October Positivity: Defiant (dir by Stephen Krist)

Posted on October 29, 2023 by Lisa Marie Bowman

Welcome to the future!

It’s a rather low-rent place, full of empty warehouses, vacant lots, and deserted streets. With the exception of the Sovereign Leader (David Krist), everyone seems to live in a bland apartment. It’s a world where people have neither personalities nor names. Instead, people are identified by their identification numbers. Few people can really remember what the world was like before the Sovereign Leader came to power but almost everyone seems to believe that it was not a good place to live. The Sovereign Leader says so and why would he lie? The people are united by one belief when it comes to their Leader. “If he is for us, who can be against us?”

There are a few people who refuse to accept the words of the Sovereign Leader. They hide in the wilderness and in the city and they read forbidden books. The Leader has his own fanatical, paramilitary force who spend their time tracking down and executing these so-called “Defiants.” This group of executioners is known as the Peace Team because, after all, that’s what they’re doing, right? They’re making sure that no one disturbs the peace.

This is the world of the 2019 film, Defiant.

Defiant tells the story of A51-317 (Luke Krist), who begins the film as one of the most fanatical members of the Sovereign Leader’s Peace Team. Perhaps the reason why A51-317 is so quick to announce his loyalty to the Sovereign Leader is because he is suffering from his own doubts. He has dreams and occasional flashbacks to a time before the Sovereign Leader comes to power and much of what he sees stands in contrast to what he’s been told about the old world. A51-317 wonders why he can’t remember much about his past. He wonders why so many people are willing to be executed rather than follow the Sovereign Leader. He wonders who he was before he just became a number.

And soon, he’s wondering why he’s been framed for the attempted murder of the Sovereign Leader. After the Leader is shot in the head, he’s believed to be dead for three days. Then, suddenly, the Leader reveals that he’s not only alive but he also announces himself to be the Supreme Leader. He makes it clear that all Defiants must now be executed. A51-317 find himself on the run as he becomes one of the people who he used to hunt.

It’s a familiar story, one that’s been featured in a countless number of faith-based “final days” movies. That said, Defiant is a well-made and surprisingly well-acted film, one that does a good job of creating a believable atmosphere of fear and paranoia. The Sovereign Leader has much in common with the dictators and megalomaniacs of today and the scenes in which the Peace Team track down the Defiants and accuse them of being insobordinate for not blindly supporting the policies of the Leader feel even more relevant today than they did in 2019. Whether one buys into the film’s faith-based message or not, Defiant is a film that feels undeniably relevant to today’s world.

October Hacks: Popcorn (dir by Mark Herrier and Alan Ormsby)

Posted on October 29, 2023 by Lisa Marie Bowman

The 1991 film, Popcorn, tells the story of what happens when an experimental film goes wrong.

In the late 60s, a freaked-out hippie named Lanyard Gates directed a short film called Possessor. Possessor featured footage of him apparently preparing to sacrifice a woman on an altar. Gates declined to film a third act conclusion to the film. Instead, he murdered his family on stage and in front of a terrified audience. The resulting panic caused a fire to break out, killing almost everyone at the Dreamland Theater. As a result, Possessor has become a legendary film, one that is believed lost. Of course, it’s not lost, as a group of film students and their professor find out over the course of Popcorn.

Years later, one of those film students, an aspiring screenwriter named Maggie (Jill Schoelen), has been having disturbing nightmares about being caught in a fire and being pursued by a madman. When she sees Possessor, she realizes that much of the imagery in her dreams comes from the film. When Maggie attempts to talk to her mother about all of this, Suzanne (Dee Wallace) denies knowing anything about Possessor or Lanyard Gates but it’s not hard to tell that she’s lying.

Still, Maggie does have other things to worry about. Her school’s film department has been hit by budget cuts and neither she nor her classmates will be able to make their student films unless they raise some money. One of the students, Toby (Tom Villard), suggests holding a fundraiser at the Dreamland Theater, where they could show old movies and even recreate some of the old gimmicks that were used to promote those movies. Professor Davis (Tony Roberts) thinks that is a great idea! Why, he could even control the giant, remote-controlled bug that was used to promote Mosquito!

Filmed in Jamaica (and featuring a somewhat random performance by a reggae band), Popcorn was originally offered to director Bob Clark. However, Clark didn’t want to return to the horror genre so, instead, it was Clark’s frequent collaborator, Alan Ormsby, who was hired to direct the film. Reportedly, Ormsby was replaced a few weeks into filming by Mark Herrier, with the assumption being that the producers felt that Ormsby was spending too much time on filming the three fake movies that are screened during the fund raiser. Those films are Mosquito, The Attack of the Electrified Man, and a dubbed Japanese film called The Stench. In the film’s credits, Ormsby is credited with directing the three fake film while Mark Herrier is credited with directing the “modern” scenes.

Perhaps not surprisingly, the three fake film are actually the best thing about Popcorn. If Alan Ormsby was taking a lot of time to shoot the fake films, it obviously paid off because all three of them perfectly capture the feel of the era when they were supposedly shot and all of them are filled with the type of details that only a true fan of old horror movies would think to include. Mosquito is a giant bug film that feels as if it could have come straight from 1957. The Amazing Electrified Man feels like one of the films that poor Lon Chaney Jr. would have found himself starring in after leaving Universal. And The Stench is the perfect import — slow-moving, a bit pompous, and terribly dubbed.

As for the rest of Popcorn, it’s a well-made slasher film. Mark Herrier did a good job directing the “modern” scenes, with a scene in which the killer’s face seems to literally melt after he kisses one of his victims being a definite creepy highlight. The kills are reasonably creative and, in one case involving electrocution, rather disturbing. Jill Schoelen is a likable heroine, Derek Rydall is cute as her hapless boyfriend, and Tom Villard’s uninhibited performance gives the film a much-needed jolt of energy. Though the old films may be the highlight of Popcorn, the “modern” scenes hold up as well.

The TSL Horror Grindhouse: Children Shouldn’t Play With Dead Things (dir by Bob Clark)

Posted on October 29, 2023 by Lisa Marie Bowman

The title of this 1972 film is definitely a case of truth in advertising.

Children definitely should not play with dead things! I don’t care how mature they are or how lenient of a parent you’re trying to be. When you see your child playing with a dead thing, it is on you to step forward and say, “Child, leave that dead thing alone unless you want to forever burn in Hell.” I know that type of language might be traumatic for some children but you’ll be glad you did it. You know who played with dead things when he was a child? Jeffrey Dahmer! And look how that turned out. He got a miniseries made about him and became an internet meme.

Now, it should be pointed out that they’re aren’t any children to be found in Children Shouldn’t Play With Dead Things. The children of the title are actually a group of wannabe actors who are led by a pretentious douchebag named Alan (played by the film’s writer, Alan Ormsby). With his mustache and his long hair and his hip clothes and his vocabulary of psychobabble and buzzwords, Alan considers himself to be quite the chic 70s gentleman. He refers the other actors as being his “children,” and they let him get away with it. Personally, I would be kind of insulted but whatever.

One night, Alan and his theatrical troupe ride a boat off to an island that is sitting off the coast of Miami. The island is reputed to be haunted and Alan tells the actors several rather gruesome stories about things that have supposedly happened to the inhabitants of the island. According to Alan, the island is used as a cemetery for criminals who were so vile that no one wanted to collect their bodies.

Why are the actors on the island? Along with leading his theatrical troupe, Alan considers himself to be a bit of a warlock. He wants to perform a ceremony at midnight and he expects his actors to help him out. If they don’t help, they’ll lose their jobs. If they do help, they’ll probably lose their lives. Alan and his actors dig up the body of a man named Orville (played by the wonderfully named Seth Sklarey). The ceremony that Alan performs at midnight fails to bring Orville back to life but it does cause the dead who were left in their graves to rise from the Earth as zombies. The zombies are not happy that their island has been invaded and they’re especially not happy about Alan digging up Orville.

Children Shouldn’t Play With Dead Things is a mix of comedy and horror, with Alan’s pretentious foolishness dominating the first half of the film while the second features the zombies laying siege to a cottage. It starts out slow but, once the zombies come to life, the film achieves a surreal grandeur. For an obviously low-budget film, the zombie makeup is surprisingly effective and the zombies themselves are so relentless and determined in their pursuit of the living that they help Children Shouldn’t Play With Dead Things survive the inevitable comparisons to Night of the Living Dead. The film’s final scene, which plays out in near silence, has an undeniable horrific power to it.

Children Shouldn’t Play With Dead Things was the third film to be directed by Bob Clark. He also directed films like Deathdream, Black Christmas, Murder By Decree, and the infamous (and very financially successful) Porky’s. Of course, his most beloved film is the one that we’ll all be watching in a little less than two months, A Christmas Story.

Lisa Marie’s Oscar Predictions For October

Posted on October 29, 2023 by Lisa Marie Bowman

Well, it’s that time of the month again! Here are my Oscar predictions for October! To be honest, I’ve been so busy with Horrorthon that I haven’t given the Oscar race as much thought as usual. As of right now, it still appears to be a Killers Of The Flower Moon vs. Oppenheimer vs. Barbie race.

The Bikeriders, which seemed like a strong contender, seems to be in limbo right now. It was scheduled to be released on December 1st but it was taken off the schedule until the SAG-AFTRA strike is resolved. (The studio wants the actors to be able to promote the film, which is understandable given the subject matter.) So, for now, I’m moving The Bikeriders off of my list of predictions.

I’m also pretty confident that The Color Purple will not be the major Oscar contender that many expected, if just because of Alice Walker’s long history of anti-Semitic rhetoric. (Seriously, Alice Walker is a huge supporter of David Icke, the conspiracy theorist who claims that the world is controlled by a group of shape-shifting aliens and Zionists.)

Below are my predictions for October. Be sure to also check out my predictions for March and April and May and June and July and August and September!

Best Picture

Air

American Fiction

Barbie

The Holdovers

Killers of the Flower Moon

Maestro

May/December

Oppenheimer

Poor Things

The Zone of Interest

Best Director

Greta Gerwig for Barbie

Jonathan Glazer for The Zone of Interest

Cord Jefferson for American Fiction

Christopher Nolan for Oppenheimer

Martin Scorsese for Killers of the Flower Moon

Best Actor

Leonardo DiCaprio in Killers of the Flower Moon

Colman Domingo in Rustin

Paul Giamatti in The Holdovers

Cillian Murphy in Oppenheimer

Jeffrey Wright in American Fiction

Best Actress

Lily Gladstone in Killers of the Flower Moon

Natalie Portman in May December

Margot Robbie in Barbie

Emma Stone in Poor Things

Kate Winslet in Lee

Best Supporting Actor

Willem DaFoe in Poor Things

Robert De Niro in Killers of the Flower Moon

Robert Downey, Jr. in Oppenheimer

Ryan Gosling in Barbie

Dominic Sessa in The Holdovers

Best Supporting Actress

Emily Blunt in Oppenheimer

Sandra Huller in Zone of Interest

Julianne Moore in May December

Cara Jade Myers in Killers of the Flower Moon

Da’Vine Joy Randolph in The Holdovers

Retro Television Reviews: Return To Cabin By The Lake (dir by Po-Chih Leong)

Posted on October 29, 2023 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 2001’s Return To Cabin By The Lake! It can be viewed on YouTube.

Stanley Caldwell (Judd Nelson) is back!

At the end of Cabin By The Lake, screenwriter Stanley had managed to escape from the police by faking his own drowning. Return to Cabin By The Lake finds Stanley using a variety of disguises and fake identities in his effort to once again become a part of the film industry. He is particularly interested in the fact that his previous murder spree is being turned into a movie. He’s considerably less happy about the fact that everyone involved in the movie continually disparages his work as a screenwriter. He’s even less happy when he hears them speculating that there was a sexual-motive behind Stanley’s murders or that Stanley was acting out against his mother. For someone who spent the previous movie drowning innocent women and then visiting their bodies in the lake, Stanley sure does seem to be shocked to discover that most people don’t have a high opinion of him. You’re a murderer, Stanley. People don’t like murderers.

Anyway, as a master of disguise, Stanley is able to work his way into the production of the film. Even though everyone on the set is spending 24 hours a day obsessing on and recreating the crimes of Stanley, no one is suspicious of the guy who looks just like Stanley and who keeps saying stuff like, “Stanley would never do that!” Stanley becomes obsessed with script writer Andrea (Dahlia Salem). He also comes to resent the film’s shallow director, Mike Helton (Brian Krause, giving the film’s best performance). Stanley decides that he would be a better director of the film so he buries Mike alive and then takes over direction.

Return To Cabin By The Lake is a bit more deliberately humorous than the first film. If Cabin By The Lake was full of pleasant townspeople and earnest police officers, Return To Cabin By The Lake is populated with caricatures of various Hollywood phonies. Everyone involved in Return To Cabin By The Lake‘s film-within-a-film is blithely unconcerned with the feelings of the the victim’s loved ones nor do they really care about telling the story accurately. Helton’s only concern is that the script have enough sex. That Stanley not only takes over as director but turns out to be a pretty good at it would appear to be Return To Cabin By The Lake’s ultimate statement on the film industry.

Judd Nelson is a bit more energetic in the sequel than he was in the first film. That said, Return To Cabin The By The Lake makes the mistake of asking us to buy the idea of Stanley being a master of disguise. Judd Nelson is always going to look and sound like Judd Nelson, regardless of whether he’s wearing a wig or not.

Though it’s a bit constrained by being a made-for-TV movie, Return To Cabin By The Lake is a marked improvement on the first film, one that has more humor and a better performance from its lead. The film ends with an opening for another sequel but it was apparently never to be.

Horror Scenes That I Love: Sissy Spacek in Carrie

Posted on October 29, 2023 by Lisa Marie Bowman

Sissy Spacek hasn’t appeared in many horror movies but the one in which she did appear is such a classic and Spacek’s performance was so strong that she qualifies as a horror icon regardless. In 1976, Sissy Space played poor and victimized Carrie White, the shy high school student who ended up burning down the prom. Her performance became one of the few horror performances to be Oscar-nominated and Carrie launched a series of Stephen King adaptations.

In one of the best scene from the film, Carrie is forced to deal with both an insensitive principal and a brat on a bicycle.

October True Crime: Jack The Ripper (dir by Monty Berman and Robert S. Baker)

Posted on October 29, 2023 by Lisa Marie Bowman

The year is 1888 and London is a city in fear.

A mysterious, cloak-wearing serial killer know as Jack The Ripper is stalking the fog-strewn streets and killing prostitutes after asking them if they know the whereabouts of Mary Clark. The newspapers are full of stories about the murders and editorials condemning the failure of Scotland Yard to capture the killer. The citizens of London’s Whitechapel district are resorting to vigilante justice and any stranger is liable to be accused of being the Ripper.

When an American policeman named Sam Lowry (Lee Patterson) shows up in Whitechapel, he is accosted by a group of suspicious citizens. Fortunately, before one of them can stab Sam, he’s saved by his old friend, Scotland Yard’s Inspector O’Neill (Eddie Byrne). Sam explains that he’s come to London to not only help his old friend O’Neill catch the killer but to also study how the city of London has responded to the horror of the Ripper’s crimes. O’Neill introduces Sam to both the world weary coroner, Sir David Rogers (Ewen Solon), and to Anne Ford (Betty MacDowell), the liberal-minded ward of Dr. Tranter (John Le Musurier). As Anne shows Sam around London and speculates about why the Ripper has managed to avoid being caught by the police, O’Neill tries to discover the Ripper’s identity before he can strike again.

As you may have guessed from the plot description, this 1959 film doesn’t exactly stick to the historical fact when it comes to the murders of Jack the Ripper. For instance, the names and the number of victims have been changed and, needless to say, the NYPD didn’t loan any of its detectives to Scotland Yard. Then again, there’s very few films about Jack the Ripper that actually stick to the facts of the case. (Murder By Decree came perhaps the closest, though it still insisted on pushing the ludicrous Royal Ripper theory.) When one watches a Jack the Ripper film, it’s with the understanding that the story is probably going to be fictionalized. Considering that there’s probably no chance of the Ripper’s identity ever being conclusively established, it’s to be expected.

As for the film itself, it actually has quite a few effective moments. The heavy fog and the black-and-white cinematography creates the properly ominous atmosphere and the murders themselves are surprisingly brutal for a film from 1959, leaving no doubt that this film’s Ripper is a cruel sadist regardless of what other motives he may have. The film itself ends with a properly macabre twist. Patterson, Byrne, and MacDowell aren’t particularly interesting in the lead roles (and Patterson’s pompadour looks a bit ludicrous on a Victorian-era policeman) but the suspects, victims, and witnesses are all well-played by a cast of very British character actors.

There are apparently several versions of Jack the Ripper out there. Though the film was a British production, it was filmed with an eye towards the international market and, as a result, there were several different edits depending on what the film could get away with in each country. Apparently, one version actually switched from black-and-white to color whenever blood was spilled and certain European countries got a version that featured a few fleeting moments of nudity. The version edited for American audiences, not surprisingly, doesn’t feature any of that but it’s still a watchable and entertaining Jack the Ripper film.

One final note: my personal opinion is that Jack the Ripper was some guy that no one has ever heard of. He was probably not a doctor. I doubt he was a Freemason. He certainly was not a part of a Royal conspiracy or any of that other nonsense. He may have been a butcher but it’s just as possible that he could have been a hatmaker or a carriage driver or a petty criminal who paid for his drinks through mugging. He was probably never suspected at the time and I imagine he died without ever telling anyone what he had done. People find comfort in conspiracies and elaborate cover-ups but often, the simplest solution is the correct one.

(That said, every time that Jeff and I go to London, we do the Jack the Ripper walking tour. It’s always interesting to hear the weird theories that people come up with.)

The Films of Dario Argento: Trauma

Posted on October 29, 2023 by Lisa Marie Bowman

In 1993’s Trauma, Dario Argento tells a story of giallo horror, complete with a killer who wears black gloves, a camera that stalks through the streets of a rainy city, and plenty of eccentric red herrings. The story is set and was filmed in Minneapolis, Minnesota, making this one of the two Argento films to be completely shot in America.

Trauma was also the first of Argento’s films to star his daughter Asia Argento. Asia, who was 16 at the time of filming, plays Aura Petrescu, the daughter of Adriana (Piper Laurie) and Stefan (Dominique Serrand). Aura is a bulimic drug addict, with track marks up and down her arms. Having recently escaped from a mental hospital run by the eccentric Dr. Judd (Frederic Forrest), Aura is preparing to jump off a bridge and end her life when she’s grabbed by David (Christopher Rydell). David works as a headline writer and an artist for a local TV news station. David is also a recovering addict who takes sympathy on Aura and buys her breakfast. Aura thanks David by stealing his wallet and running out of the restaurant.

After being caught by the police, Aura is then returned to her home, a baroque mansion where Adriana works as a fake psychic. When Aura arrives, Adriana is preparing for a séance. She’s been hired to contact the spirit of a victim of The Head Hunter, a serial killer who has been chopping off people’s heads in Minneapolis. As a storm rages outside, Aura again flees from the house. Stefan and Adriana chase after her. Soon, while a terrified Aura screams in the rain (in a scene that will remind some of Asia’s mother, Daria Nicolodi, freaking out at the end of Tenebrae), the Head Hunter is holding up what appeas to be the heads of her parents.

Terrified for her life, Aura goes through David’s wallet, finds his number, and calls him. After setting Aura up at his house, David investigates who is chasing her and how those people are connected to The Head Hunter. David also falls in love with Aura and Aura falls for him. Unfortunately, as so often happens in the films of Dario Argento, the world is full of people who don’t care how in love two people are. The people who are after Aura are determined to get her and if that pushes David back into the world of drug abuse, so be it.

Trauma is middle-of-the-road Argento, featuring some scenes that are touched with genius and other scenes that just feel a bit bland. The cast is an interesting mix of veteran performers like Piper Laurie, Frederic Forrest, and Brad Dourif and younger actors like Christopher Rydell and Asia Argento. Dario Argento is known for being a director who prefers for his actors to come in, hit their marks, and deliver their lines with a minimum amount of fuss and he’s complained about American method actors (like Tenebrae’s Anthony Franciosa, with whom Argento had a notoriously difficult relationship) who want to discuss every little detail of their character and their performance. One can only imagine how he handled working with actors as outspoken and creative as Laurie, Forrest, and Dourif. It must be said that those three actors all give memorable performances but none of them seem to be acting in the same film as Rydell and Asia Argento. Rydell and Asia give rather earnest and straight-forward performances while Laurie, Forrest, and Dourif are all a bit more eccentric in the way they interpret their characters. Piper Laurie, in particular, rejects subtlety and delivers her lines with all of the melodramatic force she can summon. (It should be said that this is absolutely the right approach for the character that she’s playing.) That said, it’s Fredric Forrest who truly seems to be on a different planet from everyone else, giving a performance that can only be described as weird. Again, much as with Laurie’s self-aware melodrama, Forrest’s approach works well enough for his odd character, who I assume was named for the Dr. Judd who appears in Cat People.

The most controversial aspect of the film was the casting of Asia Argento as Aura, with some complaining of nepotism and others accusing Dario of exploiting his own daughter. Personally, I think Asia does a perfectly acceptable job in the lead role, even if it’s obvious that she still had room to develop as an actress. At the time the film was made, Asia was herself bulimic and the film’s most powerful scenes are the ones dealing with Aura’s own fragile sense of self-worth. Along with being hunted by a serial killer and having lost her entire entire family, Aura is also an outsider in America. The film paints a portrait of a society that doesn’t care about those living on the fringes. The only person that Aura has to look out for her is David, himself a former resident of the fringe. Christopher Rydell gives a good performance of David, playing him as someone who is trying to do the right thing and protect the victimized, even at the risk of his own sobriety.

(That said, there is one scene in which David receives a panicked phone call from Aura and Rydell’s underreaction suggests that the actor was not informed of just how desperate Asia Argento would sound when she later dubbed in her part of the conversation.)

Argento’s camera glides down dark hallways and through the streets of the city. He films Minneapolis in the same way that many directors would film New Orleans and, as such, the film becomes a vision of Middle America through European eyes. Because there’s a few issues with pacing and some clunky dialogue that was probably due to the Italian script being translated into English, Trauma is not Argento’s best. It’s middle-of-the-road Argento but it remains intriguing, nonetheless.

The (Reviewed) Films of Dario Argento:

4 Shots From 4 Horror Films: Special James Whale Edition

Posted on October 29, 2023 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 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: James Whale!

4 Shots From 4 James Whale Films

Frankenstein (1931, dir by James Whale, DP: Arthur Edeson)

The Old Dark House (1932, dir by James Whale, DP: Arthur Edeson)

The Invisible Man (1933, dir by James Whale, DP: Arthur Edeson)

Bride of Frankenstein (1935, dir by James Whale, DP: John J. Mescall)

Horror Film Review: The Black Phone (dir by Scott Derrickson)

Posted on October 29, 2023 by Lisa Marie Bowman

“Arm like a mint!” a character exclaims at a key moment in 2021’s The Black Phone and I’ll admit right now that, when I heard that line, I rolled my eyes so violently that I’m lucky that I didn’t lose one of them.

It’s one of those lines that reminds us that we’re watching a movie that’s based on a short story and that the dialogue that works in a piece of literature can often sound awkward and forced when heard on film. It’s a line that, at least for a few moments, took me right out of the movie’s reality and reminded me that I was watching was indeed just a movie.

There’s actually a few moments like that in The Black Phone but, fortunately, there’s more than enough that works about this movie to make up for what doesn’t work.

Taking place in a Denver suburb in 1978, The Black Phone deals with the evil activities of a serial abducted and murderer who is known only as The Grabber (Ethan Hawke). The Grabber (who really should demand a better nickname) has spent years grabbing children off of the street and then holding them prisoner in his basement before killing them. The Grabber drives a van and he usually wears a mask. The mask is creepy but it also tells us something about The Grabber’s personality. Obviously, when he talks the kids into getting into his van (or getting close enough for him to grab them), the Grabber can’t wear his mask so he’s not wearing the mask so he won’t be identified. Instead, he wears the mask as perhaps a way to keep his “normal” life separated from his life as The Grabber. Maybe that’s how this middle-aged man justifies being everyone’s worst nightmare. Perhaps he tells himself that he’s not responsible for what he does when he puts on the mask. Once he puts on the mask, anything bad that happens is the fault of The Grabber.

The Grabber’s latest victim is Finney (Mason Thames). While Finney waits in the basement, his father (Jeremy Davies) struggles with his own alcoholism and his sister, Gwen (Madeleine McGraw), tries to get someone — anyone — to take her psychic visions seriously. Gwen is determined to find and rescue her brother but, early on, the audience realizes that only Finney can save himself. Fortunately, Finney has some help in the form of the ghosts of the Grabber’s other victims, all of whom call Finney on a black phone in the basement. They offer Finney advice on how both to survive and how to fight against The Grabber. Some of the ghosts are angry. Some of them are surprisingly cheerful. All of them are understandably eager to help Finney fight their murderer.

It’s an effective film, even if it does feel a bit overlong. The film is based on a short story and it’s hard not to feel that the story would have been better served by a 30-minute short film than an obviously extended feature film. That said, The Grabber is a genuinely creepy villain and the film leaves you feeling as if anyone in the film could easily become his next victim if Finney doesn’t figure out a way to get out of that basement. Interestingly, by casting the handsome Hawke as a child abducted and murderer and the nervous Jeremy Davies as an imperfect father who wants to do better, the film challenges our assumptions about both characters. The Black Phone is a film that effectively captures the terror of everyday life.