Stars: Isabella Rossellini, Kyle MacLachlan, Dennis Hopper
I remember when I first saw David
Lynch’s 1986 surreal classic, Blue Velvet. I got home after hanging out with
friends and noticed I recorded it in my DVR. Without knowing much about it, I
hit the play button and found myself equally wowed and disturbed by Lynch’s
haunting masterpiece.
What makes Blue
Velvet a horror film? Good question! It’s the idea that a candy-colored, peaceful, little town has hidden secrets. The film tells the tale of Jeffrey
Beaumont (Kyle Maclachlan), a college student called home to care for his
comatose father. While strolling through a field, Jeffrey finds a severed ear
covered in ants and takes it to the police.
It’s
at the police station where Jeffrey overhears a detective (George Dickerson)
discuss the case and takes it upon himself to investigate. Jeffrey finds
himself in one hell of a nightmarish ride involving a femme fatale lounge
singer (Isabella Rossellini) and a deranged gangster named Frank Booth. Boy, you’ll think Jeffrey regrets picking up that ear
in the field.
Blue
Velvet is a masterful Neo-Noir film that has a lot to say. In the opening
scene, we get beautiful and semi-satirical shots of Lumberton (the film’s
setting). Everything is nice and peaceful, but then we see a glimpse underneath
the soil, of large insects crawling creepily, implying this isn’t an ordinary
town. Perhaps it’s also saying that no town is ordinary. The first half of Blue Velvet is entirely buildup. Through hallway shots and POV shots through
closets, we know we’re about to see something that will shock us.
Tobe Hooper's Terrifying Legacy: Exploring the Best Horror Movies from the Mastermind
Tobe Hooper, a visionary filmmaker and a true master of horror, has left an indelible mark on the genre with his unique storytelling and innovative approach to filmmaking. Born on January 25, 1943, in Austin, Texas, Hooper's contribution to the world of horror has been both iconic and influential. This article delves into some of Tobe Hooper's best horror movies, showcasing his ability to instill fear and captivate audiences with his distinctive style.
The Texas Chain Saw Massacre (1974):
Tobe Hooper's breakout film, "The Texas Chain Saw Massacre," is often hailed as one of the most influential horror movies of all time. Released in 1974, this low-budget masterpiece redefined the slasher genre, introducing audiences to Leatherface, a chainsaw-wielding killer, and his deranged family. The film's gritty, documentary-style approach and relentless tension make it a timeless classic that continues to terrify and inspire filmmakers to this day.
Poltergeist (1982):
In collaboration with Steven Spielberg, Tobe Hooper directed the supernatural horror film "Poltergeist." Released in 1982, the movie revolves around a suburban family whose home is invaded by malevolent spirits. While Spielberg's influence is evident in the film's heartwarming family dynamics, Hooper's touch brings a darker and more intense edge to the supernatural occurrences. "Poltergeist" remains a benchmark in haunted house cinema, blending scares with emotional depth.
Salem's Lot (1979):
Based on Stephen King's novel of the same name, "Salem's Lot" is a two-part television miniseries that showcases Tobe Hooper's talent for adapting written material into gripping visual narratives. The story revolves around a writer who returns to his hometown, only to discover that a vampire is turning its residents into the undead. Hooper's atmospheric direction and skillful pacing make "Salem's Lot" a standout entry in the vampire horror subgenre.
Eaten Alive (1976):
Following the success of "The Texas Chain Saw Massacre," Hooper continued to explore the theme of madness in the swamps of Texas with "Eaten Alive." This exploitation horror film features a deranged hotel owner who feeds his guests to a giant crocodile. While not as widely celebrated as some of Hooper's other works, "Eaten Alive" is notable for its unrelenting tension and unsettling atmosphere, showcasing the director's ability to create horror in diverse settings.
The Funhouse (1981):
"The Funhouse" sees Hooper venturing into the realm of carnival horror. This slasher film follows a group of teenagers who decide to spend the night in a carnival funhouse, only to encounter a deformed killer. With its blend of suspense, carnival aesthetics, and gruesome kills, "The Funhouse" stands out as an underrated gem in Tobe Hooper's filmography, showcasing his versatility within the horror genre.
Tobe Hooper's legacy as a master of horror endures through his groundbreaking contributions to the genre. From the gritty terror of "The Texas Chain Saw Massacre" to the supernatural chills of "Poltergeist," Hooper's films continue to terrify and inspire new generations of horror enthusiasts. His unique vision, storytelling prowess, and ability to tap into primal fears have solidified his place as a true maestro of horror cinema. Tobe Hooper's impact on the genre is undeniable, and his best horror movies remain essential viewing for anyone seeking a spine-chilling cinematic experience.
Elevator
is the story of nine strangers trapped inside an elevator. They are all going
to a party for an announcement of the retirement of the CEO, who happens to be
on the elevator. It is revealed that one of them has a bomb strapped to her.
She is seeking revenge against the CEO. Then she dies. Most of the film is
about the characters trying to figure out how to get off the elevator before
the bomb goes off.
This could
have been an interesting interplay between characters from different
socioeconomic backgrounds. Instead, it's an uninteresting, flat story about
people stuck in an elevator. In contrast to a film like Devil, (2010,
directed by John Erick Dowdle) which is a great suspense story set inside an
elevator, this film fails to capitalize on its claustrophobic setting. An
interesting cast of characters portrayed by some good actors, never get the
chance to break out of stereotypical roles. There is the racist comedian, the
rich old white man, and the nice overweight guy.
The
storyline of the bomber could have been explored to create more suspense.
However, once we learn the bomber's identity, the film loses its momentum. It
then turns to gore and blood for shock value. You don't care about any of the
people stuck in the elevator, with the exception of the one who is pregnant.
You don't feel any sense of doom or urgency with the ticking clock. What could
have been a study in themes such as corporate greed, racism, and infidelity,
instead fails to be anything more than a boring retread of other movies you've
seen before.
There is one
reference in the film to Lifeboat (1944, Directed by Alfred Hitchcock).
That film also had a group of strangers trapped in a small space with one of
them harboring a dark secret. Written by John Steinbeck, it's a great example
of a psychological thriller that takes place in one location. See that instead.
Open Water (2003): A Tense Dive into Isolation and Survival
"Open Water," released in 2003, directed and written by Chris Kentis, is a gripping and unconventional thriller that explores the harrowing ordeal of a couple stranded in the vastness of the open ocean. Inspired by true events, the film takes viewers on a tense and claustrophobic journey as it delves into the psychological and physical challenges faced by its protagonists. In this article, we will examine the key elements that make "Open Water" a unique and compelling cinematic experience.
The movie revolves around Susan (Blanchard Ryan) and Daniel (Daniel Travis), a couple on a tropical vacation who find themselves left behind by their scuba diving group in the middle of the ocean. The tension mounts as they realize their predicament and struggle to survive while surrounded by miles of open water. The film is based on the real-life disappearance of a couple during a scuba diving expedition in the Caribbean.
One of the most notable aspects of "Open Water" is its minimalist approach to filmmaking. The movie was shot on a shoestring budget, using handheld cameras and a cast of only two actors. This stripped-down style enhances the sense of realism, making the audience feel as if they are right there with the characters, experiencing the isolation and vulnerability firsthand. The absence of elaborate special effects and extravagant sets adds to the film's authenticity, creating a raw and immersive atmosphere.
"Open Water" succeeds in capturing the fear and helplessness of being stranded at sea. The actors, Blanchard Ryan and Daniel Travis, deliver convincing performances that reflect the emotional and physical toll of their characters' predicament. The film's realism is heightened by the decision to shoot in actual open water rather than in a controlled environment, showcasing the unpredictable nature of the ocean and adding an extra layer of authenticity to the narrative.
As Susan and Daniel grapple with the harsh realities of their situation, the film explores the psychological strain that isolation and impending danger can inflict on individuals. The vastness of the ocean becomes both a stunning backdrop and a formidable antagonist, intensifying the characters' feelings of abandonment and hopelessness. The sound design, incorporating the constant lapping of water and distant sounds of marine life, enhances the suspense, making every moment fraught with tension.
"Open Water" draws inspiration from real-life events and taps into a primal fear of the unknown and the vastness of the open sea. The film's success lies in its ability to engage viewers emotionally, as they share in the characters' struggle for survival. While it may not be a traditional blockbuster, "Open Water" carved its niche as an unconventional and effective thriller that leaves a lasting impression on its audience.
"Open Water" stands as a testament to the power of minimalist filmmaking in crafting a suspenseful and emotionally resonant experience. By immersing viewers in the stark reality of isolation and survival, the film explores the fragility of human existence in the face of nature's unforgiving forces. Nearly two decades after its release, "Open Water" remains a chilling reminder of the vulnerability inherent in the human condition, making it a noteworthy addition to the thriller genre.
Writers: Michael Stewart (novel), George A. Romero (screenplay)
Stars: Jason Beghe, John Pankow, Kate McNeil
George A. Romero will always and forever be, to many, the
master and originator of zombie horror. Monkey Shines, however, does not fall
under this category. The “odd guy out," if you will. I had not seen
it until last Monday and it was not at all what I was expecting, out of Romero
or in general. This was not necessarily a bad thing. I will keep this review
short and sweet this time around.
Monkey Shines is about a quadriplegic man named Allan, who
becomes paired up with a trained monkey named Ella. What he does not know, is
that Ella was also part of an experiment which allowed her to tap into his
deepest feelings of rage, which she carried out for him.
This film was an interesting one because it reminded me a
bit of Re-Animator and how the bulk of the movie was slow paced and then
just wallops your sensory organs with the last half hour or so. For the most
part, it seemed to me to be a basically-sci-fi, not-really-horror movie. It was
mainly about this cute little monkey who progressed in intelligence through an
experiment. She then started to become slightly naughtier with the storyline,
which all in all was pretty tame. There was not a whole lot of gore or horror
really, which was actually a nice break, although unexpected and in this case, a
little disappointing. My mind wasn’t totally blown by this film, and it didn’t
exactly feel like a Romero film ought to. Yes, it was not meant to be just like
one of his zombie flicks, but it felt a little too disconnected from his
directing style. It is possible though that I’m a bit tainted after
familiarizing myself with a gorier video library. If you are looking for and
expecting something more in the vein of a psychological, science fiction flick,
I would say give it a shot. It’s definitely nothing I will back-shelve, and it
was worth taking a look at what else a familiar film director could do.
Directed by Sean S. Cunningham featuring Adrienne King and Betsy Palmer.
In the Black Corner: The 2009 remake
(sequel? reboot? desperate push for greenbacks?)
Directed by Marcus Nispel with
Jared Padalecki and Danielle Panabaker
Let’s Get It On! The original
cash-in slash-in Friday the 13th is in the house to represent
against its own parasitic offspring. Ch-Ch-Ch-Ah-Ah-Ah away!
Round 1 – Director: Cunningham’s
point and shoot style, mixed with stalking camera work and love of violence,
puts up solid points for the original. While not as revolutionary as his
contemporaries, Cunningham’s style would be emulated for the next decade by up
and coming horror directors. The remake boasts Marcus Nispel, who also tackled
the better than it could have been TCM remake. He gives the flick a solid
visual style and some interesting shots, but really struggles with pacing,
especially in the second act (more on that later).
Round 1 Score: 1980 – 22 / 2009 – 18
Round 2 – Cast: Adrienne King’s Alice
is drafted with the quickest of strokes, but that doesn’t stop her from being a
solid final girl. Betsy Palmer is great as the deranged / devastated mother,
which gives the third act a much needed punch in the intensity level. The rest
of the cast (including all seven degrees of Kevin Bacon) are solid if not long
lasting. The remake does okay; problem is, most of the characters are making
bone-headed moves left, right, and center. Despite some major development
problems, Jared Padalecki comes off well. The same can be said for Ms.
Panabaker’s literal girl next door. One wonders how she could have such a dick
boyfriend. Speaking of that, if there was an Oscar for playing a dick, Travis
Van Winkle would get it. I wanna punch that guy!
Round 2 Score: 1980 – 20 / 2013 - 18
Total – The Original’s in charge – 42
to 36.
Round 3 – The script: The original’s
script is pretty basic. Its roller-coaster structure is enjoyable and
efficient, allowing for much running in the dark and slaughter. The remake
doesn’t fair nearly as well. Not only are the characters idiots in the highest
degree, they’re making all kinds of dumb moves. What makes the whole thing
worse is that the title break occurs 24(!) minutes into the flick. That means
we’ve only got an hour with our main characters, so none of them are developed
in the least. Even a major twist at the end fails to impress because we don’t
know or care about these idiot characters. The quality actors can’t save it.
Round 3 Score: 1980 – 20 / 2009 – 7
Total – The original takes a
seemingly insurmountable lead, 62 to 43.
Round 4 – Effects:F13 1980 boasts a
slit throat, arrow wounds, axe to the head, and plenty of ugliness. The
remake is no slouch either: stabbings, arrows to the head, cooking folks in
sleeping bags, and fun with a wood chipper. Despite this, I was really hoping
the remake would go further, especially with the recent High Tension and
Hatchet on the scene.
Round 4 Score: 1980 – 22 / 2009 – 25
Total – The redux isn’t out of it
yet, but is still down, 84 to 68
Round 5 – Fear Factor: With its
well-oiled, roller-coaster set up, the original works as a fun slasher flick.
It’s not with you after you leave the theater, but it’s scary enough while
you’re inside. The remake doesn’t fare quite as well. Scenes are intense, sure;
but, a lot of the horror is a bookend, occurring in the first twenty and last
twenty. The middle is a kind of a horror-less wasteland.
Round 5 Score: 1980 – 25 / 2009 – 20
Total – The original is laying into
the newbie, 109 to 88
Round 6 – Overall Film:Friday
the 13th(1980) spawned a dozen other flicks and one of the most
financially profitable movie franchises of all time. The remake didn’t manage
to get the title card in the right place.
Round 6 Score: 1980 – 28 / 2009 – 10
Final Result: The winner, by
knockout, is the original Friday the 13th! Final score: 137 to 98
Pet Sematary isn’t that good of a movie. It is, however, a really good horror movie and a great adaptation of a book Stephen King hated writing. Perhaps this is why King opted to write the screenplay himself, figuring if such a heinous tale was to be put on screen, he might as well do it right. He even appears in the movie as a priest.
The opening credits and soundtrack set the tone beautifully for what is a highly depressing and frightening endeavor. We then meet the main players, including Jud Crandall, played wonderfully by Fred Gwynne, easily one of the best screen versions of a Stephen King character. There’s also Louis Creed: doctor and family man, his wife Rachel, kids, cat, station wagon, etc. Originally from Chicago, they relocate to Maine and settle into a house with a very odd path out back, a path to a cemetery for pets, misspelled “Pet Sematary” by local heartbroken youngsters. The “sematary” naturally leaves a bad taste in everyone’s mouth, especially when the Creed’s own cat, Church, is run over by an eighteen-wheeler on Thanksgiving. After hearing some local legends from Jud, Louis chooses not to bury Church in the harmless children's pet sematary, but an ancient Micmac burial ground instead. This burial ground is known to bring back the dead, only what it brings back usually isn’t for the better. In a desperate attempt to salvage his daughter’s pet, Louis buries Church exactly where he shouldn’t and keeps it to himself. Amazingly enough, Church does return from the dead, smelling like shit and with a really bad attitude. Let’s just say no one in the Creed household will be taking a relaxing bath any time soon.
The story then takes a dark detour about halfway through, when Louis’ son Gage, practically a baby, is run over and killed by the same kind of truck that killed Church. The way I recall seeing this scene for the first time, my inner monologue went something like this: “He’s not really gonna get run over by...yep, he just got run over by the truck.”
No surprise to those who’ve read the book first, but I had not at the time, and it’s just something you don’t see very often in any movie. Hell, I thought this movie was about a killer cat! Gage’s funeral is yet another disaster and it’s clear where Louis plans on burying his son’s body.
Did I mention Louis does all this despite a strict warning not to by the ghost of a dead jogger? His name is Pascow, and even though his brain literally dangles from his bleeding skull, he’s a pretty nice guy. In the first act, Pascow pretty much flatlines on Louis’ nurses' office table, after being hit by none other than a giant truck. He wakes up dead and swears his allegiance to Louis. All he wants to do is help, and perhaps had he made any attempt to be less creepy, Louis would have heeded his warnings properly. Instead, Louis does nothing but piss on Pascow’s advice, which ultimately gets him, and the entire family killed.
The plot of Pet Sematary, a cemetery that brings back the (evil) dead, is undeniably scary. What’s interesting is that the scariest scenes don’t necessarily directly relate to said plotline. For many, the most memorable scene of the movie is Rachel’s flashback about her dead, reptilian sister, Zelda. Just thinking her name makes me shudder, and she’s put a dark cloud over the classic Nintendo game, that’s for sure. But this scene, along with the unsettling suicidal hanging of housekeeper Missy Dandridge, could’ve easily been cut from the movie and not taken away a single thing...except for two of the scariest scenes. They work more as subtext, providing some insight into Rachel’s past and feelings about death. Other scenes involving stories relayed to Louis via Jud, are scarier than the entire third act, which features slasher Gage going to town with a scalpel.
There are some movies I distinctly recall seeing for the first time. Pet Sematary was on a Saturday evening, I’m guessing around 7pm (although my instincts are 5pm), and on television. It’s actually not a bad movie to suffer through a TV edit, as it’s not too gruesome, nor does it have much profanity, so for the most part it’s all there. Already a big horror fan by age 8 or 9, and knowing what Pet Sematary was, I didn’t have particular interest in it; I just sat there and started watching as it came on because I didn’t feel like getting up. Needless to say, I never did get up, nor do I remember at what point the power came back on. Imagine sitting there, a little kid, getting a real big kick outta a horror flick you’re not supposed to be watching, TV edit or not, loving every minute of it, fully aware getting sleep will be difficult tonight but making the gamble anyway. Successfully making it through the entire thing, almost turning it off several times, I finally get up and due to some summer or fall wind (this is why I can’t pinpoint a 5pm or 7pm start time) the power goes black just as the sun has officially vanquished. It was like something out of a horror movie!
That’s how I remember Pet Sematary and probably always will (and nothing beats that peaceful Paramount jingle at the beginning).
