Film Review: Crawlspace (dir by David Schmoeller)


Before moving into a new place, always do a little research.

That would seem to be the main lesson that one can take from the 1986 horror film, Crawlspace.  As the film begins, Lori Bancroft (Talia Balsam) thinks that she’s found the perfect little apartment.  It’s clean.  It’s roomy but cozy.  It’s got space for all of her stuff.  It’s perfect for hosting friends.  You can bring a date back to the place without feeling embarrassed.  The apartment even comes with a charmingly eccentric landlord, an older German gentleman named Karl Gunther.  Gunther is played by Klaus Kinksi and….

Wait …. he’s played by who?

Klaus Kinski?  You mean the infamously difficult actor who appeared in not only a countless number of horror films and spaghetti westerns but also Doctor Zhivago?  Would this be the same Klaus Kinski who was briefly Werner Herzog’s muse?  That Klaus Kinski?

Uh-oh.  That’s not good.

It soon turns out that Gunther is not quite the friendly man that he pretends to be.  Gunther’s got some issues.  For instance, he spends a lot of time intentionally burning his hand and then smiling afterwards.  And there’s his habit of playing Russian Roulette.  Throughout the film, we see him sitting at a table and putting one bullet in a gun, just so he can then point it at his head and take his chances.

Gunther also has a thing for ventilation shafts.  He loves to crawl around in them, specifically so he can spy on his tenants.  When we first meet him, he’s obsessed with Sophie (Tane McClure) but he soon turns his attention to Lori.  Often, he’ll release rats into a tenant’s apartment.  When Lori merely laughs at the rat as opposed to screaming in fear, Gunther is impressed.

Of course, Karl Gunther wasn’t always a landlord.  He used to be quite a respectable doctor.  Of course, then all of his patients started dying and Gunther’s career went downhill.  Gunther, of course, claims that he only murdered his patients because they were in pain and suffering.  However, it could be more likely that his actions had something more to do with the fact that Gunther’s father was a Nazi war criminal, a doctor who justified his crimes with the same excuses as Gunther.

If all that’s not enough to convince you that Gunther’s got some issues, you should just take a look in the attic.  That’s where Gunther spends most of his time, writing in his journals.  It’s also where he keeps jars that are full of body parts.  One jar has a tongue in it.  A pair of eyes float in the other.  There’s a finger in another.  The attic is also where Gunther keeps one of his previous tenants in a cage.  Gunther says that he likes to talk to her, despite the fact that he long ago removed her tongue….

Plot-wise, Crawlspace is pretty much your standard low-budget 80s horror film.  There’s not much here that could really be called surprising but director David Schmoeller does find some creative ways to film all of the expected mayhem and the frequent shots of Kinski crawling through the ventilation shafts are genuinely creepy.  Kinski, giving a performance that’s even more unhinged than usual, is the best thing about the film and the main reason to see it.  By making Karl Gunther the self-loathing son of a war criminal, Schmoeller and Kinski bring an interesting subtext to the film.  Gunther is more than just a slasher movie villain.  Instead, he’s the embodiment of Hitler’s hateful legacy.

As I mentioned at the start of this review, Klaus Kinski was a legendary for being difficult.  Years after both the release of Crawlspace and Kinski’s own death, director David Schmoeller released a 9-minute documentary about the experience of making a film with Kinski.  The title of that film: “Please kill, Mr. Kinski.”  Apparently, this was a request that several members of the crew made to Schmoeller over the course of filming.  (Interestingly enough, Werner Herzog would make his own Klaus Kinski documentary — My Best Fiend — in which he mentioned that, during the shooting of Fitzcarraldo in Brazil, a native chief offered to have Kinski killed.)  Please Kill, Mr. Kinski is a fascinating look at not only low-budget exploitation filmmaking but also what it’s like to have to work with a talented monster.  As of this writing, it can be viewed on YouTube.

 

Here Are The Other Super Bowl Teasers For Scary Stories To Tell In The Dark!


That commercial with the exploding zit wasn’t the only Super Bowl teaser for Guillermo Del Toros’ Scary Stories To Tell In The Dark.  There was also this:

And this:

And, of course, this:

AGCK!

Here’s The Super Bowl Teaser For Scary Stories To Tell In The Dark!


AGCK!

This film, from Guillermo Del Toro, will be coming out this summer and I can’t wait!  There’s nothing like terrifying, mind-bending horror to liven up the summer months.

Seriously, I totally screamed when I saw this.

Creature Double Feature 6: FRANKENSTEIN CREATED WOMAN (Hammer/20th Century-Fox 1967)/FRANKENSTEIN MUST BE DESTROYED (Hammer/Warner Bros 1969)


cracked rear viewer


Hammer Horrors were a staple of Boston’s late, lamented “Creature Double Feature” (WLVI-TV 56), so today let’s take a look at a demonic duo of Frankenstein fright films starring the immortal Peter Cushing in his signature role as the villainous Baron Frankenstein.

FRANKENSTEIN CREATED WOMAN was the fourth in Hammer’s Frankenstein series, made three years after EVIL OF FRANKENSTEIN. The Baron is back (after having apparently been blown to smithereens last time around), this time tampering with immortal souls rather than mere brain transplants. The movie features some ahead-of-its-time gender-bending as well, with the soul of an unjustly executed man transmogrified into the body of his freshly dead (via suicide) girlfriend, now out for vengeance!

Young Hans (Robert Morris), who watched his father guillotined as a child, grows up to work for muddle-headed alcoholic Dr. Hertz (Thorley Walters , in an amusing performance), who revives the cryogenically frozen Baron…

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AMV of the Day: This Is Halloween (various)


What better way to wrap up Halloween and Horrorthon than with an AMV of the Day?

Anime: Owari no seraph, Vampire Knight, Shiki, Another, Vassalord, Corps Party, Future Diary, Tokyo Ghoul, Deadman in the wonderland, When they cry, Akame ga kill, danganronpa, Shiki

Song: This Halloween, covered by Real Chantay

CreatorColor NighTcore

Past AMVs of the Day

Horror Film Review: Buffy the Vampire (dir by Fran Rubel Kuzui)


Watching this movie was such a strange experience.

Now, of course, I say that as someone who grew up watching and loving the television version of Buffy the Vampire Slayer.  Back when Buffy was on TV, I was always aware that the character had first been introduced in a movie but every thing I read about Buffy said that the movie wasn’t worth watching.  It was a part of the official Buffy mythology that Joss Whedon was so unhappy with what was done to his original script that he pretty much ignored the film when he created the show.

So, yes, the 1992 movie version of Buffy the Vampire Slayer showed how Buffy first learned that she was a slayer, how she fought a bunch of vampires in Los Angeles, and how her first watcher met his end.  But still, Joss Whedon was always quick to say that the film should not be considered canonical.  Whenever anyone on the TV show mentioned anything from Buffy’s past, they were referencing Joss Whedon’s original script as opposed to the film that was eventually adapted from that script.  (For instance, on the tv series, everyone knew that Buffy’s previous school burned down.  That was from Whedon’s script.  However, 20th Century Fox balked at making a film about a cheerleader who burns down her school so, at the end of the film version, the school is still standing and romance is in the air.)  In short, the film existed but it really didn’t matter.  In fact, to be honest, it almost felt like watching the movie would somehow be a betrayal of everything that made the televisions series special.

Myself, I didn’t bother to watch the film version of Buffy the Vampire Slayer until several years after the television series was canceled and, as I said at the start of the review, it was a strange experience.  The movie is full of hints of what would make the television series so memorable but none of them are really explored.  Yes, Buffy (played here by Kristy Swanson) has to balance being a teenager with being a vampire slayer but, in the film, it turns out to be surprisingly easy to do.  Buffy is just as happy to be a vampire slayer as she is to be a cheerleader.  In fact, one of the strange things about the film is just how quickly and easily Buffy accepts the idea that there are vampires feeding on her classmates and that it’s her duty to destroy them.  Buffy’s watcher is played by Donald Sutherland and the main vampire is played by Rutger Hauer, two veteran actors who could have played these roles in their sleep and who appear to do so for much of the film.  As for Buffy’s love interest, he’s a sensitive rebel named Oliver Pike (Luke Perry).  On the one hand, it’s fun to see the reversal of traditional gender roles, with Oliver frequently helpless and needing to be saved by Buffy.  On the other hand, Perry and Swanson have next to no chemistry so it’s a bit difficult to really get wrapped up in their relationship.

I know I keep coming back to this but watching the movie version of Buffy is a strange experience.  It’s not bad but it’s just not Buffy.  It’s like some sort of weird, mirror universe version of Buffy, where Buffy starts her slaying career as a senior in high school and she never really has to deal with being an outcast or anything like that.  (One gets the feeling that the movie’s Buffy wouldn’t have much to do with the Scooby Gang.  Nor would she have ever have fallen for Angel.)  Kristy Swanson gives a good performance as the film version of Buffy, though the character is not allowed to display any of the nuance or the quick wit that made the television version a role model for us all.  Again it’s not that Buffy the movie is terrible or anything like that.  It’s just not our Buffy!