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Category: Horror

  • From Beyond (1986)

    From Beyond (1986)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]While not a massive hit, Re-Animator was one of Empire’s more successful films, grossing $2 million against a $900,000 budget. Also, the film received positive reviews from critics, including Roger Ebert, who awarded it three out of four stars. Following the success, Stuart Gordon was given a three-picture deal, the first of which would be another Lovecraft adaptation. A sequel to Re-Animator was tossed around, but executive producer Charles Band was unsure about the idea at the time. Instead, it was decided by Gordon, co-writer Dennis Paoli, and co-writer/producer Brian Yuzna decided to adapt another Lovecraft work. Much of the cast/crew from Re-Animator would be brought back, including actors Barbara Crampton and Jeffrey Combs. Whereas the last film was filmed in Los Angeles, this would be filmed in Rome at the recently-acquired Dinocitta studios. So, in 1986, Stuart Gordon’s sophomoric effort, From Beyond, was released.

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    Synopsis

    Physicist Crawford Tillinghast (Jeffrey Combs) has been assisting Dr. Edward Pretorius (Ted Sorel) in building a machine called The Resonator. The machine is designed to stimulate the pineal gland, which will allow those near the machine to see beyond reality. Something goes wrong and strange interdimensional creatures kill Pretorius, though Crawford escapes, only to end up in a mental institution. Psychiatrist Katherine McMichaels (Barbara Crampton) takes him into her care and intends to recreate the experiments that got Pretorius killed. Accompanied by football player turned detective Bubba Brownlee (Ken Foree), they return to Pretorius’ mansion and reactivate The Resonator. In addition to the strange creatures from before, they also see Pretorius, but he’s now become one with the creatures. While Crawford and Bubba want to either destroy the machine or leave, Katherine is determined, believing this may cure schizophrenia. Will our heroes survive, or will Katherine’s obsession be their downfall?

     

    Review

    Compared to the previous film, From Beyond isn’t quite as good, but it’s an impressive film in its own right. While they’ve essentially swapped roles, Barbara Crampton and Jeffrey Combs give terrific performances, able to deliver some ridiculous lines convincingly. Much like in Dawn of the Dead, Ken Foree is very entertaining as the comedic heart of the film. Thankfully, his humor never ruins some of the more serious scenes, and he knows when it’s appropriate for the moment. Similar to David Gale’s Dr. Hill in Re-Animator, Ted Sorel completely steals the show as the evil mad scientist. Even when he has to work with layers upon layers of makeup, he gives a very commanding performance. Also noteworthy is Carolyn Purdy-Gordon as the frigid Dr. Bloch, who has a pretty grisly and memorable death scene. It’s even funnier considering she was, and is still, married to the film’s director.

    In addition to the great cast, the special effects are something to behold, clearly showing the larger budget they had. Designed by the late great John Carl Buechler, the makeup and creature effects perfectly capture the cosmic horror of Lovecraft. Admittedly, some of the opticals stick out, but the rest of the effects still hold up over 30 years later. Though From Beyond lacks the over-the-top dark humor and gore of Re-Animator, the more serious tone works well here. Since the original short story is only seven pages long, everything after the pre-credits sequence acts as a sequel. In lesser hands, this would’ve failed, but given the talent behind the film, they manage to retain a Lovecraftian tone. This clearly shows how Stuart Gordon improved as a director following his impressive debut, given some of the filming conditions. Overall, From Beyond works as a Re-Animator follow-up and a standalone film.

     

    Buy From Beyond on Amazon: https://amzn.to/3CkGkCI.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase. 

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    Where to watch From Beyond (1986)

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  • An American Werewolf in London (1981)

    An American Werewolf in London (1981)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Filmmaker John Landis is probably best remembered for comedic classics like Animal House, The Blues Brothers, and Trading Places. However, before making some of the most iconic comedies of the 70s and 80s, he had his humble beginnings. In 1969, he got his first real job as an assistant director on the WWII comedy, Kelly’s Heroes. While working on that film, Landis witnessed a gypsey burial where a man was wrapped in canvas, garlic, and rosaries. The man was also buried feet first to prevent him from rising from the dead, which gave Landis an idea. He wrote the first draft soon after, but it was shelved for years as he continued growing his career. He soon found success directing The Kentucky Fried Movie, Animal House, and The Blues Brothers, all of which were hits. With this success, he got to make his dream project, An American Werewolf in London. [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    Two young American men, David (David Naughton) and Jack (Griffin Dunne), are backpacking through the moors in Yorkshire, England. While traveling, they come across a pub called The Slaughtered Lamb, where they’re not welcome, so they decide to leave. Before leaving, they’re warned to avoid the moors, stick to the roads, and beware of the moon. Unfortunately, they end up disregarding their advice and are attacked by a large wolf, Jack killed and David left scarred. Sometime later, David wakes up in a London hospital, where he’s tended to by Nurse Alex Price (Jenny Agutter). David starts having a series of vivid dreams before being visited by Jack, now a member of the undead. Jack warns him that he’ll soon turn into a werewolf and he must kill himself, but David doesn’t believe him. Eventually, the full moon comes and David is turned into a deadly hound from hell.

     

    Review

    An American Werewolf in London is easily one of the best horror comedies ever made, achieving a perfect genre balance. Like I’ve said in my reviews of Evil Dead II and Blood Diner, horror-comedies can be tricky to pull off. Luckily, Landis manages to strike a balance between dark humor, crude jokes, tension-filled suspense, and effective use of gore. Right from the opening scene, David Naughton and Griffin Dunne are instantly likable and have great chemistry with each other. Speaking of, Naughton also has great chemistry with Jenny Agutter, which also adds an element of tragic romance. There are also some great character actors throughout, including John Woodvine, Dave Schofield, Brian Glover, Rik Mayal, and Frank Oz. Everyone in the cast knows exactly when it’s appropriate to be funny and when to act serious and even ominous. Also, be sure to look for a cameo from John Landis himself.

    Of course, it’s hard to talk about An American Werewolf in London without mentioning the makeup effects, for good reason. Done by the legendary Rick Baker, these are easily some of the best practical effects ever put on film. From Jack looking disemboweled and rotting to David’s initial werewolf transformation, it puts today’s CGI effects to shame. What also makes the initial transformation effective is Naughton’s performance, the bone-crunching sound effects, and the odd choice of music. Speaking of, the soundtrack is mostly comprised of “moon” songs, such as Blue Moon, Bad Moon Rising, and Moondance. While a more contemporary score would’ve fit some scenes better, the music is weirdly effective, adding an off-kilter feel. Other than some pacing issues and certain shots lasting too long, this is still an effective horror-comedy that deserves praise. Overall, An American Werewolf in London is essential viewing for budding horror aficionados.

     

    Buy An American Werewolf in London on Amazon: https://amzn.to/4fu8gCB.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase. 

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    Where to watch An American Werewolf in London (1981)

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  • Doctor Sleep (2019)

    Doctor Sleep (2019)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]In 1980, Stanley Kubrick’s psychological horror film The Shining, adapted from the 1977 Stephen King novel, was released. Despite receiving mixed reviews at the time, the film was a box office hit and eventually gained a critical reevaluation. However, King was never happy with the film version, essentially saying it was a good movie but a bad adaptation. Then again, King later made Maximum Overdrive to show how to “do Stephen King right”, though to less-than-stellar results. Years later, King hired director Mick Garris to readapt The Shining as a TV miniseries that’s more faithful than Kubrick’s. Unlike the Kubrick version, the miniseries was initially received positively and won some awards, but retrospective reviews were less favorable. In 2013, King wrote a sequel to the novel, and plans for a film adaptation soon followed through Warner Bros. Six years later, director Mike Flanagan brings us 2019’s Doctor Sleep.

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    Synopsis

    Years after the incident at the Overlook Hotel, an adult Danny Torrance (Ewan McGregor) has become an alcoholic. Ever since childhood, he’s occasionally been haunted by the ghosts of the Overlook, particularly a naked old woman. Meanwhile, there’s a group called the True Knot led by a strange woman called Rose the Hat (Rebecca Ferguson). They’re a group of semi-immortal people who feed off the souls of people with powers similar to Danny’s “Shining”. When they kidnap and kill a small child with similar abilities, they’re discovered by young psychic Abra (Kyliegh Curran). Recognizing that she has exceptional powers, Rose and her group works to hunt her down to feast on her soul. Abra ends up inadvertently communicating telepathically with Danny, and he decides to help her fight off the True Knot. It all leads to a final confrontation that leads to where it all started, the Overlook Hotel.

     

    Review

    Given the legacy of Kubrick’s The Shining, Doctor Sleep certainly has a lot to live up to. While not as groundbreaking as the 1980 film, this serves as a great companion piece with that film. First off, director Mike Flanagan (Oculus, Hush, Ouija: Origin of Evil) once again shows just how talented he is. While some shots are emulating Kubrick’s work, Flanagan directs it in a way that it still stands on its own. Also, rather than going for cheap jump scares, Doctor Sleep relies more so on establishing mood and atmosphere. Ewan McGregor is excellent as a man who’s still haunted by his past that’s seeking redemption and confronting his demons. Rebecca Ferguson steals the show as a mysterious villain who, while evil, still has understandable motivations behind her actions. Also, for a first-time actress, young Kyliegh Curran shows tons of potential and gives a strong performance.

    One fear I had going into Doctor Sleep was how much they would rely on references to The Shining. Thankfully, much of that is reserved for the first few minutes and the third act when they revisit the hotel. That means we have two hours to get to know these characters and become attached to them first and foremost. Interestingly enough, rather than mostly using stock footage, they hired new actors to reprise the original’s main characters. While it is somewhat distracting for those familiar with the original, it’s still better than CGI recreations of those actors. Some audiences might be disappointed that this isn’t heavy on scares, but it works thanks to its story and characters. Of the Stephen King movies in 2019, including Pet Sematary and It Chapter Two, this is easily the best one. Overall, Doctor Sleep is a worthy successor to Kubrick’s classic film.

     

    Buy Doctor Sleep on Amazon: https://amzn.to/4hzipzC.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Doctor Sleep (2019)

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  • TerrorVision (1986)

    TerrorVision (1986)

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    Ted Nicolaou, who some may remember directed Subspecies, has had quite an interesting career, especially in the horror genre. After graduating from film school, his first job was as a sound recorder for 1974’s The Texas Chain Saw Massacre. In 1979, he worked as an editor on the film Tourist Trap, where he first met producer Charles Band. He continued editing for Band on movies like The Day Time Ended, The Alchemist, Trancers, Ghoulies, and Zone Troopers. Eventually, Nicolaou got to direct a segment of The Dungeonmaster, but later asked Band to direct a full-length feature. Band presented him with a poster and a title, “TerrorVision”, and told him to come up with the concept. With this in mind, Nicolaou decided to make it a comedy that satirized the excess and tropes of the 1980s. After some months shooting in Italy, 1986 saw the release of Nicolaou’s feature debut, TerrorVision.

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    Synopsis

    Stan Putterman (Gerrit Graham) is working on his new satellite dish when it gets struck by a bolt of lightning. This ends up boosting the dish’s signal, much to the shock and amazement of the rest of the Putterman family. Later on, their son Sherman (Chad Allen) settles in to watch some monster movies with his survivalist Grampa (Bert Remsen). Meanwhile, Stan and his wife Raquel (Mary Woronov) go out to meet some swingers, who they eventually bring back home. Their daughter Suzy (Diane Franklin) goes out with her metalhead boyfriend OD (Jon Gries), leaving Sherman and Grampa all alone. That night, while Sherman and Grampa fall asleep, a giant alien monster emerges from the TV and eats Grampa. Soon, the rest of the family return home and Sherman tries warning them about the monster, but to no avail. Soon, the monster runs rampant and eating everything in its path.

     

    Review

    Even for an 80s horror-comedy, TerrorVision is such a strange and ridiculous film that shouldn’t work but weirdly does. The entire cast is having a great time, playing their parts as over-the-top as possible and reveling in the absurdity. You have Gerrit Graham and Mary Woronov as the parents with the sensibilities of the 50s mixed with 80s weirdness. Then there’s Diane Franklin, whose character is like a more exaggerated Cyndi Lauper mixed with a stereotypical 80s valley girl. Along with the crazy survivalist Grampa and the stereotypical metalhead OD, Chad Allen’s Sherman is pretty much the straight man. Also worth mentioning is Jennifer Richards as Medusa, a horror hostess inspired by Elvira who has some fun moments. Lastly, there’s Sonny Carl Davis in a small role, who would later go on to be a Full Moon regular. This is one of the best B-movie casts assembled.

    Given that this was his first time directing a feature, Nicolaou’s direction is fantastic, perfectly capturing that live-action cartoon aesthetic. The creature effects were done by the late John Carl Buechler, and they look fantastic, a testament to his talent. Buechler and his team manage to make the monster both hideous and gross, yet strangely cute at the same time. In terms of production design, the Putterman house is intentionally made to be as garish and tacky as possible. The look and style compliment the cast in satirizing some of the worst aspects of the 1980s. Admittedly, TerrorVision is one of those films that people will either love or hate given the ridiculousness on display. If you rolled your eyes at how I described TerrorVision, then this is not the film for you. But if you enjoy 80s campy cinema, TerrorVision is an underrated gem that’s worth a watch.

     

    Buy TerrorVision from Amazon: https://amzn.to/4hCtHDE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch TerrorVision (1986)

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  • Demonic Toys (1992)

    Demonic Toys (1992)

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    Throughout the early to mid-’90s, Full Moon Features was dominating the booming home video market, establishing several film franchises. They were finding their biggest successes with their Puppet Master, Subspecies, and Trancers series, and they had Paramount Pictures’ backing. Full Moon was releasing several direct-to-video fantasy, sci-fi, and horror films in hopes of creating more franchises. In addition to bringing talent from the days of Empire Pictures, Full Moon also had plenty of young, fresh talent. One such person was writer David Goyer, who went on to write the Blade and Dark Knight trilogies, among other blockbusters. Then there’s filmmaker Peter Manoogian, who started at Empire directing films like The Dungeonmaster, Eliminators, Enemy Territory, and Arena. After the fall of Empire, Manoogian moved on to Full Moon and joined Goyer to work on their first project. That project became the 1992 killer toy movie, Demonic Toys.

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    Synopsis

    Officers Judith Gray (Tracy Scoggins) and Matt Cable (Jeff Weston) are staging a fake arms deal to catch two dealers. Unfortunately, things go south when the dealers, Lincoln (Michael Russo) and Hesse (Barry Lynch), figure out this is a setup. Matt shoots Heese, Lincoln kills Matt, and they make their way to a nearby toy store with Judith in pursuit. Judith manages to catch Lincoln, while Heese stumbles through the store, bleeding out, which brings the toys to life. Amongst the toys are Baby Oopsy Daisy, Grizzly Teddy, Jack Attack, and Mr. Static, who brutally murder Heese. Meanwhile, the oblivious security guard, Charneski (Pete Schrum), orders his usual chicken dinner from his friend, Mark Wayne (Bentley Mitchum). Soon, Judith and Lincoln join the others, the toys kill Charneski, and Anne (Ellen Dunning), a teen runaway, joins them. As the toys continue hunting them, their true motives are soon revealed.

     

    Review

    Demonic Toys is prime Full Moon goodness, full of fun characters, plenty of blood, dark humor, and tiny puppets. The first thing to spotlight is Tracy Scoggins, who gives a really good performance and is having a good time. It helps that Tracy Scoggins is a huge horror and sci-fi fan who wanted to do this kind of film. Bentley Mitchum does go into overacting territory later on, almost going for something similar to Bill Paxton in Aliens. The rest of the cast does their best, but the real stars are the toys themselves. Designed by the late, great John Carl Buechler, each toy has a very distinct personality and looks great. There’s even a great moment where the teddy bear goes from a puppet to a guy in a full suit. While the film is occasionally scary, it’s more funny in a dark way.

    Though not quite as prolific as the Puppet Master series, Demonic Toys still had life following the first film. There were two spin-offs, Dollman vs Demonic Toys and Puppet Master vs Demonic Toys, and even a sequel in 2010. Manoogian went on to direct Seedpeople, The Midas Touch, and DevilDolls, while Goyer wrote Arcade and the first spin-off. Demonic Toys is perfect for anyone looking for a fun, cheesy horror film to watch, and it goes by quickly. There will be plenty who say this movie is ridiculous, but they’re not the right audience for it. That said, it’s probably good that there weren’t too many films that went downhill over time. Still, this is a fun horror-comedy that’s perfect fodder for an all-night horror movie marathon, especially for B-movie fans. Overall, Demonic Toys is another example of how entertaining Full Moon movies can be.

     

    Buy Demonic Toys from:

    Disclosure: The above links are affiliate links, which means that, at zero cost to you, I will earn a commission if you click through the links and finalize a purchase.

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    Where to watch Demonic Toys (1992)

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  • Re-Animator (1985)

    Re-Animator (1985)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/l4xjdlP5Spc” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_video][/et_pb_column][/et_pb_row][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Though never appreciated in his own time, Howard Phillips Lovecraft, aka HP Lovecraft, is considered the grandfather of modern horror. His works, particularly his Cthulhu mythology, have inspired writers like Stephen King, Alan Moore, William S. Burroughs, and Neil Gaiman. Over the years, numerous film adaptations have been made of his work, ironic since Lovecraft wasn’t a fan of cinema. Flash forward years later when Chicago-based theater director Stuart Gordon was looking to make a new Frankenstein-type film. At a friend’s suggestion, he read Lovecraft’s Herbert West-Reanimator and wanted to adapt it either for theater or television. Having met producer Brian Yuzna, Gordon was convinced to move to Hollywood and adapt the story to film. With a roughly $1 million budget, a cast of relative unknowns, and a first-time director, it was a tall order. Then, 1985 saw the release of what would become the highly regarded cult classic, Re-Animator.

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    Synopsis

    At Miskatonic University’s Medical School, Dan Cain (Bruce Abbott) is a young medical student with a promising future. Things are going well for him and his fiancee Meg (Barbara Crampton) until they meet student Herbert West (Jeffrey Combs). West ends up taking the spare room Dan is renting out, though Meg is unsure about West and fears him. It isn’t long before West catches the ire of Dr. Carl Hill (David Gale), and the two instantly become foes. Turns out West has been developing a reagent serum that can reanimate the dead, but with catastrophic results. After an incident where Dean Halsey (Robert Sampson), Meg’s father, is accidentally killed and reanimated, Hill tries to blackmail West. Hill wants to steal West’s work, prompting West to decapitate him with a shovel, then reanimated his head and body. Newly reanimated, Hill steals West’s reagent and commences with his sinister plans.

     

    Review

    For being a low budget horror film made by mostly first timers, Re-Animator has a lot going for it. Much like Evil Dead II, the film is a perfect blending of shocking horror, over-the-top gore, and black comedy. Adding onto that, this film pushes boundaries to where, just when you think it won’t go there, it does. There are so many scenes that’ll either make you wince, laugh, or even both, oftentimes questioning your own sanity. In addition, for a cast of mostly unknowns, everyone delivers a fantastic performance, each actor playing well off one other. Bruce Abbott makes for a likable and charismatic lead, and he has fantastic chemistry with the always lovely Barbara Crampton. David Gale makes for a great villain, having a quality that’s eerily similar to horror icons like Boris Karloff. However, I would argue that the real star of Re-Animator is Jeffrey Combs.

    As Herbert West, Combs’ mix of charisma, dry comedic wit, and quirky charm makes him an instant scene stealer. His character shows such determination in his research that you actually go along with him and believe in his work. At the same time, the film makes it clear that he’s insane in his ruthless determination to get results. Along with the cast, Gordon’s first time directing is top-notch, almost framed and blocked like a filmed theater production. The practical effects, given the low budget, are impressive and among some of the best 80’s practical effects. Admittedly, there are some character decisions and plot inconsistencies that don’t make sense, but much of that is pretty unimportant. This film shows how with determination, passion, and talent, you can still make a great film without a huge budget. Overall, Re-Animator is an entertainingly dark horror comedy that deserves its cult classic status.

     

    Buy Re-Animator on Amazon: https://amzn.to/4e2KNHO.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Re-Animator (1985)

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  • Subspecies (1991)

    Subspecies (1991)

    [et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/0kC2dweoieM” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]After the success of Puppet Master, Full Moon started releasing more direct-to-video films intending to start potential franchises. Thanks to a deal with Paramount Pictures, they were able to feed the burgeoning home video market at the time. Around the same time, Full Moon also released Shadowzone, Meridian: Kiss of the Beast, and Crash and Burn. Even films originally produced under Empire Pictures, namely Trancers, were made into their own franchises for Full Moon. Speaking of Empire, Ted Nicolaou, who worked on Ghoulies, The Dungeonmaster, and TerrorVision, was brought over to Full Moon. For his first film under Full Moon, Nicolaou would also be directing the first American to be filmed in Romania. While initially reluctant, Nicolaou agreed to do it despite some production setbacks, including the last remnants of communism. Then in 1991, Full Moon released Nicolaou’s Romanian film, the vampire tale, Subspecies, kicking off a whole new series.

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    Synopsis

    In the Romanian town Prejmer, the vampire king Vladislas (Angus Scrimm) is confronted by his evil son Radu (Anders Hove). Radu is after the Bloodstone, which will give him untold power, but Vladislas plans on entrusting it to Radu’s half-brother. In retaliation, Radu kills the king and gets the Bloodstone with the help of his diminutive minions, the subspecies. Meanwhile, American students Michelle (Laura Tate) and Lillian (Michelle McBride) meet up with their friend Mara (Irina Movila) in Bucharest. They soon meet Stefan (Michael Watson), who turns out to be Radu’s younger half-brother and is trying to protect them. Unfortunately, Lillian accidentally marks herself for Radu, leading to her and Mara being turned into his vampire brides. Stefan falls in love with Michelle, but Radu also has his sights set on making her one of his own. With the help of local Karl (Ivan J. Rado), Stefan must stop Radu.

     

    Review

    The first thing I’d like spotlight is how Subspecies takes full advantage of the ancient Romanian castles and ruins. The locations used really add to the look of the film and make it seem bigger than it actually is. In addition, Nicolaou’s direction is top-notch, utilizing the locations and heavy shadows to create a dark and foreboding atmosphere. Performance-wise, everyone does a decent job, but the real highlight is Anders Hove, who’s instantly memorable as the villainous Radu. His raspy voice, Nosferatu-inspired look, devilish smile, and drooling snarl make him stand out from other vampire characters. Another highlight are the subspecies themselves, who were brought to life by stop motion animator and frequent collaborator David Allen. While some of the blue screen on the puppets hasn’t aged well, the stop motion animation still looks good. Plus, the musical score is among some of the best in Full Moon’s entire catalog.

    However, while this is definitely one of the better Full Moon films, Subspecies still has its issues and flaws. For one, even at 83 minutes, there are many scenes that drag on and probably could’ve been trimmed. There are many scenes where characters are just standing around and not doing anything, which slows the pacing down. Also, while Anders Hove makes for a memorable vampire, Michael Watson’s Stefan is an incredibly weak and pretty useless vampire. Honestly, the human characters, namely Michelle and Karl, end up doing more than Stefan, a half vampire, does. Speaking of, while none of the human characters are awful, their performances are unremarkable and nothing to write home about. Even with all that said, this still works as an interesting spin on vampire mythology that works on its own. Overall, Subspecies is a great start to another signature Full Moon franchise.

     

    Buy Subspecies from:

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Subspecies (1991)

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  • It Chapter Two (2019)

    It Chapter Two (2019)

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    When It was released in 2017, no one could have expected the film to be as successful as it was. On a budget of $35 million, the film grossed over $700 million worldwide, becoming the highest grossing horror film ever. In addition to its financial success, the film received positive reviews and was named one of 2017’s best films. Naturally, with that success, it was only inevitable that a sequel would arrive, though plans were already made in 2016. Given that the first film focused on the characters as children, the sequel would follow those characters as adults. Gary Dauberman, who co-wrote the first film, returned as sole writer, with Andy Muschietti also returning to the director’s chair. Jessica Chastain, James McAvoy, and Bill Hader among others would play the adult versions, and Bill Skarsgard returned as Pennywise. So, two years later, 2019 sees the release of It Chapter Two.

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    27 years have passed since the first film, and now the Losers Club have all grown up and moved on. However, after a recent string of disappearances and murders in Derry, Mike Hanlon (Isaiah Mustafa) reaches out to the others. Unfortunately, since moving on, the rest have lost all memory of their childhoods and are disturbed by the calls. Bill, Beverly, Ben, Richie, and Eddie meet up with Mike at a Chinese restaurant in Derry to rekindle their friendship. Unfortunately, they learn that Stanley Uris (Andy Bean) has taken his own life because the fear was too overwhelming. In order to stop Pennywise (Bill Skarsgard), they must reclaim their lost memories by retrieving artifacts from their childhood. While searching, their old bully Henry Bowers (Teach Grant) has escaped from an insane asylum to finish off the Losers. Will the Losers fail or finally stop the evil once and for all?

    Given how well-done the first film was, It Chapter Two certainly had a lot to live up to. Even with all the hype surrounding the film, It Chapter Two still works but doesn’t quite live up to it. The first thing to mention is how, much like the first film, the cast is fantastic and well-acted. While Skarsgard still delivers as the evil clown, Bill Hader is the real scene-stealer, balancing both comedy and drama. The rest of the cast does a great job and feels like adult versions of the kids from before. Though McAvoy and Chastain are given more screen time along with Hader, everyone else is given their moment to shine. The story is an interesting exploration of how much of an impact childhood trauma can affect people, even into adulthood. Even if it seems minor, overcoming one’s childhood traumas is easier said than done.

    Sadly, as is the case with many sequels, It Chapter Two doesn’t quite hold a candle to the first film. For one, with its almost three-hour runtime, there are times where the film feels padded with so much filler. Granted, the book itself is over 1,000 pages, so there’s plenty of material to cover, but some should’ve been cut. Also, while the first film was more unsettling than scary, this is overloaded with jump scares, which ruins the tension. The child actors from before return for flashback sequences that feel more like deleted scenes added to pad the runtime. Without going into spoilers, there are plot elements that aren’t well introduced or are dropped without any explanation. Even with those flaws, the film still retains the spirit of the original and works as a companion piece. Overall, It Chapter Two disappoints, but is still worth a watch.

    It Chapter Two is currently playing in theaters nationwide.

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  • It (2017)

    It (2017)

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    In 1986, the same year as his lone directorial effort Maximum Overdrive, Stephen King’s novel It was published. Despite some controversies, the book was a massive hit both commercially and critically, winning the British Fantasy Award in 1987. The book was first developed into a two-part miniseries in 1990 directed by Tommy Lee Wallace and starring Tim Curry. Much like the book, the miniseries was a hit, attracting 30 million viewers and even winning a Primetime Emmy Award. Flashforward to 2009, when Warner Bros decided to adapt the book for the big screen as an R-rated single feature. Cary Fukunaga, famous for directing Beasts of No Nation and working on True Detective, was initially hired as director. Unfortunately, Fukunaga dropped out due to creative differences, and Andrés Muschietti, who directed 2013’s Mama, was hired to replace him. After additional rewrites and recasting, 2017 finally saw the release of It.

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    Synopsis

    On a rainy day in 1988, Bill Denborough (Jaeden Lieberher) makes a paper boat for little Georgie (Jackson Robert Scott). Georgie goes out to play, but things take a dark turn when he’s dragged down a storm drain and killed. The following summer, Bill is still racked with guilt over Georgie’s death and rationalizes that he might still be alive. His friends Richie Tozier (Finn Wolfhard), Eddie Kaspbrak (Jack Dylan Grazer), and Stan Uris (Wyatt Oleff) get involved and help. They also befriend new kids Ben Hanscom (Jeremy Ray Taylor), Beverly Marsh (Sophia Lillis), and Mike Hanlon (Chosen Jacobs). Dubbing themselves “The Losers Club”, they determine that each of them has encountered something manifesting as their worst fears. After researching the town history of Derry, they determine that the being primarily takes the form of a clown. Known as Pennywise (Bill Skarsgård), the kids must stop his reign of terror.

     

    Review

    Of course, there’s a lot more that happens in It, but this review would run for way too long. In short, It is one of the best Stephen King adaptations, especially since it came out alongside The Dark Tower. What really makes this film work are the child actors, all of whom give stellar performances and have shining moments. Also, for the brief amount of screen time he has, Bill Skarsgård gives an incredible performance as the evil clown. It’s surprising considering how much he was used in the marketing, being showcased on every poster and in every trailer. While not necessarily scary, there are some really creepy and intense sequences that leave you feeling uneasy and on edge. It’s also refreshing to see a modern horror film where children are put in danger and even killed quite gruesomely. This movie has more than earned it’s R-rating.

    Honestly, the strongest scenes in the film are the scenes with the kids, ranging from summertime fun or personal drama. There are plenty of scenes with the kids bonding that really cements them as a strong group of friends. It’s also seeing the scenes with the individual kids confronting their unique fears, some even linked to personal tragedies. At slightly over two hours, the movie goes by at a fairly brisk pace and never really drags out. For this being only his second feature, Muschietti’s direction is top-notch, especially his use of shadow and eerie compositions. Admittedly, there is some CGI that sticks out like a sore thumb, but luckily it’s used more as an enhancer. Even if you’re not terrified of clowns, there’s plenty here that will leave you feeling uneasy and even creeped out. Overall, It is a well-done and effective adaptation that stands on its own.

     

    Buy It from Amazon: https://amzn.to/447MkK3.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

     

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    Where to watch It (2017)

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  • Beyond the Darkness (1979)

    Beyond the Darkness (1979)

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    I talked about Italian exploitation filmmaker Aristide Massaccesi, aka Joe D’Amato, in my review of his 1980 cannibal film, Antropophagus. Before he was a director, D’Amato worked as a cinematographer for directors like Umberto Lenzi, Massimo Dallamano, and Demofilo Fidani. He got his first chance at directing in 1972, co-directing various spaghetti westerns before directing his own films in 1973. His first solo films were 1973’s Death Smiles on a Murderer and 1974’s Heroes in Hell, both featuring Klaus Kinski. The first film he directed using the Joe D’Amato pseudonym was 1975’s Red Coats, which was a hit upon release. Between 1975 and 1977, D’Amato entered the adult film world with his Black Emanuelle series starring Laura Gemser. Returning to Italy in 1978, he directed the nunsploitation film, Images in a Convent, eventually directing a new horror film. That film was 1979’s Buio Omega, released domestically as Beyond the Darkness.

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    Taxidermist Frank Wyler (Kieran Canter) visits his fiance Anna (Cinzia Monreale), who’s dying of some sort of unknown illness. After she dies, he returns home to confide in his housekeeper Iris (Franca Stoppi), who has her own ulterior movies. Not wanting to let her go, Frank takes Anna’s body from the funeral home to keep her preserved. Along the way, he picks up a hitchhiker (Lucia D’Elia), who catches Frank disemboweling Anna’s corpse and is promptly killed. With Iris’ help, the two chop up the hitchhiker’s body and dissolve the parts in a tub of acid. Later on, Frank runs into a jogger (Anna Cardini), who sprains her ankle and goes home with Frank for help. The two start having fun on the bed, until she freaks out seeing Anna’s body, prompting Frank to kill her. Iris helps Frank dispose of the body again, but soon her intentions become clear.

    While I did overall enjoy Antropophagus, I personally found Beyond the Darkness was the much stronger film of the two. Not only does the film work as a prime Italian splatter example, but it has a psychological angle to it. As weird as it sounds, this almost has an endearing love story of a man wholly devoted to his lover. Even though what he does is deplorable, Frank clearly loves his fiance and wants to keep her around forever. In addition, you get a sense of how Iris is clearly manipulating Frank so she can get his inheritance. Not only does she help him with his murders, but she babies him, even breastfeeding him at one point. At one point, Iris tries passing off to her friends that she and Frank are lovers, but Frank rejects her. Clearly, these two have a tenuous relationship that’s on the tipping point.

    From a technical standpoint, Beyond the Darkness is probably D’Amato’s most well-made film to date, even with a low budget. Much like with Antropophagus, he makes great use of shadow and darkness that add to the suspense and uneasiness throughout. Acting wise, Kieran Canter does a decent job, though he spends most of the film with one facial expression. At the same time, Franca Stoppi amps up her performance and really shows off her crazy eyes and eccentric personality. In terms of violence and gore, Beyond the Darkness is probably less graphic than Antropophagus, but it’s still pretty gruesome. The autopsy scene with Anna’s corpse alone should satisfy any gorehound, if only for how raw and real it feels. Lastly, special mention goes to the score by the Italian rock group Goblin, which is immediately catchy and memorable. Overall, Beyond the Darkness is a gory, disturbing, and effective horror film.

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