Tag Archives: movie

Let’s Talk About Killer Under The Bed (dir by Jeff Hare)

Posted on by Lisa Marie Bowman

Killer Under The Bed aired on the Lifetime network back on October 20th and, at first glance, it might sound like a typical lifetime film.

Recent widow Sarah (Kristy Swanson) has moved into a new house and gotten a new job.  She has two teenage daughters, both of whom are still struggling to deal with the death of their father.  The older daughter is Chrissy (Madison Lawlor), the star athlete who is protective of her younger sister, even if she’s not always willing to admit it.  Kilee (Brec Bassinger) meanwhile is struggling to escape from her sister’s shadow and fit in at her new school.

Consider some of what Kilee has to deal with.  The school’s resident mean girls are determined to destroy her.  She has a crush on one of her teachers and he seems to be growing more and more obsessed with her.  Kilee has a secret that she can’t tell her mother or her sister and Kilee fears that everyone blames her for what happened to her father.

As I said, it sounds like a typical Lifetime situation but here’s the twist.  Almost all of Kilee’s problem can be linked to the rather ugly doll that she stumbled across in her new home.  Much like buying weed in Colorado and then trying to sell it for a profit in Wyomng, having a voodoo doll seemed like a good idea at first.  By making wishes, Kilee not only punished the school bully but she also resolved a conflict between her mom and a co-worker.  And when Kilee wished that her teacher would love her, he went from holding her at a polite distance to suddenly sending her flirtatious texts and photoshopping their faces onto wedding advertisements!

But, much like a Colorado weed dealer spending the night in a Wyoming jail, Kilee soon discovers that nothing’s ever as easy as it seems.  Even the best of ideas have consequences.  For one thing, the doll has the power to drive people crazy.  Secondly, the doll itself is a bit possessive and has a temper.  When Chrissy comes across the doll and tries to throw it away, the doll responds by climbing out of the trashcan and reentering the house.  Later, when the school bully tries to steal the doll, the doll responds by attacking her with a knife.  Soon, the doll is crawling around the house, hiding underneath beds, and creating all sorts of mayhem.

Oh my God, this was such a great movie!  From the minute that doll unzipped Kilee’s backpak so that it could escape to raise havoc, I knew I was watching a great film.  Killer Under The Bed is totally over the top and just so wonderfully ludicrous that there’s no way that you can’t have fun watching it.  Between the killer doll, the bullies that were so evil that seemed like they should be plotting against The Avengers, and the perpetually confused teacher, Killer Under The Bed was way too much fun.

In the past, I’ve been told that Lifetime tends to be resistant to horror movies.  They really should rethink that policy.  Killer Under The Bed is one of the most entertaining Lifetime films that I’ve seen in a while.

Put On Your Silver Shamrock Masks, It’s Time….

Posted on by Lisa Marie Bowman

It’s time.

Evening approaches.  The sun is setting.  It’s time to start counting treats and perhaps playing a few tricks.  In other words, it’s time to put on your Silver Shamrock masks and gather around the television….

(Actually, its seem like Silver Shamrock would have more success if they had a bigger online presence but I guess they like to do things the old-fashioned way….)

 

Let’s Talk About Dead In The Water (dir by Sheldon Wilson)

Posted on by Lisa Marie Bowman

One of the great things about October is that, along with Shark Week, it’s one of the few times during the year that the SyFy channel still shows original horror films.  Unfortunately, I ended up getting a little bit swamped with stuff this month so I didn’t get a chance to review this year’s collection of movies when they originally aired.  Hopefully, I’ll be able to make up for that today and tomorrow.

Dead In The Water, which aired on October 27th, is a nautical horror story that will probably remind you of a few other horror films.  (Of course, if you’ve watched enough SyFy films, you know that’s not necessarily a complaint.)  Like The Descent, it features an almost entirely female cast.  Like Ghost Ship, it takes place within the claustrophobic confines of a boat floating on the ocean and there’s literally no escape to escape to be found.  Like an Alien film, it’s essentially a siege film in which we watch the film’s cast attempts to survive an attack from a relentless enemy that keeps coming and coming.  And finally, much like John Carpenter’s The Thing, the enemy is an alien who jumps from victim to victim.  You’re never quite sure who might be real and who might be possessed.  It’s all about the paranoia.

Dead in the Water follows the crew of a boat that gets lost in a thick bank of fog.  When they come across a man floating in the ocean, they pull him out and start to examine him.  He’s still alive, though barely.  He implores them to kill him and then kill themselves.  He says that the only way to “end this.”  After they oblige the first half of his request, the crew members speculate that may have had a virus but a video on his phone reveals a far different story.  Apparently, the man was the last survivor of a group of scientists who came across an alien life form in the Arctic sea.  With an alien life form now running around the boat, the crew must attempt to survive while a terrible storms rages outside.

Both thematically and visually, Dead In The Water is one of those films where everything is really, really dark.  In fact, the film was so dark that it was sometimes difficult to see just what exactly was happening on the screen.  At times, this was effective.  After all, fear of the dark is one of the big phobias and the darkness made it easier for the alien to do its thing.  That said, I would someday like to see a horror film that takes place in an adequately lit room.  We’re so used to horror in the dark that I think horror in the daylight would probably be an interesting change of pace.

The best thing that Dead In The Water had going for it was its cast.  I liked the fact that not only did this horror film feature an all female cast but that they were all portrayed as being competent professionals.  No one was there just to scream and be a victim, which is something that I always appreciate.  Though the nature of the alien isn’t a huge shock, it’s still an effective little monster.  Director Sheldon Wilson does a good job of keeping the action moving and capturing the desperation of being stranded out in the middle of nowhere.  All in all, Dead In The Water was an effective October offering.

Scenes That I Love: Boris Karloff Tells A Story In Targets

Posted on by Lisa Marie Bowman

In the 1968 film, Targets, Boris Karloff gave one of his final performances.  It was also one of his best.

Karloff played an aging horror actor named Byron Orlok, a role that was based on Karloff himself.  Though once a huge star, Orlok’s style of horror has gone out of fashion.  As he explains it, the real world has gotten so scary that his horror films are now tame by comparison.  In this scene, Orlok proves that he can still give a compelling performance when he recites a short story about death and fate.

Reportedly, Karloff did this scene in one take and received a standing ovation after director Peter Bogdanovich called cut.

 

Horror Book Review: Night of the Living Dead: Behind The Scenes of the Most Terrifying Zombie Movie Ever

Posted on by Lisa Marie Bowman

Where would modern horror be without George Romero’s 1968 masterpiece, Night of the Living Dead?

Well, it’s hard to say.  Perhaps another film would have come along and influenced thousands of future directors and writers.  Maybe another film would have popularized zombies or mixed social commentary with horror.  Perhaps another film would have popularized the concept of body horror.  You never know.

Still, it’s hard not to think that modern horror would be a lot different if not for Romero’s low-budget, independent film.  So many movies have been influenced by Romero’s Dead films that it’s difficult to keep track of them all.  Even if you could discount the influence of Romero, what about the Living Dead films that were later made by John Russo?  Even if they don’t get as much attention as Romero’s films, their combination of comedy and horror continues to be influential to this day.

The 2010 book, Night of the Living Dead: Behind The Scenes Of The Most Terrifying Zombie Movie Ever, not only tells the behind-the-scenes story of Night of the Living Dead but it also examines the film’s lasting influence.  While the majority of the book is taken up with the production and reception of Night, it also discusses Romero’s subsequent Dead films, Russo’s Living Dead films, and all of the unofficial sequels and remakes as well.  Author Joe Kane interviews not only several of the people who worked on Romero’s film but also filmmakers like Danny Boyle, who discuss how Romero’s vision influenced their own.

Finally, the book also contains the original script of Night of the Living Dead!  Written by John Russo, the script makes for an interesting read.  Night of the Living Dead is often described as being some sort of “accidental” masterpiece but the script reveals that many of the film’s themes were there from the beginning.  At the same time, it also makes you appreciate not only the directorial skill of George Romero but also the performances of Judith O’Dea, Duane C. Jones, and even Karl Hardmann.  (If you thought Harry was bad in Night, reading the script will show you just how much Hardmann actually humanized an inherently unlikable character.)

This book is must have for horror fans like you and me.

Italian Horror Showcase: The Vampire and the Ballerina (dir by Renato Polselli)

Posted on by Lisa Marie Bowman

“If you want to taste the night, come downstairs.”

— The Professor (Pier Ugo Gragnani) in The Vampire and The Ballerina (1960)

A young woman relaxes with her friends at a waterfall.  She sees a funeral procession passing by and cheerfully announces, “A funeral!  It brings good luck!”

One person who would disagree with that would be the girl in the coffin.  She’s just the latest villager to have been found passed out in a field in the middle of the night, lacking blood.  The locals say that there’s a vampire on the loose.  The local doctor insists that the girl is just anemic and will recover in ten days.  Instead, the girl ends up in a coffin, only opening her eyes while being carried to her grave.  From her point of view, we watch as clumps of dirt are tossed onto the coffin, one after another until finally all is dark.

At night, she leaves her grave and runs into the horribly disfigured vampire who previously bit her.  He greets her and tells her to lie down in his coffin.  As soon as she does, he drives a take through her heart and says that he must remain “the master of my world.”

It’s a strange world.  In the village, a dance troupe is, for some reason, staying at a villa belonging to an older man (Pier Ugo Gragnani) who is called both “grandpa” and “The Professor.”  (Despite the film’s title and some of the dialogue, they are clearly a modern dance troupe.)  The professor tells the dancers a story about vampires.  Everyone’s amused.  Interestingly, most of the dancers seem to believe that there is a vampire on the loose but none of them seem particularly concerned about it.  From my own experience, this is probably the most realistic part of the film.  When you’re a dancer, that’s pretty much all you worry about.

Later, two of the dancers, Luisa (Helene Remy) and Francesca (Tina Gloriani), are walking around the woods with Francesca’s fiancée, Luca (Iscaro Ravaiolli) when it starts to rain.  They take refuge in a nearby castle, one which they believe to be deserted.  It turns out that it’s not.  Countess Alda (Maria Luisa Rolando) lives there with her manservant, Herman (Walter Brandi).  Alda explains that she allows the villagers to believe the castle is deserted and haunted because she doesn’t want to be bothered by them.  Luca is immediately enchanted with Alda while Francesca wonders why Alda looks exactly like the woman in a 400 year-old painting that is hanging in the dining room.  Luisa wanders off and gets bitten by the same disfigured vampire who has been preying on the villagers.

That night, Luisa waits in bed until the vampire comes to her.  Meanwhile Luca sneaks back to the castle to see Alda.  Alda claims that Herman is holding her prisoner but, when Herman suddenly shows up, Alda orders Luca away and proceeds to drink Herman’s blood and he goes from being a handsome servant to being the disfigured vampire that we saw earlier in the film.  It turns out that Alda and Herman’s blood-soaked relationship is all about trying to stay young.  When Herman ages, he drinks the villager’s blood to become young again.  Then Alda drinks his blood to retain her youth, which means that the now aged Herman again has to go out and drink more villager blood….

Meanwhile, the dance troupe’s choreographer has a brilliant idea!  Why don’t they do a number about vampires!?

1960’s The Vampire and the Ballerina is a personal favorite of mine.  That really shouldn’t surprise anyone, of course.  I love vampires.  I love to dance.  Of course, I’m going to love a film that brings those two things together!  But beyond that, The Vampire and The Ballerina is just such a strange little film.  From the off-center performances to Angelo Baistrocchi[‘s haunting cinematography, The Vampire and the Ballerina plays out like a filmed fever dream. The fact that the plot often doesn’t make sense only adds to the film’s surreal atmosphere.

Continuing what Hammer started with the Horror of Dracula, The Vampire and the Ballerina takes the sexuality that has always been the subtext of most vampire films and instead puts it front and center.  The formerly repressed Luisia writhes in bed as she waits for the vampire to come to her.  Luca stares at Alda with an obsessive intensity before forcefully kissing her hand.  Alda and Herman torment each other, even though one could not exist without the other, a relationship that is more sado-masochistic than supernatural.

The Vampire and the Ballerina is an Italian horror film that deserves to be better known than it is.  I mean, seriously, how can anyone resist a movie that has this many vampires and this much dancing?

It’s a strange world.

4 Shots From 4 Boris Karloff Films: The Black Cat, The Walking Dead, The Terror, The Sorcerers

Posted on 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 lets the visuals do the talking.

For our final 4 Shots From 4 Films of this October season, we pay tribute to William Henry Pratt, the patron saint of horror cinema, with….

4 Shots From 4 Boris Karloff Films

The Black Cat (1934, dir by Edgar G. Ulmer)

The Walking Dead (1936, dir by Michael Curtiz)

The Terror (1963, dir by Roger Corman, et al)

The Sorcerers (1967, dir by Michael Reeves)

Horror Film Review: Nadja (dir by Michael Michael Almereyda)

Posted on by Lisa Marie Bowman

When we first meet Nadja (Elina Löwensohn), the title character of this odd, 1994 film, she is walking around New York, wearing a cape and picking up men in bars.  She speaks with a thick, Eastern European accent and when she’s asked what she does, she explains that she comes from an old and very wealthy Romanian family.  As we quickly guess, Nadja has lived for centuries.  She’s a vampire, a daughter of Count Dracula.  Everything she says and everything she does is drenched in the ennui of someone who wishes to be set free but who knows she is destined to live forever in the prison of her existence.  Even when she has visions of her father getting a stake through the heart, it doesn’t provide her with the relief for which she was hoping.

It probably won’t come as a surprise to learn that it was a member of the Helsing family that drove the stake through Dracula’s heart.  However, having killed the vampire, Van Helsing (Peter Fonda) finds himself in trouble with the police.  Apparently, the cops don’t believe Van Helsing when he insists that he was just killing a vampire.  As far as they can tell, Van Helsing just killed a man with a sharp piece of wood.  Fortunately, Van Helsing’s nephew, Jim (Martin Donavon), also lives in New York and can bail his uncle out of jail.

While Jim is dealing with his uncle, Nadja is meeting a woman in a bar, a woman named Lucy (Galaxy Craze).  Both Lucy and Nadja feel empty and unfulfilled.  Lucy, who happens to be married to Jim, is soon inviting Nadja back to her home and becoming obsessed with her.  However, Nadja is more concerned with her brother, Edgar (Jared Harris).  Edgar lives in Brooklyn with his lover and nurse, Cassandra (Suzy Amis).  When Nadja visits Edgar, she decides to take Cassandra away from him.  Of course, Cassandra just happens to be Van Helsing’s daughter and Jim’s cousin!

Nadja is an odd film.  On the one hand, it’s pretentious in the way that only a mid-90s, New York art film can be.  Director Michael Almereyda shot the majority of film at night and a good deal of it with a PXL-2000, which was basically a toy video camera that was specifically marketed to children.  As a result, the black-and-white images are usually dark and grainy.  Sometimes, it’s a bit of struggle to tell just what exactly is happening on-screen.  And yet, at the same time, it kinda works.  Those hazy images, combined with the largely deadpan performances of the cast, give the film an undeniably dream-like feel.  When we see Nadja walking through the city, we feel her ennui and otherworldly presence.  At its best, the film achieves a hypnotic visual beauty.  If ever there was an American city that benefits from being filmed in grainy black-and-white, it’s New York City.

The film plays out like a satire of the typical decadent vampire film.  (Nadja even has a Renfield of very own.)  Nadja is so obviously a vampire that it’s impossible not to be amused by the fact that hardly anyone else seems to pick up on it.  However, the film’s most subversive element is Peter Fonda’s performance as Van Helsing.  With his long hair and a demented gleam in his eye, Fonda totally upends all our assumptions about who someone named Van Helsing should be.

In many ways, Nadja plays out like an elaborate inside joke but it’s just strange enough to always be watchable.  David Lynch, whose influence is obvious, has a cameo as a morgue attendant and he feels right at home.  This deadpan vampire film many not be for everyone but then again, few worthwhile films are.

Horror on the Lens: Night of the Living Dead (dir by George Romero)

Posted on by Lisa Marie Bowman

Happy Halloween everyone!

Well, as another horrorthon draws to a close, it’s time for another Shattered Lens tradition!  Every Halloween, we share one of the greatest and most iconic horror films ever made.  For your Halloween enjoyment, here is George Romero’s Night of the Living Dead!

(Be sure to read Arleigh’s equally famous review!)