Tag Archives: movie

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 for pre-order now on Terror Tract Publishing.


RetView #32 – Alien (1979)

Title: Alien

Year of Release: 1979

Director: Ridley Scott

Length: 117 mins

Starring: Sigourney Weaver, Tom Skerritt, John Hurt, Harry Dean Stanton, Veronoca Cartwright, Yaphet Kotto, Ian Holm.

Alien-intro_3064438b

Stone cold classics don’t come much colder or more classic than Alien. Widely regarded as one of the best films ever made despite being produced on a comparatively small budget, it was a smash hit and a critical success, even winning a well-deserved Academy Award for Best Visual effects, along with numerous other accolades. Every aspect of the film has been scrutinized and invariably come to be revered, even the above poster. However, had it not been for the unprecedented success of Star Wars, the film would probably never have been made. Eager to capitalize, 20th Century Fox rushed to produce a movie in a similar vein. Alien was shot in just 14 weeks in the second half of 1978, primarily at Shepperton Studios, and Bray Studios in Berkshire, where many Hammer Horror films were made before the site was redeveloped into luxury apartments.

Alien follows the crew of the commercial space tug Nostromo in the year 2122, which is returning to earth with its seven crew members in an induced hyper sleep. Upon detecting a distress signal from nearby a Moon, the ship’s computer, Mother, awakens them and they send a search party out to investigate. On the mission, one of their number, Executive Officer Kane (Hurt) is attacked by an alien creature which attaches itself to his face (hence the name ‘facehugger).’ Kane is taken back to the Nostromo where, some time later, he wakes with seemingly no ill effects. That is, until the crew are all sharing a meal and the iconic chest bursting scene goes down. That’s enough to put anyone off their food. Now beginning to realize that the Nostromo has been infiltrated by a killer alien entity, the surviving crew set out to seek and destroy the now fully-grown, and scary as fuck, transgressor who, of course, picks them off one by one. As if this isn’t bad enough, Ripley (Weaver), now in command as ship’s captain Dallas (Skerritt) is one of the first to bite the dust, is attacked by another crew member, Ash (Hulme) who is then revealed to be an android with a pre-programmed agenda which is vastly at odds with the rest of the crew. And common sense. The whole thing climaxes in sole survivor Ripley destroying the Nostromo, taking Jones the resident cat, and escaping in a mini shuttle. Until she’s called upon to go back to work in the 1986 sequel, imaginatively titled Aliens.

In the years since its release, one of the most interesting aspects explored by critics is the film’s supposed sexual overtones. The adult xenomorph bristles with sexual imagery and a sex scene between Ripley and Dallas was scripted (though never filmed) to illustrate how crewmembers dealt with long periods of abstinence. Several critics have compared the fecehugger’s exploits with male rape, and Dan O’Bannon, who wrote the original screenplay under the working title ‘Star Beast’, has said that the chestburster scene is a metaphor for the male fear of penetration, and that the oral invasion of Kane by the facehugger functions as payback for the many horror films in which sexually vulnerable women are attacked by male monsters. This would seem to be in keeping with the rest of the movie, which contrary to the (then) norm, boasts a strong female lead in Sigourney Weaver who would go on to star in The Year of Living Dangerously, Ghostbusters, Working Girl and a host (sorry!) of others. Even the Alien is female. To go one step further, it has been suggested that Alien is a movie ALL about rape, as the driving force behind the antagonist is reproduction by non-consensual means.

Alien certainly struck a nerve, perhaps tapping into the late-seventies zeitgeist which encouraged people to ask fundamental existential questions such as what is, and what could be. Alien was an unprecedented success, raking in an estimated $104 to $203 million from a measly $11 million budget and spawning three direct sequels, as well as a series of crossovers with the Predator franchise. In 2003 when 20th Century Fox released the Alien Quadrilogy DVD box, which included the original Alien plus the three sequels, it was decided that the box should also include alternate versions of all four films. The alternate version of Alien, labelled the ‘Director’s Cut,’ has been re-edited to restore several deleted scenes (such as one where, during her escape from the Nostromo, Ripley discovers Dallas and Brett cocooned) but omits several others meaning the Director’s Cut is actually shorter than the original. Scott explained, “The traditional definition of the term ‘Director’s Cut’ suggests the restoration of a director’s original vision, free of any creative limitations. Such is not the case with Alien: The Director’s Cut. It is a completely different beast.”

Trivia Corner

The newly-dead facehugger that Ash autopsies was created using shellfish, oysters, and a sheep kidney, while the ‘egg tube’ section is actually a piece of sheep intestine and the ‘slime’ used on the aliens was K.Y. Jelly.

 


RetView #29 – Turistas (2006)

Title: Turista (Paradise Lost)

Year of Release: 2006

Director: John Stockwell

Length: 95 minutes (uncut)

Starring: Josh Duhamel, Melissa George, Olivia Wilde, Desmond Askew, Max Brown

Turistas

A lot of horror movies play on mankind’s basic fear of the unknown. Some do it with more flair and panache than others, and manage to tick another box by catering to the kind of inherent xenophobia seemingly prevalent in the vast majority of cinema goers. Foreigners bad! Anything can happen over there! Ain’t you done heard the stories? This is why such classics as Severance, Hostel, Train to Busan and any number of Japanese offeringsJapanese offerings end up being so revered by western audiences. Not only do they exploit our dove-tailing fears of foreigners and the unknown, but they also provide a welcome splash of the weird and exotic, the colourful and vibrant. If we’re lucky. In any case, we can console ourselves with the fact that you won’t find any of that stuff over ‘ere, mate. This effectively creates a welcome sense of distance and separation between you and your horror. It makes the whole thing not only more believable but more enjoyable, because it’s never going to happen to you. Is it?

Turistas (Portuguese, Spanish, and Italian for ‘Tourist,’ in case you couldn’t work it out) follows the adventures of a group of hip young American backpackers trekking through Brazil. As soon as the premise is established, you know bad shit is soon going to befall them. The only question is, what kind of bad shit are we talking about? It all becomes a bit more clear a few minutes in when their coach crashes and they hook up with a couple of wise-cracking English blokes (Askew and Brown) and an Australian girl (George). Together, the newly-expanded group of wayward thrill-seekers find a beach bar and proceed to get wasted. They mix with the locals and much cavorting and hilarity ensues, until they all wake up the next morning and find they’re drinks were spiked and they’ve all been robbed (bloody foreigners!). With no phones, no money, and very little hope, they start walking. They soon find themselves in a tiny village, but incur the wrath of the locals when they chase down a kid they see sporting one of their baseball hats. An ally called Kiko, who may or may not be on the level, takes pity on them and whisks them away to a safe house deep in the jungle. Whether he has their best interests at heart or not is rendered immaterial when he dives into a river and bangs his head, knocking himself unconscious. The turistas carry him to the ‘safe house,’ which is deserted, but not for long, as pretty soon some crackhead hoodlums arrive by helicopter. Chief among them is a power-mad physician who proceeds to drug the unfortunate travellers (again), strap them to beds or lock them in cages, and extract their organs one-by-one to sell on the black market. The trip of a lifetime to Brazil then turns into a horrifying battle for survival.

On its release, Turistas (re-named Paradise Lost in the UK, Ireland and France) was met with mixed reviews. Fangoria magazine claimed it was, “Better and scarier than Hostel,” while the New York Times dismissed it as, “Plain stupid.” Being filmed on location in Brazil means it is visually breathtaking, and there is some stunning underwater photography on show. Gore hounds will be happy with the surgery scenes in the unrated version, which leave little to the imagination and are definitely not for the squeamish. According to IMBD, these scenes were performed by an actual surgeon for authenticity. Most of the sequence was cut for the theatrical release, as was an earlier eye-gouging scene.

Turistas uk edition

Interestingly, Turistas was largely boycotted in Brazil because of the negative image it portrays of the country, and star Josh Duhamel, who later found a home in the Transformer films, was coerced into offering the Brazilian government and people a grovelling apology during a subsequent appearance on The Tonight Show with Jay Leno. Perhaps owing to the mixed reviews and the associated controversy, Turistas was only a modest box office success, bringing in a reported $14.7 million from a budget of $10 million. But don’t let the figures sway you, this is a cut above average.

Trivia Corner:

Desmond Askew (who plays Finn) first shot to fame as a naughty schoolboy in the promo video for Wham’s 1983 hit single Bad Boys. Sticking with the same theme, he later starred in legendary British school drama Grange Hill.


RetView #28 – The Terror (1963)

Title: The Terror

Year of Release: 1963

Director: Roger Corman

Length: 82 mins

Starring: Jack Nicholson, Boris Karloff, Sandra Knight, Dick Miller, Jonathan Haze

the terror

The story goes that when production wrapped on The Raven, eager to capitalize on the burgeoning horror genre, director and producer Roger Corman (who achieved fame adapting the stories of Edgar Allan Poe for cinema) wanted to utilize some leftover sets before they were destroyed. Star Boris Karloff was still contracted for a further three days, so Corman struck a deal which amounted to a paying him a small sum of money along with a deferred payment of $15,000 should the new project go on to make more than $150,000. He then enlisted the help of a young Jack Nicholson, who had also just finished working on The Raven and was busy climbing the rungs of the Hollywood ladder, commissioned Leo Gordon to write a very basic script, and a movie was born.

The Terror was filmed on such a shoe-string budget and incorporated such a liberal attitude that Corman often looked to enroll ‘guest’ directors while he was doing other things. Francis Ford Coppola lent his hand to some scenes, and a 26-year old Jack Nicholson virtually directed himself. He plays Andre Duvalier, a French soldier who, in 1806, becomes lost in the Confederation of the Rhine (an amalgamation of client states belonging to the First French Empire created after the Battle of Austerlitz). On the brink of exhaustion, he is saved by a beautiful maiden by the name of Helene (Knight) who shows him where he can find fresh drinking water. Duvalier then has a fight with a bird and almost drowns in the sea. When he comes around, he finds himself in a cabin in the forest being tended to by a weird old lady who might very well be a witch. Helene isn’t there, but the feisty bird he rumbled with earlier is, which is probably all the guy needed. Thoroughly freaked, he sneaks out in the dead of night and heads off into the forest where he meets up with Helene again. This time, in a roundabout way, she leads him to a creepy old castle where he runs into Baron Von Leppe (Karloff) and his henchman, Stefan (Miller). Seeing her portrait on the wall, Duvalier asks about the girl, only to be told the portrait isn’t anyone called Helene at all, but his wife, Ilsa, who he had murdered some years previously when he caught her cheating with a yokel. Even that doesn’t phase Duvalier who loudly proclaims, “With all due respect Baron, for a ghost she’s a very active young woman!” That night, he looks out of the window to see Helene/Ilsa walking in the grounds, and goes out to find her. By this time, I couldn’t help wondering if there was anything a French soldier wouldn’t do to get his end away. He flat-out refuses to leave the castle, and sets about trying to solve the mystery, which only deepens when a disembodied voice leads him to the crypt. Nothing good ever happens in crypts in films. Or in real life, I imagine. Don’t go in the crypt. Does he go in the crypt? I think you know the answer to that. He can’t fucking wait to get in that crypt.

Though much-maligned, and often completely overlooked, for me the Terror stands out for many reasons. Firstly, the ingenuity and sheer resourcefulness of Corman, who pulled out every stop to get the thing done. He saw an opportunity and followed it through, and deserves bucket loads of credit for that. It was a very DIY punk thing to do. Apparently, he never did pay Karloff that promised $15,000, because, he claims, the movie never made the stipulated $150,000. Despite the weak script, much of which was probably written on the hoof or at least partially improvised, the dovetailing performances of Karloff and Nicholson, two screen legends, are remarkable. Finally, the gothic setting is absolutely gorgeous. That castle is straight out of a dream, or a nightmare, the numerous neglected rooms full of dusty trinkets and secret passages act as fitting visual metaphors for the Baron’s moral decay and worsening mental state.

Since someone forgot to include a copyright notice in the credits, today, the original version of the film is in the public domain. To navigate this problem, in the early 1990’s, Corman enlisted Dick Miller to reprise his role and shoot new scenes to frame the action from the original movie, which is then presented in flashback. This extended the running time to 91 minutes. To make matters even more confusing, depending on where it was released, the Terror was alternatively known as The Haunting, The Castle of Terror, and Lady of the Shadows. Given the options, The Terror is probably the most uninspired title they could have gone with. If this film was an object, it would be one of those weird little dusty ornaments you find in an elderly relatives house after they die. Totally worthless in a practical sense, but never-the-less curious, bizarre and not without charm.

Trivia Corner:

The uniform worn by Jack Nicholson was previously worn by Marlon Brando when he played Napoleon Bonaparte in the 1954 epic Desiree.


RetView #27 – Title: The Hound of the Baskervilles (1959)

Title: The Hound of the Baskervilles

Year of Release: 1959

Director: Terence Fisher

Length: 87 mins

Starring: Peter Cushing, Christopher Lee, Andre Morell, John Le Mesurier, Francis de Wolff

The-Hound-of-the-Baskervilles-1959-poster-1

Sit down and buckle up for the second Hammer Horror film in my RetView series, following the trailblazing Witchfinder General. There have been numerous other adaptations of the Hound of the Baskervilles. But even over half a century later, none are as critically acclaimed as this version of the classic gothic horror. Why? Because few cinematic partnerships make the hairs on the back of your neck stand up in quite the same way was Peter Cushing and Christopher Lee do. The quintessential British duo starred together in dozens of films, and became as synonymous with each other as tea and biscuits. Director Terence Fisher (who also directed Dracula, The Curse of Frankenstein,The Mummy, and The Two Faces of Dr. Jeckyll, among ,any others) also deserves credit for his efforts. Add to the mix the fact that this was the first Hound of the Baskervilles adaptation ever to be filmed in colour, and you have a perfect storm of superlative talent, excellent source material, and groundbreaking technological advances which may go some way to explaining this particular film’s cultural impact and enduring popularity.

Given that The Hound of the Baskervilles is one of Sir Arthur Conan Doyle’s best-loved Sherlock Holmes novels first published in serial form in the Strand magazine in 1901-02, the plot itself should require little introduction or explanation. But for those unfamiliar with it, it concerns a Dr Mortimer (de Wolff) who asks Sherlock (Cushing) and his intrepid sidekick Watson (Morell) to investigate the death of his friend Sir Charles Baskerville, who he believes was killed by a huge, bloodthirsty dog prevalent in a family course. Furthermore, he believes the new owner of Baskerville hall, Sir Henry (Lee), is next in line. These fears are confounded when he loses his shoe and a tarantula attacks him. Really. And Dr Watson is assigned to ‘look after’ Sir Henry until Sherlock is good and ready to hook up with them. My favourite character in the whole film is the butler, Barrymore (Le Mesurier, from Dad’s Army). Unfortunately he isn’t there when Watson falls into some quicksand near Baskerville Hall, as you do, but luckily a man named Stapleton and his daughter Cecile are there to save the venerable doctor.

That night, Watson sees a strange light on the moors and goes to investigate with Sir Henry, but after seeing a mysterious figure and hearing the mournful howl of a hound, their escapade is cut short when Sir Henry is taken ill. That mysterious figure is later revealed to be Sherlock himself, who arrived at Baskerville Hall ‘a few hours’ after Dr Watson. For some bizarre reason that is never explained, the enigmatic and eccentric detective then chose to sleep rough, rather than announce his presence. After Sherlock stops acting out, he solves the mystery pretty quickly. The ghostly, mythical Hound of the Baskervilles is a mutt with a mask (at least in the book he is painted with phosphorous paint so he glows in the dark) who is kept in an abandoned mine shaft by Stapleton and his daughter, who turn out to be illegitimate descendants of the original Sir Baskerville and stand to inherit a fortune if the rest of the Baskervilles die.

Motive enough for murder?

You bet.

The climax sees Watson shoot Stapleton, who is then attacked by his own mask-wearing dog. Watson shoots that, too, just for good measure, and Cecile falls into the quick sand (you’d think she’d know where it was by now) and dies a horrible death.

This version of The Hound of the Baskervilles is so well loved that it is one of a very select few to achieve a faultless 100% rating on Rotten Tomatoes. The book is also considered one of Conan Doyle’s best. It was Sherlock Holmes’ first outing in eight years, since his apparent death in The Final Problem, though it is set two years before the events in that story. The inspiration for The Hound of the Baskervilles is believed to have come from the ferocious black dogs of English folklore. Stories concerning these mysterious, red-eyed creatures are widespread and the entity is known by numerous names, the most popular being Black shuck. Devil Dog (not to be confused with hell hounds) is a convenient group name, and they are usually considered to be harbingers of death.

Trivia corner

The Baskerville Hall set is the same set that was used for Dracula (1958). The Hound of the Baskervilles also borrowed some music (composed by James Bernard) from the same film.

 


RetView #25 – 28 Days Later (2002)

Title: 28 Days Later

Year of Release: 2002

Director: Danny Boyle

Length: 113 mins

Starring: Cillian Murphy, Naomie Harris, Christopher Eccleston, Noah Huntley

28-days-later-poster_960_640_80

Few post-millennium horror movies have generated as much debate and column inches as 28 Days Later. Based on the novel by Alex ‘The Beach’ Garland, it is often credited with kick-starting an ailing zombie genre as well as breathing life into a British film industry which had become saturated with warm, fuzzy Love Actually cash-ins. In 2007, Stylus magazine voted it the second best zombie movie of all time (after Dawn of the Dead) while a poll in Time Out magazine a decade later ranked it the 97th best British movie of all time. Director Danny Boyle has been involved in some of the most iconic British movies in history. His career started in earnest with cult classic Shallow Grave in 1994. He then directed Trainspotting, A Life Less Ordinary and The Beach, before slotting 28 Days Later on his cv. Afterwards, he went on to produce the sequel, 28 Weeks Later, as well as direct Slumdog Millionaire, 127 Hours, and the acclaimed biopic, Steve Jobs. He won widespread acclaim for making the zombies in 28 Days Later ‘fast,’ as opposed to the kind of shambling oddities popularized by George A Romero’s genre-defining zombie films, which proved all the more terrifying.

The film opens with archival footage of riots, chaos and atrocities, setting the tone nicely for what follows. The main story arc begins in earnest when a group of animal rights activists break into a research facility to free some chimpanzees. However, unbeknownst to them, the chimpanzees aren’t cute and cuddly any more. Far from it. They’ve been infected with a rage-inducing virus, and once freed they waste no time setting about the activists who then go on to infect everyone else. 28 Days later (geddit?) injured bicycle courier Jim (Murphy, allegedly third choice for the role behind Ewan McGregor and Ryan Gosling) awakes from a coma in a hospital to find it deserted. Walking out into London, he finds much the same state of affairs. The streets are empty, cars and shops have been abandoned, and there are no people. Anywhere. He finds a newspaper telling of an evacuation, stumbles across a church where a mass suicide seems to have taken place, and is then attacked by a priest, who he whacks upside the head with a carrier bag full of Pepsi cans, all of which must be very unsettling for the poor guy. He eventually runs into a pair of survivors (Harris and Huntley) who tell him of an outbreak which has led to a nationwide, and possible worldwide societal collapse. After a miss-hap during which one of the trio is killed, the others hook up with a taxi driver and his daughter and they decamp for Manchester, where they hope to find the, ‘answer to infection.’ They are eventually taken to a fortified compound by a group of soldiers, where the ‘answer to infection’ isn’t what they thought it was. Instead of salvation, they are faced with oblivion.

The last half an hour or so offers a bleak yet well-observed and perfectly plausible assessment of what life might actually be like if (or when) the apocalypse comes and people regress to ‘kill or be killed’ mode. It’s interesting to note that fellow survivors pose more of a threat than the undead, this theory being at the very core of survivalism. Boyle ingeniously inserts flashes of the narrative from The Beach here, in that the focus is on a fractious group struggling to establish an alternative society under constant threat of attack, whether it be from outsiders, sharks, armed drug dealers, or these ‘fast’ zombies.

28 Days Later is famed for its depiction of post-apocalyptic London, which was achieved largely by filming early on Sunday mornings and shutting off sections of the city for short periods to minimize disruption. The ending is a hastily re-hashed alternative. The original, which hinged on the death of a major character, was deemed by test audiences to be too bleak. It’s an apocalyptic horror film for crying out loud. It is, however, one of several available as bonus content on some DVD and Blu-ray releases.

Trivia Corner:

The Millennium Stadium in Cardiff, Wales, doubled for the interior of Wembley Stadium because at the time of filming, the ‘new’ Wembley was still under construction. Visual effects were used to turn the seats the right colour.


RetView #24 – War of the Worlds (1953)

Title: War of the Worlds

Year of Release: 1953

Director: Byron Haskin

Length: 85 minutes

Starring: Gene Barry, Ann Robinson, Les Tremayne

war of the worlds

I know, I’m genre-hopping again. Much like The Fly the classic 1953 version of War of the Worlds isn’t as much of a horror film as it is a pure sci-fi flick. But it is considered one of the greatest of all time, and contains all the elements considered typical of horror movies – tension, suspense, conflict, and the threat of imminent death, right down to the spooky music. Not least, it was such a significant event in the history of cinema that I feel it would be a huge mistake not to include it in this series. So here we are.

This Paramount Pictures production was the first in a slew of film adaptations based on HG Wells’ groundbreaking 1897 novel of the same name, which was also the source material of the controversial Orson Welles radio drama that sparked widespread panic throughout America in October 1938 because everyone assumed it was an actual broadcast rather than a play and legitimately thought it was the end of the world. At its core, War of the Worlds is a straight-up alien invasion story, which in a Cold War setting becomes a direct metaphor for the perceived threat of communism and the detrimental effect it could have on the Western way of life. This is perhaps what sets this version apart from subsequent adaptations and makes it such an interesting case study. That and the fact that the release exploited the deep impression left on the public’s psyche by the infamous radio play 15 years previously meaning that the market was already primed long before the film even came out.

If you aren’t familiar with the premise, it’s simple, yet terrifying. The aliens come. Martians, to be exact. You know, from Mars. At first, everyone thinks earth is simply being pounded by meteors, so groups of people head to the impact sites for a closer look. As you do. At a crash site near Linda Rosa, California, well-known scientist Dr. Clayton Forrester (Barry), who’d been on a fishing trip, meets star-struck young waif Sylvia Van Buren (Robinson). The shameless flirting commences instantaneously.

Sylvia: You didn’t wear glasses on the Time cover.

Dr. Forrester: They’re really for long distance. When I want to look at something close, I take them off.

*Takes off glasses and leans in, which isn’t creepy at all.

After the initial excitement of the crashed ‘meteorite’ subsides, everyone files off leaving three men to guard the crash site. No sooner has everyone gone, a hatch opens in what is now clearly NOT a meteorite, a futuristic weapon emerges, incinerates the guards, and simultaneously shuts down all the technology in the town via an electromagnetic pulse. Wowzer. And that’s just the start of it. Someone calls the army and they roll up all guns blazing only to be met with death rays a-plenty. Carnage ensues just as reports begin to filter through (it’s unclear how, given the tech-fucking effects of that pesky electromagnetic pulse) that similar objects have crash landed all over the world. The condition is now critical. Before we know it, a full-on war breaks out (yep, a war of the worlds). Mankind, even when using the atomic bomb, prove no match for the alien invaders and are soon reduced to running around in a blind panic trying to stay alive. Many of the world’s capital cities are now aflame, and in the chaos Dr Forrester and the God-fearing Sylvia become separated. They find each other again in a church, but just when they face certain death the Martians abruptly start keeling over and dying. Apparently, they are unable to deal with the germs and bacteria in the earth’s atmosphere to which people have ‘long since grown immune.’ A little bit anti-climactic but it was as easy as that, the quasi-religious take-away message apparently being that where man (and nuclear weapons) fail, the smallest and most innocuous things sometimes succeed, so we should never lose hope. The stupidly unlikely romantic sub-plot is maintained right to the bitter end, so I guess there’s also some observation to be made about the all-conquering power of love, something which went right over my head.

At the time, War of the Worlds was celebrated for its use of movie-making technology, winning an Academy Award for Best Visual Effects. Okay, there were no other nominees that year, but it still won. Producer George Pal originally wanted to shoot the entire final third in 3D, but that plan was blackballed for being too expensive. Instead, the alien ships were superimposed over stock footage. It might sound tacky, but there’s a lot to admire. Whatever trickery was used results in a beautifully dark, apocalyptic landscape against which people are portrayed as being awfully weak and vulnerable. Not least the US Marine who catches fire. You don’t often see people catching fire in movies from 1953. Many of the visual techniques used became industry standards for years to come, the echoes of which are still being felt today. A bona fide classic people will still be watching in another 65 years.

Trivia Corner:

As a homage to the 1938 radio broadcast, at one point voice specialist Paul Frees appears on-screen as a radio reporter and does a pretty convincing vocal impersonation of Orson Welles.

 


RetView #23 – Shocker (1989)

Title: Shocker

Year of Release: 1989

Director: Wes Craven

Length: 110 minutes

Starring: Peter Berg, Mitch Pileggi, Michael Murphy, Heather Langenkamp, John Tesh

shocker

I was 15 when Shocker came out, and so at PAA (Peak Appreciation Age) for horror movies. And a lot of other things, including heavy metal. One of the most attractive things for me about this movie was the soundtrack, which featured Megadeth covering Alice Cooper’s No More Mr. Nice Guy alongside songs by Bonfire and Iggy Pop. Most impressively, the title track was recorded by The Dudes of Wrath, a supergroup consisting of Paul Stanley (Kiss), Vivian Campbell and Rudy Sarzo (Whitesnake) and Tommy Lee (Motley Crue). It even featured powerhouse songwriter Desmond Child and members of Van Halen on backing vocals. All this considered, Shocker was a perfect storm of my two main obsessions coming together. Metal and horror. Although dubbed a critical and commercial failure at the time (though not really, as it raked in $16.6 million at the Box Office against a $5 million budget) it has since gained cult status, and deservedly so.

Parallels are often drawn between Shocker and Wes Craven’s seminal A Nightmare on Elm Street franchise. While the former is much more light-hearted, often venturing into campy horror comedy territory, there are similarities. In his 2004 book Wes Craven: The Art of Horror, writer John Kenneth Muir says, “Shocker was basically Craven’s response to the Freddy Krueger film series and to Universal Studios, which informed him they wanted their very own horror franchise à la A Nightmare on Elm Street. Accordingly, moments in Shocker echo Craven’s earlier milestone film. Both films open with grisly serial killers working in their den of evil, both feature non-believing parents who also happen to serve on the local police, and both films also dramatize the now-expected ‘rubber reality’ dream sequences.”

In Shocker, the Freddy Krueger role is taken by a new anti-hero, Horace Pinker (Pileggi, later to make it big as Walter Skinner in the X Files) who appears to highschool footballer Jonathan Parker (Berg) in his dreams. This proves to be nothing but a precursor, when Horace (isn’t it more endearing when savage comic villains are referred to by their first name? Freddy, Jason, etc) then butchers most of Jonathan’s foster family, much to the chagrin of his police detective foster dad (Murphy). Using his dreams, Jonathan leads a police squad right to Horace’s door, but the killer escapes, brutally murdering all the cops in the process (except his foster dad, who yells at him). He then kills Peter’s girlfriend in revenge (Langenkamp, from A Nightmare on Elm Street. Obviously a favourite of Craven’s, she was also cast in A Nightmare on Elm Street 3: Dream Warriors and Wes Craven’s New Nightmare). Shortly afterwards, he is finally apprehended and it transpires that he is actually Peter’s biological father (bummer!). He is then sent to the electric chair. What his executioners don’t know, however, is that Horace has struck a deal with the devil. The chair doesn’t actually kill him, but ‘frees’ him and turns him into pure electricity, enabling him to continue his killing spree by hopping from body to body. Jonathan eventually wins through, with the help of his dead girlfriend, by trapping his nemesis dad inside a television set leaving the path open for a sequel. The much-touted sequel, which was supposed to be the second instalment in a horror franchise to rival A Nightmare on Elm Street and Friday 13th never materialized, probably due to a combination of mixed reviews and shifting audience attitudes.

Some critics disagree, with Horrornews.net going so far as to call him ‘lame’ but IMHO Pileggi plays a remarkably convincing baddie, and with his bald head and trim physique is eerily reminiscent of a young Dana White. He does suffer a little from ‘Freddy Krueger Syndrome’ with all the banter and wisecracks (“C’mon boy, let’s take a ride in my volts wagon!”). However, despite its cult classic status, this film is not without its problems. One of the main sticking points is its length. At 110 minutes, it far exceeds the average 90 minute running time for this kind of genre staple and takes quite a while before it gets going. I blame the editors for that. Maybe a slightly shorter, more streamlined version would have fared better.

Trivia Corner:

According to Craven, the film was severely cut for an R (15) rating. It took around thirteen submissions to the MPAA before it was awarded an R instead of an X (18) which would have limited its appeal. Some of the scenes that were cut included Pinker spitting out fingers that he bit off of a prison guard and a longer and more graphic electrocution. An uncut version has never been released.


RetView #22 – The Descent (2005)

Title: The Descent

Year of Release: 2005

Director: Neil Marshall

Length: 100 mins

Starring: Shauna MacDonald, Alex Reid, Natalie Mendoza, Saskia Mulder

SAW_1Sheet_Comps

Following the runaway success of Dog Soldiers, British director Neil Marshall was inundated with offers to make films in a similar vein. Anxious not to be typecast, he was initially reluctant but finally agreed to make The Descent because the two projects were, “Very different.” He did, however, insist on making drastic changes to the script to make them even more different. The film was originally to feature a mixed cast, but realizing how common that is, Marshall opted on an all-female cast instead. The decision proved to be a masterstroke, winning the film plaudits and instantly setting it apart from many of its contemporaries. Discussing the film after its release, Marshall says, “We wanted to show all these terrible things in the cave: dark, drowning, claustrophobia. Then, when it couldn’t get any worse, make it worse.”

In a bid to overcome a recent tragedy in which her husband and young daughter are killed, Sarah (MacDonald) meets a group of friends. They decide to go caving together in the Appalachian mountains of North Carolina. Not my idea of a fun time, but ya know. No sooner are they underground, then a cave-in traps them there. Then it transpires that the cave system is unmapped, and that one of their number, Juno (Mendoza) had led them there deliberately so they could become the first people to explore it. This means rescue is impossible, and they are going to have to find their own way out. Whilst seeking a way out they make several discoveries that would indicate that all might not be as it seems, among them cave paintings, a mass of animal bones, and some old climbing equipment. So far, so weird. Things then take a turn for the gross when one of the girls takes a tumble and breaks her leg. I don’t know why open compound fractures (where the bone sticks out of the shattered limb) are so common in movies, but they are and the rest of us have to stomach them. While the rest of the girls are debating how to get themselves out of this mess, Sarah spies a pale, humanoid creature drinking from a subterranean pond. This, my friends, is our first glimpse of a ‘Crawler.’ Hideously deformed, carnivorous, cave-dwelling creatures who were once people, we are led to believe, but have been underground for so long they have mutated and evolved differently to the rest of us. Blind, they have enhanced senses of hearing and smell to compensate. They’re sprightly little fuckers, too. A bit like a cross between the inbreds in the Wrong Turn series and mini-golems. They aren’t very friendly, either, and soon attack our little group of transgressors. Suffice to say, it doesn’t go well for the girls. Juno accidentally stabs Beth (Reid) in the neck and leaves her to die, before later running into Sarah and lying about the whole thing. It is also revealed that Juno had an affair with Sarah’s husband before his death. After a confrontation, Sarah leaves her nemesis at the mercy of the Crawlers and makes good her escape, finding a way out of the cave and back to civilization. Except, in a brilliant twist ending, her ‘escape’ as actually a hallucination, and when she wakes up she’s in just as much trouble as her friends. More, in fact.

Whilst it is set in North America, The Descent was actually made in the UK. The exterior shots were filmed in Scotland, and the interior at Pinewood Studios, as it was deemed too expensive, problematic and risky to film in a real cave system. I don’t know what this says about different audiences, but it is interesting to note here that the US version ends with Sarah’s escape, leaving out the part where she wakes up still strapped in the caves. It was suggested in Entertainment Weekly magazine that this was done because after such an emotionally draining cinematic experience, American audiences wouldn’t appreciate the ‘uber hopeless’ finale. Evidently, however, British audiences prefer their endings to be uber hopeless. The more hopeless and depressing the better. Something else about this film that fucks with your head a little is the depiction of the Crawlers, who count females and vulnerable-yet-still-nasty children amongst their number which obviously means they’ve been multiplying down there. The Descent was followed in 2009 by a sequel, again staring Shauna MacDonald. However, despite having a much bigger budget, this was a comparative failure and struggled to break even.

Trivia Corner

The film’s marketing campaign in the UK was disrupted by the London bombings of July 2005. Advertisements on the city’s public transport system had included posters carrying the quote, “Outright terror… bold and brilliant,” and depicting a terrified woman screaming in a tunnel. The posters were recalled, and the campaign reworked to exclude the word “terror” from advertised reviews of the movie. The distributor’s marketing chief, Anna Butler, said of the new approach, “We changed tack to concentrate on the women involved all standing together and fighting back. That seemed to chime with the prevailing mood of defiance that set in the weekend after the bombs.”

 


#RetView 21 – The Fog (1980)

Title: The Fog

Year of Release: 1980

Director: John Carpenter

Length: 89 minutes

Starring: Adrienne Barbeau, Jamie Lee Curtis, Hal Holbrook, Janet Leigh

The Fog

Along with The Howling and An American Werewolf in London, this is one of the films that shaped (or warped) my formative years. Following the success of Halloween two years earlier, John Carpenter was considered hot shit in Hollywood and virtually given free license to do what he wanted on the Fog, albeit on a pretty modest budget. He didn’t disappoint. Being sandwiched between Halloween and Escape from New York, the Fog is often overlooked, but remains one of the jewels in Carpenter’s crown.

As the Californian coastal town of Antonio Bay nears its hundredth anniversary, paranormal activity mysteriously begins to rocket. When a huge chunk of masonry falls out of a wall in his church, town priest Father Malone (Holbrook) finds his grandfather’s journal hidden in the alcove. When he reads it, he uncovers a terrible secret. The original townsfolk, led by Malone’s grandfather, deliberately sank a clipper ship, the Elizabeth Dane, and plundered it for gold, which was then used to establish the town and build the church. Cut to the present day, and a fishing boat is out at sea when it is engulfed by a mysterious glowing fog. You guessed it, there’s something in there. Specifically, it’s the Elizabeth Dane, and her very angry (and very dead) crew.

The heart and soul of San Antonio is the local radio station, seemingly managed by Stevie Wayne (Barbeau) all on her lonesome. The radio station is set up in an old lighthouse, meaning Stevie is in pole position to see the glowing fog, which suspiciously moves against the wind, approach the town. Weatherman Dan helpfully calls to tell her about it, but unfortunately, Weatherman Dan could make a strong case for being the stupidest man in the world and is dead moments later. Instead of just calling it a night and going home, Stevie then takes to the airwaves to implore any passing strangers to go to her house, address provided, to save her son who is stuck there with the soon-to-be-dead babysitter. A short time later, she apparently gives up on him altogether and shifts her attention to saving the villagers instead who have gathered for a Centenary celebration. In an apparent attempt to help the crew of the Elizabeth Dane find them quicker, she tells them all to gather in the church where an epic showdown takes place.

As well as writing, directing, and even pulling off a brief cameo role, John Carpenter also composed the musical score. I didn’t notice the significance until I sat down and actually listened to it. It consists of the usual deep, ominous, brooding tones, which are then mimicked by lighter tones. Same chords, different tones. When I thought about it, that effect conjured up the notion of being stalked or followed, which I imagine to be an effective tool to use on the subconscious whether intentional or otherwise. The music is instrumental (boom!) in making the Fog such an atmospheric, satisfying, well-made chiller. The plot is ultimately a tad predictable, but there’s just enough gore and jump scares to keep things interesting.

The fate of the Elizabeth Dane is said to be based on that of an actual wrecking which took place off the coast of California near the town of Goleta in the 19th century. This particular kind of skulduggery appears to have been mercifully rare in America. However, it was a lot more prevalent in Britain.

John Carpenter also claimed to be partly inspired by a visit to Stonehenge with his co-writer/producer (and then-girlfriend), Debra Hill while in England promoting Assault on Precinct 13 in 1977. They visited the site in the late afternoon, and saw an eerie fog in the distance. Though carpenter and Hill worked together on The Fog, Halloween and several other projects, by the time the Fog came to be filmed Carpenter was married to Adrienne Barbeau. Unusually, both Carpenter and Hill were involved in the 2005 remake starring Selma Blair and Tom Welling, which managed to stay more-or-less faithful to the original.

Trivia Corner

Worried the film might flop, the distribution company, AVCO Embassy Pictures, spent around $3 million on advertising and promotion, mostly on TV, radio and print ads. They also spent a considerable amount installing fog machines in the lobbies of cinemas where the film was showing. That was almost three times the amount the film cost to make. However, the gamble paid off as it generated over $21 million at the Box Office.


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