Corey Feldman Goes To College: Voodoo (1995, directed by Rene Eram)

Posted on October 5, 2018 by Jedadiah Leland

Andy Chadway (Corey Feldman) is an aspiring writer who is attending college in the UK. When he meets Rebecca (Diane Nadeau), he is so smitten with her that he transfers to a school back in the States so that he can be near her. Of course, Andy doesn’t bother to tell her ahead of time so, when he arrives at his new school, he’s shocked to discover that Rebecca doesn’t seem to be happy to see him and that, since she lives in a sorority house, he can’t stay with her.

Desperately needing a place to live, Andy checks out the local fraternities but he discovers that there’s only one frat that is willing to take him. It’s the worst frat on campus, a collection of weirdos led by Cassian Marsh (Joel J. Edwards). Andy joins anyway but soon discovers that the frat is actually a voodoo cult that is more interested in human sacrifice than raging keggers.

Corey Feldman made a huge number of strange movies in the 90s. They were all released straight-to-video and almost all of them featured Feldman trying to get away from his teen idol image. In Voodoo, Feldman battles zombies and voodoo priests and Corey Haim is nowhere to be seen. Feldman is actually not bad in Voodoo. He’s always been a better actor than he’s given credit for but he also brings so much personal baggage to every role that it’s impossible to see him as being anyone other than Corey Feldman. That is definitely the case with Voodoo.

The premise of Voodoo is an interesting one and it had a lot of potential. The film deserves credit for taking its plot seriously and there is one good sequence where Marsh uses mind control to destroy a rival fraternity. However, Voodoo has too many scenes that seem like filler and it never fully explores its premise.

Keep an eye out, however, for Jack Nance. One of the original members of David Lynch’s stock company, Nance played the title role in Eraserhead and also played Pete Martell on Twin Peaks. Nance plays the father of a former member of the fraternity and he’s the one who warns Andy to be weary of Marsh. Nance and Feldman previously co-starred in Meatballs 4 and Nance’s eccentric presence livens up their scenes in Voodoo. This was one of Nance’s final roles before his untimely death in 1996.

Halloween Havoc!: BRIDE OF FRANKENSTEIN (Universal 1935)

Posted on October 5, 2018 by gary loggins

cracked rear viewer

James Whale’s brilliant BRIDE OF FRANKENSTEIN is one of those rare occasions where the sequel is better than the original… and since the original 1931 FRANKENSTEIN is one of the horror genre’s greatest films, that’s saying a lot! Whale’s trademark blend of horror and black humor reached their zenith in BRIDE, and though Whale would make ten more films before retiring from Hollywood moviemaking in 1941, this was his last in the realm of the macabre. It turned out to be his best.

Mary Shelley’s got a story to tell…

William Hurlbut’s screenplay start with a prologue set during the proverbial dark and stormy night, with Mary Shelly (Elsa Lanchester ), Percy Bysshe Shelley (Douglas Walton), and Lord Byron (Gavin Gordon ) discussing Mary’s shocking novel “Frankenstein” as clips from the 1931 film are shown. Then Mary tells them there’s more to the story, and we pick up…

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Horror Scenes That I Love: The Jack The Ripper Scene From Pandora’s Box

Posted on October 5, 2018 by Lisa Marie Bowman

Since I reviewed Robert Bloch’s Night of the Ripper earlier today, it only seems appropriate that Jack the Ripper should play a role in today’s horror scene that I love.

In the 1929 silent German film, Pandora’s Box, Louise Brooks plays Lulu who, through a series of misfortunes, goes from being the mistress of an upper middle class newspaper publisher to living in squalor in London. Reduced to working as a prostitute, Lulu picks up her first client on Christmas Eve. Little does she know that her client is actually the infamous murderer known as Jack the Ripper. At first, Jack attempts to resist his urges by throwing away his knife but once they reach Lulu’s apartment, he discovers another.

This scene, which served as the film’s finale, was considered to be so controversial in 1929 that it was edited out of some prints, which had the effect of turning a tragic story about a woman forced into prostitution into a story about a woman who, following some bad luck, moves to London and is redeemed by volunteering for the Salvation Army.

Here is the original conclusion of Pandora’s Box:

Book Review: Night of the Ripper by Robert Bloch

Posted on October 5, 2018 by Lisa Marie Bowman

As you might guess from the title, Night of the Ripper is set in London in 1888. A shadowy figure is haunting the foggy alleyways of Whitechapel, savagely murdering prostitutes, terrifying the public, and leaving the police baffled. In the taunting letters that he writes to the authorities, he says that his name is Jack.

Jack the Ripper, to be exact.

With both high and low society demanding an end to the murders, can the respected and determined Inspector Abberline discover the true identity of Jack the Ripper and bring his reign of terror to an end? Helping him out will be an American doctor named Mark Robinson. Robinson is an expert in a developing science called psychology but will that be enough?

*sigh*

This 1984 novel from Robert Bloch is an unfortunate misfire. I say that as someone who has spent a countless amount of time reading about the murders and all of the identified suspects. (Back in March, when Jeff and I were in London, we went on one of those Jack the Ripper walking tours. It was wonderfully creepy!) A century after his crimes, Jack the Ripper continues to fascinate us because, not only was he the first widely identified serial killer, but it also appears that he got away with it. The police may have speculated that Jack was a disgraced lawyer who committed suicide after the murder of Mary Kelly but they never actually presented any evidence to back that up. Over the last 130 years, countless people have been accused of being Jack the Ripper, everyone from an anonymous Russian doctor to Lewis Carroll to the son of Queen Victoria. Solely based on the fact that she didn’t care much for his paintings, Patricia Cornwell wrote an entire book arguing that the artist Walter Sickert was the murderer. In all probability, Jack the Ripper was an anonymous nobody but he’s become such a huge figure in the popular imagination that it’s difficult for many to accept that he was probably just a sexually dysfunctional loser who hated women. Instead, elaborate conspiracy theories are pursued and films like Murder by Decree and From Hell are produced.

Bloch’s novel features plenty of prominent Victorians, though none of them are identified as suspects. Oscar Wilde, Joseph Merrick, Conan Doyle, and Robert Lees all show up and then quickly disappear from the story. When Bloch does eventually reveal the identity of Jack the Ripper, he turns out to be a minor character who was first introduced just a few chapters previously. It’s a bit of a letdown.

Actually, the whole book is a letdown. It comes across as if it was written in haste and Bloch’s attempt to give the story some gravitas by opening the final few chapters be describing ancient torture methods doesn’t really have the effect that I presume he was going for. It’s a disappointment because, after all, this is Robert Bloch that we’re talking about. Bloch not only wrote Psycho but he also wrote Yours Truly, Jack the Ripper, one of the best short stories ever written about Jack.

Read the short story but avoid the novel. And if you ever get a chance to take a Jack the Ripper walking tour, do it!

Italian Horror Showcase: Who Saw Her Die (dir by Aldo Lado)

Posted on October 5, 2018 by Lisa Marie Bowman

Did you know that today is World James Bond Day?

It certainly is! Today is the 55th anniversary of Dr. No and therefore, it’s the day when we celebrate all things Bond!

Now, it may seem strange to start a review of a classic giallo like 1972’s Who Saw Her Die? by talking about the James Bond franchise but the two do have something in common.

George Lazenby.

George Lazenby was the Australian model who was selected to replace Sean Connery in the role of 007. It was Lazenby’s first big break and it also nearly destroyed his career. Lazenby played the role only once, in On Her Majesty’s Secret Service. Though many modern critics have come to recognize that film as one of the best installments in the franchise, contemporary critics were far less impressed. After the disappointing reception of OHMSS, it was announced that Lazenby would be leaving the role and, in Diamonds Are Forever, Connery returned to the role.

What happened? Why did George Lazenby exit one of the biggest film franchises in the world? In my research, I’ve come across several different theories. Some say that Lazenby voluntarily quit because he either wasn’t happy with the direction of the franchise or he didn’t get want to get typecast. Others say that Lazenby was fired from the role because he was difficult to work with and was viewed as being a diva. Others have said that Lazenby was viewed as being too stiff of an actor to continue in the role of James Bond.

Obviously, I can’t say whether Lazaneby was difficult to work with or not. Nor can I even begin to speculate on what he thought of the franchise’s direction. But, as far as this idea that Lazenby wasn’t a good actor goes … well, all I can say is have you even seen Who Saw Her Die?

As you can probably tell from the trailer, Who Saw Her Die? might as well take place on a totally different planet from the Bond films. Who Saw Her Die? is an atmospheric and, at times, nightmarish giallo. A murderer of children — complete with black gloves and a black veil, because this is a giallo film, after all — is stalking Venice. When the daughter of architect Franco Serpieri (George Lazenby) is murdered, Franco and his ex-wife (Anita Strinberg) search for the murderer and discover a connection to a previous murder that occurred, years before, at a French ski resort.

It’s a dark and disturbing film, perhaps the most emotionally intense giallo film that I’ve ever seen. A year before Nicolas Roeg did the same thing with Don’t Look Now, director Aldo Lado captures Venice as a city of both great beauty and great decay. Every scene features the ominous shadow of death hanging over it and, after the murder of Roberta Serpieri (Nicolette Elmi), the viewer is painfully aware that everyone that we see is a potential child murderer. Is it the artist? Is it the priest? Or is it some random passerby? This film keeps you guessing.

And holding the entire film together is George Lazenby. At the time, I’m sure that some said it was a step down to go from playing James Bond to appearing in a low-budget Italian thriller but Lazenby gives such an emotional and empathetic performance that it should silence anyone who has ever said that Lazenby was a stiff actor. It’s not just that Franco wants justice for his daughter. It’s also that he’s haunted by his own guilt. Franco abandoned his daughter, leaving her on the streets of Venice, so that he could get laid. If he had been with there, the killer never would have targeted her. As played by Lazenby, Franco is motivated not just by rage but also by a need to redeem himself. He is equally matched by Anita Strindberg, who perfectly captures the raw pain and rage of a mother who has lost her child. Perhaps the film’s strongest moment features Franco and his ex-wife making love after their daughter’s funeral. The scenes of their love-making are intercut with scenes of them crying in bed afterwards, a technique that, a year later, Nicolas Roeg would also use for Don’t Look Now‘s famous sex scene. Together, Stindberg and Lazenby make Who Saw Her Die? into the rare whodunit where you care as much about the future of the characters as you do the solution to the mystery.

Who Saw Her Die? is an excellent and powerful giallo and proof that George Lazenby was more than just someone who once played James Bond.

George Lazenby (center) in Who Saw Her Die?

4 Shots From 4 Films About The London Fog: The Lodger, A Study In Terror, Murder by Decree

Posted on October 5, 2018 by Lisa Marie Bowman

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 lets the visuals do the talking.

Today, we celebrate the horrors of the London Fog!

4 Shots From 4 Films About The London Fog

The Lodger (1927, dir by Alfred Hitchcock)

The Lodger (1944, dir by John Brahm)

A Study in Terror (1965, dir by James Hill)

Murder By Decree (1979, dir by Bob Clark)

Film Review: Venom (dir. by Ruben Fleischer)

Posted on October 5, 2018 by Leonard Wilson

VenomPoster About 20 years ago, a friend and I walked out of a movie theatre for some pizza. On the way to the Pizzeria, I raved about the movie we just watched. The effects were awesome, and the main character was bad ass. My friend didn’t share the same sentiment, and over the dinner, he went on to explain everything that was wrong with the film. Bad CGI (for its time), 2 Dimensional Characters, and a pretty simplistic plot. By the end of my dinner, all of my joy was sucked away. I wanted to believe, deep down that I walked into a quality production, but there was so much room for improvement.

That film was Mark Dippe’s Spawn.

I mention this because after seeing Ruben Fleischer’s Venom, Spawn was the first film that came to mind. That makes sense, given that a lot of Venom’s genesis is from artist Todd McFarlane, who also created Spawn (and gave Spider-Man some of the best webbing I’ve ever known). There are parts of Venom I truly enjoyed, and I can say that there isn’t much of a problem with the acting on anyone’s side. However, the levels of boredom in the film’s first hour will have you wanting to bring in a highly caffeinated drink to sip on, just to stay awake. The lady next to me yawned, which made me yawn and it just cycled through the audience. The good sequences are already visible in the trailers.

Here’s a clip of Venom from the Ultimate Spider-Man Video Game (easily recommended) to give you a rough idea of how he is.

From a plot standpoint, Venom does a good job in giving us a story for how Eddie Brock and his Symbiote meet without factoring in Spider-Man at all. Comic readers remember the Secret Wars, where Spider-Man lost his suit and picked up a symbiote replacement. When the Symbiote proved dangerous, Peter Parker got rid of it and it fell into the hands of his former Daily Bugle nemesis, Eddie Brock. Together, they formed Venom, a beast with all of Spider-Man’s powers and Brock’s hatred of Parker. Venom plagued Spider-Man, who was incredibly dangerous because he was one of the few villains that didn’t set of Parker’s Spidey Sense. He could sneak up on him at any time, assume the likenesses of other people, and Parker would never see him coming.

The Sony Spider-Man series changed this up in Spider-Man 3, replacing the Secret Wars with more of a Blob-like story. Symbiote crashes to Earth, finds Parker. Parker decides to rip it off and it finds Brock. In this new version of Venom, symbiotes already exist in space, and a corporation lead by Carlton Drake (Riz Ahmed) are trying to bring them to Earth to intermingle with humans. When investigative reporter Eddie Brock (Tom Hardy) stumbles on the corporation’s evil plans, he accidentally joins with a symbiote and finds himself with a near insatiable hunger for the living.

You have the best 2 in 1 team up since Leigh Wannell’s Upgrade. I would not be opposed to a sequel for this if they tightened up the writing. Maybe that’s my problem. Both Upgrade and Venom are similar, but only one had an interesting character that looked like Tom Hardy (sorry, but Logan Marshall-Green does bear a resemblance).

Ruben Fleischer’s (Zombieland, Gangster Squad) direction is okay here. With Cinematographer Matthew Libatique (Iron Man, Black Swan) at his side, Venom doesn’t have many problems there. With the exception of the final confrontation, the shots aren’t too blurry or hard to track when the action starts. Even though Venom is a visibly dark character, I couldn’t complain that scenes weren’t well-lit.

For me, the problem with Venom is that at an hour and 52 minutes, it feels like the first hour is just waiting for that symbiosis to occur. Eddie Brock doesn’t really become interesting until Venom appears (also voiced by Hardy), and that’s a rough thing to say, given the cast involved. We’ve both seen Hardy, Ahmed and Michelle Williams in better roles, but they really aren’t given any real meat here. The dialog is a little shaky in some places. Hardy pushes himself hard here, and you see how disjointed Brock gets as he adjusts to the changes. Brock as a character, however, doesn’t really have a lot going for him. Neither did Peter Parker or maybe even Steve Rogers, but there were elements about who they were that helped you to appreciate who they be became as superheroes. Steve Rogers was a weakling with a good spirit, which made him a better Captain America. Peter Parker was a chemical whiz kid and came up with his own web-fluid. Brock just…well, reports. There’s a lot of boredom in that first hour. The best scenes are the interactions between Venom and Brock, full of cute banter. It’s like having an unwelcome guest wanting to meet your parents. It just took so long to get to that point. When it does, however, the movie improves. They do manage to get a lot right about what Venom can do.

The CGI in Venom is definitely good in some places. It stands as the best argument for another remake of The Blob. The symbiotes are creepy in their design and motion, slithering up walls and making their way through vents. Venom, in all it’s glory, is quite a sight to behold, towering over humans. It goes a little overboard over the last 3rd of the film. I can’t say I knew for sure what it was I was looking at, but that’s to be expected with some superhero films.

If you see the film, stay for the mid-credits scene, which teases a future character. Also stay for a near 5 minute sneak peek into Spider-Man: Into the Spiderverse.

Overall, if you feel you have to see it in a theatre, by all means, do so. If you can wait for it to come out on Digital, that may be the best route.

Horror Film Review: Unsane (dir by Steven Soderbergh)

Posted on October 5, 2018 by Lisa Marie Bowman

Oh, Steven Soderbergh.

Seriously, I know that everyone in the world is always going on about how brilliant he is but I have to admit that I always approach his film with a bit of trepidation.

I mean, yes, Soderbergh can be brilliant. He’s made some legitimately great films, some of the best that I’ve seen. The Informer! holds up brilliantly. So does Traffic and The Girlfriend Experience. Even a film like Logan Lucky remains amusing on a second viewing.

And yet, at the same time, he can be one of the most annoyingly pretentious directors around. Contagion was a raging bore and, with Haywire, Soderbergh squandered the potential of Gina Carano. Che started out strong before turning into a dull Marxist tract. With the exception of Out of Sight, his friendship with George Clooney always seems to bring out the worst instincts in both men. And don’t even start with me about the Ocean’s films. Have you tried to rewatch any of them lately?

Whenever I start a new Soderbergh film, I find myself wondering which Stephen Soderbergh am I going to get. Am I going to get the Soderbergh who is a crafty storyteller and a good director of actors? Or am I going to get the pretentious Soderbergh who always seems to think that he’s doing all of us favor by lowering himself to make a genre film?

With Unsane, which was released way back in March, I got both.

Claire Foy plays Sawyer Valentini. A year ago, Sawyer was working at a hospice when the son of one of her patients became obsessed with and started stalking her. Fearing for her life and realizing that the police weren’t going to be much help, Sawyer moved away from home and tried to restart her life.

Seeking help for dealing with her trauma, Sawyer makes an appointment with a counselor at the Highland Creek Behavioral Center. What she doesn’t realize is that Highland Creek is a scam. The papers that she signed at her appointment allow her therapist to hold her for a 24-hour evaluation. When Sawyer resists and attempts to call the police, her stay is extended by seven more days. Every time that Sawyer demands to be released, she’s judged to be a threat to herself and others and more days are added to her stay. As another patient explains it, Highland Creek basically holds onto its patients until their insurance runs out.

If that wasn’t bad enough, things get worse when Sawyer meets the new orderly (Joshua Leonard). He says that his name is George Shaw but Sawyer swears that he’s David, the man who has been stalking her. Of course, no one listens to her when she tries to tell them. After all, she voluntarily committed herself to Highland Creek….

Unsane received a lot of attention because Soderbergh shot the film in secret with an iPhone. The end results of Soderbergh’s experiment were mixed. At its best, this technique gives the film a gritty look and it visually captures the shaky state of Sawyer’s sanity. At its worse, it’s a distraction that leaves you feeling that you’re supposed to be more impressed by how Soderbergh made the film than by the story being told.

Fortunately, Soderbergh gets two wonderful performances from Claire Foy and the reliably creepy Joshua Leonard. Foy brings just the right combination of fragility and strength to the role of Sawyer and she gives such an empathetic performance that you get involved in her story even if Soderbergh’s style is often distracting. As for Leonard, you’ll recognize him as soon as you see him. He’s a character actor who specializes in playing off-balance people and he’s memorably menacing in this film.

I probably would have liked Unsane more if I didn’t always have the feeling that the movie was mostly made so that Soderbergh could show off. Whenever I see one of Soderbergh’s “genre” films, I get the feeling that he’s looking down on the material and that my reaction is supposed to be one of, “Soderbergh’s such a genius that he can even make crap like this entertaining!” (You get the feeling that Soderbergh might be willing to make a B-movie but he’d never be caught dead actually watching one.) That said, regardless of the motives behind it, Unsane was actually an effective and twisty psychological thriller.

If nothing else, it was better than Haywire….

Horror Song of the Day: Prince of Darkness Opening Credits (by John Carpenter and Alan Howarth)

Posted on October 5, 2018 by Arleigh

Prince of Darkness

John Carpenter, as most long-time readers and visitors to the site will know, is one of my favorite filmmakers. While he has been in a self-imposed retirement these last 15 or so years from directing, his works for two decades prior have to be considered some of the best genre films.

While some of his films have been critically-acclaimed from the start, others weren’t treated as well when they first released. It would only be years later when genre fans would finally come to appreciate some of his lesser works.

One such film is Prince of Darkness. The second film in his unofficial “Apocalypse Trilogy”, this one would be lambasted by most film critics upon it’s release. Even fans of his films would mostly avoid this entry.

Yet, years later it has turned out to be one of his most underappreciated films. It’s soundtrack, one Carpenter did himself with assistance from long-time collaborator Alan Howarth, would become a favorite.

The expanded “Opening Credits” section of the Prince of Darkness soundtrack is a great example of the sort of mood Carpenter can create with his preferred usage of synthesizer and electronic keyboards when it came to composing his film’s soundtracks.

Horror on the Lens: The Lodger (dir by Alfred Hitchcock)

Posted on October 5, 2018 by Lisa Marie Bowman

A serial killer known as “The Avenger” is murdering blonde women in London (which, once again, proves that its better to be a redhead). And while nobody knows the identity of the Avenger, they do know that the enigmatic stranger (Ivor Novello), who has just recently rented a room at boarding house, happens to fit his description. They also know that the lodger’s landlord’s daughter happens to be a blonde…

Released in 1927, the silent The Lodger was Alfred Hitchcock’s third film but, according to the director, this was the first true “Hitchcock film.” Certainly it shows that even at the start of his career, Hitchcock’s famous obsessions were already present — the stranger accused of a crime, the blonde victims, and the link between sex and violence.

Also of note, the credited assistant director — Alma Reville — would become Alma Hitchcock shortly before The Lodger was released.