Tonight’s televised horror is another episode from the 2002 revival of The Twilight Zone!
In Night Route, Ione Skye nearly gets hit by a car and, afterward, finds herself haunted by visions of a mysterious bus. Featuring atmospheric direction from Jean de Segonzac and a good performance from Ione Skye, this episode of the Twilight Zone makes a nice companion piece to tomorrow’s horror on the lens!
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!
If, on Saturday you were having trouble sleeping at three in the morning, you could have turned on TCM and watched the 1969 film, The Arrangement.
The Arrangement is one of those films where a rich guy gets hit by a sudden case of ennui and, as a result, spends the entire movie acting like a jackass. However, as often happens in films like this, The Arrangement makes sure that we understand that it’s not the guy’s fault. Instead, it’s his wife’s fault for not being as much fun as his mistress.
In this case, the guy is an ad executive who goes by the name of Eddie Anderson (Kirk Douglas). His original name was Evangelos Arness but he changed his name when he was younger because he apparently didn’t want anyone to know that he came from a Greek family. When we first meet Eddie, he’s attempting to commit suicide by driving his car into an 18 wheeler. If he had died, the movie could have ended quickly. However, since Eddie survived, the audience is now required to spend two hours watching Eddie as he tries to figure out what it all means.
Eddie’s father (Richard Boone) is dying. His long-suffering wife (Deborah Kerr) just doesn’t understand that Eddie needs more than a big house and a nice pool to feel like a man. Eddie’s mistress is Gwen (Faye Dunaway), whose new baby may or may not be Eddie’s. Who could blame Eddie, the film demands to know, for being disillusioned with his comfortable life?
The Arrangement was one of the last films to be directed by Elia Kazan, who was a big deal in the 40s and the 50s and whose goal with The Arrangement was apparently to prove that he should still have been a big deal in the 60s and 70s. Kazan’s way of doing this is to fill The Arrangement with all types of tricks that were designed to make young filmgoers say, “Man, that Eliza Kazan may be old but he’s one of us!”
Freeze frames? Kazan’s got them! Flashback after flashback? Kazan spreads them all throughout the movie, even when they don’t really have anything to show us. Scenes where the action is sped up for no identifiable reason? Just watch Kirk Douglas trot down that hallway! Rack focus shots? Zoom shots? A scene where the young Kirk Douglas argues with the old Kirk Douglas? Casual nudity that’s still filmed in such a way that it feels oddly reticent, as if the filmmaker was just including it to try to establish his rebel credentials? The Arrangement has it all!
It also has a lot of close-ups of Kirk Douglas. In far too many scenes, he’s just sitting around with this blank look on his face and it doesn’t quite work because, as an actor, Douglas has never exactly come across as the type to get trapped in an existential crisis. We’re supposed to view Kirk as being depressed and conflicted but, in all of his films, Kirk has always come across as someone who hasn’t known a day of insecurity in his entire life.
There are also a few scenes of Kirk just laughing and laughing. For some reason, movies in the late 60s and early 70s always seemed to feature at least a handful of closeups of people laughing uncontrollably. I’m not sure why. (If you want to see the most extreme example of this, check out Getting Straight.) These scenes are always kind of annoying because there’s only so much time you can spend watching someone laugh at the absurdity of it all before you want them to just close their damn mouth. Especially when the person in question is a middle-aged man. I mean, shouldn’t have Kirk figured out that the world is absurd before his 50th birthday?
Anyway, The Arrangement is a pretentious mess. Of course, most films from the 60s are pretentious. The problem with The Arrangement is that it’s also boring. If you’re going to be pretentious, at least have some fun with it, like The Graduate did. The Arrangement goes on forever and it’s never quite as profound as it seems to think that it is. I once read a short story that a former friend of mine wrote. She explained that writing the story had caused her to realize that, the longer you know someone, the more likely your initial impression of that person is going to change. “You had to write an entire short story to figure that out?” I replied. (That’s one reason why she’s a former friend.) But that’s kind of how The Arrangement is. For all the drama and the technique and the pretension, it has nothing to teach us that we shouldn’t already know.
British director Michael Reeves cemented his reputation in horror with three films before his untimely death from a barbiturate overdose at age 25, all featuring icons of the genre. The first was the Italian lensed THE SHE BEAST (1966) starring beautiful Barbara Steele. The second, 1967’s THE SORCERERS , headlined none other than Boris Karloff. Reeves’ third and final production, 1968’s THE CONQUEROR WORM (also know by the more apt WITCHFINDER GENERAL), saw Vincent Price give one of his greatest performances as the cruel torturer Matthew Hopkins.
1645: England is engaged in a bloody civil war between Charles I’s Royalists and Oliver Cromwell’s army. Amidst this unrest, Matthew Hopkins and his assistant Stearne roam the countryside, hunting down, torturing, and killing accused witches for profit. It’s “The Lord’s work and an honorable one”, states Hopkins, as he and Stearne commit acts of atrocity upon the helpless innocents. They arrive in Brandeston and target…
Josh Baker (Eric Roberts) is an extroverted artist for Marvel Comics who meets Cheryl (Janine Turner) while walking around New York City. Josh and Cheryl hit it off but when Cheryl suddenly collapses, she is picked up by a mysterious ambulance. When Josh goes to the hospital to check on her, he is told that Cheryl was never brought in. Soon, Josh discovers that people all over New York have been put into back of the ambulance and have never been seen again. Unfortunately, nobody believes Josh. Not the veteran NYPD detective (James Earl Jones) who Josh approaches with his suspicions. Not the staff of the hospital. Not even Stan Lee! The only people willing to support Josh are an elderly investigative reporter (Red Buttons) and an inexperienced detective (Megan Gallagher).
Yes, Stan Lee does play himself. While he had made a few cameo appearances on television and had previously narrated a French film, The Ambulance was Stan Lee’s first real film role. Josh works at an idealized version of Marvel Comics, where the artists are well-paid, no one is pressured into producing substandard work, and Lee is an avuncular father figure. It is the Marvel Comics that I used to imagine working at when I was growing up, before I found out about what actually happened to artists like Jack Kirby, Joe Simon, and Steve Ditko.
Idealized though it may be, the Marvel connection is appropriate because The Ambulance is essentially a comic book adventure. It does not matter how many times Josh gets hit by a car or falls out of a window, he always recovers in time for the next scene. When Josh does discover who is behind the ambulance, it turns out to be a villain who would not be out-of-place in a Ditko-era Spider-Man story.
The Ambulance is another one of Larry Cohen’s New York horror stories. Like most of Cohen’s films, it is pulpy, cheap, and entertaining. Eric Roberts is as crazy as ever and the movie is full of good character actors like James Earl Jones, Red Buttons, Richard Bright, and Eric Braeden. The Ambulance may be dumb but it is always entertaining.
Today’s horror scene that I love comes from the 1957 British film, Night of the Demon.
This is one of those films that deserves to be better known than it actually is. Directed by Jacques Tourneur, this is a moody and intelligent horror film, one that’s full of atmosphere and features a surprisingly effective demon. Reportedly, Tourneur didn’t want to show the actual demon in the film but he was overruled by the film’s producers. Typically, I usually side with the directors whenever it comes to stories of behind-the-scenes conflict but, in this case, I think the film actually works better with the demon as an actual physical presence.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director: one of the masters of Hammer horror, Terence Fisher!
4 Shots From 4 Films
The Curse of Frankenstein (1957, dir by Terence Fisher)
The Horror of Dracula (1958, dir by Terence Fisher)
For today’s horror on the Shattered Lens, we have 1980’s Without Warning.
In this horror/sci-fi hybrid, humans are hunted by an alien hunter who uses a variety of weapons and … what was that? No, we’re not watching Predator. We’re watching Without Warning. For the record, Without Warning and Predator may have almost exactly the same plot but Without Warning came out long before Predator.
(Interestingly enough, Kevin Peter Hall played the intergalactic hunter in both films.)
Anyway, Without Warning is probably the best film that Greydon Clark ever directed. Some would say that’s not saying much but seriously, Without Warning is a surprisingly effective film. It also has a large cast of guest stars, the majority of whom are killed off within minutes of their first appearance. That alien takes no prisoners! (I especially feel sorry for the cub scouts.)
Of course, the main characters are four teenagers. One of them is played by David Caruso, which I have to admit amuses me to no end.
William M. Gaines’ graphic and gruesome line of horror, crime, and science fiction comics helped turn America’s youth into mouth-foaming, homicidal Juvenile Delinquents until they met with a horror of another kind – Dr. Fredric Wertham and the U.S. Congress! These beasts effectively destroyed EC through censorship and propaganda, ending one of graphic arts’ most creative eras. But EC still lives in the hearts and minds of horror fans everywhere, so here’s gallery of ten spine-chilling covers from the Golden Age of EC Comics! Spa Fon!
Well, shit — if the title of writer/director Faisal Saif’s early-2017 Indian horror Islamic Exorcist isn’t enough to grab you, then I don’t know what more it takes. But is there anything more to this film beyond an arresting name? Thanks to Amazon Prime’s streaming service, I’m pleased to report that I’m able to answer that question —
Before we get to all that, though, the basics : intrepid journalist Natasha Choudhary (played by an actress who goes only by the name of Meera) has taken a keen interest in a local family tragedy, that of Ayesha Khan (Kavita Radheshyam) and her husband, Sameer (Nirab Hossain), who adopted an infant child named Anna after Ayesha’s sole pregnancy ended in a miscarriage. The couple had plenty of love to give, and seemed to be getting ahead financially, so it looked like many fulfilling years were in store for one and all…