Christopher Lee, et al.) to the New Horror. He uses Hitchcock's 1960 classic Psycho to define the inception of this transition to modern horror, and Targets (1968) as a killing-off of the Old Horror. From there, Zinoman dissects the innovation and progression of modern horror with Rosemary's Baby, The Last House on the Left, The Exorcist, The Texas Chain Saw Massacre, Halloween, Carrie, Alien, and others. But more than just a history of modern horror films, the more intriguing, entertaining element of Shock Value is its abundance of anecdotes and bric-à-brac of behind-the-scenes tidbits taken from numerous interviews. Definitely a must-read for any horror fan.

Zombie (1979)

2011-08-20T07:37:00.004-04:00

Also known as Zombi 2, this is Lucio Fulci's own vision of a sequel to Romero's Dawn of the Dead, which was very successful in Europe (Dario Argento worked with Romero to create his own cut for the European market). Zombie has that classy washed-out, sandblasted look of 70s Italian-produced movies we're used to. But what sets this one apart are the crowd-pleasing FX and chilling macro-zoom angles. Sure, it's a typical zombie plot, but it boasts one of the most disgustingly memorable eye trauma scenes I can think of! And, as I've said, the FX and makeup design are phenomenal.

The Ward (2011)

2011-08-15T22:10:00.006-04:00

This could've been a great movie. I'm all for the exhausted confused-girl-in-a-ward plot if the filmmakers are willing to do something new and exciting. And sure, the set design--lighting, colors, composition, etc.--was great. But the technical aspects of a veteran director weren't enough to save the film. It was terribly formulaic and rigidly acted (every character was a parody) thus blunting the ending's epiphany. Taking this one into account with Craven's recent My Soul to Take, I feel sure that these iconic directors are stuck in an earlier era.

Homecoming (2005)

2011-08-14T15:06:00.000-04:00

A highly entertaining political satire.

Dream Home (2010)

2011-08-13T06:53:00.002-04:00

The only other Hong Kong-produced horror movie I've seen is Dumplings, and like that one this movie is centered around the social drama and a female character's obsession. Using the recent economic crises as a macrosociological argument, the film focuses on the individual's struggle for personal gain. Make no mistake though, it's a bloody violent experience with unforgiving camera work and gritty, claustrophobic colors and angles. The contrast of brutal scenes against a maudlin, sentimental, melodramatic exposition, interwoven chronologically, drives the movie headlong.

I Saw the Devil (2010)

2011-08-12T15:55:00.004-04:00

It's almost redundant to tag a movie as both "Korean" and "revenge," but at least the Koreans do the revenge plot better than anyone. For proof watch the Vengeance trilogy by Mr. Park or the recent release, The Man From Nowhere (more of an action thriller than horror). Luckily I went into this one cold; I knew nothing about it other than the cover art and the fact that Netflix predicted I'd like it 4.5 stars--quite high for my usually stringent rating. About 30 minutes in I felt like the movie had blazed through all the stages of a story: setting, characters, plot, conflict, climax, dénouement. I wasn't sure what could be done with the remaining 2 hours! Suffice it to say that I was thrilled with the direction of the plot, and the two leads could not have been more perfectly selected. And even though it was much longer than my usual ADD limit, I was glued the whole time, not to mention exhausted by the end. Check it out!

Spellbinder (1988)

2011-08-10T21:45:00.003-04:00

Essentially a Lifetime movie with some FX and a neat twist.

Meadowoods (2010)

2011-08-09T22:45:00.002-04:00

After the first thirty minutes I was ready for the girl of the trio to disappear. I get it. You're disturbed, angry, mad at the world. You hate life. The first act is largely a rumination of nihilistic inquiry that constantly ventures into foolish absurdity. But the movie redeemed itself for a while with a shot and mention of Oldboy! Then they select their victim and begin interviewing her. These interviews revived the movie. Whenever she was on the screen the movie worked. That is, it felt real and dreadful--undoubtedly what the filmmakers were going for. In the end, however, it's exactly what's expected and the last two shots (cuts to earlier interviews with Travis and Stephanie) should have been omitted.

Puppet Master (1989)

2011-08-05T22:46:00.007-04:00

Ground-level POV accompanied by shrill synthetic tones, and it's not a Chucky movie. But the dolls don't seem as important as the boring group of psychics--perhaps a limitation of funds that restricted what could be done with the dolls? In any case, I'm looking forward to more interesting uses of the puppets in the subsequent installments.

Stake Land (2010)

2011-08-05T10:34:00.003-04:00

A blend of many genres: apocalyptic, religious, survival, action, and of course vampire. I wasn't exactly thrilled to watch another vampire movie, but this one stands out. Great acting. Vicious effects and action sequences. Strong emotion. A likable hero. And Danielle Harris.

YellowBrickRoad (2010)

2011-08-02T23:27:00.003-04:00

It's a slow burn, and about an hour in it goes in a million bizarre directions. The acting and dialogue become laughable. The lead looks amusingly similar to Dane Cook at times. The ending did not have the payoff the preceding 90 minutes required. I'm bored and hungry.

Troll 2 (1986)

2011-08-01T19:49:00.003-04:00

The town is called Nilbog (very creative), boasting a population of (if I remember correctly) 25. Enough said.

I Sell the Dead (2008)

2011-07-30T19:44:00.000-04:00

Entertainment abounds in I Sell the Dead.

[REC] 2 (2009)

2011-07-17T13:10:00.005-04:00

When the original [REC] (known to American audiences as Quarantine, the remake) was over I wanted more. In fact, I wanted the movie to continue from exactly where it left off. Well, little did I know the franchise would continue as desired. And there's a third installment on the way! I really like what they did with this one. The action begins immediately and the filmmakers make use of multiple character/plot POVs and fancy PIP (picture in picture) cameras to keep the movie interesting (we know the real deal at this point after all). Plus, we get another great ending that has become the trademark of a great new horror series. Well done, Spaniards!

Insidious (2011)

2011-07-13T09:52:00.008-04:00

It's been a while since I've seen a new release. Or, rather, it seems as if it's been a while--probably more like a month. I just haven't been blogging. Anyway, I've managed to steer clear of reviews, trailers, and other spoilers, diligently taking note of upcoming release titles and filling my Netflix queue, waiting patiently for DVDs to arrive. There are a lot of titles I've been waiting for: Cropsey, Stake Land, YellowBrickRoad, Serbian Film, The Ward. And as with Insidious, I know nothing or almost nothing about these films.

The problem is that I can't tell if being caught off guard was a good thing or not this time around. Typically I stave off all hype because I don't want my imagination to start shaping the movie, potentially resulting in a huge let-down when I realize that the movie "isn't what I expected." I don't want to expect anything, and this usually secures the fun and entertainment of experiencing someone else's creativity. With Insidious, however, I don't think I could have prepared for its often bonkers antics at all. I was caught completely off guard, and I'm not sure I liked it.

SPOILERS AHEAD!

The scares are not really scares, and there's very little of the subtly that viewers will expect since Paranormal Activity is plastered on the marketing material. After the opening montage, which itself has a really odd tone, the viewer knows the deal: it's a haunted house without the mysteriousness of invisible entities. Every entity is placed right there for the viewer/character to see. Halfway through it gets very old. How many more ways can they show me another entity, I found myself thinking. So, again, I'm caught in this weird state of not knowing whether I liked being caught off guard by the nonchalance of the merging of the two dimensions, the matter-of-fact manner in which entities appeared, or not.

Not to mention the array of cliché devices that were halfheartedly deployed. In an attempt at brevity I'll stick with three. First and most obvious, the police are never involved. But reading Richard Laymon novels has rid me of my incessant need for characters to call the cops! Then again, the alarm is going off in the house, the front door is open, the wife and kids are upstairs, and this dude decides to wield a firepoker and mosey around for himself? Later in the film, the husband refers to himself as the "voice of reason," but he moves them out of the house (a first in haunted-house genre history?) and entertains the trio of paranormal investigators.

Second, the allusion to a husband with a big secret. This was the strangest portrayal I've ever seen. He's a (high school?) teacher who works until nearly midnight, telling his wife he's been grading tests and working late to pay medical bills. Two things here: teachers don't stay at work that late to grade papers, and they certainly don't get paid extra for it. Plus, just in case we're wondering about an affair, we get shots of him in an empty schoolroom doing nothing but flashing to the same bland shot of a kid in bed, which is used later.

And third, the exposition underpinning the husband's vague visions and the little quip about how he's terrified of having his picture taken. What was supposed (I think) to be a shocking revelation was delivered in yet another pattern of casual storytelling. I found myself thinking, Oh, okay, figures. Then, in the end we realize that it's another means of being able to show more entities in creative ways. Oh, and a setup for the ending.

Speaking of the ending, the crazy musical sting behind the bold red-lettered INSIDIOUS is so strange in the beginning but a good confirmation at the end. It was then that I realized I should've viewed the bizarre, off-centered opening montage as a staging of the entire pattern of the movie: a normal haunted-house movie slightly skewed at an attempt to be unique. Not sure if I can call it unique or not, actually; I'm not even sure I can consider it a good movie; but it's definitely entertaining if only for the interesting manner in which it is delivered. I can't help but feel the filmmakers took the two biggest complaints of Paranormal Activity (we never see anything, and, they never attempt to leave the house) and addressed them in the extreme.