The Daily Horror Grindhouse: Burning Dead (dir by George Demick)


BDMany years ago, a teenager named Jim Reed was one of the few people to survive a fire that burned down the entire town of Maxwell and killed nearly the entire population, including his parents.  As you might guess, even after he grows up, Jim has some issues.  He feels tremendous guilt.  He has nightmares.  He feels he’s responsible for the deaths of thousands.  And even worse, he can’t really remember how the fire started or why.  All he knows is that he keeps seeing terribly burned people and they all keep telling him that it’s all his fault.

After spending years just drifting, an adult Jim (played by D. Vincent Ashby) returns to the town of Maxwell.  It’s been rebuilt and, amazingly enough, there seems to be next to no sign that it was ever the site of a huge apocalyptic fire.  (I suspect this has more to do with the film’s budgetary limitations than anything else.)  He ends up staying with his brother and occasionally, he seems to be possessed by some unseen force.  (For example, there’s the time that he wanders into his nephew’s bedroom while wielding a hammer.)  Jim meets his ex-girlfriend Shelly and an old friend named Bill.  And, through it all, he continues to have visions of horribly burned zombies telling him that everything is all his fault…

It’s always tempting to get snarky when talking about a movie like 2004’s Burning Dead.  This is a microbudget film that was obviously made with a largely amateur cast, the majority of whom are quite stiff as they deliver their overdramatic dialogue.  Yes, it would be easy to make fun of Burning Dead but you know what?  For what it is, it’s not that bad.  It’s a horror film that had a lot of interesting ideas but not the budget to really execute them.  But there are films with huge budgets that have absolutely no interesting ideas.  Ridicule the limitations of Burning Dead if you must but, as far as I’m concerned, the filmmakers deserve some credit for trying to create something more than just your standard low-budget zombie film.

Add to that, I am an admirer of the stoned nonchalance of D. Vincent Ashby’s lead performance.  It may be a the result of a lifetime of trauma but Jim, at times, seems to be one of the most mellow in protagonists in the history of horror cinema.  No matter what he’s confronting or explaining, Jim retains the same casual attitude.

My favorite moment in the film came when Bill asked Jim if his parents lost anything in the fire.

“Their lives,” Jim replies with a slight shrug.

Obviously, Burning Dead is not the easiest of films to find.  It’s included in the Decrepit Crypt of Nightmares Boxset and that’s where I found it.

(One final bit of trivia: according to his imdb page, director George Demick previously played a zombie in George Romero’s Day of the Dead.)

D. Vincent Ashby considers Burning Dead.

D. Vincent Ashby considers Burning Dead.

 

Horror Film Review: Shock (Directed by Mario Bava)


shock

Though it seems that he’ll never get the credit that he truly deserves, Italian director Mario Bava was truly one of the most influential and important filmmakers of all time.  While he spent most of his long career making genre films, Bava was also an artist who put his own unique stamp on the horror film and whose influence continues to be felt in film today.  With Blood and Black Lace, Bava helped to launch the entire giallo genre and every slasher film that has ever been made owes a debt to Bava’s Bay of Blood.  While Bava’s final work as a director, 1977′s Shock, may not be as well-known as some of his other films, it’s one of his best works and it’s certainly worthy to be listed with the rest of Bava’s oeuvre.

SHOCK 195

Shock is a haunted house film.  Dora (played by the great Daria Nicolodi) is a mentally fragile woman who is still in the process of recovering emotionally from the suicide of her first husband.  When Dora marries Bruno, an apparently well-meaning airline pilot (but he’s played by John Steiner and anyone who loves Italian exploitation knows that it’s always dangerous when Steiner shows up as a sympathetic character), it briefly appears that Dora’s life might be getting back on the right track.

Shock (1977, dir by Mario Bava)

Except, of course, for the fact that, whenever Bruno leaves the house, Dora gets the feeling that she’s not alone.  Things fall off of shelves.  A razor blade suddenly shows up hidden between the keys of a piano.  Worst of all, her young son Marco (David Collin, Jr.) starts to act differently.  When he’s not sneaking into the master bedroom and using a kitchen knife to chop up Dora’s underwear, Marco is doing things like aggressively wrestling with his mother and cutting Bruno out of all the family pictures.

Shock 3

Dora quickly becomes convinced that the spirit of her first husband is both haunting the house and possessing young Marco.  Bruno, meanwhile, worries that Dora may be having another nervous breakdown.  As for Marco, he’s busy spying on Bruno and Dora while they’re sleeping and calling them dirty names under his breath…

shock-kidpissed

 

The plot of Shock will probably not shock anyone who has seen a haunted house film but one doesn’t really watch a Bava film for its plot.  With a Bava film, the story is never quite as important as the way that Bava tells it.  Working in the years before CGI, Bava was a master at creating special effects that were cheap, simple, and ultimately very effective and that’s what Bava does here.  In perhaps the film’s most effective (and famous) moment, Marco seems to transform into Carlo right before our eyes.  It’s pretty easy to figure out how Bava achieved the effect but that doesn’t make it any less of a frightening moment.

shock-hallway2

However, the main reason that this film works is because of Daria Nicolodi.  Bava was never known for being a great director of actors but, for this film, he managed to capture one of the best performances in the history of horror cinema.  In the role of Dora, Nicolodi is like an exposed nerve.  It’s impossible not to sympathize with her, even if you’re never quite sure just how sane or insane that she may actually be.  Watching Nicolodi’s performance in this film, it’s hard not to regret that, in the years to come, her talent would be so overshadowed by both her former boyfriend Dario Argento and their daughter, Asia.

Shock 2

By all accounts, Mario Bava was in failing health during the making of Shock (and perhaps that’s why he showed so much empathy for the similarly frail Dora) and he was aided, in the making of the film, by his son Lamberto Bava (who would later become a well-known horror director himself).  Sadly, Mario Bava died three years after completing Shock and the film has never quite gotten the amount of attention that it deserves.  Shock is a worthy end to a brilliant career.

Mario Bava

4 Shots From 4 Films: Messiah of Evil, Burial Ground, Happy Birthday To Me, Zombie Lake


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.

4 Shots From 4 Films

Messiah of Evil (1973, directed by Willard Huyck and Gloria Katz)

Messiah of Evil (1973, directed by Willard Huyck and Gloria Katz)

Burial Ground (1981, directed by Andrea Bianchi)

Burial Ground (1981, directed by Andrea Bianchi)

Happy Birthday To Me (1981, directed by J. Lee Thompson)

Happy Birthday To Me (1981, directed by J. Lee Thompson)

Zombie Lake (1981, directed by Jean Rollin)

Zombie Lake (1981, directed by Jean Rollin)

Horror on the Lens: Plan 9 From Outer Space (dir by Edward D. Wood, Jr.)


Plan_9_Alternative_posterWatching Ed Wood’s infamous Plan 9 From Outer Space is something of an October tradition here at the Shattered Lens!  And you know how much I love tradition!

Incidentally, I know this film has a reputation for being the worst film ever made.  Personally, I don’t think that it deserves that reputation.  Is it bad?  By traditional standards of quality, I guess it can be argued that Plan 9 From Outer Space is a bad movie.  But it’s also a lot of fun and how can you not smile when you hear Criswell’s opening and closing statements?

Enjoy!

 

Horror Review: Fear the Walking Dead S1E04-05 “Not Fade Away” & “Cobalt”


FearTWDS01E04-05

“Sometimes all we can do is not enough.” — Dr. Bethany Exner

[some spoilers]

Fear the Walking Dead has been a mystery to some audiences and critics. If there was something the original series was criticized on it was that it’s writing throughout it’s current run has been uneven. There would be some great episodes and some good ones, but then some go nowhere episodes that stops any sort of momentum a particular season was having. The Walking Dead deserved some of the criticism leveled at it’s writing and how some of it’s characters appeared one-note for too long. Things began to improve once Scott M. Gimple took over a showrunner beginning with season 4. yet, some of the damage had been done by a very uneven first three season.

One thing The Walking Dead was never lacking was it’s creativity when it came to the zombies and the violence around them. Greg Nicotero and his KNB EFX crew never flinched from whatever hellish idea the writers were able to come up with. It’s probably one of the main reasons why the show has succeeded so much despite flaws in the writing and characterization. People were willing to tolerate the soap opera-style character interactions if it meant the flesh-eating and the headshots came a-plenty.

The first half of Fear the Walking Dead didn’t have much of the zombie action. It was a bold decision by the writers to stay on the path that brought the early days of the zombie apocalypse to life. This was a show that didn’t already have zombies taking over and with civilization having fallen by the wayside. It was still a world where everyone went about their daily routines. Sure the first episode gave some hints that something was amiss, but not until the final minutes did we finally see our first zombie. Even after that initial reveal at the end of the pilot the writers kept the zombies more off-screen. When they did appear it was as one or two.

Episodes four and five, “Not Fade Away” and “Cobalt”, continued this trend of keeping the zombies at arm’s length and off-screen. We saw Travis and Madison’s neighborhood turned into a safe zone by the National Guard who had been deployed to help contain and combat the spreading infection. Some took the military’s arrival with optimism (Travis) while others saw their arrival as a sign that things were just going to get worse and that things might already be too late to save (Daniel).

These two episodes were some of the strongest in this shortened first season of Fear the Walking Dead. We got to learn more about every character, but mostly we learned just how differently each parent of the core group reacted to the growing situation. These were reactions that were as varied and complex as any we’ve seen in any of the characters in The Walking Dead.

Each parent tried to do what they thought was best for their immediate family. On one end of the moral spectrum we had Travis who tried to serve as a sort of de facto mayor of the walled-off neighborhood. Become the person that would be the one who dealt with the military liaison when it came to his family’s and, to an extent, the neighborhood’s well-being. So far, throughout the this short first season, Travis has come across as the sort of enlightened, civilized man who tries to reason and talk things out instead of acting out rashly and on instinct. This sort of personality is what we as a society want to keep the wheels of civilization moving along problem-free. But as we’ve seen this has also become a weakness as things progressively begin to get worst. Travis can’t seem to see that the rule of law and reason seem to be fighting a losing battle with the need to survive.

Yet, despite Travis’ coming off as some sort of pacifist we get a hint of logic to his seeming weak-willed madness. He sees the world crumbling around him and as a father and role model he has tried to be that moral center to his circle of family and friends. Even when what he’s seeing chips away at his belief that those in power will protect and save them, Travis tries to remain that strong, moral center.

The opposite seems to be true for the other father in our group, Daniel Salazar. This character has been quite the revelation in this series. We first meet him in episode 2. He comes across as a leery, but good man like any immigrant in the US looking to make a new life for his family. But with each new episode we learn a bit more of what makes Daniel tick. He’s a father whose past history before coming to the US hints at chaos and bloodshed. He has seen how crisis could spiral out of control in a blink of the eye and he sees that now with the arrival of the military. He doesn’t trust too many outside his wife and daughter and when he does, as the case with Madison, he does so begrudgingly. He’s adaptable to the ever-changing situation the way Travis is not. He’s willing to resort to immediate action to solve a problem or to find a solution. There’s a darkness in him that’s the current situation has awoken once more and it terrifies him, but he allows it to emerge nonetheless in order to keep his family safe.

Throughout these two episodes we see the recurring theme of authority in its many forms (parental, civilian and military) trying to do their best to keep the situation from spiraling out of control, but they despite all their efforts they fail due to that basic flaw that humanity can’t seem to shred and that’s the inability to work together at the most dire situation to solve the problem.

Both Travis and Daniel try to do the best they know how to navigate through and around the encroaching apocalypse. They succeed in some way, but in the end all their efforts still don’t amount to much as everything right from the start of the crisis has been stacked against them. All they could do now is try and save those closest to them.

The question now as we head into the season finale is whose path will ultimately be the best one to navigate in this apocalypse.

Will it be the Way of the Open Palm that we seem be getting from Travis?

A path of sticking to one’s moral center and principles. To try and keep oneself from sliding back into one’s darker impulses as we’ve seen signs of in these two episodes.

Or will it be the Way of the Closed Fist that Daniel seem to be following?

A mentality that requires quick thinking and direct action even if it means allowing one’s darker side to take hold in order to survive. It’s a path that looks to be well-suited for this apocalypse, but one that also brings with it a set of unknown dangers.

So, while the series has so far lacked in major zombie action and the gore quotient has been tame in comparison to The Walking Dead, it has one-upped it’s older sibling by allowing for it’s cast to grow as characters. Whether they all turn out for the better remains to be seen, but in the span of 5 episodes they’ve become full-fledged characters and now the finale will see who will remain steadfast and who will break.

Notes

  • “Not Fade Away” and “Cobalt” were directed by Kari Skogland. Meagan Oppenheimer has writing duties on the former with David Wiener being responsible for the latter.
  • It’s been nine days since the events of episode 3 and it looks like both the National Guardsmen and the neighborhood are fraying at the edges. It doesn’t help that the unit commander is a reservist who also happens to be an LAPD policeman on a power-trip.
  • Still no sign of Tobias. It looks like his own place might be located in the unsafe and unwalled “dead zones” the military have been doing sweeping patrols for the past nine days.
  • Sandrine Holt comes in as Dr. Bethany Exner. Not her first time in a zombie production. She was also in Resident Evil: Apocalypse as Raccoon City news reported Terri Morales.
  • Ruben Blades is turning out to be the MVP of the series, so far. I guess being a government torturer in his native El Salvador during it’s time of troubles is turning to be a good skillset in the coming zombie apocalypse.

Season 1

Horror on TV: Twilight Zone 3.16 “Nothing in the Dark”


TheTwilightZoneLogo

In this episode of The Twilight Zone, Gladys Cooper plays an elderly woman who lives in such fear of death that she refuses to even open the door of her apartment. Then, one day, a young policeman (Robert Redford) is shot outside of her apartment and Cooper is forced to finally confront the world.

This episode was directed by Lamont Johnson and written by George Clayton Johnson. It originally aired on January 5th, 1962.

The Daily Horror Grindhouse: Dead 7 (directed by Garrett Clancy)


dead 7

I recently opened up Decrepit Crypt of Nightmares DVD box set from Mill Creek and went searching for a movie to review for October.  The movie that I picked was Dead 7, a slasher film from the year 2000.

Dead 7 — or, I should say, the version of Dead 7 that I saw — got off to a pretty bad start when the douchebag pictured below appeared on the screen.

dead 7

Speaking in a low, guttural voice that I guess was supposed to sound scary, this guy introduced the movie and explained that it was about a meth dealer who tossed a deaf kid in a hole and who suffered an appropriate fate as a result.  Okay great, I thought.  But then the guy kept talking and, to be honest, his voice was so annoying that I have no idea what he was talking about.  It reminded me a bit of that old episode of Saved By The Bell where the gang found the old radio station and Screech got to host Screech’s Mystery Theater.

However, Dead 7 should not be judged by that introduction.  For one thing, I get the feeling that the introduction was tacked on by the film’s distributor, Brain Damaged Films.  (In fact, the credits even state that the intro was filmed by a separate director.)  And once you get past the intro, Dead 7 is actually a fairly effective slasher film.

Now, don’t get me wrong.  According to the imdb, Dead 7 was made for $7,000 and it definitely looks like it was made for $7,000.  This is an ultra low-budget film and it really doesn’t do anything to redefine the slasher genre.  This is one of those films where a group of people do something bad in the past and then, a few months later, they die as a result.  There are no great surprises but still — when taken on its own terms, Dead 7 is an effective film.

Just as the toadsucker in the intro promised, a group of meth dealers toss a deaf kid into a mine shaft and leave him to die.  Three months later, the kid’s odd sister, Venus (Delia Copold) performs some sort of odd ceremony in the wilderness and soon the meth dealers and their girlfriends are all dying in various bloody ways.  Can you figure out what’s happening?  Of course, you can!

That said, Dead 7 definitely works.  Garrett Clancy makes the best possible use of his low-budget, filming with a constantly roaming camera and using properly askew angles to keep the audience off-balance.  The gore is surprisingly well-done for such a low-budget film and, while the acting won’t win any awards, all of the lowlifes are appropriately scuzzy.  (Delia Copold probably gives the best performance in the film, especially when taunting the main dealer.)  The film ends on a properly ironic note and, all in all, watching Dead 7 is not a bad way to waste 72 minutes in October.

Horror Film Review: Central Park Drifter (dir by Jerry Ciccoritti)


Central Park Drifter

Central Park Drifter is an amazingly silly little vampire film from 1987.

Stephen Tespes (Michael A. Miranda, credited here as Silvio Olivero) is a 350 year-old vampire who suffers from not a little ennui.  He spends his night driving a taxi (he works the graveyard shift, of course) around Toronto.  (Actually, he’s supposed to be in New York but make no mistake about it, this film is so Canadian that you half-expect David Cronenberg to make a cameo appearance.)  Stephen picks up depressed women who are on the verge of suicide.  After making love to them in the back of his taxi, he bites them and does his vampire thing.

Stephen has a very strong ethical code.  He only bites people who no longer feel that life is worth living.  He tells all of the women that he has bitten that they are not to attack “innocent” people.  Unfortunately, nobody wants to listen to Stephen and soon corpses are piling up all over Toronto New York.

Can the New York police solve the crime, figure out what’s happening, and prevent more senseless carnage?  Well, fear not.  Check out the detectives below because they are on the case!

New York is in good hands!

New York is in good hands!

For his part, Stephen has other things to worry about.  One night, he picks up a music video director named Michelle (Helen Papas).  Michelle is unhappily married to Eric (Cliff Stoker), who we first meet while he’s busy cheating on her with a backup dancer.  Michelle has just discovered that she is terminally ill.  Normally, this would make her the ideal target for Stephen but, when Stephen tries to bite her, he finds himself kissing her instead.

That’s right!  Stephen’s fallen in love with Michelle and, soon, Michelle is in love with Stephen.  Sure, she’s a little upset when she comes across him drinking another woman’s blood in the back of his taxi but, when she tries to run away, Stephen catches up with her and explains that he’s a vampire and he has to do that or else he’ll start to dramatically age.  Michelle, noticing that Stephen’s hair is no longer as gray as it was when she first met him, decides that she’s okay with that and soon, they’re having sex in Stephen’s coffin.

What Stephen doesn’t take into consideration is the fact that, as the result of their vampiric bond, all of the women that he’s bitten can sense when he and Michelle are having sex.  And they don’t like it one bit.  Soon, they’re all going on a killing spree and the streets of New York start to fill up with the bodies of pervs and nightwatchmen.

Eric, meanwhile, finds out about the affair and starts to make plans to destroy Stephen once and for all…

Look, technically, there’s a lot of critical stuff that I could say about Central Park Drifter.  It’s a silly film that is full of inconsistent performances and it’s such an 80s film that it might as well have been made in 1987.  (Oh wait, it was made in 1987…)

But, to be honest, I enjoyed Central Park Drifter.  It’s a film that happily sacrifices logic for nonstop style, a movie that says, “Sure this makes no sense but listen to the music and take in the atmosphere and tell me that it matters.”  It’s a silly film about silly vampires but, when taken on its own low-budget terms, it’s fun.

Plus, it was made in Canada and you know how much I love Canada!

cpd_shot3l

6 Horrific October Trailers


Hi!

It’s the first weekend of October so, of course, this latest edition of Lisa Marie’s Favorite Grindhouse Trailers has a horror theme!

Enjoy

  1. Near Dark (1987)

2) Central park Drifter (1987)

3) Blacula (1972)

4) Count Yorga, Vampire (1970)

5) The Return of Count Yorga (1971)

6) A Return to Salem’s Lot (1987)

What do you think, Trailer Kitty?

TrD

Horror On the Lens: Incubus (dir by Leslie Stevens)


For today’s Horror on the Lens, we present Incubus, an odd little film from 1966.  William Shatner plays a soldier who, along with his sister, visits a mysterious village that has magical, healing water.  (Shatner has been wounded in battle and wants to be healed.)  However, the village is also home to a succubus who wants to seduce Shatner and lead him to Hell.

Incubus is memorable for three reasons.  First off, you’ve got William Shatner giving a very Shatnerish performance.  Secondly, legendary cinematographer Conrad Hall gave this film a very dream-like feel.  And third, this is one of the four movies to have been filmed in Esperanto, a so-called international language that has never really caught on.

That’s right!  This movie has subtitles!  But, so what?  Who hasn’t wanted to see William Shatner act in Esperanto?