Horror Scenes I Love: Psycho


Psycho

It would be difficult to get through October and not point out one of the best scenes in horror ever.

There’s Janet Leigh’s performance which conveyed the utter terror the scene wanted to convey. We have Bernard Hermann’s discordant film score highlighting the attack. Despite being a very bloodless sequence the way Hitchcock filmed the scene made audience imagine that they were actually witnessing something more violent and gory.

We all have Alfred Hitchcock to thank for this most iconic of all horror scenes.

4 Shots From 4 Films: Guillermo del Toro Edition


Happy Birthday to the Master of Dark Fantasy.

Guillermo del Toro ranks high in my eyes as one of the best filmmakers working today. His films have ranged from an inventive take on the vampire genre, the mutant monster film, an evocative ghost story and right up to a dark fable. Guillermo del Toro has worked on both smaller, personal projects and the big, blockbuster action. He’s comfortable in living in both worlds.

No matter which side he happens to land at any particular time he always brings his own brand of visual style and storytelling to each and every film that tells the world that they’re watching a Guillermo del Toro production.

4 Shot From 4 Films

Cronos (dir. by Guillermo del Toro)

Cronos (dir. by Guillermo del Toro)

Mimic (dir. by Guillermo del Toro)

Mimic (dir. by Guillermo del Toro)

The Devil's Backbone (dir. by Guillermo del Toro)

The Devil’s Backbone (dir. by Guillermo del Toro)

Pan's Labyrinth (dir. by Guillermo del Toro)

Pan’s Labyrinth (dir. by Guillermo del Toro)

Horror Trailer: Pride and Prejudice and Zombies


PrideAndPrejudiceAndZombies

It looks like they’ve actually gone ahead and made the damn thing. I remember writing about news of the Seth Grahame-Smith horror mash-up novel being green-lit for the big-screen all the way back in 2010. Yet, nothing much ever came of it. Directors were hired and the cast was set, but each passing year something would derail the project and things would go back to square one.

Now, over five years since that initial announcement back in 2011 we finally have proof that Pride and Prejudice and Zombies has actually completed filming and will soon be up on the big-screen this February 16, 2016.

Horror Trailer: Handjob Cabin


I don’t think anyone knew this horror film was even being made let alone being thought of being made. Well, it looks like someone thought it was a good idea and set about trying to do their own take on the “cabin in the woods” horror film.

Raimi did it with his first two Evil Dead films. Sean Cunningham took it to a campground level with the Friday the 13th series. Joss Whedon and Drew Goddard went all meta on it with the Cabin In the Woods.

Now, it’s Bennet Silverman’s turn on the seat with his interestingly titled Handjob Cabin.

 

Horror Song of the Day: Bad Moon Rising (by Creedence Clearwater Revival)


BadMoonRising

The song itself doesn’t sound very much like horror. It’s got the down home country rock, but listening to the lyrics it’s very much belongs with any song full of doom, gloom and horror. It may be down home country with toe-tapping melody, but make no mistake the latest “Song of the Day” is quite horrific when one listens to it carefully.

I’m talking about Creedence Clearwater Revival’s 1969 hit “Bad Moon Rising”.

One of the singles to come out of their classic Green River album, “Bad Moon Rising” is all about the titular bad moon on the rise. A sign of a bad omen or, if one was to take things to the extreme, of an impeding doom. The lyrics to the song speaks of natural disasters, catastrophic events and just about anything bad that would kill you the moment you step out onto the streets.

It’s a song of existential horror as it points out that no matter what we do there’s no preventing the infinite ways that Death can just come in and take one’s life. It’s quite the nihilistic tune and one that fits in well with Through the Shattered Lens horror-themed month.

Bad Moon Rising

I see a bad moon rising.
I see trouble on the way.
I see earthquakes and lightning.
I see bad times today.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

I hear hurricanes a-blowin’.
I know the end is comin’ soon.
I feel rivers overflowin’.
I hear the voice of rage and ruin.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.
Alright!

Hope you got your things together.
Hope you are quite prepared to die.
Looks like we’re in for nasty weather.
One eye is taken for an eye.

Well, don’t go round tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Don’t come around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Horror Review: Fear the Walking Dead S1E04-05 “Not Fade Away” & “Cobalt”


FearTWDS01E04-05

“Sometimes all we can do is not enough.” — Dr. Bethany Exner

[some spoilers]

Fear the Walking Dead has been a mystery to some audiences and critics. If there was something the original series was criticized on it was that it’s writing throughout it’s current run has been uneven. There would be some great episodes and some good ones, but then some go nowhere episodes that stops any sort of momentum a particular season was having. The Walking Dead deserved some of the criticism leveled at it’s writing and how some of it’s characters appeared one-note for too long. Things began to improve once Scott M. Gimple took over a showrunner beginning with season 4. yet, some of the damage had been done by a very uneven first three season.

One thing The Walking Dead was never lacking was it’s creativity when it came to the zombies and the violence around them. Greg Nicotero and his KNB EFX crew never flinched from whatever hellish idea the writers were able to come up with. It’s probably one of the main reasons why the show has succeeded so much despite flaws in the writing and characterization. People were willing to tolerate the soap opera-style character interactions if it meant the flesh-eating and the headshots came a-plenty.

The first half of Fear the Walking Dead didn’t have much of the zombie action. It was a bold decision by the writers to stay on the path that brought the early days of the zombie apocalypse to life. This was a show that didn’t already have zombies taking over and with civilization having fallen by the wayside. It was still a world where everyone went about their daily routines. Sure the first episode gave some hints that something was amiss, but not until the final minutes did we finally see our first zombie. Even after that initial reveal at the end of the pilot the writers kept the zombies more off-screen. When they did appear it was as one or two.

Episodes four and five, “Not Fade Away” and “Cobalt”, continued this trend of keeping the zombies at arm’s length and off-screen. We saw Travis and Madison’s neighborhood turned into a safe zone by the National Guard who had been deployed to help contain and combat the spreading infection. Some took the military’s arrival with optimism (Travis) while others saw their arrival as a sign that things were just going to get worse and that things might already be too late to save (Daniel).

These two episodes were some of the strongest in this shortened first season of Fear the Walking Dead. We got to learn more about every character, but mostly we learned just how differently each parent of the core group reacted to the growing situation. These were reactions that were as varied and complex as any we’ve seen in any of the characters in The Walking Dead.

Each parent tried to do what they thought was best for their immediate family. On one end of the moral spectrum we had Travis who tried to serve as a sort of de facto mayor of the walled-off neighborhood. Become the person that would be the one who dealt with the military liaison when it came to his family’s and, to an extent, the neighborhood’s well-being. So far, throughout the this short first season, Travis has come across as the sort of enlightened, civilized man who tries to reason and talk things out instead of acting out rashly and on instinct. This sort of personality is what we as a society want to keep the wheels of civilization moving along problem-free. But as we’ve seen this has also become a weakness as things progressively begin to get worst. Travis can’t seem to see that the rule of law and reason seem to be fighting a losing battle with the need to survive.

Yet, despite Travis’ coming off as some sort of pacifist we get a hint of logic to his seeming weak-willed madness. He sees the world crumbling around him and as a father and role model he has tried to be that moral center to his circle of family and friends. Even when what he’s seeing chips away at his belief that those in power will protect and save them, Travis tries to remain that strong, moral center.

The opposite seems to be true for the other father in our group, Daniel Salazar. This character has been quite the revelation in this series. We first meet him in episode 2. He comes across as a leery, but good man like any immigrant in the US looking to make a new life for his family. But with each new episode we learn a bit more of what makes Daniel tick. He’s a father whose past history before coming to the US hints at chaos and bloodshed. He has seen how crisis could spiral out of control in a blink of the eye and he sees that now with the arrival of the military. He doesn’t trust too many outside his wife and daughter and when he does, as the case with Madison, he does so begrudgingly. He’s adaptable to the ever-changing situation the way Travis is not. He’s willing to resort to immediate action to solve a problem or to find a solution. There’s a darkness in him that’s the current situation has awoken once more and it terrifies him, but he allows it to emerge nonetheless in order to keep his family safe.

Throughout these two episodes we see the recurring theme of authority in its many forms (parental, civilian and military) trying to do their best to keep the situation from spiraling out of control, but they despite all their efforts they fail due to that basic flaw that humanity can’t seem to shred and that’s the inability to work together at the most dire situation to solve the problem.

Both Travis and Daniel try to do the best they know how to navigate through and around the encroaching apocalypse. They succeed in some way, but in the end all their efforts still don’t amount to much as everything right from the start of the crisis has been stacked against them. All they could do now is try and save those closest to them.

The question now as we head into the season finale is whose path will ultimately be the best one to navigate in this apocalypse.

Will it be the Way of the Open Palm that we seem be getting from Travis?

A path of sticking to one’s moral center and principles. To try and keep oneself from sliding back into one’s darker impulses as we’ve seen signs of in these two episodes.

Or will it be the Way of the Closed Fist that Daniel seem to be following?

A mentality that requires quick thinking and direct action even if it means allowing one’s darker side to take hold in order to survive. It’s a path that looks to be well-suited for this apocalypse, but one that also brings with it a set of unknown dangers.

So, while the series has so far lacked in major zombie action and the gore quotient has been tame in comparison to The Walking Dead, it has one-upped it’s older sibling by allowing for it’s cast to grow as characters. Whether they all turn out for the better remains to be seen, but in the span of 5 episodes they’ve become full-fledged characters and now the finale will see who will remain steadfast and who will break.

Notes

  • “Not Fade Away” and “Cobalt” were directed by Kari Skogland. Meagan Oppenheimer has writing duties on the former with David Wiener being responsible for the latter.
  • It’s been nine days since the events of episode 3 and it looks like both the National Guardsmen and the neighborhood are fraying at the edges. It doesn’t help that the unit commander is a reservist who also happens to be an LAPD policeman on a power-trip.
  • Still no sign of Tobias. It looks like his own place might be located in the unsafe and unwalled “dead zones” the military have been doing sweeping patrols for the past nine days.
  • Sandrine Holt comes in as Dr. Bethany Exner. Not her first time in a zombie production. She was also in Resident Evil: Apocalypse as Raccoon City news reported Terri Morales.
  • Ruben Blades is turning out to be the MVP of the series, so far. I guess being a government torturer in his native El Salvador during it’s time of troubles is turning to be a good skillset in the coming zombie apocalypse.

Season 1

Horror Trailer: Bone Tomahawk


Bone Tomahawk

We never have enough horror set in the Old West. It’s a setting that should be rife with infinite possibilities for some very scary storytelling.

When we do get Old West horror they tend to be direct-to-video and low-budget affairs. Now don’t get me wrong low-budget horror sometimes are some of the most effective. The closer it gets to it’s grindhouse roots the better. Then again some do end up being a pile of turds that end up getting relegated in the dollar bin at supermarkets.

My hope is that the latest Old West horror starring Kurt Russell will be the former and not the latter.

Bone Tomahawk made it’s premiere at this year’s Fantastic Fest and from all intents and purpose had a very positive reception to it’s genre mash-up of cowboys vs cannibals. Now what better way to follow-up The Green Inferno but with another cannibal fare set in the dusty plains and canyons of the Old West.

Horror Scenes I Love: Salem’s Lot (Part 2)


sddefault

“Look at me teacher.”

Those were some of the most terrifying words I’ve ever heard growing up. It’s all because of one scene from the tv mini-series which adapted Stephen King’s vampire novel, Salem’s Lot. It was a scene in the novel that terrified me as a young boy reading King for the first time.

I’ve always been gifted (or I sometimes say cursed) with having a very overactive imagination. This is why horror has always been such a fascinating genre for me. Even where the horror is all up in one’s face with it’s gore and messy aftermath my mind’s eye would make things worst or just constantly play it on repeat in my head days after the film has ended. It’s even worst when the horror comes across less through gore and more through atmosphere and built-up dread moving towards a jump-scare or something more insidious.

This particular scene is my second favorite from the Salem’s Lot mini-series. The first one I had posted a couple years back which just barely lags behind this one for third. What made this scene so effective despite it’s tv-style production was Tobe Hooper’s direction. Despite working with the censorship inherent in broadcast tv, Hooper was able to create a palpable sense of dread as the old English teacher Matt Burke senses a presence up in one of his house’s rooms. It was the same room where one of his former students had passed away in his sleep.

As the audience we already have an idea who or what is in that second floor room. Matt Burke has an idea as well, but his morbid curiosity wins out as he decides to investigate. Yet, despite such a lack in judgement he does come armed with a crucifix in hand. The way the scene builds and builds as Burke climbs the stairs and hesitating before opening the door to the room was almost too much to bear.

The reveal of his former student, Mike Ryerson, back in the room sitting in the rocking chair as one of the undead only increases the horror of the scene. His snake-like mannerisms was a new take on the vampire behavior. It’s not the usual silk and lace bloodsucker we grew up watching. This was a vampire that behaved like a predator beguiling it’s next prey. From the way Ryerson (played by Geoffrey Lewis) hissed his words and undulated his body as he stood to face his former teacher was disturbing at the very least.

Just writing about it and seeing the scene for the umpteenth time still gives me the shakes.

Horror Song of the Day: Penny Dreadful Theme (by Abel Korzeniowski)


penny-dreadful-logo-penny-dreadful-new-posters-and-a-new-character-trailer

It’s that time of the year. It’s October here in Through the Shattered Lens and that means one thing: horror-theme month.

October has become a sort of favorite month for us over here at Through the Shattered Lens. While other genres and topics will be posted and and get their time in the sun, this month always brings the site back to the shadows and things that made us fear the dark. Horror has been a common thing which drew Lisa and I to continue the site from it’s fledgling early months to going on almost 6 years.

I’d like to start my contribution to all-things horror by introducing those who haven’t experienced one of the best shows on TV which also has one of the most unique horror theme’s on either big or small screen.

The theme for Showtime’s Penny Dreadful was composed by Abel Korzeniowski. It’s a theme that gives an audience of hint at the show’s Victorian Age gothic setting with just the right amount of dark romance and psychological themes the show has become famous for.

So, here’s the latest “Song of the Day” set for the witching hour.

Scenes I Love: The Phantom of the Opera (Part 3)


Point of No Return

It’s time to finish off my triptych of Scenes I Love from 2004’s film adaptation of The Phantom of the Opera. The first two parts were my favorite solo and chorus scenes from film and now we finish it off with what has to be the top scene (IMO) from the film.

The characters of The Phantom and Christine have always been the focal point of the film. Even with the arrival of the wholesome and (as Lisa Marie would call him) vanilla Raoul, Vicomte de Chagny, the film continues to truly sizzle when it’s all about The Phantom and Christine moving their relationship from ingenue and mentor to unrequited lovers.

It’s the latter which this scene looks to portray through a duet written by The Phantom himself and where he swaps himself into the role of Don Juan. This duet has always been a fan favorite for those who love the musical and many different versions of it have played throughout the years. Yet, they all have one thing in common and that is the heated chemistry between the two characters once the duet begins.

The scene itself begins and comes off pretty much like foreplay between the two characters without having literal sex on the stage. The whole scene is so sexually charged that even those watching the duet who set the trap looked so transfixed that they fail to act. Even Raoul, Christine’s own fiance, finishes the scene with such a look of cuckold expression once he realizes that he could never have such a deep and personal connection that Christine has with The Phantom.

For me, this duet pretty much sums up what the whole is all about.