Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts

Wednesday, May 25, 2011

Nosferatu

aka Nosferatu, eine Symphonie des Grauens
(Nosferatu: A Symphony of Horrors)
F.W. Murnau, 1922, Germany, bw (8.4*)
One of the first freaky vampire films from one of the first great directors of the school known as German Expressionism, this character is truly horrifying. Admittedly a little dated in the modern era of special effects, but imagine seeing this type of film in 1922, there had probably only been a handful of scary films made by that time, so there was nothing as evil-looking as this in the early days of cinema.

Murnau designs his films like 19th century art, to control the mood and atmosphere of the story, and transfer that mood to the audience to enhance he story - remember they had no sound to make creepy horror effects, no squeaking board or doors, no howling winds or ghosts, no screaming, just silent horror.

This is No. 48 on our compendium of all film polls

Fans of Murnau or German expressionism should also check out Sunrise: A Story of Two Humans, winner of 3 Oscars® at the 1928 awards, for artistic picture, actress Janet Gaynor, and cinematography.

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Saturday, March 5, 2011

Poltergeist

Tobe Hooper, 1982 (8.5*)
"They're here!"
Produced by Steven Spielberg, with special effects from the Industrial Light and Magic studio, this is one of the most effective ghost stories ever filmed. Coming on the heels of Star Wars and Close Encounters, the same production values went into this tale of a suburban nightmare in which a little girl, played by Heather O'Rourke, along with the family dog, senses the attempts of contacts from "the beyond".

Pot-smoking parents Craig T. Nelson and Jobeth Williams are skeptical and confused at first but thanks to a miraculous display of kitchen chair stacking, both become aware that something supernatural may be present in an otherwise normal and boring household.

This may get a little over the top toward the latter stages with a lengthy ending, but it's still a bone-chilling excursion into the unknown. Add the fact that over 70% of Americans surveyed feel that they've been contacted by deceased loved ones, and that eerily two cast members died shortly after the film's release (O'Rourke died, and Dominique Dunne, the older daughter here, was murdered by an ex-bf), this story strikes a familiar and credible nerve in most people.

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Thursday, December 23, 2010

What Ever Happened To Baby Jane?

Robert Aldrich, 1962, bw (8.4*)
Anyone who doubted that Bette Davis is the best actress of the 20th century only need see her sadistic domineering role in Baby Jane, where she plays a psychotic "American Sweetheart", a former child star gone mad who looks like a senile Mary Pickford or Shirley Temple with dementia.

Jane Hudson is former child star "Baby Jane", now retired in L.A. with only memories of her stardom. The object of adult Jane's ire is her partially paralyzed sister, Blanche, wheelchair bound and dependent on Jane's care, which includes being tied up and occasionally beaten. Long-time acting rival Joan Crawford is also perfect in this part, and based on the hearsay that they were never friends, one can actually feel Davis' hatred of Crawford, and imagine that she relishes the punishment she dishes out to her on celluloid. In one particularly creepy scene, she dumps Blanche on the floor then kicks her around like dirty laundry.

This is one of the more spine-tingling films ever put onscreen, for unlike a typical Universal horror film, here the violence and terror is all too real. We've all known elderly people who have a screw loose or two, but Jane has come completely unhinged altogether, yet is still in charge of her own life and her sister's. Blanche seeks help from outsiders, but is constantly twarted by Jane, often in the nick of time in true "Hitchkockian fashion".

The beauty of Davis' performance is that she can shift from demented anger to girlish charm as the situation demands, and yet she is especially creepy in either guise. Davis was only 54 when she played this part, but due to garish white makeup and especially baggy eyes, she appears to be in her 70's, yet still wears the dress and hairstyle popular when she was a child star. Only a true actor would allow herself to be filmed while looking worse than death itself.

She was nominated for numerous acting awards for this performance, including all the big ones (Oscar®, BAFTA, Golden Globe) yet won nothing. The film won 2 awards out of 12 nominations, one Oscar® for bw costume design, and was actually a runner-up at Cannes.

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Friday, May 15, 2009

Dead Ringers

David Cronenberg, 1988 (6.8*)
This is an acting tour-de-force by Jeremy Irons, who plays twin gynecologists, one of whom has a decidely warped sense of reality. The brothers don’t let people know they are twins, which allows them to switch off with a new lover, played by Genevieve Bujold. It also lets them play around in a world of their own fantasy creation for the most part. Somewhere down road to bliss one brother takes a definitely wrong turn, and ends up somewhere between Salvador Dali and Marquis de Sade. Irons makes both brothers just slightly different, and turns in not only a career best performance but one of the best of all-time.

Puzzlingly, Irons wasn’t even nominated for an Oscar®; a group of actresses led a write-in campaign in protest but the Academy refused to accept the ballots. When he won the Oscar® for his next, and definitely inferior performance in Reversal of Fortune, he said “I have David Cronenberg to thank for this, and some of you out there know what I mean.” Like most Cronenberg films, this one is very disturbing and has some gore, which detracts from an otherwise interesting psychological study, but still worth seeing for the Irons performance alone.

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Friday, April 3, 2009

The Testament of Dr. Mabuse

Fritz Lang, 1933, Germany (8.0*)
This is an amazing film for its era, also known as "Crimes of Dr. Mabuse". Those who had Poltergeist make the hair on their neck stand up will likely feel chills from this film as well. Master director Fritz Lang is more well-known for "M" (Peter Lorre as a child killer) and the SciFi classic "Metropolis" (he likes the "M" thing!), yet this film has more radical (ie, advanced) film techniques for the time, especially special effects of ghosts. The film is about a psychological study of a madman, Dr. Mabuse, in an asylum for 10 years, whose writings have progressed from rampant hallucination to lucid descriptions of perfect crimes.

This is all innocent until the crimes start being committed, exactly as Mabuse wrote them. A police detective is baffled and investigates the case, while the psychiatrist is obsessed with studying Mabuse. We see some incredible ghost effects, as an apparently "projected ghost" from the still living Dr.Mabuse talks to, and hands items to the living. This is an excellent early crime (and horror) film, of course, dated by today's standards, but should be seen by all film students, and fans of old crime movies. This film makes all the "critics all-time best" lists. In German with subtitles.

Note: known as "expressionism", these are films that show a character's inner torment as external visualizations in film. Lang hated the term but was its best practitioner.

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Friday, February 6, 2009

Requiem for a Dream

Darren Anorofsky, 2000 (10*)

This film is without doubt the most intense movie I've ever seen – in fact, I had to take a break halfway and finish it later, one advantage of dvd over the theater. It’s a total work of art, but one that will leave you emotionally drained. It’s a story of addiction of all kinds: drugs, tv, food, hope. Ellen Burstyn, who is mind-blowing in this (and spent 4 hrs a day in makeup), her greatest performance (Oscar-nominated, it should have been her 2nd after Alice Doesn’t Live Here Anymore), plays Sarah Goldfarb in Brooklyn, whose only son, played by Jared Leto, routinely pawns her tv to buy drugs, and Sarah buys it back each time. She dreams of being on tv, and may get her chance on a motivational program where huckster Tappy Tibbons sells optimism that he calls "juice" for one easy payment (a thinly disguised variation of Tony Robbins?), well-played by Chrisopher MacDonald. Before that she wants to lose weight, so she finds a doctor to give her diet pills.

Her story begins to parallel her son’s, who spends time with girlfriend Jennifer Connelly, in her most demanding and best performance (I now believe her Oscar for A Beautiful Mind was due to her snub for this), and friend Marlon Wayans, who is surprisingly effective in a rare dramatic part. Anorofsky uses machine-gun fire editing, odd camera angles, blurred fast-motion sequences, and a special actor-mounted camera to create a nightmare world of dreams blurring reality for all involved. For some this was distracting, for me it totally involved the audience in a world where reality is a vaporous vision, constantly shifting until you don’t know what’s real and what is imaginary.

This film may be too shocking to watch; it likely deserves an X-rating for emotional trauma. I’m sure it scared the heck out of Hollywood; it was made with the assistance of Sundance. Traditional movigoers and filmmakers wouldn’t go near this subject, based on major American author Hubert Selby’s novel from 1978. Selby is best known for this 1964 classic Last Exit to Brooklyn, which shocked the nation, but wowed book critics, and caused an obscenity trial in England. (see below for some Selby quotes from an interview on the dvd). Director Anorofsky’s only previous film was the engrossing intellectual drama in black and white, Pi (review upcoming), about obsessed numerologists hunting for the “key to the universe” hidden in the Bible in the numeric values of Hebrew letters (!) This is major art for a second film effort, for anyone’s film effort actually. This is more intense than Tarantino, Scorsese, or Cuckoo’s Nest, and likely too intense for the average movigoer - if you enjoy Adam Sandler, or Lethal Weapon movies, you probably won’t like this. But a film this visually stunning will be studied by cinema students for decades, and is a treat for the serious film connoisseur.

Here's Roger Ebert's longer and more descriptive review in the Chicago Sun Times, he agrees that it's "adults only", unless you know a kid doing drugs:
Roger Ebert's Requiem Review

[Note: I’m giving it a 10 for its mind-blowing visuals, overcoming any story faults. The scene they’ll discuss for years is Burstyn cleaning her apt from end to end in 25 seconds of film, in super-high speed, while the camera slowly tracks past each room. This took 40 minutes and was one take; when done, Ellen was disappointed with herself and wanted to do another take. The dvd will show you how it was done. I’ll have to admit that when the film was over, I needed a drink and a walk outside, I was shaking for half an hour.]

Hubert Selby Quotes (Selby has a brief part in this as a prison guard)
“About age 8, I discovered that the world was full of pain and suffering, and I decided I had to try to end that suffering.”

“I had tb after world war two; a doctor looked me and said, ‘there’s nothing we can do for you’, walked away and sent me a bill. Man, do I love the AMA.”
(This almost killed Selby, he had a lung and 10 ribs removed, but survived. He also had brain damage during childbirth, yet has become one of the most important American authors, compared to Dostoevsky)

“The Sanskrit and Hebrew word for eye is ‘fountain’, they say we project our souls onto the world through the eye, not perceive the world outside projected inward.”

“Suffering comes from the fact that life is pain, and we refuse to accept the pain that all must experience; the worst pain will be losing one’s mother, hence ‘I feel like a motherless child.’”

“I had a spiritual experience once; during that I knew that as I’m dying I’ll think two things: first that I wasted my life, then that I’d like to live it all over – and then I’ll die.”

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Monday, January 12, 2009

An American Werewolf in London

John Landis, 1981 (8.3*)
For me this is Landis’ best film, in spite of Animal House and Blues Brothers. I think partially because I don’t like vampire, werewolf, or horror films and he was able to make a werewolf movie that I did enjoy, and it actually seemed the best paced of those three films. It also stars the lovely Jenny Agutter (Walkabout), a plus for any film, and has an acceptable performance for once by David Naughton as the title character, a visiting tourist who gets bitten by a werewolf. Dominick Dunne is hilarious as a recent victim and constantly deterioriating ghost who refuses to leave the scene, and keeps pestering Naughton’s character relentlessly. When Naughton tells him he reeks, Byrne replies "what do ya expect, I'm dead!" Very good special effects, they kept it simple and told a classic horror tale that you might find in the 19th century, but with much better available film technique than the classic bw horror films.
PS - Hey, whatever happened to Jenny Agutter?

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Thursday, September 11, 2008

The Sixth Sense

Dir: M. Night Shyamalan, 1999 (8.8*)
A chilling and subtle study of the afterlife, as psychologist Bruce Willis meets a young boy, Joel Hayley Osmont in an Oscar-nominated role, who “sees dead people” - Osmont deserved at least a special Oscar, he was believable and carries this film. That’s just the beginning of this creepy film that slowly uncovers its secrets. Like a classic ghost story, the scares come from anticipation and not excess or violence. It’s been said that Shyamalan was trapped under a frozen pond over 20 minutes when a child and survived, and has “seen dead people” ever since, so this could be autobiographical; who knows, he stops interviews when anyone brings this up.

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Sunday, August 31, 2008

Aliens


James Cameron, 1986 (9.2*)
Cameron’s best-paced film, eons above the first Alien film, which even star Sigourney Weaver calls "basically And Then There Were None, in space". [This was an Agatha Christie book, later a good b&w film, in which each character dies until there's one left, who must be the murderer, right?]

In the sequel, Weaver reluctantly returns to the planet that started it all in order to help The Corporaton save its endangered colonists when all communication has been cut off; she realizes she's the only one experienced with whatever's out there. Paul Reiser is a corrupt corporate stooge, looking for a possible profitable weapon, Bill Paxton is hilarious as a marine who knows "we’re getting our asses kicked!". The creatures, created by artist H.R. Giger, are truly terrifying. The action is almost non-stop, yet entirely believable, and is sped along by a 'countdown' plot device. Never have horror and science fiction been merged so well, becoming a classic of each genre.
Quote:
Paxton: We're doomed, game over, man!
Weaver: This little girl survived.
Paxton: Then why don’t you put her in charge?

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These are the individual film reviews of what I'm considering the best 1000 dvds available, whether they are films, miniseries, or live concerts. Rather than rush out all 1000 at once, I'm doing them over time to allow inclusion of new releases - in fact, 2008 has the most of any year so far, 30 titles in all; that was a very good year for films, one of the best ever.



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