Review: Jack Frost (1997)

Jack Frost (1997)

Director: Michael Cooney

Writers: Jeremy Paige (story), Michael Cooney (story)

Stars: Scott MacDonald, Christopher Allport, Stephen Mendel

As a young child in snowy Minnesota, this movie not only horrified me but, to my mother’s dismay, caused a severe aversion to venture outside in the winter months. Watching it again, now I’ve realized that while this movie is technically a horror flick it, like the chest burst scene from Freddy’s Revenge, is only scary in my adolescent memory.

Jack Frost, a 1997 so-bad-it’s-good horror/comedy, features serial killer Jack Frost (Scott MacDonald) who, through a Marvel-worthy accident, involving a genetic research vehicle on the way to his execution, turns into a mutated snowman. Freed from his death sentence and given a new body, Jack travels to the fictional small town of Snowmonton in order to extract revenge on the sheriff (Christopher Allport) who sent him away. As you can imagine, death, destruction and even a mild conspiracy plot involving the FBI ensue.

The technical aspects of this film aren’t anything to get excited about, the acting isn’t that great, and the effects are cheap at best (the snow looks more like coconut flakes than anything that could have ever come out of the sky) but it’s all of that cheese, along with the comical editing and over-exaggerated expressions from the actors, that makes it so fun to watch. There are more puns in it than an episode of CSI, and the amount of foreshadowing is near nauseating, not to mention the film seems to drag on forever (who knew a mutated snowman would be so hard to kill) but that’s all easy to forgive. From the intro alone, it’s obvious that this movie isn’t to be taken seriously and by the halfway mark its status as a cult favorite becomes inarguable. It’s no Silence of the Lambs but considering the basic plot you shouldn’t expect it to be.

When it comes to this movie, just lower your standards, turn off your brain and allow yourself to both laugh with it and at it while you decorate your Rocky Horror themed gingerbread men or try to get hammered off eggnog. While I certainly wouldn’t recommend trying to watch Jack Frost for scares or thought-provoking dialogue (although some of it is surprisingly clever), putting it into your Holiday movie line up is a must.   

 - Marysa Storm

Trailer:

Review - Henry: Portrait of a Serial Killer (1986)

Henry: Portrait of a Serial Killer (1986)

Released September 1990
Director: John McNaughton

We live in a society where culturally our entertainment has a lot of violence in it; (this coming from a horror film reviewer...) but often times the violence in film and television is toned down to a quick punch in the face or it is completely absurd and the blood pours down the screen. We watch horror films to feel a sense of danger, shock, or just to get our adrenaline pumping, but rarely has there ever been a film filled with such hopelessness as Henry: Portrait of a Serial Killer.

Whenever someone tells me that they are desensitized to violence, I tell them to watch Henry, because even the most desensitized film goer will shut up and respect the sheer realism that Henry provides. Simply put: Henry: Portrait of a Serial Killer is a brilliant film, but it is NOT a fun film. Nothing is sugar-coated, cartoonish or absurd. The character of Henry shares many biographical concurrences with real-life serial killer Henry Lee Lucas. Director John McNaughton makes clear in the beginning of his film that it is based more on Lucas' violent fantasies and confessions, rather than the crimes for which he was convicted; however, this fantastical portrait of Lucas’ life takes nothing away from this truly bleak film.

We are immediately introduced to Henry as a killer and follow him throughout his daily routine. No mention is given to any police inquiries and Henry is oblivious to any notion of avoiding capture or covering his tracks. Much of the film's power comes from this nonchalant approach, whereby, if a person doesn't register that something he is doing is wrong, then it quickly becomes almost acceptable. We then meet Henry’s roommate Otis (who later joins Henry on his murderous rampage) and Otis’ sister Becky, who’s coming from out of town for a visit. We watch as the movie slowly suffocates the viewer with countless murders, interwoven with a story of three tortured individuals trying to find some way of coping with one another. The film ends with no justice and no peace. Henry continues to drive around town and kill with no signs that he will eventually be captured.

Rooker, in the title role, is totally convincing and gives a performance free from the mannerism clichés which detract from more famous serial killer characters like Hannibal Lector (the film actually made me stop watching Dexter, simply because it changed the way I view serial killers) Almost equally disturbing is Tom Towles performance as the half-witted roommate Otis, who is used as some form of comic relief until you realize just how many people you’ve met in your life that share some of Otis’ tendencies.

Everything about Henry: Portrait of A Serial Killer feels genuine. Its low budget makes it feel homemade (shot on 16mm and only had a $110,000 budget) and the relationship between the characters is so downplayed by (then) unknown actors that everything feels real, which of course makes it scarier. Some films will scare you with monsters or graphically showing a kill, but I don’t think the murders are what makes Henry such a horrifying film. I think it’s simply the atmosphere painted across its entire landscape that brings viewers to the brink of terror.

SPOILERS:
Scariest Scene: Henry gets a bottle to the face from Otis and right as he’s about to kill Henry, Becky stabs Otis in the eye. In any other horror film, this may have just been another stabbing, but the sheer tension this film provides makes this scene truly unforgettable. (With help from the soundtrack, which is arguably the best in any horror film)

- Andrew Megow

Unraveling the Mysteries of "From Hell" (2001): A Cinematic Journey into the Shadows of Jack the Ripper

Unraveling the Mysteries of "From Hell" (2001): A Cinematic Journey into the Shadows of Jack the Ripper

In the realm of cinematic explorations into historical mysteries, the 2001 film "From Hell" stands out as a dark and gripping journey into the notorious case of Jack the Ripper. Directed by the Hughes Brothers (Albert and Allen), the movie is loosely based on the graphic novel of the same name by Alan Moore and Eddie Campbell. Starring Johnny Depp and Heather Graham, "From Hell" delves deep into the foggy alleyways of Victorian London, unraveling the enigma surrounding the infamous Whitechapel murders.

The narrative unfolds against the backdrop of the squalid and ominous streets of Whitechapel, where a series of gruesome murders terrify the community. Inspector Frederick Abberline, portrayed with intensity and nuance by Johnny Depp, is tasked with solving the baffling case. His investigative journey takes him through a labyrinth of conspiracy, corruption, and mysticism.

The film introduces a compelling mix of historical facts and speculative fiction as it weaves a tale of a clandestine society, royal intrigue, and a mysterious prophecy. Abberline, utilizing his deductive skills and a heightened sense of intuition induced by opium, attempts to decipher the cryptic clues left by the elusive killer.

"From Hell" is visually striking, capturing the grim and gritty atmosphere of Victorian London with precision. The cinematography, led by Peter Deming, immerses the audience in the dimly lit streets, shadowy corners, and fog-covered landscapes, creating a haunting and immersive experience. The film's meticulous attention to period details and its use of atmospheric lighting contribute to the overall sense of foreboding.

At the heart of the film is Johnny Depp's captivating portrayal of Inspector Abberline. Depp brings a brooding intensity to the character, infusing him with a mix of vulnerability and determination. The actor's ability to convey Abberline's internal struggles, both personal and professional, adds depth to the narrative. Depp's performance elevates "From Hell" beyond a mere crime thriller, turning it into a character-driven exploration of a tormented soul in pursuit of justice.

Beyond its thriller elements, "From Hell" touches on societal issues prevalent in Victorian England. The film sheds light on the stark class divide, the exploitation of the impoverished, and the struggles faced by women in a patriarchal society. Heather Graham's character, Mary Kelly, becomes a focal point for addressing these issues, offering a glimpse into the harsh realities of life in Whitechapel.

"From Hell" is a compelling and atmospheric exploration of one of history's most enduring mysteries. While the film takes liberties with historical facts and introduces elements of speculative fiction, it successfully creates a dark and immersive world that captivates audiences. Johnny Depp's standout performance, coupled with the film's visual prowess and thematic depth, makes "From Hell" a memorable cinematic journey into the shadows of Jack the Ripper's reign of terror.