Shocktober 2022, Week 3

     In the past, my brother and I have watched through the Halloween, Friday the 13th, and Nightmare on Elm Street series. This year we watched all of the Child's Play movies, which was a more grueling experience then I had anticipated.   

 1. Child's Play (1988)

A less outright campy film then I anticipated, Child's Play is a solid slasher with unusually likable, grounded characters, impressive special effects and solid direction from Tom Holland (who also directed the underrated cult classic Fright Night). What was most surprising is how restrained the film is. The body count is remarkably low, and the blood are gore are kept to a minimum. The films greatest liability, ironically, is Chucky himself. The thuggish New York mobster voice used by Brad Dourif (who I usually love) lends a comic effect to the otherwise creepy doll and the more he speaks, the less scary the film is. 

Score: 7.5/10

1. Child's Play 2 (1990)

The second film in the series is closer to what I would have expected, a semi-serious slasher with a good does of camp. The blood and gore are amped up, though its still relatively restrained until the climax, and the deaths feel more mean-spirited this time around. Chucky has more screentime in this film but the film wisely remains centered on Andy Barclay (Alex Vincent reprises his role from the original) and Christine Elise is a good addition as Kyle, a fellow foster kid who takes Andy under her wing. It is less scary then the first film, and not as well-paced, but overall it is a solid sequel. 

Score: 6.8/10

3. Child's Play 3 (1991)

Andy (now played by Justin Whalin) is recast as a teenager this time around but, surprisingly the filmmakers did not decide to increase the sexual content (usually a staple of the slasher film) and, if anything, Child's Play 3 feels more benign than its predecessor. That's about the only compliment I can give this film, which is boring in the extreme. The pacing is erratic and the characters stupid and dull. The rules established by the first film are ignored (a trend which will only increase as the series goes on) and the credulity of a 4-foot-tall puppet menacing full grown adults is only exacerbated by this film's military school setting.

Score: 5.6/10

4. Bride of Chucky (1998)

A soft reboot, Bride of Chucky sees the titular possessed doll resurrected through the efforts of his old flame Tiffany (played by Jennifer Tilly). The plot is incredibly contrived and the conditions for Chucky to possess someone else's body are almost completely retconned. The main characters are bland and there is much more screentime dedicated to Chucky (as opposed to the "sympathetic" human characters) then heretofore. The romance introduced between Chucky and Tiffany leads to some really bizarre sexual content and, coupled with completely unnecessary BDSM elements early on, this makes watching the film a distinctly uncomfortable experience. 

Score: 3.2/10

5. Seed of Chucky (2004)

The focus in this installment is squarely on the puppets and the result is an almost unwatchable mess. Glen, the child of Chucky and Tiffany resurrects them this time around (in a way that, once again, ignores previously established lore) and the plot involves Chucky's family trying to attain human bodies. They single out Jennifer Tilly (played by herself) and the director she is having an affair with but to supply a body for Glen they impregnate the actress. There is not as much uncomfortable sexual stuff this time around but the series does begin to dip into LGBT themes (which will continue in the final film, also directed by Don Mancini).

Score: 2.6/10

6. Curse of Chucky (2013)

In this, the first direct-to-video installment in the franchise, director Don Mancini returns to the series roots. Chucky is mysteriously mailed to the isolated home of paraplegic Nica Pierce and her mother Sarah. When the mentally unstable mother's death is attributed to suicide, Chucky begins killing off the grieving family members one by one. It's a good premise but the film is held back by its limited budget and a rather contrived plot. Continuity with the previous film is maintained (shakily) by a third act twist which undermines, to some extent, the verisimilitude of the film and hurts the pacing via tedious expository flashbacks.  

Score: 5.8/10

7. Cult of Chucky (2017)

The last installment of the franchise (now continued in the 2021 SyFy television series) sees Nica Pierce, committed to an insane asylum after the event of Curse of Chucky, stalked once again by the killer doll.  Alex Vincent returns as Andy Barclay (introduced in an after-credit scene in the previous film), now an obsessive adult, who is determined to destroy Chucky once-and-for-all. The lore is, to use a charitable term, expanded, and now Chucky can inhabit multiple bodies at once. Chucky has become such a parody of himself that the film is almost completely lacking in genuine suspense. This is easily the most mean-spirited film in the series and watching Chucky (and even some of the staff and the asylum) torment the poor mental patients makes for tedious viewing.

Score: 4/10

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... 

Shocktober 2022, Week 1

Well, it's that time of year again! My brother and I have once again set out to watch a horror film every day this month. This week week continued our watch-through of the Universal horror cycle (you can read my thoughts on the films up to this point here, and here). 

1. Son of Frankenstein (1939)

The third in Universal's Frankenstein cycle, and the last to feature Boris Karloff as the legendary monster, Son of Frankenstein sees Basil Rathbone as the titular son of the mad scientist from the original film returning to the family estate to complete his father's work. Though lacking deeper themes of the first two movies, this film retains the gothic visuals and slick production value associated with this middle era of Universal horror. One of the more memorable images is of the monster, seen only in silhouette, throttling an unsuspecting victim. The monster's "death" scene is probably the most dramatic up to this point, as it is thrown into a pit of molten sulfur and dies an excruciating death which anticipates that of the T-1000 in Terminator 2. It also has a great cast. Karloff is magnificent as usual, even if his role is less juicy this time around. Rathbone makes for a cool-headed contrast to Colin Clive's neurotic portrayal in the earlier films. Bela Lugosi steals the show as Igor, a now iconic character introduced for the first time in this picture (the original film had a similar character whose name was Fritz). Lionel Atwill is also featured in a memorable role as the shrewd, one-armed Inspector Krogh. On the other hand, American actors Josephine Hutchinson and Donnie Dunagan feel slightly out-of-place in the 18th century German setting. Nevertheless, it's a solid sequel overall. 

Score: 7.8/10

2. Tower of London (1939)

A fairly faithful B-movie version of Shakespeare's Richard III, Tower of London is not really a horror film in the conventional sense. As in the play that inspired it, there is plenty of murder and, added here, a good does of macabre imaginary courtesy of Boris Karloff's fictional, club footed executioner, Mord. The role of Richard III was offered to Brian Donlevy and George Sanders but ultimately went to Basil Rathbone, an obvious choice in retrospect. The cast is excellent all around especially Vincent Price, who impresses in one of his first roles as the drunken, cowardly Duke of Clarence. The film also impresses visually, which is not surprising considering that director Rowland V. Lee went over budget in order to complete it. Art director Jack Otterson consulted historical records to recreate the titular tower and the studio hired over 300 extras to recreate the battles of Bosworth and Tewkesbury. The film's use of traditional Latin hymns contributes to its historical verisimilitude and George Robinson's atmospheric cinematography captures the action with great aplomb. 

Score: 8.5/10

3. The Invisible Man Returns (1940)

Vincent Price steps into Claude Raine's shoes in this sequel to the 1933 classic. His character, Geoffrey Radcliffe, (a different invisible man from the one portrayed by Raines) is decidedly more sympathetic then his predecessor. Convicted of the murder, Radcliffe is saved from death row by the brother of the original invisible man (John Sutton), who, convinced of Radcliffe's innocence, gives him the invisibility potion to allow him to escape. Sir Cedric Hardwicke plays the real murderer while Nan Grey is Radcliffe's patient and loyal fiancé. The film plays on the plot of the first film by having Radcliffe struggle to keep at bay the megalomania which consumed the first invisible man and Price elevates what is otherwise a fairly by-the-numbers sequel, lacking the witty, darkly comedic script of the original. 

Score: 7.5/10

4. Black Friday (1940)

Uniting Boris Karloff and Bela Lugosi for the fifth time, Black Friday is another quasi-horror film, wtih elements of science fiction and film noir. Karloff stars as Dr. Ernest Sovac, a scientist who uses his experimental brain transplant procedure to save his friend Professor George Kingsley (Stanley Ridges) after he is fatally injured in a traffic accident. Unfortunately for Kingsley, Sovac was forced to use part of a criminal's brain to rehabilitate him, leading the professor to develop an alternate personality. There are clear shades of Jekyll and Hyde here but also of Frankenstein as Sovac allows his ambition and desire for fame to get the better of him and puts his friend in danger for his own aggrandizement. Lugosi is featured in a minor role as a gangster but, sadly, shares no screentime with Karloff. 

Score: 7.4/10

5. The Mummy's Hand (1940)

The Mummy's Hand is not really a sequel in the conventional sense as none of the characters from the first film return, but it set the standard for the series moving forward, introducing Kharis, the iconic mummy wrapped in bandages (portrayed here by Tom Tyler) in contrast to the more regal figure played by Boris Karloff in the 1932 original. Dick Foran (best known for his singing cowboy roles) is the lead, playing an archeologist named Steve Banning who is convinced that he has discovered the location of Princess Ananka's tomb. Peggy Moran is his love interest while Wallace Ford and Cecil Kellaway provide the (occasionally out-of-place) comic relief. Eduardo Ciannelli rounds out the cast as the Egyptian priest tasked with keeping Kharis alive. The characters are likable and there's some really creepy imagery, but the film is held back by its inconsistent tone and slow pacing (the monster doesn't show up until the half-way mark). 

Score: 7.5/10

6. The Invisible Woman (1940)

Completely unrelated to the films the preceded it, The Invisible Woman features Virginia Bruce as Kitty Carroll, who volunteers for Professor Gibbs' (John Barrymore) invisibility experiments in order to get revenge on her overbearing boss.  Essentially a screwball comedy, Woman is certainly the funniest film in the series and features some truly memorable gags. It also features some of the more impressive special effects in the series. On the other hand the plot is rather unfocused at times and the romance between Carol and Dick Russell (a rich playboy portrayed by John Howard) is underdeveloped. The film also feels more than a little exploitive in its treatment of Carol, particularly in any scene where she takes her clothes off (there's no nudity of course, as she's invisible). 

Score: 7/10 

We also re-watched:

The Evil Dead (1981)

Though easily the weakest of the trilogy on a technical level, I've always been drawn to the first film for its creative ingenuity. Sam Raimi basically went out with a few friends and a 16mm camera and made the film on a shoe string budget. The grotesque effects are incredibly impressive considering the film's budget and Raimi's camerawork is deservedly the stuff of legend. It's not a great film by any means (the plot is confusing, the performances hokey, and the characters paper thin) but I find it endlessly rewatchable. The fact that Raimi was a Michigan native and choose the historic Redford Theater (which I've been to many times) for the film's premiere also makes it more endearing (if such a term can be used to describe a film where a character is raped by tree). 

Score: 6.8/10