61 Days of Halloween- Masters of Horror: Family

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Masters of Horror: Family

Masters of Horror: Family (Starz Productions)

The Masters of Horror series, when it was on the air, was a valuable and important addition to the horror genre. It frequently employed those who had made their name in the genre and subsequently had made it better. It also allowed them through these tales running approximately an hour to push the envelope, explore new ground and to pack quite a punch in this odd little running time that sits just past the feature film mark.

John Landis’ film Family is a perfect example of how this series allowed those who worked on it to excel. This material finds the director in top form. The material is two-sided allowing Landis to explore both the humor and horror of a situation. It tells the tale of a loner (George Wendt) who has a very strange way of building a family.

The film cuts well and uses audio creatively to help bring the world playing out in the protagonist’s mind out into the open so we can all see it. A world which is convincingly conveyed by George Wendt.

The film like a few in the series has an interesting twist at the end which is carried out with some panache and a few scares. The effects work is decent if inconsistent they do drive home the sick process this character goes through.

This series as a whole is worth checking out if you are unfamiliar with it and John Landis’s Family should be one of the first films you look for.

8/10

61 Days of Halloween- Children of the Corn IV: The Gathering

Posted on by bernardovillela

Naomi Watts and Mark Salling in Children of the Corn IV: The Gathering (Dimension)

Children of the Corn IV: The Gathering is an absolute dud. If it wasn’t for some of the performances this film might rank lower in the annals of the franchise than it does. It is seriously sluggish throughout and never gets anywhere fast.

The most notable thing about this film is that two of its more prominent players have gone on to bigger and better things and you can see why Naomi Watts and Mark Salling (Glee) are so much better than the parts they play and the film they’re in that they scarcely lift it up but merely make their portions of the film somewhat tolerable.

To get a sense of the issues that this film faces there is yet another noteworthy performance in this film and it is that of Karen Black. It’s actually a shame to see someone like Karen Black in a film like this and it made me think of the Family Guy joke about her just a little bit different, not as an obscure reference but in an obscure film.

This also one of the films in the series wherein the child prophet (Josiah played by Brandon Klayla) is missing through a large majority of the film. Rather than write him scarier he’s disfigured with bad prostheses and doesn’t invoke as much fear as he should, however, he is behind the eight ball due to his screen time.

This film also suffers from the fact that it’s the one that does the most to try and absolve the children of being evil. The corn and its disease plays a major role in this film and though some of the hospital scenes are the better ones in the film it’s a perpetuation of an unfortunate development in the series that thankfully dies after this film.

While this film does only somewhat better in juggling a blossoming romance and a horror story it misses the boat. The problem is romances are exciting and new and you “have” to watch the courtship and have it detract from the reason you’re watching the film, to be scared. Yes, it could help you connect to these characters and raise the stakes but it also introduces a lot of artifice and room for easy exposition, life stories as exchanges and so forth. Whereas in the original, the remake and the latest installment one of the stronger elements in all of them is that the couples have an existing relationship. They have a history they talk, debate, bicker and fight and you learn about them in a more subtle way and have a better chance of rooting for them because they are together and want to get out go on a honeymoon, have kids and what have you. Marriages, and/or committed relationships have more permutations, interest and conflicts than star-crossed love stories.

The other huge issue with this film is indicated by the subtitle, The Gathering. There’s not much more to it than that. It’s likely if not the most, one of the most anticlimactic films in the series. In the other ones, even those that aren’t good, at least deliver a compelling climax, in conception anyway.

I frequently write about the last image, shot and/or scene of a film being very important. After a film such as this one you want that scene to something quick and simple and hopefully not open, I’ll grant it that this one wasn’t an open end but still kind of a gimmicky one but unfortunately fitting considering what preceded it.

3/10

61 Days of Halloween- The Prowler

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

The Prowler

Vicky Dawson in The Prowler (Sandhurst)

Today’s disappointment was called The Prowler from 1981. A film which has a decent setup with a newsreel, “Dear John” letter and then teaser but then really struggles to pick up the pieces when it introduces the main players. The identity of the killer is closely guarded like many a slasher film but the reveal is no shock.

Sadly prior to the reveal the pace has staggered so greatly you may not even care at that point. While there are occasions where it plays against stereotypes of stupidity in horror (like having someone actually being quiet while hiding) it does get dumb from time to time like having a heartfelt exchange of glances in the presence of a corpse.

There is also a pet peeve of mine which is a nonsensical shock at the end. The film is worth seeing for a few great effects Tom Savini pulls off, which is sad because Farley Granger is in this film but completely wasted.

4/10

61 Days of Halloween- The Video Dead

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

The Video Dead

The Video Dead (MGM)

Pretty much the best thing that can be said about The Video Dead is that at no point was I compelled to turn it off. Other than that there really is no redeeming quality here. It is a case of auteur theory gone awry as the director was the only writer and other producer and someone should’ve checked him on a few things.

It pretty much starts right away with a reclusive and supposedly renowned author getting a TV delivered to his house. However, he did not order it. Why then is it accepted? Then zombies are seen roaming about on it even though he turns it off and it turns back on again, even after it’s unplugged and he makes no attempt to get rid of it. So right there in the teaser you have two story issues already.

However, there is the issue of every single performance in this film. To put it bluntly if they were trying to be terrible they did a tremendous job but I give none of the actors invovled in this travesty that kind of credit as I don’t think it’s possible to be this bad if you’re trying. The older sister (Roxanna Augesen) always sounds sarcastic and the brother (Rocky Duvall), who is about 18 sounds like he’s trying to play twelve whether he means to or not.

I can’t place all the blame on the actors though only some because the dialogue is truly atrocious. From being blatant about the mixup in the delivery to getting TMI about the first kill’s poodle’s mating habits to someone who is majoring both in aerobics and music videos it’s one car wreck after another.

Even the cinematography is not immune from odd decisions and bad angles.

It’s comedically bad at times but more often than not it’s just a painful experience to watch this thing. One character introduces himself like so “I’m the Garbage Man. I dispose of human garbage.” Which is fascinating but who disposes of cinematic garbage because I’ve got a heap sitting here that I can’t get out of my mind.

1/10

61 Days of Halloween- Mother’s Day

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Mother’s Day

Rose Ross in Mother's Day (Troma)

Mother’s Day is a film with many problems. Firstly, it tries to introduce its three protagonists in two different time periods. First, you meet the characters very briefly in college and then separately ten years later.

A lot of screen time in this film is wasted. For example these friends waste a lot of time goofing and being drunk when they reunite and there is also an unnecessary very extensive prank scene from their college days which halts whatever forward momentum the film had built up.

Furthermore this comes after we are introduced to our villains and their M.O. so we are just sitting about waiting for them to strike anew so it becomes doubly painful.

As if you didn’t know going in that you’d get a lot of overacting in this film it goes beyond even what is expected. There’s also terrible example of the 80s work montage, bad scoring and introduced-to-the-mix-real-late ghost character, ghost in the literary sense not supernatural.

As if that wasn’t enough there is a grainy, poorly-focused twist-ending shot that adds insult to injury. Skip this one.

1/10

Review- Our Idiot Brother

Posted on by bernardovillela

Paul Rudd in Our Idiot Brother (The Weinstein Company)

Our Idiot Brother through its marketing gives you the impression that it’s just going to be a laugh-a-minute-comedy about a slacker brother and his more well-off family’s interactions, while it is funny there is more than meets the eye with this film. That can go both ways but it truly ends up being a good thing in this case.

First and foremost this is a showcase for the comedic talents of Paul Rudd, who rarely finds a vehicle like this where he can really showcase what he can do. From beginning to end in this film Rudd is in top form and there are exchanges whether it’s scripted or he went off-book that only he could make that funny. One of his confrontations with his ex-girlfriend (Kathryn Hahn) comes to mind.

Not to say this is a one man show, quite on the contrary. The aforementioned Kathryn Hahn is hilarious in this film as is her new beau, the good-natured Billy (T.J. Miller). In the family there are strong performances that show a good deal of range from Emily Mortimer, Zooey Deschanel, Elizabeth Banks, Rashida Jones and Steve Coogan. While playing a relatively simplistic character on the surface Rudd displays a different side of himself with each of the aforementioned characters as well as with Jeremy (Adam Scott), his sister Miranda’s (Banks) neighbor/potential love interest, they both share an affinity for Sci-Fi and with River (Matthew Mindler), his nephew, he can see what it is he really wants but never tells his parents.

This film toes the line of drama and comedy very well and in doing so manages not to be overly long. It keeps things funny but also keeps real world consequences involved but doesn’t let the bad things that can and will happen to people put a damper on things. The film like life goes on and it chooses to laugh at it.

Having said all that it is a very funny film indeed and you will likely walk away from it quoting one or two things there are some very good exchanges and some memorable, witty dialogue.

It also has one of Those Scenes. Meaning one of those great scenes by which you will remember the film and Paul Rudd’s performance. I refer to it as The Charades Scene and it is a perfect calling out of all the characters in the film without being too heavy-handed it shows just enough restraint and achieves brilliance due to the writing and performance of it. Naturally, it is also a crucial scene.

The film takes all of its narrative strands and subplots and deals with them rather neatly. Then at the end it meanders a bit and you don’t quite know why. When you find out it’s good for a laugh and a truly happy ending but you’re left wondering if that was truly needed.

Our Idiot Brother is a good comedy with some very good dramatic moments thrown in. Though in the end the results a re bit mixed in some areas, not just the very end, it’s very much worth viewing.

7/10

Review- Don’t Be Afraid of the Dark

Posted on by bernardovillela

Bailee Madison in Don't Be Afraid of the Dark (Film District)

Don’t Be Afraid of the Dark? Don’t worry I won’t be. Allow me to state for the record that I do not have anything against a slow burn, which this film is, however, there’s not enough spark there to get it going. A lot of that has to do with the fact that stupidity abounds in this film. The other is the pace itself and then there’s the subject matter.

Firstly, it is easy to create an adequately entertaining to great teaser scene in a horror film, however, if the rest of the film comes nowhere near matching it then you’ve done yourself a disservice and I understand the temptation to not do one. Don’t Be Afraid of the Dark‘s teaser scene is the one truly cringe-worthy moment the remainder of the film is hopelessly tedious and ineffective.

Equally as ineffective are the fairies in more ways than one. Yes, I am aware of the fact that a lot of the lore pertaining to fairies is in no way cutesy but that never really translates in this film. Their voices are small, silly and squeaky and never menacing. Though they’ve had many years to practice are about as hapless as killers can get and that really undercuts any tension that might be built. Not to mention the fact that their whole modus operandi lacks a very cogent explication.

Then you have the parents: Alex (Guy Pearce, with the most unfortunate hair) and Kim (Katie Holmes), the oh-so-young stepmother. These are your classic dumb characters in horror films. They are oblivious and/or in denial about what is really happening for far too long. Neither of them comes across as someone you could empathize with much less sympathize, Pearce with his cold dead-pan and Holmes with her patented smirky face lack depth as badly as the film does.

There is only any light shone upon the fairy backstory in one scene and that scene works but then it introduces a scene where Kim rushes back to the house drops a canvas and reveals a huge, blatant and graphic mural. The fact that this mural was missed before (or implied to have been missed) is laughable and not worthy of C-Grade Giallo films.

The only thing the film has going for it from start to finish is the stellar performance of Bailee Madison. She is often alone and having to be convincingly scared with no one to play off her and/or reacting to CG elements and she does wonderfully. The fact that Madison shines cannot save this film though.

The pace hardly ever quickens and the horrors of this this film are so avoidable such that it wallows in tedium. The film ends up not being scary, funny or entertaining. Some situations added to create character are so trite it’s surprising they’re in the film at all and to top it off the ending is just dementedly stupid.

It’s rare when a film has me leave fuming as opposed to bow-beaten by its awfulness. This film did that.

2/10

61 Days of Halloween- Children of the Corn III: Urban Harvest

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Children of the Corn III: Urban Harvest

Daniel Cerny in Children of the Corn III: Urban Harvest (Dimension)

After having watched Children of the Corn II: The Final Sacrifice I was considering devising a system wherein I gauged the painfulness of these films by which body part I’d rather punch repeatedly for 90 minutes than having sat through that film. Thankfully, I never got around to hatching those plans because along came Children of the Corn 3: Urban Harvest.

One thing I will say right off the bat is that this film unquestionably wins the award for the worst subtitle of any of the Children of the Corn sequels, while it is accurate it is also terrible and makes you think this film will be a lot worse than it is.

The fact of the matter is I love this film. I might even go so far as to use the annoying variant “lurve” if I could distinguish the difference in usage. Anyway, that is not to say that this one is perfect or better than the first but there’s a spark of creativity here, a flair and embracing of the concept in this one you don’t get in other films in the series. It’s also a little out there and in that way it is to an extent the Halloween 3: Season of the Witch  equivalent in this series.

The connection to the original film is really a chronological one, a narrative one. This film uses the same scenario as two; orphaned children in need of care and handles it so much better than the previous film. Here you get a focused situation: Eli (Daniel Cerny) and his brother Joshua (Ron Melendez) come to the big city from Gatlin. The religion and the cult are on the road in a big city and are about to get a big foothold.

What also sets this sequel apart is that it features its antagonist prominently makes him someone you can understand when you hear him preach and speak but also makes him vile enough that you aren’t upset if he’s defeated. Stories from the Bible and quoting of scripture is used very effectively in the film through Eli making the cult seem like something that makes sense. If the children seem justified in their ritual of killing adults and sacrificing themselves it makes them that much more frightening. Understanding a killer’s mind can be a terrifying thing. If a horror film makes you understand that, it’s a winner.

The conveyor of the message in this tale, that is more religious than most, is equally important. Daniel Cerny may not have had the longest or most prolific career as a child actor but he did find two roles he was very well suited for that are quite memorable: Eli and the Demon in Demonic Toys. There’s something intangible about his performance. He’s just scary. He doesn’t have the widest range or convey them all emotions equally well, however, at least he can handle dialogue and he can get angry and headstrong. It’s the kind of performance that might best be labeled as great yet inconsistent.

Kills are not something you’ll hear me discuss too much in this series. The Children of the Corn series as a whole isn’t filled with creative deaths it doesn’t really fit the slasher mold. Not only does this film have some jaw-droppingly effective and creative kills but quite a few of them. Which leads to another element of a successful horror film: no one seems safe.

The tone is set early on in the teaser scene. It reveals how these children were orphaned and Eli’s true nature and we know it all along and his brother doesn’t. The film carries that secret for a while but then it also is keeping from us, which it spills later on.

Another way in which this film kind of reminded me of the third Halloween film is in the handling of the corn itself. Now, here there is a subplot of the corn being somewhat supernatural and malevolent. It seemingly selectively can take down the infidels. The visuals of those deaths paired with the tag at the end make it very similar but it’s also the best handling of this development in the story. After the next film this notion vanishes entirely.

In short, this is the one direct sequel (as opposed to any remakes), that as soon as I was done watching it I could see myself gladly viewing again. It also proves how bad a place to watch a film basic cable is because I’ve seen parts of many of these films and the Halloween films there before getting the DVDs and they make the experience so much worse. This sequel truly is one worthy of its predecessor and is a blast to watch.

8/10

61 Days of Halloween: Children of the Corn II- The Final Sacrifice

Posted on by bernardovillela

Ryan Bollman in Children of the Corn II: The Final Sacrifice (Dimension Films)

When dealing with a series, like I am currently or have in the past, I will tend to lean towards something akin to Franchise Criticism. I will focus on the continuous narrative thread and other things pertaining to the franchise. My opinion of each individual film I will try and compartmentalize but there will be commentary along the lines mentioned above because it is necessary to gauge the franchise as a whole which I will do later on.

One thing to note with the Children of the Corn films is that there is a very distinct aspect about them which acts as a double-edged sword; it is that many times in the sequels you will see a new wrinkle, fact or other bit of information added to the mythos and you’ll think to yourself “God, I hope they don’t continue this strain.” The double-edged sword part is that they usually don’t. The good of that is that stupid subplot never rears their head anew, however, that does hurt the continuity of the series. With each installment you need really only know the basics and can walk in cold, which by my definition makes it a bad series. While there are a few occasional highlights be it a moment, performance or a whole film I cannot contradict myself there. Most of these films will receive failing grades yet it was oddly enjoyable to watch them all for two reasons: one, the basic premise is one I love and I am addicted to series. I can’t help it.

As for Children of the Corn II: The Final Sacrifice not only does it hold the distinction of being the most premature false ending to a horror franchise but it’s also pretty darn lousy. It’s not the worse but but perhaps runner-up in the franchise pecking order.

Firstly, the film lets the cat out of the bag so to speak; the massacre in Gatlin has been discovered and it’s now on the news. This in and of itself isn’t an issue, however, the way it’s handled is. The focus of the narrative is bifurcated between reporter John Garrett (Terence Knox) and his annoyingly dysfunctional relationship with his equally annoying and whiny son Danny (Paul Scherrer) and his relationship with Lacey (Christie Clark).

Oh yeah, there’s also Micah (Ryan Bollman). He’s the new preacher and how Danny nearly gets lured into the cult is one of the few things that comes close to working in this film. The acting is terrible all around in this film it is without doubt the worst in the series. Micah is good for some random evil glares and when he gets a chance to finally be mean it’s fine but many sequels in the series put the antagonist (read the Preacher Boy) too far away from the center of it all.

The film plays at love story for quite a while and despite the fact that Lacey is in with the cult the tension surrounding their relationship is never really elevated. Michah’s involvement only increases when he’s actively trying to get Danny involved. It’s also one of the sequels that seemed to feel uncomfortable in its own skin meaning that instead of trying to lay a good foundation of drama there were times it tries too hard to be something it’s not, in this case, a star-crossed romance.

This also marks the beginning of the shifting of location of this series. The horrors in Gatlin were discovered. Many children, presumed innocent, are now orphaned and in need of foster care. Many people in Hemingford, the closest town up the road, offer to take them in. Here’s where bad writing and acting combine to really take the film down another notch: several times they refer to the orphans as a whole as “the sweet, innocent children of Gatlin, (or some such rot) there is not a time this line is uttered where it doesn’t sound insincere. I’m not speaking about audience omniscience, meaning we know they’re really evil so we chuckle, I mean the line reading itself sounds like the actor is being sarcastic or comedic so suspension of disbelief is most difficult.

One thread that does develop hear that dies hard is the notion of disease, mental or physical, is brought into the equation as a possibility, which is unforgivable because it changes the nature of the films. Essentially the film is in not so many words is trying to play the psychotic, cultist, religious zealot children off as victims. However, one thing I do appreciate later on is that it is treated as a white elephant, meaning it’s a concept so big it can’t just be dropped from the series but needs to be gradually written out. Franchises would benefit from story editors because not many changes were handled that smoothly.

Then you have the characters, yeah, those guys. Despite the efforts to develop them I don’t like them. If the audience is going to identify with anyone it’s the kids trying to run away not the father, not the way he’s written. So here you have it again the most annoying permutation of horror film you don’t really like anyone and you know that in all likelihood they’re gonna walk away at the end and you’d rather they be dead.

Few horror films, as a franchise, really survive in their most earnest form: if the villain wasn’t the protagonist to start eventually they become them because they’re who the movie is named after and the characters seem to get dumber, more disposable less identifiable, therefore what do you want to happen to them in a horror film, a piece of entertainment designed to feed on your baser instincts? Kill them. All I’m saying is few far between are the effective, affable protagonists later on in horror series. The constant gives you comfort and a twisted ending gives you pleasure from time to time.

There’s none of that here. After I saw this film I lamented on Twitter about deciding to place the original film last in my viewing order thinking it’d be all downhill until got there. This series like so many has its peaks and valleys. This is a chasm, not quite an abyss, we will get their but its rather painful to endure.

2/10

Review- Creature

Posted on by bernardovillela

Serinda Swan and Mehcad Brooks in Creature (The Bubble Factory)

Creature. What does Creature do right? What is Creature? Why does Creature exist and why was it released to 1,507 screens? Why did I watch Creature? These are all questions I asked myself while watching this film.

To answer the first question there’s not much this film does right at all. It’s the kind of film that thinks character development is giving someone a piece of dialogue in which they say something weird and it never gets explained or an inside joke is shared and we never get let in. A film can overcome the shortcomings of its cast with its narrative, technical proficiency and artistry. There is very little of that so I’m left watching a cast that might have been rejected for Final Destination 5.

So it ends up being the worst permutation of all horror films: one wherein you actually want all the characters dead but know they likely will survive. The characters are for the most part as annoying as the actors. To be fair there are but two positive developments: one is a twist and the other is that Niles played by Mehcad Brooks emerges as someone watchable and that you can almost pull for. In the end he’s like a poor-man’s Duane Jones (Night of the Living Dead) but this movie is nowhere near a classic.

The edit of this film is painful. At a climactic moment there are so many cutaways that it goes beyond foreshadowing to bludgeoning you with obviousness. The film is also riddled with nonsensical dissolves and cuts and worse yet cutaways were you know they’re not showing an entry wound to save money.

Despite the fact that I did manage to find some good things to say about it about I was tempted to walk out of this film due to its sheer crappiness. This was right before the aforementioned twist. A twist which does not absolve most of the characters of their stupidity and is therefore wasted.

Stupidity rears its ugly head in a big way at least twice in this film and it’s truly insufferable. In Fright Night I discuss one of the paradigms of modern horror being about disbelief, well stupidity is another. Any horror fan cut their teeth on films where screaming girls run upstairs and trap themselves when a killer is chasing them. It was fine for a time but we’ve grown tired of it. These kids willingly seek out the local lore to mock it and become endangered. It doesn’t engender sympathy.

Then there’s the Phantom Menace, I mean, The Creature. It may be the best thing going for it but it’s consistently, purposefully under-exposed like they’re giving it the Jaws treatment sans theme song through most of it. It doesn’t make it scarier, when it’s revealed it’s laughable.

As if the creature’s lack of ferocity isn’t bad enough the film is like softcore porn at times.

To address one of my initial questions about how wide the release was my only guess is that it’s a kind of reverse psychology. Now it’s the biggest bomb of all-time and everyone with a morbid streak will want to see it on video.

1/10