Monthly Archives: June 2016

Invitation To Hell (1984)

28 Tuesday Jun 2016

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INVITATION TO HELL MARKS another entry into the TV movie world for Wes Craven.
With all due respect to Craven, this certainly feels like a TV movie too.

It often feels like a paint by numbers outing for Craven and this may well be the case as he was knee deep in writing what would become A Nightmare On Elm Street and doing last minute sound edits for The Hills Have Eyes Part 2 at the time.

There is a fine array of talent on display during this movie too, with Robert Ulrich taking the lead role of family patriarch, Matt Winslow.

When the Winslows move to a new neighbourhood and Matt takes up his new job when he soon discovers that there is something sinister going on beneath the surface and it seems to be centred on the prestigious club, Steaming Springs.

Anyone who is anyone is fighting for a spot at membership.

And soon enough the family bow to the trappings of materialism and are drawn to all that lies within this world.

Only Matt remains dubious and holds on to his principals, not wishing to conform or be seduced by Jessica Jones played by Susan ‘ Queen of daytime TV’, Lucci.

Notable performances also come from Joanna Cassidy, Soleil Moon Frye, and Barret Oliver.
Overall though, there is nothing that invokes any real emotion from the film. The sense of threat doesn’t hold true and the result of which is that Invitation to Hell becomes a standard movie-watching experience.

Sure the concept of hell is the stuff of nightmares but we have seen this story told before and with a better outcome too.

Craven himself would create a form of hell himself with A Nightmare On Elm Street with its satanesque demon, Freddy Kruger warping the minds of teenagers throughout the world both in dreams and in reality.

For now though, this film does feel like a stepping-stone for greater things to come for Craven and we should acquiesce to that notion.

Craven enthusiasts might be intrigued, but that’s about all there the movie has to offer.

Check out the surgeons of horror podcast below for more thoughts and views.

https://player.whooshkaa.com/player/episode/id/98482?visual=true

Also available on iTunes.
– Paul Farrell

Flashback Friday: The Return of Swamp Thing (1989)

24 Friday Jun 2016

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THE MOMENT THAT THIS SEQUEL begins you know that you are already in for a completely different beast from its predecessor.

Dick Durock returns as the man in the suit and struts his stuff with the kind of machismo campness that only the 80’s could get away with.

Before you know it, the opening credits roll over a series of comic images from DC’s publications with Creedence Clearwater Revival’s Born On The Bayou kicking in with its upbeat rhythms and you are drawn into the groove from the get-go.

Yes – the acting is hammy and Louis Jourdan returns as the villainous Arcane, eats up the scenery and appears to be enjoying every moment that he’s on screen, but the movie is completely aware of its identity and is delivered with tongue firmly in cheek.

We have some familiar faces in Heather Locklear (Melrose Place) as Arcane’s daughter and the heroine / love interest of the piece.

Along with the magnificent Sarah Douglas (Ursa in Superman and Taramis in Conan the Destroyer) both playing to the same tune.

All of which, leaves the audience with an upbeat, feel-good notion to the movie, mainly because it doesn’t take itself seriously and dare I say, marginally better than the original?

Let me make this clear – It’s not the best of movies – not by a long shot, but somehow because it wears its identity firmly on its sleeve, the audience almost forgives its sins and happily plods along with it regardless of its flaws, but only marginally.

 

Lights Out (2016)

23 Thursday Jun 2016

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WHEN DAVID F. SANDBERG caught  the publics back in 2013 with his short film, Lights Out, it seemed inevitable that it would thrust him in the limelight.

Three years later he released a movie of the same name with the same concept, an entity that is manifested when the lights are out.

Where the filmmakers then take this and expand on the original is to have said entity born out of the mental illness and depression of Sophia.

It is only when her son Martin actually sees the manifestation that questions are raised, but suspicions fall upon his Mother’s ability to look after him.

In steps older sister, Rebecca and a slightly unwilling boyfriend, Bret to take Martin under their wing.

As the past comes to light so does the gruesome reality that was buried deep within the institution that Sophia spent some of her time.

Only by facing their past can the family truly get past their demons.

It feels a shame then that the filmmakers didn’t spend more time on character development.

They had the perfect opportunity to shed light on a topical and important subject in society with mental illness, instead it felt the chance with squandered to favour pushing out a film and still capitalising on the success of the short film.

If more time and dedication were placed on this and indeed the entity known as Diana, it would have proven to be a much more frightening movie grounded in the realism of a subject that is often left in the dark.

Such a let down and I felt that more attention was focused on the concept, and in doing so we’re left feeling hollow as a result.

I’m somewhat puzzled by the success that this film received at the box office and even more so that a sequel has been greenlit.

But hey, I’m willing to go against the grain and say that Lights Out was the worst high profile horror movie of 2016.

  • Paul Farrell

Movie of the week: The Forest (2016)

22 Wednesday Jun 2016

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THIS NATALIE DORMER (GOT) vehicle had a lot of potential going for it and when I read up about it, I was intrigued by the concept of a forest where people go to commit suicide.

I’m a firm believer in energy transmission and how a place can resonate or contain the feelings and emotions that a person may have had or experienced in their life.

I feel that in better hands this movie had the makings of being a modern day horror classic but it falls way short and instead delivers a confusing plot structure.

It doesn’t capitalise on what seemed to be perfect scare material.

The central theme was weak and predictable with its only saving grace coming from the strength of its lead.

That aside the viewer is left wanting and deflated over the outcome.

It pains me when a movie can build up so much expectation only to not deliver on its promise.

There is also a slight feeling of racial prejudice at play here with no measure of sensitivity at all.

That’s not to say that I expect films to play the safe card, you either have to go one way or another, but this movie doesn’t even do that,

Above all else, the forest or wooded area can be a pretty scary place when you are left alone to brace the elements.

It’s a place where your mind can play tricks on you.

And we all know that imagination can be the stuff of creativity.

Something this movie sadly lacked.

  • Paul Farrell

Swamp Thing (1982)

21 Tuesday Jun 2016

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AS WE CONTINUE WITH OUR SERIES – Wes Craven – The Early Years discussions, we now draw our attention to his fourth outing in the director’s chair.

Swamp Thing would be the first non-Batman or Superman related live-action movie for DC and it would fall on the shoulders of Craven to turn this around.

It would follow Richard Donner’s Superman movies, so there were a lot of expectations resting on the films success.

Once pointed out by film critic, Roger Ebert that Swamp Thing was a thing of beauty if you knew where to look, which I can’t help but feel that he may have been referring to a certain scene involving its leading lady, Adrienne Barbeau (Escape From New York, The Fog).
Joining Barbeau in the cast would be a number of other faces, namely Ray Wise (Twin Peaks) and Louis Jourdan (Octopussy) the film drew heavily on the comics of the time and would generate another comic book series and even a sequel to the movie.

Essentially though, this was a ‘paint by numbers’ job for Craven who would took on the project to show Hollywood that he could handle set pieces and action sequences.

Essentially, it boils down to a man in a monster suit movie, arcing back to the days of Universal Monsters.

For more thoughts and views on Swamp Thing, check out the surgeons of horror podcast below.

https://player.whooshkaa.com/player/episode/id/98478?visual=true

Also available in iTunes.

– Paul Farrell

The Conjuring 2 (2016)

18 Saturday Jun 2016

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I HAVE TO take my hat off to James Wan, as he has slowly become a key player in the horror genre since Saw, which has generated a further six movies, and Insidious, which has collected four films within the franchise.

When The Conjuring was released back in 2013, I was pleasantly surprised by the outcome, Wan presented a tale that was both shocking and disturbing, which in my opinion belied the trailer. 

I felt that it was a cheap and wanton concept, but was proved wrong with my expectations and thoroughly loved this movie.

The Conjuring would also spawn its own spinoff with the diabolically crap, Annabelle, and don’t get me started on the fact that this also has a sequel in the works.

But upon hearing that a sequel was in the works for The Conjuring and in particular based on The Enfield Haunting, my eyes lit up at the thought of a movie based around this tale as it was a subject close to heart and one of the earliest tales I can recall growing up that was allegedly based on real experiences.

But here’s the thing, and I’m prepared to be grilled by my next few words, but ultimately I was disappointed by the end result.

Now don’t get me wrong, The Conjuring 2 is still a very strong movie, where Wan uses all his usual tricks with light and shadow, and also has an intriguing spirit in the shape of The Crooked Man, with its jerky movements, it has that sense of unease and puppetry in motion that has become something of a calling card in his calibre of work.

Also of note is The Nun character who will also be getting her own movie spin-off. It’s a character that haunts and delights with good measure.

So what’s with the criticism you may ask?

Well, it purely comes down to originality. Here Wan offers nothing new to the storyline around the Warrens, which is a shame because they were such strong characters in the original and it feels like both Vera Farmiga and Patrick Wilson are underused in this. As is Frances O’Connor, an actress that I highly rate but feel she never really gets that moment to shine.

Ultimately though I don’t want to rain on the parade too much as I still look forward to Wan’s movies when they arrive as he has a way of crafting a story that keeps the audience captivated regardless.

Perhaps it’s a good thing that his next movie Aquaman will be a break from the horror circuit to rejuvenate his efforts in the dark world.

But let’s he doesn’t turn his back on it completely as something tells me there are more horrific stories lurking in his mind waiting to be told.

  • Paul Farrell

Flashback Friday: Dead Silence (2007)

17 Friday Jun 2016

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THIS WEEK’S FLASHBACK Friday continues the James Wan theme in recognition of his current movie, The Conjuring 2 in cinemas as we write this article.

Dead Silence would see Wan collaborate once again with Saw co-creator, Leigh Whannel and would be his second feature in the director’s chair.

There would also be the all too familiar signatures that Wan brings to the screen, the obvious one in this instance would be in the puppetry, substituting Jigsaw for Billy, but let’s not forget his strong use of light and shadows combined with the strong build up of tension to play on the minds of the viewer.

Whilst still not his strongest movie, there are some delights to have along the way as he harnesses his skills and sharpens his tools in order to bring some more than adequate scares along the way.

Starring True Blood’s Ryan Kwanten as Jamie, who at the head of the film loses his wife in a brutal attack by the afore-mentioned doll, Billy.

This leads Jamie to venture homeward bound where he unearths the grisly truth of her 101 dolls.

A must-see for horror fans and a director at the start of what would be an impressive upward trajectory into the bloody genre and putting out all the stops to make this a confident if not perfect psychological thriller.

– Paul Farrell

The Conjuring (2013)

16 Thursday Jun 2016

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AS IT STANDS The Conjuring is sandwiched in the middle of James Wan’s directorial career, nestled nicely alongside Insidious, which was released two years earlier.

When you combine this with the likes of Saw, Insidious 2 and now The Conjuring 2, Wan has firmly established himself as a master in the horror genre field.

This movie was potentially (and arguably) a game changer for Wan and is most certainly an indication of a man coming into his own within his craft.

Upon closer scrutiny, the film treads familiar ground centring on a family haunted by an evil, malevolent spirt, that wishes to do some serious harm to them all.

There are even obvious homages to the original Poltergeist movie, but where it starts to tread new ground and where Wan shines brightly is through his storytelling and excellent use of light and shadow.

The pace of the movie is handled with great care. The balance of tension is beautifully interspersed with scares. And when those scare come, they come with genuine spine-tingling reality.

In fact, part of the appeal of The Conjuring is through its gritty realism. Throw in some strong performances from Lili Taylor, Vera Farmiga, and Patrick Wilson, and you’ve got yourself a credible and believable movie that captivates and entertains throughout.

– Paul Farrell

For more insights on the film check out the podcast discussions below, but be warned, I handed over host duties to Mr Antony Yee for this one and he pushed the time limit just a tad. But not without his charm and knowledge thrown into the mix.

Movie of the week: See No Evil (2006)

15 Wednesday Jun 2016

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HAVING BEEN RELEASED on iTunes, I figured I’d give this one a whirl.

Backed by WWE Films this movie that stars WWE wrestler Kane has all the hallmarks of that which we’ve come to expect from the ‘drama’ side of things from the global wrestling entertainment company.

Whilst it leans towards the hammy side of things, it doesn’t take away from the budget, which can be seen in places throughout this movie in regards to the SFX, but not so much in the set design and acting ability.

The visual style feels a little lazy at times too, but essentially this is a ‘boogeyman’ movie with Kane taking on the role of said ‘monster’ who hunts down and kills our doomed youth in the confines of an abandoned hotel.

Where this defers from your usual run of the mill horror is that the kids in question are delinquents, with a dark or devious past that is unearthed as the movie delivers its somewhat weak plotline.

If I sound scathing, it’s because it feels a little cheap and run down in places and it is a predictable yarn.

Having said all that, it is enjoyable and hits a lot of the beats that horror fans come to love in their favoured genre.

And Kane personifies the evil to a tee, as he has done throughout his career.

It obviously garnered enough attention, as a sequel was green lit and released in 2014.

It’s just a shame that it didn’t offer anything original or even a little bit clever or insightful.

Maybe save for a rainy day, but don’t lose an arm over watching this.

  • Paul Farrell

Flashback Friday: Rosemary’s Baby (1968)

10 Friday Jun 2016

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ROSEMARY’S BABY IS ONE of those movies that most movie fans, particularly horror lovers would have heard of, such was the critical acclaim attested to it.
Some even citing it as one of the greatest American horror movies ever made.
But does it still stand strong today?

I’ve often had discussions with people about this movie and the one criticism that I hear about it comes down to pace and lack there of.
Is this down to the modern audiences expectations?
So much emphasis is focused on pushing people to the next moment and raising the bar with each scare with a hefty dose of tension thrown into the mix.
So in some cases I find that I agree that this isn’t your high-tension fast-moving drama, BUT, it is a slow-burner.
And probably the best example of how to deliver a psychological thriller with ease, something that director, Roman Polanski is deft at.

And with the superb talent of Mia Farrow as the lead, Rosemary, who discovers that her husband has made a pact with a religious cult and that the father of her baby to be is none other than the dark lord Satan.

There are many issues at play here as Rosemary not only has to deal with the process of what has just occurred in her life but also the very fact that the security that she thought she had in those around her have been false.
With no one to turn to it is inevitable that she would succumb to the dark forces that surround her.
And what’s more, a mother’s intuition would kick in despite her essentially giving birth to the antichrist.

In my view it’s a classic for a reason and deserves viewing even with today’s audience. Rosemary’s Baby is an example of Polanski at his best and serves as a good companion piece to his earlier movie, Repulsion, which I also highly recommend.

– Paul Farrell