Horror Film Review: Slender Man (dir by Sylvain White)


Slender Man is a 2018 horror film about the Slender Man, the mysterious supernatural being who appears in online photographs and videos and who …. well, I’m not sure what it is that he does exactly.  Apparently, he targets children and teenagers and he uses his long arms to either abduct them or drive them crazy or maybe take them to a different realm of existence.  Who knows?  That’s actually probably a part of the appeal of Slender Man.  He can pretty much be whoever or whatever anyone wants him to be.

In this Massachusetts-set film, four teenage girl decided to summon the Slender Man.  Their ceremony works but it turns out that summoning a demonic figure who hunts children is not as good an idea as the girls originally assumed.  Who would have guessed it, right?  After one of the girls disappear, the other three try to figure out how to deal with Slender Man.  It all leads to death, insanity. and panic.  Yay!

Slender Man is one of those films where nearly every scene is severely underlit and it’s often difficult to actually tell what’s happening in each scene.  This has become a very popular technique in recent years, one that some directors have embraced almost to the point of absolute absurdity.  (Watch any horror-themed program on Netflix and you’ll see what I’m talking about.)  I imagine the idea is to create a creepy and shadowy atmosphere and to keep you wondering about what might be lurking in the darkness.  There’s nothing wrong with that, if the film itself is genuinely scary.  However, in a film like Slender Man, the underlit look feels rather lazy.  It’s as if the director and the cinematographer realized that the film’s story was never going to make sense so they specifically turned off the light to try to keep us from noticing.  Instead of trying to improve the script or maybe come up with something interesting for Slender Man to do, they instead did the cinematic equivalent of shoving the audience into a dark room, locking the door, and then shouting boo in the vain hope of tricking them into being scared.

Of course, a huge part of the problem with Slender Man is that real life is often scarier than anything that will ever appear in a movie.  In 2014, two teenage girls really did stab one of their friends and they did attempt to blame their crime on Slender Man, whom they claimed they were tying to impress.  This led to a moral panic, one in which parents worried that internet memes were turning children into sociopaths.  My own personal opinion is that if your child is stabbing one of their friends, they have problems that go far beyond anything they may have seen online.  Moral panics are a lot like Slender Man, in that they can be whatever the participants want them to be.  In this case, the panic over internet memes allowed parents the luxury of not reflecting on whether or not their own bad parenting has anything to do with the actions of their children.  “No,” parents could say, “it wasn’t that we raised a sociopath!  It’s that some anonymous user posted a silly picture of Slender Man peaking out from behind a tree!”  It is much easier to demand that a website be taken down or censored than to actually ask yourself why your children would be 1) stupid enough to believe in Slender Man in the first place and 2) eager to impress him.

Though Sony Pictures always denied it, it’s obvious that the Slender Man movie was made to capitalize on the publicity surrounding the Slender Man trial. Unfortunately, the film itself just isn’t scary.  It’s poorly paced, poorly acted, and way too dark.  No wonder Slender Man hasn’t been seen in a while….

Horror on the Lens: The Creeping Terror (dir by Vic Savage)


Watching The Creeping Terror is an October tradition here at the Shattered Lens.  How could anyone resist a film about a killer carpet, especially one that features a random dance party?  This film was directed by an enigmatic figure named Vic Savage.  No one is really sure who he actually was.  No one is sure what happened to him after The Creeping Terror was finally released.  But what we do know is that he made a film unlike any other.

Read my review here.

Read Patrick’s review here.

And enjoy the film!

Horror on TV: Friday the 13th: The Series 2.3 “And Now The News” (dir by Bruce Pittman)


Tonight, for our horror on the lens, we have the third episode of the 2nd season of Friday the 13th: The Series!

Kate Trotter plays a psychiatrist who, due to a cursed radio, is capable of helping even the most troubled of her patients! Unfortunately, for everyone that she helps, someone else has to die!

This episode originally aired on October 14th, 1988.

Horror Film Review: Fallen (dir by Gregory Hobilt)


“Time is on my side….” sings an ancient Sumerian demon, who is apparently a huge fan of the Rolling Stones.

“Do you like cream?” asks a possibly crooked detective who is played by a slightly less heavy than usual James Gandolfini.

Donald Sutherland walks through a shadowy police station and flashes his big smile.

A detective played by John Goodman talks on the phone and makes cheery jokes while investigating a brutal murder.

A demon jumps from person to person, possessing everyone for a matter of seconds, just so he can freak out one specific person.

“Beware my wrath,” a white-haired businessman says to Denzel Washington.

There’s no way to deny it.  1998’s Fallen is a film that’s full of strange moments.  Some of it works and some of its doesn’t but it’s never boring.  Denzel Washington plays John Hobbes, a Philadelphia detective who has achieved a small amount of fame as the result of capturing serial killer Edgar Reese (Elias Koteas).  Reese asks to see Hobbes before he’s executed and it turns out that, for a man about to pay the ultimate price for his crimes, he’s in a surprisingly good mood.  Before he goes in the gas chamber, Reese chants something in Aramaic.

Soon, new murders are being committed in Phladelphia.  Hobbes and his partner, Jonesey (John Goodman at his most Goodmanesque), suspect that the killer is a copycat, trying to capture some of Reese’s notoriety for himself.  Gretta Milano (Embeth Davidtz), the daughter of a detective who committed suicide after being accused of committing a series of murders, tells Hobbes that the new killings are actually being committed by a demon named Azazel.  Azazel can jump from body to body and can compel people to do terrible things.  Gretta asks Hobbes if he belives in God.  Hobbes says it’s hard to have faith when you deal with murder every day, a somewhat clichéd line that Washington makes work through the absolute conviction of his delivery,

Denzel Washington is the key to this film’s success.  Sure, there’s a lot of murders and a lot of twists and a lot of possessions and there’s a lot of scenes that are shot from the point of view of the demon but, in the end, Fallen works because Washington is absolutely convincing as a man who is facing an evil that is beyond human understanding.  Washington gives a very naturalistic and grounded performance, one that keeps an element of reality in Fallen regardless of how messy the story may get.  When it becomes apparent that the demon is going to try to harm his brother and his nephew, Washington’s fury feels real.  When Hobbes discovers that the demon has gotten to one of them, Washington’s underplayed reaction makes the scene even more poignant and painful.  It’s hard to imagine Fallen being anywhere near as effective with an actor other than Denzel Washington in the lead role.

Fallen is a twisty movie.  The demon moves quickly and it always seems to have a backup plan.  He manipulates Hobbes into doing some things that are so terrible that you’re not sure that Hobbes is every going to recover, even if he does somehow manage to defeat Azazel.  Hobbes and Azazel are worthy adversaries and, as a result, the film gets away with a lot of stuff that wouldn’t otherwise work.  Even the use of Time Is On My Side pays off, as the one character who you don’t want to hear sing the song suddenly starts doing a Mick Jagger impersonation and you’re just like, “Oh no, what’s going to happen now?”  The film’s high point is a lengthy sequence where Hobbes stands on a busy street and watches as Azazel jumps from body to body.  Everyone who passes Hobbe gives him a death glare.  It’s a frightening moment, one in which Fallen captures the intensity of a nightmare.

I watched Fallen earlier today.  I can’t really say that I was expecting much from it but I was surprised.  It’s actually one of the better horror films that I’ve watched for the first time this month.  It’s big and strange and creepy and it’s got Denzel Washington doing what he does best.  What more could you ask for?

The Terror Within II (1991, directed by Andrew Stevens)


Two years after ripping off Alien with The Terror Within, producer Roger Corman decided to rip it off a second time with The Terror Within II.  This time, star Andrew Stevens hopped into the director’s chair and, along with the sex-crazed monsters, a religious cult was also added.  A year after The Terror Within II was released, Alien 3 was released and it also featured a religious cult.  Was it a coincidence or was Roger Corman predicting the future?

Speaking of the future, The Terror Within II returns us to the crappy future that was predicted by the first film.  As the previous film’s only survivor, scientist Andrew Stevens is walking across Colorado to take a position at yet another lab.  Along the way, he meets a young woman named Ariel (Clare Hoak).  No sooner have they met than they’re doing their bit to repopulate the human race.  Meanwhile, a cult wants to kidnap Ariel and offer her up to the mutants.  (The mutants were called Gargoyles in the first film.  Now, they’re called Lusus.)

Meanwhile, at the other lab, the scientists, including Stella Stevens and R. Lee Ermey, are studying a mutated finger, which appears to be spontaneously regenerating into a Gargoyle or a Lusus or whatever its called now.  Does it occur to anyone at the lab that growing their own monster is a stupid idea?  No.  Humanity is doomed.

The Terror Within II was shot for even less money than the first film but it’s also a marked improvement.  That’s mostly due to Andrew Stevens being a far more competent filmmaker than the director who did the first film.  Stevens know how to shoot an action scene and, when the monsters inevitable do end up storming the lab, it’s more exciting in the second film than it was in the first.  Plus, whereas The Terror Within only had George Kennedy to lend it some class, The Terror Within II has both R. Lee Ermey and Stella Stevens!  It’s an improvement, all around.

Unfortunately, there was never a third film.  The Lusus probably would have won anyways.  There’s only so many underground labs that humanity can hide out in.

Game Review: The House on Highfield Lane (2021, Andy Joel)


The House on Highfield Lane is an entrant in 2021 Interactive Fiction competition.  Browse and experience all of the games by clicking here.

Mandy has always been frightened by the forboding house that sits on Highfield Lane but, when she’s walking home from school one day and comes across a letter that’s been addresses to the house’s owner, she decides to finally conquer her fear. What starts as a simple quest to deliver the mail turns into a long adventure as Mandy explores the house, solves puzzles, and even helps to reanimate the dead.

The author of this game described its genre as being “horror without the horror,” because, even though the game is about exploring a creepy old house, there aren’t any of the elements that usually come with a haunted house game. (There is a mad scientist but he’s not such a bad fellow.) This is actually kind of an old-fashioned game, where the emphasis is on exploring and solving puzzles. There’s a lot of puzzles. Solving puzzles has always been my weak spot when it comes to playing IF games. I’m the type of player who always ends up asking for hints or looking at a walk-through. The House on Highfield Lane does come with hints. It wasn’t long after I started playing that I started to use them but again, I’m terrible at puzzles. I think most experienced IF players will be able to solve the majority of the game’s puzzles without having to ask for help.

This is an enjoyable and engaging game. The descriptions of each room were so well-written that I could easily picture them in my head as I played, This game was partially designed to show off the new Quest 6 engine and it does a good job of doing just that. Content-wise, it feels like a throwback to the old text adventures that you would play for hours, experimenting with different verbs and seeing what you could do in each room of the house. If you like exploration-centered games and don’t mind having to figure out several puzzles, this is a game you should enjoy.

Play The House on Highfield Lane.

Scenes that I Love: Tor Johnson In The Unearthly


We continue to honor the memory of Tor Johnson with today’s scene of the day.

Even though Tor Johnson is playing a character named Lobo, today’s scene that I love isn’t from Ed Wood’s 1955 film, Bride of the Monster. Instead, it’s from 1957’s The Unearthly. In this film, Lobo is now John Carradine’s servant. (Lobo made quite a career out of working for mad scientists.) The Unearthly was directed by Boris Peftroff, a friend of Wood’s, so it’s not improbable that this film’s Lobo was meant to be the same Lobo as the one who appeared in Bride of the Monster and Night of the Ghouls.

Anyway, in this scene, Tor does his usual Lobo stuff while John Carradine plays the piano. “Time for go to bed,” Lobo says at one point, a much-mocked line but one that is delivered with a bit of gentleness by Tor Johnson. My point is that Tor did the best that he could and bless him for it.

4 Shots From 4 Tor Johnson Films


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.

Today is Tor Johnson’s birthday so it just seems appropriate to present….

4 Shots From 4 Tor Johnson Films

Bride of the Monster (1955, dir by Ed Wood, DP: Ted Allan and William C. Thompson)

Plan 9 From Outer Space (1957, dir by Ed Wood, DP: William C. Thompson)

The Unearthly (1957, dir by Boris Petroff, DP: W. Merle Connell)

The Best of Yucca Flats (1961, dir by Coleman Francis, DP: John Cagle and Lee Strosnider)

Horror On The Lens: The Beast of Yucca Flats (dir by Coleman Francis)


Beastyuccaflats

Since today is Tor Johnson’s birthday, it only seems appropriate that today’s Horror on the Lens should be one that he starred in, 1961’s The Best Of Yucca Flats.

My friend, the writer and chef Tammy Dowden, claims that this is the worst movie ever made.

Well, technically, she may be right.  The Beast of Yucca Flats is a thoroughly inept film that makes next to no sense and has massive continuity errors.  It’s a film that also features the legendary Tor Johnson as a Russian scientist who gets mutated by radiation and becomes a monster, but not before taking off almost all of his clothes while walking through the desert.  For that matter, it’s also a film about a family that comes together though adversity — namely, being shot at by the police after the family patriarch is somehow mistaken for Tor Johnson.  And finally, it’s the story of how a dying monster can find comfort from a rabbit and that’s actually kind of a sweet message.

Here’s the thing — yes, The Beast of Yucca Flats is bad but you still owe it to yourself to watch it because you will literally never see anything else like it.  Plus, maybe you’ll be able to figure out what the whole point of the opening scene is.

Because I’ve watched this film a few times and I still have no idea!

Enjoy!