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“I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about Jaws is the fact that I've never gone swimming in the ocean again.” --- David Fincher ::::::::::::: MY CRITERIA FOR DISCUSSION ENCOMPASSES THE HORROR GENRE AND BEYOND, SO I USE THE TERM "NIGHTMARE MOVIES". SPOILERS CAN OCCUR WITH OR WITHOUT WARNING. READ AT YOUR OWN RISK.

Horrorphile - October 2009

Three DIABOLICAL SHORTS for HALLOWEEN

October 29th 2009 22:57
Spooky halloween
“If it’s Halloween, it must be Saw.” So goes the tagline to the endless series of increasingly mindless and gutless (both figuratively and literally) installments in the ongoing “puzzle” of serial killer John Kramer aka Jigsaw. Well, with Saw VI just released, I guess it must be Halloween then. Woo hoo!

I’ve already reviewed Saw VI, ‘nuff said. However I recently watched the original short, Saw, that director James Wan and writer and actor Leigh Whannell made in an effort to woo Hollywood financiers so that they could make a feature version. The rest is lamentable history. Okay, so the first Saw (2004) is alright, although I’ve never actually reviewed it, but the sequels are truly punishing (pun intended).

Saw teaser poster
The original short, which is essentially a suggestive staging of the first movie’s main set-piece, is an effective attention-grabber. Another curiosity is that Saw producer Mark Burg likens the Saw movies to The Silence of the Lambs (1991) or Se7en (1995), and as superior in terms of characterisation and narrative than to Hostel (2006). Pull the other one mate; it’s got bloody bells on it!

So enough pulling faces, let’s have some tricks with our treats! Three short films; two from Australia (Saw and Advantage) and one from Britain (Virus), delving into tortuous game-playing, high-tech cyber-spectres, and supernatural shenanigans on the open court. Wicked trickery indeed.

Have a helluva Halloween fellow horrorphiles!

Saw (2003)


Virus (2002)


Advantage (2007)

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Paranormal Activity Katie Featherston
It's not often I have to adjust a definitive list, but a situation has arisen. I was looking at my list of 13 Scariest Movies Ever Made which I compiled a year ago, and realised there was now a glaring omission. Of course I hadn't actually seen the movie back when I made the list, but having seen Paranormal Activity in the Sydney Film Festival earlier this year, and the recent hype for the movie filtering through the media (it's currently #1 at the American box office, which both pleases me that it's kicked Saw VI's ass, but frustrates me that an essentially underground movie will end up being over-hyped a la The Blair Witch Project).

Paranormal Activity was shot in one week in the director's home for $US15,000! It has currently grossed $US22 million!! Apparently the original ending was changed at the suggestion of Steven Speilberg. I wanna know what the original ending was, and what exactly was Speilberg's suggestion? I do like the released version ending, but I'm curious if it was a compromise in any way.

So I'm re-posting my list with the addition of Paranormal Activity. I've also shifted a few titles around after some further nightmare musing. It was very difficult having to shunt one of the other movies off the list, but I have to be strict on my rule of 13. So the end result being that Phantasm is forced off the list, as much as I love the movie, and I definitely rate it as a genuinely unnerving and nightmarish experience, but I just couldn't justify knocking off any of the others.

1. Alien
(US, 1979, Ridley Scott)
2. Halloween
(US, 1978, John Carpenter)
3. Paranormal Activity
(US, 2007, Oren Peli)
4. The Descent
(UK, 2005, Neil Marshall)
5. Ils
(France/Romania, 2006, David Moreau & Xavier Palud)
6. Ju-on: The Grudge
(Japan, 2003, Takashi Shimizu)
7. Ringu
(Japan, 1998, Hideo Nakata)
8. Suspiria
(Italy, 1977, Dario Argento)
9. Wolf Creek
(Australia, 2005, Greg Mclean)
10. The Blair Witch Project
(US, 1999, Daniel Myrick & Eduardo Sánchez)
11. The Omen
(US, 1976, Richard Donner)
12. The Thing
(US, 1982, John Carpenter)
13. The Texas Chain Saw Massacre
(US, 1974, Tobe Hooper)

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Cat's Eye DVD cover art
During the mid-80s producers had a hugely successful box office run of Stephen King novel adaptations; the excellent The Dead Zone (1983), the first and only movie directed by David Cronenberg as hired hand (and based on one of King’s most emotionally haunting earlier novels), the promising, but disappointing Children of the Corn (1984), John Carpenter’s very TV-movie-esque Christine (1983) – which is one of King’s best novels of the period - and the lame Cujo (1983) and Firestarter (1984).

Movie mogul Dino De Laurentiis (who had produced The Dead Zone and given Cronenberg his biggest commercial hit) decided to strike again while the King iron was hot, although this time round he decided to give the screenwriting duties to the novelist himself. This was not the first time King had delivered screenplays. Stanley Kubrick had bought the rights to arguably one of King’s most powerful novels The Shining and commissioned him to write the screenplay, then in classic Kubrick form rejected the script and wrote it himself (making numerous key changes). King then provided George Romero with the screenplay to the anthology Creepshow (1983), of which two of the tales were based on King short stories, and the other three written especially for the screen.
Cat's Eye Alan King, James Woods, Tony Munafo
Morrison (James Woods) is forced to watch his wife being tortured
Who knows what King’s own screenplay to The Shining (1980) was like, but the screenplay to Creepshow, a severed tongue-in-cheek tribute to the E.C. horror comics of the 50s, for the most part worked a treat. However King’s screenplays to Cat’s Eye (1985) and Silver Bullet (1985), both of which carried his name as part of the complete title, are patchy and obvious at best. They’re cheap productions, and they look like it too.

Cat's Eye Robert Hays
Norris (Robert Hays) living on the edge
Cat’s Eye, directed by Lewis Teague, is another anthology feature, using three half-hour tales; the first two of which are based on short stories from King’s excellent collection Night Shift; "Quitters, Inc." and "The Ledge". In "Quitters, Inc." James Woods (still freshly paranoid from his masterful turn in Cronenberg’s Videodrome) plays a nervous chain smoker who is keen to kick the habit. He’s coerced into trying a radical new company’s approach to quitting the filthy habit. It turns out he’ll be stalked and terrorised into submission, and when he tries to sneak a ciggie, his poor wife is kidnapped and subjected to electric shock treatment whilst he’s forced to watch. It’s a disturbing tale indeed.

The second story features Norris (Robert Hays, impossible to watch in a dramatic role after Flying High aka Airplane!), an ex-tennis pro and adulterer orced to walk the tiny ledge perimeter of a skyscraper at gunpoint by a jilted husband and pathological gambler Cressner (Kenneth McMillan), exacting jealous revenge. If he makes it around he’ll get “the girl, the gold watch, and everything.” It’s windy, the ledge is narrow, and there’s a damn pecking pigeon to deal with.
Cat's Eye Drew Barrymore
Our Girl Amanda (Drew Barrymore) and the eponymous feline
The third and final story, "The General", is ludicrously silly and has a young Drew Barrymore playing a character credited as Our Girl (huh?), her second appearance in the movie after playing the mentally-challenged daughter of James Woods. She’s the movie’s juvenile heroine who has to save the movie’s tenuous link between the stories, a tabby stray cat (who actually appears bored!), from the evil clutches of a troll. Yup, it owes more than a little to the 1975 Trilogy of Terror tale that featured Karen Black being terrorised by a tiny voodoo beastie doll.
Cat's Eye troll
The troll wants Our Girl's breath of life
Cat’s Eye is worth seeing for the first two tales - the premises alone are captivating - with their infusion of black humour (some of it cheesy though, such as the references to Cujo and Christine), plus the performances of James Woods, whose mannered acting is almost worth the price of admission, and Kenneth McMillan, a ripe ham.

Silver Bullet movie poster
But I can’t say the same thing for Silver Bullet. A woeful werewolf flick, and very hairy comedy, based on King’s own “novelette” Cycle of the Werewolf, which was an okay - and serious - yarn about an invalid boy and his sister dealing with smalltown prejudices, growing up, and a werewolf of the cloth ... with cool illustrations from Bernie Wrightson.

Silver Bullet Cory Haim and Jane Coslaw
Marty (Cory Haim) and sister Megan (Jane Coslaw) in the werewolf's gaze
The movie's drama element is tedious, the casting is uneven, the special effects are dreadful, and its atmosphere is strictly B-grade. How this movie has got the thumbs up over the years from some critics is beyond me. It’s a shame because King should have delivered the goods as it’s his only lycanthrope story. Another curious thing is the movie's Australian R-rating (restricted to 18-year-olds and over). I can't for the life of me work out why the movie demands such a restriction? I've seen more disturbing M-rated movies, and certainly more violent MA-rated (15 ) movies. Irreversible (2002) received an R-rating, how Silver Bullet ends up in the same nightmare basket is truly perplexing ...
Silver Bullet victim
I’d like to put blame on director Daniel Attias, as he drops the ball from the get-go. This was his first feature, yet he’d go on to be a very successful television director of several highly-acclaimed series, such as Northern Exposure, Six Feet Under, Entourage, and The Wire, so go figure. I’m afraid to say Silver Bullet is really only for Corey Haim and Stephen King completists.
Silver Bullet Everett McGill
The Reverend (Everett McGill) is a tortured soul

Here's the trailer to Cat's Eye:


Here's the trailer to Silver Bullet:


Cat's Eye DVD and Silver Bullet DVD are courtesy of Madman Entertainment, many thanks!
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The Red Riding Trilogy poster art
Based on a series of novels by David Peace, The Red Riding Trilogy: 1974, 1980, 1983 (2009), is an exceptional crime drama, scripted by Tony Grisoni (who penned the big screen adaptation of Fear and Loathing in Las Vegas) and made for British television, that unfolds over the period of time that the infamous Yorkshire Ripper was committing his serial killings. It paints a tragic picture of a corrupt police force and ultimately reveals an even darker evil that lurked beyond the capture and incarceration of Stuart Sutcliffe.

The first part, in the year of our Lord 1974, is directed by Julian Jarrold and was shot on 16mm. It’s the best of the trilogy in terms of its stunning visual style (the grainy 16mm focus and close-ups gives the story a heightened sense of gritty poetry). Andrew Garfield plays tenacious investigative reporter Eddie Dunford for the Yorkshire Post who gets in way over his handsome head when the deaths of several prostitutes and a young girl reveals some very dirty dealings within the Yorkshire homicide department. His character is fictional, as are the rest of the characters and the story, but the Ripper did exist, and it anchors the movie in a nightmarish realism


[ Click here to read more ]
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Fantastic Planet international film festival
Paying tribute to the dark spirits of Hallowe’en, the organisers behind Sydney’s A Night of Horror international film festival are giving the horrorphiles amidst the sci-fi crowd a taste of blood at the inaugural Fantastic Planet international film festival at Dendy Cinemas, Newtown, which opens this weekend, Friday October 30th and runs until Friday November 6th.

Strigoi movie poster
Friday night, 9pm, is a screening of Strigoi (2009), a UK production shot on location in Romania; classic vampire territory. But this is no pedestrian vampire flick! This is a movie that digs deep to the dark essence of vampirism. The mythology behind the title is the belief that a person can rise again after death to seek justice if they’ve been wronged, their appetite and quest intensified by their thirst for blood. A Canadian short, Initiation, screens beforehand


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Theatre of Blood Alison Meredith, Brendan Taylor
Grand Guignol rises from the dead in Sydney! As part of the Under the Blue Moon Festival the Newtown Theatre is staging Theatre of Blood, channeling the grotesquely imaginative theatrics of the infamous French thespians of histrionic horror. If you're keen to see actors suffering for their craft, this is exactly the place to be!

Theatre of Blood
The Grand Guignol was a Parisian theatre that operated between 1897 and 1962. It produced, almost exclusively, one-act plays from 10 to 40 minutes in length, and was renowned for its perverse and violent content. The theatre itself was a converted chapel in the heart of the red light district, so patrons to the theatre would pass garish neon signs, streetwalkers loitering in doorways, and other shadowy behaviour in the dark alleyways near the theatre


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Saw VI

October 23rd 2009 01:09
Saw VI movie poster
Saw VI (2009) is a piece of mutilated, putrid flesh; I don’t care what anyone says. Somebody shoot this lame duck, and put it out of its misery! I wish the same had been done for all the shoddy, uncessary sequels that followed Halloween (1978), Friday the 13th (1980), A Nightmare on Elm Street (1984), ad nauseum. Excuse me, I seem to have some vitriol stuck between my teeth, lemme just spit it out ...

So Saw (2004) spawned a new sub-genre called “torture porn”, but really they’re flogging a dead horse here. Producers beg to differ, I know, because the Saw franchise is the most profitable horror series in history. But from a hardcore horrorphile’s point of view the series has been cannibalizing itself since the first sequel. All the elaborate booby-traps and violent installations are the wet dreams of creatives and the screenwriters squirming over the novelty of the next nightmarish set-piece, but the actual horror has long been eviscerated


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Sauna

October 21st 2009 23:03
Sauna movie poster
A Finnish-Czech Republic made nightmare that writhes mutely in a paroxysm of anguish, Sauna (2008) is closer to the films of Andrei Tarkovsky than anything Hollywood could ever hope to achieve. Set at the end of the 16th Century in the desolate landscape near the newly-set border of Sweden and Russia it follows the plight of two disparate brothers, psychologically damaged by the horrors of a 25-year war, Knut (Tommi Eronen), an emotionally vulnerable man, and his older volatile brother Eerik (Ville Virtanen) who arrive at a tiny Orthodox village existing within the moist decay of swampland with guilt a plague upon their minds, blackening their souls.

Written by Iiro Küttner, it’s the second feature for director Antti-Jussi Annila, yet it feels like the kind of mature work made much further on in a director’s career. The screenplay is drenched in symbolism, its layers peeling back, yet revealing nothing to the naked eye. Yes, the windows to the soul, these gelatinous surveyors are responsible for harbouring our sins, and as Shakespeare once demanded, “Out vile jelly


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The Imaginarium of Doctor Parnassus

October 21st 2009 05:31
The Imaginarium of Doctor Parnassus Spanish movie poster
This movie was always going to provide rich fodder for the critics and will no doubt be devoured by audiences hungry for one last performance morsel of Heath Ledger, especially knowing he died during the making, resulting in co-writer and director Terry Gilliam would end up making not one, but two, dedications to the late Australian actor at the end of the movie (“A movie from Heath Ledger and friends” and a few title cards later “In memory of Heath Ledger …”).

This is the third time Gilliam has collaborated with screenwriter Charles McKeown, having penned the brilliant Brazil (1985) and the dreadful Adventures of Baron Munchausen together. Doctor Parnassus is certainly no Brazil, but it’s safe to say it’s not another Baron Munchausen either, thank God for that! It’s darker, existential ideas lean more toward the former, but ultimately it suffers from the same overkill trappings as the latter


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THE ART LAIR - XI ~ Joshua Hoffine

October 19th 2009 00:41
Joshua Hoffine Halloween
My good cinephile buddy Oscar (who hosts the excellent Sci Fi TV website) gave me the severed heads up on the superb site of artist Joshua Hoffine, a brilliant photographer who stages elaborate horror tableaux; actors (well, family members) on sets, special effects make-up, props, etc. The photos are vivid, highly stylised nightmares, many of which pull from childrens' fairy tales and the stuff of classic bad dreams.

Joshua Hoffine
There’s a beauty within the grotesque framework and this is exactly what Hoffine is out to achieve; “I want my photos to be pretty so that you’ll look at them longer … I believe the horror story is ultimately concerned with the imminence and randomness of death, and the implication that there is no certainty of existence. The experience of horror resides resides with this confrontation with uncertainty. Horror tells us that out belief in security is delusional, and that the monsters are all around us.”
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THEY BAN TORTURE PORN, DON'T THEY?

October 15th 2009 23:18
Hostel: Part II Heather Matarazzo
A curious, belated piece of news came to my attention yesterday as I was searching for a clip on youtube. Someone had uploaded a short New Zealand television news piece from 2007 that addressed how the Office of Film and Literature Classification in NZ had made the decision to ban the theatrical release of Eli Roth’s Hostel: Part II (2007), but probably would allow the movie to be released on DVD later, however minus a scene they felt to be too offensive for the common good.

The scene they found to so objectionable was, perhaps a little contentiously, one of the movie’s highlights; the “Elizabeth Bathory” sequence where a client gets to slice open a young girl who’s hanging upside down like a pig on its way to be slaughtered. It’s a potent nightmare moment that juxtaposes the extreme dark pleasure of the older woman and the abject terror of the innocent younger girl; Mrs Bathory (Monica Malacova) paying top dollar to indulge her wildest, darkest desire, and the poor young tourist (Heather Matarazzo) who’s been abducted and ended up as a disposable horror toy. But hang on, there’s another scene in the movie which involves gleeful castration,now isn’t that just as morally volatile? Seems a double standard rears its ugly head


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POSTER GALLERY 15

October 12th 2009 22:04
Hisss
Goodness gracias me, it’s been way too long! Nine months in fact! Long enough to have a damn baby! IT’S ALIVE!!!

So to kick the Horrorphile gallery exhibitions back off with a bit of contemporary va-va-voom, I thought I’d put some current releases in the limelight (I like that word, “limelight”, reminds me of what one throws on dead bodies to stop them from rotting …) So here are a selection of flicks that have either just been released overseas or will be in coming months (and a few that are still in production, such as Cannibals and Let Me In). I can’t vouch for any of these movie’s calibre since I haven’t seen any of them of course, but I have strong hopes for many, and I certainly don’t mind the artwork (actually I'll be honest, the Hissss poster is not that great, but I'm so excited about the movie


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Know your Lucio Fulci well?

If you’re a screenwriter, or a real cinephile, you’ll know the term “logline”; the plot description or synopsis of a movie in usually twenty-five words or less. It’s usually written in a way as to lure the viewer (or to be more precise, a prospective producer), so it needs to be very straightforward, yet concise and dramatic.

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The Last Winter

October 8th 2009 23:31
The Last Winter movie poster
One from the eco-horror bin, The Last Winter (2006), is an Icelandic-American co-production, co-written and directed by actor-cum-producer-cum-direct or Larry Fessenden (who is currently attached to the Hollywood remake of The Orphanage), who also edited the movie (and played a bit part). The rest of the crew were all Icelandic, since some of the movie was shot in Iceland doubling as the Northern Artic region of Alaska.

The subject matter is dead serious: an American oil company is building an ice road to an established drilling base. A skeleton crew at a small sub-station is providing the Government with procedure approvals and environmental reports. The two senior members of the science team; leader Ed Pollack (Ron Perlman), who has just returned to the mission, and James Hoffman (James LeGros) are at loggerheads. Pollack is disgruntled and stubborn, while Hoffman is deeply concerned and open-minded. Adding tension is that young scientist Max (Zach Gilford) has gone off the rails, having hallucinations and severe anxiety attacks. Adding insult to injury is that in Pollack’s absence his bedfellow Abby (Connie Britton) has become lovers with Hoffman


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Joshua

October 8th 2009 04:07
Joshua movie poster
Brad (Sam Rockwell) and Abby (Vera Farmiga) Cairn have just had a baby daughter, Lily, sister to nine-year-old Joshua (Jacob Kogan). They are an affluent family living in a spacious high-rise apartment in Manhattan. Joshua is a frighteningly intelligent, but eccentric young boy. He dresses and behaves like a grown adult. His curiosity is curious to say the last. He is very adept on the piano forte, which impresses his gay aesthete uncle, Abby’s close-knit brother Ned (Dallas Roberts). Joshua likes Ned.

Brad’s folks, especially Hazel (Celia Weston), are uncomfortable with how Joshua is being raised. Being born-again Christians they want him baptized, at the very least. Joshua is quietly obsessed with death and chaos, and in particular Egyptian history. Much to Brad’s shock Joshua disembowels his teddy bear, claiming to be copying the ritualistic patterns of the Pharaohs. Joshua constantly questions the love of his parents. It becomes quickly clear that Joshua is threatened by Lily, and the love his folks bestow on her. He formulates a diabolical master plan


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Yes, it’s a three-in-one post today. A little on the lazy side, but these are three movies I had high expectations of and they all let me down considerably. So, they end up being bunched together in brief ‘cos really that’s all the time I have for them. ‘Nuff said.

The Ferryman (2007


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The Antichrist

October 5th 2009 21:58
The Antichrist movie poster
The Exorcist (1973) had a lot to answer for. So many producers around the world cashed on William Friedkin’s monumentally successful demonic possession movie and had similarly-themed flicks rushed into production, many of which brazenly lifted whole elements directly from the original Hollywood shocker. Alberto De Martino’s The Antichrist (1974) is no exception, but it’s a damn sight better than nearly all the countless other rip-offs.

An Italian production designed for English-speaking audiences (much of the cast were speaking in English, but later dubbed by other actors who could speak more fluently, whilst some were in fact speaking in Italian and had actors dub their parts in English), The Antichrist doesn’t actually deal directly with the offspring of Satan, but a woman who is possessed by the Devil. It seems the job of the psychiatrist and priest is prevention. But is it really all just psychological?! Perhaps all she needs is a strong cup of tea and an early night. The floating furniture, levitation and disembodied limbs suggest something a little more vivid than just bad dreams though


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The Girl Next Door

October 1st 2009 22:58
Jack Ketchum's The Girl Next Door movie poster
Not to be confused with the lame adolescent comedy of the same name starring Elisha Cuthbert, The Girl Next Door (2007) is based on the book by Jack Ketchum which in turn is based on real events which occurred in America in the 60s (though the book and movie has the events take place in the 50s). Both movies feature a distractingly striking young woman in the lead and are essentially TV movies in regards to their no-frills visual style, but I digress …

Middle-aged David Moran (William Atherton) studies an innocent painting and is reminded of his childhood, and of the horrendous crimes he witnessed when he was a young teenager. He’d prefer not to remember them, for he failed to save a girl with whom he’d fallen in love with, but one cannot change the past. And so the flashback unfolds


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