Ever since Alien Abduction: Incident in Lake County (and, probably, the annual X-Files marathons of my youth), I've associated Thanksgiving with alien abductions. So I like to cap my usual October horror movie marathon with an alien abduction movie or two sometime in November. I was concerned that the indiscreetly named Alien Abduction might be just another cheap, low-budget horror film capitalizing on what many consider to be a patently ridiculous premise, but, to my pleasure, Alien Abduction is a true found footage film in the vein of The Blair Witch Project.
It's based on a real life local superstition - the Brown Mountain Lights of North Carolina - and the film proper is bookended by interviews with locals, eyewitnesses, and alleged professionals which could - as far as I can tell - actually be real. The movie seems like a respectful homage to the local legend, in the form of the dramatization of a family's disappearance in the mountains during a camping trip. Though any critical viewing of the film (by anyone older than, say, 11) will reveal it to be an obvious fake, the film takes itself pretty seriously, and while acknowledging the leap of faith required to believe in alien abduction, presents the events depicted as a straight-faced "what if?" - because, after all, we can't be entirely sure.
The acting is not flawless - right from the start, the family members are all way too attractive, try too hard to be clever (and, weirdly, just a little bit sexist), and their emotional reactions when the shit starts to hit the fan are at times obviously dramatized - but looking back, the acting in Incident in Lake County wasn't that spectacular either. The settings are beautiful - reminiscent of my own experiences camping in the Appalachian mountains. And the mountain man that turns up has a very convincing accent (I say that as someone who's spent some time living in West Virginia).
But first and foremost, this is a found footage film on the subject of alien abduction - and though it may not be perfect, it's probably as good as any one I've seen yet. It definitely delivers the goods (which is a problem for a lot of found footage movies, The Blair Witch Project included), and even manages to work in some footage on board the alien spacecraft (I don't think this is really a spoiler, since the movie opens with this footage), which is something that is lacking in certain other alien abduction movies, and that I would rate as necessary for a perfect adaptation of the theme. I would definitely include it in any alien abduction movie marathon, alongside other classics of the subgenre.
Showing posts sorted by relevance for query alien abduction movies. Sort by date Show all posts
Showing posts sorted by relevance for query alien abduction movies. Sort by date Show all posts
Monday, November 17, 2014
Sunday, January 25, 2015
The Device (2014)
The Device is - quite unexpectedly - a low budget alien abduction movie masquerading as a big budget alien invasion flick (if the cover images are to be believed). I hate to say bad things about it, because I love alien abduction movies, and though it suffers from its low budget, it's actually pretty good as far as low budget movies go, with decent, if not spectacular, creature effects, and perfectly adequate acting.
But though you can't blame the producers or distributors (or whoever is responsible) for wanting to talk up the movie's appeal, the picture you get from looking at and reading the box is so startlingly different from the product inside that you can't help feeling like you've been tricked. And, what's more, I think you'd actually be in a better position to appreciate the movie for what it is if you weren't expecting something completely different (and better).
The cover image is something like a cross between Species and Ghost in the Shell, with a naked, crouching woman supported by cybernetic cables. The image on the back of the box features a vaguely robotic-looking alien wreaking havoc on a city street with some kind of badass electromagnetic pulse weapon. Neither of which even remotely resembles anything at all in the movie.
The synopsis plays up the sci-fi alien invasion angle, and while the plot details may not be technically inaccurate, the movie itself does not play as a man vs. aliens standoff (a la Independence Day) so much as a quiet drama almost exclusively limited to three actors dealing with the [personal] experience and [personal] repercussions of alien abduction, after they find a strange black sphere (which never really does anything, beyond the psychological) amid debris from a crash site in the woods not far from their cabin.
As far as the movie itself actually goes, it's not the best alien abduction flick I've seen, but it does pretty well with limited resources. It even manages to throw some original ideas into the mix - as far as I know, those aliens with their genetic experiments have never had to contend with humans deliberately aborting their alien-human hybrid fetuses before. And I can't be sure, but it seemed like in one scene one of the aliens was actually receiving some kind of sexual satisfaction from the human experiments it was doing.
Bizarre, but it puts a whole new spin on an old concept. The aliens themselves weren't the scariest I've seen, but they were intimidating enough, and some of the situations in the movie were effectively chilling - at least to someone like me with a weakness for alien abductions - in spite of a lot of the time being spent on Lifetime drama and wondering why this isn't the movie that was depicted on the cover.
Taken on its own merit, this is, at best, a mediocre alien abduction film (albeit the good ones are few and far between) that probably only alien abduction junkies (like me) will want to see. Still, that's no excuse to bill it as something it's not, and I feel like the deceptive marketing campaign takes something away from the movie - surely, I can imagine it has inspired a lot of disgruntled viewers who were expecting something much different. I honestly couldn't fault them for complaining.
But though you can't blame the producers or distributors (or whoever is responsible) for wanting to talk up the movie's appeal, the picture you get from looking at and reading the box is so startlingly different from the product inside that you can't help feeling like you've been tricked. And, what's more, I think you'd actually be in a better position to appreciate the movie for what it is if you weren't expecting something completely different (and better).
The cover image is something like a cross between Species and Ghost in the Shell, with a naked, crouching woman supported by cybernetic cables. The image on the back of the box features a vaguely robotic-looking alien wreaking havoc on a city street with some kind of badass electromagnetic pulse weapon. Neither of which even remotely resembles anything at all in the movie.
The synopsis plays up the sci-fi alien invasion angle, and while the plot details may not be technically inaccurate, the movie itself does not play as a man vs. aliens standoff (a la Independence Day) so much as a quiet drama almost exclusively limited to three actors dealing with the [personal] experience and [personal] repercussions of alien abduction, after they find a strange black sphere (which never really does anything, beyond the psychological) amid debris from a crash site in the woods not far from their cabin.
As far as the movie itself actually goes, it's not the best alien abduction flick I've seen, but it does pretty well with limited resources. It even manages to throw some original ideas into the mix - as far as I know, those aliens with their genetic experiments have never had to contend with humans deliberately aborting their alien-human hybrid fetuses before. And I can't be sure, but it seemed like in one scene one of the aliens was actually receiving some kind of sexual satisfaction from the human experiments it was doing.
Bizarre, but it puts a whole new spin on an old concept. The aliens themselves weren't the scariest I've seen, but they were intimidating enough, and some of the situations in the movie were effectively chilling - at least to someone like me with a weakness for alien abductions - in spite of a lot of the time being spent on Lifetime drama and wondering why this isn't the movie that was depicted on the cover.
Taken on its own merit, this is, at best, a mediocre alien abduction film (albeit the good ones are few and far between) that probably only alien abduction junkies (like me) will want to see. Still, that's no excuse to bill it as something it's not, and I feel like the deceptive marketing campaign takes something away from the movie - surely, I can imagine it has inspired a lot of disgruntled viewers who were expecting something much different. I honestly couldn't fault them for complaining.
Thursday, November 17, 2011
Communion (1989)
Two years ago, Paranormal Activity was released to theaters. It proved to be the scariest film I had seen in my adult life, largely because it tapped into a fear that is very personal to me - poltergeist-style hauntings - and because that fear was depicted, via the found footage conceit, in a very plausible rather than sensational manner. A month later saw the release of The Fourth Kind, a film that taps into another of my deep personal fears - the alien abduction phenomenon. It was very frightening - though not on the level of Paranormal Activity, and was ultimately not entirely satisfying.
My favorite alien abduction movie remains the unrivaled Fire In The Sky, which I saw in theaters as a child, and which I have suspicions may be the cause of my deep-seated fear of alien abductions. I can't have been more than ten at the time, and that was several years before I began to watch (and subsequently become a huge fan of) The X-Files on television. My latest viewing of Fire In The Sky (a few years ago now, borrowed from the "evidence room" during an overnight stay at the Little A'Le'Inn in Rachel, Nevada, just over the mountains from the purported location of Area 51) confirmed once again my impression of the movie. But seeing The Fourth Kind renewed my appetite, and I wanted to know if there were any other good alien abduction movies out there that I had not yet seen.
That's how I came upon Taken, a television miniseries presented by Steven Spielberg, which proved to be entertaining, if not altogether terrifying. This is not too surprising, though, considering Spielberg's treatment of aliens in both E.T. and Close Encounters of the Third Kind - there the balance is undoubtedly tipped in favor of science-fiction, if not completely devoid of the horror elements I am more fond of. But I also found a movie called Communion, which is based on a book that describes the allegedly autobiographical accounts of a writer named Whitley Strieber, who claims to have been repeatedly abducted by aliens. Dramatization aside, this would seem to be, as they say, a story of alien abduction straight from the horse's mouth. And it's just about as crazy as you could imagine.
The movie opens on a rather ominous scene - an aerial view of the twin towers (which takes on new significance in the 21st century) backed with an eerie instrumental that has a haunting guitar lead that caught my attention even before the name "Eric Clapton" flashed up on the screen during the opening credits. Christopher Walken plays Whitley Strieber, and he imbues the role with a certain quirkiness that either drives or perfectly complements (depending on the source material) the bizarreness of the alien encounters. But before getting that far, the encounters start out rather frightening, and when Whitley freaks out upon seeing a children's Halloween mask (because it reminds him of something else he's seen), you know that something truly disturbing is going on.
It's amazing to me how subjective people's fears can be. Just the sight of a spider can send one person's skin crawling, whereas another might look at it with mild disinterest (and some, even admiration). Communion manages to get my skin crawling with something as simple as transitioning from a cheerful party scene to a little boy entering his shadowy bedroom, with a clear look on his face that something isn't right. In any other movie - a slasher, for example, where I might be expecting a serial killer or an undead monster to be hiding in the closet - I wouldn't be scared on as visceral a level (if at all) as I am when I'm expecting to be confronted at any moment by the iconic type of alien that likes to abduct helpless people from their beds to conduct sadistic medical experiments on them.
Said alien doesn't even have to be present in any real physical sense to be threatening - an indication of its almost supernatural powers (comparisons to poltergeist activity would not be inappropriate here), thanks to their super-advanced technology, and the largely psychological nature of the abduction experience (if there is one thing you can't protect yourself from, it is the mutiny of your own mind). However, the almond-eyed grey is one of the few images that is so terrifying to me that looking at it is scarier than imagining it hiding in the shadows. This is an exception to the general rule that the more you see a creature in a horror movie, the less scary it gets - which, however, this film is not immune to, as the creature effects are rather basic, almost to the point of being humorous when you finally get a good hard look at them. Yet, one thing this movie has the ability to do, is to make even the silly scary just out of sheer illogic. Many of the dreamlike contact experiences are not simply frightening, but also surreal and disconcerting, sometimes in a wacky sort of way that is reminiscent of something you might see in a music video.
And that exemplifies the position that this film strives toward. It goes beyond the horror of the abduction experience, and tries to find some kind of [intuitive, not logical] meaning behind it. Strieber is reluctant to admit that anything is happening at first, but over time it becomes impossible to ignore. He quite naturally worries that he might be losing his mind, a possibility that the doctors seem to rule out, but I don't. But when his therapist turns out to be something of a new age spiritualist, enthusiastic practitioner of hypnotherapy, and host of a peer support group for abductees, he begins to wonder if resisting the aliens is futile, and that maybe by accepting their interference in his life, he may be able to gain some creative benefit (he is a writer, remember) from the experience. And so it goes, and it seems that the aliens become considerably less menacing after he welcomes them into his life.
But as imaginatively inspiring as the alien presence is, I have to admit that it doesn't make any logical sense. Yes, of course, you could argue that alien logic - not unlike God's - is incomprehensible to man, but I feel that's rather more of a cop-out. And so I cling firmly to my belief that this is a psychological phenomenon (while not undermining its creative benefits, even were it proven to be the symptom of some kind of disorder) - also suspicious is the fact that the aliens often come for their previous abductees' children, which could suggest that the condition has a genetic origin. I wonder, now that alien abduction has passed largely out of the pop culture mindset, whether these repeated abductees are still enduring their experiences, and what the latest scientific discoveries may have to say about it.
Communion is really a rather unique alien abduction story, more well-rounded than say Fire In The Sky, which focuses on the horror of a single abduction - though I still prefer the latter approach. It is unfortunately a bit dated due not just to the nature of the theme, but that it is steeped in the culture of the late eighties during which it takes place (amazing that fashion was that bad only just over two decades ago). The acting at times feels a little choppy, and the stress between Whitley and his wife, while a significant source of drama for the story, is a bit strained - especially when their conflict is due to a simple lack of communication. I know it's hard to make sense of being abducted by aliens. Dealing with it means coming to terms with the fact that you're either going insane, or there are inhuman beings taking you from your bed at night to perform experiments on you so terrifying your mind is trying really hard not to remember them. And if the latter, everyone else is going to think you're insane, anyway. But it's something you have to figure out together, with your significant other and/or loved ones - not something you should try to hide and ignore, pretending like nothing is happening.
In the end, there are relatively few stories about the alien abduction experience, and while most of them claim to be based on true stories (not unlike the majority of exorcism movies), precious few are as close to the source material as Communion presumably is. So though it's a bit of a head-scratcher at times, it is however also genuinely frightening at others, and while it doesn't provide any of the answers you weren't expecting to get anyway (because nobody really has them), it does try to contextualize the abduction phenomenon in a way that attempts to make it significant, rather than merely curious and scary. It may not actually make a whole lot of sense, but it ends up feeling meaningful. Even if you still wouldn't want it happening to you in a million years.
My favorite alien abduction movie remains the unrivaled Fire In The Sky, which I saw in theaters as a child, and which I have suspicions may be the cause of my deep-seated fear of alien abductions. I can't have been more than ten at the time, and that was several years before I began to watch (and subsequently become a huge fan of) The X-Files on television. My latest viewing of Fire In The Sky (a few years ago now, borrowed from the "evidence room" during an overnight stay at the Little A'Le'Inn in Rachel, Nevada, just over the mountains from the purported location of Area 51) confirmed once again my impression of the movie. But seeing The Fourth Kind renewed my appetite, and I wanted to know if there were any other good alien abduction movies out there that I had not yet seen.
That's how I came upon Taken, a television miniseries presented by Steven Spielberg, which proved to be entertaining, if not altogether terrifying. This is not too surprising, though, considering Spielberg's treatment of aliens in both E.T. and Close Encounters of the Third Kind - there the balance is undoubtedly tipped in favor of science-fiction, if not completely devoid of the horror elements I am more fond of. But I also found a movie called Communion, which is based on a book that describes the allegedly autobiographical accounts of a writer named Whitley Strieber, who claims to have been repeatedly abducted by aliens. Dramatization aside, this would seem to be, as they say, a story of alien abduction straight from the horse's mouth. And it's just about as crazy as you could imagine.
The movie opens on a rather ominous scene - an aerial view of the twin towers (which takes on new significance in the 21st century) backed with an eerie instrumental that has a haunting guitar lead that caught my attention even before the name "Eric Clapton" flashed up on the screen during the opening credits. Christopher Walken plays Whitley Strieber, and he imbues the role with a certain quirkiness that either drives or perfectly complements (depending on the source material) the bizarreness of the alien encounters. But before getting that far, the encounters start out rather frightening, and when Whitley freaks out upon seeing a children's Halloween mask (because it reminds him of something else he's seen), you know that something truly disturbing is going on.
It's amazing to me how subjective people's fears can be. Just the sight of a spider can send one person's skin crawling, whereas another might look at it with mild disinterest (and some, even admiration). Communion manages to get my skin crawling with something as simple as transitioning from a cheerful party scene to a little boy entering his shadowy bedroom, with a clear look on his face that something isn't right. In any other movie - a slasher, for example, where I might be expecting a serial killer or an undead monster to be hiding in the closet - I wouldn't be scared on as visceral a level (if at all) as I am when I'm expecting to be confronted at any moment by the iconic type of alien that likes to abduct helpless people from their beds to conduct sadistic medical experiments on them.
Said alien doesn't even have to be present in any real physical sense to be threatening - an indication of its almost supernatural powers (comparisons to poltergeist activity would not be inappropriate here), thanks to their super-advanced technology, and the largely psychological nature of the abduction experience (if there is one thing you can't protect yourself from, it is the mutiny of your own mind). However, the almond-eyed grey is one of the few images that is so terrifying to me that looking at it is scarier than imagining it hiding in the shadows. This is an exception to the general rule that the more you see a creature in a horror movie, the less scary it gets - which, however, this film is not immune to, as the creature effects are rather basic, almost to the point of being humorous when you finally get a good hard look at them. Yet, one thing this movie has the ability to do, is to make even the silly scary just out of sheer illogic. Many of the dreamlike contact experiences are not simply frightening, but also surreal and disconcerting, sometimes in a wacky sort of way that is reminiscent of something you might see in a music video.
And that exemplifies the position that this film strives toward. It goes beyond the horror of the abduction experience, and tries to find some kind of [intuitive, not logical] meaning behind it. Strieber is reluctant to admit that anything is happening at first, but over time it becomes impossible to ignore. He quite naturally worries that he might be losing his mind, a possibility that the doctors seem to rule out, but I don't. But when his therapist turns out to be something of a new age spiritualist, enthusiastic practitioner of hypnotherapy, and host of a peer support group for abductees, he begins to wonder if resisting the aliens is futile, and that maybe by accepting their interference in his life, he may be able to gain some creative benefit (he is a writer, remember) from the experience. And so it goes, and it seems that the aliens become considerably less menacing after he welcomes them into his life.
But as imaginatively inspiring as the alien presence is, I have to admit that it doesn't make any logical sense. Yes, of course, you could argue that alien logic - not unlike God's - is incomprehensible to man, but I feel that's rather more of a cop-out. And so I cling firmly to my belief that this is a psychological phenomenon (while not undermining its creative benefits, even were it proven to be the symptom of some kind of disorder) - also suspicious is the fact that the aliens often come for their previous abductees' children, which could suggest that the condition has a genetic origin. I wonder, now that alien abduction has passed largely out of the pop culture mindset, whether these repeated abductees are still enduring their experiences, and what the latest scientific discoveries may have to say about it.
Communion is really a rather unique alien abduction story, more well-rounded than say Fire In The Sky, which focuses on the horror of a single abduction - though I still prefer the latter approach. It is unfortunately a bit dated due not just to the nature of the theme, but that it is steeped in the culture of the late eighties during which it takes place (amazing that fashion was that bad only just over two decades ago). The acting at times feels a little choppy, and the stress between Whitley and his wife, while a significant source of drama for the story, is a bit strained - especially when their conflict is due to a simple lack of communication. I know it's hard to make sense of being abducted by aliens. Dealing with it means coming to terms with the fact that you're either going insane, or there are inhuman beings taking you from your bed at night to perform experiments on you so terrifying your mind is trying really hard not to remember them. And if the latter, everyone else is going to think you're insane, anyway. But it's something you have to figure out together, with your significant other and/or loved ones - not something you should try to hide and ignore, pretending like nothing is happening.
In the end, there are relatively few stories about the alien abduction experience, and while most of them claim to be based on true stories (not unlike the majority of exorcism movies), precious few are as close to the source material as Communion presumably is. So though it's a bit of a head-scratcher at times, it is however also genuinely frightening at others, and while it doesn't provide any of the answers you weren't expecting to get anyway (because nobody really has them), it does try to contextualize the abduction phenomenon in a way that attempts to make it significant, rather than merely curious and scary. It may not actually make a whole lot of sense, but it ends up feeling meaningful. Even if you still wouldn't want it happening to you in a million years.
Thursday, November 24, 2011
Alien Abduction: Incident in Lake County (1998)
I first saw Alien Abduction: Incident in Lake County several years ago - presumably during its original run on UPN. The broadcast version consisted of clips from the offending tape (that depicts a family's standoff against an extraterrestrial home invasion), interspersed with interviews and opinions with experts in a variety of fields, discussing whether the tapes were genuine or a hoax, and the implications of either. I imagine that was more or less around the time when I was at the height of my alien abduction paranoia (as was most of our culture, I bet), and probably not far removed from my late born obsession with The X-Files. When I saw Incident in Lake County on TV, I honestly didn't know whether it was real or fake, and it scared the shit out of me. Mesmerized, I ordered the VHS tape of the broadcast, and it still sits in a drawer in my room to this day (though I'm not sure I still have a working VCR).
Lately, my attention has turned to the title again, and I was reminded of the uncut original footage from which were drawn the clips that appear in the television broadcast. Having never seen the entirety of the original tape, I tracked it down (an infinitely easier task with the modern power of the internet at my fingertips) for viewing, to get myself prepped for Thanksgiving dinner. You see, in the tape, the McPherson family (who would allegedly go missing by the end of the night) is just about to sit down to their own Thanksgiving dinner before things start to get really frightening. Tommy McPherson is a young guy who aspires to be a director (though you wouldn't know it from his 'home movie' approach to recording the night - unless, that is, he intends to be a documentary filmmaker), and he records with enthusiasm what starts out as a family holiday gathering, but ends up as a document that could prove not only that extraterrestrial life exists and has come to earth, but that they apparently don't have much concern for the value of human life.
The fun starts when an unexpected flash of lightning (on a dry night) knocks out the power. But when a few of the men in the family head out to investigate the nearby power converter, they find something unbelievable - what appears to be an alien spacecraft landed in the woods, and there are alien beings wandering nearby, performing some kind of experiment on a cow with a red laser. The aliens spot the curious McPhersons, and turn their heat ray on them, prompting them to run screaming back to the house. The rest of the family doesn't believe their story at first - until they rewind Tommy's tape. But things only get worse from there, as the aliens - whose motivations we can only guess at, but one might suppose that they don't like being interrupted during their chupacabra routine - lay siege to the McPherson's farmhouse, one of them even crawling in through an upstairs window, and torture them psychologically via an array of fear tactics before ultimately taking them away to a fate Tommy's camera does not record.
It's a wonder that Alien Abduction: Incident in Lake County is scary at all, because it's so obviously fake. The acting is terrible, and the fx are frequently laughable. When I was younger, the fact that the abduction scenario played out subtly differently than what we'd seen in other pop culture depictions, yet while covering all the expected bases, contributed to my suspicion that it could be real. After all, everything else we'd seen was a dramatization - maybe this was what it really looked like. Now, with the benefit of experience and insight, I can tell that the tape is so obviously faked, and I actually think it would be more effective if it took a few less liberties, seeing as the liberties it takes come most often in the form of really cheap effects, rather than clever changes to the formula. On the other hand, I do enjoy the more aggressive approach of these aliens, who seem to prefer besieging an entire family while awake to picking off individuals in their sleep without, in many cases, leaving much of a lasting memory (at least not until years later, after undergoing hypnosis). It may be less stereotypically alien behavior, but it is at least fresh.
But as I said, Incident in Lake County is a wonder, because it still manages to be scary, in spite of the aliens dressed like cat burglars, whose primary weapon seems to be a flashlight with red cellophane stretched over the bulb. This is one of those cases where the fear of the unknown exceeds the terror of the thing one fears. The aliens are more menacing at a distance, or lurking in the shadows, shuffling quickly past windows in the background, than when they take center stage. The whole of Alien Abduction plays on a very conceptual fear, and the ideas that it invokes are far scarier than the scenes that it renders, which is probably why it's so effective in spite of its low-fi fx. The scariest scene - the scene in the bedroom - had my skin crawling thinking about it before it happened (and it's got my skin crawling again just thinking about it again) so much that I was actually afraid to watch it and momentarily considered shutting the tape off to avoid it. Seriously, watching a film like this one just doesn't feel safe, like 99% of movies are. But when it actually happened - though it's still a pretty scary scene, and probably one of the more effective on the tape - it wasn't a fraction as terrifying as I was anticipating. Strange how that works, that the anticipation will affect you more than the experience itself. Proof that your mind is your most intimidating enemy after all?
So as a found footage film, Alien Abduction: Incident in Lake County - the full tape and not the television broadcast - works pretty well, in the sense that it's very low budget and not particularly sophisticated, but that it effectively plays on some very visceral fears. I'm sure not everyone will agree, just as some people don't find Paranormal Activity the least bit scary, though I consider it one of the scariest films I have ever seen. If the concept of a found footage alien abduction movie doesn't particularly disturb you, then you might simply see it as a low quality, laughably bad flop. I wonder how I would feel if this were a similar quality movie about a different subject - say, a science experiment to resurrect an extinct carnivorous dinosaur. Hey, it might still have some merit. ;-)
Anyway, now I have other matters to attend to. I'm going to try my hardest not to think about aliens as I climb into bed (a futile task, I know), lest I get no sleep at all to prepare me for this year's turkey dinner. Happy Thanksgiving, loyal readers. :p
Lately, my attention has turned to the title again, and I was reminded of the uncut original footage from which were drawn the clips that appear in the television broadcast. Having never seen the entirety of the original tape, I tracked it down (an infinitely easier task with the modern power of the internet at my fingertips) for viewing, to get myself prepped for Thanksgiving dinner. You see, in the tape, the McPherson family (who would allegedly go missing by the end of the night) is just about to sit down to their own Thanksgiving dinner before things start to get really frightening. Tommy McPherson is a young guy who aspires to be a director (though you wouldn't know it from his 'home movie' approach to recording the night - unless, that is, he intends to be a documentary filmmaker), and he records with enthusiasm what starts out as a family holiday gathering, but ends up as a document that could prove not only that extraterrestrial life exists and has come to earth, but that they apparently don't have much concern for the value of human life.
The fun starts when an unexpected flash of lightning (on a dry night) knocks out the power. But when a few of the men in the family head out to investigate the nearby power converter, they find something unbelievable - what appears to be an alien spacecraft landed in the woods, and there are alien beings wandering nearby, performing some kind of experiment on a cow with a red laser. The aliens spot the curious McPhersons, and turn their heat ray on them, prompting them to run screaming back to the house. The rest of the family doesn't believe their story at first - until they rewind Tommy's tape. But things only get worse from there, as the aliens - whose motivations we can only guess at, but one might suppose that they don't like being interrupted during their chupacabra routine - lay siege to the McPherson's farmhouse, one of them even crawling in through an upstairs window, and torture them psychologically via an array of fear tactics before ultimately taking them away to a fate Tommy's camera does not record.
It's a wonder that Alien Abduction: Incident in Lake County is scary at all, because it's so obviously fake. The acting is terrible, and the fx are frequently laughable. When I was younger, the fact that the abduction scenario played out subtly differently than what we'd seen in other pop culture depictions, yet while covering all the expected bases, contributed to my suspicion that it could be real. After all, everything else we'd seen was a dramatization - maybe this was what it really looked like. Now, with the benefit of experience and insight, I can tell that the tape is so obviously faked, and I actually think it would be more effective if it took a few less liberties, seeing as the liberties it takes come most often in the form of really cheap effects, rather than clever changes to the formula. On the other hand, I do enjoy the more aggressive approach of these aliens, who seem to prefer besieging an entire family while awake to picking off individuals in their sleep without, in many cases, leaving much of a lasting memory (at least not until years later, after undergoing hypnosis). It may be less stereotypically alien behavior, but it is at least fresh.
But as I said, Incident in Lake County is a wonder, because it still manages to be scary, in spite of the aliens dressed like cat burglars, whose primary weapon seems to be a flashlight with red cellophane stretched over the bulb. This is one of those cases where the fear of the unknown exceeds the terror of the thing one fears. The aliens are more menacing at a distance, or lurking in the shadows, shuffling quickly past windows in the background, than when they take center stage. The whole of Alien Abduction plays on a very conceptual fear, and the ideas that it invokes are far scarier than the scenes that it renders, which is probably why it's so effective in spite of its low-fi fx. The scariest scene - the scene in the bedroom - had my skin crawling thinking about it before it happened (and it's got my skin crawling again just thinking about it again) so much that I was actually afraid to watch it and momentarily considered shutting the tape off to avoid it. Seriously, watching a film like this one just doesn't feel safe, like 99% of movies are. But when it actually happened - though it's still a pretty scary scene, and probably one of the more effective on the tape - it wasn't a fraction as terrifying as I was anticipating. Strange how that works, that the anticipation will affect you more than the experience itself. Proof that your mind is your most intimidating enemy after all?
So as a found footage film, Alien Abduction: Incident in Lake County - the full tape and not the television broadcast - works pretty well, in the sense that it's very low budget and not particularly sophisticated, but that it effectively plays on some very visceral fears. I'm sure not everyone will agree, just as some people don't find Paranormal Activity the least bit scary, though I consider it one of the scariest films I have ever seen. If the concept of a found footage alien abduction movie doesn't particularly disturb you, then you might simply see it as a low quality, laughably bad flop. I wonder how I would feel if this were a similar quality movie about a different subject - say, a science experiment to resurrect an extinct carnivorous dinosaur. Hey, it might still have some merit. ;-)
Anyway, now I have other matters to attend to. I'm going to try my hardest not to think about aliens as I climb into bed (a futile task, I know), lest I get no sleep at all to prepare me for this year's turkey dinner. Happy Thanksgiving, loyal readers. :p
Saturday, November 7, 2009
The Fourth Kind (2009)
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
I want to say that The Fourth Kind is not perfect, but I found it to be both effective, and terrifying. And it is, without a doubt, essential viewing for alien abduction enthusiasts. The story focuses on psychologist Dr. Abbey Tyler's personal experiences with the paranormal in her home town of remote Nome, Alaska, where several individuals had allegedly been abducted in their sleep on multiple occasions. The film opens with a frank scene featuring Milla Jovovich, who steps out of her character (she plays Dr. Tyler) and explains the role of the film, as a dramatization of actual events (supported by some supposed actual footage), the point of which is to present the facts of this strange case - allowing you, the viewer, to come to your own conclusions as to what, ultimately, to believe.
And this is the unique approach of this film. Instead of going documentary style and presenting almost exclusively archival footage, or, on the other extreme, going complete dramatization as if to say, 'here is, essentially, what happened', this film mixes the two - going so far as to juxtapose them simultaneously at times. There are scenes where the screen is split, with archival footage being shown on one half, and the corresponding dramatization on the other. In my estimation, the goal of this approach is to drive home the point that the dramatizations are faithful reproductions of the archival footage (perhaps to build firmer trust in the dramatizations), and to constantly reinforce the audience's acknowledgement that these events are true.
We'll ignore whether or not the archival footage is truly real, or also staged, as - though certainly up for debate - the viewing of the movie depends on the assumption that that footage is indeed real. Skepticism on that subject is certainly warranted when discussing whether or not the movie is "real", but allowing that skepticism to taint your suspension of disbelief during viewing is bound to decrease the effect, and your enjoyment, of the film.
Personally, I found the constant bashing over the audience's head of "this is real, this is real" to be highly suspect, actually decreasing my belief in the veracity of the film's claims. One would think that, even despite the skepticism surrounding the issue, if it were true, they wouldn't have to try quite so hard to convince you. Even so, I thought it was a unique approach, and it was interesting to compare the depictions - archival versus dramatized.
Begin Spoilers!
A few words about the plot. Through patient interviews, Dr. Tyler comes to the realization that something strange is going on in Nome, and that it may be related to her husband's recent death - he was apparently murdered in his sleep. Multiple patients report similar symptoms involving difficulty sleeping, and recollections of a white owl watching them from a window - and sometimes inside the room - while in bed. Dr. Tyler decides to try hypnotizing one of the patients to uncover the truth about these strange incidents, and during hypnosis, the patient comes to realize that what he saw was not an owl - and he subsequently goes into a fit of extreme terror. The realization of what he's been experiencing causes him to take drastic (and irreversible) measures in order to prevent it from happening again - and to the rest of his family.
Tension mounts as the good doctor discovers that she's been having the same experiences - and suspects that her husband had them also before he died - and the local sheriff begins to suspect her of foul play, considering the hysterical results of her patients' therapy - which brings up the conflict of wanting to put a face to one's fears at the potential risk of not being able to face up to that terrifying truth. Believe me, the idea of a thing being so terrifying that a person would rather die than live with the knowledge of it is indeed profoundly disturbing (and very Lovecraftian).
The movie tries to take a more or less "realistic" approach to the story - which fits in line with its attempt to convince the audience that it's all true. As a result, even with the dramatizations, which do take some liberties, for effect - although some of the archival footage itself is downright terrifying - we don't get to see (clearly) any actual aliens, nor do we get an exciting scene aboard a spacecraft. In other words, the movie doesn't take us with the abductees, but only shows the results of their experiences from our, Earthly, perspective.
This is disappointing, to be sure, but it would be wrong to think that this film doesn't offer any goods. I was kind of perturbed by the way that they blurred the line between hypnosis and actual abduction. Hypnosis is supposed to just be a memory of the abduction, but here, it's almost portrayed as a repeat occurrence of the abduction. Which is odd because that would almost seem to support the theory that alien abduction is all in the head - which is contrary to the film's obvious purpose of putting forth the alien theory of these occurrences.
Anyway, since from a realistic perspective, it's easier to video-tape hypnosis sessions than actual abductions, it works in the context of the film, but I did find it strange that they used hypnosis almost as a call for the aliens to do their thing. The ole, "I have to talk with them, put me under!" trick. Anyway, we do get to see some terrifying stuff, including plenty of screaming, vague hints of painful medical experiments (again, more from the "see the effects, imagine the causes" angle), some levitation (though not as impressive as seeing a guy lifted up through a beam of light into a spacecraft), and we even get to hear the alien(s) voice, as it relays some very disturbing messages (initially in ancient Sumerian).
End Spoilers!
Altogether, what this adds up to is a very good movie, which nevertheless leaves me feeling a bit unfulfilled, as in, wanting more. All the more reason to pair it up with other alien fare, for an even better entertainment experience. There are a lot of films about extraterrestrial life - the search, contact, etc. - but few, that I am aware of, that deal directly with this specific style of alien abduction phenomenon. I recommend copious viewings of classic episodes of The X-Files - especially (but certainly not exclusively) Duane Barry, of which I was reminded multiple times while watching The Fourth Kind. But, ultimately, for the double feature, I would pair it up with no less than the ultimate title in alien abduction terror - Fire In The Sky.
(Recommendations for other alien abduction movies that I may not have seen are greatly appreciated. ;)
I want to say that The Fourth Kind is not perfect, but I found it to be both effective, and terrifying. And it is, without a doubt, essential viewing for alien abduction enthusiasts. The story focuses on psychologist Dr. Abbey Tyler's personal experiences with the paranormal in her home town of remote Nome, Alaska, where several individuals had allegedly been abducted in their sleep on multiple occasions. The film opens with a frank scene featuring Milla Jovovich, who steps out of her character (she plays Dr. Tyler) and explains the role of the film, as a dramatization of actual events (supported by some supposed actual footage), the point of which is to present the facts of this strange case - allowing you, the viewer, to come to your own conclusions as to what, ultimately, to believe.
And this is the unique approach of this film. Instead of going documentary style and presenting almost exclusively archival footage, or, on the other extreme, going complete dramatization as if to say, 'here is, essentially, what happened', this film mixes the two - going so far as to juxtapose them simultaneously at times. There are scenes where the screen is split, with archival footage being shown on one half, and the corresponding dramatization on the other. In my estimation, the goal of this approach is to drive home the point that the dramatizations are faithful reproductions of the archival footage (perhaps to build firmer trust in the dramatizations), and to constantly reinforce the audience's acknowledgement that these events are true.
We'll ignore whether or not the archival footage is truly real, or also staged, as - though certainly up for debate - the viewing of the movie depends on the assumption that that footage is indeed real. Skepticism on that subject is certainly warranted when discussing whether or not the movie is "real", but allowing that skepticism to taint your suspension of disbelief during viewing is bound to decrease the effect, and your enjoyment, of the film.
Personally, I found the constant bashing over the audience's head of "this is real, this is real" to be highly suspect, actually decreasing my belief in the veracity of the film's claims. One would think that, even despite the skepticism surrounding the issue, if it were true, they wouldn't have to try quite so hard to convince you. Even so, I thought it was a unique approach, and it was interesting to compare the depictions - archival versus dramatized.
Begin Spoilers!
A few words about the plot. Through patient interviews, Dr. Tyler comes to the realization that something strange is going on in Nome, and that it may be related to her husband's recent death - he was apparently murdered in his sleep. Multiple patients report similar symptoms involving difficulty sleeping, and recollections of a white owl watching them from a window - and sometimes inside the room - while in bed. Dr. Tyler decides to try hypnotizing one of the patients to uncover the truth about these strange incidents, and during hypnosis, the patient comes to realize that what he saw was not an owl - and he subsequently goes into a fit of extreme terror. The realization of what he's been experiencing causes him to take drastic (and irreversible) measures in order to prevent it from happening again - and to the rest of his family.
Tension mounts as the good doctor discovers that she's been having the same experiences - and suspects that her husband had them also before he died - and the local sheriff begins to suspect her of foul play, considering the hysterical results of her patients' therapy - which brings up the conflict of wanting to put a face to one's fears at the potential risk of not being able to face up to that terrifying truth. Believe me, the idea of a thing being so terrifying that a person would rather die than live with the knowledge of it is indeed profoundly disturbing (and very Lovecraftian).
The movie tries to take a more or less "realistic" approach to the story - which fits in line with its attempt to convince the audience that it's all true. As a result, even with the dramatizations, which do take some liberties, for effect - although some of the archival footage itself is downright terrifying - we don't get to see (clearly) any actual aliens, nor do we get an exciting scene aboard a spacecraft. In other words, the movie doesn't take us with the abductees, but only shows the results of their experiences from our, Earthly, perspective.
This is disappointing, to be sure, but it would be wrong to think that this film doesn't offer any goods. I was kind of perturbed by the way that they blurred the line between hypnosis and actual abduction. Hypnosis is supposed to just be a memory of the abduction, but here, it's almost portrayed as a repeat occurrence of the abduction. Which is odd because that would almost seem to support the theory that alien abduction is all in the head - which is contrary to the film's obvious purpose of putting forth the alien theory of these occurrences.
Anyway, since from a realistic perspective, it's easier to video-tape hypnosis sessions than actual abductions, it works in the context of the film, but I did find it strange that they used hypnosis almost as a call for the aliens to do their thing. The ole, "I have to talk with them, put me under!" trick. Anyway, we do get to see some terrifying stuff, including plenty of screaming, vague hints of painful medical experiments (again, more from the "see the effects, imagine the causes" angle), some levitation (though not as impressive as seeing a guy lifted up through a beam of light into a spacecraft), and we even get to hear the alien(s) voice, as it relays some very disturbing messages (initially in ancient Sumerian).
End Spoilers!
Altogether, what this adds up to is a very good movie, which nevertheless leaves me feeling a bit unfulfilled, as in, wanting more. All the more reason to pair it up with other alien fare, for an even better entertainment experience. There are a lot of films about extraterrestrial life - the search, contact, etc. - but few, that I am aware of, that deal directly with this specific style of alien abduction phenomenon. I recommend copious viewings of classic episodes of The X-Files - especially (but certainly not exclusively) Duane Barry, of which I was reminded multiple times while watching The Fourth Kind. But, ultimately, for the double feature, I would pair it up with no less than the ultimate title in alien abduction terror - Fire In The Sky.
(Recommendations for other alien abduction movies that I may not have seen are greatly appreciated. ;)
Tuesday, October 30, 2007
The Best Horror Movies of All Time
Note: This feature was originally posted on Myspace. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
The Best Horror Movies of All Time!
I wasn't a huge horror fan growing up. Other kids my age would talk about all these scary movies they'd watch - Texas Chainsaw Massacre is one I specifically remember them mentioning - but I was always out of the loop. It's not that I had a specific aversion to horror, it's just that, like many things in my childhood, the opportunity never really presented itself to me. And I wasn't really the type to carpe the diem.
At the ripe old age of 18ish, my horror obsession began to bloom (along with other things). It wasn't my first exposure to horror cinema, but it did mark a turning point where I slowly began to recognize my interest in the genre, and gradually began to associate myself with the term "horror fan". I like to attribute this change to the movie 28 Days Later, but in truth there were other films that played an important role. Still, seeing 28 Days Later was an iconic moment for me. It helps that I saw it in the theatre, and that it was such a damn good movie.
So enough of the background, whether you're already aware of my love of horror or not, you might be asking yourself, particularly at this time of the year, "what is zharth's favorite horror movies?" Well, you're in luck, because I'm about to tell you! Comments are appreciated. Feel free to make a list of your own, as well. After all, it's Shocktober, and this is what the month's all about!
Jacob's Ladder (1990)
Although this list isn't specifically in order, this movie tops it by default, being not only one of my favorite horror movies, but one of my all-time favorite movies, period. I first saw it on television one October during high school age. I actually missed the very beginning, but from the strobe light dance rave scene, I was hooked. The movie is just fantastic. The atmosphere throughout is beautifully creepy. The demons are so well done...the problem with a lot of monster movies is that the monsters are either not scary, or look obviously fake. The demons in Jacob's Ladder are both real and terrifying. Plus, the whole movie is very artistically shot. And the psychological angle plays with your mind, something I thoroughly enjoy when I want to be entertained. I liked this movie for a lot of the same reasons I later became attached to the Silent Hill video game franchise. Psychological demon horror. And the issues of life and death and what to believe, who to trust. Masterpiece. One of my favorite non-demon scenes is when Jacob is lying in the bathtub, and the camera ever so slowly pans outward. Beautiful.
Aliens Trilogy (1979/1986/1992)
Here's the bottom line: I had serious nightmares about xenomorphs throughout my childhood. Maybe I'm making a leap here, but it might actually have something to do with the insomniac symptoms I sometimes experience. There was a period when I was deathly afraid of being the last person to fall asleep. That feeling of being alone, like as if the people sleeping were as good as dead, or just nonexistant. It was rather frightening. Course, now I feel great comfort in being the only person awake or around at any given time. I do still have a bothersome fear of arachnids, however, and I'm not 100% sure if it's a result of the xenomorphs or vice-versa. Bottom line is, xenomorphs freaked me out.
I have only a vague recollection of watching Alien for the first time. It must have been a summer evening, because I remember it was light out pretty late, until after dinner. Alien came on, I think before it even got dark, and I watched it in the living room. I don't remember much more about that experience, but when I think back on the way I used to view the Alien films, I can feel the fear deep in my gut. Even if it's not an entirely pleasant feeling, I respect things that can make me feel so strongly. As much as it scared me, I don't remember ever actually hating the films. I quite loved the sequel. And was still very scared by it.
Nowadays, though it's still pretty creepy, it doesn't freak me out near as much, but I can still respect it as a masterpiece of sci-fi horror. It goes back to that whole believability thing. The sci-fi atmosphere - in that ship, on the planet, the aliens themselves - they don't look or feel like sci-fi toys. And the seriousness of it all - this isn't a bunch of geeks getting off to wild hallucinated fantasies of intergalactic travel and bizarre alien lifeforms - this is seriously scary shit. I've probably always respected that aspect of it, too, even if not always consciously. H.R. Giger absolutely deserves some credit here. I still consider the xenomorph to be the perfect lifeform - in terms of perfect terror.
28 Days/Weeks Later (2002/2007)
There are very few films that I can credit for single-handedly getting me interested in a whole new musical genre. 28 Days Later introduced me to "post-rock", via the Sad Mafioso portion of East Hastings, a song by Godspeed You! Black Emperor used in the film's best scene. A man wakes up in a hospital, apparently coming out of a coma. The building is completely abandoned. Not a soul around. It's quiet. The man goes outside. The whole city is dead. Like as if everyone had just vanished. The man walks through town, not finding any life or signs of life, but finding clues that something very terrible has happened. And he managed to survive through it, while unconscious. Only to waken to an empty, lifeless, post-apocalyptic world. Panic sets in. Then he finds signs of life. But that's when the true terror begins.
A truly brilliant movie, which raises the bar impossibly high for the sub-genre of zombie horror. Even so, the sequel was every bit as good. Maybe even better. And a third installment is planned for sometime in the future. I hope to one day be able to refer to "the 28 trilogy" alongside "the aliens trilogy", but until then, these are two truly great horror movies for my collection.
John Carpenter's The Thing (1982)
Quite possibly the greatest movie remake ever made. Stranded in an antarctic research facility with an unknown terror, likely not from this earth. That's a good start for a horror film, but what really makes this move unique is a combination of two factors, among other things. The first is the special effects. Some might say they went a little overboard, but I think the fx are not only iconic, terrifying, and memorable, but also suit the nature of The Thing perfectly. The other factor that serves this movie is the paranoia. Being cooped up for extended periods at the ends of the earth is one thing, but having to face a monster that has no true form, and can perfectly imitate other life forms, really tests your trust in the people around you. Any one of them could be a monster, and they wouldn't know, until it's too late. This is definitely my favorite of John Carpenter's films.
The Descent (2005)
Spelunking can be quite terrifying on its own, when things go wrong. Being stuck below the ground, afraid that your lights will run out, and that you'll be buried alive. Throw in an underground colony of carnivorous cave-creeps, and you've got yourself a horror movie. Better yet, The Descent boasts a nearly all-female cast. There's even a psychological aspect which parallels the descent into the earth with a descent into madness. This film is a sparkling jewel of modern horror.
Hellraiser (1987)
I only saw this movie and the first of its sequels a year ago, but I really dig its style. Sadomasochistic demons who are summoned from hell by solving a puzzle box called the Lament Configuration, to give the solver a chance to experience the ultimate in pain and pleasure. Awesome. These demons, the Cenobytes, are considered angels by some, demons to others. It's only a matter of perspective. Most well-adjusted citizens would consider them demons, however. The design of the Cenobytes (including the iconic Pinhead) as well as 'The Engineer' are awesomely creepy. Sometimes it just comes down to a matter of style, and I like Hellraiser's attitude. (P.S. You might as well throw in the sequel, Hellbound, as it's required viewing for any Hellraiser fan - I still, regrettably, haven't seen the rest of the titles in the series, though).
The Exorcist (1973)
I still remember the first time I saw this film. I was relatively young. I remember staying in the house, probably on Halloween night, maybe after trick 'r treating, and watching some horror movies that my mom had picked out for us. I remember watching The Exorcist that night. All I can remember thinking about it, after it was finished, was how gruesome it was. I didn't necessarily register it as a "good" movie at the time, but I was absolutely affected by it, and I respected its ability to thoroughly shake up the core of my being. I had never seen a film anything like that before. A lot of people praise this movie, and rightfully so. It manages to pull off the religious horror angle flawlessly. Very disturbing.
The Blair Witch Project (1999)
A lot of people give this movie flak, but for me, the bottom line is that I thought it was terrifying. It might not be so scary if I sat down and watched it again, but first impressions are the most important, right? Being out in the middle of the woods, in the dark, and hearing strange noises, then having people disappear. That kind of situation speaks to me. Anyone who's ever been camping before, sleeping in tents, sitting around the campfire at night, particularly as an impressionable child, can identify with the fear that the Blair Witch Project invokes. And at its heart, it's an exhibition of the fear of the unknown. A true "let your imagination fill in the scary bits" kind of film. And even if it wasn't actually real, it did feel more real than most horror movies do.
Fire In The Sky (1993)
I don't know just how many alien abduction movies there are. In fact, I'd be willing to bet there are plenty more "space invaders" type alien movies than alien abduction types. But I suppose that's irrelevant. It seems to have cooled off mostly, but there was a period of time, I wanna say it was focused around the 90's (probably concurrent with the X-Files phenomenon), that a specific kind of alien scare was prevalent. The fear of being abducted, taken right out of your bed at night, and being subjected to horrifying experiments while in the presence of strange beings that look almost like man, but different enough to freak you out. And the fact that all of this could even happen without you remembering it, until those memories resurface, perhaps during hypnosis. Yeah, it's pretty far-fetched, but there was a time when it didn't seem so unreal. At least not to me. And it was, at one time, one of my biggest fears. Once again, I don't know if seeing Fire In The Sky prompted that, or if the movie was so frightening because of that fear, but the end result is that this movie terrified me more than most I saw during my childhood. I couldn't even look at the aliens for fear of their faces haunting my dreams. And the most unsettling part is that the movie was allegedly based on a true story...
Jurassic Park (1993)
I know it feels more like a "big Hollywood action/adventure" type movie than a horror movie, but if Jaws counts as horror, then so too does Jurassic Park. Besides, at least for a child, Jurassic Park was pretty darn scary. It was also one of the films that I saw the most times in the theatre. I don't remember what the count was, but I must have seen it at least 8 times while it was still running. Dinosaurs can be pretty scary, and this is probably the most well-made dinosaur film I've ever seen.
Carnosaur (1993) [and quite possibly its sequels]
It would be unfair to list Jurassic Park and not mention Carnosaur. Carnosaur is almost certainly scarier, but I didn't have the advantage of seeing it at the same young age I saw Jurassic Park. Even though its budget can't compare to that of JP, Carnosaur is pretty damn awesome for a B movie. And its dinosaurs are first and foremost horror creatures, and only secondarily prehistoric lifeforms. I need to watch these movies again.
And at this point, the horror titles start coming up in your memory faster and faster - too fast to comment on them all - and you realize that you've probably listed the cream of the crop already anyway. So I'll finish it with a brief Honorable Mentions list.
Honorable Mentions:
Black Christmas (1974)
Halloween (1978)
Night of the Living Dead (1968)
A Nightmare on Elm Street (1984)
Friday The 13th (1980)
Carrie (1976)
The Shining (1980)
Night of the Lepus (1972)
The Amityville Horror (1979)
Ju-on/The Grudge (2002)
I hereby reserve the right to glaring omissions.
The Best Horror Movies of All Time!
I wasn't a huge horror fan growing up. Other kids my age would talk about all these scary movies they'd watch - Texas Chainsaw Massacre is one I specifically remember them mentioning - but I was always out of the loop. It's not that I had a specific aversion to horror, it's just that, like many things in my childhood, the opportunity never really presented itself to me. And I wasn't really the type to carpe the diem.
At the ripe old age of 18ish, my horror obsession began to bloom (along with other things). It wasn't my first exposure to horror cinema, but it did mark a turning point where I slowly began to recognize my interest in the genre, and gradually began to associate myself with the term "horror fan". I like to attribute this change to the movie 28 Days Later, but in truth there were other films that played an important role. Still, seeing 28 Days Later was an iconic moment for me. It helps that I saw it in the theatre, and that it was such a damn good movie.
So enough of the background, whether you're already aware of my love of horror or not, you might be asking yourself, particularly at this time of the year, "what is zharth's favorite horror movies?" Well, you're in luck, because I'm about to tell you! Comments are appreciated. Feel free to make a list of your own, as well. After all, it's Shocktober, and this is what the month's all about!
Jacob's Ladder (1990)
Although this list isn't specifically in order, this movie tops it by default, being not only one of my favorite horror movies, but one of my all-time favorite movies, period. I first saw it on television one October during high school age. I actually missed the very beginning, but from the strobe light dance rave scene, I was hooked. The movie is just fantastic. The atmosphere throughout is beautifully creepy. The demons are so well done...the problem with a lot of monster movies is that the monsters are either not scary, or look obviously fake. The demons in Jacob's Ladder are both real and terrifying. Plus, the whole movie is very artistically shot. And the psychological angle plays with your mind, something I thoroughly enjoy when I want to be entertained. I liked this movie for a lot of the same reasons I later became attached to the Silent Hill video game franchise. Psychological demon horror. And the issues of life and death and what to believe, who to trust. Masterpiece. One of my favorite non-demon scenes is when Jacob is lying in the bathtub, and the camera ever so slowly pans outward. Beautiful.
Aliens Trilogy (1979/1986/1992)
Here's the bottom line: I had serious nightmares about xenomorphs throughout my childhood. Maybe I'm making a leap here, but it might actually have something to do with the insomniac symptoms I sometimes experience. There was a period when I was deathly afraid of being the last person to fall asleep. That feeling of being alone, like as if the people sleeping were as good as dead, or just nonexistant. It was rather frightening. Course, now I feel great comfort in being the only person awake or around at any given time. I do still have a bothersome fear of arachnids, however, and I'm not 100% sure if it's a result of the xenomorphs or vice-versa. Bottom line is, xenomorphs freaked me out.
I have only a vague recollection of watching Alien for the first time. It must have been a summer evening, because I remember it was light out pretty late, until after dinner. Alien came on, I think before it even got dark, and I watched it in the living room. I don't remember much more about that experience, but when I think back on the way I used to view the Alien films, I can feel the fear deep in my gut. Even if it's not an entirely pleasant feeling, I respect things that can make me feel so strongly. As much as it scared me, I don't remember ever actually hating the films. I quite loved the sequel. And was still very scared by it.
Nowadays, though it's still pretty creepy, it doesn't freak me out near as much, but I can still respect it as a masterpiece of sci-fi horror. It goes back to that whole believability thing. The sci-fi atmosphere - in that ship, on the planet, the aliens themselves - they don't look or feel like sci-fi toys. And the seriousness of it all - this isn't a bunch of geeks getting off to wild hallucinated fantasies of intergalactic travel and bizarre alien lifeforms - this is seriously scary shit. I've probably always respected that aspect of it, too, even if not always consciously. H.R. Giger absolutely deserves some credit here. I still consider the xenomorph to be the perfect lifeform - in terms of perfect terror.
28 Days/Weeks Later (2002/2007)
There are very few films that I can credit for single-handedly getting me interested in a whole new musical genre. 28 Days Later introduced me to "post-rock", via the Sad Mafioso portion of East Hastings, a song by Godspeed You! Black Emperor used in the film's best scene. A man wakes up in a hospital, apparently coming out of a coma. The building is completely abandoned. Not a soul around. It's quiet. The man goes outside. The whole city is dead. Like as if everyone had just vanished. The man walks through town, not finding any life or signs of life, but finding clues that something very terrible has happened. And he managed to survive through it, while unconscious. Only to waken to an empty, lifeless, post-apocalyptic world. Panic sets in. Then he finds signs of life. But that's when the true terror begins.
A truly brilliant movie, which raises the bar impossibly high for the sub-genre of zombie horror. Even so, the sequel was every bit as good. Maybe even better. And a third installment is planned for sometime in the future. I hope to one day be able to refer to "the 28 trilogy" alongside "the aliens trilogy", but until then, these are two truly great horror movies for my collection.
John Carpenter's The Thing (1982)
Quite possibly the greatest movie remake ever made. Stranded in an antarctic research facility with an unknown terror, likely not from this earth. That's a good start for a horror film, but what really makes this move unique is a combination of two factors, among other things. The first is the special effects. Some might say they went a little overboard, but I think the fx are not only iconic, terrifying, and memorable, but also suit the nature of The Thing perfectly. The other factor that serves this movie is the paranoia. Being cooped up for extended periods at the ends of the earth is one thing, but having to face a monster that has no true form, and can perfectly imitate other life forms, really tests your trust in the people around you. Any one of them could be a monster, and they wouldn't know, until it's too late. This is definitely my favorite of John Carpenter's films.
The Descent (2005)
Spelunking can be quite terrifying on its own, when things go wrong. Being stuck below the ground, afraid that your lights will run out, and that you'll be buried alive. Throw in an underground colony of carnivorous cave-creeps, and you've got yourself a horror movie. Better yet, The Descent boasts a nearly all-female cast. There's even a psychological aspect which parallels the descent into the earth with a descent into madness. This film is a sparkling jewel of modern horror.
Hellraiser (1987)
I only saw this movie and the first of its sequels a year ago, but I really dig its style. Sadomasochistic demons who are summoned from hell by solving a puzzle box called the Lament Configuration, to give the solver a chance to experience the ultimate in pain and pleasure. Awesome. These demons, the Cenobytes, are considered angels by some, demons to others. It's only a matter of perspective. Most well-adjusted citizens would consider them demons, however. The design of the Cenobytes (including the iconic Pinhead) as well as 'The Engineer' are awesomely creepy. Sometimes it just comes down to a matter of style, and I like Hellraiser's attitude. (P.S. You might as well throw in the sequel, Hellbound, as it's required viewing for any Hellraiser fan - I still, regrettably, haven't seen the rest of the titles in the series, though).
The Exorcist (1973)
I still remember the first time I saw this film. I was relatively young. I remember staying in the house, probably on Halloween night, maybe after trick 'r treating, and watching some horror movies that my mom had picked out for us. I remember watching The Exorcist that night. All I can remember thinking about it, after it was finished, was how gruesome it was. I didn't necessarily register it as a "good" movie at the time, but I was absolutely affected by it, and I respected its ability to thoroughly shake up the core of my being. I had never seen a film anything like that before. A lot of people praise this movie, and rightfully so. It manages to pull off the religious horror angle flawlessly. Very disturbing.
The Blair Witch Project (1999)
A lot of people give this movie flak, but for me, the bottom line is that I thought it was terrifying. It might not be so scary if I sat down and watched it again, but first impressions are the most important, right? Being out in the middle of the woods, in the dark, and hearing strange noises, then having people disappear. That kind of situation speaks to me. Anyone who's ever been camping before, sleeping in tents, sitting around the campfire at night, particularly as an impressionable child, can identify with the fear that the Blair Witch Project invokes. And at its heart, it's an exhibition of the fear of the unknown. A true "let your imagination fill in the scary bits" kind of film. And even if it wasn't actually real, it did feel more real than most horror movies do.
Fire In The Sky (1993)
I don't know just how many alien abduction movies there are. In fact, I'd be willing to bet there are plenty more "space invaders" type alien movies than alien abduction types. But I suppose that's irrelevant. It seems to have cooled off mostly, but there was a period of time, I wanna say it was focused around the 90's (probably concurrent with the X-Files phenomenon), that a specific kind of alien scare was prevalent. The fear of being abducted, taken right out of your bed at night, and being subjected to horrifying experiments while in the presence of strange beings that look almost like man, but different enough to freak you out. And the fact that all of this could even happen without you remembering it, until those memories resurface, perhaps during hypnosis. Yeah, it's pretty far-fetched, but there was a time when it didn't seem so unreal. At least not to me. And it was, at one time, one of my biggest fears. Once again, I don't know if seeing Fire In The Sky prompted that, or if the movie was so frightening because of that fear, but the end result is that this movie terrified me more than most I saw during my childhood. I couldn't even look at the aliens for fear of their faces haunting my dreams. And the most unsettling part is that the movie was allegedly based on a true story...
Jurassic Park (1993)
I know it feels more like a "big Hollywood action/adventure" type movie than a horror movie, but if Jaws counts as horror, then so too does Jurassic Park. Besides, at least for a child, Jurassic Park was pretty darn scary. It was also one of the films that I saw the most times in the theatre. I don't remember what the count was, but I must have seen it at least 8 times while it was still running. Dinosaurs can be pretty scary, and this is probably the most well-made dinosaur film I've ever seen.
Carnosaur (1993) [and quite possibly its sequels]
It would be unfair to list Jurassic Park and not mention Carnosaur. Carnosaur is almost certainly scarier, but I didn't have the advantage of seeing it at the same young age I saw Jurassic Park. Even though its budget can't compare to that of JP, Carnosaur is pretty damn awesome for a B movie. And its dinosaurs are first and foremost horror creatures, and only secondarily prehistoric lifeforms. I need to watch these movies again.
And at this point, the horror titles start coming up in your memory faster and faster - too fast to comment on them all - and you realize that you've probably listed the cream of the crop already anyway. So I'll finish it with a brief Honorable Mentions list.
Honorable Mentions:
Black Christmas (1974)
Halloween (1978)
Night of the Living Dead (1968)
A Nightmare on Elm Street (1984)
Friday The 13th (1980)
Carrie (1976)
The Shining (1980)
Night of the Lepus (1972)
The Amityville Horror (1979)
Ju-on/The Grudge (2002)
I hereby reserve the right to glaring omissions.
Thursday, September 24, 2015
Dark Skies (2013)
I guess I've seen too many amateur or found footage alien abduction movies lately (The Device, Alien Abduction, Absence - oh, and that segment from V/H/S/2), because it's so refreshing to watch one that actually has professional production values for a change. Dark Skies does a phenomenal job of setting up an atmosphere of suburban home life. Of course, as with most families, not everything is as perfect as it appears on the surface. The Barrett family (Keri Russell and Josh Hamilton play the heads of the household) are experiencing a money crunch, their eldest son (Dakota Goyo) is entering his rebellious adolescent period, and their youngest son (Kadan Rockett) is having nightmares about "the sandman". But it doesn't really start getting creepy until a series of unexplained late night break-ins accompany some weird, poltergeist-like activity.
In my opinion, a really effective horror movie - not necessarily one that represents the pinnacle of cinematic art, but a really effective horror movie - is one that puts you in that suggestive state, where you're actually scared of what might turn up on the screen in certain scenes, and where you actually begin to question the dark corners of the room you're sitting in, wondering what might be hiding there, in the shadows. Granted, Dark Skies wasn't quite as effective as Paranormal Activity, but I watched it during the middle of the day - albeit in a darkened room - and it still had that effect on me. There's probably a significant element of subjectivity there, as aliens (along with ghosts) are capable of scaring me in a way that no threat of vampires or zombies or...giant gila monsters ever could. Nevertheless, not every movie on this subject is equally effective, so it's worth mentioning.
If you'll forgive me for going off on a tangent, it's very unsettling, this idea that some kind of menace, some malicious entity, can get inside your comfort zone - that's always been one of the scariest things about alien abductions: that they come for you in the safety of your own bed at night. And that, with their technology (or whatever powers they have), they can't be stopped by such mundane obstacles as locked doors or windows, or electronic security systems. I had a sleep paralysis episode once in which it seemed that a malicious entity was standing beside my bed as I came awake, while I simultaneously realized that I couldn't move, or even speak. It was only a hallucination, but I can't imagine - even if it were merely the symptom of a mental disorder, and not invaders from outer space - that if you had to live with the experience of being haunted by such an entity, who - even more so, in lieu of it being a construction of your imagination - could evade any and all attempts to frustrate its access to you - I say, I can't imagine how that would destroy a person's state of mind (I think Communion dealt with that a little bit - the long-term effects of being an abductee). That's probably the scariest thing of all - when your own mind turns against you.
Which is not to say that that is what this movie is about. Rest assured, there really are aliens involved. Now, the movie isn't completely free of clichés - to demonstrate, in one scene, there is a subtle visual scare that's over-emphasized by the crashing score, to the point that when you realize the horror of what you're supposed to be reacting to, you feel a little cheated because it was only the noise that startled you - but it's still better than most. For example, in one scene involving a window, you're fully expecting a cheap scare, but what you get instead is rather unexpected, and turns out to be something unsettling on a whole different scale.
There is a satisfying scene late in the movie where the parents consult an experienced abductee (J.K. Simmons), whose monologue seems to place this movie as an anti-Independence Day. He claims that the invasion has already happened - that it was a quiet one, and that now the aliens are secretly going about their business (very X-Files-ish, come to think of it), making random people's lives a living hell, all for their science experiments. And then the movie's final confrontation occurs in the form of a 4th of July home invasion that has shades of Incident in Lake County. I think I may have possibly enjoyed this movie even more than The Fourth Kind.
In my opinion, a really effective horror movie - not necessarily one that represents the pinnacle of cinematic art, but a really effective horror movie - is one that puts you in that suggestive state, where you're actually scared of what might turn up on the screen in certain scenes, and where you actually begin to question the dark corners of the room you're sitting in, wondering what might be hiding there, in the shadows. Granted, Dark Skies wasn't quite as effective as Paranormal Activity, but I watched it during the middle of the day - albeit in a darkened room - and it still had that effect on me. There's probably a significant element of subjectivity there, as aliens (along with ghosts) are capable of scaring me in a way that no threat of vampires or zombies or...giant gila monsters ever could. Nevertheless, not every movie on this subject is equally effective, so it's worth mentioning.
If you'll forgive me for going off on a tangent, it's very unsettling, this idea that some kind of menace, some malicious entity, can get inside your comfort zone - that's always been one of the scariest things about alien abductions: that they come for you in the safety of your own bed at night. And that, with their technology (or whatever powers they have), they can't be stopped by such mundane obstacles as locked doors or windows, or electronic security systems. I had a sleep paralysis episode once in which it seemed that a malicious entity was standing beside my bed as I came awake, while I simultaneously realized that I couldn't move, or even speak. It was only a hallucination, but I can't imagine - even if it were merely the symptom of a mental disorder, and not invaders from outer space - that if you had to live with the experience of being haunted by such an entity, who - even more so, in lieu of it being a construction of your imagination - could evade any and all attempts to frustrate its access to you - I say, I can't imagine how that would destroy a person's state of mind (I think Communion dealt with that a little bit - the long-term effects of being an abductee). That's probably the scariest thing of all - when your own mind turns against you.
Which is not to say that that is what this movie is about. Rest assured, there really are aliens involved. Now, the movie isn't completely free of clichés - to demonstrate, in one scene, there is a subtle visual scare that's over-emphasized by the crashing score, to the point that when you realize the horror of what you're supposed to be reacting to, you feel a little cheated because it was only the noise that startled you - but it's still better than most. For example, in one scene involving a window, you're fully expecting a cheap scare, but what you get instead is rather unexpected, and turns out to be something unsettling on a whole different scale.
There is a satisfying scene late in the movie where the parents consult an experienced abductee (J.K. Simmons), whose monologue seems to place this movie as an anti-Independence Day. He claims that the invasion has already happened - that it was a quiet one, and that now the aliens are secretly going about their business (very X-Files-ish, come to think of it), making random people's lives a living hell, all for their science experiments. And then the movie's final confrontation occurs in the form of a 4th of July home invasion that has shades of Incident in Lake County. I think I may have possibly enjoyed this movie even more than The Fourth Kind.
Monday, October 19, 2009
Paranormal Activity (2007)
Note: This review was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
Do you know that feeling you get sometimes, when your blood chills, and your skin gets all tingly? It's not a feeling of action, like when something attacks you and you feel compelled to act, but a feeling of frightened anticipation. Your senses heighten and you start breathing rapidly, as you scan your surroundings. You know there's something there, and you know it is a threatening force, but you don't know exactly what it is, or even what it has the ability to do.
When I was a kid, scary movies scared me. Alien gave me recurring nightmares, and The Exorcist made me feel ill. I am a huge horror fan these days, and I love watching scary movies. Scary movies entertain me. But rarely do they genuinely scare me. When I watch Alien now, I still very much enjoy it, and I can appreciate the details that make it not only a very good, but a very scary movie. But it no longer gives me nightmares. It doesn't cause me to feel nervous at night when I find myself in a dark hallway.
I don't need to be genuinely scared to enjoy a scary movie. Scary movies have all sorts of merits above and beyond that. But a movie that actually manages to genuinely scare me - me, a mature (well, that may be debatable) adult - that's something special. And there are few things that genuinely scare me in movies. When I see a movie, I know it's fiction. It's usually easy for me to engage my suspension of disbelief and get absorbed in the movie, but when the credits roll, I disengage, and I understand that what I just saw wasn't real - it was a fantasy. So I don't remain frightened of the serial killer or the ugly monster as I leave the theater and return to my real life.
But there are some themes, some images, some concepts, that are genuinely scary to me, such that engaging in that fear in the theater touches on some real fear inside of me, that exists and remains regardless of the fictional nature of the film. Two things that do this to me are ghosts and aliens. And not just any ghosts or aliens, but specific portrayals of ghosts and aliens. Few images alone have the power to touch that nerve of primal fear in me, and one of them is the stereotypical shape of a grey's face. I don't know why, but it frightens me. Of course, accompanying that face is the whole folklore of alien abduction - being snatched out of your bed and having painful medical experiments performed on you against your will in an unfamiliar, even unearthly, location. Whether or not I actually believe in such encounters is a moot point - the idea of it genuinely frightens me.
The other thing that scares me is ghosts. Not CG ghosts and elaborate special effects, but the idea of the unseen undead. The fact that they have abilities above and beyond the realm of what we understand to be possible, and that we can't simply nail them down into a certain visible form and say - here, this is a ghost, become familiar with it so that we may no longer be afraid. It is that primal fear of the unknown.
I love creature effects. I love over-the-top creature effects. Even when it doesn't look realistic, as long as it looks awesome, I love it. But monsters are gross, they're not scary. They can be ugly, they can be disgusting, and their presence can be scary, but there is a world of difference between a physical beast standing before you in all its ugliness, and an ethereal form that you cannot see or touch: a thing of great evil hiding in the shadows; one that is not restrained by the limits of physical reality, but is able to manifest at will in the form of your darkest imaginings, by avenue of not having a form. It's not that it becomes what you fear, but that you fear it all the more because you cannot pin down its fearsomeness. It transcends fear.
There's been a lot of hype about Paranormal Activity, and also an inevitable backlash. Usually, in these cases, the best course of action is to see the movie and decide for oneself what merits it may have. Of course, advertisers know this, and are not above playing off of that formula, artificially injecting hype into a project. Artificial hype inevitably leads to backlash, thus fueling the scenario. But then, wary consumers are hesitant to support the lie. Not knowing if the hype is true or not, you just have to take a risk.
I took the risk. And it paid off. I can tell you this: the hype surrounding Paranormal Activity is true. It's the scariest movie I've seen since before I stopped being the little kid who was afraid of the dark. But what's also true is the fact that not everyone will be scared by it. If you're not scared by the brand of fear that Paranormal Activity employs, then you're likely not to think much of the film.
It's not a "good movie" in terms of having great characters, an intriguing plot, lots of action, etc. Paranormal Activity isn't really a "movie", it's more of an "experience". It's similar to The Blair Witch Project. If you thought The Blair Witch Project was scary (and I did), you'll like Paranormal Activity. If you thought The Blair Witch Project was stupid and very un-scary, you probably won't like Paranormal Activity. If you enjoy watching 'haunted house' and 'ghost hunting' programs on television, you'll enjoy this movie.
I don't believe in ghosts. I don't even think those ghost hunting programs are usually all that convincing. But the concept scares me. Being in a dark house at night, hearing strange noises, evidence apparently suggesting the presence of another being even though physically it would be impossible. I don't believe those programs, and I don't think their ghosts are real. But they do scare me. I can place myself in a frame of mind, where my imagination allows for the possibility of such impossibilities. And it terrifies me. The idea of being in a room all alone, but not actually being alone. Sensing a presence that cannot be seen or felt. A presence that knows just how to get a rise out of me by making a loud thump here, a quiet whine there. That's the sort of thing that gets the hairs on my arms standing. And that's the kind of scare that Paranormal Activity delivers.
So forget about the hype for a minute, and just think about the concept. A couple who video records evidence of a haunting, which progressively gets worse as the nights pass. You already have a pretty good idea if it's the kind of film you'll enjoy, or be scared by. You won't be grossed out by over-the-top creature effects, that's for sure, but if it's the old-fashioned 'bump in the night' that terrifies you, you'll be sure to have a few nightmares after seeing Paranormal Activity.
P.S. The audience reaction was great. I haven't experienced an audience reaction this good since Grindhouse - and that was more a reaction of entertainment. In this case, it was a reaction of fear!
Do you know that feeling you get sometimes, when your blood chills, and your skin gets all tingly? It's not a feeling of action, like when something attacks you and you feel compelled to act, but a feeling of frightened anticipation. Your senses heighten and you start breathing rapidly, as you scan your surroundings. You know there's something there, and you know it is a threatening force, but you don't know exactly what it is, or even what it has the ability to do.
When I was a kid, scary movies scared me. Alien gave me recurring nightmares, and The Exorcist made me feel ill. I am a huge horror fan these days, and I love watching scary movies. Scary movies entertain me. But rarely do they genuinely scare me. When I watch Alien now, I still very much enjoy it, and I can appreciate the details that make it not only a very good, but a very scary movie. But it no longer gives me nightmares. It doesn't cause me to feel nervous at night when I find myself in a dark hallway.
I don't need to be genuinely scared to enjoy a scary movie. Scary movies have all sorts of merits above and beyond that. But a movie that actually manages to genuinely scare me - me, a mature (well, that may be debatable) adult - that's something special. And there are few things that genuinely scare me in movies. When I see a movie, I know it's fiction. It's usually easy for me to engage my suspension of disbelief and get absorbed in the movie, but when the credits roll, I disengage, and I understand that what I just saw wasn't real - it was a fantasy. So I don't remain frightened of the serial killer or the ugly monster as I leave the theater and return to my real life.
But there are some themes, some images, some concepts, that are genuinely scary to me, such that engaging in that fear in the theater touches on some real fear inside of me, that exists and remains regardless of the fictional nature of the film. Two things that do this to me are ghosts and aliens. And not just any ghosts or aliens, but specific portrayals of ghosts and aliens. Few images alone have the power to touch that nerve of primal fear in me, and one of them is the stereotypical shape of a grey's face. I don't know why, but it frightens me. Of course, accompanying that face is the whole folklore of alien abduction - being snatched out of your bed and having painful medical experiments performed on you against your will in an unfamiliar, even unearthly, location. Whether or not I actually believe in such encounters is a moot point - the idea of it genuinely frightens me.
The other thing that scares me is ghosts. Not CG ghosts and elaborate special effects, but the idea of the unseen undead. The fact that they have abilities above and beyond the realm of what we understand to be possible, and that we can't simply nail them down into a certain visible form and say - here, this is a ghost, become familiar with it so that we may no longer be afraid. It is that primal fear of the unknown.
I love creature effects. I love over-the-top creature effects. Even when it doesn't look realistic, as long as it looks awesome, I love it. But monsters are gross, they're not scary. They can be ugly, they can be disgusting, and their presence can be scary, but there is a world of difference between a physical beast standing before you in all its ugliness, and an ethereal form that you cannot see or touch: a thing of great evil hiding in the shadows; one that is not restrained by the limits of physical reality, but is able to manifest at will in the form of your darkest imaginings, by avenue of not having a form. It's not that it becomes what you fear, but that you fear it all the more because you cannot pin down its fearsomeness. It transcends fear.
There's been a lot of hype about Paranormal Activity, and also an inevitable backlash. Usually, in these cases, the best course of action is to see the movie and decide for oneself what merits it may have. Of course, advertisers know this, and are not above playing off of that formula, artificially injecting hype into a project. Artificial hype inevitably leads to backlash, thus fueling the scenario. But then, wary consumers are hesitant to support the lie. Not knowing if the hype is true or not, you just have to take a risk.
I took the risk. And it paid off. I can tell you this: the hype surrounding Paranormal Activity is true. It's the scariest movie I've seen since before I stopped being the little kid who was afraid of the dark. But what's also true is the fact that not everyone will be scared by it. If you're not scared by the brand of fear that Paranormal Activity employs, then you're likely not to think much of the film.
It's not a "good movie" in terms of having great characters, an intriguing plot, lots of action, etc. Paranormal Activity isn't really a "movie", it's more of an "experience". It's similar to The Blair Witch Project. If you thought The Blair Witch Project was scary (and I did), you'll like Paranormal Activity. If you thought The Blair Witch Project was stupid and very un-scary, you probably won't like Paranormal Activity. If you enjoy watching 'haunted house' and 'ghost hunting' programs on television, you'll enjoy this movie.
I don't believe in ghosts. I don't even think those ghost hunting programs are usually all that convincing. But the concept scares me. Being in a dark house at night, hearing strange noises, evidence apparently suggesting the presence of another being even though physically it would be impossible. I don't believe those programs, and I don't think their ghosts are real. But they do scare me. I can place myself in a frame of mind, where my imagination allows for the possibility of such impossibilities. And it terrifies me. The idea of being in a room all alone, but not actually being alone. Sensing a presence that cannot be seen or felt. A presence that knows just how to get a rise out of me by making a loud thump here, a quiet whine there. That's the sort of thing that gets the hairs on my arms standing. And that's the kind of scare that Paranormal Activity delivers.
So forget about the hype for a minute, and just think about the concept. A couple who video records evidence of a haunting, which progressively gets worse as the nights pass. You already have a pretty good idea if it's the kind of film you'll enjoy, or be scared by. You won't be grossed out by over-the-top creature effects, that's for sure, but if it's the old-fashioned 'bump in the night' that terrifies you, you'll be sure to have a few nightmares after seeing Paranormal Activity.
P.S. The audience reaction was great. I haven't experienced an audience reaction this good since Grindhouse - and that was more a reaction of entertainment. In this case, it was a reaction of fear!
Tuesday, November 19, 2013
V/H/S/2 (2013)
Last year, V/H/S brought the anthology format to the found footage subgenre of horror films. Opinions on found footage films vary widely, with lots of people lambasting them for their cheap thrills and amateurish production values. Personally, I'm a fan of found footage. Whereas other genres might not benefit so much from the first person perspective - I can't imagine a drama, for example, being any more effective by viewing it from the point of view of one of its characters - it seems particularly suited to horror.
I'd long wondered at the fact that survival horror video games manage to scare more effectively than most traditional horror films, and the reason is because it puts you right in the middle of the action. Which is what the first person perspective does. It makes you feel more vulnerable, and more paranoid, too, about what could be lurking just outside the frames - whereas a director would be inclined to carefully place his monsters and script the action, there's an element of chaos in some random bloke capturing the nightmare he's stuck in the middle of, and that's unpredictable and exciting.
There are, of course, pitfalls to the found footage format, like the unfortunate prevalence of shaky camera work - I thank my lucky stars that watching such footage doesn't make me sick, because otherwise I'd be missing out on some great stuff. Also, as is frequently complained about, there are many times when a found footage film builds up atmosphere only to let down in its payoff. The Blair Witch Project was guilty of this, although I hesitate to criticize a film too much for it, because the "imagination is worse than reality" approach bears considerable weight (Paranormal Activity, for example, was mostly tease, yet it was by far one of the scariest horror movies I've seen since the day I decided to stop believing in the monsters that live under my bed).
The anthology format is itself marred by too frequently mediocre entries - as, after all, a motley collection of pieces will inevitably vary in quality, and so rarely yield consistent brilliance. On the other hand, if not taken so seriously, an anthology can be more fun than a feature piece, and the diversity of its offerings has the potential to appeal to a wider audience, as everyone will tend to gravitate toward the entries that best suit their tastes. The short story (or film) format also provides an opportunity to experiment with new and exciting themes and modes of storytelling, and to create narratives that come quickly to their point without being bogged down by unnecessary filler.
All of this is to say that you never know what you're going to get. And while V/H/S was an exciting and competent - if flawed - foray into the found footage anthology piece, its sequel manages to be even stronger, and even better than the first, while maintaining the same formula. The first V/H/S suffered from an overabundance of immature, misogynistic characters. That aspect is downplayed here, to better results, while not completely shying away from the topic of sex and nudity that, for many of us, adds that extra spice and flair to entertainment that is otherwise mostly violent in nature. But where V/H/S/2 really shines is in the strength of its pieces, which are both clever and exciting to a surprisingly above average degree. I want to talk about each of them briefly now, and I warn you that there will be spoilers from here on out. So if you haven't seen V/H/S/2 yet and plan to, you should go do that before you read the rest of this review.
Tape 49
The "wraparound" story takes pretty much the same basic form as the one in V/H/S, albeit with less annoying characters. As far as I know, there is no direct connection to the events in the first V/H/S (although it probably allows for its existence in the same narrative universe), and this is an independent case of somebody exploring an abandoned(?) house recently occupied by a fanatic collector of obscure and esoteric VHS tapes featuring some of the creepiest home videos you'll ever lay your hands on. This time around, it's a private investigator who specializes in blackmail, and apparently has a camera fetish, if the way he carries around multiple cameras to film everything he does is any indication.
It's a little ridiculous, and you kinda feel like it's all just a (somewhat unconvincing) ruse to deflect the viewer's typical criticism of "why is he filming this?", but as usual, I have a tendency to consider that sort of thing within the purview of my suspension of disbelief when I'm watching a found footage film. The point isn't so much how realistic the filming of the action is, it's how effective that filming is in putting me in the middle of the action and scaring my pants off (if I'm wearing any). Tape 49 may be the least compelling of the shorts in V/H/S/2 (it is the wraparound, after all), but it does its job well enough, and is probably slightly more coherent than the wraparound in the first V/H/S.
Phase I Clinical Trials
The first tape we're shown doesn't do a great job of quelling our concerns about realism, as it turns out to be the recording of a guy's cybernetic eye implant. I'm not kidding. You have to ask yourself, with that kind of state of the art technology, the recording had to be digital. So who actually took the time to dub it to a VHS tape, and why? I know, you could say the same thing about the webcam footage in The Sick Thing That Happened To Emily When She Was Younger from the first V/H/S (and that might not be the only one), but still.
I actually think the whole VHS approach works well, because it's like, they're harder to copy and share than digital videos, so there's more of an esoteric feeling about them, like they could have been hiding in a cardboard box in somebody's basement for years, and nobody knows about them, rather than them going viral on YouTube or something, totally evaporating the mystery. But in our technologically advanced age, the whole VHS thing is becoming more and more antiquated, and you have to wonder how all these originally-digital recordings are finding their way onto VHS tapes.
Anyway, like I said, I can file that in the back of my head and just focus on the story. And as ridiculous as the idea of a cybernetic eye implant is, it has the potential for some pretty creepy implications. When the doctor mentioned glitches, I thought maybe it would be another approach at the creepy fx in Tuesday the 17th from the first V/H/S, but - although I think that direction had a lot of potential - it instead chooses to go in the direction of a ghost story.
Now, the idea that a piece of advanced technology would let you see ghosts is a little wonky in my opinion - mixing science with superstition - but I guess if you think about it, if there really are ghosts, it's not completely insane to think that maybe the right kind of scientific advancement would let us see them. So I'll let it slide. It's a pretty scary thought anyway. I mean, imagine if you knew your own eyes were conspiring against you, and even if you convinced yourself that what you were seeing wasn't real (even worse if it is), just seeing it would be enough to unnerve you.
I actually found the ghosts themselves to be less than entirely effective when they actually showed up on screen (except the creepy uncle dude), but just the very setup of the story, with the ghosts and everything, probably scared me more than any of the other shorts in V/H/S/2. So that's saying something.
A Ride In The Park
This one starts out pretty gently. I was watching this guy get ready to go biking in the woods, thinking to myself, I have absolutely no idea which direction this story is going to go. There could be absolutely anything waiting for him in these woods. And, well, it turns out to be zombies. Which is always fun. The rest of the story is relatively conventional, except for one very important twist: we get to watch the majority of the zombie rampage (including a small horde ambushing a little girl's birthday party in a picnic pavilion), from the point of view of one of the zombies.
It sounds so simple, but I don't think I've ever seen that before. It's a brilliant idea! And man, when that zombie digs into the guy's torso, and starts chowing down on his viscera like it was a turkey dinner - it's not that I haven't seen that in a zombie film before (many times, actually), but the first person perspective gives it a whole new freshness, and for the first time made me sympathize with the zombie's hunger, and not simply recoiling in disgust at the thought of it. This was a story that had to be told, and I can't believe I'd never even thought of it. Bravo.
Safe Haven
Then we come to my favorite short in the whole movie. It starts with one of the better premises for a found footage movie I've come across - infiltrating a secretive religious cult under the guise of filming an unbiased documentary. This is one of those ideas so ripe for found footage that it makes you think, "ah, finally!" You're not sure, of course, exactly which direction the story will go. Will it be human atrocities, as cults in the real world are known to commit? It certainly touches that base. But in the end, it goes so much further, revealing the cult to actually be one of devil worshippers with supernatural powers of demon summoning and resurrection.
So often, and especially in the realm of found footage, I find myself thinking at the end of a movie, they didn't go far enough. There was a lot of tease, but not enough delivery. This is true for many themes, but as frequently for stories about Satanism as anything else. Safe Haven doesn't have that problem. It probes the depths, and comes out the other side dripping with blood. Too many times I've seen devil worshipping cults emasculate themselves with all-smoke-and-no-fire rituals that are no more impressive than your local pastor's latest sermon. But this cult leader, he must have done something right. I'd say that V/H/S/2 is worth watching for this segment alone, but it's not like the other segments aren't pretty good themselves.
Slumber Party Alien Abduction
I'll be honest, I was a little disappointed that this one turned out to be a boys' sleepover, and not a girls' slumber party like I was hoping. Interestingly, we find a more natural home for the immature pranking spirit of V/H/S's douchebags in the adolescent boys in this segment. But the concept behind this segment is so perfect (is this really the first time it's been done?), that it's hard not to like it.
Truthfully, there is little buildup, and it's largely one big thrill ride, but there's nothing wrong with that - it is quite thrilling. This alien abduction has more in common with Incident in Lake County than your typical riding-a-beam-of-light nighttime affair, with aggressive aliens that are effectively intimidating by being larger than usual (more man-sized), while still retaining the expected general features (lean body, large eyes), and utilizing bright lights and loud sounds to confuse their prey.
The one significant complaint I have is that, unlike Safe Haven, Slumber Party Alien Abduction didn't go far enough. There's a scene where a boy is being dragged off by an alien, and you know they're taking him to their spaceship, and I'm like, come on, come on, a little bit further - but they never get there. Maybe I'm too caught up on the idea of a found footage alien abduction film that actually goes aboard the spaceship. Oh well. Someday. It's a good segment, but it's such a good concept, that I feel it deserves a full feature treatment, and not just a short anthology segment. Any filmmakers listening?
I'd long wondered at the fact that survival horror video games manage to scare more effectively than most traditional horror films, and the reason is because it puts you right in the middle of the action. Which is what the first person perspective does. It makes you feel more vulnerable, and more paranoid, too, about what could be lurking just outside the frames - whereas a director would be inclined to carefully place his monsters and script the action, there's an element of chaos in some random bloke capturing the nightmare he's stuck in the middle of, and that's unpredictable and exciting.
There are, of course, pitfalls to the found footage format, like the unfortunate prevalence of shaky camera work - I thank my lucky stars that watching such footage doesn't make me sick, because otherwise I'd be missing out on some great stuff. Also, as is frequently complained about, there are many times when a found footage film builds up atmosphere only to let down in its payoff. The Blair Witch Project was guilty of this, although I hesitate to criticize a film too much for it, because the "imagination is worse than reality" approach bears considerable weight (Paranormal Activity, for example, was mostly tease, yet it was by far one of the scariest horror movies I've seen since the day I decided to stop believing in the monsters that live under my bed).
The anthology format is itself marred by too frequently mediocre entries - as, after all, a motley collection of pieces will inevitably vary in quality, and so rarely yield consistent brilliance. On the other hand, if not taken so seriously, an anthology can be more fun than a feature piece, and the diversity of its offerings has the potential to appeal to a wider audience, as everyone will tend to gravitate toward the entries that best suit their tastes. The short story (or film) format also provides an opportunity to experiment with new and exciting themes and modes of storytelling, and to create narratives that come quickly to their point without being bogged down by unnecessary filler.
All of this is to say that you never know what you're going to get. And while V/H/S was an exciting and competent - if flawed - foray into the found footage anthology piece, its sequel manages to be even stronger, and even better than the first, while maintaining the same formula. The first V/H/S suffered from an overabundance of immature, misogynistic characters. That aspect is downplayed here, to better results, while not completely shying away from the topic of sex and nudity that, for many of us, adds that extra spice and flair to entertainment that is otherwise mostly violent in nature. But where V/H/S/2 really shines is in the strength of its pieces, which are both clever and exciting to a surprisingly above average degree. I want to talk about each of them briefly now, and I warn you that there will be spoilers from here on out. So if you haven't seen V/H/S/2 yet and plan to, you should go do that before you read the rest of this review.
Tape 49
The "wraparound" story takes pretty much the same basic form as the one in V/H/S, albeit with less annoying characters. As far as I know, there is no direct connection to the events in the first V/H/S (although it probably allows for its existence in the same narrative universe), and this is an independent case of somebody exploring an abandoned(?) house recently occupied by a fanatic collector of obscure and esoteric VHS tapes featuring some of the creepiest home videos you'll ever lay your hands on. This time around, it's a private investigator who specializes in blackmail, and apparently has a camera fetish, if the way he carries around multiple cameras to film everything he does is any indication.
It's a little ridiculous, and you kinda feel like it's all just a (somewhat unconvincing) ruse to deflect the viewer's typical criticism of "why is he filming this?", but as usual, I have a tendency to consider that sort of thing within the purview of my suspension of disbelief when I'm watching a found footage film. The point isn't so much how realistic the filming of the action is, it's how effective that filming is in putting me in the middle of the action and scaring my pants off (if I'm wearing any). Tape 49 may be the least compelling of the shorts in V/H/S/2 (it is the wraparound, after all), but it does its job well enough, and is probably slightly more coherent than the wraparound in the first V/H/S.
Phase I Clinical Trials
The first tape we're shown doesn't do a great job of quelling our concerns about realism, as it turns out to be the recording of a guy's cybernetic eye implant. I'm not kidding. You have to ask yourself, with that kind of state of the art technology, the recording had to be digital. So who actually took the time to dub it to a VHS tape, and why? I know, you could say the same thing about the webcam footage in The Sick Thing That Happened To Emily When She Was Younger from the first V/H/S (and that might not be the only one), but still.
I actually think the whole VHS approach works well, because it's like, they're harder to copy and share than digital videos, so there's more of an esoteric feeling about them, like they could have been hiding in a cardboard box in somebody's basement for years, and nobody knows about them, rather than them going viral on YouTube or something, totally evaporating the mystery. But in our technologically advanced age, the whole VHS thing is becoming more and more antiquated, and you have to wonder how all these originally-digital recordings are finding their way onto VHS tapes.
Anyway, like I said, I can file that in the back of my head and just focus on the story. And as ridiculous as the idea of a cybernetic eye implant is, it has the potential for some pretty creepy implications. When the doctor mentioned glitches, I thought maybe it would be another approach at the creepy fx in Tuesday the 17th from the first V/H/S, but - although I think that direction had a lot of potential - it instead chooses to go in the direction of a ghost story.
Now, the idea that a piece of advanced technology would let you see ghosts is a little wonky in my opinion - mixing science with superstition - but I guess if you think about it, if there really are ghosts, it's not completely insane to think that maybe the right kind of scientific advancement would let us see them. So I'll let it slide. It's a pretty scary thought anyway. I mean, imagine if you knew your own eyes were conspiring against you, and even if you convinced yourself that what you were seeing wasn't real (even worse if it is), just seeing it would be enough to unnerve you.
I actually found the ghosts themselves to be less than entirely effective when they actually showed up on screen (except the creepy uncle dude), but just the very setup of the story, with the ghosts and everything, probably scared me more than any of the other shorts in V/H/S/2. So that's saying something.
A Ride In The Park
This one starts out pretty gently. I was watching this guy get ready to go biking in the woods, thinking to myself, I have absolutely no idea which direction this story is going to go. There could be absolutely anything waiting for him in these woods. And, well, it turns out to be zombies. Which is always fun. The rest of the story is relatively conventional, except for one very important twist: we get to watch the majority of the zombie rampage (including a small horde ambushing a little girl's birthday party in a picnic pavilion), from the point of view of one of the zombies.
It sounds so simple, but I don't think I've ever seen that before. It's a brilliant idea! And man, when that zombie digs into the guy's torso, and starts chowing down on his viscera like it was a turkey dinner - it's not that I haven't seen that in a zombie film before (many times, actually), but the first person perspective gives it a whole new freshness, and for the first time made me sympathize with the zombie's hunger, and not simply recoiling in disgust at the thought of it. This was a story that had to be told, and I can't believe I'd never even thought of it. Bravo.
Safe Haven
Then we come to my favorite short in the whole movie. It starts with one of the better premises for a found footage movie I've come across - infiltrating a secretive religious cult under the guise of filming an unbiased documentary. This is one of those ideas so ripe for found footage that it makes you think, "ah, finally!" You're not sure, of course, exactly which direction the story will go. Will it be human atrocities, as cults in the real world are known to commit? It certainly touches that base. But in the end, it goes so much further, revealing the cult to actually be one of devil worshippers with supernatural powers of demon summoning and resurrection.
So often, and especially in the realm of found footage, I find myself thinking at the end of a movie, they didn't go far enough. There was a lot of tease, but not enough delivery. This is true for many themes, but as frequently for stories about Satanism as anything else. Safe Haven doesn't have that problem. It probes the depths, and comes out the other side dripping with blood. Too many times I've seen devil worshipping cults emasculate themselves with all-smoke-and-no-fire rituals that are no more impressive than your local pastor's latest sermon. But this cult leader, he must have done something right. I'd say that V/H/S/2 is worth watching for this segment alone, but it's not like the other segments aren't pretty good themselves.
Slumber Party Alien Abduction
I'll be honest, I was a little disappointed that this one turned out to be a boys' sleepover, and not a girls' slumber party like I was hoping. Interestingly, we find a more natural home for the immature pranking spirit of V/H/S's douchebags in the adolescent boys in this segment. But the concept behind this segment is so perfect (is this really the first time it's been done?), that it's hard not to like it.
Truthfully, there is little buildup, and it's largely one big thrill ride, but there's nothing wrong with that - it is quite thrilling. This alien abduction has more in common with Incident in Lake County than your typical riding-a-beam-of-light nighttime affair, with aggressive aliens that are effectively intimidating by being larger than usual (more man-sized), while still retaining the expected general features (lean body, large eyes), and utilizing bright lights and loud sounds to confuse their prey.
The one significant complaint I have is that, unlike Safe Haven, Slumber Party Alien Abduction didn't go far enough. There's a scene where a boy is being dragged off by an alien, and you know they're taking him to their spaceship, and I'm like, come on, come on, a little bit further - but they never get there. Maybe I'm too caught up on the idea of a found footage alien abduction film that actually goes aboard the spaceship. Oh well. Someday. It's a good segment, but it's such a good concept, that I feel it deserves a full feature treatment, and not just a short anthology segment. Any filmmakers listening?
Wednesday, October 20, 2010
Hypothetical Halloween Marathon
Note: This feature was originally posted on Bridge To Better Days. I am reposting it here for archival purposes. It has been backdated to the date of its original posting.
I was just confronted with an irresistible prompt, asking what 25 movies I would pick for a Halloween weekend marathon. Usually, making lists of this sort is a lot of hard work, and I tend to avoid it rather than risk battling my perfectionist impulses. But in this case, I couldn't resist. I committed myself to picking out the best 25 horror movies I could think of in a reasonable amount of time, with an eye towards what would be good in a public Halloween marathon (so I wanted to have variety, and focus on some of the classics of the genre, but every title is one I'm proud to put on there, and that I'd enjoy watching on Halloween weekend), and this is what I came up with. I will talk you through my selections.
We start with the quintessential slasher trio. If you think Halloween and horror movies, you can't avoid thinking of slashers. And it's rather convenient that the first one we start with is actually titled Halloween - John Carpenter's groundbreaking film that is the epitome of slasherdom. We follow that up with its slasher cousins, Friday the 13th, and the supernatural A Nightmare on Elm Street.
We'll supplement this trio with the gruesome Texas Chain Saw Massacre, and follow that with Motel Hell, to add some humor and lighten the mood - briefly. And speaking of Hell, we'll throw in the great Hellraiser, which also successfully weaves humor with unquestionable horror. And then we'll toss in The Howling, because every Halloween movie marathon needs at least one good werewolf film.
Now begins our zombie sub-marathon. We shall present the original George Romero trilogy with Night of the Living Dead, Dawn of the Dead, and Day of the Dead (all original versions). And if watching the progression of the zombie apocalypse isn't fun enough, we'll finish with The Return of the Living Dead, with just enough humor to revive your cold fear-stricken corpse and prepare it for the rest of the weekend marathon.
Next up we'll run Dario Argento's Suspiria, which provides a terrifyingly beautiful audio-visual setpiece for Halloween, and introduces us to a mini-theme on witches and paganism. This will continue with the original version of The Wicker Man, and follow into The Blair Witch Project, the first of a "reality horror" double shot that includes Paranormal Activity.
Now with ghosts on the mind, we shall present the special effects-laden Poltergeist, a far cry from the previous low budget reality horror. That will lead into The Exorcist, widely regarded as one of the most terrifying films of all time. Fear of the devil will serve you well as we continue with Jacob's Ladder, one of my favorite horror films of all time, and a truly terrifying psychological puzzle of a movie.
After descending the ladder, we will ascend to the heavens, but instead of the divine, we'll find Alien - another terrifying classic! We'll come back down to earth for the overlooked Fire In The Sky, an effectively frightening telling of the standard alien abduction tale. And then we'll confront John Carpenter's The Thing (from another world), buried deep in the Antarctic ice.
And while we're digging, we may as well go spelunking and experience cave-horror The Descent. The paranoia is enhanced by claustrophobia. This will kick off the final leg of the marathon - modern horror. The vampires come out in the next feature - 30 Days of Night - this nightmare taking place amidst the Alaskan ice. The marathon closes with a modern two-shot resurrection of apocalyptic zombie horror - 28 Days Later, and its sequel 28 Weeks Later. If you can survive all of that, you must be a hero.
Afterthoughts
I'm considering putting Evil Dead in there, because even though the sequels are more humorous than horrific, and the fanbase is kind of...not in tune with my style...the first one was pretty good, to be honest.
I might swap out The Wicker Man for that one, because as much as I adore The Wicker Man (and I do), and as terrifying as the ending is, it's kind of less of a straight horror, and I'm a little concerned that it's more seasonally appropriate for the spring than the fall. That's the reason why I didn't include Black Christmas, because it just belongs at Christmas and not Halloween. But the truth is, Christian holiday sensibilities are far more ingrained in the public consciousness than pagan ones are.
And as for the werewolf movie, I do really like The Howling, but I'm not convinced it's the best werewolf movie I'll ever see, necessarily. I've heard good things about one called Dog Soldiers, which I intend to watch, hopefully between now and Halloween if I get the chance. I can't predict that it'll make me change my mind, though.
There is one obvious omission from the above list, and that's a good Asian horror. I chose not to include Audition because it's a little...intense...and also kind of a slow burner. Creepy movie, but I wasn't sure it fit in the context of the marathon. I'd put in Ju-on (a.k.a. The Grudge), which I really liked (all those years ago that I watched it), but I'll confess the true reason I didn't include an Asian horror title: I don't feel that I've seen enough of them to know which titles are the "classics" (apart from which ones were popular enough to be remade in America) and which are truly the "best", and I don't want to throw one on just because I've seen it and liked it. But if I did want to, I could see myself putting Ju-on up there in the ghost block.
You'll notice the majority of these films are "serious" horrors, with a couple exceptions for breathing space. That's just because I'm more into serious movies, and those exceptions are just the few funnier ones I've seen that stand far enough above the crowd that I don't feel uncomfortable placing them alongside the others.
One thing you don't see is anything older than 1968. Sorry, not trying to be ageist, but I think the whole aesthetic of horror films pre-70s-ish is just fundamentally different from that of the films listed above. So, apologies to Monster Mash fans, but no Dracula, Frankenstein, The Mummy, Wolfman, or Boo Berry here.
I did briefly consider Carnosaur, but that opens up a whole new world of low budget, b movie, and grindhouse/exploitation films. Perhaps that could be a whole different marathon. No Attack of the Giant Killer Iguanas (or similar) here either, because that type of old movie tends to be more cheesy than scary.
Also, I didn't consider Horrorfest movies at all, because they're too indie and non-mainstream. I would definitely put Autopsy on that list without shame, though. And maybe a few others. But that opens up yet another can of worms, and let's just leave those worms in the can, shall we?
I was just confronted with an irresistible prompt, asking what 25 movies I would pick for a Halloween weekend marathon. Usually, making lists of this sort is a lot of hard work, and I tend to avoid it rather than risk battling my perfectionist impulses. But in this case, I couldn't resist. I committed myself to picking out the best 25 horror movies I could think of in a reasonable amount of time, with an eye towards what would be good in a public Halloween marathon (so I wanted to have variety, and focus on some of the classics of the genre, but every title is one I'm proud to put on there, and that I'd enjoy watching on Halloween weekend), and this is what I came up with. I will talk you through my selections.
We start with the quintessential slasher trio. If you think Halloween and horror movies, you can't avoid thinking of slashers. And it's rather convenient that the first one we start with is actually titled Halloween - John Carpenter's groundbreaking film that is the epitome of slasherdom. We follow that up with its slasher cousins, Friday the 13th, and the supernatural A Nightmare on Elm Street.
We'll supplement this trio with the gruesome Texas Chain Saw Massacre, and follow that with Motel Hell, to add some humor and lighten the mood - briefly. And speaking of Hell, we'll throw in the great Hellraiser, which also successfully weaves humor with unquestionable horror. And then we'll toss in The Howling, because every Halloween movie marathon needs at least one good werewolf film.
Now begins our zombie sub-marathon. We shall present the original George Romero trilogy with Night of the Living Dead, Dawn of the Dead, and Day of the Dead (all original versions). And if watching the progression of the zombie apocalypse isn't fun enough, we'll finish with The Return of the Living Dead, with just enough humor to revive your cold fear-stricken corpse and prepare it for the rest of the weekend marathon.
Next up we'll run Dario Argento's Suspiria, which provides a terrifyingly beautiful audio-visual setpiece for Halloween, and introduces us to a mini-theme on witches and paganism. This will continue with the original version of The Wicker Man, and follow into The Blair Witch Project, the first of a "reality horror" double shot that includes Paranormal Activity.
Now with ghosts on the mind, we shall present the special effects-laden Poltergeist, a far cry from the previous low budget reality horror. That will lead into The Exorcist, widely regarded as one of the most terrifying films of all time. Fear of the devil will serve you well as we continue with Jacob's Ladder, one of my favorite horror films of all time, and a truly terrifying psychological puzzle of a movie.
After descending the ladder, we will ascend to the heavens, but instead of the divine, we'll find Alien - another terrifying classic! We'll come back down to earth for the overlooked Fire In The Sky, an effectively frightening telling of the standard alien abduction tale. And then we'll confront John Carpenter's The Thing (from another world), buried deep in the Antarctic ice.
And while we're digging, we may as well go spelunking and experience cave-horror The Descent. The paranoia is enhanced by claustrophobia. This will kick off the final leg of the marathon - modern horror. The vampires come out in the next feature - 30 Days of Night - this nightmare taking place amidst the Alaskan ice. The marathon closes with a modern two-shot resurrection of apocalyptic zombie horror - 28 Days Later, and its sequel 28 Weeks Later. If you can survive all of that, you must be a hero.
Afterthoughts
I'm considering putting Evil Dead in there, because even though the sequels are more humorous than horrific, and the fanbase is kind of...not in tune with my style...the first one was pretty good, to be honest.
I might swap out The Wicker Man for that one, because as much as I adore The Wicker Man (and I do), and as terrifying as the ending is, it's kind of less of a straight horror, and I'm a little concerned that it's more seasonally appropriate for the spring than the fall. That's the reason why I didn't include Black Christmas, because it just belongs at Christmas and not Halloween. But the truth is, Christian holiday sensibilities are far more ingrained in the public consciousness than pagan ones are.
And as for the werewolf movie, I do really like The Howling, but I'm not convinced it's the best werewolf movie I'll ever see, necessarily. I've heard good things about one called Dog Soldiers, which I intend to watch, hopefully between now and Halloween if I get the chance. I can't predict that it'll make me change my mind, though.
There is one obvious omission from the above list, and that's a good Asian horror. I chose not to include Audition because it's a little...intense...and also kind of a slow burner. Creepy movie, but I wasn't sure it fit in the context of the marathon. I'd put in Ju-on (a.k.a. The Grudge), which I really liked (all those years ago that I watched it), but I'll confess the true reason I didn't include an Asian horror title: I don't feel that I've seen enough of them to know which titles are the "classics" (apart from which ones were popular enough to be remade in America) and which are truly the "best", and I don't want to throw one on just because I've seen it and liked it. But if I did want to, I could see myself putting Ju-on up there in the ghost block.
You'll notice the majority of these films are "serious" horrors, with a couple exceptions for breathing space. That's just because I'm more into serious movies, and those exceptions are just the few funnier ones I've seen that stand far enough above the crowd that I don't feel uncomfortable placing them alongside the others.
One thing you don't see is anything older than 1968. Sorry, not trying to be ageist, but I think the whole aesthetic of horror films pre-70s-ish is just fundamentally different from that of the films listed above. So, apologies to Monster Mash fans, but no Dracula, Frankenstein, The Mummy, Wolfman, or Boo Berry here.
I did briefly consider Carnosaur, but that opens up a whole new world of low budget, b movie, and grindhouse/exploitation films. Perhaps that could be a whole different marathon. No Attack of the Giant Killer Iguanas (or similar) here either, because that type of old movie tends to be more cheesy than scary.
Also, I didn't consider Horrorfest movies at all, because they're too indie and non-mainstream. I would definitely put Autopsy on that list without shame, though. And maybe a few others. But that opens up yet another can of worms, and let's just leave those worms in the can, shall we?
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