A teenage drag race goes dreadfully wrong with one car being forced off a bridge and into a river. From the car a woman, Mary manages to escape and clamber ashore.
However, Mary’s life after that isn’t the same. She seems to see ghostly figures when she seemingly disassociates herself with everyday life that is going on around her. One example takes place on a bus when she sees seemingly dead people coming for her. The film very creepily plays with space and time and does so without warning. The film is just as disconcerting and disorientating for the audience as it is for Mary.
The ghostly figures she sees seem to be led by a man (in reality, the film’s director Herk Harvey) who seems intent on somehow coming for Mary to take her somewhere as yet unknown.
Mary is a church organist by occupation but even this is affected now with her only playing the kind of funereal pieces that in the future The Cure would be playing in 1981. Yes, they’re that bleak! One priest who hears her playing stops her and deems her playing as ‘Profane! Sacrilege!’
Add to this a very sleazy and creepy housemate who gets off on perving on her as she gets out of the bath and won’t let up.
The action builds up to an ending that actually takes place in an abandoned fairground. This all adds up to a truly great cinematic experience. There are sequences of this film that are far removed from anything I’ve ever seen in a motion picture before or since. The haunting photography, the use of some sequences such as a dancing scene in the carnival being sped up, the way the film takes the audience with Mary as she enters her limbo world where the dead walk and stalk her.
The idea of a limbo world between life and death was also brilliantly explored later on in the classic movie Don’t Look Now. Carnival of Souls went on to influence George A Romero who said that it was a huge influence on Night of the Living Dead as did David Lynch on Blue Velvet. The influence of the film can also be seen within the better parts of the Goth movement. The sequence where the undead run after Mary on the beach feels like a fantastic Goth version of something from a Fellini film.
Carnival of Souls is an anomaly in cinematic terms, a one-off which is like no other. It’s also a masterpiece. I’m so glad it wasn’t forgotten. It was restored and released cinematically in 1989 after it’s original 1962 release and is now on the Criterion collection on Blu ray alongside the best of cinema. And rightly so!
As soon as I saw that this 1965 Amicus film was directed by Freddie Francis I knew that the direction and photography would be beautiful. And I was right! I was also excited as I knew that this was a horror anthology film and starred two heavyweights of the genre, Peter Cushing and Christopher Lee.
As well as Cushing and Lee the cast also includes Alan ‘Fluff’ Friedman, Donald Sutherland and Roy ‘You’re a Record Breaker!’ Castle. We even get Kenny Lynch appearing in a cameo role.
Travellers in a train compartment are joined by the very sinister Dr Schreck who whips out his deck of tarot cards and tells each of his fellow traveller’s fortunes. Each fortune told is a separate episode in this anthology.
The separate stories involve vampirism, a vine seemingly related to a Triffid that comes to life, lycanthropy, voodoo and black magic and a severed hand. I want to give more details away about each segment but there are so many brilliant twists and turns that writing any more would be like trying to tiptoe through a field full of landmines.
Each episode is completely different from each other, taking place in a real breadth of locales and circumstances which keeps the film as a whole really varied and interesting.
This film has all the ingenuity of five separate mini episodes of Tales of the Unexpected. Each concept is unpredictable, genuinely ingenious and likely to surprise most viewers.
A joy from start to finish with perhaps the biggest twist coming after each of the characters fortunes has been told.
A very exclusive school is lobotomising (what is it about lobotomies in my choice of films for this year’s 31 Days of Halloween?!) it’s students so that they become the kind of upstanding captains of industry that makes society great. This is the High School version of The Stepford Wives.
Played more for comedy than horror, this film isn’t as irritating as many other horror-comedies. Great characters, especially the unconventional supporting players and nice art direction help proceedings pass very well indeed.
The idea of the school being a kind of sausage factory to make capitalist highflyers out of isn’t really explored enough but who cares as this is a late 80’s horror comedy yarn after all.
Notable for it’s cast which includes Virginia Madsen, Sherilyn ‘Laura Palmer’ Fenn and Richard ‘Cruising’ Cox all of whom should be known to cult film/TV fans.
A young cartoonist Josh chats up a young woman named Cheryl in the street (the board at Gillette must be despairing at this) but when she collapses she is then taken to a nearby hospital in an ambulance which has been called for her. When Josh tries to track her down there appears to be no trace of her being taken to any hospital in an ambulance. Josh then learns that the same fate happened to Cheryl’s roommate. Something fishy is going on. Does it have anything to do with that specific ambulance?
With such a great premise I was expecting a cross between Coma and Maniac Cop. But, alas instead this is more like a TV movie that feels very slight and somewhat hollow.
I was also expecting more as this was directed by the great Larry Cohen and whilst there are some great directorial flourishes and some great dialogue which Cohen also wrote (all of the supporting characters in Cohen’s films have the best in quirky left-field comebacks), they don’t save this movie.
A young man who can restore frescos (ancient works of art) arrives to restore one such artwork but finds events within the remote town to be far from normal. Indeed, they are downright bizarre. Does the fresco hold any clues? Does it depict what people have been led to believe it shows? Will the events directly affect Stefano?
This Italian film is one hell of a gorgeous (and VERY disturbing) journey. Not only do we get the backstory of the artist who first painted the fresco but also the freaky events that are happening in the Valli di Commacchio area that the action takes place in.
With all the best of Italian horror/gialli, it also makes you want to go to Italy and experience such a seemingly fantastic and aesthetically pleasing way of life. The photography is magnificent. I’d love to see this film on the big screen.
The locales are sumptuous, the characters are left field to the max (at times I kept think of the films of Jodorowsky) which all adds to the overall vision and atmosphere of this gorgeous film.
I’d love to speak about the conclusion of the film but that would massively spoil the entire film for those of you who haven’t been lucky enough to see it yet. Also, if I tried to write down what happens you probably wouldn’t believe me. Just to say- it’s surreal, can’t be predicted and gets under your skin and inside your head and remains there long after the actual film has ended. Fantastic.
A young couple have their young baby snatched away from them and offered as a human sacrifice to an ancient tree to prolong it’s life by the infant’s nanny. We then see a short time later the Druid nanny from Hell starts new employment caring for another couple’s child.
This tautly and stunningly beautiful film was director William Friedkin’s first excursion into the horror genre again after that low-key film that he directed in 1973 that no-one ever talks about anymore. Just kidding. Friedkin’s first horror movie after The Exorcist was bound to garner much press and this film did. It was also predictable that any film that wasn’t as genre-defining and revolutionary as The Exorcist would provide howls of derision and bad reviews which was the fate for The Guardian.
I refuse to think of any film directed by William Friedkin to be irredeemably bad or massively flawed. And this truly is the case with The Guardian. Amazingly directed, beautifully shot, pinpoint perfect performances (a big shoutout goes to Jenny Seagrove as the anti-Mary Poppins) and you have a taut 1990 film that has more positives than negatives. If anything is lacking it’s maybe the generic source material and the constant re-writes that affected the film. But it’s interesting to see such a great director working on strictly genre fare and seeing what happens. This reminds me of Martin Scorsese directing Cape Fear and seeing what he could do within such parameters.
The horror scenes are great and the buildup of tension is lovingly established. The film establishes the feeling of placing the well being of your baby into someone else’s life and that someone turning out to be a nutjob (if only the film had ditched the supernatural element and made it about a psycho nanny instead. This film could have been to childcare what Jaws was to sharks). The loss of control and the erosion of some of the most precious parental boundaries are fully explored here and the result makes for a very chilling film.
Time has been very kind to The Guardian. It’s established a fanbase and isn’t the disaster some critics would have you believe it was at the time. In fact, it’s a very good movie.
A sequel to Village of the Damned which is less a continuation of the plot and instead like a film containing characters who possess the same powers as the children in the original but under different circumstances.
Whereas the original took part in a countryside idyll, the action within this film is based in London. A gifted child called Paul is studied and observed by the relevant governmental authorities. Other almost supernaturally gifted children are also discovered and brought to the city so that UNESCO researchers can witness them at work. They are brought from places as varied as China, Russia and Nigeria.
These gifted children then abscond from each of their respective embassies that they are staying in and take refuge in an abandoned church. It’s here that the authorities and the army find them and have to decide whether to try to coax the children out or destroy them if they pose a threat to humanity. It’s here that a tense standoff encroaches.
This film as opposed to the original is firmly on the side of the children who we see as persecuted and in need of human support. The original depicted them as inhuman, devoid of emotion and empathy and very much as villains in a horror film. Children of the Damned elicits sympathy and compassion for the children who are shown as unjustly discriminated against, ostracised and treated as freaks in many ways. Having high levels of intelligence and other powers such as telekinesis are gifts but also hindrances. Witness the speech Paul’s mother shrieks at him that she should have destroyed him before she took him in her arms for the first time.
I made the mistake of reading the reviews for this film before I actually watched it. The few examples I could find were derogatory and very unflattering. They were also wrong, in my humble opinion. Children of the Damned may not be as good as the original film it is a sequel to but is still a vivid, well written, engaging film that is well worth a view. The shots of 60’s London are beautiful. A special mention to Ian Hendry (Repulsion) who heads a stellar cast.
Mysteriously one day everyone in the village of Midwich suddenly lapses into unconsciousness. After a few hours everyone just as mysteriously wakes up. Two months later every woman in the village who is able to become pregnant finds that they are pregnant. Whats more the embryos are found to develop abnormally fast.
The children look eerily alike with blond hair and strange eyes. They are also shown to possess intelligence way beyond their years. As the children grown older they are shown to be able to control other’s actions through using their ‘stare’ in which their eyes seemingly glow and hypnotise their prey. They are also able to read other’s minds. As if that wasn’t enough, they display a telepathic bond between themselves also.
There soon develops a separation between the ‘normal’ children and indeed people of the village and the ‘gifted’ children. The twain very rarely mix except within their respective families.
But then strange and unaccountable deaths of locals start to occur in the village. One example is of a villager who was an excellent swimmer suddenly drowning. Another example finds the children causing a man to crash his car into a wall at high speed. The dead man’s brother tries to avenge his death but is forced by the children to shoot himself instead.
The children appear to have a complete lack of empathy, compassion or indeed, humanity. They appear to be complete devoid of emotion or warmth.
When dealing with such entities it is realised that drastic measures have to be taken as has been demonstrated by other countries who have also shown evidence of similar mutant children in recent years.
And that’s all I’m going to tell you! The ending is a real shocker! In fact this is a superb adaptation of one of my favourite books (The Midwich Cuckoos) by one of my favourite authors (John Wyndham- and if you haven’t read any of his books I implore you to read some NOW!)
Amazing direction, perfectly acted, a great sense of tension until the shocking conclusion. This film wasn’t just taboo then but also feels taboo now, such is the power of the material. This was remade by John Carpenter in 1995.
There was a VERY funny parody of this movie within The Simpsons with a new movie called The Bloodening playing at a Springfield drive-in. Have a look on YouTube for the clip. It’s The Simpsons at their best.
This is another Pete Walker horror sleazefest (hooray!!!)
Figure skater Samantha is about to get married to wealthy businessman Alan. Her mother’s former partner has just been released from prison and starts stalking her, travelling from the North East to London to accomplish the job.
This film mines into the whole phenomenon of being followed, peeping toms and was ahead of it’s time in depicting stalking which wasn’t widely known about at the time.
The film also gives Hitchcock-esque psychological explanations as to what schizophrenia is (again, a term that was relatively unknown by many at the time) to help the audience better understand what they are going to see and the kind of mental condition which would drive the killer to carry out their plans.
But is all as it seems? In a word- NO! The film keeps us guessing as to the killer’s identity right up until the end and takes us on a voyage through 70’s locales to do so with impeccably decorated flats and the London streets of the time (again, Walker is so good at capturing the time and place that he sets his films within. Here we get gorgeous snapshots of a bygone era and a time capsule of London in 1976 whether it be the exterior of King’s Cross railway station, the inside of a supermarket or the grimy flophouses cum hostels of N1).
The cast are all fantastic especially Lynne Frederick as Samantha and an early appearance by Stephanie Beecham as her best friend Beth. There’s even John ‘Johnny Remember Me’ Leyton and Queenie Watts in supporting roles.
Watch out for the literally eye-popping clairvoyant meeting scene which is both terrifying and very funny. Walker also has the ability of making something truly scary and unnerving but bookending this with dark observational humour. The character of Joy embodies this perfectly.
Another Walker masterpiece. He really is worthy of more praise and to be reappraised as the King of 70’s British Horror.
A Tigon film from 1967 regarding Marcus, a doctor (played by Boris Karloff) who practices hypnosis. His wife Estelle is also part of his practice as they search for a suitable subject for their experiments. Step forward swinging 60’s hip-cat Mike Roscoe (played by future Saint Ian Ogilvy) who Marcus picks up in a Wimpy bar (it sounds well dodgy, eh?!) Roscoe follows Marcus back to his house and his hypnosis machine whilst being promised good times with no consequence before Marcus uses the machine on him.
After undergoing the hypnosis machine (this sequence is very aesthetically pleasing. Think of the inner sleeve portraits of the band from The Velvet Underground and Nico album with the projectiles of dots over their faces and you’re almost there) we learn that Marcus and his wife are able to experience whatever Mike is experiencing (but this is a double-edged sword as any physical injuries that Mike sustains will also be inflicted on the couple) with the pair being able to influence this by planting thoughts in Mike’s mind to force him to do whatever they wish.
But with such an ability to control someone’s life there comes great responsibility and you will learn the controller’s true intentions and characters. Marcus becomes almost like an angel on Mike’s shoulder whilst his wife Estelle becomes the opposite and it isn’t long before she’s forcing him to beat up and even murder those around him. She even destroys the hypnosis machine when Marcus suggest deprogramming Mike’s current mentally malleable state.
This film is terrific but I knew it would be as it’s directed by Michael Reeves who made the similarly amazing Witchfinder General (aka The Conqueror Worm in the States). A fantastic premise, engaging characters but also very poignant as London life in the 60’s is captured beautifully from the ‘new’ of the hip clubs Mike resides in through to the ‘old’ of the streets, pubs and newsagents of everyday life. This film is like a time capsule and photographed handsomely.
The cast are uniformly brilliant but it’s the covertly evil Estelle, the Lady Macbeth of the film who steals the show. Her performance is astonishing as her face and eyes seemingly mutate and become more evil as her character does.