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.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director is the great Wes Craven!
4 Shots From 4 Films
A Nightmare on Elm Street (dir. by Wes Craven)
Deadly Friend (1986, dir by Wes Craven)
Wes Craven’s New Nightmare (1994, dir by Wes Craven)
For today’s horror on the lens, we have a 1973 made-for-TV movie called Satan’s School For Girls.
After her sister turns up dead, Elizabeth (Pamela Franklin) refuses to accept that official conclusion that it was a suicide. Instead, Elizabeth is convinced that it was murder and that it has something to do with the exclusive school that her sister attended, the Salem Academy for Women.
Well, honestly, the Salem part is a dead giveaway. I think we can all agree on that.
Anyway, this movie features a Satanic cult, an old school clique, and plenty of early of 70s fashion choices. It may be silly but it’s also definitely entertaining.
Today’s horror scene that I love comes from the 1939 film, The Walking Dead.
In this film, Boris Karloff plays a pianist who, after being framed for a murder he didn’t commit, is executed and then brought back to life by a scientist played by Edmund Gwenn. The re-animated Karloff sets out for revenge.
In this scene, Karloff plays the piano while some of the men who framed him sit out in the audience. Just check out the power of that Karloff glare!
In Bucket of Blood, Dick Miller plays, for the first time, a character named Walter Paisley. Walter is an artist who discovers that the dead make the best models!
2. Little Shop of Horrors (1960)
Dick Miller returned to play a supporting role in Little Shop of Horrors, where his co-stars included a young Jack Nicholson.
3. The Terror (1963)
Both Jack Nicholson and Dick Miller returned for The Terror and they were joined by Boris Karloff.
4. The Raven (1963)
At around the same time, Karloff and Nicholson were co-starring with Vincent Price and Peter Lorre in The Raven.
5. The Masque of the Red Death (1964)
Price would return for The Masque of the Red Death.
6. The Tomb of Ligeia (1964)
To my knowledge, this film was the final time Corman directed Vincent Price, though he produced a few more films that featured him.
What do you think about all the trailers, random director with a tommy gun?
As I was watching the 1989 thriller-horror hybrid Dead Calm, I found myself wondering what I would do if I found myself in the same situation as Rae (Nicole Kidman)?
You’re stuck on a yacht that’s floating out in the middle of the ocean, trying to mentally recover from the death of your child in a horrific car accident. Your only company on the boat is your husband, an experienced sailor named John (Sam Neill), and a dog who always barks at the worst possible time. One night, you see another boat in the distance. The boat is obviously just drifting and appears as if it might be sinking. Suddenly, a frantic man in a row boat approaches your yachet. He says his name is Hughie (Billy Zane) and that he’s just escaped from the other boat. He says he’s a photographer. He says that everyone on the other boat is dead and he suggests that it was due to botulism. (In real life, I had to look that up to figure out what Hughie and John were talking about. However, in this scenario, you are Rae and you understand immediately.)
John has his doubts about Hughie’s story. John says that he is going to go over to the boat on his own and check things out. You nod and then watch as John rows away. Of course, Hughie was supposed to remain locked up below deck but that doesn’t last long. Soon, Hughie is free, he’s taken control of the yacht, and you are sailing away from both the other boat and John.
“Oh my God,” I thought as I watched, “what would I do if that happened to me!? I have no idea!”
However, I then thought about it some more and I realized that would never happen to me. I mean, let’s ignore the obvious fact that I’m terrified of drowning and would never be out in the middle of the ocean in the first place. I would like to think that my husband would be smart enough to say, “There’s no way I’m leaving my wife, who is still emotionally recovering from the death of our son, alone on a boat with a total stranger who might be totally insane!” And, if for some reason, my husband wasn’t that smart, I’d like to think that I would say, “Are you fucking kidding me? You’re not leaving me alone on a boat with a total stranger who might be totally insane!”
In the past, I’ve always defended horror movies where people do stupid things by arguing that people do stupid things in real life all the time. But Dead Calm really takes it a bit too far. Maybe I could buy it if John and Rae were the type of teenagers who inevitably end up working as a camp counselor at Camp Crystal Lake. But John is an officer in the Australian navy! And Rae is Nicole Kidman!
That said, if you can accept the stupidity of the film’s premise, Dead Calm is an effective and often scary thriller. There’s really only three characters in the entire film but Kidman, Neill, and Zane all give excellent performances, though their work is often undercut by the stupid things that the movie requires them to do. Once Rae is trapped on that boat with the Hughie, Rae has to both play up to Hughie’s delusions while also looking for a way to get him out of the way so she can turn the yacht around and go back to rescue John and most of these scenes only work because of Kidman’s fierce performance (though, again, that same fierceness makes it hard to believe that Rae would ever have acquiesced to John’s decision to leave the yacht in the first place). As for Zane, he is a bundle of nonstop, psychotic energy. When he loses control, he is genuinely frightening. This is probably the best Billy Zane performance that I’ve ever seen. Certainly, he’s far better here than he was in Titanic.
Still, you have to wonder why Rae didn’t just shoot Hughie with a harpoon or a flare gun whenever he turned her back to him. There’s even an extended sequence where Hughie dances on the deck, with no idea that Rae is watching him. Considering that, by this point, there was no doubt that Hughie was a crazy murderer, it seems like Rae could have just giving him a little push overboard. It seems like that could have saved everyone a lot of trouble…
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.
This October, I am going to be using our 4 Shots From 4 Films feature to pay tribute to some of my favorite horror directors, in alphabetical order! That’s right, we’re going from Argento to Zombie in one month!
Today’s director is one of the most influential figures in American film history, the one and only Roger Corman!
4 Shots From 4 Films
It Conquered The World (1956, dir by Roger Corman)
Since yesterday’s horror on the lens was The Abominable Dr. Phibes, it only seems logical that today’s should be the sequel to that film,1972’s Dr. Phibes Rises Again. Would you believe that, before I actually found the film on YouTube, I thought this film was called Dr. Phibes Rides Again? Personally, I think Rides Again sounds better than Rises Again but what do I know?
Before I say anything else about 1974’s The House on Skull Mountain, I just want to say how much I love the film’s poster. Seriously, that poster is everything that you could hope for from an exploitation film print ad. Everything about it, from the lightning to the giant skull to the mansion to the unfortunate person plunging to her doom is pure perfection. I especially like the question at the bottom of the poster: “Which of these five will come down alive?”
And, to be honest, it’s actually a fairly honest poster. The majority of the film really does take place in a house on a mountain that has features that look like a skull. Of course, the skull in the movie is not quite as prominent as the one in the poster. The house actually does look a lot like the one on the poster. There’s also a lot of lightning in the movie. It’s the same basic lightning stock footage that has appeared in almost every film ever produced by Roger Corman. In The House on Skull Mountain, it’s used as a transitional device. “Is that scene over?” you might find yourself wondering. Well, don’t worry. The lightning stock footage will let you know.
One reason that I’m focusing on the poster is because the film itself is kind of anemic. In the movie, the house on top of Skull Mountains belongs to Pauline Christophe, a direct descendant of the first king of Haiti. Upon her death, Pauline’s four great granchildren are invited to hear the reading of her will. None of the four have ever met Pauline or each other. Phillippe (Mike Evans) is an alcoholic who says stuff like, “Baby, what’s the scene?” Harriet (Xernona Clayton) is fragile and nervous and it certainly doesn’t help her nerves when she briefly sees a hooded skeleton sitting a few rows in front of her on her flight to Atlanta. Lorena (Janee Michelle) drives too fast but is otherwise responsible and mature. And then there’s Dr. Andrew Cunningham (Victor French), who shows up late and turns out to be white.
“You’re the wrong color!” Phillippe snaps at him.
Andrew shrugs and says that he’ll explain it all later. He does eventually tell a story about being abandoned on the front steps of an orphanage but the dialogue is so awkwardly-written and delivered that I’m not sure if he is being serious or if he is poking fun at Phillippe’s shock.
Because Andrew showed up late, the four of them have to stay in the house for a week until Pauline’s lawyer returns to read the will. Keeping them company is the butler, Thomas (Jean Durand), and Loutte (Ella Woods) the maid.
And that’s not all! It also appears that there is a robed skeleton wandering around the house as well! Add to that, the relatives start having visions. One falls down an elevator shaft. Another has a heart attack after someone stabs doll with a pin. Could all of this have something to do with the fact that Pauline and her servants were all dedicated practitioners of voodoo?
Sad to say but the House on Skull Mountain is pretty dull. The film does provide a brief history lesson concerning how Haiti was the only nation to be formed as a result of a slave rebellion and how the real-life Henri Christophe went from being a slave to a king but the film doesn’t really do much with the information. It’s tempting to look for some sort of subtext in the film’s plot but it’s really just not there. Much like Andrew being the only white member of a historically important black family, the history of Haiti and the actual origins of Haitian voodoo are elements that are brought up and then quickly abandoned. There is one good and lengthy voodoo ceremony but otherwise, the whole film is almost all filler. When it’s not showing us the same lighting stock footage, it’s showing us Andrew and Lorena wandering around Atlanta.
Today’s horror scene that I love comes from 1935’s Bride of Frankenstein!
In this scene, directed by James Whale, the Monster (Boris Karloff) meets his first friend, a blind hermit played by O.P. Heggie. It’s a scene that features Karloff at his best and it’s still touching, even if it is kind of hard to watch it without thinking about Peter Boyle accidentally burning down Gene Hackman’s shack in Young Frankenstein.
Jeff and I are currently on a little road trip but we’re not going to let something like that prevent us from seeing the latest bad movies.
For instance, last night, we saw the remake of Flatliners at the AMC 8 in Ardmore, Oklahoma. Ardmore is a lovely little town. When I was six years old, my family briefly lived in Ardmore and I can still remember this deserted barn that was sitting right at the edge of our property. My older sisters all told me that it was haunted and I can still remember sneaking over to the window in the middle of the night and staring at that dilapidated barn, searching for ghosts. Even though I was only six at the time, it’s still an incredibly vivid memory and I still have dreams about that barn. That’s the power of a good scare and that is exactly what’s missing from Flatliners. This is seriously one of the most forgettable films that I’ve ever seen.
I did get a little excited when I discovered that the film co-starred Nina Dobrev. Most people know her as Elena from The Vampire Diaries but, for me, she’ll always be Mia Jones on Degrassi. (Mia was not only a high school student and a star on the spirit squad. She was also: a single mother, a model, a drug addict, and J.T.’s girlfriend during the show’s sixth season.) She’s one of many Canadians in the cast of Flatliners. There’s also Ellen Page and Kiefer Sutherland.
That’s right, Kiefer Sutherland returns in the new version of Flatliners. But don’t get too excited. He’s not playing the same character. If he had been playing the same character, this film would have been a lot more interesting and he could have told the new cast, “Your sins have returned in physical form … and they’re pissed off!” Instead, he’s just playing a clueless doctor with really weird hair. I think we’re just supposed to be impressed by the fact that he agreed to appear in the remake and I guess I would be if the first one was some sort of award-winning classic or something. It’s not like the original Flatliners is the defining role of Kiefer Sutherland’s career. Now, if they had gotten Oliver Platt to come back…
ANYWAY, it’s pretty much the same story all over again, just told with a lot less visual flair. (Say what you will about Joel Schumacher as a director, he understood that the first Flatliners needed a lot of neon.) This time, it’s Ellen Page who convinces her friends to let her die and then revive her after two minutes. The remake does add an interesting wrinkle in that, when Page returns from being dead, she is now suddenly super smart and has total recall. At the very least, this explains why all the rest of her friends are then so eager to try it out for themselves. Even though it feels like a Limitless knock off, it’s still an interesting idea and I think that if the entire film had been about the students obsessively killing themselves and coming back, all in an effort to achieve some sort of Godhood, it would have made for an intriguing movie.
But that whole angle kind of gets abandoned. Soon, it’s time for everyone’s sins to start showing up. That means that Ellen page has to deal with her dead sister. Nina Dobrev has to deal with a dead patient. Another doctor has to deal with a girl she bullied. The movie tries to make you wonder whether or not they’re just having hallucinations but why would a hallucination feel the need to sneak around a room while its target isn’t looking?
Plus, I have to wonder: there are real people out there who have been clinically dead, just to have been brought back to life. Some of them have reported seeing the bright light and all the rest. If you follow this movie’s logic, are they all now secretly smart and being chased around by their past sins? If that’s the case then I’m looking forward to the sequel to Heaven Is For Real.
It’s a forgettable movie. The first Flatliners had its own stupid charm but the remake just falls flat.
Through the Shattered Lens 