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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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  • Slave Girls from Beyond Infinity (1987)

    Slave Girls from Beyond Infinity (1987)

    [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/S6WxCgSX7iE” _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=”4.16″ global_colors_info=”{}”]In 1924, author and journalist Richard Connell published the short story, The Most Dangerous Game, in the American magazine Collier’s. The story was about a big-game hunter who’s stranded on a tropical island and hunted by a Russian aristocrat. Over the years, the story has been adapted into multiple films, starting with 1932’s The Most Dangerous Game from RKO. Future Oscar winner Robert Wise directed the 1945 remake, A Game of Death, which was also produced by RKO. Several more adaptations were made, such as 1956’s Run for the Sun, 1961’s Bloodlust!, and 1972’s The Woman Hunt. Even Asian filmmaker John Woo’s debut in America, 1993’s Hard Target, was loosely based on the short story. And of course, the 80s saw a sci-fi version of the story from none other than Charles Band’s Empire Pictures. That adaptation was the 1987 sci-fi adventure film, Slave Girls from Beyond Infinity.

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    Synopsis

    Daria (Elizabeth Kaitan) and Tisa (Cindy Beal) have recently escaped from a space prison and taken off in a spacecraft. Unfortunately, the ship crashes on a mysterious planet, where they meet Zed (Don Scribner), who invites them to his fortress. After cleaning up and getting elegant dresses, they join Zed for dinner, along with two other crash-landing survivors. Rik (Carl Horner) and his sister Shala (Brinke Stevens) both warn the girls about Zed, saying the other survivors disappeared. Soon enough, they discover Zed’s trophy room and learn that he plans on hunting them for sport. While Rik and Daria go off to the jungle to prepare for the hunt, Shala is taken prisoner by Zed. Eventually, Zed figures out what’s going on, captures Daria and Tisa, and sets them and Shala loose for the hunt. The girls flee for their lives as they try finding a way to survive.

     

    Review

    With a title like Slave Girls from Beyond Infinity, you’ll know right away if this is something you’re interested in. If you scoff at the title and find it ridiculous, this movie will obviously not appeal to you. However, if you know what you’re getting into and are looking for something silly but fun, this is for you. This is the sort of B-movie that knows what it is and has fun with it without being too self-aware. Elizabeth Kaitan and Cindy Beal, in addition to being gorgeous, clearly know what movie they’re in and act accordingly. Don Scribner makes for a decent villain, even though there’s not much to his character, but backstory isn’t necessary here. Carl Horner and Brinke Stevens do what they can with the small amount of screen time they’re given. Of course, it helps that the women are willing to show off their “assets”.

    Slave Girls from Beyond Infinity feels like the kind of movie a 14-year-old would stumble across at 2am on CineMax. In addition to the women either wearing skimpy outfits or being nude, there’s also robots, mutants, and laser guns. What this movie lacks in story and character development, it makes up for in unapologetic fun and sheer ridiculousness. Shout out to the late John Carl Buechler, who worked on the make-up effects for many Empire/Full Moon films. It also helps that this movie is only 75 minutes long, so it never overstays its welcome or drags out. Admittedly, there are some moments where the movie tends to slow down, but not enough to make the movie boring. Given the sociopolitical environment we live in, this movie would upset the likes of Anita Sarkeesian and other hardcore feminists. For everyone else, Slave Girls from Beyond Infinity is great B-movie entertainment.

     

    Buy Slave Girls from Beyond Infinity 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 Slave Girls from Beyond Infinity (1987)

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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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  • Trancers (1984)

    Trancers (1984)

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    Synopsis

    In 2247, Jack Deth (Tim Thomerson) is a cop hunting down trancers, zombie-like people being controlled by an evil mastermind. After an incident at a diner, Jack is told by his superior McNulty (Art LaFleur) to meet the high council. The council informs him that the mastermind behind the trancers, Whistler (Michael Stefani), lives and has retreated to the past. Using a process called “going down the line,” he’s inhabited his ancestor’s body and hunted down the council’s ancestors. Jack’s consciousness is sent into his ancestor’s body in 1985 to track down Whistler and bring him to justice. In the past, he meets Leena (Helen Hunt), a punk girl his ancestor picked up at a bar. He asks her for help finding the council’s ancestors, but she’s initially reluctant until she encounters some trancers. With her help, Jack works to track down the ancestors before Whistler gets to them.

     

    Review

    Even though aspects of the film are slightly dated, Trancers still works thanks to its fantastic story and talented cast. Tim Thomerson nails it as Jack Deth, perfectly capturing the look and attitude of a film noir detective. His sarcastic attitude, smart-ass quips, and tremendous charisma make him an instantly likable and believable leading man. To match his attitude and charisma, Helen Hunt does a great job and has fantastic chemistry with Thomerson. Michael Stefani is a good villain, and Art LaFleur is entertaining as the hard-ass police lieutenant. Charles Band’s direction is on-point, and he manages to stretch the film’s low budget as far as possible. Bilson and De Meo’s script is well-written, and the concept of time travel is unique and ahead of its time. Trancers is one of the more unique sci-fi action films of its time.

    Many crew members from Trancers worked at Full Moon, including David Allen, Ted Nicolaou, and John Carl Buechler. Allen did stop-motion effects for many Full Moon movies, Nicolaou directed the Subspecies franchise, and Buechler worked on makeup effects. Bilson and De Meo went on to write and direct Zone Troopers for Empire, reuniting Tim Thomerson and Art LaFleur. After Empire fell and Full Moon started, Band decided to resurrect Trancers into a franchise totaling five sequels. In addition to film noir, Trancers also takes inspiration from Blade Runner, even hiring Gene Winfield, who designed the spinners. Admittedly, I would’ve liked more scenes in the future setting and further explanation on how the trancers work. Even still, this is a fantastic hidden gem of a sci-fi film that more than earns its cult status. Overall, Trancers is a solid sci-fi noir that launched a popular cult franchise.

     

    Buy Trancers 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 Trancers (1984)

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  • Ready or Not (2019)

    Ready or Not (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″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ z_index_tablet=”500″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” global_colors_info=”{}”]In 2007, filmmakers Chad Villella, Matt Bettinelli-Olpin and Rob Polonsky formed the filmmaking group Chad, Matt & Rob. They were mostly well known for their short films that mixed elements of comedy, horror, adventure, and science-fiction together. Their breakout hit was the short found footage film Alien Roommate Prank Goes Bad in 2008, garnering over 30,000,000 views. Later on, they produced a series of “Choose Your Own Adventure” shorts that were featured in the Wall Street Journal. Fellow filmmakers Justin Martinez and Tyler Gillett joined in 2010, but Polonsky left the group in 2011. Afterwards, they were renamed to Radio Silence, and they directed a segment of the 2012 horror anthology V/H/S. They followed that up with the found footage film Devil’s Due in 2014 and the anthology film SouthBound in 2016. Now, three years later, the group have returned to bring us Ready or Not.

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    Synopsis

    Grace (Samara Weaving) and Alex (Mark O’Brien) have recently gotten married at the home of Alex’s family, the Le Domas. There, she gets to meet his parents, Tony (Henry Czerny) and Becky (Andie MacDowell), and his Aunt Helene (Nicky Guadagni). Also joining are siblings Daniel (Adam Brody) and Charity (Elyse Levesque), plus spouses Emilie (Melanie Scrofano) and Fitch (Kristian Bruun). Before Grace and Alex can consummate their marriage that night, they must participate in a family tradition, a game night. As a new family member, Grace must take a card that randomly selects a game for the family to play. The game that’s selected is hide and seek, with Grace hiding and the family trying to find her before dawn. She goes off to hide, but she soon finds out that the family is actually hunting her down. While trying to survive the night, Grace soon learns the family’s secrets.

     

    Review

    Ready or Not is easily one of the most unique, subversive, and visceral films I’ve seen in quite some time. First off, the cast is terrific, with Samara Weaving easily being the biggest highlight and easily carrying the film. Not only is she charismatic and fun, but she can also hold her own and makes for a great lead. Adam Brody also stands out as the realist brother who realizes he and the family are terrible people deserving death. The rest of the family is entertaining in their own way, from Czerny’s over-the-top delivery to MacDowell’s dry sarcastic attitude. Elyse and Kristian are the only weak links, Elyse going slightly too over-the-top and Kristian doing a Josh Gad impression. Still, every cast member has their moment to shine, are entertaining, and know when to be funny and be intense. Ready or Not has a fantastic cast assembled for its insanity.

    Speaking of, this movie is insanely gruesome, with some ridiculously violent sequences all leading to a fun and explosive climax. By the end, Samara looks as battered and bloody as Bruce Willis by the end of Die Hard. Admittedly, while this movie is fairly unique, there are certain twists that happen that are fairly easy to spot. This doesn’t detract from the film’s quality, but it is something worth mentioning, and I’ve probably seen too many movies. Given the fairly recent Disney acquisition of Fox, it’s surprising to see such a darkly comedic and violent film released. While many thriller/horror comedies sway more towards one genre, Ready or Not perfectly balances the laughs and thrills. Also, this film has some biting satire about the rich and wealthy, and how they look look down on others. Overall, Ready or Not is quite a fun and gruesome way to end summer.

     

    Buy Ready or Not on Amazon: https://amzn.to/3UB2Fm5.

    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 Ready or Not (2019)

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  • Shocking Dark (1989)

    Shocking Dark (1989)

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    In 1984, a then-unknown James Cameron brought us The Terminator, a sci-fi film that instantly became a classic. Two years later, he followed that up with a long-awaited sequel to Alien, simply titled Aliens, which also hit big. Of course, years prior, many filmmakers made their own films trying to capitalize on Ridley Scott’s slasher in space. B-movie kingpin Roger Corman brought us titles like Forbidden World and Galaxy of Terror, which Cameron actually worked on. Over in Italy, there was Ciro Ippolito’s Alien 2: On Earth and the more infamous Contamination from Luigi Cozzi. After the release of Cameron’s Aliens, there weren’t too many knock-offs produced in its wake, despite its massive success. However, in 1989, Italian filmmakers Bruno Mattei and Claudio Fragasso teamed up for a mash-up of Aliens and The Terminator. That film was the sci-fi action film Shocking Dark, also known as Terminator 2. (Yes, really!)

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    In the distant future, Venice has been hit with pollution, and is under the control of the Tubular Corporation. One day, one of their facilities is attacked by some strange underground creatures, and a team is sent to investigate. The team is comprised of Dr. Sara Drumbull (Haven Tyler), some civilians, and the Mega Force, an elite combat team. With Mega Force member Koster (Geretta Geretta) leading the team, they investigate the base to find hideous monsters running amok. While exploring, they find a little girl named Samantha (Dominica Coulson), who’s been surviving after the monsters killed her parents. As the Mega Force are killed one by one, team member Samuel Fuller (Christopher Ahrens) is revealed to be cybernetic. Turns out he’s been sent by the Tubular Corporation to cover up that the monsters were their creation. It’s up to Sara and Samantha to stop them and prevent the pollution.

    Make no mistake, Shocking Dark is absolutely a rip-off of Aliens with elements of The Terminator thrown in. There’s the advanced combat team, the female lead, a young orphan girl, an evil corporation, monsters, and even a cyborg. As for The Terminator, not only is there an evil cyborg, there’s also some time travel in the last act. It’s pretty clear why this wasn’t released in the States until recently when Severin Films released the film on blu-ray. Had Shocking Dark been originally released in the States, there probably would’ve been at least one lawsuit against the filmmakers. Honestly, there really isn’t much to talk about since the plot is essentially the same plot as Aliens. To their credit, the filmmakers were told by their producers to intentionally rip off Aliens and The Terminator. Honestly, this isn’t surprising since that was the case with most Italian exploitation films back then.

    Acting wise, there isn’t much to say, other than it ranges from decent to laughably ridiculous, but nothing outright awful. Geretta Geretta, clearly channeling Jeanette Goldstein in Aliens, is still the highlight here and has some of the best lines. Haven Tyler is fine but nothing special, and Dominica Coulson’s indefinable accent just adds to the ridiculousness on display. Speaking of, even before he’s revealed to be a cyborg, Christopher Ahrens acts very robotic and doesn’t have much emotion. Compared to other 80s Italian exploitation, Shocking Dark is surprisingly tame, with very little to no gore and nothing sexual. It almost feels like a live-action Saturday morning cartoon or a slightly updated 50s cheesy sci-fi movie. While I’ve been pretty critical here, it’s still worth a watch so long as you know what you’re getting into. Overall, Shocking Dark is a shameless yet strangely entertaining piece of sequel-sploitation.

    Buy Shocking Dark on Amazon here: https://amzn.com/B07CT88BVT/

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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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  • Scary Stories to Tell in the Dark (2019)

    Scary Stories to Tell in the Dark (2019)

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  • Antropophagus (1980)

    Antropophagus (1980)

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    In the annals of exploitation cinema, one country that has produced some of the most notorious films is Italy. Some of the most prominent filmmakers of this period included Dario Argento, Lucio Fulci, Ruggero Deodato, and Umberto Lenzi. These and many others specialized in different types of films, including giallos, spaghetti westerns, crime thrillers, knock-offs, and splatter films. One of the most notorious of these was Deodato’s Cannibal Holocaust, which became a major controversy since its 1980 release. Deodato was actually brought before a judge to prove he didn’t kills his actors, though he did kill many animals. While not the first, this started a trend of cannibal movies, including Cannibal Ferox, Eaten Alive, Cannibal Apocalypse, etc. Enter filmmaker Joe D’Amato, born Aristide Massaccesi, who, with frequent collaborator Luigi Montefiori aka George Eastman, made a cannibal film. That film was the notorious 1980 film, The Grim Reaper aka Antropophagus.

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    A group of tourists are planning a trip to the Greek islands and bring along Julie (Tisa Farrow). She’s joining them to meet up with friends living on one of the islands, though Carol (Zora Kerova) has reservations. Despite her objections, the group sails to the islands anyway, and upon arrival, pregnant Maggie (Serena Grandi) sprains her ankle. The others go off exploring the island while Maggie stays behind, only to be abducted by a mysterious figure. While exploring the island, they find it deserted save for a woman in black living in an old house. They make their way to a house owned by Julie’s friends, finding a young blind girl named Henriette (Margaret Mazzantini). Soon, the titular Antropophagus (George Eastman) makes his presence known and starts eating and killing the group one by one. Who will survive, and who will fall victim to the cannibalistic killer?

    As with many Italian horror films of the time, this one clearly lacks the budget of a major studio production. However, what the film lacks in budget, it more than makes up for in its atmosphere and some shocking moments. D’Amato is similar to another infamous exploitation director, Jess Franco, where when he’s on, it’s great, but otherwise is poor. He’s usually known for his knock-offs of more popular films, such as The Blade Master, or his more hardcore films. However, Antropophagus is definitely one of his better films, where even in slower scenes, there’s a very foreboding atmosphere present. The film makes great use of shadows and darkness that gives it a very eerie feeling, like exploring a cave. Of course, there’s the occasional day-for-night sequence that’s painfully obvious, but that’s pretty common in most low budget films. Otherwise, the filmmaking on display is quite impressive given the limitations.

    Acting-wise, the performances are fairly decent, though it’s hard to judge given that everyone was dubbed like most Italian films. Tisa Farrow, in what ended up being her final role before retiring, gives a very expressive performance that works here. Zora Kerova and Margaret Mazzantini also do a good job, and the rest of the cast does what they can. However, the real star is George Eastman, who despite having no dialogue, is intense and terrifying as the cannibalistic killer. It’s a shame that he said he was ashamed of this film in a recent interview because he is fantastic. When it was released, the film was labeled a “Video Nasty” in the UK, and it’s easy to see why. While not as graphic by today’s standards, there are some shocking moments that are not for the faint of heart. But those with strong stomachs, Antropophagus is worth a look.

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  • Viy (1967)

    Viy (1967)

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    In 1835, Russian novelist Nikolai Gogol published Mirgorod, which was a collection of short stories that revolve around Ukrainian life. One of those stories was the novella Viy, aka The Viy, focusing on a demonic creature of the same name. Though the story’s folkloric source is unknown, scholars believe it may have been inspired by St. Cassian the Unmerciful. Some tales said St. Cassian had eyebrows that went down to his knees and were raised during Leap Year. While Mirgorod wasn’t financially successful at the time, it was received positively, particularly from Vissarion Belinsky and Leo Tolstoy. The first film adaptation of Viy was a silent film in 1909, but the film has since been lost. Though not an adaptation, Mario Bava’s 1960 film Black Sunday was loosely based on Gogol’s novella. The first feature film adaptation came seven years later with the release of the Russian film called Viy.

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    When several seminary students are sent out for vacation, three particular students end up getting lost in the woods. The three take up residence in a small farmhouse where an old lady lives and sleep for the night. She tries to seduce seminarian Khoma (Leonid Kuravlyov), but he refuses, prompting her to cast a spell on him. Flying on his back, she reveals herself to be a witch, and once they land, Khoma beats her to death. She suddenly turns into a young woman named Pannochka (Natalya Varley), and Khoma runs off in fear. He returns to his seminary, where he’s summoned by the rector to meet with a rich merchant needing prayers. Turns out his daughter, who’s the young woman Khoma nearly killed, requested Khoma by name to offer his prayers. Khoma is promised gold if he succeeds, but he ends up being haunted by her demonic forces.

    The first thing to mention is that I watched this twice, mostly because I started nodding off the first time. Somehow, this feels appropriate since the movie has a very dreamlike quality to it, like a nightmare or fever dream. As the film progresses, there’s a sense of uneasiness and dread that persists to the end in a big way. Given when and where this was made, many of the effects are dated, but that adds to the general uneasiness. Also, when things start to get strange, the editing gives the film even more of a dreamlike and disorientating feel. Acting-wise, everyone turns in a fine performance, with Leonid Kuravlyov and Natalya Varley standing out. Leonid mixes mild comedy with pure terror well, and Natalya is delightfully over the top as the witch. When the demons show up, everything is tinted green and there are some harsh camera angles used.

    As mentioned above, I had a hard time watching the film initially, so this film may not appeal to everyone. The pacing is deliberately slow, almost as if nothing is happening, and that can put many people off. However, if you’re willing to stick with it, you’ll be rewarded with a very intense climax of trippy visuals. By today’s standards, the demons and the titular Viy look crude, but it works for this film’s style. Some may also be put off because the story isn’t very well-known and isn’t as accessible as other older stories. If nothing else, it’s worth a watch just for something different and to see what Russian filmmaking was like. Given Hollywood’s current trend of revisiting familiar stories several times over, I wonder what a modern version would be like. Until then, Viy is a strange curiosity that’s worth discovering and giving a watch.

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