Just when I thought that I couldn’t fall more in love with the Giallo scene, I stumbled across this gem.
Directed by Sergio Martino, All The Colours of the Dark celebrates its 50th anniversary this year and is simply sublime.
Often overlooked and wrongfully compared with Rosemary’s Baby, purely for its association with the occult and horror entering into the suburban household.
Since then. ATCOTD has been struggling to pry itself free from this shadow.
This is a shame because the film lives out to the Giallo name with it’s slick and decisive visuals, peppered with a convoluted story around the psychological state of mind.
Our lead protagonist and potentially unhinged lady, Jane (Edwige Fenech) has just cause for her trauma, with her mother tragically dying when she was just five years old and recently losing her baby, it’s no wonder that life has weighed down on her soul.
When she starts to see a strange, blue eyed man following her, those closest to her, Jane’ sister Barbara (Nieves Navarro) and James’ husband doubt her story, passing it off as a psychotic state.
With no one believing her, not even her doctor, and with Jane’s nightmares of a knife-wielding man becoming all too real, she turns to a neighbour and potential confidante out of the doldrums of suburbia.
Willing to try anything, Jane’s neighbour entices her to attend a black mass and from here on in her troubles amplify.
There’s plenty to tantalise here, with seduction, betrayal, bloody killings, and a satanic cult. Martino crafts a sublime story with stunning, over-the-top and at times psychedelic visuals.
I can’t wait to delve into my next Giallo film off the back of this.
Shudder’s latest movie to hit the streaming platforms Exclusive and Original content is a triage powerhouse of creativity. Written and Directed by John and Zelda Adams, and Toby Poser (the latter of whom also take on leading acting duties) weave a coming-of-age tale of witchery.
Toby and Zelda play the mother-daughter dynamic, secluded in the mountainous range of North America, harbouring a secret that has been passed down from generation to generation.
Their seclusion from society is for good cause, and the mother (Toby Poser) at first comes across as over-protective and even sinister as early events unfold. She even tries to feed her daughter’s interest in music by forming a rock band consisting of just the two of them. By the stories’ end, we discover that there is a method to the matriarchal madness.
As Izzy (Zelda Adams) ventures further away from her abode and her mother’s grasp, the more she begins to discover herself but at what cost? Her first encounter is with Amber (Lulu Adams) who unbeknownst to her at the time has snuck into a neighbouring house to use their pool. There is an awkwardness to their encounter, harnessed by Izzy’s own fumbling curiosity. Izzy survives through the help of small talk and some of the quirky facts that she produces but like any dormant threat buried deep beneath the surface, there will be an explosion of emotions and ferocity that she may not be able to contain next time around. As her confidence grows, so does the power she tries to contain within.
The prognosis:
While there are elements that are trying to hinge on the independent mantra, feeling a little strained in its delivery, there are some notable moments that seep to the surface, making this a worthy film. It also demonstrates enough appeal to place the directing trio of Adams, Adams and Poser as names to keep an eye out for.
Both Adams and Poser also deliver strong performances to keep the audience engaged and willing to see how the balance of femininity will unfold.
To say that I went into Studio 666 with low expectations would be a gross understatement. Foo Fighters are hardly known for their acting prowess, and their promise to deliver a horror comedy seemed to be a tough act to deliver. Despite this, I was still lured in. Why was this?
Well, it has to be stated that Foo Fighters marked a significant point in my music journey through the 90s, and while their production output has been questionable of late, with some, including myself, thinking that the ink has started to run dry in their creativity, this rock outfit has been entertaining for many years now. They are entertainers and it is inherent in their bones. So, was I entertained?
To begin with, my doubts doubled with a slightly cringy approach to getting the band into the studio house of horror with the guise of recording their 10th album. The creeks were deafening, and the horror tropes were overwhelming… but…
The further they ventured into the world, the more the bands’ characters and appeal began to shine. The jokes, which some critics have baulked at as being juvenile, genuinely had me laughing out loud. Something I didn’t predict at all.
And then there’s the music, but not from the area that you would expect. The composition to the score is in the hands of a horror maestro, John Carpenter. As soon as those pulsating rhythms take hold, you know that you are in safe hands when it comes to someone of his ability orchestrating the score. And what’s more, we even get a treat to his presence on screen in a truly apt cameo.
This alone is an indicator of just how well Grohl and the gang know their genre because there are some great nods to auteurs of the past. And possibly the greatest playing card in their final product, is the brave attempt to cast a light on the Foo Fighters darkest characteristics, mainly centred on Dave Grohl’s ego. Here is a man often cast as the nicest man in rock music, and yet there is a bubbling undercurrent that there is too much control going on. What Dave Grohl says goes and no one dares cast their wind against him. Foo Fighters has always been his vision, and with so much of a tight grip, there has to be questions about how the rest of the band react to that. This is the vein of the film and Grohl is not afraid to cut this open and expose the inner truths and turmoils lurking within. In doing so, Studio 666 throws both dark and light into the mix, combining these moments of calamity with comedy that zings.
The prognosis:
Yes, it was over-the-top and delivered on a huge platter that was hard to swallow, but they kept on entertaining and produced a fun-filled film.
They are not actors, but neither were The Beatles. Similarly, Foo Fighters have giving us a highly enjoyable film that projects their characteristics to the fore.
Wes Craven: The Scream Years Part 6 – Red Eye (2005)
Released in the same year as Cursed due to that movie’s troubled production schedule, Red Eye would prove to be a definitive shift into the positive from Wes Craven and is possibly one of my favourite movies of his towards the latter end of his career. The plot itself was a simple one and Craven utilised his expertise to create a psychological thriller that would keep the audience on the edge of their seat and rest on the brilliant performances from its leads Rachel McAdams and Cillian Murphy, who have the lions’ share of screen time between them.
McAdams plays a hotel manager, Lisa, who will be the unsuspecting pawn at the hands of Jackson Rippner (Murphy), a terrorist with his eyes on manipulating her with aim of assasinating US Deputy Secretary of Home Security.
Rippner initially lures Lisa in with his charming demeanour as they have a ‘chance’ encounter before boarding the red eye flight from Dallas to Miami. This appeal soon turns to revolt when his intentions come true, along with the threat on the life of Lisa’s father (Brian Cox).
From here on in, Craven puts us through the wringer as Lisa and Rippner attempt to swing the pendulum of power in their favour. Not an easy feat when the first half of the movie takes place in the small confines of an aeroplane cabin.
This is a testament to Craven’s ability as a director to keep the plot on point, whilst wrenching up the tension with timely poise, lifting the script off the page and onto the screen seamlessly. The focus of the movie is to keep the pace moving, and to entertain for good measure and despite some critics stating that the movie takes a drastic fall towards the climax, I personally feel that it plays out well and could easily revisit the movie again and still find that same joy.
Despite some reluctance from the stars, Bud Abbott and Lou Costello’s light was starting to wane in the public eye, and along with their contract through Universal were tied to another outing; one that would preserve their initial encounter with the Production house’ monsters into the National Film Registry for its historical significance. That film would be…
Abbott and Costello Meet Frankenstein (1948)
Here would mark a turning point for Universal, who had made a great deal of success through the 1930s for their Gothic line of Universal films. This notable change would occur at a time when the inkwell was running dry, and the Production house would be looking for alternate ways to capitalise on their winning formula by subverting the genre from horror to comedy. This transposition would not be treated in kind, especially from Lon Chaney Jr, who would proclaim “Abbott and Costello ruined the horror films: they made buffoons out of the monsters…” His words would hold deeper meaning for the future of Universal’s horror genre, which by the end of the 50s would be all but non-existent. Despite this and during the time of its release, the film would go on to be one of the most successful of the Frankenstein franchise.
In Meet Frankenstein, the comedy duo would be pitted against The Wolf Man (Lon Chaney Jr), Dracula (Bela Lugosi – who would actually speak favourably of the depiction of his most known character), and The Monster (Glenn Strange) to keep alive the buzz generated from their monster universe. It even boasts a cameo from The Invisible Man in the film’s climax, voiced by Vincent Price.
A lot of the movie revolves around pantomime tricks and scares but brought to life by the comic timing of Costello who falls prey to the “cry wolf” syndrome, despite his cries being genuine, combined with Abbott’s straight man routine. Despite my ambivalence towards the movie, as in heart I echoed Chaney Jr’s sentiments, the film would still holds a strong position. The looks to camera breaking the fourth wall was a joy to watch, and the formula would generate s further four movies for Abbott and Costello in the Universal Monsters universe. The first of these would be…
Abbott and Costello Meet The Killer, Boris Karloff (1949)
Rounding out the 40s, Boris Karloff was the only notable star absent from the previous movie, although he was paid to promote it, and was also reluctant to watch it. Karloff was hired only five days before shooting began, the role originally a female called Madame Switzer, and would play that of a swami with mysterious intent. I thoroughly enjoyed this movie, a whodunnit where Costello’s bellboy Freddie becomes the prime suspect in a murder. And when the body count starts to pile up, he can’t seem to get rid of the corpses to clear his name. This would lead to a hilarious scene where Costello and Abbott (supporting him to prove his innocence as detective Casey) play a game of cards with some of the cadavers.
Lenore Aubert is also brought in to support, as the femme fatale Angela Gordon. This continues a theme from Meet Frankenstein where the female costar attempts to seduce Costello, much to Abbott’s chagrin.
Abbott and Costello Meet The Invisible Man (1951)
Having dangled the imperceptible carrot in Meet Frankenstein it was inevitable that Abbott and Costello would come face to face with the Invisible Man. This time our anti-hero is played by Athur Franz as Tommy Nelson, a boxer who is framed for the murder of his manager after refusing to throw a fight. Out to prove his innocence, Tommy steals the invisible formula from scientist Dr. Gray (Gavin Muir) who warns him of the dangers of the serum and the effects that brought about the ruin of Jack Griffin.
Abbott and Costello enter the scene as private detectives by Tommy during the investigation and become embroiled in the mystery leading Costello’s Lou Francis to go undercover as an underdog in the boxing scene aided by the invisible Tommy to help him win the fights.
Sandwiched between this feature and the next Universal confrontation would be Abbott and Costello Go To Mars, another indication of Universal’s departure from the horror scene and into the world of science fiction, which would be in tune with the popular zeitgeist of the time.
Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)
Abbott and Costello’s fourth outing in the Universal Monster scene drawing inspiration from the Robert Louis Stevenson novel and are cast as American detectives in Edwardian London following the pursuit of some murders that have taken place, allegedly by Dr. Jekyll, played by Boris Karloff. The Hyde counterpart would be portrayed by stuntman Eddie Parker.
Interestingly, there would be no transformation scenes, instead depicting both Jekyll and Hyde individually, and fuelling the idea that there is no good at all in Dr. Jekyll, who yearns for the misdeeds performed by his alter-ego.
The film itself would also show the cracks beginning to form in Universal’s marriage with the comic duo, with signs that the humour was running dry, resorting to slapstick performances. There would however, be one more feature before Abbott and Costello would bow out of the comedy / horror scene…
Abbott and Costello Meet The Mummy (1955)
28 movies into their working partnership for Universal-International, Abbott and Costello would play against the last of the production house monster’s, the mummified Klaris (Eddie Parker). The comedy duo find themselves in the midst of an archaeological feud between Semu (Richard Deacon) and Madame Rontru (Marie Windsor) for the treasures of Princess Ara and control over Klaris.
Abbott and Costello would continue their usual comedy schtick but here it sits well as they bumble around Cairo. It is somewhat fitting that they could lay their comedy horror routine to rest amongst the Egyptian tombs. Their routine by this time is becoming stale and trying. They would eventually part ways in 1957 albeit amicably.
Having established the rules within this world of the supposedly oldest jack in the box, containing the demon trapped inside, only to be released to gather six souls in order to replenish him.
Much like its predecessor this film doesn’t try to hide the fact that it is a low budget feature, relying on the strength of performance and the storyline itself. Both films are told in a secluded setting but this time around the narrative feels richer and more entrenched in the mythology surrounding it.
The prison-like setting takes place in a mansion with only an aisling mother, Olga Marsdale (Nicola Wright), her son Edgar (Matt McClure), the cook Frank (Jason Farries), and the maid, Janet (Michaela Longden). Joining them is Amy Proctor (Mollie Hindle) and providing our entry point into the estate as hired help.
We learn early on who our antagonists are when Olga acquires the mysterious jack-in-the-box to aid her in her recovery. The ever-dutiful Edgar tuning into a Norman Bates-esque style performance…”Mother!”. McClure does a fine job here, showing a range of emotions from anxious and reserved, to unhinged anger and mania. It’s his portrayal that is the hook in this movie and keeps you wanting to know which way he will fall.
The Prognosis:
While the movie does walk the line of predictability and suffers under the restraints of the budget where it could do with a serving on the gore front to make Jack more threatening. This can be forgiven due to Director Lawrence Fowler’s vision and attention to keeping the entertainment on the lust for power and the elixir of life.
Saul Muerte
The Jack in the Box: Awakening is out now on DVD and VOD (Fetch TV, Telstra TV, Google Play, YouTube Store and iTunes) from Eagle Entertainment Australia.
The problem with the Texas Chainsaw Massacre franchise is… Leatherface.
What? I hear you bellow and cry? Texas Chainsaw Massacre is Leatherface and that is precisely my point. Having Leatherface as the poster icon for these slasher, body torture flicks has dampened the menace that the original 1974 Tobe Hooper feature had. The torment doesn’t lie with just his heightened and physical presence but with his entire f@#$ed up family.
Family or some sense of family has been key amongst this franchise and to unsettle this dynamic leads to ruin for any who encounter it. This is evident in Hooper’s sequel, albeit through a dark comedy gaze. It’s following sequels tried to replicate this energy but somehow missed the mark and since then the franchise has had more jump starts than a shitbox car with a malfunctioning alternator.
Leatherface is iconic for a reason but without his family support network around (as dysfunctional as they all are) he will either do one of two things, become a hermit, isolated in his own filth and depravation, or become a loose cannon, destroying everything in his path. This latest feature aims for the latter and for good reason as it has become such a winning formula for David Gordon Green’s Halloween franchise revival.
There was some promise in this latest release with Directing Auteur Fede Alvarez behind the resurrection, serving as producer, and teaming up with the original writers Pat Cassidy, Ian and Kim Henkel only added to the integrity.
Legendary Pictures who had secured the rights to the franchise were putting their trust in relative newcomer David Blue Garcia with his sophomore outing in the directors chair for a feature length movie.
The focus for the film would have Leatherface holed up in a house for troubled youths, only now the only occupant along with a mother-like figure who ran what was the facility, played by the fantastic Alice Krige. The rest of the place has become a ghost town filled with dilapidated buildings and the vision of a group of influencers hoping to transform this Texas town into a bustling business venture. Cue potential victims for Leatherface to rip through as these gentrifiers get more than they bargained for.
The issue is that there’s a half-baked idea going on here, and it rests too highly on the success and brutality of Halloween (2018) to fuel Leatherface’s rage, thrusting him solely in the centre of the carnage. When the movie does go for barbarity, it often hits the right notes of repulsion but too often it falls foul of old horror tropes, having it’s leads either hiding in the closet and under the bed or trying to kick ass against the monster.
TCM even tries to replicate the harshness that trauma has on our heroines, that featured so heavily in Halloween by having one of the leads, Lila (Elsie Fisher) a survivor of a school killing massacre. This is brought in double fold by bringing back Sally Hardesty, this time played by Olwen Fouere, to tap into the whole hardened survivor ala Jamie Lee Curtis as Laurie Strode.
Another example however that the filmmakers are content in playing familiar notes and resting on the laurels that the Texas Chainsaw Massacre name and that of its emblematic figure Leatherface brings.
The prognosis:
This latest version is aimed at a new generation of audience.
Too often though, it falls prey to the usual horror tropes and offers nothing new.
Leatherface does go full on with the kill count though going Michael Myers with some brutal deaths, especially with the bus scene which was highly satisfying.
It also had some moments of humour that didn’t necessarily hit the mark.
For veteran horror fans hoping to see some descent bloodshed will feel satiated, but ultimately let down by the lack in depth to the fold as the film struggles to add any flesh to it’s now frail bones.
The rust has truly taken hold in this franchise and it might be too hard to get that chainsaw whirring to satisfaction again without some bold new approach.
As I attempt to play fast catch up with my reviews, I centre my attention on the latest bout of streaming films that have been available on Shudder this year, starting with For The Sake of Vicious.
If I could sum up this movie in one word it would be, ‘relentless’
This home invasion movie takes things to the next level when a nurse, Romina (Lora Burke) returns home from a grueling day of work only to find that her night of torment has only just begun when she discovers a bruised and beaten man, Alan (Colin Paradine) tied to a chair in her kitchen with another unhinged psychotic man, Chris (Nick Smyth) calling all the shots. What starts out as a battle of wits among the trio as Romina tries to work out what is actually going on and why, shifts through some gnarly gears when they become the subject of bedlam as intruders begin to infiltrate the domain, to kill them all.
These intruders come donned in clown masks, demon masks, and cycling helmets, to add to their mystery and fuel the tension as they rip apart the house, chucking every available item except the kitchen sink at each other. This battle for survival in a domestic style battle royale keeps pushing the envelope and is brutal in its delivery.
The Prognosis:
Each character draws upon their internal strengths through an amazing ordeal that is gripping and intense throughout the narrative. I didn’t expect to be so gripped by this film, but the Directing and Writing partnership of Gabriel Carrer and Reese Eveneshen tantalise our expectations of just exactly how far they can push the action and keep the insanity of it all grounded in reality.
Wes Craven: The Scream years part 5 – Cursed (2005)
What should have been a dream project for Wes Craven outside of his involvement in the Scream franchise, combining once again with his writing partner Kevin Williamson would end up being something of a nightmare by the time of its theatrical release.
Boosting its potential recipe for success was a high-hitting young talent to draw in the crowds, with Christina Ricci and Jesse Eisenberg playing the siblings and our lead protagonists, ably supported by Joshua Jackson and Judy Greer.
Chief among the downfall of this werewolf flick was a case of the producers muddying the waters of creativity by insisting on making numerous changes to the script and the production, including ditching creature feature effects by the hands of the late great Rick Baker, and implanting computer generated imagery into the fold. I might be biased in this category, as I’m a huge fan of make-up prosthetics and man-made creature effects, but the CGI here is incredibly dated and looks woefully bad looking back 17 years after it had initially hit screens.
The dialogue is incredibly clunky now and it’s evident upon viewing that a lot of changes have been made to the script as it jars in several places, throwing the viewer out of the picture.
There were reshoots upon reshoots upon reshoots, as the powerhouse company kept demanding changes, proving to be one colossal headache for Craven. Supposedly these original cut versions still exist but whether they will see the light of day or be subjected to the darkness remains to be seen.
For now the version we got sees siblings Ellie (Ricci) and Jimmy (Eisenberg) at odds with one another, their relationship stifled growing up together under the cloud of their parents death. Their bond becomes stronger though when they are involved in a car accident when they are attacked by a creature. The creature we learn later is a lycanthrope, and Ellie and Jimmy go about their separate ways to uncover the truth behind the attack with a whodunnit style approach to their amatuer sleuthing before we reach the reveal and the climax of the movie.
Cursed suffers under the weight of mis-managed production but there is still life in the movie, not to be completely dismissed or left for dead. The film contains flickers of a pulse (ironic as the American remake of Pulse was initially going to be a Craven project, before he was pulled into making this movie instead) and there are moments where the Williamson humour is allowed to surface. It would have been so cool to have seen Craven’s initial vision, but unfortunately it would suffer a similar fate to A Vampire in Brooklyn, where the trust in Craven is quashed. Maybe he should have steered clear of the Gothic-style inspirations and kept carving out his own macabre musings, but when the wind forces you in one direction, you have no choice but to bow. A great shame.
It’s been 8 years since the Roache-Turner creative team took Australians and the world over on their Road of the Dead. This post-apocalyptic zombie, blood frenzy was a labour of love for brothers Kiah and Tristan, taking over three and a half years to produce through dedicated weekends to harness their vision. The passion is clear to see on-screen and is just as infectious as the shuffling dead that Wyrmwood is shaped on, shooting from the hip and punching you in the gut with its ferocious energy. Wyrmwood would produceadecent following through a heightened social media presence who latched on to the fun and mayhem that the Roache-Turner brothers produced.
Fast forward to present day and they’ve finally come to fruition with the much awaited sequel to satiate the followers needs, but the big question is, does it live up to the hype?
In many ways, the answer to that question is yes. swiftly followed by a but…
The biggest and boldest move that Roache-Turner makes in the decision process for Wyrmwood: Apocalypse is to deviate a little away from the predecessors’ protagonists. That’s not to say that Barry (Jay Gallagher) and Brooke (Bianca Bradey) don’t feature but this time around the narrative centers its main narrative on a different trio of zombie apocalyptic survivors.
This may upset or turn off some fans of the original but from this writer’s perspective, it only expands the world of Wyrmwood for the richer, especially with the narrative choice following the return of actor Luke McKenzie, this time playing Rhys, not the Captain from the original film. He is in fact playing the Captains’ twin brother. This speaks volumes about the method that Roache-Turner took in making movies; if it’s broken, don’t fix it. McKenzie is an amazing actor, and here they have the opportunity to bring him back into the fold again. Yes. With a different character. But it’s a brilliant choice, as Mackenzie does not falter in this movie. He’s an amazing performer and his role of Rhys, the troubled soldier searching for a cure to the virus, whilst also being infected himself, and on a path to vengeance for the death of his brother makes him an incredibly complicated character, and engaging to watch. Rhys works almost as a bounty hunter rounding up survivors, and then bringing them to the scientists in the hope that they will find this cure, little realising that there’s more going on behind the scenes than meets the eye. This is what he slowly uncovers, the truth behind the facade and tips the balance as to whether he will side with the scientists or the survivors. Will he align with greed and power, much like his brother did, in order to fulfil his needs, or will he see that there’s a bigger picture here?
Along the way he teams up with two young Aboriginal women, Maxi (Shantae Barnes-Cowan) and Grase (Tasia Zalar), with another brilliant piece of writing. It’s clear from the choices that Roache-Turner makes that he has his fingers firmly on the social pulse.
In an interview I had with Tristan a few years back, he mentioned that he had a deep love for indigenous culture. This is evident in the choices the filmmakers are making in casting these two women. They are not only powerhouses on the screen, with strength resistance, and smarts. They’re deadly moves are what made them ultimate survivors. Aboriginal culture is one of the oldest living cultures today and it shows how they are able to adapt and survive in the most brawling of circumstances, often in the face of white power. It is this white power that they are rising up against here as we follow these three characters falling in and out of alliances along their journey to meet their means. Throughout the narrative we are often faced with a case of not knowing what direction or what the resolution will be at the end of the film, which is again a great way to keep the audience engaged.
So back to Brooke and Barry.
We get a window or a snippet of their involvement in the story where things left off at the very beginning of the movie, albeit briefly, their resurrection into the film doesn’t necessarily come about until a good chunk of the way through which may have some fans a little miffed. I personally welcome it. I think the time and dedication that he’s put into building up the characters of Rhys, Maxi and Grace is worth it for us to become engaged in their storyline and when Brooke and Barry do surface again, we know they’re going to bring the goods. We know that they are going to be coming out packed to the max with a zombie army at their beck and call to take on the scientists and the structure of power that is wielding before them.
The prognosis:
There’s fun quips and it’s full of arsenal attacks that is just a joy to watch. Roache-Turner is incredibly adept at weaving that fine line of humour, mayhem, carnage, blood and guts to satisfy its audience and they don’t fail here. It’s a cracking watch and I should probably also say a big nod to Nicholas Boshier, who is an example of how to balance that fine line of comedy and dark energy on the screen in his portrayal of the scientist.