Author Archives: surgeons of horror

Movie review: Dracula Untold (2014)

06 Monday Mar 2017

Posted by in Universal Horror

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OUR FINAL entry into the Dracula reboot section looking back at Universal Horror movies is the most recent.

In this instance, the idea was to go back and tell an origin story (Will they ever learn?) behind Cinema’s most infamous villain.

Unofficially, this film is part of the ‘new Universal Horror’ franchise, but not necessarily part of the merged universe at this stage.

Universal Pictures definitely want to go all out with the release of The Mummy starting Tom Cruise, which is set to land mid-way through the year.

And whether or not Dracula makes another appearance down the track Dracula Untold marks a turning point for the film production company that allows them to bring ‘their’ monsters to a new generation.

When the movie was first being tauted, Alex Proyas had been listed to direct with the title, Dracula: Year Zero, which I can only have been a cross between Batman Begins and The Crow.

That would have been an interesting premise.

As it stands though, the title changed and directorial duties fell to Gary Shore.

Yeah, we’ve never heard of him either, but he does share the birthplace of Dublin with the creator of Dracula, Bram Stoker, and he has since gone on to direct a short segment as part of the feature, Holidays.

Essentially we see Vlad, protect his lands from the Turkish Empire, only to need to defend his people once more when he refuses to give up his son and 1,000 other boys to said Empire.

It’s a moment that furies the Sultan, played by Dominic Cooper, who looks like he’s loving the opportunity to play the villain of the piece.

So, Vlad has to turn to a chance encounter, Charles Dance living in a mountain, who is evil incarnate and as we know it the true darkness, a vampire that would turn Vlad into the infamous Count Dracula that we know and love today.

If Vlad can resist the need to feed, he will return as normal within 3 days, but as we all know that won’t happen or the legend will never begin.

Tragedy will strike and it will involve his family, the only things that tie Vlad to this world.

The film is unequivocally carried by Luke Evans as Dracula with his charismatic charms and devotion to his family.

Plus he’s ripped as fuck, which helps.

There are some support roles that would suggest the casting agent spooled through the Game of thrones cast, with the likes of Charles Dance, Paul Kaye, and Art Parkinson all playing significant roles, but all of them can’t help to disguise the lack in plot and storyline, and the absence of depth in the characters.

It feels like a paint by numbers piece, but instead of paint, the filmmakers are using state of the art CGI for their palette.

It’s all style, no substance and one can only wonder what the movie would look like if Luke Evans weren’t there to push the momentum forward.

And with an open ending, Universal definitely had great plans for this franchise.

But with a poor critical reaction to the release, it doesn’t bode well, unless The Mummy can unravel all the criticism that came about and bring Dracula back from the dead.

I guess we’ll find out in June.

  • Paul Farrell

LINKS:
Dracula Movies on Hammer Horror Productions

 

Movie review: Dracula (1979)

04 Saturday Mar 2017

Posted by in Universal Horror

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IT WOULD BE forty-eight years before Universal would look to reboot the Dracula franchise for the silver screen. 

A lot had changed in the world since then and because of that we’re presented with a much more sexually charged Dracula.

A far cry from Bela Lugosi’s representation.

I’d never seen this version before writing this review and upon watching this version, I saw so many images that were reflected twenty years on with Bram Stoker’s Dracula directed by Francis Ford Coppola, including Gary Oldman’s hair.

But this was 1979 and Coppola’s version was not yet on his radar. 

He was knee deep in Apocalypse Now terrain at the time.

In this instance, directorial duties fell to British-American John Badham (Saturday Night Fever, Blue Thunder, WarGames, Short Circuit).

His leading man would be Frank Langella, (Skeletor folks!!) who seems to carry such sinister presence on screen, whether he is portraying Nixon, Boris Balkan, or in this case, Dracula himself.

There’s actually a lot like in this version of the Dracula story.

With the Tagline “A Love Story”, the focus on romance suited Langella’s dashing stature alongside Kate Nelligan as Lucy, (not Mina in a decision where these roles would be switched from the novel).

The film would dive straight into the action too, jumping straight on board the ship Demeter, as it crashes of the coast of Whitby.

There is a lot of focus on Dracula’s transformative states, be it wolf or bat, to great effect for its time.

There are great support roles too with Trevor Eve’s stoic Jonathan Harker, Lawrence Olivier’s restrained performance of Van Helsing, and the always brilliant, Donald Pleasence as Dr Seward.

Yes it does take liberties with some of the choices narratively speaking but it’s an enjoyable movie all the same that comes highly recommended from the Surgeons team.

  • Paul Farrell

LINKS:
Dracula Movies on Hammer Horror Productions

Movie review: Dracula (1931) Spanish version

04 Saturday Mar 2017

Posted by in Universal Horror

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IN MY IGNORANCE I completely dismissed this movie when I first saw it available as an extra on my DVD.

Basically because I decided to have my snob hat on and thought to myself, “What is the point of watching a movie that is a ‘carbon copy’ of the original?”

It was only when I started to pay more attention that I realised that this movie deserves a lot more recognition.

During the early days of sound in film, Hollywood studios would often film foreign language versions of the movie using the the same sets and costumes as the original version.

In this instance, the Spanish speaking cast and crew would film in the evenings once the English version had wrapped for the day.

But here’s the interesting part.

The crew was allowed to see the daily rushes from the English crew and therefore were able to learn and in some cases improve on the original, purely because they were free to experiment and try new ways to shoot the script.

In some cases, critics have praised the movie and proclaimed that technically speaking, it’s a far superior film.

There are some obvious differences that stand both movies apart.

While some of the shots are bold and adventurous for the time, particularly that of Dracula’s first appearance, coming out from behind a coffin surrounded by smoke simply adds to the mystery of his character.

In some cases though it does feel that some of the shots used are there just for the sake of being different and don’t add to the story.

Unfortunately, it does feel that Carlos Villarías (Dracula) and Eduardo Arozamena (Van Helsing) are lesser than there English counterparts.

Let’s face it, it’s hard to top Lugosi’s signature turn at the titular character.

But Pablo Alvarez Rubio cuts a fine turn as Renfield and gives Dwight Frye a run for his money. 

Choosing a more hysterical performance, his descent into madness is a joy to watch.

Likewise is Lupita Tovar, who could rival the likes of Hollywood’s greatest with her grace, beauty, and intelligence.

She steals most of the scenes that she is in and makes the desperation of her male co-stars to save her soul all the more plausible.

A must-see for fans of the genre.

  • Paul Farrell

LINKS:
Dracula Movies on Hammer Horror Productions

Movie review: Dracula (1931)

03 Friday Mar 2017

Posted by in Universal Horror

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The thirties would prove to be a truly golden era for Universal Pictures opening the way for greatest horror monsters to grace the silver screen ranging from Frankenstein, The Invisible Man, and The Mummy.

Leading the charge though, was one of THE most iconic characters, Count Dracula.

Based on the novel by Bram Stoker, the creature of the night, the nosferatu who oozes charm would need to have an enigmatic personality to portray him.

And Universal would find their man in Hungarian born Bela Lugosi, who made his name capturing the titular character on stage before winning the role for the film, despite not being the first choice.

Cinematic history would be made though the moment Lugosi saunters across the screen and speaks with his authentic Eastern European tones that sent women swooning.

But it wasn’t just Lugosi’s performance that would captivate and would path the way for Dracula to become a classic in its own right.

Almost stealing the limelight from Lugosi came through the guise of Dwight Frye’s maniacal portrayal of Renfield.

His haunting laugh sends chills to the bone and Frye injects enough erratic energy that it pushes the picture forward with adequate momentum and is a delightful contrast to Lugosi’s slow and decisive movements.

Combine that with Edward Van Sloan’s Van Helsing, a performance that set up a precedence for all those that would follow in his footsteps as Dracula’s key nemesis.

Above all of this though, credit should be bestowed upon the director, Tod Browning.

His career had been carved through his strong career, starting in the silent era back in 1917 with Jim Blumbo.

Browning would go on to form a formidable pairing with actor Lon Chaney in a total of 10 films together, including The Unholy Three, and the awesome movie, The Unknown, which also featured Joan Crawford.

Dracula wouldn’t even be Browning’s first foray into the vampire genre, directing London After Midnight four years prior.

He would also go on to direct cult favourite Freaks…“One of us. One of Us!” a year after Dracula was released.

Interestingly though, Browning’s detailed approach was strangely absent and rumours have circulated since that the production was often in disarray.

Browning even left much of the direction with cinematographer Karl Freund although he would never be officially credited for his involvement.

Despite this, the film was ultimately a success and would spawn a series of gothic horror movies that would stretch a further couple of decades and a further five more sequels.

  • Saul Muerte

LINKS:
Dracula Movies on Hammer Horror Productions

R.I.P. Bill Paxton

26 Sunday Feb 2017

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FOR MOST PEOPLE, (myself included) Bill Paxton entered our worlds as the unforgettable Private Hudson from Aliens.

As I heard the sad news today of his passing, I instantly started to reflect on Bill’s career and naturally of those films that fall into the sphere of horror.

So gifted a talent, Bill could transcend across numerous genres and even iconic film franchises, such as The Terminator, Aliens, and Predator 2.

As Private Hudson, Bill portrayed the cocky, loud-mouthed and patronising member of the Army Corp that would be slayed by a Xenomorphs on the Hadley’s Hope colony.

But it was a year later, playing Severen in Near Dark, that would capture the attention of this writer.

It’s a movie that probably deserves more recognition and sees Bill once again star alongside Lance Henriksson as renegade drifters, who just so happen to be vampires.

His past is never revealed but you get the sense that Paxton relished playing the more reckless, violent, and sadistic member of the crew.

It’s a role that stands out in a plethora of other movies, but to mention a couple more, Paxton’s performance of Jerry Lambert was another highlight in his career that I’d like to mention.

On face value, Lambert appears to be yet another brash and cocky performance from Paxton, but beneath the surface is a man of integrity and honour that belies this instinctive reaction to his character.

This is a testament to Paxton’s ability to portray depth to his roles and would later see him cast in the likes of Tombstone, True Lies, Apollo 13, and Twister to name but a few.

It’s little surprising that he would turn his attention to directing at some point in his career and what he leaves behind is possibly one of the most underrated movies at the turn of the century with Frailty.

The tale centres on a family led by a fanatical religious patriarch (played by Paxton) who leads them on a series of murders as they try to destroy the demons that are embedded through American society.

Bill Paxton leaves behind such an important mark on the history of film and the team at Surgeons of Horror will forever remember his stellar work over the years.

He will be deeply missed and put thoughts go out to his family at this time.

– Paul Farrell

Movie review: The Last Performance (1929)

24 Friday Feb 2017

Posted by in Universal Horror

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THE LAST MOVIE of the 20’s for Universal would also be the last performance from German actor, Conrad Veidt for Hollywood when he would return to his home country.

So the title for the film is quite fitting in this respect.

Veidt had already established himself as an actor of his time and has featured in our previous article on The Man Who Laughs, a movie where his facial make-up would bear a fixed grin.

For The Last Performance, Veidt’s portrayal of the sinister magician, Erik the Great is all delivered through the eyes with numerous close-ups to support this.

It’s a stark contrast to the role he played in the afore-mentioned The Man Who Laughs, which is a testament to Veidt’s acting prowess.

In this role, he is a more dominant and commanding figure on the stage, with a level of authority that has come from his abilities as a magician and the magnitude of his success because of it.

So righteous is he, that it seems only natural for him to hold sway over his beautiful assistant, Julie, aptly played by Mary Philbin (The Phantom of the Opera, The Man Who Laughs).

So when a young guy (Mark) enters the scene, trying to steal from Erik, the magician initially takes pity on him and takes him under his wing.

This enrages Erik’s current apprentice, Buffo, who looks to bring down this new protege by any means possible.

Jealousy, love and deception are the names of the game in this film and despite its short running time, packs a lot into the story to make you feel for all the parties involved.

So when Buffo ends up murdered on stage during a magic trick, all eyes are on the new boy in town.

But true love is emboldened as Julie defends her man, leaving Erik to decide who’s fate he should hold power over.

It’s a gem of a movie, held high because of the performance that Veidt brings to every scene that he is in, which is a shame knowing that this was his last in America.

Well worth a watch for any fans of the silent film genre to witness a true master of his craft at work.

 

  • Paul Farrell

 

Movie review: Under The Shadow (2016)

21 Tuesday Feb 2017

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IF YOU’RE ONE of these people that is tired of the lack of original movies coming out of Hollywood and are constantly searching afield to the foreign section of the movie industry, chances are you may have already stumbled across this movie.

If however, you’ve not yet come across this Iranian movie, Under The Shadow, I sincerely recommend that your make the effort to put this at the top of your list.

Beautifully shot and set in war-torn Tehran in the 1980’s, the film’s choice of timing and location is no mere accident.

We’re thrust into a world that is literally being ripped apart by outside forces and is a scary place to be, but it’s what lurks inside that you should really be afraid of, and this is where writer and director Babak Anvari, really comes into his own.

Following the story of Shideh and her daughter Dorsa, as they face the demons or in this case Djinn that resides in their apartment building.

It is in part, the setting that allows for these trepidations to play on the mind, that you are left pondering whether or not the danger that faces them is inherently of their own imagination or an actual entity intent on destroying their souls.

The performances are incredibly strong, particularly by Narges Rashidi who plays Shideh, and delivers a compelling portrayal of a mother struggling with her place in the world.

She’s been ostracised from the medical world following her political protests.

And she also struggles in her relationship with her daughter Dorsa, finding the need for compassion lacking and constantly questioning her own worth and comparing herself to her husband, Iraj, who seems naturally gifted in this field. Dorsa recognises this too and often turns to her father for comfort.

So when Iraj leaves to aids the military in a heavy conflicted area, Shideh and Dorsa are forced together under trying circumstances and conflicts arise as a result.

It is however, the unquestionable love that Shideh has for Dorsa that is tested and the attention paid on their relationship that proves to be the real winner in this movie.

I cannot recommend Under The Shadow enough. I found it so rewarding to watch a movie that was intelligent, strong and impactful, much like the performances that were on display throughout.

And it’s a front runner for best movie of 2016 as a result.

  • Paul Farrell

Movie review: The Darkness (2016)

21 Tuesday Feb 2017

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WHAT HAPPENED GREG MCLEAN?

You delivered fine horror vehicles with Wolf Creek 1 and 2, and even croc shock horror movie, Rogue pulled some pretty deft punches in the genre.

But The Darkness leaves is decisively under par in comparison.

You have a strong A-Lister in Kevin Bacon and equally strong actress Radha Mitchell alongside him and yet the movie fails to deliver any scares or thrills.

My hunch is that this is perhaps down to a stark difference between McLean’s previous movies and The Darkness.

The previous films rely on exteriors and the external threats to our protagonists (which is no easy feat to convey so hats off to McLean on these previous outings) and how they deal with these attacks in order to survive.

The Darkness has to rely heavily on the internal struggle.

The audience must see the plight of the family and the fractures between them already that the Djinn can then exploit and take advantage of.

In other words the foundations need to be set in play before the troubles can really begin.

Instead, we see the family on a trip to the Canyon where they disturb a sacred ground.

In doing so, the demons follow them home and then start to ebb away at their flaws.

If enough focus was shone on their weaknesses beforehand there would have been more elbow room to play with here.

Instead, when the chances arise to cause a rift between them all, it feels too forced and contrived.

And in some cases, it feels like an after-thought to be tacked on after the plot line has been put together.

“Oh wouldn’t it be great, if we revealed that he has an affair?”, or “What about if we reveal that the daughter has bulimia?”

It would be one thing if the performances themselves were believable but they’re not and your left with one big mess, where nothing really ties together because of it.

It’s a real shame as I do like McLean’s work and hope this is just a momentary blip in his career. Based on the trailer for his next movie, The Belko Experiment, there’s hope that this might be the case as it does look promising. 

Fingers crossed.

  • Paul Farrell

Episode review: The Exorcist S1 Chapter 10 “Three Rooms” review

20 Monday Feb 2017

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AND SO IT COMES TO PASS.

We have reached The Exorcist S1 Finale and The Surgeons ask ourselves ‘Was the journey worth the wait?”

We’ve given 10 hours of our time to reach the conclusion to the tales of Father Marcus, Father Tomas and The Rance’s”

But was it worth it? Did the Season satisfy our bloody curiosity?

Let’s take a look and dissect Chapter 10 “Three Rooms”.
Warning, there are spoilers ahead.

  1. “How far are you willing to take this?“
    The words uttered by Pazuzu to Father Tomas as he challenges him hangs on the lips of every viewer that has stuck it out thus far.
    How far are the writers willing to push the Angela / Regan storyline? And how deep are they willing to go for this final conflict?
    But… first things first? 
  1. “I’m dying for Him”
    When the Friars of Ascension challenge Father Marcus devotion to the church by slitting his wrists, they receiving a damning response as he declares his undying passion for the Lord.
    One that cannot be questioned or taken from him, so devoted to the Lord, he is willing to die for Him.
    Oh and did we mention that Father Bennett is still alive? (Although barely)
    And we are gifted with something of a buddy priest moment as our two victims meet again whilst tied up to chairs and bleeding to death.
  1. Family meetings can be torture
    Especially if Pazuzu is the one holding the talking stick.
    With arms potentially being pulled from their sockets, kneecaps smashed, and lives threatened, one is reminded of family gatherings at Christmas dinner.
    But one thing that proves trying for our demon on a mission is how blood is thicker than water, no matter how much of it he tries to spill.
    Despite their fractured lives they are willing to stand together until the bitter end. 
  1. Father Marcus’ mission
    Freeing himself from the shackles of imprisonment and near death, Father Marcus then ventures off to save the Pope.
    Yes that’s right the Pope.
    But not without first pushing Maria Walters to give herself to the demons.
    Free to then prevent an assassination on the Pope b y preventing Father Simon, who by this point has curiously turned into a warped version of Father Jack from Father Ted, if such a thing were at all possible.
    Once Marcus thwarts the plan by killing Father Simon, all is right in the world, which once again feels a bit of a week effort on the part of the Friars of Ascension.
    They’ve been hatching this plan for a while, only to leave all hope of success in the hands of one priest.
    You’d think they’d go all Agent Smith and duplicate themselves to a frenzy in order to act out there task.
    And what happened to all the possessed homeless folk?
  1. “You want me, come and get me”
    On the other side of Chicago, the Rance’s have a battle of their own going on.
    It’s revealed that part of Angela/Regan’s psyche still resides inside her mind as she gains in confidence and with the power and belief in the lord behind her, finally faces up to Pazuzu.
    Meanwhile in the outside world, Father Tomas comes too and in a moment that was somewhat reminiscent of Luke Skywalker’s confrontation before The Emperor where he tells his foe that he is a Jedi.
    Except in this case, Father Tomas declares that he is an Exorcist, before acting out God’s will and using the words of the bible to take on the demon aided by the Rance family who provide a chorus behind him.

EPILOGUE. Three Priests walk into a bar
So Pazuzu is defeated, left as a bloody pulp in the recesses of Angela/Regan’s mind.
Father Tomas, Father Bennett, and Father Marcus collect their thoughts and once again act chummy over a nice cup of char.
If The Exorcist were to have any life beyond Season 1, this relationship is the one to explore.
Hardened Priests forced together to defeat a common enemy in a life that no one else can or will ever understand.
The Rance family meanwhile take up residence in a remote setting to start life afresh, presumably in a house conveniently left by the now deceased grandmother, Chris McNeil.
And we’re left wondering if Angela/Regan really is free of her Demons and as safe as she proclaims.
My final verdict is that it felt a little too easy by the end of it.

So much promise for a final conflict but it was resolved with the bonding of a family and the words of the Lord.

And I guess that therein lies the issue when you have to have a complete narrative to tell within 10 episodes and not knowing if that story could extend further into a second season, plus you are limited by the direction taken within the Exorcist franchise parameter.

This leaves you confined within the parameters and if Season 2 arise, the series needs to be free to break down these walls and get a whole lot darker.

Only then will it be able to soar above and become an entity of its own.

Without that freedom, its wings will be clipped and it will never fly onwards.
– Paul Farrell

 

Movie review: Scare Campaign (2016)

20 Monday Feb 2017

Posted by in Australian Horror

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AUSTRALIANS HAVE A CERTAIN knack for delivering successful horror films throughout the ages.

One only need to look at the likes of Wake In Fright, Razorback, Saw, Wolf Creek, to name but a few to see how influential this country is at producing Horror gems.

So, when I heard that the Cairnes brothers, Cameron and Colin were returning behind the camera following their hugely delightful bloody romp, 100 Bloody Acres, I eagerly anticipated where this new direction would take them.

At first glimpse, the premise behind Scare Campaign sounds awesome.

A TV prank show that delights in scaring the bejesus out of unsuspecting participants only to come a cropper when they prank the wrong person.

All the right ticking points are in place for what should be a great movie.

There’s an old mental asylum that hosts the location of the prank itself which adds the perfect sense of eeriness needed for atmosphere.

There’s the girl with a heart, Emma, who cares for the people being pranked, perhaps a little too naively, and played brilliantly by Meegan Warner.

There’s the absolute tool of a guy, whose arrogance and lust for success which can only lead to ruin, Marcus. Again played really well by Ian Meadows.

Add a psycho on the loose chasing down our victims and you’ve got a good chemistry to play with.

So why did this movie not elevate itself into the mainstream?

Instead it slipped under the radar a little with very little impact at all.

The problem that I see is that the premise in itself.

It’s a prank show where the audience are supposed to be in on the joke, so they are already expecting or suspecting that all is not as it seems.

So when the reveals occur along the way, we (the audience) have already guessed the outcome.

I did read one review that proclaimed that we don’t see the twists coming, but I completely disagree with this statement.

The twists are evident and it’s a shame, but you need to be extremely clever to pull off the storytelling device that the Cairnes brothers were going for.

It’s a tough ask and in my opinion they fall short in this area.

Likewise the menace isn’t as impactful as you hoped it would be.

The introduction of the Masked Freaks at the beginning holds a lot of promise and if more focus were aimed at this tribe, then we might have been in for a genuine scare.

The masks look fucking fantastic and the special effects team are pulling some crazy effects in here that it’s a joy to watch each character face a unique and grisly demise.

So, it’s not all doom and gloom despite my negative declaration.

The film is enjoyable to watch and if you allow yourself to be taken on that journey, the cast (including the supporting players, notable standouts being Sigrid Thornton and Olivia De Jonge) and the SFX allow for a fun and gore-filled story to unfold.

So if you did instinctively skip this movie based on initial feedback from critics or lack of cinema screenings, or if it merely slipped you by, I would recommend watching it. It’s a far cry better than some movies out there and deserves a lot more attention than it actually received.

  • Paul Farrell