Category Archives: Horror

Scary Season #4: Angel Heart

 

There aren’t very many films that blend horror with film noirbut 1987’s Angel Heart is one of them.

In Post-war New York Private Detective Harry Angel is commissioned by French Client Louis Cyphre to discover if pre-war Big Band Singer Johnny Favorite, who has debt to Cyphre, is alive or dead. Angel’s investigation leads him from New York to New Orleans and at seemingly every turn vital witnesses are brutally murdered implicating Angel. Johnny’s trail leads Angel into a web of Satanism, Black Magic, sensationalized and sexualized depictions of ‘Voodoo,’ and the truth behind Johnny’s mysterious disappearance.

Angel Heart fails to fully realize its premise and never succeeds at either its Noir nor its Horror aspirations. As a Noiris doesn’t provide enough twists and turns in the narrative with each link in Angel’s investigation leading to the next without much detecting or discovery required by Harry. Rather than key pieces coming together after his diligent work the solution to Johnny’s disappearance to given as an expository dump by the final witness. Speaking to its horror aspect the story again fails to lay out a foundation prior to the reveal that recontextualizes the murders and the truth that had been hidden. The very same expository dump that explains the mystery also serves to reveal the black magic at its heart and that is simply too much for one scene of exposition to lift.

The greatest failing of Angel Heart is that until the very final moment of the film it is all plot and not story. Harry is hired to find a missing singer. This is just another job for Harry without emotional and personal importance. The dangers become personal as the murder pile up and he becomes more and more implicated but that seemingly has little or nothing to do with Harry’s character. When a story involves a character enacting their profession it needs to transcend those requirements of the job and become personal to have emotional weight. A doctor working to save a patient’s life is a plot, a doctor who has become hopelessly in love with his patient and cannot live without them and now must save them is a story. To price of failure rises above the routine. Harry, until the final scenes, has no personal stakes in the investigation and thus has no personal story to tell.

With the film’s flaws there are reasons to watch Angel Heart. The cinematography is luscious capturing the grime and grit of New York city equally well with the heat and humidity of New Orleans. Director and screenwriter Alan Parker leans into symbolism and a fractured narrative that foreshadows Lynch’s own exploration in Noir horror with his Mulholland Dr. giving Angel Heart an almost dreamlike logic.

I watched Angel Heart on my own Blu-Ray Disc.

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Scary Season #3: The Raven (1935)

Poe has for a long time been a source for Hollywood to mine in search of new horror properties. 1935 the year the production code went into full effect Universal released The Raven very loosely adapted from Poe’s poem and starring the two biggest stars at the time in horror, Lugosi, and Karloff.

Lugosi plays Dr Vollin a brilliant but vain and arrogant surgeon. After saving the life of a daughter of a local judge Vollin becomes infatuated with the young woman and then mad when his ‘affections’ are not returned. In a plot contrivance of convenience Edmond Bateman, played by Karloff, an escaped convict under a death sentence attempts to force Vollin to perform plastic surgery so that he might escape the law. Vollin turns the tables on Bateman and intends to use him as part of his revenge on all who have denied him his true happiness.

The Raven (1935) is not very good but with a runtime of just one minute over an hour it doesn’t take up much if your life either. Karloff delivers a surprisingly nuanced performance that has echoes of his portrayal of the creature in 31’s Frankenstein. Lugosi, in the calmer more deliberate moments of his character is quite good however when the final act rolls around and he goes big his performance turns comical and appears even more so in contrast to Karloff’s in the same scenes where his understated delivery steals the moment. The movie may be unique for its second act interpretive dance of Edgar Allen Poe’s The Raven, but that itself is not enough to save this picture.

The Raven is currently stream in on The Criterion Channel as part of their Universal Monsters Collection.

 

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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Scary Season #2: Squid Game (2 episodes in)

 

The new Netflix sensation, from South Korea, is Squid Game a television series where desperate people play games from childhood with failure meaning their deaths and a promise of great financial reward.

There certainly are a lot of varied and interesting film and tv projects coming out of South Korea from the Academy Award winning film Parasite to perhaps the best zombie movie ever produced Train to Busan the creative cloud from that peninsula has been fruitful. Squid Game promises tension, suspense, and graphic violence with the right amount of social commentary blended into the story.

Two Episodes into the 9 we seem to have settled on to five principal characters:

Seong Gi-hun: A gambling addict and petty thief whose irresponsibility has cost him his daughter and threatens his mother’s health.

Cho Sang-woo: Primary schoolmate of Gi-hun. His family and the neighborhood believe that Sang-woo escape the poverty of their neighborhood by a college education and business success, but embezzlement and fraud has placed him deeply in debt.

Kang sae-byeok: A young woman who escape North Korea with her younger brother and is now desperate for fund to smuggle her parent into South Korea.

Abdul Ali: A Pakistani worker who has been exploited by an unscrupulous employer and has a wife and child to support.

Jang Deok-su: A mid-level gangster on the run from his criminal gang because of stolen funds to feed to gambling debts to foreign casinos.

Of these five characters I have the most sympathy for Sae-Byeok and Ali who seem to have the least responsibility for their dire plights. Gi-hun was the character we met first but his constant whining, refusal to take responsibility, and stealing from his mother’s bank account made the character wholly unlikeable.

That said Squid Game is a series centered on character and though the violence perpetrated is graphic and on-screen the central question is how far will these people go for cash and how much responsibility does the system bear for their plights? The production values are high with the series displaying talent in front and behind the camera. If graphic violence is not a dealbreaker for you then Squid Game on Netflix is worth a shot.

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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The Film That Almost Got Away

 

Wednesday when I posted about all the movies and films, I plan to see in theaters during October I missed one that had nearly passed by unnoticed in the crush, Lamb.

Lamb appears to be a folk horror film set among the windswept terrain of Iceland. It stars Noomi Rapace and Bjorn Hlynur Haraldsson as a grieving farming couple who discover and adapt a strange and unsettling changeling in a desperate attempt to assuage their sorrow.

I fully expect Lamb to be a film that deals in symbolism, imagery, and the power of what is left unsaid rather than a run-and-scream sort of horror. Rotten Tomatoes is currently running a 40 point deficit between critical and audience response a pattern most often seen with artistic, experimental, and challenging films. (As an example, Robert Eggers’, The Witch (2015) one of my favorite recent horror films runs a 31 point deficit.)

Lamb is an A24 Studios release. A24 has released a fair number of interesting, thoughtful, and challenging films including such unusual fare as Under the Skin, Locke, Ex Machina, Moonlight, Uncut Gems, and Midsommar to list just a few from their quite eclectic catalog. I am quite looking forward to Lamb, which opens this weekend, but we are seeing next Sunday.

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Cinematic October

 

First off, sorry about not posting yesterday. I awoke with aterrible migraine and between the pain and the light-headiness after the medication took effect very little creative brainpower remained.

October 2021 is shaping up to be quite a cinematic one for me. I kicked off the month with Venom: Let There Carnage, wasn’t great wasn’t terrible. Tonally uneven and bit choppy like the previous film in that franchise.

This weekend it is No Time to Die the final Daniel Craig James Bond film. Craig started with Bond in Casino Royale and is hands down my favorite Bond. While some in his series have been disappointments other have been stellar.

The weekend after Bond will belong to The Last Duel a medieval story inspired by actual events starring Jodie Comer, Matt Damon, and Adam Driver. Directed by the incomparable Ridley Scott if the script is up to snuff it will be a masterpiece otherwise it will simply look terrific.

After the blood and guts of medieval combat we swing to the blood and guts of far future combat with Dune and Denis Villeneuve’s attempt to bring this massive and dense novel to the screen. After his SF films Arrival and Bladerunner 2049 I have some faith that this director can approach the material with the intelligence.

October will close, as it should, with horror and the release of Last Night in Soho, a horror film from celebrated director Edgar Wright and starring Thomasin McKenzie and an actress famous for portraying a Thomasin, Anya Taylor-Joy. From the trailer is appears the film splits it time between swinging 60s London and the present day in a disturbing tale of possession.

All in all, this month looks to be exciting.

 

 

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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Spooky Season I: The Texas Chainsaw Massacre

 

I kicked off Spooky Season 2021 watching 1974’s The Texas Chainsaw Massacre, a foundational film in the slasher genre and one that I had never seen before. (I must confess of the various sub-genre of horror slashers are among the least like by me.) Made for the equivalent of 700,0000 dollars today, TTCM is a very low budget exploitive movie that had surprisingly little gore or explicitly depicted violence/ It is also in my eye quite dull, uninteresting, and generally unworthy of viewing.

Five young adults, couples Sally and Jerry, Pam and Kirk, along with Sally’s brother Franklin, a wheelchair user, drive is rural part of Texas after reports of graverobbing to ensure that Sally and Franklin’s grandfather’s grave is not among the violated. afterwards they visit the family homestead, long abandoned, and after becoming separated one by one fall victim to a local family of cannibals one of, Leatherface, murders and dismembers the victims with a chainsaw.

Directed, produced, and co-written by Tobe Hoppe, TTCM makes the most of its limited budget, shooting locations, and cast and could have been a far more interesting movie. Its essential flaw is that the five central characters lack any real sense of character. Of these young people in peril the only defining characteristic I can recall from last night’s viewing is that Pam believes in astrology. Beyond that I can’t tell you anything about each of them as a person, other than the cinematic cliches of being quite dim about entering strange buildings uninvited and refusing to go to authorities when people go missing in the wilds at night. This lack of character or personality ultimately means a lack of caring as people stumble blindly into their doom. Rather than a sense of tragedy from unforeseeable events I experienced only boredom and irritation at their actions and dialog. Luckily the movie runs a brief but seemingly interminable 83 minutes.

The Texas Chainsaw Massacre is currently streaming on Shudder as one of their ‘essentials.’

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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Streaming Review: Thale

 

Thale is a 2012 Norwegian horror film about two men, Leo and Elvis, who are contracted to clear away the remains of bodies of people whose corpses were either not discovered before serious decomposing has set in or had died violent messy deaths. While on a job at a remote forest cabin they discover hidden rooms in the building’s basement and a mysterious young woman, nude and mute.

I struggle to accurately name Thale a horror film in part because for so much of the movie’s run time very little occurs. Now, I am not one who lacks patience for a ‘slow burn’ of a horror film, in fact a well crafts slow burn is my favorite style of horror film making but Thale seems to lack enough plot for its scant 76-minute running time which honestly felt much long. As a short feature, 30 minutes or so in length it would have packed a much more powerful punch but over an hour with its extremely limited plot the film drags. The story draws on Scandinavian folklore and had the filmmakers leaned more into that aspect of the tale they might have achieved, even on their quite limited budget, a more effective film. This film is not clumsily made, and it is well shot and well-staged and for some it may act as a curious diversion but for me the film failed to lift off and merely taxied to its runway without every taking flight.

Thale is currently streaming on Shudder.

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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The Intersection of Noir and Horror: Mulholland Dr.

 

It has taken me a long time to realized that my endless fascination with David Lynch’s Mulholland Dr. is in part because the dream-logic, nightmare-adjacent film is a fusion of two of my favorite film genres, Noir and Horror.

Mulholland Dr is a twisted terrifying tale of Hollywood, the emptiness of its illusions, the corrosive nature of obsessive dreaming, and the ultimate destruction of self and identity when we allow our dreams to become more vital than our reality.

Naomi Watts stars as Betty a fresh-faced aspiring actress recently come to Hollywood after winning a dancing contest and as Diane, a bitter broken woman whose dreams of stardom and love have been crushed by the heartless engine that is Los Angeles. Laura Harring plays Rita, a mysterious amnestic woman who has barely survived an attempt on her life that stumbles into Betty’s life and Camilla, as fellow actor that has all the success Diane never achieved and who has spurned Diane for other lovers leaving Diane bitter and murderous.

If that sounds confusing it is but that is often the deep style of a David Lynch film. Lynch doesn’t photograph reality but rather his films follow the logic of a dreamer on the cusp of waking and often it can be difficult or even impossible to separate what is real from what is dream and what is symbolic. Lynch rarely will have explanations within his narrative and outside of the piece never explains his work. It is your viewing and your emotional reaction and your interpretation that matters as to a film’s meaning. The film is incomplete without your participation in the dialog between artist and audience and Lynch will not corrupt the process by instructing you on your side of that conversation.

The most common description of the events of Mulholland Dr., and one I agree with, is that Betty is the escapist dream of failed Diane’s life, and that in the Club Silencio scene the dream crumbles revealing disastrous reality that collapses into hallucinatory psychosis.

This film is a niche taste and not for those expecting a direct, linear narrative where what you see on the screen reflects a fictionalized reality.

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Genre Blender

 

Genres are cool and useful guides to what a story is about. If I tell you a story is a horror you know that you should feel tense and unsettled as it unfolds and perhaps even after it is over. If it is a romance, you will hopefully feel joy and fulfillment by the end. When two genres are combined then something truly wonderful and magical is possible. Alien the movie that launched countless imitations artfully blended science-fiction with horror, it was by far not the first to do so but its unparalleled quality elevated it above the material that had come before. My own novel Vulcan’s Forge is a combination of colonial science-fiction and 40s styled film noir.

I have started in on a short story blending two genres that are wildly different and I hope I have the skill to pull it off even halfway decently, forward-looking science-fiction and tradition oriented folk horror.

Folk horror is a sub-genre of horror fiction that fixates on isolated usually rural setting and communities where the old ways are not only now forgotten but are usually embraced and practiced with zealotry. Where strangers confronted with unknown customs and filled with derision for these communities often meet untimely fates. A perfect example of this style of horror and one of my favorite films is 1973’s The Wicker Man.

I think science-fiction, with its emphasis on the new, the novel, and the future makes for an excellent contrast with folk horror with its dedication to tradition, custom, and the wisdom of the past. I hope I can do justice to moth forms.

 

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Things That Bug Me in the Alien Franchise

 

Don’t get me wrong, I adore Alien and Aliens, (Cubed can be dropped into the sea with the tesseract and Resurrection feels like a beta-edition of Firefly), I watched the first film during its

Alien and images are copyrights of 20th Century Fox

premier run in theaters and aside from the chest-buster in the moment before it sped away reminding me of Michigan J. Frog it excelled as a horror film, but there are elements in the pop culture surrounding the films that rub me the wrong way.

Xenomorph: I hate, hate, hate that people call the titular alien Xenomorph. First off Gorman used the term in Aliens, ‘a xenomorph may be involved’ clearly as a generic classification for any alien lifeform since aside from Ripley no one had ever seen or reported this beastie before. So, Bob, I hear you cry what should we call it? In the years before ‘xenomorph, hell before James Cameron’s Aliens was released me and my gaming group had a quite rational name for this thing, the Zeta Reticulan Parasite, since it was discovered at Zeta 2 Reticuli.

Flame Throwers: In the sequels that followed the titanic success of the first film there has been repeated reliance on using flame as a weapon to corral and herd the parasite. Good God people flame and flame throwers are useless against the creature. You can see how well they helped the first crew. Fire didn’t save one and there’s a very rational and simple reason for this. Ash was a fucking robot out to do the company’s bidding and when he suggested fire he was lying and not giving actually good advice. He already understood that it layers of silicon would help protect it against flame and fire.

A Killing Machine: From Cubed onward through Resurrection and the crossovers with the Predator franchise the parasite has been reduced to a slasher, killing to kill without motivation or purpose. In Alien and Aliens, it was following its lifecycle, not killing save when it was forced to or cornered, but breeding, reproducing. While Cameron deviated from O’Bannon’s original intent and planned lifecycle with the introduction of the Queen, O’Bannon had planned that captured organisms were cocooned and slowly transformed directly into the eggs that Kane has discovered, it still worked quite well as a highly unlikely but still credible cycle for the organism to follow. However, in the following movies the beast kills to kill and provided shock in place of horror.

Well, that enough ranting to kick off September.

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

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