Review- Clash of the Titans (1981)

Review- Clash of the Titans (1981)

I have a strange history with this film. As a 10 year old boy I had to have 6 (count em- 6!) teeth removed in one sitting with my dentist due to my mouth being ‘overcrowded’. As a treat after having these extractions (‘He made no noise whatsoever! I could have taken out his teeth all day!’ the dentist said to my Dad. My father looked suitably proud) I was taken to Granada TV Rentals to rent a movie. I rented Clash of the Titans to watch whilst the gas wore off and the pain started.

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Watching the movie again almost forty years later, it fares very well indeed.

The film is based on Greek mythology and revolves around Perseus and his exploits. I love the fact that the film doesn’t sugar coat the darker aspects of these tales that are being depicted with the more gruesome aspects of Perseus’ adventures being shown in all their gory glory. Hence, we get Calibos’ hand being cut off, the full on horror of Medusa and the three blind witches (one of whom is played by acclaimed actress Flora Robson which leads me to think that once a woman in the acting profession hits a certain age she is instantly cast as a ‘grotesque’).

The film had an all star cast that the studio was quick to publicise in it’s promotional material.

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And a fine cast it is with Laurence Olivier, Maggie Smith and plenty of other esteemed stage performers lending serious gravitas to proceedings. Harry Hamlin who was cast as Perseus and was largely unknown at that time does a great job after being pushed centre stage and having to compete with such lovey heavyweights.

Fun fact- this film was written by Beverley Cross who was married to Maggie Smith who is cast as Thetis. Cross is written about extensively in Kenneth Williams’ Diaries.

Talking of the promotional material for the film, check out the poster artwork. It’s high art.

Clash of the Titans also brought in Ray Harryhausen for his use of stop motion effects for the depiction of such mythical beasts as The Kraken and Medusa. These sequences are a distinct highlight of the film and also hark back to other sandal and sorcery classics like Jason and the Argonauts.

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In fact, most of the effects depicted in the film work well and have aged very well indeed. But, there are a few that look a bit stagey and unreal. These involve back projection with figures being superimposed over the top of this- and it looks like it! Thankfully, these sequences are few and far between. The film was made at a time where special effects were in transition with films with much bigger budgets being able to stump up for the effects they required. One obvious example is that of Superman which showed that a man really can fly…but especially when millions of dollars are pumped into the illusion.

Clash of the Titans received the ultimate honour on it’s release in that it was awarded a Look In Special. For those of you unlucky to not know, Look In was a kids magazine that was billed as a Junior TV Times and featured TV stars, musicians and other pop culture figures. It was popular in the 70s and 80s. I’m guessing that the front cover of this special edition wasn’t illustrated by a professional artist.

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***1/2 out of *****

Meathook Cinema Hall of Fame- Pieces (1982)

Meathook Cinema Hall of Fame- Pieces (1982)

For the longest time I didn’t get around to seeing Pieces. Just like the movie Madman, I had seen the poster and video artwork numerous times but hadn’t got around to actually investigating the film.

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But rather than being the average cookie-cutter slasher movie that I imagined it to be, it was a different beast altogether.

J. Piquer Simon’s shocker of a movie is actually a Spanish/American/Puerto Rican production with Valencia in Spain being used instead of Boston where the film is based.

Right from the opening scene we get to see how crazy, extreme and violent this film is going to be. We see a young boy putting together a jigsaw. This is seen by his mother who smiles until she sees what the jigsaw is actually of- a naked woman. She scolds and strikes the child whilst demanding that he brings some bin bags for her as she is going to burn everything he owns. She then starts going on a hunt to see if her young pervert of a son has any other filth stashed anywhere else.

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Before she can find anything though she is struck in the head by her young son who has found an axe rather than disposal bags. With Mother safely disposed of the young boy then deflects away from the fact that he was the one to have dismembered Mama by being found crying and whimpering for his mother in a closet by the police who have been called to suggest that he was hiding whilst his mother was being axed to death by someone else. It works.

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And this is only the film’s opening scene. It then flashes forward forty years with the action happening on a university campus. Someone is killing students but who could it be?

We see the killer wearing a fantastic Giallo-esque disguise which perfectly covers his identity therefore providing us with another Giallo trope- the whodunnit. Who could the killer be? Thankfully we’re provided with possible candidates and possible red herrings. The film does this with relish with one shot involving the campus gardener Willard lovingly cleaning his chainsaw.

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There are so many reasons to love this film whether it’s the kills (the hint is in the film’s tagline ‘You don’t have to go to Texas for a chainsaw massacre!’ Whereas TCM actually cut away from the camera seeing the murders, this camera in Pieces sticks around so that the audience gets their money’s worth. The murders seem to have been dreamt up in a pre-production brainstorming session. I can imagine the makers of Pieces proclaiming ‘What would happen if someone with a chainsaw got into a lift with a victim. Or what if a girl is rollerskating but then runs into a full length mirror?!’), the VERY quotable one-liners that beggar belief (‘The most beautiful in the world is smoking pot whilst fucking on a waterbed!’) right through to the sequences that are so over-ripe and overly dramatic that they are ensured a place in the hearts of the most ardent horror fan (one such sequence is the ‘Bastard’ scene that is so unbelievable that once it’s seen it can never be unseen. I think of this scene as my message to the world).

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Pieces is the gift that just keeps on giving. A stone-cold classic.

***** out of *****

Review- Southern Comfort (1981)

Review- Southern Comfort (1981)

A team of Louisiana Army National Guards venture into a local bayou. After getting lost they take three small boats belonging to local Cajuns. When they fire blank bullets at the men the Cajuns return this gesture with real bullets, killing one of the soldiers. From here on in things get worse and worse for the soldiers as they must fight for their own survival.

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Look at this ultra rare V2000 edition of Southern Comfort! Video 2000 lost out to Betamax which in turn lost out to VHS as a video format.

I remember seeing the last act of this film on late night TV in the 80’s and it was one of the most paranoid and chilling sequences I think I had ever seen in a film. Seeing the full film, this sequence remains taut and utterly unnerving.

In fact the film as a whole is yet another gem from director Walter Hill (The Warriors, 48 Hours, The Driver) with amazing cinematography from Andrew Laszlo.

This film reminds me of The Texas Chain Saw Massacre in that we have a slow tension-filled buildup until a massively violent incident comes out of the blue and shows us that the film means business. I’m certainly not going to disclose this genuinely shocking moment but it’s a gritty, uncompromising incident in a gritty and uncompromising film.

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A fine all-male ensemble reminds me of the same dynamic as John Carpenter’s The Thing which can’t be bad. In fact, it reminded me of The Warriors also, but minus another Mercy type character. Again, this comparison is no bad thing.

On it’s release the movie drew inevitable comparisons to Deliverance but this feels rawer, leaner and more suspenseful. This has the sensibilities of an edgier independent film. And there are no cringy scenes involving banjos.

A cracking film.

4 and a half out of 5

Review- Christmas Evil (1980)

Review- Christmas Evil (1980)

I first heard of this Yuletide horror flick as John Waters spoke about it as being his favourite seasonal cinematic shocker. With such high praise from The Prince of Puke I later heard it was being shown at a local cinema in Sydney, Australia where I lived for a year (it was actually shown as part of a double bill with Black Christmas which is possibly the greatest duo of films I’ve ever seen on the big screen).

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This film was also seized during the raids on video shops that happened in the UK during the video nasties furore. After it was seized it was then banned by the BBFC. Hence, why I wasn’t allowed by the powers that be to see this masterpiece in the 80’s.

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The film centres around Harry Stadling who we see first as a child as he sees Santa pleasuring his mother. After seeing Old Nick being so naughty he goes upstairs and self harms with a broken ornament from a Christmas tree.

The film then flashes forward to Harry as an adult working in a local toy factory. He seems to be completely obsessed by Santa Claus and even dresses like him, sleeps in his outfit and orientates his whole being towards becoming him. We even see him applying way too much shaving foam to his face so that it resembles a white beard to make the likeness even more apparent. He has also starts to make notes regarding the neighbourhood children as to who has been ‘good’ or ‘bad’ whilst jotting down examples of why he has arrived at his decision.

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Harry is told by his boss that the factory will donate toys to children at a local hospital but only if production at the factory increases and employees chip in with their own money. This angers Harry who sees this as an indication that his boss only cares about production rather than genuinely caring for the local unfortunate kids.

Harry’s Santaphilia reaches new heights on Christmas Evil when he seems to truly believe that he is Father Christmas. He starts to travel around in his equivalent of a reindeer led sleigh- a van with a picture of a sleigh on the side of it. He creeps into his brother’s house and leaves bags of presents for his nephews and then leaves a bag of dirt to one of the other neighbourhood children he has noted down as being ‘bad’.

After he is mocked by three men who are leaving church, he stabs one of the men in the eye with a sharpened Christmas ornament and then kills all three with an axe. After then entertaining people at a local Christmas party who mistake for just some harmless Santa impersonator and after telling the kids present that they should be good, he breaks into his co-worker Frank’s house (who we saw earlier in the film after he asked to swap shifts with Harry so he could be with his family only to be then spotted by Harry in a local bar drinking with his pals much to Harry’s chagrin) and murders him but not before leaving toys for his kids.

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To tell you much more would ruin the film for everyone and disclose some genuinely unexpected and quite brilliant twists. Without giving too much away I love the fact that even though he’s a murderous Santa, the neighbourhood’s kids protect him from an angry mob who have formed to capture or even kill him. The kids will save Santa even he is to Christmas what Michael Myers is to Halloween.

The final scene will fully ignite the magic of the Yuletide season in your soul. Seriously! Did Steven Spielberg steal it for possibly the most iconic scene of E.T? Quite possibly. I’ll take this movie over Spielberg’s saccharine family favourite any day though.

A genuine oddity and a film unlike any other, Christmas Evil was worth the wait for me and John Waters is completely justified to have taken this to his heart. Perfectly acted, beautifully photographed and with some fantastic insights regarding ‘this most wonderful time of the year’. These include those who are permitted to buy into the whole illusion of Christmas whilst others aren’t, the vileness of capitalism masquerading as being caring and charitable (but only if production is increased) and how in-crowds and groups judge others as ‘one of us’ or not.

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Waters said that if he had kids (and that would be quite something) he would sit down and watch this seasonal shocker with them every year. And if they didn’t like it they would be PUNISHED! That’s fair enough in my book.

***** out of *****

Review- Children of the Corn (1984)

Review- Children of the Corn (1984)

I first saw Children of the Corn when it was first shown on UK TV in the mid 80’s. The following day it would appear that most of my school friends had seen the movie too as we all recalled the events of the film in grisly and lurid detail.

On watching the film again recently I can say that it holds up very well indeed. The plot involves two characters called Vicky and Burt taking a roadtrip and happening upon a small Nebraska town called Gatlin. A major red flag goes up when the couple notice that on approaching the town the radio now only plays content that appears to be Baptist ‘fire and brimstone’ style sermons.

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What Burt and Vicky don’t know is that three years earlier the town’s adultfolk had been slaughtered on the wishes of 13 year old Isaac who has set up his own religious sect with ‘He Who Walks Behind The Rows’ as their god, the rows being the huge cornfield which is central to Gatlin. A failed harvest had prompted the uprising with Isaac asserting that his new god needs human sacrifices to be appeased and so that there are bountiful harvests as a result. Young child Job wasn’t involved as his father didn’t like Isaac and so wasn’t allowed to go to a gathering organised by Isaac for all of the town’s children. Job’s sister Sarah also wasn’t there as she was severely ill with a fever. She is shown to have some kind of psychic powers and depicts what she sees from the future in the pictures she draws.

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Things go from bad to worse for the adult couple who have now stumbled across the town which has been run by Isaac and his henchman deputy Malachi for three years now. When they hear about the adult trespassers they demand for them to be captured and then sacrificed to their cornrows deity. Poor Burt and Vicky. They discover Job and his sister who assist them in not becoming human sacrifices.

This film has a great premise which is based on a short story by Master of Horror Stephen King. The film also taps into one of the last taboos especially in film which is that of the killer child. And here we have scores of them. The milleu of the religious sect and the small details connected to this like the children being made to change their names to more biblical monikers also adds to the utterly sinister tone of the film. It also shows what can go wrong when a setback or downturn of fortunes can be taken as an opportunity by a charismatic person with sinister motives to come to prominence and give the downtrodden and disillusioned someone to believe in even though he/she is up to no good.

The opening scene takes place in a diner in which the children present (after being given the nod by Isaac) poison and violently slaughter the adults in attendance. I remember being utterly shocked by this scene in particular when I first saw the film and I can reliably report that it’s hasn’t lost any of it’s power to shock decades later.

But this isn’t the only sequence which has the power not just to shock but also to worm it’s way inside your head. The sequence in which Vicky is placed on a cross with it then being hoisted up, the shot showing the weapons hanging from the hands of the children as they descent on a house which has one of the couple in it and the gruesome scene in the church as we see what happens to the children who come of age are such examples.

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The casting of the movie is also excellent with Sarah Hamilton as Vicky and Peter Horton as Burt. But the attention to detail regarding the casting of the children is just as impressive. The casting of the freakishly sinister Isaac and his horrifyingly hillbilly deputy Malachi are inspired. In fact, it seems they cast every child with unconventional and unique looks.

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Another great quality that the film possesses is whether He Who Walks Behind The Rows is actually a real supernatural force or just completely fabricated by Isaac.

There are also some 80’s visual effects in the film which are still extremely pleasing to the eye and have aged very well indeed.

In fact the same can be said about the whole film. In lesser hands, this could have aged terribly and been forgotten about. Instead we get a film where thought and innovation were used to fully bring to life King’s great plot idea and which still has it’s own rabid fanbase. However the film still doesn’t get enough praise or recognition when films are talked about which were adapted from King’s novels. This is a real shame. Maybe this will change.

***and a half out of *****

31 Days of Halloween 2020- Day 27- Beyond Evil (1980)

31 Days of Halloween 2020- Day 27- Beyond Evil (1980)

A few things about this film should attract cult film aficionados. Firstly, it stars John Saxon and Lynda Day George. It was also released on the infamous video label VIPCO (home of Zombie Flesh Eaters and Shogun Assassin in the early 80’s). It’s also features some of the cheapest special effects I’ve ever seen which have aged incredibly badly. In other words, it’s great fun and has plenty of things going for it.

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A couple move to a tropical island and find a mansion that is so cheap that they have to buy it. But it then becomes apparent that Barbara (George) is showing signs of being possessed by the evil spirit of the wife of the previous owner who was practising the occult before she ended up killing and being killed by her husband.

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This is kitsch cult cinema at it’s purest- bad effects, bad acting, bad plot. BUT, very enjoyable because of it. This film has, erm, character! This movie would be perfect if you stumbled upon it on an obscure cable channel late at night.

*** out of *****

31 Days of Halloween 2020- Day 6- The Hills Have Eyes Part 2 (1984)

31 Days of Halloween 2020- Day 6- The Hills Have Eyes Part 2 (1984)

I remember seeing this on video shortly after it was released way back when. The original Hills Have Eyes wasn’t on video at that time and so seeing this was the next best thing especially in hindsight as there are LOADS of flashbacks to the first film. Yes, even a dog from the first movie who reappears in the sequel (‘the best character in the sequel’ someone wrote on YouTube!) has a flashback!

In fact this is the greatest thing about The Hills Have Eyes Part 2- it makes you want to watch the first (and far superior) film. It does this really early on and so I doubt many people have watched more than half an hour of the sequel. I watched it all the way through for this review. Do I deserve a medal for this as it sooo bad? Not really. Don’t get me wrong, this film isn’t good. But it’s passable. If you flicked onto it whilst bored, it would pass the time for you.

But as a sequel to a (in my opinion) masterpiece and the film that in my opinion is Wes Craven’s best, this could have been a lot better. Craven said he only made this for the money. That’s not really good enough. There was loads that could have been explored within this film but wasn’t.

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An ad for HHE2 from 1984

It’s great to see the characters of Bobby, Ruby (now renamed Rachel), Pluto and Beast. But the rest of the cast are largely wacky (i.e. irritating) teens and deserve to be dispatched much quicker in the movie. The motorbike plot device holds no interest to me whatsoever.

Even Harry Manfredini’s soundtrack is sub-par sounding like trimmings from his far better music scores he’s composed for other movies especially the Friday the 13th films.

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A trade magazine ad for The Hills Have Part 2

New mutant cannibal family member The Reaper is pretty good. He features prominently on the film’s artwork. In fact I’m guessing it’s this artwork which persuaded viewers to rent the video. Never judge a video by it’s cover. 

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Some films that I watched on VHS as a kid in the 80’s have stood the test of time really well and become some of my favourite films (take a bow Halloween 3). But then others may have been passable or even enjoyable when watched through a child’s (i.e. not yet jaded) eyes but The Hills Have Eyes Part 2 isn’t one of them. Strangely I feel kind of reassured that such a clunker of a movie still got a deluxe release from Arrow Video. Even rotten films are loved by somebody and deserve the best treatment possible. 

*and a half out of *****

Soundtrack of the Week- American Gigolo (1980)

Soundtrack of the Week- American Gigolo (1980)

Giorgio Moroder’s soundtrack for Paul Schrader’s 1980 movie about a highly sought after male escort played amazingly by Richard Gere is perfection.

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Just as the movie portrays high living, sophistication but with a gritty menacing underbelly, so does the music. Tracks Night Drive, Palm Springs Drive and Night Drive (Reprise) all effortlessly convey a decadence which is a perfect way to usher in such a decadent and affluent decade such as the Eighties. But they also convey just how incredibly tough this new era was. There are sometimes movies and pop songs that capture the zeitgeist of the time at which they’re made and this movie and it’s soundtrack encapsulate this to a tee.

But there is also room for more avant-garde fare with The Apartment being experimental but not feeling out of place on the album.

But the best song on the album is also one of the best singles ever released. Blondie recorded Call Me especially for this movie with the version on the soundtrack being longer, more epic in scope and even with an extra verse. Debbie Harry was the perfect choice of singer for a soundtrack that ushers in this exciting new decade. Debbie would also lend her vocals to the soundtrack of another masterpiece the following year, John Waters’ Polyester. Now THAT soundtrack needs to be released!

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Moroder’s score for American Gigolo was nominated for an Academy Award and a Golden Globe.

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Top 10 Horror Movies From The 1980’s

Top 10 Horror Movies From The 1980’s

Theres a video for this list here.

10. Monkey Shines

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When an athlete (Allan) is hit by a truck and left a quadriplegic, a scientist friend recruits a monkey that has been trained to help assist disabled people to fully carry out their lives. Ella the monkey starts to bond well with Allan but soon this bond becomes a lot darker as he thinks that there might be some kind of telepathic bond with his new companion which then transforms into Ella enacting revenge on anyone who Allen displays anger towards. This escalates quickly.

This was Romero’s first film since the amazing Day of the Dead three years before and was further proof, if it were needed, that Romero continued to make intelligent horror films and that, just like Cronenberg, his directing career continued to flourish and evolve into unexpected avenues.

A film about a psychotic, telepathic monkey reeking havoc in a disabled man’s life was new territory for Romero and (yet again) he knocks it out of the park with deft direction, all round amazing performances and a tension that becomes palpable with every passing scene.

The film still has the ability to shock. I could say more but I’m not going to ruin this film for anyone. This is a noteworthy entry in Romero’s stellar body of work and one of his best films.

9. The Stepfather

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Henry Morrison is a chameleon like serial killer who assumes an identity, invades a chosen family and then decimates it. We see him change his identity, leave the family home within which hes killed all of the family members (their bodies are still strewn around) and go off to repeat the whole process again.

He picks a widow with a teenaged daughter and worms his way in again.

The Stepfather felt like it was part of a new trend in horror- films that were polished, brilliantly made but very, very violent. It feels so raw and brutal that it makes for uncomfortable viewing especially when you find out that the film is based on a true story. John List had killed his family, cleaned up the murder scene (their house), told neighbours that his family were going away for a while and then vanished. He had even cut himself out of all of the family photographs. Brian Garfield based The Stepfather on this true life case.

There is deft direction, great performances all round but especially from Terry O’Quinn as the central character. And what a performance! It’s one of the most unnerved, deranged and fucked up turns I’ve ever seen in a movie. Yes, it’s up there with Betsy Palmer as Pamela Voorhees and Andrew Robinson as Scorpio in Dirty Harry. It’s that crazy! Also, watch for all of the nuances to his performance and his OCD obsession with everything being ordered and regimented.

Theres also something deeply disturbing about seeing these violent acts being carried out in a home that is so perfect that it looks like it’s from the world of advertising.

This relatively low-key film’s reputation has snowballed over the years and is now regarded as a cult classic.

The Stepfather’s director went on to make a film even more controversial- The Good Son starring Macaulay Culkin.

8. The Stuff

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A white goo is found to be bubbling out of the ground by workers. It’s found to be edible, sweet and highly addictive. The yoghurt like substance is then branded as The Stuff, sold and marketed. It sells like hot cakes as it’s sweet, highly addictive and, most importantly, has no calories! But, unfortunately, The Stuff is actually a living, toxic and parasitic organism that turns it’s consumers into zombies before eating them from the inside.

Because of The Stuff and it’s success, sales of ice cream are affected to such an extent that former FBI agent David ‘Mo’ Rutherford is hired by confectionary industry insider Charles Hobbs to find out exactly what The Stuff is and how it’s success can be sabotaged. Rutherford also teams up with a young boy called Jason who sees that The Stuff is actually alive and the dangerous addictive effects it can have. I love the part of the film where Jason becomes to a one-man army against The Stuff, attacking displays in local supermarkets and smashing glass freezers that contain the product.

This film is not just a really effective horror film but is also very humorous and also a very perceptive satire on advertising, consumerism and even the military (Paul Sorvino stars as a retired Colonel who leads a squad to battle the zombies and destroy the product using brute force). Its very telling that when the workers discover the goo bubbling up from the ground they instinctively want to taste it.

I love the adverts we see for The Stuff as well as it’s logo and packaging. The film is so perceptive and accurate that it feels like this could actually happen! Dollars and pounds are more important to corporations and capitalism over humanity and safety.

A great film from the great Larry Cohen.

7. Intruder

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A supermarket closes and the staff start to restock for the next day. A jealous ex-boyfriend of an employee is making a nuisance of himself and had to be removed from the premises shortly before it closed for the night. The employees then start to be dispatched of by a killer who is locked in the store with them.

What is it about supermarkets and shopping malls that make them so brilliant as locales for horror movies?

This film was directed by Scott Spiegel who was a high school friend of Sam Raimi and Bruce Campbell who both star here. This was also produced, and indeed stars, Lawrence Bender who was later introduced to Quentin Tarantino by Spiegel and the rest, as they say, is history.

This film is terrific with the darkened and isolated location of the supermarket being perfect for a killer to be running rampant within. The deaths are gory, innovative (my favourite being the head sawn in two by a meat slicer and then put back together but not aligned. One of the best special effects I’ve ever seen) and carried out with real panache.

There are some great directorial flourishes that are also noteworthy and set this head and shoulders above other late 80’s slasher fare. For example, check out the camera shot through the dial of a telephone. Inspired.

Watch out for the unexpected and brilliant ending.

6. Cujo

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Yet another adaptation of a Stephen King with 1983 being a bumper year for great films made from his work.

A young mother and her child pull into a mechanic’s as her car is spluttering it’s last breaths of life. What she doesn’t realise is that the area is being terrorised by a giant St Bernard dog called Cujo that is actually rabid. What happens is that they are now stranded with the dog attempting to attack them if they try to leave the car.

The main ‘siege’ segment of this film is like a very intense play with just three players. The clastrophobia is ramped up as Donna tries everything she can to somehow get out of the car to get to the adjacent house and call for help as her son’s health is deteriorating swiftly. The humid weather is also conveyed effortlessly with the viewing experience being just as uncomfortable for the audience as it is for Donna and Tad.

But its also the build up to this scene that is so interesting. Donna is shown not to be the smiling unreal mother from the world of more pedestrian films and advertising. Her marriage is on the rocks and she has been having an affair behind her husband’s back.

There is also interesting characterisation regarding Cujo’s owners with the mother Charity taking their young son to stay with her sister and get him away from her alcoholic husband, Joe.

It’s this characterisation which expands the canvas regarding the film massively and prevents the movie being just a mildly interesting B-movie.

Another plus point is that there are unformly great performances from all of the cast but especially from the ever-brilliant Dee Wallace who rises to the challenge of depicting the trapped mother whose maternal instincts come to the fore as she must escape to save her son and herself. The siege scenes are a masterclass of brilliant acting, fantastic staging and how tension is evoked, heightened and sustained expertly. These scenes are some of the most nerve-racking I’ve ever experienced watching a film.

When I saw Cujo for the first time I felt it was greatly overlooked. Recent times have been kinder to the film with a stunning new Blu Ray release that gives the film the loving treatment it so richly deserves.

5. Friday the 13th Part 4: The Final Chapter

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When this was released my friend and I just happened to be in the video shop when it was being put onto the shelves. My friend’s mother as with us and so we asked if she could rent it for us. She said, ‘Yes’ (!)

Yes, this was cut by the BBFC with the brutality of some of the scenes trimmed or excised completely such as the infamous ‘machete slide’ scene. But there was still enough in it to give me sleepless nights. In fact after we had watched it, it was dark and I had to have my friend’s dad walk me home as I was so scared.

What makes this Friday 13th my favourite instalment? Well, after the high-camp of part 3 (well it was camp compared to the other Fridays at least) it was back to business with this entry. Back to the dark, shadow hued locales (Part 3 was brighter than the other films so that the 3D it was filmed in would work to it’s maximum potential as dark surroundings aren’t conducive to that technique), back to the brutality and cruelty of the earlier films. Who would you call for this feat? Tom Savini, of course. With Savini’s return we get kills that aren’t just more painful but that are amazingly orchestrated, innovative and distinctive. These were generally blunted by the cuts made by the BBFC when the video was released 1987 but the film is now available uncut here in the UK. We get to see Jason taking a hacksaw to a victim’s neck followed by a massive twist of said neck which almost completely beheads the poor man, a woman who is pinned to a wall whilst Jason as good as guts her by inserting a knife in her stomach to pull it upwards, a woman is thrown through an upper floor window to land on the top of a car with all of the windows exploding outwards all at once. Violence and brutality have never been so beautiful.

We get some great characters in this instalment also. When Jason’s body arrives at the local morgue from the end of Part 3, the morgue worker is there to induct him. He is called Axel and is shown to be so inappropriate in his role that it’s untrue. Not only is he eating a cream cake (that he places on down on top of Jason’s corpse whilst he needs to sign the relevant paperwork) but he makes sick jokes about a female corpse in the room who he thinks is good looking. He sits down and is enjoying Aerobicise: The Beautiful Workout  when he receives the hacksaw neck twist from Jason.

We also get the genius of Crispin Glover in this sequel before he starred as Marty McFly’s father or started appearing all unhinged on TV chat shows. His character is worried that he might be seen as a ‘lame fuck’ when he finally gets with a girl (this is later disproved later on in the movie) but also displays quite possibly the quirkiest dance moves ever captures in the annals of horror movie history. On asking where the corkscrew is later on, Jason obliges him by stabbing said implement into his hand and sinking a meat cleaver into his face.

Then we get Tommy Jarvis played by Corey Feldman. He’s a young boy who’s into horror movies and making masks. He would reappear in Parts 5 and 6 after defeating Jason at the end of this epic (thats after he has shaved part of his head to resemble Jason as a young boy to confuse him which, of course, reminds the audience of the kind of deep psychology used by Ginny at the end of Part 2 putting on Pamela Voorhees’ jumper, and hey presto, becoming Jason’s mother to him).

The Final Chapter also feels more than just another film in the Friday the 13th series. It feels like the end of an era not just because this instalment promised Jason’s demise but it also signifies the end of the Friday the 13th series as we know it and the era captured by the first four films. The end of a golden era for horror fans that seemed to start in earnest with the release of Halloween in 1978 with new horror releases appearing more and more. At it’s peak it seemed like there was a new horror release in theaters every other week. This era is also marked by the amazing horror magazine Fangoria which was there to document and celebrate this age. Joseph Zito, the director of this film was the one who suggested the killing of Jason as he could see the slasher phase was going to end soon and so it was better to be ahead of the curve.

After this film was a huge success, of course, there was another sequel. But the Friday the 13th series had started to mutate and change which is understandable. Especially as it wasn’t even Jason who was the killer in the next movie. And, for what it’s worth, whilst I eventually give up on all horror franchises, it’s the Friday the 13th series that has continued to hold my attention the most. Even the missteps (Part 5, The Final Friday) are interesting.

But for me the first four Fridays signified more than just mere slasher movies. They encapsulated a whole brilliant era for horror culture.

4. The Evil Dead

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Young friends persevere to make a horror film, get it finished and then get it distributed. Their new distributor has a hand in the new Cannes Film Festival and shows the film there. Stephen King just happens to see the film, raves about it and suddenly the movie starts to garner press and accolades. King’s endorsement was used in the film’s advertising and helped to get the film distributed worldwide.

But whilst everything was going well, a moral panic in the UK deems the film as ‘obscene’ (even though lead protestor and busybody Mary Whitehouse admits to never having seen the film (!) as she ‘didn’t need to’) which led to it being banned. The fact that it received an X rating in the US (the kiss of death of most cinemas now wouldn’t show it and most newspapers wouldn’t carry ads for the film) didn’t help matters either.

So, is The Evil Dead the most depraved, ugly and vile film ever made? Of course not. I first saw the film quite by chance. The film had been banned on video in the UK but one of my older brother’s friends was the daughter of the owner of one of our local video shops. During the ‘Video Nasties’ furore video shop owners were sent lists of films that had just been banned and instructed where to send these films back to. My friend’s father knew that a lot of business owners weren’t complying with this and more importantly, this wilful non compliance wasn’t being followed up on or leading to more serious repercussions later on. So, he didn’t send the films back and instead she brought The Evil Dead to our house when I was about 9 years old. And look at me! It did me no harm whatsoever…

The thing that struck me the most about the film was it’s comic book humour, cine literacy and the sheer innovation to make things work even though the filmmakers had a tiny budget.

Yes the film is still scary and brutal (the woods rape scene is very close to the edge still and feels out of place in the film. Sam Raimi the director said he wouldn’t include it if he was making the film today). But it’s also very funny and surreal in equal part. An example- when one of the characters is stabbed in the ankle with a pencil, the blood doesn’t splatter or gush out as would happen in real life. It pours out like a tap has been switched on resplendent with a sound effect of water being poured for good measure. The film disorientates and leaves the audience feeling dazed and confused but in a very novel way. This is especially evident in the latter part of the film which finds the last man standing, Ash on his own, his mind playing tricks on him through fear and disbelief. But the situation he finds himself in is also to blame with the ancient evil that has been unleashed completely changing the logic of his known world and making it a dark and lethal place. Check out the surreal sequence in which blood starts pouring out of every place it can pour out of within the cabin, including into the inside of lightbulbs! As Stephen King said when he sang the film’s praises, The Evil Dead made him look at films and what a film can convey in a completely different way.

If this was a comic (and theres plenty of comic-book devices within the movie) it would most probably be an EC Comic- fantastical, exaggerated and ghoulish all at once.

Originality, innovation and subversion are why The Evil Dead is my favourite movie of 1981.

3. Halloween 3: Season of the Witch

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I saw this on Thorn EMI video when I was 8 years old. I didn’t think about Michael Myers and his no show in the movie but just loved it from the first time I saw it. The plot, when explained, is the most nonsensical load of nonsense you’ve ever heard. An Irish mask and practical joke manufacturer plans to kill all of the children in America via a microchip in the back of each of the masks his company makes coupled with a signal to be transmitted via a TV commercial to be shown on Halloween. Oh, and Stonehenge has made all of this possible.

Sounds ridiculous, right?! But when you watch the film, it works! Add to the mix a great cast (Tom ‘The Man’ Atkins as well as Stacey Nelkin and Dan O’Herlihy as the evil Conal Cochran), amazing cinematography (Dean Cundey’s genius again) and quite possibly one of the best soundtracks I’ve ever heard. John Carpenter and Alan Howarth outdid themselves with this soundtrack as it sounds almost like the work of Can or Tangerine Dream but better! Everything adds up to such a haunting film full of gorgeous shots, genius music and characters that feel believeable as they’re so well sketched out and flawed. Take for example, the film’s lead Dr Dan Challis who is a great crusading hero but is also an alcoholic and serial womaniser.

The video release I saw was censored but a few years after, the film was shown on BBC1 who accidentally transmitted it uncut. The kills are very full-on and pull no punches which makes the film feel even grittier and on the edge. There is a sense of doom that permeates the whole film that really works to it’s advantage.

Halloween 3 had been reappraised over the years as the cult classic that I always thought it was. Even if it doesn’t feature Michael Myers. Halloween 3 never fails to make me feel like the 8 year old who first saw it. It holds the same mystique and power of a campfire tale told to scare and captivate children and adults alike.

2. The Fog

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One of my favourite movie viewing experiences occurred when I was in a shared house at University (studying film incidentally). It was late at night, I was all snug in bed and there was a storm outside, with wind and rain splattering against my window. It was at thing point that The Fog came onto my television. Utter bliss.

And that’s what The Fog is to me. It’s familiar, snug and comforting. It might not be as good as Carpenter’s best (Halloween, Assault on Precinct 13) but it comes pretty darn close. The tale of zombie pirates coming back to right some previously carried out wrongs in an American coastal locale has interesting characters brought to life by brilliant actors resplendent. It also has amazing practical special effects, a brilliant baroque synth score, gorgeous cinematography (take a bow, Dean Cundey- again!) and Carpenter’s genius direction and dialogue (check out the brilliant rapport between Janet Leigh and Nancy Loomis) and you have a classic film.

It also shows that it’s as nasty as the leading lights in the slasher genre but can accomplish this without gratuitous violence and an over-reliance on gore. Look at the attack on the Seagrass- there aren’t gallons of blood and acres of flesh. Instead theres the pirates with hooks, steel skewers and sound effects of bones breaking and spines being severed. In other words, kills coupled with intelligence and verve.

Apparently close to the film’s release date Carpenter watched the film, realised that it didn’t work and so he inserted new scenes with literally days to spare. It worked. The Fog is a melding of new and old (a traditional ghost story made in the slasher era) just like the narrative is (pirates in an early 80’s locale) and the film’s soundtrack (baroque played on analogue synths).

The lighthouse is another huge character within the film with it’s old, traditional use being brought into the present (another example of the old/new theme present within the film) as it now contains the town’s radio station which proves to be massively beneficial as the fog rolls in as people are without communication with each other but DJ Stevie Wayne’s (Adrienne Barbeau- as brilliant as ever) voice guides, connects and unites the otherwise separated townsfolk. Her presence on the airwaves also helps to save her son (who is about to be attacked by the marauding pirates). The roof of the lighthouse being used as a locale when the pirates descend on Stevie still feels daring and inspired.

All of this is why The Fog is my favourite film of 1980.

1 Henry Portrait of a Serial Killer

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I first heard of this film in 1991 when Malcolm McLaren reviewed it on a Channel 4 arts show. I thought Mr McLaren would act all edgy and say that the film was very tame and didn’t affect him at all. How wrong I was! He said that he had seen the film 3 days previously to review it and hadn’t slept since! It had scared the shit out of him and that it was like he had watched a documentary rather than an actual motion picture. As soon as I heard him say this I knew I had to see this film (although with a title like this I was bound to see it anyway).

The film was released on video in the UK after being massively cut by the BBFC but it still remained a harrowing, powerful piece of work, the likes of which hadn’t been seen by film audiences before. It really was like we had fly on the wall access to serial killer Henry and his prison pal Otis (based on the real life Henry Lee Lucas and Ottis Toole who were actually a couple in reality but not within the parameters of this film) as Henry coerces (not that he needs much coercion) Otis into killing and passes down his wisdom to him regarding topics such as Modus Operandi and not getting caught. Henry also outlines some of his philosophy regarding what murder is like (‘It’s always the same and it’s always different’).

The film is peppered with unexpected intervals whereby we’ll suddenly see one of Henry’s victims just after he has killed them- the woman slumped on a toilet, her top pulled down to show her breasts, suspenders and stockings also on view with a broken bottle protruding from her maimed, mutilated bloody mouth. Or the Mom and Pop in a general store both shot dead. Or the dead naked woman’s body floating face down in a lake. These intervals are also accompanied by their respective screams. We also see other clues as to Henry’s crimes. The hitchhiker he picks up who is clutching an acoustic guitar in a case which Henry later brings into the kitchen where Otis and Becky (Otis’ sister who comes to stay with them) are sat. When asked where he got it from he just says he ‘picked it up’. Theres also the scene later on in the film where he offers to take Becky out for a steak dinner as he has a new Visa card he wants to try out. ‘You have a Visa card?!’ Becky laughs to which he responds ‘Who do you think you’re associating with?!’ It’s not explicitly stated where Henry has received this credit card from but it can be reasonably guessed.

We even get to see the stalking of a woman Henry has seen in a shopping mall car park, as he follows her to her suburban home. On seeing that her partner meets her to unpack her shopping, he drives away. But on being instructed to keep the canister of bug spray from his former job by his boss, he uses this prop to go to the woman’s house on a later occasion and finish what he had hoped to do earlier. We don’t see the murder but we get to see the aftermath. As cartoons play on a TV screen, we see her dead on the couch, a length of cord around her throat, cigarette burns on her chest.

And then there are the murders that take place on screen. These include the homosexual guy who stops for Henry and Otis’ (fake) car breakdown, the sleazy and sarcastic (but very funny) TV salesman who finds a TV actually being brought down on his head screen-first (‘Plug it in’ Henry tells Otis, providing the film with a scene of gallows humour. This sick and unintentional comedy peppers the film just like the bloody intervals revealing Henry’s victims do. More on this bleak humour later), the pair of prostitutes they have rented with Henry breaking both of their necks to the astonishment and dismay of Otis.

And then there is the home invasion scene that was and still is the bane of many film classification boards the world over and one of the most notorious scenes in the history of film. Henry and Otis break into a home whilst the family are enjoying an otherwise quiet night in. Otis is seen fondling a woman sat on his lap but whilst she is desperately try to get away, Otis holds her arms behind her back so that she can’t. Henry is seen kicking her male partner who is tied up, has a bag over his head and is on the floor at Henry’s feet. Henry is also filming the whole incident on a camcorder taken from the TV salesman they killed earlier. As all of this is going on, the front door suddenly opens and a ten year old boy walks in, sees whats going on and makes a bolt for the door again to notify someone. He doesn’t make it though as Henry beats him to it, tackles him to the floor and breaks his neck. Otis breaks the neck of the woman on his lap and is just about to sexually abuse her further when Henry tells him not to. We then see that the action is actually being watched by both men on their TV whilst they sit on a couch in their apartment. They are watching the incident for pleasure.

Becky is coming to stay with them as she is running away from her abusive husband. During her stay with her brother and Henry, she will slowly fall for Henry. She will also reveal details of her own backstory over a game of cards with him- the abuse she received at the hands of her father, the fact that she only got into a relationship with her violent husband Leroy so that she could escape her Dad. Otis had previously mentioned to Becky that he had met Henry in the jug and that Henry was there for killing his Mama. He also demands that Becky doesn’t mention it to Henry which, of course, she does. Henry tells her about it, how his mother was a whore, how she’d make him sometimes wear a dress and watch as her and her male friends had sex and then after the deed they would sit and laugh at him. The fact that he gets the method he used to kill his Mama wrong says so much. Henry also details other aspects of his upbringing- his father who was a great man before he lost his legs, the bicycles that his father gave him and his brother that were too big but were sold before he had time to grow to be able to use it properly, the brother who had ‘bone disorder’ and was deformed.

The film isn’t the quagmire of depravity that the film’s reputation suggests. There is some great black comedy within the film with the ‘Plug it in’ scene highlighted earlier being one of them. One such happens when Henry breaks the necks of two prostitutes in quick succession. On seeing Henry killing for the first time and not even knowing that he was capable of something like that, Otis’ face changes to one of disbelief of almost comic proportions with him almost looking into the camera at the audience and breaking the fourth wall. It bizarrely provides a laugh for the audience in the bleakest of situations. In fact, Otis is also a great source of humour in other scenes in the film. On picking Becky up from the airport, she has a huge suitcase and a paper bag with her belongings in them. Otis chooses the paper bag to carry and leaves her to struggle with the suitcase.  On driving to his apartment, he asks her about her husband Leroy. When she gets upset and says she doesn’t want to talk about him anymore he agrees and asks if shes hungry and wants something to eat. There’s then a short pause after which Otis asks her if she thinks Leroy is hungry and then wickedly smiles.

Just as there is (very dark) humour in the film, Henry is also depicted as charming and completely human in some scenes. If serial killers looked like the monsters they are on the outside, they wouldn’t get close enough to kill anyone. We see Henry making a waitress blush by saying she has a nice smile. Near the end of the film he meets a woman and her dog in an alleyway and goes on a charm offensive, mentioning how lovely her dog is and asking it’s name. He can use his charm when he wants to get close to a subject to kill them.

A note here about the music used within the film. The score brilliant mirrors Henry’s behaviour and temperament. For the most part it suggests a steady air of impending doom and menace whilst during the murders it curdles into wild explosions of sound complete with stingers when Henry stabs or attacks someone. These sound devices utilised during the murders wouldn’t be out of place in a slasher movie and their use here is very important. Henry feels completely separate to almost every other horror film especially the slasher genre. The use of slasher film type music shows that it can be used to even more terrifying use when utilised by such a realistic film as Henry. The film reappropriates this music and gives it a new meaning. The tagline used for the film was ‘He’s not Freddy. He’s not Jason. He’s real’. This film is so invested in real life that it’s power, rawness, and menace comes from that fact.

The three central performances within the film are amazing as are their characterisations- the wide-eyed naivety and gullibility of Becky, the already corrupted and willing to be further corrupted Otis. And then theres Henry. Michael Rooker’s performance is nothing short of brilliant and is one of the best performances I think I’ve ever seen. He is a walking, talking realistic portrayal of a psychopath and sociopath. He seems to inhabit the character and, as cliched as it is, he is Henry. And with the drawl of Droopy the Dog. Apparently he stayed in character for most of the film’s shoot. A crew member would drive him to the set every day and he would talk about his background, sometimes as Michael, sometimes as Henry. Rooker’s wife found out that she had become pregnant whilst Rooker was working on the film, knew that he was in character whilst he was shooting it and so waited until filming had completely finished before she told him the good news.

I could say more about Henry but to do so would completely ruin the film for new viewers and expose major spoilers. I’ll just say that the film is now recognised as the classic it truly is, is now uncut in the UK (and many other countries) and is available in 4K on Blu Ray (I remember seeing a print before this restoration that was on Netflix here in the UK and it looked dreadful! This new anniversary edition makes up for this with the film looking and sounding the best it ever has).

A truly astonishing piece of work and not for the faint hearted. I could write more about Henry and analyse it in more depth. And I will.

 

Top 10 Horror Movies From 1989

Top 10 Horror Movies From 1989

There’s a video for this list here.

10. Beware! Children At Play

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A Troma movie that pushes the boundaries- even for Troma!

Children are disappearing in a small town in America. Rather than being abducted they are in fact being recruited to join a religious cult which practices cannibalism.

This is Children of the Corn on steroids. I first learnt of this movie when I saw the trailer and my mouth dropped open. Apparently Lloyd Kaufman said that it was this trailer that was shown before a screening of Tromeo and Juliet at the Cannes Film Festival (!) and caused most of the audience to leave!

This film is so taboo because it depicts children not only carrying out numerous crimes such as murder but also the town’s adults killing them for their actions. Cue numerous scenes of children being shot, killed with pitchforks etc. Remember to repeat to yourself whilst watching this- ‘It’s only a movie! It’s only a movie!…’

Tasteless, irreverent and controversial. But still just a film. Moral guardians and virtue signallers- get over yourselves and go and watch Dumbo for the thousandth time, dullards.

9. The Church

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In centuries gone by a group of Satanists are slaughtered, their bodies buried and a huge church built on top of the bodies to try to eradicate the evil.

The film then fast forwards to the present day (well, 1989) as we see Evan a librarian starting at the church on the first day of his job. Weird, seemingly supernatural things start to happen at the church. A first day in a new job is bad enough without a battle between good and evil being thrown in as well.

This film is a Goth’s dream come true (although no self-respecting person would have been a Goth after 1987). A slowly creeping sense of dread, a location sent from Heaven (no pun intended), a great cast and an amazing soundtrack. Also, VERY disturbing kills and horrific looking demons. The makeup and special effects for this film are amazing.

This was originally intended to be the third entry in the Demons series of films but was then conceived by director Michele Soavi to be a separate entity that would be more sophisticated than Demons 1&2. It is too, although I love the sleazy splendour of those films.

8. The Horror Show

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I read about this in Fangoria and Gorezone in the late 80’s and it looked so demented and gory that I didn’t know if it would actually be released in the UK. But, quelle horreur, it was released and uncut as House 3, part of the House franchise.

On being fried in the electric chair, serial killer Max aka Meat Cleaver Max promises revenge on the cop who sent him there, Lucas McCarthy. Max means it too after making a pact with the Devil which means that he can wreak havoc from beyond the grave.

Two of cult cinema’s biggest icons Brion James and Lance Hendriksen star as Max and Lucas making this unmissable entertainment. The effects have to be seen to be believed. They pushed the boundaries regarding how far they could go in those days when it came to taste and decency. The effects are gross which is music to the ears of any discerning horrorhound. There’s also a depraved and sick sense of humour at play within the movie which makes it even more likeable.

This film has nothing to do with the House series of movies but was just given that moniker in the UK so that more people would rent the movie. It was actually released as a stand alone movie in the US called The Horror Show.

A great movie that history has treated very well with the ever excellent Scream Factory releasing it all spruced up. And it deserves that kind of release.

7. Shocker

Shocker

Wes Craven goes full ‘horror baddie as anti-hero’ which was just what the Nightmare on Elm Street sequels (which ironically he didn’t have anything to do with) had morphed his creation Freddy Krueger into. Only this time the film promised to be a lot more graphic and full-on than what Freddy had become hence the tagline ‘No More Mr Nice Guy’.

Horace Pinker is a voodoo studying serial killer who kills the family of the policeman who is pursuing him, Don Parker. Parker’s older foster son feels that he has a connection with Pinker through his dreams. This proves handy as it leads him and his father to Pinker’s rundown TV repair shop (when he’s not a serial killer he’s actually a TV repair man). Pinker aims his sights on Jonathan’s girlfriend as retribution but is then arrested and scheduled to be executed in the electric chair. However, he’s made a pact with the Devil and will become pure electricity after his execution. And this is the next stage of the film as Pinker now has supernatural powers and can use electricity and electrical devices to possess others to do his biding for him

Whilst this film and it’s plot devices (all of em!) feel undisciplined and lacking any clear boundaries or rules regarding Pinker and what his newly found powers can permit him to do, the film is still great fun. Pinker is a great baddie and a great badass with some of the funniest one-liners and some innovative gruesome kills. Apparently Craven had to submit the film 13 times to the MPAA to get it’s certificate down from an X rating to an R. And it shows! Some of the gore scenes are still especially close to the knuckle and the film feels grittier and more hardcore because of that.

I also love the messages Craven is making about television, the media and popular culture in general. Shocker was a very crafty way for Craven to make a later phase Nightmare franchise entry that wasn’t a part of the series and without Krueger. Fans of the series were privileged enough for Craven to give them a taste of what a new Nightmare (pun not intended) might have been like if Craven returned to the fold.

A wild ride and Mitch Pileggi is bad-ass.

6. Puppet Master

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André Toulon is a puppet maker who happens upon an old Egyptian formula which is able to create life and so he gives life to his puppets. The Nazis seek to use this knowledge and are in hot pursuit which makes Toulon take his own life but not until he has hidden away his puppets for safe keeping in a wall panel. Some years later four psychics investigate the case of Toulon which leads them to his mansion. Along with his widow, they uncover the secrets of the Puppet Master in the worst possible way.

This film belongs to the ‘evil puppets/dolls/toys’ genre with other notable entries such as Dolls, Dolly Dearest, Demonic Toys and Dollman. In fact, it was this movie that crossed over with Demonic Toys for a future franchise entry.

Ever since the Ray Harryhausen skeleton scenes in Jason and the Argonauts the use of stop motion animation could be used to terrifying ends within fantasy/horror movies. This is one such film. The puppets are the stuff of nightmares, the Nazi background to the narrative is interesting and the locale of Toulon’s mansion is a very creepy setting for the majority of the film’s action.

Highly recommended.

5. Parents

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Michael is living in middle class suburbia in 1950’s America. He has very disturbing dreams and suspects that his parents are cannibals after he finds body parts hanging up in the cellar. Can he convince his school counsellor that he is telling the truth?

Parents is an expertly directed and acted dissection and subversion of the dewy eyed nostalgia towards 1950’s Americana. The reason I saw it was the oh so wholesome artwork of the video artwork that depicted the parents in their perfect kitchen preparing dinner. The image was perfect, pure cheese and very atypical. But there was blood dripping from the movie’s title and the tagline was ‘A new name for terror’ which signified that this was, in fact, a horror movie.

I once read a description of the film that said that this was like an episode of Goosebumps directed by David Lynch. And I couldn’t put it better myself.

Theres a great sense of humour at work within the film. When Michael is served dinner he remarks ‘Who were the left-overs before they became left-overs?!’

Props to the excellent cast that includes Randy Quaid, Mary Beth Hurt and Sandy Dennis- all perfect.

4. Society

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Every so often a film would be featured in Fangoria and Gorezone that looked so genre expanding when it came to special effects, make-up and general ickiness that I just had to see it when it reached these shores. But, with the BBFC in full swing this was not always the case. It took me many decades to see Luther The Geek in the UK after first reading about it and poring over the pics in my horror magazines for it to be then banned.

A Beverley Hills youth suspects his wealthy parents may not be what they proport to be.

This is a funny, horrifying and very shocking commentary on the Reagan’s America of the 1980’s with it’s different social strats and inequalities. The film also has some great observations regarding consumerism and those lucky enough to be able to buy into it fully and their insatiable addiction to it.

The director of this opus, Brian Yuzna was the producer of movies as fucked up as Re-animator. His directorial debut shows the same kind of restraint (i.e. none, thankfully) and limitless imagination and vision for this project that is effortlessly translated onto the screen.

The ending has to be seen to be (dis)believed.

3. Tetsuo

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I actually saw the sequel to Tetsuo before I saw the first film. I loved it so much I made it my duty to track down the original and I’m so glad I did.

Shinya Tsukamoto’s film is a black and white gritty looking masterpiece of surrealist visuals, mutation body horror and metal fetishism as we see the lead character eroticising the idea of himself becoming part man, part machine and then finding that it’s actually happening.

The original ads for this film mentioned the ‘two Davids’ Cronenberg and Lynch and their influence permeates this movie. But this isn’t some bad crude cut and paste of the different components and styles that are staples of their films. Tsukamoto has his own vision and it’s this that primarily shines out the brightest from this audacious, brilliant film/experience for the senses. Man Ray can be seen as an influence on this film also.

A disorientating, brilliant experience.

2. Pet Sematary

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Louis Creed and his family move into their dream home which is perfect except for the very busy road at the front of their property.

The family cat is killed on the road. Louis is advised by a neighbour of a burial ground behind their property which has the power to reanimate the dead. Louis buries the cat but is shocked to find the cat comes back but as an evil version of itself.

Louis’ young son is then killed on the road. Should Louis bury him in the supernatural burial ground and hope that he comes back to life unscathed or should he take the cat incident as a sign not to?

This excellently directed yarn has much more emotional resonance than similar horror fare probably because the source material was so well written and personal. Stephen King, for many years, refused to talk about his source novel as it was too dark for him to go into. The scene where Louis’ young son Gage is run over and killed is horrific to watch and the lengths his father will go to try to bring him back is completely believable as this character will do anything to turn back time even if it’s been shown to have cataclysmic consequences.

Mary Lambert’s direction also brilliantly ramps up the tension amazingly with the actual horror scenes being especially unnerving and uncomfortable. This film could have been a second rate TV movie with the wrong director on board. Thankfully Lambert proved to be exactly the right woman for the task with the varied events in the film being handled expertly when it comes to either sensitivity or horror.

Horror fans will also be pleased to note that this film features Herman Munster himself Fred Gwynne as Jud Crandall the next door neighbour who tells Louis about the burial ground and it’s strange powers.

This film has just been given the 4K UHD treatment and this can only be seen as a worthy  judgement as to the film’s worth.

1 Intruder

Intruder

A supermarket closes and the staff start to restock for the next day. A jealous ex-boyfriend of an employee is making a nuisance of himself and had to be removed from the premises shortly before it closed for the night. The employees then start to be dispatched of by a killer who is locked in the store with them.

What is it about supermarkets and shopping malls that make them so brilliant as locales for horror movies?

This film was directed by Scott Spiegel who was a high school friend of Sam Raimi and Bruce Campbell who both star here. This was also produced, and indeed stars, Lawrence Bender who was later introduced to Quentin Tarantino by Spiegel and the rest, as they say, is history.

This film is terrific with the darkened and isolated location of the supermarket being perfect for a killer to be running rampant within. The deaths are gory, innovative (my favourite being the head sawn in two by a meat slicer and then put back together but not aligned. One of the best special effects I’ve ever seen) and carried out with real panache.

There are some great directorial flourishes that are also noteworthy and set this head and shoulders above other late 80’s slasher fare. For example, check out the camera shot through the dial of a telephone. Inspired.

Watch out for the unexpected and brilliant ending.