Tag: horror movies

31 Days of Horror: Mimic (1997)

mimic poster

There is a cockroach infestation in New York City. Well, I guess there has always been a cockroach infestation in New York City, but this time they are carrying with them some kind of terrible disease that’s killing children. Our hero, Dr. Susan Tyler (Mira Sorvino) is a bug scientist and she’s genetically mutated a superbug that’s a cross between a mantis and a termite that will eradicate the cockroach problem.

It has been engineered into sterility and thus it will die out in one generation and everything is groovy. Except, of course, it isn’t. The bugs don’t die out but rather breed at an exceptional rate, undergoing multiple mutations. Three years later they’ve turned into the kind of nightmare fuel only Guillermo del Toro could create.

There is nothing particularly new or inventive about Mimic, we’ve seen this type of film a thousand times from 1950s monster movies to Alien and its countless ripoffs. But del Toro is too good a director not to make it interesting. He’s such a wonderful visual stylist that he’s turned what could be another hacky, schlocky, forgettable b-picture into something really quite good.

Much of the film is set underground, in the bowels of the city’s sewers and forgotten subway systems. This gives the film a claustrophobic feeling, while also enabling the characters freedom to run. In a similar manner the film is often quite dark and full of shadows, but but he allows light to creep in through grates and lanterns so that you can always see what you need to see.

The creature designs are great and there is a lot of slimy, disgusting goop. The characters are pretty basic but well done and well acted. Charles S. Dutton plays a subway cop who gets to yell and scream about how crazy everything is. Josh Brolin is a goofy scientist guy and F. Murray Abraham shows up at some point as Dr. Tyler’s mentor.

It is a big, dumb horror film that knows it’s a big dumb horror film and doesn’t care. With del Torro at the helm, it becomes one of the best big dumb horror films I’ve seen in a while.

31 Days of Horror: The Invisible Man Returns (1940)

the invisible man returns poster

It wouldn’t be a proper 31 Days of Horror unless I watched at least one classic Universal Horror picture. I have a lovely boxed-set collection of most of the classic Universal Monster movies so I like to whip it out periodically through spooky season.

Over the last few years I’ve made my way through most of these films, and the many sequels, but I’d only ever watched the original The Invisible Man. So I was excited to start working on its sequels.

The Invisible Man Returns takes place sometime after the original film. Since the main character (spoiler!) died in that film they couldn’t bring him back (or Claude Rains who played him) so they have to make do with his brother Dr. Frank Griffin (John Sutton) but he isn’t really our main character. That would be Geoffrey Radcliffe (Vincent Price – who spends almost the entire film wrapped up in bandages or invisible) a man sentenced to hang for a crime he didn’t commit.

Naturally, Dr. Griffin sneaks in some good old invisibility liquid into the prison and helps Geoffrey escape. The catch, of course, is that there is no cure for the invisibility potion once you’ve taken it. And sooner than later it will turn you into a crazy, murderous nutter. Griffin works tirelessly on making the antidote while Geoffrey gets into various invisible misadventures.

With an 80-minute runtime, The Invisible Man Returns moves at a pretty fast clip. There isn’t much to it, really, and the story never goes anywhere particularly interesting. But the special effects are terrific. So many times I kept looking at what they were doing and wondered how in the world they pulled it off in 1940.

It is worth watching just for that.

31 Days of Horror: The Grudge (2004)

the grudge poster

I didn’t really mean for this year’s 31 Days of Horror to become a Ju-On festival, but here we are. Each year I try and work my way through at least one horror franchise. There is something fun, I think, about watching every single movie in a series, even when they get rather ridiculous towards the end.

But again, I didn’t really plan on Ju-On being the franchise I watched this year. Admittedly, I’m only three films into what is really a rather extended franchise so I may not make it all the way through, especially since I’m already growing tired of it. But three films is more than I had planned so we’ll see how it goes.

Because Americans can’t read subtitles popular foreign language films are often remade by American studios. This was very much the case with the J-Horror craze of the early 2000s. Numerous Japanese films got American remakes. Some of them were actually pretty good.

Some of them weren’t. As is the case with The Grudge. Directed by Takashi Shimizu, who created the entire Ju-On series and directed quite a few of them, The Grudge sticks pretty close to the plot of Ju-On: The Grudge, but with a lot of Americanizations.

Almost all of the main characters are American and they all speak English. The plot retains the same sort-of disjointed chronology, but here it is easier to follow. It helps that they’ve given one character more of a through-line allowing us to follow her through the film’s timeline.

Most of the big horror sequences are the same in both films, though I’d give the scary edge to the Japanese versions (though that may be because I watched it first.) The American remake has a much bigger, more bombastic finale. The American version is much slicker as well.

I wonder what my feelings on this one would be if I’d never seen the Japanese original before, or if I’d seen it after I’d watched this one. With this type of thing, there is always a feeling that the first one you watched is better, kind of like how the first version of a song you hear is always the best.

Sarah Michelle Gellar plays Karen Davis an American foreign exchange student. She volunteers for a care center and she becomes tasked with visiting an elderly woman who needs regular care because the normal caretaker has not shown up to work.

She’s basically the same character from the first film who is tasked with the same job. Like in the original, she finds the old lady nearly comatose and the house a mess. Ditto the closet with the tape all around it and inside a cat and then a creepy boy.

The film sticks with her more, giving us that through line. We get flashbacks to the parents of that old lady (William Mapother and Clea Duvall) and to the original murdered family (featuring a brief performance by Bill Pullman).

If you’ve seen the original there isn’t much need to watch this one. But if you haven’t seen it then I suppose this is a perfectly good watch. Like I say it is hard for me to judge which one is “better” because they are so similar, but I’m gonna give the edge to the Japanese version. It feels much creepier and scary to me.

31 Days of Horror: House of the Long Shadows (1983)

house of the long shadows

I’ve talked about Hammer Horror numerous times in these pages. Clearly, I’m a great fan and one of the things that makes me a fan is the actors the studio used over and over again – namely Christopher Lee and Peter Cushing. Those two actors make even the silliest, most ridiculous films worth watching. I don’t think Vincent Price ever made a picture for Hammer Studios, but he was starring in a lot of similar horror films around the same time. I feel the same way about him as I do about Cushing and Lee. Adoration is the word.

Put the three of them into a film together and let’s just say you have hit my horror sweet spot. It is then tough to admit that the final results of House of the Long Shadows just aren’t very good.

The setup is intriguing enough. Kenneth Magee (Desi Arnaz, Jr.) a successful young writer who is only in it for the money bets his publisher that he can write a novel of the caliber of Wuthering Heights in less than 24 hours. He only needs a secluded and quiet spot in which to do the writing. The publisher just so happens to know a manor in the Welsch countryside that will do just nicely. Upon arriving he finds the manor not so much quiet and empty as crowded with an eclectic and possibly insane, and murderous collection of weirdos (guess who plays those guys?)

But the film takes entirely too long to get going. We spend a while with the setup, with Kenneth and his publisher working out the details of the bet. Then there is a long drive (through a dark, stormy night of course) to get to the manor. We stop off at a train station to ask for directions where some strange things occur (all to establish mood of course). Then he finally arrives at the manor and it still takes far too long for everybody to be introduced. Christopher Lee doesn’t show up until 49 minutes after the opening credits.

Oftentimes the film seems to be winking at the audience as if to say “Isn’t it so cool we have all these horror legends in one place?” This is especially true at the end when it pulls a bit of a trick switch on the audience. But the film isn’t a comedy, there aren’t any jokes. It plays it all straight, but just with a slight knowing smile. As such I couldn’t take it particularly seriously, but neither was it fun to watch.

The actors, too, seem a bit bored. In the IMDB trivia, it notes that John Carradine (another great horror actor from the period) fell asleep during one of the scenes. From what’s on the screen it feels like he slept through most of them. Peter Cushing’s performance is limp. Part of that is the way the character is written and part of it is most likely Cushing was in ill health at the time. But none of the main characters give their best performances. Dezi Arnaz, Jr. is way out of his depth.

It is not that it is a terrible film for there are a few moments of interest, and it is wonderful to see those three actors working together, but it is a disappointing one. With those actors you want the film to be memorable. Instead, in a week I won’t remember I’ve seen this at all.

The Friday Night Horror Movie: Ju-On: The Grudge 2 (2003)

ju on the grudge 2 poster

The Criterion Channel is featuring a plethora of horror movies this month. They have at least three different horror themes going on, one of which is Japanese Horror. Naturally, I’ve seen almost all of them, but I’d never watched this sequel. I try to watch the originals again before I watch the sequel which is why you were treated to my thoughts on Ju-On: The Grudge yesterday.

This sequel is basically the same film with different characters. Once again it acts like a series of vignettes in which a bunch of people are haunted, terrified, and murdered by some evil spirits. The same evil spirits that haunted the house in the first movie (er, the third movie as there were two films before Ju-On: The Grudge). There is the creepy kid and the freaky girl who can twist her body in extreme ways.

This one does have more of a semblance of a plot and there is a bit of a through line, but it still jumbles up the chronology. It, more or less, follows horror film actress “Horror Queen” Kyoko Harase (Noriko Sakai) who is given a role in a paranormal television show. They “investigate” haunted houses and the like. For this episode, they visit the house from the last film.

Naturally, things do not go well. Nearly everyone involved in the shoot is haunted by the curse and killed. The kills remain quite effective and creepy. I might even give the ones in this film a slight edge over the last one.

There is an excellent sequence in which a woman keeps hearing a banging on her apartment wall at a certain time at night. The reasons behind it are quite clever and scary.

The way this film moves back and forth in time is much more effective than the previous one. I was often confused during the previous film, but here they will show a snippet of the same scene, albeit from a different character’s point of view, before moving on to something we haven’t seen before. Those connecting points allowed me to understand what was happening at all times. That worked for me much better than in the previous film.

But really, much like the other film, the plot in this one is just an excuse to move us from one creepy scene to another. And again this worked completely for me.

31 Days of Horror: Ju-On: The Grudge (2002)

ju on the grudge poster

A title card tells us that a Ju-On is a curse that is born when a person dies in a deep and powerful rage. The film will then spend the next 90 minutes showing us exactly what it means.

Ju-On: The Grudge was part of a cycle of Japanese horror films (collectively known as J-Horror) that came out in the late 1990s and early 2000s. Unlike their American counterparts (which were mostly self-aware slashers and other schlocky, gore-inflicted films) J-Horror tended to focus more on mood, and the psychology of fear, with plots that revolved around Japanese folklore. The violence was usually off-screen and not very graphic (though there were exceptions – I’m looking at you, Takashi Miike).

For a few years, J-horror became quite popular in America and several of them were remade by Hollywood. Someday I may do a theme where I review the Japanese horror films alongside their American remakes, but for now, we’re just talking about this one.

Ju-On: The Grudge was actually the third film in the Ju-On franchise (the previous two were straight-to-video releases) but it was the first one most of us watched (I’ve only seen this one and the first American remake).

The film is really a series of vignettes, each focusing on a different character, most of which are set in the same house located in Nerima, Tokyo.

I’ll be honest here, I just watched the film but if you paid me $1,000 to explain who each character was and what their relationship to each other is, I’d still be broke. Each vignette is so short, and each character is given so little to distinguish each other from each other I’m at a loss to tell you who is who.

They all do seem to be related to one another either by family or friendship or work. It begins with Rika (Megumi Okina) a social worker volunteer being tasked by her boss to visit an old lady at the cursed house (though neither of them realizes it is cursed at this point.) She enters to find the old lady in a daze, lying in bed. She picks her up to find that she has soiled herself.

After cleaning her up and doing a little housekeeping she hears a noise upstairs. In the bedroom, she finds a closet that has been taped over and she hears a cat meowing inside. Opening it she sees the cat and then a small, pale boy. She goes downstairs to call her boss and witnesses a black fog kill the old lady. Rika then passes out.

Others come to the house and most find themselves infected by the curse. They’ll become haunted by the boy, the cat, and the boy’s parents. Sometimes they’ll be killed inside the house, other times they’ll take the curse with them infecting their homes.

The film jumps around in time, making it a bit disorienting.

We will learn more about the boy and his family, and why they are haunting this house, but it really doesn’t matter. The plot isn’t really the point. Scaring the bejeebus out of us is the point and this film does that really well.

There are jump scares aplenty, and all sorts of creepy noises and visuals. These evil spirits appear out of nowhere – sometimes they attack, sometimes they just scare the characters, and sometimes they aren’t even seen by the character but by the audience giving us a jolt of fear. This happens so often that you’ll find yourself tensing up in anticipation, looking in corners and backgrounds half-expecting to see a ghost.

Quite a few of these sequences have become iconic for horror fans. The girl walking on all fours, contorting herself in unusual ways, the hand in the shower, the girl under the covers, etc. have all become part of our communal horror fabric.

I can’t say that Ju-On: The Grudge is a great film in any sort of artistic, cinematic sense, but it is a great one to put on late at night when you are all alone and scare yourself silly.

31 Days of Horror: The Texas Chainsaw Massacre (1974)

texas chainsaw massacre dark sky selects

One of the fun things about being a physical media collector is getting to display your stuff. Digital collections are great, but all you have to show for it is a hard drive (yes I know it is the actual art – the music, the films, the writing – that truly matters not the physical objects, but still…).

I love Steelbooks, collector’s editions, and Blu-rays with fun artwork. Sometimes the releases come with collectibles. Sometimes they come with really cool collectibles. The new Dark Sky 4K UHD edition of The Texas Chainsaw Massacre has a lifesized plastic chainsaw! How cool is that?

The movie is great, too. An all-time horror classic.

You can read my full film review and the set over at Cinema Sentries.

Bring Out the Perverts: In The Folds of the Flesh (1970)

in the folds of the flesh poster

This is the only film in the collection which I had not previously watched. It also happens to be the worst of the bunch, and I’d hardly call it a Giallo at all.

I’ve talked before about how most Gialli don’t make all that much logical sense. They often have plot inconsistencies and characters will behave in a nonsensical manner. But In the Folds of the Flesh is on a whole new level of nonsense. Honestly, I’m not sure I could describe everything that goes on in this film, or how any of it fits into the plot.

But I’ll try.

A convict escapes from a mental hospital. He comes across a woman who has just killed her husband and is burying him in her yard. But before he can do anything he is captured by the police. Many years later a long-lost cousin shows up to the house and is promptly murdered. Then an old friend comes to the house and he gets his head sliced off. Then the convict finds his way back to the house, tries to blackmail the family, and finds himself in an acid bath.

I think there is a police investigation and there are definitely flashbacks to a Nazi concentration camp, and probably a bunch of other stuff too. I really can’t remember. It all happens so haphazardly it was difficult to keep up. Or to care.

It is shot with psychedelic glee. There are a lot of flash zooms and kaleidoscope-y split screens. The kills (which feature quite a few decapitations) are pretty fun. And goofy.

It is overwrought and trashy. And a little bit of fun. But not enough to make me recommend it.

31 Days of Horror: The Blob (1988)

the blob poster

As I wrote in this week’s Pick of the Week, I love 1950s-era science fiction/horror films. They are oh-so-very cheesy, but often they are made by good craftsmen and they can be quite enjoyable to watch.

The 1980s saw a string of those old movies being remade. John Carpenter turned The Thing From Another World (1951), an actually pretty great Cold War metaphor into his masterpiece, The Thing (1982). David Cronenberg turned the wonderfully silly The Fly (1958) into one of the all-time great body horror films. (We could also mention Phillip Kaufman’s Invasion of the Body Snatchers, but that would bring us back to 1978 and I want to stick to the 1980s.)

In 1988 Chuck Russell got into the game and remade the goofy The Blob into a goopy, gnarly little horror film. It is my least favorite of these films, but it is still pretty great.

One of my favorite things about the film is that it introduces several characters in the beginning, people who give off Main Character Energy whom you figure will make it to the end of the film, and then it brutally murders them within the first half hour. It gives the movie that Game of Thrones feeling where nobody is really safe.

A meteorite lands just outside of a small town in California. Inside it is some gelatinous goo that feeds on human flesh and grows bigger every time it does.

The film takes time with its characters. It gives us some nice beats letting us understand them a little bit, even when it kills them soon after. This gives the movie the feeling of something more than just a big glob of goo murdering everyone.

Those kills are pretty sweet though. The special effects crew do a great job of making the blob look, well not realistic in any way, but effectively cool. The kills are varied and violent and bloody.

The plot gets pretty silly – there is a whole thing about a government agency swooping in to keep the blob safe in order to use it as a biological weapon (or did they invent it in the first place?), and the acting (led by Kevin Dillon and Shawnee Smith) is less than stellar. But mostly it is a lot of fun.

The Friday Night Horror Movie: Subservience (2024)

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I don’t pay super close attention to what new movies are coming out and when. I follow enough movie critics on social media that I hear some of the buzz, but I really don’t give it much heed. I don’t spend a lot of time watching new movie trailers or reading reviews, etc. But I have a general idea of what movies people are talking about.

The Substance is a new horror movie starring Demi Moore. It is getting a lot of good buzz and is definitely on my radar. Subservience is a new horror movie starring Megan Fox. It is not getting good buzz, but rather a lot of panning when anyone is talking about it at all.

Because I don’t pay close attention to these things I got these two movies mixed up. I put on Subservience thinking it was getting a good buzz. Within twenty minutes of watching it, I was confused.

People are really liking this movie? Maybe it gets better towards the end.

My friends, it did not get better towards the end, or at the end, or after the credits rolled. It is a stupid, stupid movie. It takes a old, dumb trope, and does nothing new with it. I should have realized something was up the moment I saw it was directed by S.K. Dale who also helmed Til Death which was just as dumb.

But it is also kind of fun? It reminded me a little of those dumb erotic thrillers I used to watch in the 1990s.

Nick (Michele Morrone) is a decent dude. He has a good job, a loving wife, a precocious daughter, and a baby boy. He’s living the American Dream. Except for that loving wife, she’s dying. She desperately needs a heart transplant.

Working that good job while taking care of those two kids and trying to be there for his wife is a little more than he can handle. So he does what anyone in that situation would do. He buys a super hot robot to handle the domestic chores.

Her name is Alice (Megan Fox) and she’s programmed to take care of his every need and desire (wink, wink, nudge nudge.) He doesn’t bother to tell his wife, Maggie (Madeline Zima) who is basically a permanent resident at the hospital that the robot he bought looks like Megan Fox. The look on her face when she first sees Alice is precious.

Alice is good with the kids, she’s great at cleaning up, and she’s a pretty good cook (though her lasagna is nothing like mom’s.) She can tell Nick is stressed out and would do anything to help relieve it for him.

You can see where this is going. Alice’s programming gets mucked up causing her to go haywire. If Nick is stressed then she’ll take off her robe and give him a release. If some guy at work is causing problems then she’ll go to his house and shoot him in the face. If Maggie’s health problems are causing trouble then she has to go to.

It is the kind of film where you have to just enjoy the ride. Because if you start thinking about it you’ll start to wonder things like: How can a guy with a relatively low-level construction job afford a big house, what must be enormous medical bills, and what can only be an incredibly expensive robot? Or why is the robot anatomically correct in every way? Are they all programmed to seduce? Or how can a person who just had a heart transplant do all that running and sexing and fighting?

Those aren’t questions the film is prepared to answer. It is better to just enjoy the not-particularly talented Megan Fox give a robotic performance that actually works in her favor for once. Or dig into the nostalgic vibe this thing is giving off. They don’t really make erotic thrillers like this anymore (even if the erotic aspects are fairly tame and it never quite thrills like you want it to.)