Shocktober 2022, Week 2

This week we watched a mix of stone-cold classics (a few of which we'd never seen before!) and some unrated gems. 

1. The Birds (1963)

In contrast to his first venture into the genre, Alfred Hitchcock's The Birds is simultaneously more hopeful and more ambiguous. Beneath the film's outrageous central concept there's a story about a dysfunctional family that is able to come together in a time of adversity. It's not a perfect film by any means, the effects work is overly ambitious at times and the reliance on rear-screen projection makes this one of Hitchcock's less visually interesting films. Yet the director is, as ever, the master of suspense and does a brilliant job slowly building the tension until it practically explodes in the third act. He also evokes a sense of dread and of mystery, evoking, at times, the sublime which is the true mark of horror in its purest form.

8.4/10

2. The Exorcist (1973)

The scariest movie ever made? Probably not but the slow burn pacing and subtle, character driven story feels refreshing in comparison to the frenetic, scare-a-minute possession films that owe their inspiration to this 1973 classic. The cast is in excellent form especially Ellen Burstyn as the harried mother and Jason Miller as the doubting Father Damien. Max von Sydow is perfectly cast in his brief but important role as the titular exorcist. Director William Friedkin takes a show-don't tell approach and Fr. Karras' character arc, in particular, is highly ambiguous. Does he despair in the end, or find redemption? There are no easy answers, but such is life. Ironically, it's the film's most iconic moments (the possessed Regan turning her head 180 degrees or crawling down the stairs on all fours like a spider) that left me cold. 

8.2/10

3. Tucker & Dale vs. Evil (2010)

Simultaneously a brilliant satire of slasher films and a heartwarming romance, Tucker & Dale vs. Evil is a rather underrated horror comedy. Tyler Labine and Alan Tudyk have perfect chemistry as the titular hillbillies whose peaceful vacation is interrupted by a group of college kids who mistakenly believe them to be serial killers. The resulting mayhem is bloody but also hilarious as the students inadvertently off themselves in increasingly creative ways including shooting themselves, impaling themselves with a stake, and jumping headfirst into a woodchipper (this is not a movie for the faint of heart), all of which is interpreted by Tucker and Dale as some sort of insane suicide pact. Grounding the film is the budding romance between the shy, insecure Dale and the levelheaded psychology major Allison. 

7.8/10

4. Stalking Moon (1968)

Though it's not really a horror film, Stalking Moon feels like a prototype for the slasher genre as its main antagonist Salvaje (which means "Ghost" in Apache) is portrayed as an almost unstoppable force of nature who, by the end of the film, racks up a body count that would put Michael Myers to shame. Stalking Moon is an excellent, straightforward thriller, a kind of film that's practically nonexistent today. Gregory Peck is excellent as the irritable but compassionate scout, Sam Varner as is Eva Marie Saint as the adopted white captive Sarah Carver, who's devotion to her Indian son is admirable even if it leads her to make some imprudent decisions. Charles Lang's austere camerawork is complemented by Fred Karlin's subtle, easygoing orchestral score. They really don't make em' like this anymore.

8.4/10

We also re-watched: 

5. Scream (1996)

In many ways Scream could be better described as a mystery thriller that deconstructs slasher movies then as a horror film in its own right. In any case, genre veteran Wes Craven, who played in establishing the genre with Nightmare on Elm Street, was perhaps the perfect person to tear it down, even if the script occasionally strays into the territory of a heavy-handed apologia for the genre ("Movies don't create psychos Movies make psychos more creative!"). It certainly helps that the main cast are all likable people (a rarity for the slasher genre) which makes it all the more suspenseful when they are placed in danger and keeps you guessing as to the true identity of the killer. 

7.8/10

6. Evil Dead 2 (1987)

A more slick film than its predecessor Evil Dead 2 is also even more off-the-wall with its, at times, surreal mix of horror and slapstick. Bruce Campbell is more seasoned this time around and, in addition to obtaining his iconic chainsaw hand, Ash also becomes the cocky, half crazed hero we all know and love in this film. Raimi ups his game with the camerawork in this film and the effects are, at times, astounding for a movie with such a modest budget. It's a more then worthy sequel by all standards, even if it retcons the original film. 

7.8/10

7. Army of Darkness (1992)

The final installment in Raimi's iconic trilogy fully embraces the absurd as Ash is transported the Middle Ages where he must retrieve the Necronomicon and fight off an army of the dead in order to earn his way back home. The horror this time around is muted in favor of a more lighthearted send-off for Ash, who must overcome his selfish tendencies and assist the "primitive screwheads" who he has gotten into trouble through his own incompetence. Raimi's cinematic influences were never more apparent, and the film, at times, feels more like a loving, zany tribute to Ray Harryhausen and the Three Stooges than anything else. The film oversteps its budgetary constraints at times and is lacking in the low budget charm and efficient pacing of its predecessors but it's still the most purely entertaining of the trilogy. 

Score: 7.6/10

Next week I'll tackle the Chucky movies...