What Horror Lisa and The Snarkalecs Watched Last Night #94: Grave Halloween (dir by Stephen R. Monroe)


Last night, the Snarkalecs and I turned over to SyFy and watched an original horror film entitled Grave Halloween.

Why Were We Watching It?

It was Saturday night and that meant that it was time for another Snarkalec live tweet!  We were all pretty excited about watching and live tweeting Grave Halloween, largely because it was directed by the same guy who directed the greatest film to ever premiere on SyFy, End Of The World.

What Was It About?

A group of American exchange students in Japan go into a place known as Suicide Forest to make a movie.  Years ago, Maiko’s (Kaitlyn Leeb) mother committed suicide in the forest.  Naturally, as soon as Maiko and her friends enter the forest, they end up getting lost, having visions of the dead, and dying in various grotesque ways.  It doesn’t help that one of Maiko’s friends finds a discarded watch in the forest and decides to stick it in his pocket.  Seriously, ghosts are apparently really attached to their watches.

What Worked?

A lot of people on twitter complained that Grave Halloween moved too slowly.  I, however, didn’t find the film to be that slow.  It was definitely deliberately paced (especially when compared to some of the other films that have appeared on SyFy) but I thought that was to the film’s advantage.  The film took its time to set up its scares and shocks and the end result was a genuinely creepy horror film that rewarded the audience’s patience.

The film was set in Japan but, like most SyFy films, it was actually filmed in Vancouver.  Now, I’ve never been to Japan or Vancouver so I can’t really say whether Canada could pass for Japan.  But what I do know is that director Stephen R. Monroe got every single bit of atmosphere that he could out of the forests of British Columbia.  As filmed by Monroe and cinematographer Michael C. Blundell, the scenery is both beautiful and menacing.  By the end of the film, the forest itself feels like an individual character.

Of the cast of victims, my favorite was Brody (played by Jesse Wheeler), mostly because he looked like he could be Greg Grunberg’s younger brother.

What Did Not Work?

As I watched Grave Halloween, it quickly became apparent that the entire situation was pretty much all Maiko’s fault.  She’s the one who led her friends into Suicide Forest.  She’s the one who, even after everyone started to vanish, refused to leave.  Ultimately, she was the one who was responsible for putting her friends in a position where they could all be killed.

And yet, no one in the film seemed to be willing to acknowledge that they would have all been better off if they had never met Maiko.  Seriously, I was so waiting for someone to say, “Okay, Maiko — you go do your thing and the rest of us are going to get the fuck outta here before we end up getting ripped into little pieces, ‘kay?”

“Oh my God!  Just like me!” Moments

So, naturally, one of the girls ended up tripping while she was running through the forest.  Despite the fact that it didn’t look like that bad of a fall, she ended up with a broken bone literally poking out of her leg.

Since I’m currently recovering from a sprained ankle, you can probably imagine that this was not my favorite scene in the movie.  Instead, it made me go, “Agck!” and then hide my face in a pillow because I could relate way too much.

(That said, I’m still amazed at how fragile her bones apparently were…)

Lessons Learned

Never steal a dead man’s watch.

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6 More Scarifying Trailers For October


It’s time for another October edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film trailers!

1) The Masque of the Red Death (1964)

2) Phenomena (1985)

3) Body Parts (1991)

4) Private Parts (1972)

5) The Incredible Melting Man (1977)

6) Voodoo Woman (1956)

What do you think, Trailer Kitty?

Trailer Kitty

Horror On The Lens: Bride of the Monster (dir by Edward D. Wood, Jr.)


Bride_of_the_Monster_(1956_movie_poster)Today’s horror film on the lens is Edward D. Wood’s 1955 epic, Bride of the Monster.  The film itself doesn’t feature a bride but it does feature a monster, a giant octopus who guards the mansion of the mysterious Dr. Vornoff (Bela Lugosi).  Vornoff and his hulking henchman Lobo (Tor Johnson) have been kidnapping men and using nuclear power to try to create a race of super soldiers.  Or something like that.  The plot has a make-it-up-as-you-go-along feel to it.  That’s actually a huge part of the film’s appeal.

Bride of the Monster is regularly described as being one of the worst films ever made but I think that’s rather unfair.   Appearing in his last speaking role, Lugosi actually gives a pretty good performance, bringing a wounded dignity to the role of Vornoff.  If judged solely against other movies directed by Ed Wood, this is actually one of the best films ever made. 

Horror On The Lens: Tower of London (dir by Rowland V. Lee)


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Today’s horror movie comes from 1939 and is presented in glorious black-and-white.  Tower of London tells the famous (and historically controversial) story of King Richard III (Basil Rathbone).  With the help of the club-footed executioner Mord (Boris Karloff), Richard murders his way to the throne of England.

Technically, The Tower of London is more of a historical film than a horror film but, in order to tell its story, it uses many of the techniques that had been previously perfected by the famous Universal monster movies.  Rathbone turns Richard III into a chilling and plausible human monster while Karloff is obviously having a lot of fun in the role of the twisted Mord.

Also of historical interest is the fact that Vincent Price plays the Duke of Clarence, making Tower of London his first horror film and the first film in which he would appear alongside fellow horror icon, Boris Karloff.

 

Horror on the Lens: Dr. Jekyll and Mr. Hyde (dir by John S. Robertson)


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Ever since the birth of film, Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde has been a popular subject for adaptation.  Not only does the classic story of a good doctor who unleashes his evil instinct via potion serve as a potent metaphor for everything from sexual repression to drug addiction, but the dual role of Dr. Jekyll and Mr. Hyde has provides an excellent opportunity for an actor to show off.

The first film adaptation of Dr. Jekyll and Mr. Hyde is believed to have been made in 1908.  Two more version followed in 1912 and 1913 and then, suddenly, 1920 saw three different film versions.

The best known of the 1920 version is our film for today.  This version is best remembered for John Barrymore’s powerful performance in the title role but it also holds up remarkably well as a work of cinematic horror.

 

Horror Trailer: Paranormal Activity: The Marked Ones


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It’s October — where are all the new horror films?

Well, with the exception of Carrie, it looks that they’re all hang out in next January.  January, of course, is the month that the studios traditionally dump all of the films that they don’t have much faith in.

Whether that has anything to do with the release date of the next Paranormal Activity film is open to conjecture.

Horror On The Lens: The Lodger: A Story Of The London Fog (dir by Alfred Hitchcock)


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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.

 

Horror On The Lens: This Darkness: The Vampire Virus (dir by Dylan O’Leary)


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In 2003’s This Darkness, Dr. Van Helsing VII (played by the film’s director Dylan O’Leary) is a world-famous genetic engineer who is developing a serum that can cure all known diseases and perhaps grant immortality.  Meanwhile, cheerleaders and surfers are being attack in broad daylight and having their blood drained.  Among those killed is the daughter of Van Helsing’s friend Ron, who happens to own a martial arts studio.  Could all of these events be connected?  Your guess is as good as mine but eventually, a vampire named Tarquin does show up and demands that Van Helsing create a mate for him.

I’ve always found low-budget ambition to be very likable and, by that standard, This Darkness is probably one of the most likable films that I’ve seen.  The film’s script has a few interesting ideas, O’Leary makes for an unconventional but effective hero, and the film actually looks pretty good for its budget.  Especially towards the end of the film, This Darkness makes effective use of some unconventional locations.  Add to that, it’s hard not to admire the everything-but-the-kitchen-sink approach that O’Leary took to putting his film together.

Add to that, how can you not enjoy a film directed by someone with as Irish a name as Dylan O’Leary?

Horror Film Review: The Presence (dir by Tom Provost)


The Presence opens with nearly 20 minutes of near-silence.  We watch as an unnamed and emotionally unstable woman (Mira Sorvino, who is literally listed in the credits as having played The Woman) arrives at an isolated cabin.  As she settles in for what is obviously a very needed vacation, she goes about her business without saying a word.  This is because she believes herself to be alone.  However, those of us watching know that this isn’t true.  She is sharing her cabin with a silent and initially passive ghost (Shane West) and, though she can’t see him, those of us in the audience can.

Eventually, the silence is broken as other visitors come to the cabin.  There’s the boatman, Mr. Browman (Muse Watson).  There’s the woman’s boyfriend (Justin Kirk)  who unexpectedly shows up to ask the woman to marry him, a proposal which visibly upsets the ghost. Finally, there’s the Man In Black (played by Tony Curran).   Though the woman cannot see the Man In The Black, she can hear him when he whispers dark thoughts into her ear.

The ghost, however, can see the Man in Black.  The Man In Black offers the ghost a proposition.  If the ghost kills the woman’s boyfriend, the Man In Black will allow the ghost to leave the cabin.

First released back in 2010, The Presence is a film that got (and gets) next to no love from the critics and from the type of people who specialize in leaving snarky comments over at the imdb.  However, I rather like it.  Director Tom Provost makes the risky choice to emphasize atmosphere over easy scares.  The end result is a film that is full of striking images but which requires a bit more patience than most audiences are probably willing to give.  When I think about The Presence, I think about the sight of Shane West passively watching Mira Sorvino, obviously wishing he could reach out but knowing that he cannot.  It’s a haunting image, one that perfectly captures both the fear and the pathos of a good ghost story.

And that, ultimately, is what The Presence is.  It’s a good ghost story and what better time for a good ghost story but Halloween?

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