MANDY

Once you have seen her, you are never the same.

She may seem like an ordinary antique doll, but she is much more than that.

Mandy came to live here at the Quesnel museum in 1991. Her clothing was dirty, her body was ripped, and her head had cracks in it. What can be said for a doll that has seen a good ninety years?

Some say that Mandy has been given unusual powers. Strange things happen when Mandy is about. The donor of Mandy told the museum that she would wake up in the night and hear a baby crying from the basement and upon investigation, she would find a curtain blowing in the breeze from an open window. She told us later that after the doll was given to the museum, she no longer heard a baby crying.

Now the museum staff and volunteers were saddled with weird and unexplained events; lunches would disappear from the refrigerator, and be later found tucked away in a drawer; footsteps were heard when no one is around; pens, books, pictures, and who knows what else would go missing, some never to be found and others which would turn up later. Of course it was passed off as the staff being more absent minded than usual.

Mandy as yet did not have a "home" within the museum. As she sat facing the public entrance-way, visitors would stare, and talk about this doll with the cracked and broken face, and sinister smile. With time, Mandy was moved to another part of the museum and carefully placed in a case by herself because rumor had it that she should not be placed with the other dolls because she would harm them. Since that time, there have been many many stories surrounding Mandy.

In 1992 the Curator, Ruth Stubbs, was asked if she knew of any ghost story surrounding the museum. Never thinking that so much publicity would result when the book "Supernatural Stories Around British Columbia" was released, she wrote the Mandy story. When the book hit the shelves in January of 1999, the story of Mandy became known across Canada within weeks. The first article appeared in the Prince George Citizen newspaper and soon radio and television stations were scrambling to get a hold of this strange, exciting and now popular story. Ruth was flooded with calls from all over Canada wanting information and interviews and visitors started coming in droves. Some of these people have had strange experiences with Mandy again. One visitor was videotaping Mandy, only to have the camera light go on and off every 5 seconds. As soon as the camera was on another exhibit, the light on the camera stayed on. Some say that they have seen Mandy's eyes follow them around the room while others say they have seen Mandy's eyes blink.

Story source.

Image source unknown.

REACTION: BATES MOTEL

Like it or not, Bates Motel is back in business. Based on the four-film Psycho series beginning with Alfred Hitchcock's legendary original, itself based on the novel by Robert Bloch, Norman Bates is about to go off his rocker...again.

"Bates Motel" explores the early years with Norman (Freddie Highmore) and his domineering, over-protective mother, Norma (Vera Farmiga). After the untimely death of his father, mother and son pack up their car and head to the prime piece of California real estate Norma was able to buy at a steal. It's not long before the Bates begin to meet the locals...including one Keith Summers (W. Earl Brown), whose family had built and then subsequently owned the Bates' new property for generations, and is none too happy to see it under the care of outsiders. Couple this with the girls at school showing Norman a sudden interest, and Norma begins to feel like she is losing control. Her plan for a fresh start is threatened by the unhinged Keith and her control over Norman looks as if it's slipping.

This being a prequel to the prequel to the original Psycho, naturally the blood starts flowing...before Bates Motel checks in its first guest.

This was tried once before...in 1987 (between the third and fourth Psycho entries.) Starring Bud Cort and Tank Girl from Tank Girl, Bates Motel tried its hand as a pilot but ended up being a one-off TV movie due to audiences' sheer disinterest in the subject matter. In the movie, a fellow inmate from Norman's insane asylum (Cort) apparently inherits the former Bates Motel and accompanying house from his crazy friend and attempts to re-open it for business. Who knows why. Murders happen. Blood flows. Moses Gunn is there, having an awesome name. I guess other stuff. Attempts to watch the 58th generation VHS rip posted on Youtube is a Herculean task of patience, so I can't say I was ever able to sit through the whole thing.

But that's all moot, seeing as how "Bates Motel" is being tried again...only we're going back in time...to the present(?).

I chose to call this a "reaction" rather than a review because it's tough to review the very first chapter of what has been planned as an ongoing series. Not a miniseries, mind you, but an honest-to-gosh television show. We've barely scratched the surface of where the show-runners plan to go, so it's tough to pass judgment on what's essentially a nugget of an idea soon to materialize.

So, what was my reaction?

I was hesitant upon realizing the show was being set in modern times. It's strange to see a modern-day prequel to a film made - and which very much reeks of its year - in 1960. But already I can see what the show-runners are attempting: with Norma's collection of somewhat antiquated dresses, Norman's rather drab ensemble and outdated puffy haircut, and with all the very old house furnishings that came with the house, and which Norma claims they'll toss as soon as they can afford to get some other things (but will likely be sticking around), there is going to be more to this show than a fish-out-of-water, the boy-next-door-is-a-killer pulp tale. It's going to be the old culture clashing with the new. Hitchcock's original film played up the isolation of Norman and his mother, especially after "they moved away the highway." So since we're technically not at that point yet, we need to find another way to isolate the Bates - and if not geographically, than culturally. Oh, sure, Norman already has an iPhone upon moving to their new home (a mistake, if you ask me), but beyond his own mother, who also has one, who do you think he ever called with it? Because of this culture clash, I find the modern updating a little more forgivable  The Bates exist in the modern world, but in their own time. It's too early to tell how this will play out, but it's an interesting choice.

Vera Farmiga is one of her generation's most unfairly uncelebrated actresses. The Departed likely put her on the map, as well it should have, because she's great in the Boston-set crime piece, but she's been holding her own since and struggling somewhat to be re-recognized. She's certainly not a stranger to playing the mother of a somewhat...aloof child (see Joshua and Orphan), but this time she gets to show off her own brand of crazy. Not that we've yet to see any of this craziness per se - this is, after all, only the pilot episode - but something is there, simmering just under the surface. It's handled perfectly subtly, and Farmiga seems to be doing a good job of playing her role right down the middle - she's not all there, and you can somewhat tell, but we're not rooting against her yet (if we're ever meant to.)

The jury is still out on Freddie Highmore as Norman. He seems, at best, adequate for the time being. This might be the most high-profile project he's been a part of since 2005's Charlie and the Chocolate Factory. That coupled with the jump to television has made the struggling thespian a little too willing to show off his chops. Some of it works, but some of it borders on embarrassment. Not helping him any is the sometimes awkward dialogue (ie, "There's a man on the floor lying in a lake of blood! What do we do, mother? We have no idea what to do!") 

Confessing my ignorance on details of the actual production, the show creators have either opted to film exteriors on the original Universal black lot to include the infamous house and motel, or they have done an admirable job of recreating it - including the house and motel interiors. Either way, good on them. The mere idea of updating the Bates house, forever sitting atop its perch, is blasphemous, and I'll definitely cop to some movie geek chills seeing the Bates house and motel again after all these years.

Oh, and for the record, does Norman seriously meet five gorgeous girls and is taken out for a night on the town by simply sitting on a bench and listening to classical music? The fuck?

Only in the world of make-believe...

Surprisingly, A&E seems to be going ahead with the suggestive incestuous undertones that were only alluded to in the original film, and which became more and more direct in each successive sequel. Nothing too obnoxious - at least so far - just a mixture of slightly unnatural mother/son closeness and a couple suggestive glances... although the soliloquy Norman delivers to his mother to close out the episode might blow the lid off my usage of "nothing too obnoxious."

And that is where my main point of contention comes into play: The relationship between Norman and his mother is essential - it is the driving force to both of their madnesses, and it will make or break how the show plays out moving forward. All during this pilot episode, Norman has made it a point to act out, defy his mother's wishes (and orders), and attempt to forge his own identity. He meets new people rather easily considering the show wants us to buy he is an outcast, and for the most part, the girls swoon to him like crazy (which will likely rile up the "jealous and angry boyfriend" character trope we've seen so many times before). And yet...after Norman experiences a taste of this new life, in which gorgeous girls give him the time of day and he effortlessly makes friends and nothing remotely traumatic happens to him...why does he just opt to leave it all behind for his mother? There's no catalyst - no clear reason why he does so. There's no reason present why this new life just isn't for him. Arcs like this hinge on a moment for a character to realize they were wrong to think they could leave it all behind, but we just never understand why Norman does, and it was a rather weak way for the episode to end.

So what would Alfred Hitchcock think?

Hitch, who is back in a big way recently with this, his titular bio pic, and his less than flattering portrayal as a misogynistic prick in HBO/BBC's The Girl, would appreciate the casting of Highmore - at least in theory. Like Anthony Perkins in the original, Highmore is a handsome if somewhat awkward looking kid; rather unassuming and harmless...at least on the surface. For anyone familiar with Robert Bloch's original novel (it's been ten years since I last read it), Norman Bates was not a primp, skinny, and handsome fellow, but rather described as fat and hideous - a man who no woman would ever consider a feasible partner in any sense. It was Hitch who decided to cast the handsome but plain Tony Perkins in the role, changing not just the character's face, but his dynamism and his drawing power. (As an aside, while the novel does contain a motel room shower murder, it's not dozens of stabs as depicted in the film's iconic scene, but just the one - in which Marion Crane is decapitated by Norman's blade.)

Additionally, citing one particular scene featuring a urinating cop, let's just say Hitch would appreciate the black humor as well, of which he was a master. From a director's standpoint, however, he would appreciate nothing. (Granted, we're in television, here - not film - but even "Alfred Hitchcock Presents" showed a little creative flair from time to time.) Nor would he appreciate the pilot hitting the ground running without taking time to build the Bates' madness. If anyone could milk the inevitable, it was him, and he would call the show's attempt to get right into it cheap and unsatisfying.

As a show free from its lineage and judged on its own merits, it's a decent first trek into scripted narrative for A&E. There's already enough ongoing drama to engage viewers not looking for growth to a previously established character, and there's enough grue to keep horror fans satiated, along with some not-so-subtle shout-outs (Coach Carpenter! Sheriff Romero!), and, of course, plenty of pretty faces. As for me, I'll tune in from time to time to see what's going on with Norman and his mother, but regardless of where they take this show, and regardless of how realistic or fantastic they make it, there's one thought that will always be looming in the back of my mind: Norman Bates' monologue to Marion Crane in the original film is all the back story we ever really needed - summed up neatly and effectively in just a matter of minutes. Because of that, I fear that "Bates Motel" was already irrelevant before the opening credits ever rolled.

Make up your own mind when "Bates Motel" premieres this Monday on A&E. 

HEY, KNOW WHAT'S A REAL MOVIE?

THE NIGHT

In France, a young ambient musician by the name of Charles undertook an interesting new project. He was going to record the sound of himself sleeping, and release it under the name “La Nuit” (The Night). Charles lived alone in a rural area, which would remove things like car alarms, traffic, and such from being recorded. He planned his project for many months, acquiring the sensitive equipment to capture all outside noises as well as his own during sleep.

Finally, on the 27th of September, he decided to execute his plan. He set up all his equipment, and fell at sleep at midnight.

The next day Charles reviewed the recording. For the first hour, the recording played his own tossings and turnings as well as some distant dog barks and a few car alarms (So much for his plan to distance himself from cars.) These continued throughout the 2nd hour as well, until Charles heard something that horrified him.

At exactly 3 hours and 24 minutes in, the recording played the sound of his bedroom door opening.

CREEP

So a few years back I was visiting some friends in a nearby city. The night went well; it was good to catch up with them again, as I hadn't seen them for a while. As the hours wore by, we began to walk towards one of their houses.

Which would be when we heard a blood-curdling scream coming from a side-street. Now, normally in a strange city, I wouldn't investigate this - but we were in a vaguely suburban area, it was relatively well lit, and there were a few of us. So, the girls in the group stayed on the main road, and the guys went to take a closer look.

The screaming did not stop. It sounded like it was coming from a nearby house, and it sounded like the screams of a woman. Maybe a child, perhaps. The lights in this house were on, and as we approached it I vaguely considered calling the police.

But the scream was not coming from the house; it was coming from the garden in front of it. In the gloom I could not see anything distinct, but I could now tell that the scream was coming from the branches of a tree. Something inside that tree was rustling violently, although thanks to the darkness I could not tell what. I exchanged glances with my friends, we paused, and suddenly the shaking - and screaming - stopped.

Silence for a moment. My friends and I exhaled.

And then something moved through the trees, rapidly, and before we could react it was gone. Glances exchanged again, but we were quickly satisfied that whatever it was had left. We walked back to the girls, and continued the evening as planned.

The next morning, I walked back past that same street.

On the road, there was a fresh chalk outline of a body.

Creep source.

Image source.

REVIEW: DEAD GENESIS

An alcoholic cop with emotional baggage. Hooker with a heart of gold. 

Low budget zombie movie.

After a while, a concept eventually becomes cliche, regardless of quality. If any one trope gets beaten into the ground enough times, it's very hard to care about a "fresh take." Filmmakers will try, claiming they have brought something new to the table, but at the end of the day, it's all same-old, same-old. 

This is both Dead Gensesis' failure and success (and unfortunately more of the former than the latter). 

Dead Genesis opens mighty fine and goes immediately for the throat. There is no calm before the storm as there usually are in zombie film first acts. We hit the ground running as a man is forced to dispatch his zombified wife...as well as the son she had just gotten done eating and turning. Following this is a somber voice-over catching up the audience on the zombie pandemic and what it's done to the world.

It's sad in that it's all down hill from here - for both our characters and the audience.

A very young journalist named Jillian Hurst is assigned to assemble a documentary on the pandemic and ordered to give it a pro-war tone. She hooks up with a militia group called the Deadheads who, through various means, have joined up with each other in an effort to contain the growing threat. They hail from different races and religions, so, you know, conflict. There's also a mix of both men and women, none of them unattractive, so, you know, more conflict. 

Large portions of the film have our characters musing on their current predicaments and to what has led them to join the Deadheads. Zombie action feels constant, but is actually only used sparingly. What Dead Genesis really is about is the effect on society, psyches, and moralities. 

Twenty years ago, Dead Genesis would not have felt generic. And I really hate to beat a dead horse, but George Romero has done all this already - a look at a post-zombie society, parables to real-life international conflicts, the roles of women in such conflicts. We've seen this all time and time and again. And what Romero hasn't done, other filmmakers have - even the outright outlandish. For instance, 2008's Deadgirl has two teen boys discovering a naked zombie girl shackled to a table in an abandoned building. She then becomes a sex slave to one of the boys and some of his friends. It is grimy and wrong and forces us to question at what point a person completely loses their humanity. Dead Genesis tries this, too, only it weaves into the concept a mini-twist so out of left-field that it feels cheap and sensational. 

Dead Genesis is an obvious response to the war in Iraq. This is never more obvious than when all the characters argue back and forth if the "war on dead" (what they call it) is right, wrong, or beyond either label and is strictly necessary. It's one cliche wrapped in another, and it causes the viewer to respond not with "how true!" but "who cares about all this?" We didn't need a low-budget zombie film to make us wonder if the war in Iraq was wrong. It's not a matter of opinion, here - just fact: yes, it was fucking wrong. Not to mention that when Dead Genesis goes out of its way to show soldiers acting obnoxiously and having a grand old time delivering non-lethal gunshots to zombies to make them "dance," the filmmakers aren't trying to be coy and subtle about their own opinions on the matter.

Most of the character interaction feels awkward - not because it's supposed to be, but because none of the actors feel comfortable with their roles. Lead Emily Alatalo as Jillian is adorable, but not up to the task. She's also way too young to be believable. The film attempts to head this off at the pass by having a character tell her, "You're a a journalist? You look like a teenager," to which she responds, "I get that a lot." Sorry, that's just not enough.

As for her performance, she occasionally manages to show signs of life, especially after her discovery of the fuck zombie chained up in the basement, but the rest of the time there is no real conviction on her part. And I won't single out just her - none of the cast seems up to the task. At times it seems more effort was spent on camera work than shaping the actors' performances, and that's a real shame, as there is a concerted effort on the part of the script to make this a post-zombie character study. 

While the tone is mostly consistently bleak and straight, moments of intended levity, in the form of an eccentric bartender, or a fake television interview with the frumpy head of a zombie rights activist group, are jarring and completely uncalled for. They feel foreign in a film that otherwise takes itself seriously, and a bit involving a Youtube video response to the zombie rights movement called "Fuck Pro-Zomb," in which a man pisses on a zombie girl only to have his dick bitten off, feels very cheap and something more appropriate for a Troma production. It feels as if this were something shot independently for another purpose and utilized here for nothing other than to pad out the running time. 

On the pro side, while the handheld shooting style can sometimes go overboard, the film looks great. From a production standpoint, Dead Genesis looks to have five times the budget it likely did. My own personal prejudice against low budget film-making forces me to focus first on the actual look. Once something looks cheap - shot on cheap cameras and utilizing cheap sound - part of me can't help but tune out. But Dead Genesis never looks like that. In all honesty, though it has far less scope, it looks quite similar to 28 Days Later. 

The make-up effects are especially good and grisly where necessary. It doesn't push the boundaries as far as gore gags or good taste are concerned, but it's more than competent and at times even especially well done.

Low budget zombie films don't have to be terrible. Last year's Exit Humanity (a film I would make love to should it ever become human) and The Dead - both which explore the same themes of humanity - prove you can still do it well with good intentions and without pretension. I'm not sure Dead Genesis can say the same. 

Although it's still better than all the Resident Evil sequels.

TILL DEATH

"GHOST MARRIAGES" PROMPT GRAVE ROBBING AS MEN DIG UP BRIDES

BEIJING - Four men in northwest China have been sentenced to prison for the grisly crime of digging up the corpses of 10 women and selling them for "ghost marriages."

The grotesque "brides" were sold for a total of 240,000 RMB, or $38,000, according to court reports. The grave robbers were sentenced to prison terms ranging from two years and four months to two years and eight months in prison.

The bodies were sought by families of men who died as bachelors. The buyers were arranging "ghost marriages," a traditional custom in which parents find "spouses" for their unmarried, deceased children so that they can have a family in the afterlife.

The cadavers were stolen from their graves in Ya'an province beginning in the winter of 2011, according to reports. They were dug up in the middle of the night and hid in the thieves' homes where the corpses were cleaned up. Forged medical records were created in hopes of making it appear the corpses were only recently deceased and coming from reliable sources, allowing them to charge premium prices.

Ghost marriages are a 3,000 year-old custom that is especially common in rural parts of north China where young men often die in coal mining accidents. When a young man dies a bachelor, family members may consider it unnatural, and fear that the deceased's spirit may be restless.

Story source. 

Image source.