Horror Film Review: Joy Ride (dir by John Dahl)


The 2001 film Joy Ride is an example of a subgenre of horror that I like to call the Don’t Fuck With Truckers genre.  It all started with Duel back in the early 70s and since then, there’s been a large number movies about ordinary people who end up getting on the wrong side of a trucker.

Myself, I would never piss off a trucker.  First off, I have a few cousins who are proud members of the Teamsters and I can tell you, from personal experience, that you don’t want to get on their bad side.  Secondly, those trucks are really, really big and it takes a certain amount of skill to drive them, certainly more skill than it takes me to drive my little convertible.  (Truckers can make turns in those gigantic trucks and somehow do it without crashing into a stop light.  I can barely parallel park.)  Trucks block out the road, making it impossible to see anything beyond them, which makes the prospect of trying to pass them all the more frightening.  Essentially, if you get into a vehicle fight with a trucker, you’re going to die.  There’s just no way your little car is going to be able to beat that giant truck.

Now, I have to admit that I really like Joyride but sometimes, I feel like maybe I shouldn’t.  It basically comes down to two things:

Number one, I have always defended horror movies against the charge that they always feature people making the stupidest possible decisions.  My defense is usually that people in real life are actually far more stupid than they realize and that whenever anyone says, “I would never be stupid enough to wander around a deserted camp ground in the middle of the night!,” they are essentially lying.  Seriously, everyone would do that just so they could later joke about how it was just like being in a horror movie.

That said, the majority of the characters in Joy Ride are really, really dumb.  Basically, two brothers (Steven Zahn and Paul Walker) are driving from California to Colorado so that they can pick up Walker’s best friend (Leelee Sobieski).  Along the way, Zahn and Walker decide to have some fun by getting on the CB radio and telling a trucker who calls himself Rusty Nail (voiced by Ted Levine, who was also the killer in The Silence of the Lambs) that there is a prostitute named Candy Cane waiting for him in a motel room.  The joke, of course, is that Zahn and Walker know that an obnoxious businessman is actually staying in the room.

The next morning, after playing their little joke and then listening to Rusty Nail and the businessman have a huge fight, the brothers are informed that the businessman has been found on the side of the road.  He’s still alive but his jaw was ripped off.  The brothers’ reaction is to get the Hell out of town.

Okay, so far, so good.  The joke was mean but people are mean.  Leaving town instead of helping with the police investigation was selfish but people are selfish.  What drives me crazy is that, once they’re on the road, the brothers get back on the CB radio and inform Rusty Nail that there was no Candy Cane and that they were just playing a joke on him.

IDIOTS!  Seriously, you’ve just been told that the guy ripped off another man’s jaw and now you’re going to piss him off more?

My other problem is that Leelee Sobieski’s character is so underdeveloped.  The film’s nearly halfway over before Zahn and Walker reach Colorado and pick her up.  Just a few scenes later, Sobieski is kidnapped by Rusty Nail.  Characterwise, she pretty much only exists to be kidnapped and held hostage.  It seems like a waste of Sobieski’s talents and the flatness of her character is especially disappointing when you consider how well-developed the characters played by Walker and Zahn are.

And yet, despite all of that, I really like Joy Ride.  It’s just a well-made film, a relentless thrill ride that succeeds largely because director John Dahl never gives the audience any time to relax and think about whether or not the film makes any sense.  As a largely unseen threat, Rusty Nail is both plausible and seemingly supernatural at the same time.  I mean, that truck literally pops up out of nowhere sometimes.  Zahn and Walker are very well-cast as brothers, with Zahn’s natural goofiness nicely paired up with Walker’s natural earnestness.  You like them, even if they are selfish idiots.

Almost despite itself, Joy Ride is a good movie and it features an important message: Don’t fuck with truckers.

4 Shots From 4 Films: Special Tod Browning Edition


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 Tod Browning, who started his career during the silent era, ended it in the sound era, and was responsible for some of the most important horror and suspense films of both!

4 Shots From 4 Films

West of Zanzibar (1928, dir by Tod Browning)

Dracula (1931, dir by Tod Browning)

Freaks (1932, dir by Tod Browning)

Mark of the Vampire (1935, dir by Tod Browning)

 

Horror on the Lens: The Cabinet of Dr. Caligari (dir by Robert Wiene)


The Cabinet of Dr. Caligari is a film that I’ve shared four times previously on the Shattered Lens.  The first time was in 2011 and then I shared it again in 2014, 2015 and 2016.  Well, you know what?  I’m sharing it again because it’s a classic, it’s Halloween, and everyone should see it!  (And let’s face it — it’s entirely possible that some of the people reading this post right now didn’t even know this site existed in 2016.  Why should they be deprived of Caligari just because they only now arrived?)

Released in 1920, the German film The Cabinet of Dr. Caligari is one of those films that we’ve all heard about but far too few of us have actually seen.  Like most silent films, it requires some patience and a willingess to adapt to the narrative convictions of an earlier time.  However, for those of us who love horror cinema, The Cabinet of Dr. Caligari remains required viewing.  Not only did it introduce the concept of the twist ending (M. Night Shyamalan owes his career to this film) but it also helped to introduce German expressionism to the cinematic world.

My initial reaction to The Cabinet of Dr. Caligari was that it simply wasn’t that scary.  It was certainly interesting to watch and I was happy that I was finally experiencing this film that I had previously only read about.  However, the film itself was obviously primitive and it was difficult for my mind (which takes CGI for granted) to adjust to watching a silent film.  I didn’t regret watching the film but I’d be lying (much like a first-year film student) if I said that I truly appreciated it after my first viewing.

But you know what?  Despite my dismissive initial reaction, the film stayed with me.  Whereas most modern films fade from the memory about 30 minutes after the end credits,The Cabinet of Dr. Caligari has stuck with me and the night after I watched it, I even had a nightmare in which Dr. Caligari was trying to break into my apartment.  Yes, Dr. Caligari looked a little bit silly staring through my bedroom window but it still caused me to wake up with my heart about to explode out of my chest.

In short, The Cabinet of Dr. Caligari passes the most important test that a horror film can pass.  It sticks with you even after it’s over.

For the curious who have 74 minutes to spare and an open mind to watch with, here is Robert Wiene’s The Cabinet of Dr. Caligari…

 

Cleaning Out The DVR: Give Me My Baby (dir by Danny J. Boyle)


(Lisa is not only watching horror films this month!  She is also busy trying to clean out her DVR.  She has got over 170 movies recorded and waiting to be watched.  Can she view all of them by January 1st?  Keep checking here to find out!  Lisa recorded Give Me My Baby off of the Lifetime Movie Network on May 13th!)

“Layla, are you okay?  Where is Dad going?”

“To Hell.”

That right there is the type of melodramatic and over the top dialogue that runs through every minute of Give Me My Baby, which is quite possibly one of the funniest films that I’ve ever seen on the Lifetime Movie Network.

Give Me My Baby tells the story of Layla (Kelly Sullivan), who spends her days creating new scents for perfume and who has a lot to deal with.  For instance, she’s just entered into a partnership with a self-centered reality TV star named Shannon (Brooke Hogan).  Shannon wants to sell a perfume called Scorched but Layla talks her into calling it Sizzle instead.  Her second husband, Nate (Gabriel Hogan), is a former pro golfer who blew out his knee when he fell out of a golf cart and who still occasionally struggles to maintain his sobriety.  Her stepdaughter, Allison (Laura Hand), has just dropped out of college and has moved back into her old room.  However, the majority of Layla’s stress has to do with her desire to have a baby, despite the fact that, as Allison puts it, “You guys are old.”

Fortunately, Layla and Nate are clients of one of the best fertility doctors around.  Dr. Hartlin (Sofia Milos) may not be cheap (and the film’s script makes a very specific point of saying that her treatment is not covered by insurance) but she seems to sincerely care about her patients.  In fact, she might care too much.  When Layla goes shopping, she just happens to run into Dr. Hartlin.  When Nate is giving golf lessons, Dr. Hartlin just happens to show up.  When Layla wonders why she’s so emotional and temperamental when she isn’t even pregnant yet, Dr. Hartlin tells her that it’s nothing to worry about.  But one day, Nate arrives home and Layla not only smells the scent of booze on his breath.  She also smells the scent of Dr. Hartlin on all of Nate’s clothes…

It turns out that, long ago, Dr. Hartlin used to know Nate.  In fact, she and Nate even had a date or two.  Nate is shocked to discover that Dr. Hartlin is the same girl that he used to know as “Cee Cee.”  Dr. Hartlin explains she had a good deal of plastic surgery after a car accident, the same accident that caused her to have a miscarriage many years ago…

“I’m not going to hurt you.  I just want my baby.”

“It’s my baby.”

“No, it’s my baby.”

“BACK OFF OR THERE WON’T BE ANY BABY!” 

*Layla points a knife at her own stomach*

That’s just another example of the dialogue in Give Me My Baby.  Seriously, this is one of the most batshit insane films that I’ve ever seen on Lifetime.  I wouldn’t necessarily call it good but it’s so crazy that you’ll never forget it.  Sofia Milos goes so over the top as Dr. Hartlin that there’s a chance she might never return to Earth.

That said, my favorite character was Allison. As played by Laura Hand, Allison had a sarcastic attitude about everything.  Even when she was being helpful and trying to protect her stepmother, she still came across like she was annoyed about having to make the effort.  I totally saw myself in Allison.  Someone needs to give Allison a show of her own.

The TSL’s Horror Grindhouse: The Autopsy of Jane Doe (dir by André Øvredal)


I have to admit that I’ve watched so many horror films that I’m sometimes tempted to get a little bit jaded about them.

Don’t get me wrong.  I love the genre.  I love watching horror movies.  I love analyzing horror movies.  I love writing about horror movies.  It’s just that, after you’ve watched a few hundred of them, it becomes easier to pick up on all the little tricks.  For instance, I now know not to worry whenever anyone hears a strange sound in the kitchen because it’s inevitably just going to be a cat in a cabinet.  Instead, it’s only after the cat has run by and caused everyone to jump that you have to start worrying about something terrible to happen.  I also know that there’s a good chance that the first chase scene is going to turn out to be an elaborate nightmare.  As such, I sometimes I get cynical about whether or not I can really be frightened anymore.

But then I watch something like The Autopsy of Jane Doe.

I watched The Autopsy of Jane Doe back in Decemeber.  It was two in the morning.  I was alone in the house.  It was raining outside.  I was having trouble sleeping so, of course, I decided why not sit in the dark in my underwear and watch a horror movie?  At the time, it didn’t occur to me that I was essentially putting myself in a classic horror movie situation.  It was only later, when I was lying in bed with all the lights on and freaking out about every little noise that I heard that I realized my mistake.

The Autopsy of Jane Doe takes place in a morgue in a small town.  The body of a woman has been brought in.  It is believed that she died in a house fire but there are no signs of trauma on her body.  Her finger prints are not on record.  No one knows who she is.  Over the course of the night, coroner Tommy Tilden (Brian Cox) and his son, Austin (Emile Hirsch), examine the body.  With each incision, the mystery of Jane Doe’s identity deepens.  The inside of her body is as damaged as the outside is perfect.

As the night continues, strange things start to happen inside the morgue.  It’s small things at first.  Strange sounds are heard.  Austin thinks that he sees something out of the corner of his eye.  A storm starts to rage outside.  Austin says that they should stop the autopsy but Tommy says that they have to finish what they’ve started…

And things only escalate from there.

The Autopsy of Jane Doe sneaks up on you.  It starts out as a collection of small scares and subtle hints that all is not right.  At first, you’re kind of like, “Yeah, it’s weird noises and shadows in the corner.  It’s a horror movie.  Of course, that’s going on…”  And then suddenly, about halfway through the film, you realize that you’re totally tense.  All of those small scares have added up, leaving you wondering when the big scares are going to start.  And when those big scares do arrive, they deliver.  By confining the movie to one location, director André Øvredal creates a palpable atmosphere of claustrophobia and impending doom.  It helps that Brian Cox is one of those older, paternal actors who you always expect to be in control of things so seeing him in a situation where he has no control carries an unexpectedly strong emotional impact.

If you doubt the power of horror, The Autopsy of Jane Doe will make you a believer.

Horror Film Review: It Comes At Night (dir by Trey Edward Shults)


It Comes At Night is yet another film about people waiting for the end of the world.  In this case, the end is due to the outbreak of a mysterious disease.  It Comes At Night is a film that I meant to see in theaters when it originally released but I never got a chance.  It Comes At Night was acclaimed by critics but generally hated by audiences.  (Some of the comments on twitter, from people who had just returned from seeing the film, were incredibly angry.)  To be honest, it’s really not surprising that audiences didn’t embrace the film.  Having recently watched the film myself, I can tell you that It Comes At Night is one of the most depressing movies ever made.

Seriously, remember how depressing the Arnold Schwarzenegger/Abigail Breslin zombie film Maggie was?  Well, compared to It Comes At Night, Maggie might as well have been a musical comedy.

It Comes At Night opens with a former school teacher named Paul (Joel Edgerton) executing his father-in-law.  Paul’s wife, Sarah (Carmen Ejogo), and his teenage son, Travis (Kelvin Harrison, Jr.) understand that Paul had no choice.  There’s been an outbreak of a disease and the old man was infected.  The only way to keep everyone else in the family safe was to kill him and burn his body.

Paul and his family live in an isolated cabin.  At all times, the front door remains locked.  Only Paul and Sarah are allowed to carry the key.  No one is allowed to leave the house at night and under no circumstances are strangers allowed to enter the house.  Sometimes, after the sun goes down, Travis thinks that he can hear sounds in the surrounding woods.  It’s a reminder that people are out there but the majority of them are either slowly dying from the disease or scavengers trying to survive.

Paul ruthlessly enforces the rules but then, one night, a man named Will (Christopher Abbott) attempts to break into the house.  Will swears that he’s not infected.  He was just trying to find food for his wife, Kim (Riley Keough) and his son, Andrew (Griffin Robert Faulkner).  After Paul determines that Will does not have the disease, he agrees to let Will and his family stay with them.  If the house is ever attacked, Paul and Sarah figure, Will and Kim will provide an extra layer of defense.

And, for a few weeks, everything is fine.  The two families bond.  But Travis is still having vivid nightmares in which he sees men and women who have been infected and who are living in the woods.  And he is still hearing sounds at night…

The inevitability of death hangs over minute of It Comes At Night.  From the film’s first scene, you know that things are probably not going to end well.  When the two families do start to surrender to their paranoia, it’s upsetting but not particularly shocking.  It’s depressing because it all seems very plausible.  I think we all know that, if the world really was ending, it wouldn’t bring about peace or reflection.  Instead, people would keep fighting until the final second.  That’s just human nature.  What makes It Comes At Night so sad and disturbing is that there are no traditional heroes or villains.  There’s just six people trying to live their lives in a world that’s rapidly coming to an end.  They think they can beat the darkness surrounding them but the audience knows better.

I know, I know.  You just read that paragraph and you thought, “Yeah, Lisa, that sounds like a really fun movie.”

And you’re right.  It’s not a fun movie.  I would seriously warn anyone struggling with depression to be careful about watching It Comes At Night.  It’s definitely not going to cheer you up.  I spent the first half of thid 90 minute film convinced that I was probably going to stop watching because it was just too dark.  But I ended up watching it to the end because, even if it was depressing, it was also a very well-made film.  It sucks you in, even though you might not want it to.  The entire cast does a good job but special praise has to be given to Kelvin Harrison, Jr., who gives a searingly vulnerable performance as Travis.

It Comes At Night is a well-made, disturbing, and heartbreakingly sad movie and probably not one that I’ll have any desire to watch again for quite some time.

Horror Scenes That I Love: A Scene From Nosferatu


Today’s horror scene that I love comes from the absolutely terrifying 1922 silent film, Nosferatu.

Directed by F. W. Murnau and featuring Max Schreck as Count Orlock, Nosferatu is often cited as being the first vampire film.  That’s actually not true.  There were apparently film adaptations of Dracula that were produced years before Murnau gave the world his “unauthorized” adaptation.

However, I do think it can be argued that Nosferatu is the most influential vampire film ever made.  Every vampire movie released over the past 95 years has been a direct descendant of Nosferatu and it remains a truly nightmarish work of horror art.  One need only compare it to Universal’s first Dracula film to see how well Nosferatu has aged.

Enjoy this terrifying scene!

Horror Film Review: Alien: Covenant (dir by Ridley Scott)


Why did Alien: Covenant fail?

It’s a legitimate question.  Alien itself is such an iconic horror film that, 38 years after it was first released, blatant rip-offs like Life are still being produced and, in many case, are still doing pretty well at the box office.  When John Hurt died earlier this year, he left behind a long and distinguished filmography but almost every obituary opened by discussing his role in Alien.  

Alien: Covenant received a good deal of pre-release publicity, mostly centering on the fact that Ridley Scott was not only the filming the latest installment of the franchise but that this was going to be a true Alien film, as opposed to a strange hybrid like Prometheus.  Personally, when I first saw the trailer, I thought it looked like something was a little off about it.  The spaceship looked way too clean and, for that matter, so did all the humans.  Whereas Alien and Aliens were all about sweaty, profane men and women stuck in dark and cramped locations, the humans in Alien: Covenant just looked too damn perky.  In at least one of the trailers, they were all smiling.  No one smiles in space, at least not in an Alien movie.  Still, everyone else seemed to be super excited about the trailer so I figured that maybe I was just being overly critical.

Then the movie came out.  It got some respectful but somewhat restrained reviews, though it did seem like quite a few critics were more interested in praising the longevity of the series as opposed to actually talking about the film itself.  At the box office, it performed a bit below expectations during the first week but then again, that’s pretty much been the story for almost every film that’s been released in 2017.  But then, during the second week, it plunged from being the number one movie in America to being the number four movie in America.  In the third week, it plunged again and, in the fourth week, it left first-run theaters and headed for the dollar cinemas.  When a widely anticipated film like that — especially one that is part of a historically popular franchise — heads to purgatory after only four weeks, the only thing you can blame is word of mouth.

Why did Alien: Covenant fail?

Well, there’s several reasons why this film failed to connect with audiences.

First off, the plot is rather familiar.  In the future, the crew of a spaceship picks up a radio transmission for a nearby planet and the captain (played, in this case, by Billy Crudup) sends down an expedition to investigate.  Of course, it turns out that the planet is full of facehuggers and xenomorphs and all the other stuff that audiences typically expect from an Alien film.  Also on the planet is David (Michael Fassbender), the replicant who is the sole survivor from Prometheus.  (Fassbender actually plays two roles in Covenant.  He also plays Walter, another replicant.  One is bad and one is good.)  Basically, Covenant takes the plots of Alien and Aliens and mashes them together.  But it never answers the question of why audiences wouldn’t be better off just watching the originals.

The humans themselves are rather blandly written and somewhat interchangeable.  There’s no one who is memorably quirky like Bill Paxton or Harry Dean Stanton.  Katherine Waterston makes for a bland substitute for both Sigourney Weaver and Noomi Rapace.  Usually, I like Danny McBride but he seems out of place in an Alien film.  Genuinely interesting actors, like James Franco, Amy Seimetz, and Carmen Ejogo, are all dispatched far too early.  Probably the best performance in the film comes from Michael Fassbender but, for anyone who has any knowledge of what usually happens with replicants in the Alien franchise, there’s no surprises to be found in either of his characters.

But ultimately, the main problem with Alien: Covenant is that it just wasn’t scary.  Some might say that this is due to the fact that we’re no longer shocked by the sight of aliens bursting out of people’s chests.  However, I recently watched Alien.  I watched it with the full knowledge that, as soon as John Hurt sat down to eat, that little bugger was going to burst out of his chest and that blood and bones were going to fly everywhere.  I also knew that Harry Dean Stanton was going to end up walking right underneath the alien.  I knew that Tom Skerritt’s radio was going to go dead.  I knew that the alien would be waiting for Sigourney Weaver in the escape pod.  I knew all of this and Alien still scared the Hell out of me, as it has every time that I’ve watched it.

And I also had the same reaction when I recently watched Aliens.  Yes, I knew that the space marines weren’t going to be able to fight the aliens.  I knew what was going to happen to Paul Reiser.  I knew that Bill Paxton was going to end up chanting, “Game over, man!”  I knew that aliens were going to be bursting off of chests all over the place.  I knew it was all going to happen and yet, turning out all the lights and watching Aliens still left me feeling shaken.

The difference between those two films and Alien: Covenant is that the first two films felt authentic.  The ships felt lived in.  The characters felt real.  Both films were full of rough edges and small details that invited you to try to look closer.  You could watch those films and imagine yourself on those ships and talking to those characters.  You got scared because you knew that there was no way you’d be one of the survivors.  Everyone pretends that they would be Sigourney Weaver but most of us know that, in reality, we’re going to be Veronica Cartwright, sobbing and useless.

Alien: Covenant, on the other hand, is a very slick movie.  Nothing about it feels real and there’s no real emotional impact when the aliens show up and start killing people.  You never feel as if you know the characters, beyond whatever feelings you may have toward the actors involved.  “Oh,” you say, “the alien just burst out of Billy Crudup’s chest.  Well, he’s got another movie coming out so he’ll be fine…”

For all of the technical skill that went into making it, Alien: Covenant has no soul.  And, for that reason, it’s never scary.  (Sadly, Life felt like a better Alien movie than Covenant did.)  Hopefully, if there is another Alien film, that soul will be rediscovered.

A Blast From The Past: Case Study: LSD


Though it’s been a while since we last did so, we occasionally like to share old educational and promotional films here at the Shattered Lens.  For some reason, we always seem to end up sharing quite a lot of them in October.  Something about the over-the-top educational format just tends to bring out the ghoulish melodrama in some aspiring filmmakers.

Take Case Study: LSD, for instance!  This 3 and a half minute film is from 1969.  It was made to dissuade viewers from experimenting with LSD but I get the feeling that I probably just mostly inspired people to try to recreate the infamous hot dog scene.

It’s a good film for October, though.  Plus, I like looking at all the hippies in their hippie clothes.  GET A HAIRCUT, YOU HIPPIES!

Believe it or not, Case Study: LSD has a page over at the IMDb but no director is listed.  Judging from the film’s use of still frames, I’m going to guess that it was directed by Chris Marker.

Enjoy!

4 Shots From 4 Films: Special Mario Bava Edition


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 Mario Bava, the maestro of Italian horror and one of the most influential and important filmakers of all time!

4 Shots From 4 Films

Black Sunday (1960, dir by Mario Bava)

Black Sabbath (1963, directed by Mario Bava)

Kill, Baby, Kill (1966, directed by Mario Bava)

Shock (1977, dir by Mario Bava)