Alley Oates is a well-respected psychic who’s received several prizes for helping the police solve crime mysteries over the years. Most of her job was to solve brutal crimes which involved children, which seems to have taken a toll on her mental health. Now she’s a deeply depressed, overweight (if she wasn’t already) middle-aged woman who spends her time burying herself in her bed under a mountain of blankets.
For some strange, bizarre reasons, this lady made me think of the nanny from Duckula. She’s got hands that could break coconuts, and I bet that her big, solid solid figure could easily crash through walls. Wouldn’t mess with her.
Anyways – life goes on as children are still missing and the local police need her help. A police man manages to drag her out of her hibernation cave to the the local basement morgue to unravel some dark mystery about three ghoulish corpse children. We learn that the bodies of the kids are possessed by some Asian demons called Kyoshi, and as they’re getting trapped in the basement, the ghoul juniors are about to wake up at any moment to get the schlock party started.
The Boneyard starts off with a dry and serious tone, more than it should, with static and boring dialogue scenes that didn’t leave the best first impression. But that starts to shift slightly when we enter the morgue and get introduced to the wacky receptionist, Miss Poopinplatz (lol) and her cute little poodle named Floofsoms. From here on, the film starts to loosen up and get more drunk as the silly, B-movie fun starts to set in.
Return of The Living Dead meets a very low-budget version of George Romero’s Day of the Dead is maybe the best way to describe this odd little film. The gore is very minimal here though, yet The Boneyard has several moments of solid fun value and special effects. The little kids who run around in their ghoulish rubber costumes add to the goofy charm. And then we have one of the characters who turns into an animatronic monster straight from Beetlejuice. The film rounds off with a crazy climax which could as well have been a deleted scene from Peter Jackson’s Braindead. Some name-dropping here, I know, but you get the point. Overall, it’s nothing spectacular but has its unique scenes and moments that make it an entertaining midnight watch. Ruff, ruff.
The Boneyard is on Blu-ray from 88 Films.
Writer and director: James Cummins Country & year: US, 1991 Actors: Ed Nelson, Deborah Rose, Norman Fell, James Eustermann, Denise Young, Willie Stratford, Phyllis Diller, Robert Yun Ju Ahn, Richard F. Brophy, Sallie Middleton Kaltreider, Janice Dever, Cindy Dollar-Smith IMDb: www.imdb.com/title/tt0101497/
Here we have one of the more grimmer throwback horror-80s movies which seemed to be made by accident, or followed by a witness to an accident to be more correct. You see – other than producing their own low-budget horror films, the creative guys Jeremy Gillespie and Steven Kostanski from Astron-6 (Father’s Day, Manborg, Psycho Goreman and more) have also worked on bigger Hollywood films such as It, and Scary Stories to Tell in The Dark with special effects and art designs. They also worked with one of the greatest; Guillermo del Toro and Jeremy Gillespie was working at Pinewood studios where del Toro was in pre-production of his magnum opus which never happened: At the Mountains of Madness. After the project crashed and burned due to the high budget costs and the fact that del Toro refused to add in a love story and a happy ending to the studio’s demand, Gillespie and Kostanski got inspired to make their own low-budget spin on the story. And with their obsession for the 80s and the old school of filmmaking, it was natural to make it as a throwback.
It’s around past midnight when the small town sheriff, Daniel Carter (Aaron Pole), picks up a wounded guy on a rural road and takes him to the local hospital. Here we also meet our small group of characters, among them a cute young pregnant woman who’s about to give birth. And let’s hope that nothing bad happens to her and the baby (ha-ha). To bring this John Doe to the hospital seemed to be a very bad idea as weird things started to happen, such as the lights flickering and the phone shutting down. From here, it gets messy pretty quickly around the hospital when one of the nurses gets shot by the sheriff after she stabs the eyes of one of the patients . The lights shut down and the hospital gets surrounded by a group of cloak/hazmat suit-wearing cultists who have no intention of letting anyone get out of the building. Some ancient supernatural forces have also seemed to awaken in the basement which transforms dead people into the most grotesque-looking mutants that has been put on film in modern time.
It’s valid to mention that this is not an Astron-6 production which focuses more on humor, as this one has a far more serious tone. The Void is also crowdfunded on Indiegogo with a raise of only 82,510 dollars (!), which seems like a box of molded breadcrumbs for an ambitious Lovecraftian project like this. Having that said, the film looks pretty damn good with overall solid, creative filmmaking with a long string of clear inspirations from 70s and 80s classics. We have the siege element from John Carpenter’s Assault on Precinct 13, the claustrophobic paranoia from The Thing, the morbid, grotesque madness from Stuart Gordon’s From Beyond and the cryptic vibe and atmosphere from Lucio Fulci’s The Beyond, to mention some – all blended into its own unique, beefy and tasteful love letter for us older gorehounds. A great soundtrack by Blitz//Berlin which also suits the grim retro style perfectly like a penis in vagina. Except for some very few visual effects, there is no CGI here, only the usage of gallons of fake blood and sticky, top-tier latex monsters that could be something straight from 1987.
Writers and directors: Jeremy Gillespie, Steven Kostanski Country & year: Canada, 2016 Actors: Aaron Poole, Kenneth Welsh, Ellen Wong, Kathleen Munroe, Daniel Fathers, Mik Byskov, Art Hindle, Stephanie Belding, James Millington, Evan Stern, Grace Munro IMDb: www.imdb.com/title/tt4255304/
Night of the Demon Bigfoot is an amateur monster schlock from 1980, which starts off with a wounded dude, Bill Nugent, lying in a hospital bed surrounded by doctors and a police inspector. He’s an anthropology professor, you see, and here’s his fascinating story you wouldn’t believe, which is about his adventure with a group of his students to track down Bigfoot in the woods of Northern California. And he has to convince the doctors that he’s not insane and that he was the only one who survived Bigfoot after the monster killed all of the students.
And good-fucking luck with that, my dude. Mr. Kallen from Slapped Ham would have loved to have you on his first podcast.
Bill starts with the first story, the first series of flashback scenes where we see Bigfoot killing random people. The first victim is some guy in the forest who’s getting ready to fish by a river. In order to have some suspense here, the monster is shown through POV and off-screen and, just like in the great classic Blackenstein, we have a moment where we see the monster rip his arm off with zero force in silhouette. Someone has clearly taken notes from the very best. While he bleeds to death with the use of the thinnest cranberry juice streaming from his ripped arm, the blood streams down to fill one of Bigfoot’s footprints, following the opening credits.
As Bill and his group of students head into the forest to find our mythic creature, they hear about this lady Wanda. She’s a mysterious outcast who lives as a hermit in a cabin deep in the woods, and the legend says that she knows where Bigfoot is. Okay, then. In the meanwhile, as they’re heading for Wanda’s cabin, we get some more flashback scenes told by Bill as they sit around the campfire to remind us how dangerous this Bigfoot is. All these campfire scenes were shot and added during the post production because the producer wanted to amp up the gore. We see Bigfoot killing people in different ways, but don’t get too excited. In one scene, he even uses an axe and the effect is the cheapest-looking rubber wound sticker they could afford.
The most memorable scene is the biker dude who gets his dick ripped off when he’s about to take a piss. Because this is no laughing matter. This is serious. Dead serious. Just look at the deadpan seriousness on Bill’s face when he tells the story. Don’t you dare to even chuckle or roll your eyes in disbelief. Show some respect for the poor guy.
We also have a campfire story about this random couple who’s about to have sex in a van. This is also the only body count flashback scene (as far as I remember) that was not shot in broad daylight. This is one of the more what-the-fuck-moments where the guy gets dragged by Bigfoot up to the top of the car while the lady can’t decide how to react as she makes orgasms sounds and looks confused rather than terrified. It’s noteworthy to mention that director James C. Wasson mainly produced porn films, so maybe there are some connections there.
Then there’s the star of the film, the man, myth and the legend himself: Bigfoot… and I have to be honest and say that the face-makeup is not the worst I’ve seen. Some effort went in here for sure, and I would assume the make-up artists took some inspiration from the creation of Michael Myer’s mask in Halloween, only here based on the face of Mick Jagger. And I don’t think anything can really top that.
Night of the Demon is available on DVD and Blu-ray from Severin Films, restored and uncut. A fun time for all lovers of schlock and funny-bad movies.
Director: James C. Wasson Writers: Mike Williams, Jim L. Ball Country & year: US, 1980 Actors: Michael Cutt, Joy Allen, Bob Collins, Jody Lazarus, Rick Fields, Michael Lang, Melanie Graham, Shannon Cooper, Paul Kelleher, Ray Jarris IMDb: www.imdb.com/title/tt0081229/
It is the end of October in 1987, and it’s Halloween time! For some teenage girls in the small town of Vernon, things have gotten way too scary, however…Tiffany Clark, Marisa Song and Heather Hernandez are all killed by someone going by the nickname Sweet 16 Killer, each having been stabbed 16 times on the night of their 16th birthday. And they all had their birthdays in the days close to Halloween, of course: on October 27, 29 and 31. Many years later, to present day, the murders are still unsolved as the killer was never caught. Jamie Hughes is the daughter of a woman named Pam, who used to be friends with the three victims of the Sweet 16 Killer. Naturally, Pam is having a rather strained relationship to Halloween, and feels anxious when Jamie goes to a concert with her friend on Halloween night. While being at home giving out candy to the trick or treaters, Pam is suddenly attacked by the killer who seems to have come back for her all these years later, and she’s stabbed to death. While Jamie grieves over her mother’s death, she also helps her friend Amelia finish the final parts of her time machine (yes, an actual time machine), which Jamie later activates and is sent back to 1987. Realizing that she can now stop the Sweet 16 Killer from actually going on the killing spree, she tries to warn people (which goes as well as one might expect) and befriend her mother and her group of friends, hoping to stop the killer and save her mother from dying in the future. But she’s got to hurry – or else she will be trapped in 1987…
Totally Killer is a comedy slasher film from 2023, directed by Nahnatchka Khan. It premiered at Fantastic Fest on September 28, 2023, and was later released on Amazon Prime on October 6, 2023. I guess the best way to describe it is a movie where Scream meets Back to the Future. In the leading role we have Kiernan Shipka as Jamie(who also played Sabrina in the Netflix series Chilling Adventures of Sabrina), who plays a typical modern teenage girl. This is something that the movie makes sure to exploit when she gets sent back to 1987, where things are considerably less “politically correct” and Jamie often finds herself baffled by what was apparently deemed okay in the past. While this does sometimes come off as a bit overkill, I can’t help but feeling that this is probably exactly how a teenager of today would have experienced a trip to the latter part of the 80’s: constantly on edge by all the stuff that could potentially be offensive by someone or something. Whew.
Totally Killer is fast paced, generally fun and very much your typical teenage slasher flick. Already from the start it’s very upfront about what it is: a movie that’s supposed to be uncomplicated fun mainly aimed at teens. There is no excessive gore to be witnessed, but the violence is moderate and offers some bloody kills here and there. The killer is walking around wearing a Max Headroom-esque mask, which was made by makeup artist Tony Gardner.
Overall, Totally Killer is an entertaining horror comedy in the same vein as Happy Death Day: it’s nothing spectacular, but offers just the right amount of amusement which will make it a fun experience. There are some obvious plot holes, especially for those who might like to nitpick on things, but they don’t really overshadow the movie as a whole. Just bring forth your Halloween treats and some popcorn, and have fun!
Director: Nahnatchka Khan Writers: David Matalon, Sasha Perl-Raver, Jen D’Angelo Country & year: US, 2023 Actors: Kiernan Shipka, Olivia Holt, Charlie Gillespie, Lochlyn Munro, Troy Leigh-Anne Johnson, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Ella Choi, Jeremy Paul IMDb: www.imdb.com/title/tt11426232/
We follow the young Thai couple, Tun and Jane, as they are on their way home after spending an evening with some friends. Their existence gets turned upside down when they accidentally hit a woman on a dark road. While Jane wants to check on her as she was also the one being behind the wheel, Tun panics and orders Jane to stomp the pedal and just leave the woman behind. Jane is soon to struggle with guilt, night terrors and never seems to be able to smile again, while Tun does his best to forget the whole thing and move on with life. Dream on, bud.
Tun is a freelance photographer and starts to see glimpses of a pale, creepy woman through the lens and eerie white shadows in his pictures which screams bad vibes. These are analog pictures, by the way, before the era of digital cameras took over. To get some answers other than “your camera is broken”, Tun and Jane speak to a photo expert who sells fake ghost photos to a glossy magazine. He also shows them an album which he claims is a collection of real shit, taken by polaroids and still images from security cameras, which is quite impossible to fake. Quick info for Gen Z; polaroid was a camera which gave instant physical pictures rolling out of the camera seconds after taking them. We see a collage of some creepy vintage photos, and some of them you might even recognize. I get a little nostalgic by especially seeing the classic image of The Grey Ghost Lady of the Willard Library, one of the first of its kind I was exposed to when I was hunting for this stuff in the darker corners of the web in the early 2000s, way before social media. Good old times.
All photos here are taken from the web and the film gives a credit at the end by addressing – The producers would like to thank in advance the owners of any spirit photographs or photo representations that were not properly credited for their use in this motion picture. –
Anyway, things get progressively worse and bleak for the couple as they get haunted with visions, more night terrors and more spooky stuff that appears in the photos. Tun develops a chronic neck pain while his friends from his schooldays mysteriously drop dead by jumping off buildings. Huh… As Jane starts her own little investigation, she stumbles upon some clues that expose a dark, disturbing past of their hit-and-run victim.
This is the debut film of the talented duo Banjong Pisanthanakun and Parkpoom Wongpoom (sorry if I butchered their names). The movie was released at the peak of the J-horror craze during the hot trend of displaying pale, skinny, scary Asian ghostly ladies with glitchy body movements with their long black hair obscuring their face followed by a series of jump scares. A gimmick that got more and more old to the level of almost parody until it fizzled out with bad sequels and remakes. It was easy to assume that Shutter was just another J-horror, even though this one is from Thailand. I wouldn’t go as far as saying that they reinvented the wheel here, but what makes this one stand out is the idea of the phenomenon of capturing ghosts on camera, a concept which has always intrigued me. It’s also a damn good horror flick which is still solid twenty years after its release, and one of the very few movies in the ghost film genre that still fills my heebie-jeebies meter scale up to ten.
Although there is a ghost lurking here, the film relies more on solving a mystery as the suspense and tension builds up to the maximum. The director duo has a great understanding of the more subtle ways to trigger the deepest primal fears of the audience by exposing them to the unknown, a pretty rare skill we don’t often see. James Wan with his two first Conjuring films, Scott Derrickson’s Sinister and Hideo Nakata’s Ringu are maybe the only ones than can match. As minimal as the effects are, the scares are probably the most inventive I’ve seen in the genre, which still slaps most of the similar and modern horror films to shame. The scene where Tun is alone in a photo studio where the lights turn off and his camera starts to flash on its own is one great example of how simple, yet effective Shutter is. A razor sharp sound design also does the trick and the fitting soundtrack during the opening credits already sets the tone. A modern classic.
The film has been remade not just one or two times, but actually three times: Sivi (2007) from India, which has been seen by hardly anyone, Click (2010), also from India, which looks more like a cheap version from Asylum, and the American Shutter (2008). I’ve only watched the last mentioned, which I don’t remember much of other than it gave me a good night’s sleep. And in order to not get confused, Shutter is also released with the undertitle The Original.
Directors: Banjong Pisanthanakun, Parkpoom Wongpoom Writers: Banjong Pisanthanakun, Parkpoom Wongpoom, Sophon Sakdaphisit Also known as: Shutter: The Original Country & year: Thailand, 2004 Actors: Ananda Everingham, Natthaweeranuch Thongmee, Achita Sikamana, Unnop Chanpaibool, Titikarn Tongprasearth, Sivagorn Muttamara, Chachchaya Chalemphol, Kachormsak Naruepatr IMDb: www.imdb.com/title/tt0440803/
It’s a cold winter in the small New England town of Milburn. The year is 1979, and four elderly friends who have formed a men’s club which they call the Chowder Society, get together to tell each other ghost stories. These men are the businessman Ricky Hawthrone (Fred Astaire), the lawyer Sears James (John Houseman), the physician John Jaffrey (Melvyn Douglas) and Mayor Edward Charles Wanderley (Douglas Fairbanks Jr.). Meanwhile, in New York City, Edward’s son David dies after falling from his apartment window in a high rise building, something we witness was caused by him stumbling backwards in shock as his girlfriend suddenly turned into a living corpse right before his eyes. Edward’s other son, Don, then comes home to see his father, who soon after also dies in a snowstorm when falling off a bridge. Don doesn’t believe for a second that his father committed suicide, and approaches his father’s friends of the Chowder Society and wants to gain membership there by offering a ghost story of this own. And his tale soon reveals something about a mysterious woman named Eva Galli, who is apparently the source of everything that is happening to them…
Ghost Story is a supernatural horror film from 1981, directed by John Irvin and based on the novel by the same name written by Peter Straub. It stars Fred Astaire (this was his last film), Melvyn Douglas (also his last film, and he previosuly had a role in the excellent ghost horror film The Changeling from 1980), Douglas Fairbanks Jr., John Houseman, Craig Wasson (who played a role in A Nightmare on Elm Street 3: Dream Warriors) and Alice Krige (who played the evil witch in Gretel & Hansel from 2020, and also had roles in Silent Hill from 2006 and Sleepwalkers from 1992). Thus, there’s a handful of recognizable faces for horror fans here.
Aside from a strong cast, there’s definitely a good amount of atmosphere as we watch the elderly gentlemen either sit by the fire telling their stories, or in some kind of supernatural misfortune. It’s almost like you can smell the mix of cigars and Old Spice through the screen. The movie itself moves along at a leisurely pace, offering scares on a very limited scale but instead focusing on upping the underlying apprehension for what is to come. The apparition and ghost effects are quite decent, however sparsely they’re actually used. Spooky scenes of an old dilapidated house, flashback scenes and some shots of a delightful wintery landspace makes the film pretty nice visually, although any major scares are sorely lacking.
Now, for those who have read the book, you’ll notice that the movie is very different in so many ways. Normally, a movie adaptation usually has more than a few changes, but there are those that have changed a few things here and there and then there are those that have changed so much that it’s barely even the same story anymore. The movie adaptation of Ghost Story belongs to the latter category. I won’t spoil too much, but the original story is so much more than just a ghost story, and the drastic change in the movie version also caused several key elements to be removed entirely. Some characters, like Gregory Bate and his little brother Fenton, feels like they were shoehorned in just to have them there, because the lack of their eerie backstory pretty much removes their purpose completely. Originally, Peter Straub was unhappy with the final result due to the removal of elements and complete change of his story, and as a result he would not allow any further adaptions of his books. Over the years, though, he did apparently soften up on it and have praised the actors, music and atmosphere in the film despite being disappointed with the movie overall. He was grateful that it actually caused people to seek out the book, as the movie did have quite the success with a total of $23,371,905 at the United States box office, which made it the third-highest grossing horror film in 1981 and the 34th highest grossing film of the year.
Personally, I would recommend the book as a much more complex, intriguing and immensely layered supernatural story, and I could easily see how the book could have made for a pretty good miniseries or even TV series, if made by the right people. But regarding this movie, then overall I’d say it works well as an average, old-fashioned atmospheric Ghost Story.
Director: John Irvin Writers: Peter Straub, Lawrence D. Cohen Country & year: US, 1981 Actors: Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr., John Houseman, Craig Wasson, Patricia Neal, Alice Krige, Alice Krige, Jacqueline Brookes, Miguel Fernandes, Lance Holcomb IMDb: www.imdb.com/title/tt0082449/
The year is 1982, and a man called Nix has gathered his cult members in an old house in the Mojave Desert. His disciples refer to him as “The Puritan”, and he’s got real magic powers. He plans to sacrifice a young girl, and convinces his followers that this will save the world and grant them wisdom. At the same time, a group of former cult members are driving through the desert in order to stop him. Among them is Philip Swann, who ends up being attacked by Nix’s magic but is then saved by the young girl who manages to shoot Nix through the heart with Swann’s gun. Of course, this isn’t enough to kill the guy, so Swann takes a hellish-looking iron mask and fastens it on Nix’s head in order to “bind” him and his powers. Apparently, he then dies, and his body is buried in the desert. Fast forward to present day, which is thirteen years later, we’re in New York City where a private detective named Harry D’Amour is investigating occult cases, including an exorcism case which shakes him badly. During a new investigation which is supposed to not have any occult-related cases, he still ends up in a messy attack on a fortune teller which warns him that “the Puritan is coming”, hinting that Nix may return from the dead. The fortune teller dies before he can reveal anything more. Then, he gets hired by a woman named Dorothea, who is Philip Swann’s wife. Swann now works as a famous stage illusionist, and she fears for her husband and wants D’Amour to investigate if he’s being targeted. He’s invited to Swann’s next magic show, which then goes terribly wrong…and that’s just the start of D’Amour’s descent into a world of magic and madness.
Lord of Illusions is a neo-noir supernatural horror film from 1995, written and directed by Clive Barker. It is based on one of his own short stories, named The Last Illusion, which was published in 1985 in Volume 6 of the anthology Books of Blood. The movie stars Scott Bakula as the private detective D’Amour, and Kevin J. O’Connor (Swann) and Famke Janssen (Dorothea), the latter two both starring in Deep Rising from 1998. While Clive Barker kept many of the elements from the short story, he made enough changes so it’s practically a new story, which was apparently met with mixed opinions from the readers of his original work.
Those familiar with Clive Barker’s work knows that he’s most known for Hellraiser, and that his stories often range from traditional horror to dark fantasy and sometimes even comedy. A recurrent theme is how seemingly ordinary people end up in situations that are either supernatural or violent/mysterious in some kind of way. The stories can often be morbid and disturbing, and while some of them are more fun than unsettling, there is one story of his that really stuck with me, and that’s In the Hills, the Cities which was published in the first Books of Blood volumes. It was also published in the comic anthology Tapping the Vein with haunting visuals by John Bolton. His most famous work to this day is still Hellraiser, which was based on his short story The Hellbound Heart. A remake was also made in 2022, directed by David Bruckner.
Lord of Illusions is a movie that is nowhere close as renowned as Hellraiser, however. And it’s definitely more of an odd film, and thus destined to bounce off the radar for a lot of people. It’s a shame, though, as it really offers a nice blend of neo-noir with cosmic horror. A masterpiece it ain’t, but it’s still damn entertaining. The movie starts off with a bang, giving us a glimpse into a crazy cult leader’s world and his brainwashed followers, and a fight which ends in a brutal scene. While there are some parts in the film that move along a little slowly, it doesn’t really let up from there as we’re being presented with a steady delivery of action, murders, magic and insanity. There’s a few twists and turns underway as well, and some decent gore. Most specifically it’s got style; it’s pleasant to watch with a lot of intriguing scenes and settings like the creepy decrepit house in the desert and the magician’s victorian mansion for example. As for the movie’s special effects, there’s a range of the good to the pretty outdated. Some of the death and gore scenes are fairly well executed with believable effects, while some of the otherworldly elements looks like something from a Nintendo 64 game…but honestly, that’s part of the fun, and adds to the overall peculiar atmosphere of the movie.
So all in all I think that Lord of Illusions is a fun spooky ride, providing a bit of mystery and a lot of dark magic. It was the last film Clive Barker directed, and it may not be Clive Barker at his best, but it is definitely enjoyable.
Writer and director: Clive Barker Country & year: US, UK, 1995 Actors: Scott Bakula, Kevin J. O’Connor, Famke Janssen, J. Trevor Edmond, Daniel von Bargen, Joseph Latimore, Sheila Tousey, Susan Traylor, Ashley Tesoro, Michael Angelo Stuno, Keith Brunsmann IMDb:www.imdb.com/title/tt0113690/
The teenage girl Lucie (Chloé Coulloud) lives in a small sleepy seaside town where she has her first day as a care-worker, assisted by Catherine. One of the posts is in an old, overgrown mansion owned by the ghoulish-looking old lady, Jessel (Béatrice Dalle), who rots in her bed while breathing through a ventilator in a coma. We learn that she was once a sadistic ballet instructor, but most importantly, she has a key around her neck that is rumored to open a treasure hidden somewhere in the house. And Lucie is keen to get her hands on the treasure so that she and her boyfriend can look forward to a better future. She also lives at home with her father after her mother committed suicide, and their relationship is tense.
It also happens to be Halloween and what could be more appropriate than spending the night treasure hunting in a big old house? Lucie, along with her boyfriend and another guy, enters the house from a basement window and sneaks into the bedroom to get the key, and… well, it doesn’t go so smooth from here on, as they get trapped inside the house like a survival-horror game after they encounter the “treasure” which isn’t exactly what they expected.
So this is the follow-up to Inside by the french duo Alexandre Bustillo and Julien Maury. If you expect another rerun with non-stop violence in the purest New French Extremity ways, you might get mildly disappointed. Livide relies more on dim atmosphere surrounded by an old Victorian mansion filled with dust, cobwebs, probably a strong odor of mold, and some obscure history from a dark, twisted fairy tale. And I would recommend wearing shoes with some strong soles as the basement is filled with trash, clutter and whatnot from floor to ceiling, which makes Ed Gein look like a compulsive cleaner.
And with Inside, Livide and The Deep House, it’s fair to say that the duo is at their right element when it comes to haunted house scenarios. While their scripts aren’t always their strongest side, they surely know how to create a creepy, eerie, and sometimes claustrophobic atmosphere. Livide works mostly as a visual treat where the inspirations from Italian horror filmmakers Argento and Bava shines through as it slides further into a deep, vivid gothic nightmare. It’s gloomy, melancholic and poetic with an experimental third act, to say the least, and the ending is always open for interpretation. And yes, there’s gore. And it tastes delicious. Just be a little patient.
Ben Rolf and his wife Marian and their 12 year old son Davey travels to a remote mansion because they’d like to rent it for the summer. Greeted by the home’s owners, the elderly siblings Arnold and Rosalyn Allardyce, they quickly realize that these old geezers are more than just a little eccentric, bordering on being outright cuckoo with a weirdly strong attachment to their home. Which makes it kind of strange that they’d like to rent it out in the first place. And the price is quite the bargain too: $900 for the entire summer. It comes with one odd requirement though: there’s an old lady in the upstairs room, which the family must promise to deliver meals to during their stay for the summer. They’re told that this old lady wants privacy and most likely won’t be seen, and that they should just leave the meals outside her locked bedroom. Nothing fishy about that, right? While having a few second thoughts, the family still decides to rent the wonderful house, and along with them they bring Ben’s elderly aunt Elizabeth. When they arrive back at the house, the siblings have already left the place, having left a note at the door. And while all seems like the setup for a wonderful time, the house appears to make some of them behave rather oddly. Marian becomes obsessed with cleaning and caring for the house, and making sure that the elderly woman upstairs is being fed. Despite never actually seeing her, or even hearing a word from her. She distances herself more and more from the family, while Ben starts being haunted by the visions of the creepy hearse driver he once saw at his mother’s funeral when he was a child. And he starts behaving aggressive, especially towards his own son. What was first thought to be a wonderful summer holiday at a beautiful house, soon turns out to be a nightmare…
Burnt Offerings is a horror film from 1976, directed by Dan Curtis and based on the book by the same name which was written by Robert Marasco. The filming took place in 1975, in the historic Dunsmuir House in Oakland, California. This film was the first to be shot at this location, and many horror fans will probably recognize the house as it was used in the horror film Phantasm some years later. Several movies have been filmed there, and the latest being Delirium from 2018. Dan Curtis mentioned that there were no sets built for this film, and everything was filmed entirely on location. Something that feels oddly refreshing to watch these days…
The film is a typical old-fashioned haunted house movie, with a very slow build-up and devoid of jumpscares. You feel something is off from the very start without having anything specific to pin it on, there are no obvious ghosts or ghoulies which terrorize the family, so you’re not really sure what is happening to them. The film is very much about mood and atmosphere, with a beautiful old-fashioned home providing the perfect environment for such a setting. Despite being your typical slowburner, it constantly throws things at you which keeps you constantly on edge and wondering what’s going to happen next. Especially unsettling is watching how Marian keeps distancing herself entirely from her own family, only caring for the house and becomes obsessed with keeping it clean and in order, and staying outside the old lady’s room upstairs while watching an array of old photographs and playing the melancholic tune of the music box on the table there.
The family characters, although somewhat generic, fits their role pretty well as the ordinary middle-class family, and the siblings we meet at the start of the movie (played by Burgess Meredith and Eileen Heckart) were perfectly eerie-kooky. While the film portrays a somewhat strained relationship between the wife Marian (Karen Black) and the elderly aunt Elizabeth (Bette Davis), it’s worth noting that there may have been more than just acting between those two. According to Bette Davis, these two had conflicts during the shoot and she thought Karen’s behaviour was disrespectful and unprofessional. However, Bette also expressed a disdain for Oliver Reed (who played Ben), and referred to him as “possibly one of the most loathesome human beings I have ever had the misfortune of meeting”. I’m going to suppose the atmosphere in that house wasn’t all chipper in real life either…
This movie isn’t particularly well known, despite horror authors Stephen King and Bentley Little having both acknowledged that it influenced their writing, and Stephen King was apparently inspired by both the book and the movie when writing The Shining. I’m also thinking that he probably let his son Joe Hill (Joseph Hillstrom King) watch the movie as well, considering how the creepy hearse driver in the movie gives off real Charles Manx-vibes (NOS4A2). This character was not included in the original novel, actually, but was based on an actual childhood experience of Dan Curtis, where he recalled as a young child being at his mother’s funeral and seeing a chauffeur laughing outside of the funeral parlor, something he found disturbing and which then stuck with him ever since. There are some other scenes in this movie as well which makes me wonder if several other horror films have taken inspiration from it, including a certain scene which will ring a bell or two for those who have seen Evil Dead.
Overall, Burnt Offerings is an interesting addition to the haunted house genre, and derives a bit from the ordinary spookhouse story. Some may find the ending a little cheesy, but it’s kind of what makes it a bit exceptional and also make the title fit very well with what’s actually going on.
Director: Dan Curtis Writers: William F. Nolan, Dan Curtis Country & year: US, 1976 Actors: Karen Black, Oliver Reed, Bette Davis, Eileen Heckart, Lee Montgomery, Dub Taylor, Joseph Riley, Todd Turquand, Orin Cannon, Jim Myers, Anthony James IMDb: www.imdb.com/title/tt0074258/
Lord Emerson Blackwood is a renowned 19th century wildlife painter, who lives in a huge manor called Blackwood Manor. One day, he bludgeons his housekeeper to death in the basement, and afterwards he removes her teeth. Not only that, he also removes his own teeth…and offers them as some kind of sacrifice to a bunch of mysterious creatures living inside the old fireplace, who has kidnapped his son. The creatures reject his offer, and tell him that they only want the teeth of children. And then, just like his son, he also gets dragged in by the creatures. Fast forward to present day, we meet 8-year old Sally who moves into Blackwood Manor with her father Alex and his girlfriend Kim. They want to restore the old manor for a client, to have it put on the market for sale. Very soon Sally gets to hear and see glimpses of the teeth-craving creatures, who are eager to finally get some of those children’s teeth they want…
Don’t Be Afraid of the Dark is a supernatural horror film from 2010, directed by Troy Nixey as his feature directorial debut, and written by Guillermo del Toro and Matthew Robbins. It is a remake of the 1973 ABC made-for-TV film of the same name. In the original Sally was the wife of Alex, not his daughter, but this change kind of fits well for the more apparent fantasy-theme this remake has been given. And yes: obviously, it has Guillermo del Toro’s fingerprints all over it.
With the movie’s opening there isn’t much of a mystery plot going on, as we already know that there are some creatures living in the house which craves for human teeth, or specifically those from children. Thus, we already know the mansion is infested with ghoulish tooth fairies. We do find out a little bit more about them as the mansion reveals some of Lord Emerson’s secrets, which includes some of this paintings. Despite a lack of actual mystery, the atmosphere is one of the focal points in the film, blending the gothic mansion interior and exterior with the fantasy aspects and making it spookily fun. As for the monsters themselves, they’re…well, not exactly very impressive. They’re the standard CGI fantasy creature, fitting in a fantasy plot more than a horror one I guess.
Now, the original from 1973 is by many deemed a classic, and it appears to have given lots of kids the willies when they saw the movie sometime in the 70’s, and according to del Toro it also gave him quite a fright when he watched it as a child. A remake is bound to not have the same effect, especially when also changing the perspective from a grown woman to that of a child. It works pretty well, but it does of course change the tone of the story quite much. And since Guillermo del Toro was involved in this, I guess that there were also some people expecting a new Pan’s Labyrinth or something, which it is definitely not. It’s a typical movie that plays primarily on childhood fears, mixing in some bits from the world of mythology and turns it into something sinister, but not as dark as what can be seen in the aforementioned film. Overall, I still think it’s a well made gothic fantasy-horror movie, with enough spooky atmosphere to be enjoyable.
Director: Troy Nixey Writers: Guillermo del Toro, Matthew Robbins Country & year: US, 2010 Actors: Katie Holmes, Guy Pearce, Bailee Madison, Bruce Gleeson, Eddie Ritchard, Garry McDonald, Carolyn Shakespeare-Allen, Jack Thompson, Julia Blake, David Tocci, Lance Drisdale IMDb: www.imdb.com/title/tt1270761/
Alley Oates is a well-respected psychic who’s received several prizes for helping the police solve crime mysteries over the years. Most of her job was to solve brutal crimes which involved children, which seems to have taken a toll on her mental health. Now she’s a deeply depressed, overweight (if she wasn’t already) middle-aged woman who spends her time burying herself in her bed under a mountain of blankets.
