BUY ME THIS: MUTILATED PLAYTHINGS

 

 

Just kidding. Don't buy me this.

HALLOWEEN 35th

For the 35th Anniversary Edition release, Anchor Bay and Trancas went back to the vaults to present the film as never before, creating an all-new HD transfer personally supervised by the film's original cinematographer, Academy Award-nominee Dean Cundey (Who Framed Roger Rabbit, Apollo 13, the Back to the Future trilogy), a new 7.1 audio mix (as well as the original mono audio), a brand-new feature length audio commentary by writer/director John Carpenter and star Jamie Lee Curtis, an all-new bonus feature with Ms. Curtis, and select legacy bonus features from previous ABE releases. The new release is being made available in collectible limited-edition DigiBook packaging (only for the first printing), with 20 pages of archival photos, an essay by Halloween historian Stef Hutchinson and specially commissioned cover art by Jay Shaw.

"Anchor Bay Entertainment has been home to Halloween for almost 20 years," noted Malek Akkad, President of Trancas International Films and son of Moustapha Akkad. "I'm so happy that we're partnering with them to present the definitive edition of what is widely acknowledged as one of the seminal horror films of the 20th century."

Halloween: 35th Anniversary Edition features 1080p video, Dolby TrueHD 7.1 and Original Mono audio tracks, and the following extras:

• All-new commentary track with writer/director John Carpenter and star Jamie Lee Curtis
• "The Night She Came Home" new featurette with Jamie Lee Curtis (HD)
• On Location
• Trailers
• TV & Radio Spots
• Additional Scenes from TV Version

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This sucker streets September 24. While I am glad we're finally getting an approved transfer from Dean Cundey, I remain cautiously optimistic about which older extras they'll be porting over. That feature-length doc from previous releases better be in place. Still iffy on the artwork, but it's growing on me.

And bring on that new commentary. Criterion's old one was good, but I hate that spliced-together approach. Put 'em in the same room, I say.

THE VOICE

About six years ago my brother lived in a house in North Miami, Oklahoma. He would sit in his living room and watch TV at night and occasionally feel a presence in the hallway.

His six-month-old daughter slept in the room to the right side of the hallway. Weeks went by and he felt more disturbed by this presence. He would walk into his daughter's room (she would wake up crying in the middle of the night for no reason) and feel unnaturally cold.

So he told my mother, her friend, and I about what was happening. We came over one night when everyone was gone and brought two baby monitors. We put one in my niece's room and one in the living room with us.

After some time the flame of the candle we had lit began to sway. No wind was in the house. We talked to the monitor, hoping to get a response. After some time we heard old-style music and a voice say, "You don't know what hell is like."

It freaked us out and we ran out of the house frantically. We only went back after my uncle (a former priest) blessed the house. We later found out that an elderly man had lived in the house. He had also died in this house. 

He hung himself in my niece's room.

Story source.

HEY, KNOW WHAT'S A REAL MOVIE?

ANNOYING THE HOUSE OF THE CONJURING

 

BURRILLVILLE – Norma Sutcliffe does not believe in ghosts or haunted houses, but she says The Conjuring, last week’s Number 1 box office cinema megahit, has put her in a horror movie of her own. 

The Conjuring boasts of being “based on a true story” that happened in the 1730s-era house in Harrisville where Sutcliffe and her husband have lived for 25 years. Previous owners of the home, the Perron family, are the subjects of the movie. Sutcliffe said she had conversations with Andrea Perron, who wrote a trilogy of books about the supposed haunting she and her family endured before the movie went into production. She regrets even doing that now.

“We haven’t slept in days,” Sutcliffe told The Call. “Because we wake up at 2 in the morning [and] there are people with flashlights in our yard.” People call on the phone and ask, “Is this The Conjuring house?” They have received other harassing phone calls as well, she said.

While the majority of the horror fans are probably just curious or harmless thrill-seekers, Sutcliffe worries that, “All it takes is one crazy to do something. There are already threats on the Internet that ‘wouldn’t it be fun to break into that house?’ Our barn is very vulnerable and there is a big story connected to the barn about supposed hangings. Can you see kids breaking in and doing a séance with candles and having it burn down?”

...

 She said they are not connected with the movie in any way and have received no compensation at all. “All we get is the consequences. It is not our story but we are the ones who are suffering.” She said she has considered buying a gun. “I’m up in the middle of the night screaming at people to get off the property.”

...

Sutcliffe said she has seen the movie. “I just laughed at the whole thing. I thought it was so ironically ridiculous. I thought it was an insult to the Perrons."

Burn!

Story source.

HAUNTING THE SET OF THE CONJURING

Based on true events, The Conjuring is an upcoming horror flick about a Rhode Island family terrorized by evil spirits. A trailer for the film offers plenty of scares, but it seems the movie’s cast and crew experienced plenty of frights themselves. Production notes from Warner Bros. describe a number of the strange events that occurred during the making of The Conjuring.

Interference
The Conjuring is told from their perspective of real-life paranormal investigators Ed and Lorraine Warren. Screenwriters Chad and Carey Hayes often called Lorraine to discuss the case, though static frequently interrupted their conversations and the line had a habit of going dead. Though the Hayes were puzzled, Lorraine wasn’t surprised.

“We’re about to expose the dark side of the dark side, and it doesn’t want good to win,” Warren told the brothers. “I’m surprised there isn’t a lot more interference.”

Claw Marks
Actress Vera Farmiga, who plays Lorraine Warren in the film, was fascinated by the events in The Conjuring, but felt uneasy reading the script. Farmiga admits she wouldn’t read the script at home or at night and could only review the story in “fits and spurts,” lest she be overwhelmed by fear. One day, Farmiga opened her laptop and saw five claw marks slashed across the screen.

“I don’t know how to explain it,” the actress said. “I do know I hadn’t dropped the computer, and my children hadn’t stepped on it. So I gingerly closed it, put it away, and then my brain just went berserk.”

More at Ghosts 'N Ghouls.

REVIEW: EXHUMED

The blinking cursor. It's been on the screen for a long time. Because I have no idea what to write. Because I have no idea what it is I've just watched. Part black-and-white art film, part David Lynch-esque eccentricity, part circa Night of the Hunter and The Innocents golden-age cinema, Exhumed is nearly beyond proper description. What it is, is certainly an examination of damaged psyche. 

Debbie Rochon, the hardest working actress in all of horror showbiz, plays the Governess - the matriarchal head of a demented household populated by a band of eccentrics and misfits. When a "room" in their house opens up, a notice is placed at the local college advertising space for rent. When Chris (Michael Reed...of The Disco Exorcist!) responds to the ad, one of the household's occupants, Laura (Sarah Nicklin), becomes smitten with him. This doesn't sit well with the Governess, so she utilizes her own brand of "rules" in order to keep control. 

Meanwhile, you've got Matthew (Nathaniel Sylva), the father (?), whose favorite past time has him down in the cellar with his mannequins, finding the right positions so they all perfectly encapsulate their household occupant's counterpart - right down to Chris' mysterious black eye, or his extended wine glass. When you add Rocki, a smart-ass siren who walks around in a slinky silk robe, and Lance, a seeming man child, you've got the dysfunctional family to end all dysfunctional families.

Except for Chris, every character in Exhumed is some level of insane. And though they all accept their familial roles, they aren't a "family" per se - more like a group of deranged individuals who somehow found each other and have managed to make a home. You've got the quibbling husband and wife dynamic, as well as the older and younger sister relationship, in which the former encourages the younger to exit her shell and experience more of the "adult" aspects of life. Only they're all out of their fucking minds, so, these dynamics are pushed to nearly merciless limits.

The most interesting parts of the film find Laura lost in her own made-up world where Chris wears a fine tuxedo and speaks to her as if he were Cary Grant. Really, her mind creates a world for her plucked from a film right out of the 1930s - even down to the antiquated (perhaps library) musical choices. Cigarette smoke smolders and the two share a rather beautiful bond; this is the world in which Laura wants to exist, not the "real" one, in which Chris lies - quite dead - in her bed.

Shot beautifully and confidently in black and white (utilizing color only for flashback sequences, of which there are many), director Richard Griffin (The Disco Exorcist again!) never hesitates to put forth his vision for how this film should look and how its characters should convey their own unique brands of psychosis. The Governess, for instance, isn't afraid to brandish a knife or a hammer to dispatch any unwanted guests, and Laura isn't afraid of a little... necrophilia...

Exhumed is just odd - there's no getting around that. It's flawed, but impulsively watchable. Even as the acting teeters between weak and just fine, and even as the film threatens to get lost in its own style as it occasionally becomes a bit heavy-handed, you do want to keep watching. It's the most fucked-up family you'll have cared about since your own.

A filmmaker's strength can shine through the lowest of budgets, regardless of whether his or her film is a success. Confidence and a steady hand are always obvious, and Richard Griffin has both. It is a decidedly far more subtle approach for the filmmaker than some of his previous efforts, and it's one I wish had been provided with just a bit more funding. The cast here is mostly fine, but a better one could have propelled this to the next level.

Still, check it out if you're in the mood for something dark and a little bleak. It's the stuff of fever nightmares.