Tag Archives: horror

Nightwatch Demons are Forever: A Quirky Spin on Supernatural Thrills

15 Wednesday May 2024

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Opening Act: A Flashback to Nightwatch

Thirty years ago, Nightwatch captivated audiences with its bone-chilling narrative, courtesy of director Ole Bornedal. Now, with Nightwatch Demons are Forever, Bornedal returns to helm a sequel that pays homage to its predecessor while injecting fresh blood into the franchise.

The Coster-Waldau Effect: Nicolaj’s Reign Continues

Enter Nicolaj Coster-Waldau, the enigmatic leading man who once again takes center stage in this supernatural saga. Since his days as Jaime Lannister in Game of Thrones, Coster-Waldau has transcended mere stardom, evolving into an icon of intensity and intrigue. In Nightwatch Demons are Forever, he proves his mettle once again, delivering a performance that’s as captivating as it is complex.

A Cast of Characters: Rising Stars and Seasoned Veterans

Alongside Coster-Waldau, Nightwatch Demons are Forever boasts a stellar ensemble cast that elevates the film to new heights. From the mesmerizing presence of newcomer Fanny Leander Bornedal to the seasoned expertise of veteran actors like Sonja Richter and Ulf Pilgaard, each member of the ensemble brings their own unique flair to the screen.

A Slow-Burning Spectacle

From its opening frames, Nightwatch Demons are Forever taking a slow-boiler approach, gradually simmering as it dials up the tension. Director Ole Bornedal masterfully crafts a narrative that keeps viewers on the edge of their seats, balancing moments of eerie tranquility with pulse-pounding suspense.

As the plot unfolds, layers of mystery are peeled away, revealing a world where the line between the natural and supernatural is blurred beyond recognition. It’s a testament to Bornedal’s skill as a storyteller that even the most seemingly mundane moments are imbued with an underlying sense of dread.

The Prognosis:

In a genre often plagued by clichés and jump scares, Nightwatch Demons are Forever shines as a beacon of originality and innovation. With its quirky characters, offbeat humor, and slow-burning tension, it’s a film that lingers in the mind long after the credits roll. Prepare to be whisked away on a devilishly delightful journey into the heart of the supernatural!

  • Saul Muerte

Nightwatch: Demons are Forever will be streaming on Shudder from May 17th.

“Exploring the Cinematic Legacy: 10 Influential Films by Roger Corman”

13 Monday May 2024

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**Roger Corman: Master of Genre Cinema**

Roger Corman, the legendary filmmaker, producer, and mentor, is renowned for his prolific career spanning over six decades. With a keen eye for talent, a fearless approach to storytelling, and a knack for pushing the boundaries of genre cinema, Corman has left an indelible mark on the industry. Here, we explore ten influential films that showcase his visionary genius and enduring impact on the world of cinema.

**1. “House of Usher” (1960)**

Based on Edgar Allan Poe’s classic tale, “House of Usher” marked Corman’s foray into the realm of horror. With its haunting atmosphere, Gothic aesthetics, and psychological tension, the film set a new standard for the genre and established Corman as a master of cinematic terror.

**2. “The Little Shop of Horrors” (1960)**

A darkly comedic tale of a man-eating plant, “The Little Shop of Horrors” is a cult classic that showcases Corman’s ability to blend horror and humor seamlessly. Despite its low budget and limited resources, the film remains a beloved favorite among audiences worldwide.

**3. “The Masque of the Red Death” (1964)**

Another adaptation of Edgar Allan Poe’s work, “The Masque of the Red Death” is a visually stunning masterpiece that delves into themes of mortality, decadence, and the human condition. With its striking imagery and atmospheric storytelling, the film is a testament to Corman’s mastery of the Gothic genre.

**4. “The Wild Angels” (1966)**

Considered one of the defining films of the biker genre, “The Wild Angels” is a gritty, uncompromising exploration of counterculture and rebellion. Starring Peter Fonda and Nancy Sinatra, the film captures the anarchic spirit of the 1960s and remains a cultural touchstone to this day.

**5. “The Trip” (1967)**

A psychedelic journey into the mind of a man on an LSD trip, “The Trip” is a visually stunning and emotionally intense exploration of consciousness and self-discovery. Directed by Corman and written by a young Jack Nicholson, the film is a landmark of the psychedelic era and a testament to Corman’s willingness to experiment with unconventional storytelling techniques.

**6. “Bloody Mama” (1970)**

Based on the true story of Ma Barker and her criminal family, “Bloody Mama” is a violent and unflinching portrayal of America’s dark underbelly. Starring Shelley Winters and Robert De Niro, the film is a raw and visceral exploration of crime, family, and the American Dream.

**7. “Death Race 2000” (1975)**

A dystopian vision of a future where death is entertainment, “Death Race 2000” is a cult classic that combines action, satire, and social commentary in equal measure. With its over-the-top violence and dark humor, the film remains a favorite among genre fans and cinephiles alike.

**8. “Piranha” (1978)**

A suspenseful and thrilling creature feature, “Piranha” is a prime example of Corman’s ability to deliver big scares on a shoestring budget. Directed by Joe Dante and written by John Sayles, the film is a clever homage to classic monster movies while offering a fresh and exciting take on the genre.

**9. “Galaxy of Terror” (1981)**

A sci-fi horror extravaganza set in deep space, “Galaxy of Terror” is a cult favorite known for its imaginative visuals, gruesome effects, and eerie atmosphere. Directed by Bruce D. Clark and featuring a young James Cameron as the production designer, the film is a testament to Corman’s ability to nurture emerging talent and push the boundaries of genre filmmaking.

**10. “The Intruder” (1962)**

A powerful and provocative drama exploring themes of racism and prejudice in the American South, “The Intruder” is a departure from Corman’s usual genre fare but showcases his versatility as a filmmaker. Starring William Shatner in a career-defining role, the film is a searing indictment of social injustice and remains as relevant today as it was upon its release.

Roger Corman’s filmography is a testament to his visionary genius, his fearless experimentation, and his enduring impact on the world of cinema. From horror to sci-fi, from comedy to drama, Corman’s influence can be felt across a wide range of genres, and his legacy will continue to inspire filmmakers and audiences for generations to come.

  • Saul Muerte

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

13 Monday May 2024

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Roger Corman, a name synonymous with innovation, creativity, and a fearless approach to filmmaking, stands as a titan in the world of cinema. With a career spanning over six decades, Corman has left an indelible mark on the industry, shaping it in ways that continue to resonate with filmmakers and audiences alike.

Born on April 5, 1926, in Detroit, Michigan, Corman’s journey to becoming one of the most influential figures in film was marked by a passion for storytelling and an unwavering determination to defy convention. After studying engineering at Stanford University and briefly working as a naval officer, Corman found his true calling in the world of cinema. In 1954, he founded his own production company, American International Pictures (AIP), which would become synonymous with low-budget, high-concept films that pushed the boundaries of genre filmmaking.

Corman’s directorial debut came with the 1955 film “Five Guns West,” a low-budget western that showcased his ability to deliver compelling narratives with limited resources. However, it was his foray into the realm of horror that would solidify his reputation as a master of the genre. In 1959, Corman directed “House of Usher,” the first of many Edgar Allan Poe adaptations that would become his signature. With its atmospheric cinematography, haunting score, and chilling performances, “House of Usher” set a new standard for horror cinema and established Corman as a director to watch.

Throughout the 1960s, Corman continued to push the boundaries of genre filmmaking, directing a string of successful horror, sci-fi, and exploitation films that captured the imaginations of audiences around the world. From “The Pit and the Pendulum” to “The Wild Angels,” Corman’s films were marked by their bold storytelling, innovative use of special effects, and willingness to tackle taboo subjects.

But perhaps Corman’s greatest contribution to cinema lies not just in his directorial efforts, but in his role as a mentor to a generation of filmmakers who would go on to shape the future of the industry. Through his legendary “Corman School of Filmmaking,” Corman provided aspiring directors, writers, and producers with the opportunity to learn the craft of filmmaking firsthand, often under grueling conditions and tight deadlines. Alumni of the Corman School include some of the most celebrated names in Hollywood, including Francis Ford Coppola, Martin Scorsese, James Cameron, and Jonathan Demme, among others.

Corman’s impact on the film industry extends far beyond his own directorial efforts and the filmmakers he mentored. He was also a shrewd producer who understood the commercial appeal of genre films and the importance of delivering quality entertainment to audiences. Under his leadership, AIP became one of the most successful independent production companies of its time, churning out a steady stream of profitable films that captured the zeitgeist of the era.

In addition to his work as a filmmaker and producer, Corman has also been a tireless advocate for independent cinema, championing the rights of filmmakers to tell the stories they want to tell, free from the constraints of studio interference. He has been a vocal critic of the Hollywood studio system and has fought tirelessly to give independent filmmakers a platform to showcase their work.

Roger Corman’s legacy looms large over the world of cinema. His films continue to inspire and entertain audiences, his mentorship has shaped the careers of countless filmmakers, and his advocacy for independent cinema has paved the way for a new generation of storytellers to follow in his footsteps. In an industry often driven by commercialism and conformity, Roger Corman stands as a beacon of creativity, originality, and the enduring power of the human imagination.

  • Saul Muerte

Mysteries Unveiled: Mill of the Stone Women (1960)

11 Saturday May 2024

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Rating: ★★★☆☆

Transport yourself back to the enchanting era of 1960s horror with “Mill of the Stone Women,” a Gothic gem that stands as a historical milestone in Italian cinema. Shot in vibrant color, this film immerses viewers in the lush landscapes of the Holland countryside, expertly captured by cinematographer Pier Ludovico Pavoni. Drawing inspiration from Flemish and Dutch painters, the visuals alone are worth the price of admission. Also, on a worthy note, the opening credits claim that the film is based on the book Flemish Tales by Pieter van Weigen. This is a fictionalised statement as no such book exists and sparks the imagination and inspiration of similar concepts adopted by future filmmakers who claim their features are ‘based on a true story’.

The story revolves around journalist Hans von Arnim (Pierre Brice), who embarks on an investigation into the fabled Mill of the Stone Women. Designed by the enigmatic Professor Gregorious Wahl (Herbert A.E. Böhme), the mill features a carousel adorned with female statues. As Hans delves deeper into the mysteries surrounding the mill, he becomes entangled in a web of secrets, madness, and macabre occurrences.

While the initial setup may feel somewhat pedestrian, the film gains momentum as it hurtles towards its climactic finale. Director Giorgio Ferroni deftly infuses the narrative with Grand Guignol flair, delivering a theatrical and melodramatic conclusion that grips viewers until the very end. Though it may not reach the dizzying heights of Mario Bava’s “Black Sunday,” released in the same year, “Mill of the Stone Women” still offers plenty to sink your teeth into, from its captivating storyline to its haunting visual charm.

The Prognosis:

“Mill of the Stone Women” is a captivating journey into the heart of Gothic horror, filled with intrigue, suspense, and visual splendor. While it may stumble at times, it ultimately delivers a satisfying cinematic experience that will linger in the minds of viewers long after the credits roll.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

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The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

Movie review: Skeletons In The Closet (2024)

29 Monday Apr 2024

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When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock. 

As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.

Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.

The Prognosis:

This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame. 

There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?

Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.

  • Saul Muerte

Skeletons In The Closet is streaming on Shudder from 3 May.

1960s Horror Retrospective: Jigoku (1960)

27 Saturday Apr 2024

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Across the pond, Japan was also delivering on the genre scene in what would be known as their Golden Age of cinema. Part of the foundations of this era were the big 6 production houses of which Shintoho were significant in the make up. Unfortunately Jigoku would be the last to be released by the company having filed bankruptcy not long after it hit cinemas. Despite this, Shintoho would go out with a bang, producing one of the most compelling films from the country and one that went against the grain of popular cinema at the time to go on to be a cult film in its own right. 

With its graphic depiction of hell Jigoku would follow a couple Shirō and Yukiko appear to have it all going for them until one tortuous night when Shirō gets a lift home with his friend Tamura when tragedy strikes. Tamura knocks down and kills a yakuza gang leader, Kyōichi. This incident was witnessed by Kyōichi’s mother and from here on out, the tragedy unfolds with macabre consequences, including the death of Yukiko and the vengeance of the yakuza gang still looking out for justice. And all this is before Shirō goes on a Dante’s Inferno style journey into limbo, fighting for his very soul among the damned and trying to steer him and his family towards enlightenment.

Perhaps it was because they had their backs up against the wall but with extras all pulling their weight to build the sets and complete the last picture for Shintoho, Jigoku was able to weave all these components together to tell a fractured tale of heartache, loss and the fight for purity. It’s the visual imagery that stands it apart from the crowd, with a narrative that leans into the heart and soul of spirituality among the darkness to expose the sinners of hell and make way for grace to shine through. For this, Jigoku deserves its place alongside the other classic films released in the 60s. 

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

House of Usher

1960s Horror Retrospective: House of Usher (1960)

27 Saturday Apr 2024

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Up until now, American International Pictures had been overseeing black and white features shot on a low budget. House of Usher would prove a vital turning point for the film production company, marking it as the first that would be shot in colour. It would also be the first in seven collaborations between director Roger Corman and the enigmatic Vincent Price based on American Gothic writer and poet Edgar Allan Poe’s work. Although it strains a little from this well-known piece, one which modern audiences would be familiar with through Mike Flanagan’s love song to the artist, it is well crafted and stylised to have generated a worthy audience at the box office.

When Philip Winthrop embarks on a visit to the titular house in order to see his fiance Madeline Usher (Myrna Fahey) is greeted by her brother, Roderick (Price) instead. Roderick is hellbent on encouraging Philip to leave for fear that the usher curse that has been placed on the family and its household should further bring ruin to the couple. Philip does not take on this warning and instead aims to steal Madeline from the house. This plan falls awry though when Madeline slips into a catatonic state, and her fiance resigns with a heavy heart that his betrothed has died. Roderick meanwhile ebbs further into a state of madness, believing the curse to have struck again and entombing Madeline in the family crypt. This act is enough to send poor Madeline into hysteria, and thus the two siblings are joined in their own pandemonium.

Madness and its frailty is certainly exposed here as the core theme to the film and Vincent Price’s amplified performance is never more on song than here. From a bumper year in 1959, turning out in horror classics such as House on Haunted Hill; The Tingler; and The Bat, Price would cement his name in the dark genre and take great strides in the sixties and early seventies. This is very much his movie, ably supported by the visual chemistry of set design, gore and the quality of special effects for its time.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

1960s Horror Retrospective: Psycho (1960)

25 Thursday Apr 2024

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If ever there was a movie that defined horror films and launched the genre to a new level, it is Alfred Hitchcock’s Psycho. So impactful was the film upon the popular consensus, that it would shift the perspective and inspire future filmmakers but upon its release it would not receive such high accolades, mainly directed at the melodramatic choices and these sensationalistic tendencies from Hitchcock were based purely on shock value, labelling Psycho as a gimmick.

The reason Psycho holds such a lofty position over 60 years since its release, is not just the shift in tone, whether it was the surprise murder of Marion (Janet Leigh) a third of the way through the movie, or the identity of Norman’s mother, but the psychological components that drive deep into the heart of the narrative. The stylised elements that Hitchcock adds to the film are the eloquent touches that allow these conceptual components to flourish.

Like Peeping Tom released earlier in the year, Psycho plays with the voyeuristic approach to the narrative, luring the viewer into the seemingly fragile Norman Bates (Anthony Perkins), a man traumatised by the emotional abuse of his mother. This is more noticeable when Bates removes the painting to look through a peephole at the unwitting Marion has she undressed. The male gaze and the seduction has never before been dallied with in a high-profile feature.

There are also strong symbolisms embedded throughout that entrench the foundations that it was built upon. Amongst the questionable character traits that keep the audience guessing, there are also twists and turns of vulnerability and exploitation that thread throughout. These executions on delivery would leave audiences feeling anxious or unease, daring to go where movies had feared or were unable to do so relaxed views on the Production Code; an act of self-censorship imposed by the industry. The fact that Psycho overshadowed Peeping Tom for broaching similar themes seems unjust, where one director would rise to prominence and be forever remembered for his film, whereas the other would be doomed to a fallen career as a  result.

That’s not to say that Psycho doesn’t deserve to have the recognition bestowed upon it, The performances by the film’s leads, Janet Leigh, Anthony Perkins and Vera Myles are at their most renowned and for good reason. Perkins’ flickers around with Bates’ personality casually swinging from likeable charm and gaining our sympathy to an unsettling picture of a man who is on the brink of reality. 

I’ve yet to remark on the score by Bernard Herrmann, whose jarring strings punctuate the now infamous shower scene in stark contrast to the muted, darker and intense scenes. The use of tension as it slowly wrenches up though Arbogast’s (Martin Barlsam) investigations and the pursuit of truth from Marion’s sister Lila (Leigh) and Sam Loomis (John Gavin), Marion’s lover drive our own hopes that our suspected protagonist will prevail before the veil is firmly drawn from before our eyes.

There are countless areas that I could wax lyrical on but these have been discussed on other platforms before, Needless to say, it takes place here (rightfully) for its entry into the 1960s horror retrospective. With three sequels, a dubious remake, and a TV series all centred around Norman Bates have further cemented its status and will forever be immersed in our collective psyche.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

1960s Horror Retrospective: Eyes Without A Face (1960)

22 Monday Apr 2024

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The second feature that I chose to dissect in my 1960s horror retrospective was brought to realisation by French surrealist director, Georges Franju. Eyes Without A Face projects the tale of a surgeon transfixed with guilt following an accident that leaves his daughter horrifically scarred. Now Doctor Génessier (Pierre Brasseur) is consumed with restoring the face of Christine (Edith Scob) going to drastic measures to achieve his goal.

What marks this film as a significant entry into the horror genre is partly down to this obsessive and compulsive desire to recapture beauty and innocence. The extent that Doctor Génessier goes to in both his experimentation on animals, and then through kidnapping, torturing and eventually killing female victims in order to fulfil this requirement is an empty and void enterprise which will only lead to ruin. The self-reproach that propels him is so wrapped up in fantasy, that he slowly spirals into madness and drifts further and further away from reality. His fate is sealed and ironically innocence remains intact with his daughter left to immerse in nature, away from society’s constrictions. She even carries a dove with her to over-amplify this metaphor. 

As with The Flesh and the Fiend, Eyes Without A Face also initially suffered at the box office, struggling to contain a story built around containing the gore (blood), animal cruelty, and mad scientists in order to avoid censorship across Europe. This a tough trick to pull off as the source material, a novel by Jean Redon, (bearing the same name as the film) is filled with these themes throughout. 

The response was initially a sour one with the exception of the homegrown audience in France, who were compelled by its unique storyline. It wasn’t until the mid 80s when it was re-released theatrically that it started to receive the recognition that it deserved. It has since gone on to be considered a classic and placed quite high in Time Out’s Top 100 Horror Movies as voted by people working in the horror industry.

What also elevates the haunting images and the subject of isolation in the pursuit of idealism, is the musical score composed by the great Maurice Jarre, who also worked on classic features such as Lawrence of Arabia and Doctor Zhivago. Here, the music has a juxtaposition of representation through upbeat and jovial affair to one of melancholy. It is a triumph and supports the film’s own tumultuous confliction.

– Saul Muerte