Tag Archives: film

RetView #59 – 10 Cloverfield Lane (2016)

Title: 10 Cloverfield Lane

Year of Release: 2016

Director: Dan Trachtenberg

Length: 87 mins

Starring: John Goodman, Mary Elizabeth Winstead, John Gallacher Jr.

10 cloverfield

Apart from Quarantine 2 – Terminal I haven’t covered any sequels in this series thus far. There are reasons for that, but it might change in the not too-distant future. For now, you’ll have to make do with this, that rarest of things; a sequel on a par with the original. In fact, 10 Cloverfield Lane isn’t a bona fide sequel at all. In the words of uber-geek producer JJ Abrams, it’s more of a ‘blood relative’ of Cloverfield. The original script was called The Cellar, and had nothing whatsoever to do with the original movie. It was written by Josh Campbell and Matt Steucken back in 2012 before being acquired by Abram’s production company, Bad Robot, and adapted to suit.

When the first Cloverfield movie, a found-footage monster flick, was released in 2008, it became an unexpected smash hit, prompting Abrams to turn it into a loosely-connected franchise which, to date, consists of three films all taking place in the same universe, known as the, ahem, Cloververse, with a fourth in production. Each movie deals with creatures from different dimensions attacking earth as a repercussion of experiments carried out aboard the Cloverfield Station in outer space.

If it’s monsters you’re after, though, you may be disappointed with this particular instalment as it would be more accurately defined as a very effective psychological thriller. It follows twenty-something Michelle (Winstead, who previously starred in Final destination 3 and the 2011 prequel to John Carpenter’s The Thing, also called The Thing, confusingly enough ) who, after splitting up with her boyfriend, is involved in a car accident. She wakes up in an underground bunker with a broken leg and is told by the bunker’s owner Howard (Goodman) that he took her there for her own protection because the air outside has been poisoned as a result of earth coming under some kind of attack. Suspecting Howard deliberately ran her off the road and abducted her, Michelle is immediately suspicious but has little choice but to play along. The mystery thickens when she is introduced to the bunker’s third occupant, Emmett (Gallacher Jr), who tells her he had been employed by Howard to help him build and stock it. He saw an explosion in the sky and, fearing for his safety, forced his way inside, injuring his arm in the process.

Still dubious, Michelle makes up her mind to steal the keys to Howard’s truck and make good her escape. But before she can open the hatch leading to the outside world, she sees a woman outside covered in skin legions and begins to think Howard may be telling the truth. Bunker life isn’t THAT bad. They have plenty of food and water, and enough books, DVD’s and board games to keep them occupied. However, as the unlikely trio settle down to ride out the metaphorical storm, certain troubling details begin to emerge about Howard. What happened to his missing daughter? What kind of ‘waste’ is he disposing of in that vat of acid in the bunker? What made him flip out playing charades? And why does he dislike Emmett so intensely? All this, added to the tension, growing cabin fever, and general air of paranoia, makes for a powerful movie with a nerve-shredding climax. I’m not going to give away the ending here, but suffice to say it’s one of the most unexpected and breathtaking in recent memory.

Perhaps surprisingly, the movie was met with generally favourable reviews, levelling out at an impressive 90% on Rotten Tomatoes. The Guardian said it was “More Hitchcock than Xbox” and Jeannette Catsoulis of the New York Times praised the cast and cinematography, saying, “Sneakily tweaking our fears of terrorism, ‘10 Cloverfield Lane,’ though no more than a kissing cousin to its namesake, is smartly chilling and finally spectacular.” Its critical success was replicated at the Box Office, where it grossed over $110 million from a $15 million budget. Not quite as impressive as the first instalment, but close enough.

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Trivia Corner

In one scene, Howard is watching the 80’s classic Pretty in Pink. In this movie, Molly Ringwald’s character has a hobby of making dresses. This is a subtle reference to Michelle, who had earlier confided to Howard that she dreams of being a fashion designer.


RetView #55 – The Giant Claw (1957)

Title: The Giant Claw

Year of Release: 1957

Director: Fred F Sears

Length: 75 mins

Starring: Jeff Morrow, Mara Corday, Morris Ankrum, Lou Merrill, Edgar Barrier

1947 was a pivotal year in the development of the human race in many ways. Two separate incidents occurred that had a profound effect on popular culture (in particular writers and filmmakers) and, if you believe some of the conspiracy theorists, science and technology. First, in June, there was the Roswell incident. Then, the following month, Kenneth Arnold made his famous UFO sighting and inadvertently coined the phrase ‘flying saucers’. These two seismic events, coming so soon after World War II was effectively brought to a sudden halt by America’s two-pronged nuclear assault on Hiroshima and Nagasaki, had a wide-ranging influence on America’s psyche, and by extension, the rest of the world. It was a period of great change and infinite possibilities. Over the next decade countless movies tried to tap into this rich vein of fear, paranoia and uncertainty running through the public consciousness, and The Giant Claw (sometimes referred to as the Mark of the Claw) is a fine example.

Whilst engaged in a radar test flight, civil engineer Mitch MacAfee (Morrow, who also starred in the Twilight Zone episode Elegy) spots what he thinks is a UFO. Three jet fighter aircraft are scrambled to pursue and identify the object, but one goes missing. Officials are initially angry at MacAfee over the loss of a pilot and jet over what they believe to be a hoax. When MacAfee and mathematician Sally Caldwell (Corday) fly back to New York, their aircraft also comes under attack and crash lands in the mountains. A farmer (Merrill) comes to their rescue and tells them about a local legend speaking of huge birds. Again, MacAfee’s report is met with skepticism, but the authorities are forced to take his story seriously when several more aircraft disappear. They discover that instead of some alien craft, a gigantic bird “as big as a battleship” purported to come from an anti-matter galaxy, is responsible. MacAfee, Caldwell, Dr. Karol Noymann (Barrier), and General Considine (Ankrum) set to work finding a way to defeat the seemingly invincible creature before it wreaks havoc on America. They are partially successful, and eventually invent a weapon capable of killing the creature, but not before it strikes at the very heart of capitalism by attacking New York. This is when it becomes obvious that the giant bird is a damn commie (on a subliminal level, the monstrous entity also probably represents the looming, destructive fear of the unknown, which is arguably the same thing) because it wastes no time venting its fury on the United Nations building during a cheesy, yet fun-filled and strangely intoxicating climax.

The movie was distributed by Columbia Pictures as a double feature with The Night The World Exploded (1957) and was directed by Fred Sears, a legend of the B movie genre most famous for Earth vs The Flying Saucers (1956) and Rock Around the Clock (1956). Tragically, shortly after The Giant Claw was released he was found dead by a security guard in the washroom of his office at Sunset Studios of Columbia Pictures at the age of 45. By then, he had directed over fifty films and acted in many more, usually in uncredited roles. According to Richard Harland Smith of Turner Classic Movies (TCM), the inspiration for the story may have been taken from media reports about scientific discoveries in the field of particle physics, dealing with matter and antimatter. Other influences included the Japanese film Rodan (1956) and the Samuel Hopkins Adams story “Grandfather and a Winter’s Tale,” about a mythical bird-like creature prominent in French-Canadian folklore called la Carcagne, which appeared in the January 1951 issue of The New Yorker.

Critical reception was extremely negative, with the special effects in particular roundly mocked. Film writer and historian Bill Warren commented, “This would have been an ordinarily bad movie of its type, with a good performance by Jeff Morrow, if the special effects had been industry standard for the time. That, however, is not what happened. The Claw is not just badly rendered, it is hilariously rendered, resembling nothing so much as Warner Bros. Cartoon-character Beaky Buzzard. Once seen, you will never forget this awesomely silly creation.”

Wowzer.

Trivia Corner

Jeff Morrow later confessed in an interview that no one in the film knew what the monster looked like until the film’s premiere, since it was added later. Morrow himself first saw the film in his hometown, and hearing the audience laugh every time the monster appeared on screen, left the theatre early, went home and started drinking.


RetView #54 – The Burning (1981)

Title: The Burning

Year of Release: 1981

Director: Tony Maylam

Length: 91 mins

Starring: Brian Matthews, Lou David, Leah Ayres, Brian B, Larry Joshua, Jason Alexanda

Like The Slayer and the original Evil Dead, this is another film that got caught up in the whole ‘video nasty’ storm of the early eighties. Not that it did The Burning any harm. Quite the opposite, actually. Directed by Englishman Tony Maylam and featuring an original score by Rick Wakeman of Yes fame, it was partially based on the Cropsey Maniac urban legend and produced by Miramax, but let’s not talk about that. Yet.

One night at Camp Blackfoot, some teenaged fun-seeking campers pull a thigh-slappingly funny prank on an alcoholic caretaker named Cropsy (David) by placing a skull next to his bed with candles in the eye sockets and banging on the window to wake him up. Being a bit pissed (the British version, which means ‘drunk’ rather than the American version of pissed – angry – though by this point it’s very possible he’s both) he accidentally knocks the skull onto his bed starting a fire, which soon engulfs both him and his cabin. Still ablaze, the caretaker runs outside and stumbles down an embankment into a river as the boys flee. Years later, the disfigured and vengeful Cropsy is released from an extended stint hospital, where he had also become the butt of jokes (“This guy’s burned so bad he’s cooked. A fucking Big Mac!”) and goes on the warpath with a set of garden shears. Marvellous.

The early eighties were the peak of the slasher film, and The Burning almost got lost in the crush. As slasher films go, it has to rank near the top end of the scale, if only because there have been so many worse ones. The effects are sketchy and it seems formulaic and derivative at times, but the plot has enough about it to it to keep you entertained. Plus there are some textbook jump scares and a kill every ten minutes or so. Which, incidentally, is by design rather than happy accident. It’s also notable for marking the big-screen debuts of Holly Hunter, who went on to win the Academy Award for Best Actress in 1993 for her role in The Piano, Jason Alexanda whose greatest triumph was playing George Castanza in Seinfeld, and Fisher Stevens, who appeared as Ben in the Short Circuit films.

These days, however, The Burning is probably most famous (or infamous) for launching the career of one Harvey Weinstein. In 1980, he was a fresh-faced young concert promoter desperate to break into the movie business. Recognizing the success of low-budget horror films such as the Texas Chainsaw Massacre (1974) and Halloween (1978), he began swapping horror stories with various acquaintances, including producing partner Michael Cohl. Having heard about the aforementioned Cropsy legend as a youngster, Weinstein sounded out the concept to Cohl, who loved the idea. They roped in Weinstein’s brother, Bob, as a screenwriter and together the trio came up with The Burning. It would be the first film put out by Miramax, the production company named after the Weinstein brother’s parents, Miriam and Max.

In light of the later Weinstein controversy, there are several uncomfortable themes running through The Burning; horny boys forever trying to coerce unwilling girls into having sex with them and voyeurism being just the tip (sorry) of the iceberg. There are more than a few uneasy moments, unfortunately for all the wrong reasons, like the camera lingering on a topless girl in the shower far too long and the wholly unnecessary premature ejaculation scene (“I’ll do better next time, baby.”) I don’t know, maybe this movie is just a product of its time. As the cliché goes, things were different then. Sure, you could say Weinstein and his crew were simply portraying teenage life, testosterone-driven urges and all, and hindsight is a wonderful thing, but it’s definitely full of creepy vibes and it’s difficult to imagine a world where any of this was ever okay.

The film originally had a vastly different ending, and Maylam has since said that there was talk of a sequel around the time it was wrapping. However, Maylam was weary of being type-cast as a horror director and the disappointing box office performance of the original stalled the sequel’s production. It has since attained cult classic status, but upon release it made back less than half of its $1.5 million budget in the US. It was, however, very popular in Japan, which probably tells its own story.

Trivia Corner:

To create Cropsy’s distorted POV shots, the cinematographer rubbed Vaseline on the outside edges of the camera lens. I bet he didn’t learn that in film school.


RetView #49 – The Curse of Frankenstein (1957)

Title: The Curse of Frankenstein

Year of Release: 1957

Director: Terence Fisher

Length: 83 mins

Starring: Peter Cushing, Christopher Lee, Hazel Court, Robert Urqhuart, Valerie Gaunt

Like Hound of the Baskervilles (1959), The Curse of Frankenstein was another Hammer Films production and, along with Dracula (1958) and The Mummy (1959), is now seen as a cornerstone of the British institution’s considerable repertoire. The premise is obviously based on Mary Shelley’s classic 1818 tale Frankenstein, or, The Modern Prometheus. It was the first of the Frankenstein series, the very first Hammer movie to be made in colour, and has retrospectively been dubbed the first “Really gory horror film” by Professor Patricia MacCormac. It has also been credited with revitalizing a stagnating genre. All things considered, it makes perfect RetView fodder.

The story is told in flashback form when, in 19th Century Switzerland, Baron Victor Frankenstein (Cushing) is on trial for murder and confesses his story to a visiting priest. The film then cuts to a newly-orphend 15-year old Victor who hires a private tutor, Dr. Paul Krempe (Urqhuart), to teach him science. Together, the pair start a sequence of experiments geared toward bringing dead animals back to life. The experiments are successful, but when his cousin Elizabeth (Court) moves in and Frankenstein suggests making a ‘perfect’ human being from scavenged body parts, Krempe opts out. However, he is brought back into the fold when the monster (Lee, who was awarded the role primarily due to his 6’5” frame and his modest £8-a day fee), now equipped with a damaged (ie defective) brain, escapes into the nearby woods and kills a blind man. What a blind man is doing in the woods by himself is anyone’s guess, but anyway…

Realizing it is out of control, Krempke shoots the monster and the men bury it in the woods. However, as soon as Krempke departs, Frankenstein digs it up again and reanimates it. The rotten bastard. Back at the house, his maid Justine, with whom he has been having an affair, reveals she is pregnant and threatens to expose his grisly experiments unless he marries her. This doesn’t sit too well with the rampaging Victor, and he quickly has the monster dispatch her which is what lands him in jail. The visiting priest doesn’t believe his story. Krempke and Elizabeth, who are now happily shacked up together, refuse to corroborate it, presumably in an attempt to stop the same thing happening again, and ***SPOILER ALERT*** Victor is led away to the guillotine.

The film was an immediate smash hit for Hammer, it’s comparatively low budget contributing heavily to its financial success as there were comparatively fewer costs to offset. Screenwriter Jimmy Sangster, who adapted Mary Shelley’s book for the screen, was so anxious to keep costs down he didn’t write in scenes of villagers storming the castle as seen in other Frankenstein films, “Because we couldn’t afford it.” The ploy worked. The movie was produced on a budget of just £65,000, and some sources estimate the film recouped at least 70 times that figure. For many years, it held the distinction of being the most profitable movie to be produced in England by a British studio and has always been much-loved by the public, which is reflected in various contemporary reviews and its Rotten Tomatoes rating which currently sits at a respectable 77% from 3,815 ratings. However, it was given a luke-warm reception upon it’s original release, a review in the New York Times dismissing it as a “Routine horror film,” and the Tribune of London calling it, “Depressing and degrading.”

Okay, then.

A quick word on the fate of Hammer Productions; the company effectively ceased production in the mid-1980’s. But that wasn’t the end of the story. In May 2007 the company name, along with its entire library of some 295 movies, was bought by a consortium headed by Dutch media tycoon John de Mol which vowed to, “Take it back into production and develop its global potential.” True to it’s manifesto, the company financed a return to the fold in the form of contemporary horror Beyond the Rave (2008). That isn’t a typo, by the way. It really is a horror movie about a rave. That was followed by a steady stream of offerings including Wake Wood (2011) and, more recently, The Lodge (2019), which proved a surprise hit. In September 2019, hammer signed a worldwide distribution deal with StudioCanal for its catalogue, so after some uncertain times, the future is looking bright.

Trivia Corner:

Although Hammer’s two great stars Peter Cushing and Christopher Lee had appeared in several pictures before, including Hamlet (1948) and Moulin Rouge (1952), their long-lasting friendship was cemented on the set of Curse of Frankenstein when Lee stormed into Cushing’s dressing room saying, “I’ve got no lines!” To which Cushing allegedly responded, “You’re lucky, have you read the script?”


Retview #47 – The Grudge (2004)

Title: The Grudge

Year of Release: 2004

Director: Takashi Shimizu

Length: 91 mins

Starring: Sarah Michelle Gellar, Jason Behr, Bill Pullman, KaDee Strickland, Takako Fuji

First up, let’s address the big fuck off elephant in the room and put to bed any lingering speculation; this is the 2004 Hollywood remake of the 2002 J-Horror classic Ju-On: The Grudge, not the original (though both were written and directed by Takashi Shimizu). I was torn as to which version to write about for this series, this one winning on account of having Sarah Michelle Gellar in it who, when this first came out, was riding the crest of a Buffy the Vampire Slayer-shaped wave. Yes, I’m that shallow. This project came at an interesting junction in her career as she was trying to capitalize on her Buffy fame but in serious danger of being typecast as a modern day scream queen after earlier roles in the teen classics I know What You Did Last Summer and Scream 2 (both 1997).

Hiring Shimizu for this project was a masterstroke, as the movie largely keeps it’s Japanese flavour. Being filmed in Tokyo and featuring several notable Japanese stars also helped. Yuya Ozeki, Takako Fuji and Takashi Matsuyama all appeared in the two Japanese films upon which this was based, reprising their roles as the doomed Saeki family. The movie is also notable for an appearance by Ted raimi, younger brother of Sam, one of the film’s producers and creator of the legendary Evil Dead series. This version of The Grudge distributed by Columbia Pictures was itself followed by two sequels in Grudge 2 (2006) and Grudge 3 (2009), the latter going straight-to-video, but has very little to do with The Grudge (2020) which is known in the trade as a sidequel, a totally different movie (with the same name) taking place concurrently with events in the original series. Is that clear? Good. Let’s move on.

Somewhat unusually, the movie is told in a non-linear fashion and features several storylines that end up converging. The first thing we see is expat college professor Peter Kirk (Pullman) jump out of a window to his death, which instantly draws the viewer in and makes them ask WTF is going on. It soon transpires that a local housewife, Kayako (Fuji), had fallen hopelessly in love with him and been murdered by her jealous husband as a result, along with their young son, Toshio. From here on in, Gellar steals the show as Karen Davis, an American expat living in Tokyo with her boyfriend (Behr) charged with filling in for another worker, Yoko, who seems to have neglected her duties in looking after dementia-suffering patient Emma. At the house, Karen encounters the ghost of Toshio sealed up in a wardrobe and witnesses Kayako’s spirit descending from the ceiling to claim Emma. All very unsettling. When the police arrive they find the bodies of the Williams family who had unwittingly moved into the cursed house in the attic, along with Kayako’s jawbone, and the family of vengeful ghosts set out to tear it up some more. Watch out for the infamous shower scene which is probably second only to the original Psycho (1960) in the all-time list of infamous shower scenes. Now, if you found the above synopsis confusing at all, critic Roger Ebert simplifies things massively in his scathing 1-star review, “There is a haunted house, and everybody who enters it will have unspeakable things happen to them.” There you are, then.

Despite this, and a few other negative reviews, The Grudge was a huge initial success. On its opening weekend alone, it grossed $39 million, becoming the first horror film since House on Haunted Hill (1999) to top the Halloween box office and, until the 2009 Friday the 13th remake, had the highest grossing opening weekend in history for a horror remake. On May 17, 2005, the unrated director’s cut was released on DVD. Notably, this version included several scenes that were cut (including one where Takeo drags Kayako’s body through the house whilst carrying a box cutter, implying this was the instrument he used to kill her) from the original in order to achieve a lower rating from the MPAA. Incidentally, this version of the film was used on the theatrical run in Japan, which only goes to show just how hardcore Japanese audiences are. If you are a fan of J-Horror you might appreciate this or this.

Trivia Corner:

Jason Behr and KaDee Strickland met on set and began dating due to their mutual interest in Japanese culture (which is why they accepted their roles in the film) eventually marrying two years later despite not sharing any scenes together in the film.


RetView #46 – Threads (1984)

Title: Threads

Year of Release: 1984

Director: Mick Jackson

Length: 112 mins

Starring: Karen Meaghr, Reece Dinsdale

If you grew up in the 1980’s, you inevitably grew up in the looming shadow of the Cold War and all the associated bullshit. The prospect of nuclear Armageddon was never far from anyone’s thoughts, the tragedy being that none of us even knew it at the time. That highly-strung, stressed-out climate, the antithesis (or the antidote) to eighties excess and extravagance, was just normal to us. We didn’t know anything different. When Frankie Goes to Hollywood hit the charts with Two Tribes and the news was full of Thatcher and Reagan having crisis meetings, not many of us could put the pieces together and grasp the true implications. Only in retrospect are we able to put things into context, and see that we were born into a world of fear and oppression. This acclaimed BBC film does a pretty good job of depicting your worst nightmare in that it shows, “The full horror of nuclear war and its aftermath.” In many ways it served as a British version of The Day After, which had been released the year before and was nominated for no less than seven BAFTA awards, winning four of them.

Jimmy (Dinsdale, perhaps best known for his role in the Brit comedy classic Home to Roost, which debuted the following year) is a working class lad living with his parents and trying to scrape a living in Sheffield. Nothing glamorous about that. All he wants is to build a life for him and his pregnant girlfriend, Ruth (Meaghr). But rising tensions in the Middle East trigger the apocalypse, and soon World War Three between the US and the Soviet Union erupts. Britain is caught in the crossfire, with places like Sheffield in particular being targets because of their industrial heritage.

After an unremarkable opening sequence, despite its heavy use of stock footage the middle section of the film is gritty, fast-moving and harrowing, mirroring what (I imagine) it would be like if anything like this ever befell us in real life. On seeing a mushroom cloud in the distance, one of Jimmy’s colleagues looks up says, and in a tone filled with equal parts wonder and resignation, “They’ve done it.” Amidst the ensuing carnage, East and West trade blows in a seismic race to destroy each other and we are witness to widespread devastation, confusion, and blind panic, all summed up in a scene where we see a woman pissing herself in the street, which nicely demonstrates her newfound “who cares now?” attitude.

The scale of the carnage means that simply waiting for the emergency services to restore order is out of the question, chaos ensues, and it is up to those left in the wreckage to find ways to survive. For me, this is where the movie really comes into its own. Most of the population is dying slowly as a result of radiation poisoning, the power grid is down, and dwindling food stocks are controlled by a decimated central government typified by one official who says, “What’s the point of wasting food on people who are going to die anyway?”

The hangry masses are soon deposited in detention camps, Jimmy goes looking for Ruth and promptly disappears, while Ruth herself teams up with one of Jimmy’s old workmates and chows down on a dead sheep they find in the rubble. We never see Jimmy again. Instead, for the rest of the film we are left wondering what might have happened to him, this crude but effective plot device giving the viewer some insight into the uncertainty Ruth must be feeling. Months pass, Ruth has her baby, and the country struggles to achieve some sense of normality amid the misery and destruction. There is something to be said about the strength and resilience of the human spirit, yet there can be no escaping the futility to it all. The prize for survival is another day of hardship and despair.

Raw, powerful, and thought-provoking, Threads is a snapshot both of how things used to be and how things could have been, illustrating the latent fear that permeated society and, by extension, popular culture, in the heady eighties. This is grim in the extreme, but war is never glamorous or pretty and Threads does an excellent job of conveying that harsh reality. The Guardian’s Peter Bradshaw hailed it as a “masterpiece,” going on to say that, “It wasn’t until I saw Threads that I found something on screen that could make me break out in a cold, shivering sweat,” while Sam Troy of Empire gave the film a perfect score, stating that it, “Teaches an unforgettable lesson in true horror.”

Trivia Corner

As part of their preparation, writer Barry Hines and director Mick Jackson travelled extensively throughout the UK and US consulting leading doctors, scientists and psychologists gathering intel to help them recreate the most realistic depiction of nuclear war possible. At one point Hines visited a Home Office training centre for ‘official survivors’ which, he said, showed just, “how disorganised [post-war reconstruction] would be.”


RetView #43 – Outpost (2008)

Title: Outpost

Year of Release: 2008

Director: Steve Barker

Length: 90 mins

outpost

Starring: Ray Stevenson, Julian Wadham, Richard Brake, Michael Smiley

I talked about my fondness for undead Nazi films in my post about the 1977 Peter Cushing vehicle Shock Waves. There’s something fundamentally terrifying about the juxtaposition of two evils, and the unholy malevolence that just won’t die. Outpost is a great example of this creepy sub-genre, and has all the elements you would look for in such a movie; symbolism, violence, action, gun fights, violence, survivalism, machismo, and violence. And did I mention the violence? Shortly after its release, debutant director Steve Barker described it simply as, “A boy’s film. It’s a good old fashioned siege horror.” That pretty much sums it up.

The film opens in a bar (always a great place to start a film) in some unnamed, war-torn location where corporate engineer and scientist Hunt (Wadham) is recruiting a career-mercenary going by the name DC (Stevenson) and a crack team of ex-soldiers. The proposed mission is to protect Hunt as he ventures into an Eastern Europe war zone in search of Nazi gold. Sounds simple enough. But along the way, they stumble across a forgotten World War II bunker (the outpost) and decide to investigate. When they do, they discover that the outpost was apparently used by the SS to carry out experiments fusing science with the occult. The result of these shadowy experiments was the creation of a battalion of bloodthirsty, unkillable, vengeance-crazed Nazi zombies who begin hunting down the intrepid team of mercenaries and picking them off one-by-one. Heads are crushed, eye balls are plucked out, nails are hammered into flesh, and people are stabbed in the mouth with swords. That’s just for starters.

Of course, the discovery of the outpost is all-too convenient, and it soon becomes apparent that the entire purpose of Hunt’s mission was to recover the machinery developed by the SS at the behest of the company he worked for which ‘could be worth billions.’ Some of them discuss leaving. Which would have been a good idea. Except by then, of course, it’s too late and shit is going off.

Sample dialogue:

Q: Did you kill him?

A: Well, his brains are all over the wall. That’s good enough for me.

The clever thing about this movie is that fact that much like the SS experimenters it describes, it attempts to blend fact and fiction (or, in another sense, science and the occult). The Nazis were renowned proponents of the supernatural and allegedly did indeed conduct experiments to produce regenerating ‘super soldiers’ as well as lots of other gruesome stuff. Try a Google search using the term ‘Nazi human experiments’ and you’ll see what I mean. The film even references the Philadelphia Experiment, an alleged disastrous attempt by the US military to ‘cloak’ the SS Eldridge. However, logic seems to be the enemy here. At one point, we see the nasty unkillable Germans demonstrating the unnerving ability to spontaneously appear and disappear wherever they want. But later, they are held back by a door. Still, who needs logic, eh?

Despite the occasional plot hole, Outpost is widely acknowledged as a classic budget Brit horror in the vein of Dog Soldiers and 28 Days Later. It’s a deliciously taught and atmospheric offering which ticks most horror fan boxes and gathered a sizeable cult following. The acting is decent, the writing (by Rae Brunton) tight, and though the dialogue is a little cheesy at times, the kills come thick and fast and all involved from the actors to the lighting engineers make the most of their limited budget. Most of the action takes place inside the bunker, giving an oppressive, claustrophobic feel to proceedings. The cinematography and is top notch, combining with the funky lighting and other special effects to make your skin crawl as if you were really in that grimy concrete-lined underground hole, waiting for death to find you. At times, it’s almost like you are playing a live action RPG rather than watching a movie.

Outpost spawned two sequels, Outpost II: Black Sun (2012), which was released direct-to-DVD, a medium where the first film did especially well, prompting a modest UK cinema run, and a prequel entitled Outpost: Rise of the Spetsnaz (2013). The first film was largely well-received, with www.manlymovie.net saying, “Outpost is a minimalistic Brit horror film in all aspects, with a narrow scope and little in the way of flashy special effects. It’s also really, really damn good, and just as satisfyingly violent and gory as any contemporary horror picture.” However, both sequels were widely panned. Personally, I found both of them more than watchable. But then again, I’m easily pleased.

Trivia Corner

Scottish couple Arabella Croft and Kieran Parker re-mortgaged their Glasgow home in order to raise £200,000 to finance production, which they did via their company Black Camel Pictures.


RetView #41 – Megan is Missing (2011)

Title: Megan is Missing

Year of Release: 2011

Director: Michael Goi

Length: 89 mins

Starring: Amber Perkins, Rachel Quinn, Dean Waite

The story behind Megan is Missing is almost as remarkable as the film itself. Despite being initially released in 2011 it was shot in the found footage format made famous by the Blair Witch Project (1999) five years earlier on a miniscule budget of around $30k. Writer/Director Michael Goi claimed the reason for the gap between production and release was down to the objectionable subject matter. He simply couldn’t find anyone to distribute it until Anchor Bay stepped up. Due to the budgetary constraints involved, and to give the movie a ‘raw’ feeling, it was made over the course of a week by a crew of just five using only minimal equipment. It was claimed that this drive for authenticity was also the reasoning behind using largely juvenile, unknown actors, though it’s difficult to see many Hollywood A-listers (or even Z-listers) signing on to a project by a newbie director when those kinds of figures are being bandied around. It was originally marketed as an educational film about the dangers of the internet with Goi stating his desire for it to serve as a ‘wake up call’ to parents. However, it later found considerable traction in the teen horror market.

The story follows popular Californian high-school student Megan Stewart (Rachel Quinn) who meets up with ‘Josh,’ a boy she had been interacting with online, and subsequently vanishes without trace prompting her less-popular best friend Amy Herman (Amber Perkins) to set out to find her. The first half of the film provides an unflinching snapshot into the complicated, overlapping lives of teens in the technological age where bullying and peer pressure is rife, interspersed with regular bouts of slut-shaming, social exclusion and a plethora of other disturbing yet apparently all-too common practices. It’s difficult to watch and not recognize something of yourself in there somewhere, and credit has to be given where it’s due for shining a light on some of the more damaging aspects of teenage life. If you have kids that age, this is what they deal with on a daily basis but never tell you about, and it’s fucking terrifying. All this occurs before the watershed point about two-thirds through where everything is ramped up several hundred notches. Goi later issued a trigger warning for prospective viewers stating: “Do not watch the movie in the middle of the night. Do not watch the movie alone. And if you see the words ‘photo number one’ pop up on your screen, you have about four seconds to shut off the movie before you start seeing things that maybe you don’t want to see.”

As the movie is played out entirely on a screen (or a screen within a screen) through a clumsy combination of supposedly recovered video tapes, photographs, and news reports, it technically belongs to the Computer Screen (aka Desktop Film) genre, which has risen to prominence on the back of increased use of social media. In November 2020, the film became a pop culture sensation after it went viral on social media platform TikTok, where it found its largest audience since release. Users began posting their reactions as the film progresses, with many calling it “traumatizing.” To date, the hashtag for the film has over 84 million views, much of the attention seemingly stemming from persistent rumours that the footage is real. It’s not. But nevertheless, the movie has been dogged by controversey since its release, spawned no end of debate, and firmly divided opinion. An article on Thought Catalogue says, “Everyone has those scenes from the end of the movie etched into their mind forever. This is one of the scariest movies from the past 10 years and no one talks about it,” while HorrorNews.net said that the first portion of the film “really works,” although they felt that the final twenty-two minutes “went a little overboard.” Film critic Jamie Dexter perhaps puts it best saying, “It took days for me to shake the horrible feeling this movie left in me, but that just means it was effective in what it set out to do.”

That final third is definitely hard to watch. I think the most difficult thing to reconcile is the fact that **spoiler alert** he gets away with it. After being put through over 80 minutes of debilitating psychological trauma, the viewer is entitled to expect some retribution, some kind of payback because no evil deed goes unpunished, right? Right? Yeah, we all know that isn’t always the case in real life. But this is a film, dammit. Somebody had control over it. And that somebody could easily have made ‘Josh’ fall over a tree root and bang his head on a rock or something at the end. But no. This is the kind of nightmare scenario we read about in newspapers, presented to us in vivid, unflinching, excruciating detail. Indeed, Goi based the film on real life cases of child abduction. Most of the criticism, apart from that concerning the content, was directed at the unprofessional, ‘thrown together’ feel, completely missing the fact that this was the intention from the start. Goi was going for the kind of gritty realism you just don’t get with massive budgets and slick Hollywood production. He succeeded.

If you haven’t seen it yet, you can watch it here. Viewer discretion is advised.

Trivia Corner

The movie was banned by New Zealand’s Office of Film and Literature Classification on the grounds of containing sexual violence and sexual conduct involving young people to such an extent and degree that if it was released it would be ‘injurious to the public good’. The officials went on to say that the movie relished the spectacle of one girl’s ordeal, including a three-minute rape scene, and that it sexualized the lives of teenaged girls to a “highly exploitative degree.” Whilst I deplore censorship in any form, to be fair they weren’t far off the mark there.


Retview #39 – They Live (1988)

Title: They Live

Year of Release: 1988

Director: John Carpenter

Length: 94 mins

Starring: “Rowdy” Roddy Piper, Keith David, Meg Foster, Peter Jason

they live

And now we arrive at yet another worthy entry in this series for horror maestro John Carpenter following The Fog, The Thing and Christine, and we haven’t even come to Halloween yet. Despite making back its entire budget of $3 million in its first weekend in theatres, upon release They Live offering was largely met with lukewarm reviews and indifference. Richard Harrington wrote in The Washington Post, “It’s just John Carpenter as usual, trying to dig deep with a toy shovel. The plot for They Live is full of black holes, the acting is wretched, the effects are second-rate.”

Ouch.

However, like so many other Carpenter films, They Live soon gathered traction and built a dedicated cult following further down the line. Since then, it has become known in underground circles as a bona fide sci-fi horror classic in the vein of Terminator and Robocop, containing all the elements essential for such an illustrious title such as satire, social commentary, a healthy dose of humour and, of course, some explosions. Its cultural impact is so profound that more than three decades after it came out, those perma-woke hipsters over at Rolling Stone are still writing articles about it.

The plot is pretty basic. Renowned wrestling star Roddy Piper, now sadly departed, plays Nada, a good-natured drifter who befriends construction worker Frank Armitage (David, who also played Kurt Russell’s sidekick in The Thing). Near a soup kitchen in a local shanty town he discovers a church full of scientific equipment, shortly thereafter the entire place is razed to the ground by police and Nada salvages a box of sunglasses. He steals one pair, and hides the rest in a dumpster.  Upon trying out the glasses the first thing he notices is that all the ads that surround us in our daily lives are really vehicles for hidden subversive messages or commands like ‘obey’ and ‘marry and reproduce.’ And that’s just the beginning. The glasses also allow him to see for the first time that the legions of yuppies populating Los Angeles, and presumably the rest of the world are, in fact, aliens. When the nasty aliens learn that Nada is well on the way to uncovering the truth, he essentially takes TV worker Holly Thompson (Foster) hostage, until she throws him through a window. Now a fugitive, Nada meets Armitage and, after a marathon six-minute street fight, finally succeeds in forcing a pair of sunglasses on his disbelieving buddy. Now alert to the truth, the two pair up to try to stop the alien invasion.

The idea for the movie came from a short story by Ray Nelson called “Eight o’clock in the Morning,” which was originally published in the Magazine of Fantasy & Science Fiction in 1963. It was later developed into a comic with the much snappier title Nada which was published in the Alien Encounters anthology in 1986. Carpenter acquired the film rights to both the original short story and the comic book, and used them as the basis for the screenplay which he wrote under the pseudonym Frank Armitage, which was also the name of David’s character. The name is actually an allusion to H.P. Lovecraft, one of carpenter’s favourite writers, who named a character in his classic The Dunwich Horror Henry Armitage. Ironically, most Lovecraftian horror involves a hidden or unseen world, a core element of They Live.

In the years since it came out, the movie has been taken as a metaphor for Reagan’s America, with Carpenter himself throwing fuel on the fire in various interviews. In a nutshell, the more political elements of the movie are derived from the director’s growing distaste with 1980’s commercialisation and consumerism, especially the economic policies promoted by the president which were dubbed Reaganomics. Carpenter once said, “I began watching TV again [and] quickly realized that everything we see is designed to sell us something.”

In keeping with the OTT eighties trend of cramming as many naff one-liners in each film as was humanly possible, Piper’s peak comes with the sublime, “I’ve come here to chew bubblegum and kick ass. And I’m all out of bubblegum,” second only to, “Life’s a bitch. And she’s back in heat.”

A remake has been mooted since around 2010 but details remain elusive. One thing is certain, if any cult movie would benefit from a big-budget, modern-day makeover, it’s this one.

Trivia Corner

Even politically-conscious pop punk stalwarts Green Day paid homage to They Live in the video for their single Back in the USA from the 2017 compilation Greatest Hits: God’s Favourite Band.


RetView #35 – Hide and Go Kill (2008)

Title: Hide and Go Kill

Year of Release: 2008

Director: Tomoya Kainuma

Length: 72 mins

Starring: Saki Yamaguchi, Haruka Misaki, Rui Ono, Aimirora

Hide and Go Kill

I’ve been quietly obsessed with internet rituals for a few years now, ever since I stumbled across something about the mysterious death of Elisa Lam online. Merging technology and the paranormal, which could be a metaphor for Japanese horror itself, internet rituals (or games) have cropped up in my writing several times, not least in my forthcoming novella Tethered, and Hitori Kakurenbo which translates to ‘hide and seek alone’ and was my contribution to 100 Word Horrors 2. Hide and Go Kill is based on the same ritual. In true urban legend fashion, the details vary between sources but in a nutshell, the instructions are as follows:

Get a doll, remove the stuffing, replace it with rice, throw in some of your blood or nail clippings (gross) then sew it back up with red thread and give it a name. Preferably something good and scary. At 3 am, turn off all the lights but leave on the TV then go to the bathroom, fill a bucket full of water, and place the doll inside. Saying “I see you (name),” stab the doll with a sharp knife, then go and hide. If you manage to perform the ritual correctly, you’ll soon start to experience certain unexplained phenomena like hearing noises from an empty room and then, you guessed it, the doll will come to find you, hence the name ‘hide and seek alone.’ Either that, or you might commit suicide or disappear without trace. Good times had by all!

The movie version opens with one of those simple yet spooky white-on-black introduction sequences consisting of what’s (I think) meant to be an exchange between several people on the comment section a blog, one of whom is explaining that a friend of theirs played hide and seek alone and didn’t come out of it very well. The film proper begins in a Japanese classroom. If you’re a fan of J-Horror as I am, you’ll know that all the best twisted shit starts in Japanese classrooms, and Hide and Go Kill is no different. Here, there’s a girl called Midori (model and actress Yamaguchi) reading a blog on her phone and remembering her absent friend, Fumika, who after being jilted by her lover and bullied at school discovered the Lonely Girl blog and tried repeatedly to persuade Midori to play hide and seek alone (“Fuck the fuck off, Fumika!”). Eventually she succumbs, of course she does. The blog, and by extension, the game, spreads, and the horror takes hold. The film is essentially an anthology of sorts, each segment following a different person’s experience with the common denominator being the blog (poorly translated in the movie as a ‘mobile novel’) and the ritual it pertains to, culminating with the origin story. True, this movie follows a popular template and in places is slightly derivative of certain J-Horror staples, notably Ringu. Also, the subtitles are atrocious.

***OMINOUS MUSIC!***

In a scathing review, BloodyGoodHorror.com  said, “It’s boring. Real boring. Each story also has to show how the characters first learned about this stupid game. In each case, it’s through some text-message released novel called “Lonely Girl”. As described in the film, “Lonely Girl” is so dark and twisted that very few people would read it. Problem is, every single fucking person in the movie reads it. As do all of their friends.”

Well, you know what they say about opinions.

Mine happens to be that while it is far from perfect, Hide and Go Kill isn’t completely without merit. In fact, as a concept it’s pretty damn good. At the time of release over a decade ago it was quite innovative, and it benefits greatly from the general skin-crawling creepiness so often associated with J-horror. Mood. You won’t find much about it online, apart from a few mixed reviews and a very basic IMDB listing. I couldn’t, anyway. Despite spawning a sequel a couple of years later (Hide and Go Kill 2 or, alternatively, Creepy Hide and Seek, which has to be the worst name for a movie ever) it’s almost like the film slipped completely under the radar. However, if by chance you have Amazon Prime you can watch it in full there. Don’t forget to turn on the subtitles, unless you happen to be fluent in Japanese.

Trivia Corner:

Word is that the movie spawned the ritual, rather than the other way around. Clever producers or PR people invented the game and floated it out to popular message boards as a form of guerrilla marketing where it soon took on a life of its own.

Tethered is available now on Terror Tract Publishing.


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