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!
This October, we’re using 4 Shots From 4 Films to look at some of the best years that horror has to offer!
4 Shots From 4 2009 Horror Films
The Black Waters of Echo’s Pond (2009, dir by Gabriel Bolongna)
You gotta watch out when it comes to those sensory deprivation tanks. They may look like fun and it might seem like a pleasant idea to spend a while floating in and out of a state of consciousness but those tanks will mess you up. Especially if you’ve got unresolved issues with your family and religion.
Also, if you’re going to go to Mexico to try a powerful hallucinogenic, make sure you’re not appearing in a Ken Russell film because again, those drugs will mess you up. It’s like you’ll close your eyes and, when you reopen them, you’ll be in an 80s music video or something.
Now, to be honest, Altered States came out in 1980 so it’s a bit unfair to complain that it looks like a music video from the 80s or, for that matter, the 90s. Instead, it’s more fair to say that a lot of the music videos from those two decades looked like Altered States. That shouldn’t be particularly surprising since this film was directed by Ken Russell and Russell was a director who specialized in combining music with wild imagery.
Altered States may have been directed by Ken Russell but it was written by Paddy Chayefsky. Chayefsky, of course, is best known for writing the script for Network. (He also wrote the script for the Oscar-winning film, Marty.) Chayefsky is one of those writers who is always cited as an inspiration by writers who are trying justify being heavy-handed. For instance, when Aaron Sorkin was criticized for both Studio 60 On The Sunset Strip and The Newsroom, his supporters started talking about how he was just carrying on the proud tradition of Paddy Chayefsky. In his autobiography, A British Picture, Ken Russell portrays Chayefsky as being a pompous control freak who refused to allow any changes to his dialogue-heavy script. Russell responded by directing his actors to speak the dialogue as quickly as possible, rendering much of it incoherent. In a few scenes, he even specifically had the actors eating so that their mouths would be full as they spoke. Chayefsky was not amused and eventually demanded to be credited under his real name, Sidney Aaron.
As for the film itself, it tells the story of Dr. Eddie Jessup (William Hurt, in his film debut), who is convinced that he can cure schizophrenia by exploring states of altered consciousness. As mentioned above, this leads to him floating in a tank and taking hallucinogenics in Mexico. Somehow, this leads to him turning briefly into a caveman and then into some sort of primordial energy creature. His wife (Blair Brown) is not happy that Eddie appears to be determined to reverse evolution and return to mankind’s original form. For that matter, Eddie’s bearded colleagues (Charles Haid and Bob Balaban) all think that he’s playing a dangerous game as well. Eddie’s daughter (Drew Barrymore, making her film debut) isn’t particularly concerned but that’s just because she’s like five and probably thinks it would be fun to have a primordial energy monster to play with. Anyway, it all becomes a question of whether or not all questions need to be answered and whether love can defeat science.
Anyway, this is a deeply silly movie but it’s also kind of compelling, mostly because the uneasy mix of Chayefsky’s pompous, serious-as-Hell script and Ken Russell’s aggressive and semi-satiric directorial style. Chayefsky obviously meant for the story to be taken very seriously whereas Russell takes it not seriously at all. Though Chayesfky and Russell ended up hating each other, Russell keeps the film from becoming the cinematic equivalent of Neil DeGrasse Tyson’s twitter account. Chayefsky’s greatest objection was that Russell directed the actors to not only speak quickly but to also speak over each other but this actually works to the film’s advantage. Eddie and his colleagues are young, arrogant, and determined to make their mark. Of course, they’re going to speak quickly. They’re excited and there’s no time to lose. The film’s best moments are the early ones, where it’s hard not to get swept up in Eddie’s enthusiasm. Of course, once Eddie turns into a caveman, it pretty much becomes impossible to take anything that follows seriously.
For all the talk about the origins of mankind and whether or not love can save the day, the main appeal of this film is to watch William Hurt totally freak out. Jessup’s hallucinations allow Russell to do what he did best and they’re the highlight of the film. Despite Chayefsky’s ambitions, you don’t watch this film for the science. You watch it for the seven-eyed ram and the scenes of Eddie walking into a mushroom cloud. Ken Russell was smart enough to know that audiences would take one look at William Hurt, with his WASP bearing, and totally want to see just how fucked up Eddie Jessup actually was. On that front, Russell totally delivers.
This film is a mess but at least it’s a Ken Russell mess.
Sure, inheriting an old New England farm might sound like a fun idea but what are you going to do if it turns out that the farm is haunted by the spirits of a coven of witches?
That’s the question that Hope Lange and Paul Burke have to find an answer for in this enjoyably spooky 1970 made-for-TV horror film! Lange and Burke both give good performances, generating a lot of sympathy for their unhappily married couple while director John McGreevey does a commendable job of creating and maintaining a nicely ominous atmosphere.
And, of course, John Carradine’s in it! It’s simply not a rural horror film from the 70s without John Carradine!
Well, Halloween’s fast approaching and that means that it’s time for people to start thinking about what they’re going to watch on the big night.
Now, of course, you can always watch the old favorites, like Halloween or Friday the 13th or Nightmare on Elm Street (or any of their numerous sequels, remakes, and reboots). In fact, if you’re expecting a lot of trick-or-treaters, I can understand why you might want to go with the old dependables as opposed to trying to focus on something that you haven’t seen before.
However, if you’re looking for a new film to watch on Halloween, here are 6 good horror films that, sadly, don’t seem to be as well-known as they deserve to be. If any of these movies are new to you, October 31st might be just the day for you to experience them!
This is a horror film that I recommend to everyone. It’s a slightly satirical story about college students being turned into homicidal murderers. Along with all of the blood and the expected jump scenes, Strange Behavior is also a quirky portrait of life in a small town. It’s the type of film where a collection of 1940s character actors (including the great Charles Lane) share the screen with 70s character actors like Michael Murphy and they all try to figure out how a seemingly dead scientist is programming the town’s children to be murderers. The dialogue is frequently witty, the soundtrack is amazing, and there’s even an impromptu dance scene that comes out of nowhere!
2. Messiah of Evil (1973)
This is another film that I frequently recommend to my horror-loving friends. This is perhaps the most surreal zombie/vampire film ever made. A woman comes to a town to visit her father and she soon discovers that everyone in the town is acting strangely. This one features plenty of hippie action, a surprisingly large amount of clips from a Sammy Davis, Jr. film, an albino who eats rats and talks about how much he loves “Wagner” (which he pronounces with a “W” instead of a “V”), and some of the strangest imagery that you’ll eve see in a low-budget horror film.
Shirley MacClaine is a spoiler socialite who discovers that her younger brother, Perry King, has been possessed by the spirit of a murderer. Though this film is often dismissed as being just another Exorcist clone, it actually came out before The Exorcist and, in many ways, it’s even more disturbing than the seminal shocker. The ending will give you nightmares.
George Romero takes on vampires and the end result is unlike any vampire film that you’ve seen. Martin thinks he’s a vampire. His grandfather thinks he’s a vampire. Is Martin really a vampire? In the end, the film suggests that it might not really matter. A disturbing and sad film that has unexpected moments of humor, Martin also features Romero himself in the role of a well-meaning priest.
From the great Jean Rollin, it’s France’s first zombie film! In this one, people are being turned into zombies by contaminated wine. How many of your friends would become zombiefied as a result?
Finally, if you just have to watch a slasher this Halloween, why not check into the Mountaintop Motel? Evelyn will be more than happy to check you in and check you right back out.
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!
This October, we’re using 4 Shots From 4 Films to look at some of the best years that horror has to offer!
4 Shots From 4 2005 Horror Films
The Call of Cthulhu (2005, directed by Andrew Leman)
In the 1951 film, Bride of the Gorilla, Raymond Burr plays a plantation manager who commits a murder. Unfortunately, for him, the murder is observed by a witch who promptly puts a curse of Burr. Now, every time the sun goes down, Burr transforms into a gorilla and goes wild in the jungle.
Basically, it’s kind of like The Wolf Man, just with a less sympathetic protagonist and a gorilla instead of a werewolf. Just in case we missed the similarities, Lon Chaney, Jr. plays the film’s nominal hero, a police commissioner who suspects that something weird might be happening with Burr. Apparently, the plan was originally for Chaney to play the gorilla and for Burr to play the policeman but, because Chaney was dealing with a serious alcohol problem at the time, the roles were reversed.
Also in the cast, playing the role of Dina, is Barbara Payton, the tragic actress who is best known for being at the center of a love triangle involving actors Tom Neal and Franchot Tone. In 195000, Neal attacked Tone and beat him so severely that Tone spent 18 hours in a coma. Tone was notably shaky onscreen for the rest of his film career while Neal spent a few years in prison. After the incident between Tone and Neal, Payton could only get roles in B-movies like this one. Tragically, she would pass away, in 1967, of heart and live failure. She was only 39 years old.
So, here’s the thing about Lisa, a horror-thriller from 1990 that shows up occasionally on This TV.
It’s got a great title.
Seriously, this film has got one of the greatest titles of all time. I would almost say that you really don’t even have to pay attention to the movie because the title itself is so perfect that the plot doesn’t even matter. The only thing that would make this title even better would be if they had added a “Marie” to the end of it but oh well. You can’t have everything.
This is a movie about a girl named Lisa and, speaking as a girl named Lisa, I have to say that it’s incredibly true to life. Lisa (Staci Keanan) is a smart and amazingly talented 14 years old and not alllowed to date by her incredibly overprotective mother, Katherine (Cheyl Holland). So, instead of dating, Lisa spends her time stalking a serial killer. See, Katherine thought she was protecting her daughter but instead, she’s only inspired her to take an even greater risk. That’s why you need to let the Lisas in your life do what they want.
Admittedly, Lisa doesn’t know that Richard (D.W. Moffett) is a serial killer. She doesn’t even know that he owns a successful restaurant. All she knows is that he looks like a model and he drives a nice car and it’s fun to follow him around Venice Beach. When she jots down his license plate numbers, she hacks the DMV to get his name, address, and phone number. Soon, Lisa is calling him up and having flirtatious conversations with him.
It’s all good fun, except for the fact that Richard is also known as The Candelight Killer and he’s got a thing about calling people and leaving them messages right before he kills them. It’s all very ritualized. For instance, it’s very important that his victims be in the process of listening to his message when he kills them. To be honest, though, that sounds like he’s taking a lot of risks. I mean, what if someone came home and didn’t immediately check their messages? Would Richard just have to hide behind the drapes for hours until the did? Of course, Richard would be even more out of luck if this movie were made today because who has an answering machine anymore?
Anyway, Richard is obsessed with discovering who is stalking him and Katherine is obsessed with keeping Lisa out of danger and Lisa just wants to actually be allowed to full celebrate having the greatest name ever. Did you know, for instance, that Lisa may have started out as a shortened form of Elizabeth but that it became so popular on its own that it was one of the most popular names in both the United States and the United Kingdom for several decades? And, even though it’s no longer in the top ten as far as names are concerned, being named Lisa is still one of the greatest honors that can be bestowed upon anyone? Lisa means God’s Promise by the way. And….
What? Oh yeah, the movie.
Well, anyway, it all leads to pretty much what you’re expecting it to lead to. Plotwise, the movie may be predictable but the Staci Keanan, Cheryl Ladd, and D.W. Moffett all gives good performances and director Gary Sherman keeps the action moving at a steady pace. It’s dumb but entertaining, kinda like cinematic junk food. Plus, it has a great title. What more do you need?
1971’s Requiem for A Vampire opens with a car chase.
In one car, there’s a male driver and then there’s Michelle (Mirelle Dargent) and her girlfriend Marie (Marie-Pierre Castel). Who is pursing them? Who is shooting at them? Why are both of the girls wearing clown makeup? These are all good questions and they’re never clearly answered in the film. We shouldn’t be surprised about that, however. This is a Jean Rollin film, which means that the imagery is far more important than the storyline. In the end, the girls are wearing clown makeup because Rollin often worked clown imagery into his films. And they’re fleeing together because Rollin’s films often celebrated female friendship. As for why they’re being chased, if you listen carefully, you’ll hear some mention of a murder but it’s never made clear who was murdered or why or even by whom. It’s not important. This is a Jean Rollin film. You either get it or you don’t.
After the car crashes, the girls wash off their clown makeup, change clothes, and set the car on fire. They also set the driver on fire. They claim that the driver was killed in the car accident but the actor playing the driver visibly twitches while they pour the gasoline on him. Was that simply a mistake on the actor’s part or did Michelle and Marie essentially burn a man alive? Does it really matter? Michelle and Marie survived, that’s what’s important.
Marie and Michelle walk through the French countryside, stealing food and avoiding detection. As always, Rollin’s camera loves the the beauty of the countryside. They explore the forest. They go down to the cemetery. Michelle nearly gets buried alive. It’s a dangerous world out there.
Eventually, they stumble across a gothic castle and, as you might guess from the title and the fact that this is a Jean Rollin film, the castle is full of perverse vampires who take Marie and Michelle prisoner. It’s here that film reaches a level of peak Rollin as we’re confronted with scenes of dungeons, dark hallways, and vampires transforming into bats while (literally) going down on their victims. The castle is ruled over by a vampire woman who plays an organ and a male vampire who wants to use Marie and Michelle to continue his bloodline, specifically because neither has ever been with a man. Michelle is totally happy with the idea of living forever but Marie is a bit less enthused and starts looking around for a random male.
What’s interesting is that, for a vampire film, the vampires themselves are largely red herrings. For that matter, so is the car chase and the cemetery and almost everything else that Michelle and Marie have to deal with over the course of the film. Instead, the film is really about their relationship and whether or not it will survive all of the challenges that it faces. Marie and Michelle may both have differing views on whether or not to become a vampire but what’s the most important is that nothing be allowed to come between the bond that they share. This was a theme to which Rollin would often return. Dargent and Castel are both perfectly cast as Marie and Michelle, who reminded me of myself and my BFF. If I ever get into a car chase while wearing clown makeup, I would definitely want my best friend at my side. She makes stuff like that fun.
Especially during the film’s early scenes. Requiem for a Vampire plays out almost like a silent film. The dialogue is kept to a minimum and the emphasis is put on the imagery with Rollin emphasizing the beauty of the countryside and the stately menace of the imposing castle. The film is a visual poem, a celebration of friendship, and one of Rollin’s best.
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!
This October, we’re using 4 Shots From 4 Films to look at some of the best years that horror has to offer!
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, last night, you were having trouble getting to sleep around two in the morning, you could have turned over to HBO and watched the 2015 British gangster film, Legend.
Tom Hardy is Reggie Kray. Arrogant, handsome, charming, and dangerous to know, Reggie is a club owner who is also an up-and-coming gangster in 1960s London. Scotland Yard has him under surveillance. The East End both fears and respects him. American gangsters want to do business with him.
Tom Hardy is also Ronny Kray! Ronny is the ugly twin, the one who lives in a trailer and has just been released from a psychiatric institution. Ronny is openly gay at a time when that was still illegal in the UK. Driven by jealousy of Reggie and a desire to prove himself superior to everyone who has ever judged or looked down on him, Ronny is determined to make sure that he and his brother become the top gangsters in London.
Together …. they solve crimes!
No, actually, they do the exact opposite. They commit a lot of crimes. Ronny is willing to shoot anyone in the head. Reggie tries to be a bit more respectable. He even attempts to run a legitimate nightclub. Reggie understand that sometimes, the threat of violence is more effective than violence itself. Reggie and Ronny are about as close as siblings can be, even if they do spend a lot of time beating each other up.
Frances Shea (Emily Browning) is the sister of Reggie’s driver, Frankie (Colin Morgan). She’s sixteen when she meets and falls in love with Reggie Kray. Reggie loves her too and he even marries her. (Of course, he has to do a stint in prison first.) Reggie swears to Frances that he’s going to go straight and that they’re going to have a normal life. Deep down, Frances know that will never happen so, while her husband and brother-in-law conquer London, she copes with pills. Lots and lots of pills.
For an American viewer like myself, British gangster films are always fun to watch because they’re just as violent as American gangster films but, at the same time, everyone’s always dressed impeccably and stopping in the middle of all the mayhem to have a cup of tea. Legend is based on a true story, which turns out to be both its greatest strength and its greatest weakness. On the one hand, it’s fascinating to see the film’s recreation of London in the early 60s. On the other hand, the film never convinces us that we should really care about the Krays. This isn’t a case where, like the Corleones, the Krays are tragic figures who can’t escape their destiny. Tom Hardy does a great job playing Reggie and he’s an adequate Ronny but you can never quite escape the feeling that the two brothers are just — to use one of their own preferred insults — two wankers who aren’t really worth all the trouble. This is a film that you watch and you ask yourself, “Why should we care?” Beyond the novelty of the Krays being twins, the film really can’t provide an answer.
Still, I happen to be fascinated by the early 60s so I enjoyed the film as a historical recreation. Legend isn’t a bad film. It’s just somewhat underwhelming.
