REVIEW: AN AMERICAN GHOST STORY

"Are you ready for your first night in a haunted house?"

And so begins An American Ghost Story. Like Sinister and The Amityville Horror before it, our characters knowingly move into a house allegedly haunted and previously the scene of a family murdered. Paul, much like Elliott Oswalt in Sinister, has decided to write a book about the infamous house to which he and his girlfriend have moved, his rationale being the explosion in popularity of the supernatural, as well as his own desire to "finally finish something" he has started. And he has a plan to make the so-called haunted house more interesting for his potential book. "Supposably [sic] recreating a room's look can make spirits more active," he explains. "I'm going to make this house look as much like it used to as I can." Well, he doesn't even get that far when all kinds of spooky goings-on begin to occur: a phantom ball following him around a la The Changeling; moving kitchen chairs and teleporting dolls a la Poltergeist; a ghost actually wearing a bed sheet a la Paranormal Activity 3; and spontaneously opening drawers and cabinets a la The Sixth Sense. It's not long before Stella peaces-out of the house immediately following her first brush with signs of the haunting, leaving Paul to be alone with his ghostly company.

Ghost movies are getting hard to do and harder to appreciate it. Because it's all been done. All of it. We've seen the twist endings involving dead main characters, we've heard the disembodied whispering in the dark corner, and dear god, we've seen the jocular and obnoxious friend/comic relief purposely scare our lead(s) because, you know, why not? And too often we see low budget "filmmakers" who crap out a rough outline for a film in order to ride the coat-tails of another more popular and high profile one. (The Asylum has been known to do this when they're not tossing sharks in tornadoes.) What can trump these hurdles are two simple things: a well-told story and filmmakers with honor and taste.

An American Ghost Story is not the most original haunted house movie ever made, nor is it the best, but it is well-made and at times effective. You will see an awful lot of familiar gags taken from other well-known genre films, but our filmmakers are smart enough to know that it's precisely because you have seen these other well-known films that you are watching their film in the first place. And so in that regard An American Ghost Story instead becomes a charming, if at times familiar experience.

Stephen Twardokus as Paul (and also our script writer) makes for an effective lead. He's boyish and innocent, perhaps at times a bit too saucer-eyed, but it's hard not to like him. After a rocky beginning, in which he grins as he tells Stella about the bloody killings that took place in their house and makes tasteless jokes about brain matter, he soon sobers up and becomes a much more respectful character. In keeping with the previous (and unavoidable) comparison to Sinister, Paul is far more sympathetic than Ethan Hawke's Ellison. While he was driven by a desire to prove something to everyone and rediscover his fame by writing "his In Cold Blood," Paul's goal is not a selfish one. He's not particularly interested in the paranormal; he instead just wants to prove something to himself, and he's willing to ride a current fad to do it. This isn't necessarily a problem, but it does make his reasoning seem like a cheat. "Ghosts are in, so I'll write about ghosts," etc. And it's not even like he starts off as a skeptic and soon learns to believe - from minute one he's already trying to communicate with the ghosts via tape recorder. Because of this, the character of Paul is limited, emotionally, and gives us less to invest in.

The acting itself is just fine, and that goes for the entire ensemble. Wendy Haines as Sue does the best job out of everyone, playing a former tormented tenant of Paul's new house. Liesel Kopp and Cain Clifton as Stella and Sam, respectively, do well in their limited roles; they only seem to make an appearance when the plot calls for it (or we need a humor break).

Oh, and I love this ending - both on a thematic level as well as a technical one. And that's as far as I'll go in describing it.

Director Derek Cole knows the less-is-more approach. Likely this was a result of the low budget, but who cares? It's still effective, and forces he and Twardokus to rely on mood and traditional scares. This decision makes for a solid backbone of tension, and is only periodically ruined by unnecessary jarring musical stings. A purposeful slow-burn pace and extreme lack of special effects may turn off some viewers used to breakneck speed and ghastly set-pieces, but I doubt this film was made for them, anyway. Think The Haunting. Not, you know... that other The Haunting.

An American Ghost Story hits video August 20.

PATTON ON BLADE

 

I've only just now discovered The A.V. Club's late-2012 interview with comedian/actor Patton Oswalt, in which he touches on many different aspects of his professional career. Among these are his hilarious recollections of the train wreck that was Blade: Trinity. (I bet you completely forgot he was in that, didn't you?) I've always found Oswalt to be refreshingly candid, but not in any way where he comes across as offensive or arrogant. Below are a few selections from his pretty wonderful interview where he shares a few B:T anecdotes: 

Wesley [Snipes] was just fucking crazy in a hilarious way. He wouldn’t come out of his trailer, and he would smoke weed all day. Which is fine with me, because I had all these DVDs that I wanted to catch up on. We were in Vancouver, and it was always raining. I kept the door to my trailer open to smell the evening rain while I was watching a movie. Then I remember one day on the set—they let everyone pick their own clothes—there was one black actor who was also kind of a club kid. And he wore this shirt with the word “Garbage” on it in big stylish letters. It was his shirt. And Wesley came down to the set, which he only did for close-ups. Everything else was done by his stand-in. I only did one scene with him. But he comes on and goes, “There’s only one other black guy in the movie, and you make him wear a shirt that says ‘Garbage?’ You racist motherfucker!” And he tried to strangle the director, David Goyer.

...

So we went out that night to some strip club, and we were all drinking. And there were a bunch of bikers there, so David says to them, “I’ll pay for all your drinks if you show up to set tomorrow and pretend to be my security.” Wesley freaked out and went back to his trailer. [Laughs.] And the next day, Wesley sat down with David and was like, “I think you need to quit. You’re detrimental to this movie.” And David was like, “Why don’t you quit? We’ve got all your close-ups, and we could shoot the rest with your stand-in.” And that freaked Wesley out so much that, for the rest of the production, he would only communicate with the director through Post-it notes. And he would sign each Post-it note “From Blade.”

...

A lot of the lines that Ryan Reynolds has were just a result of Wesley not being there. We would all just think of things for him to say and then cut to Wesley’s face not doing anything because that’s all we could get from him. It was kind of funny. We were like, “What are the worst jokes and puns that we can say to this guy?” And then it would just be his face going, “Mmm.” “Smiles are contagious.” It’s so, so dumb. [Laughs.] That was an example of a very troubled shoot that we made fun. You have to find a way to make it fun.

Read the whole thing.

ONLY THE PILLS

The following are the final excerpts from the journal of Dr. Arnold Richards, who, at sixty-seven years old and in perfect health, was found dead in his bedroom, lying in a pool of his own blood, a single sleeping pill in his hand. The incidents surrounding the events reported in his diary were investigated thoroughly, but the case was never solved.

April 1, 1996
She was a frail old woman, gaunt and thin, with sparse, feathery, white hair and baggy, sunken eyes. The faded, loose shirts and pants she wore made her seem even more skeletal than she probably was. I never heard her speak, and every time she came in Dr. Yates would quietly usher her into a check-up room without saying a word to her or anyone else. While this was strange, it didn’t affect my work directly and so I did my best to ignore it.

May 13, 1996
On this bright Wednesday I arrived at the hospital to the news that Dr. Yates had died peacefully in his sleep the night before. I was surprised. The man and I had never gotten particularly close, but we were friendly, and while old, he seemed to have been in perfect health. I was informed that his heart had simply failed in his sleep and he had died quietly and gracefully. I, along with the other clinicians and a few town members attended his funeral that Saturday.

May 19, 1996
Today one of our secretaries told me that a new regular was to be added to my patient list, a woman who went solely by the name of Sybil. The next day, at 12:00 noon Sybil shuffled her way through the door, and I went up to introduce myself. I said hello and offered my condolences for Dr. Yates’ death as obviously the two had become somewhat close. Sybil only looked at me with a hollow, empty gaze, and turned mechanically towards the hallway that lead to her check-up room. As we entered the room she sat down softly in a chair and watched me, unblinking. I smiled awkwardly at her and opened up a folder containing her charts and medical records. Sybil was an impressive 96 years old, and seemed to have been in perfect health all her life, considering her name and age were the only things written on the record. She had no listed place of residence, exact date of birth, references or birth certificate. The only thing on her official record was a case of chronic insomnia, which explained her tired appearance. Groping inside the folder for any extra information, my hand touched a small notecard. In hastily scrawled capital letters, all it read was “ONLY THE PILLS.”

Reaching into the folder again, I pulled out a small plastic bag with a few powder capsules, which I quickly recognized as soporific drugs; sleeping pills. I glanced at Sybil whose gaze had not left me. I felt uneasy. Something didn’t seem quite right about the mysterious situation, but trusting the late Dr. Yates’ judgment I smiled and joked, “well, at least you make my job easy,” offering the baggie to Sybil. The woman retained the exact expression she’d kept for the past fifteen minutes, and, with a swiftness unexpected at her age, snatched the pills from my fingers with a silent yet stern, “thank you, Dr. Richards.”

I walked her to the door and watched her leave. As I returned home I felt strangely exhausted, and went to bed early. Falling asleep I remembered something that struck me uneasily. I had never told my name to Sybil. Dr. Yates must have mentioned me in passing at some point to her. I brushed the thought aside and nodded off.

May 28, 1996
At noon sharp Sybil walked through the clinic doors once more. I greeted her and walked her to her familiar room, where she sat once again in the chair and stared at me. Remembering my uneasy thoughts from last week, out of curiosity I mentioned how I’d never introduced myself and asked her how she’d known my name. Without turning her gaze she simply lifted her wrist and pointed towards the desk in the room as a response. I followed her finger to the folder I’d left there from last week, with the notecard laying on top. Only the pills. I turned to Sybil and told her childishly that I had no pills. I didn’t know her dosage, nothing was written on her chart. She only continued to point at the folder. A foolish thought struck me. I picked up the folder and, with a furrowed brow reached inside. I pulled out her papers, and as they emerged they brought a baggie of pills identical to the first along with them. I was positive there had only been one bag of pills in the folder the week before, and the folder had been left in the exact same place; no one had touched it. I stared at Sybil cautiously and she stared back as always, extending her hand. I gave her the pills, and she responded, “thank you, Dr. Richards,” in the exact same fashion as the previous week.

Suspicious, I took the folder home to make sure no one was doing any tampering. Tonight I felt not only exhausted, but very weak. I had no motivation to do anything. All I wanted to do, all I felt like I could do was sleep. I’m to bed at 6 PM.

June 4, 1996
Before I went to the clinic today, I checked the folder. All it had inside was the notecard, which I left on my nightstand, and Sybil’s papers. No pills. Sybil’s visit went exactly as usual, and as we entered the check-up room I told her that I was concerned she was abusing the medication and told her to try a week without the pills. She only stared at me and pointed again to the folder I had been holding in my hand the whole time. I peered inside and, like a sickly apparition, the bag of yellow pills was resting neatly on the bottom, atop a square piece of white paper. I angrily removed the pills and read, horrified, the notecard they revealed. Only the pills. I turned to Sybil and thrust the bag toward her, yelling, “fine! Take your damn pills.” She only returned her usual “thank you, Dr. Richards,” and left me standing in the room, frightened and angry.

Tonight I got violently ill. After an hour of intense vomiting I crawled into bed, nearly unable to move. As I reached to turn out the light on my nightstand my eyes strayed to a square, white piece of paper. I didn’t have to read it to know what it said. I was confused and terrified. Mustering all my strength I tore the paper into pieces and flushed them down the toilet. Exhausted, I fell into a deep sleep.

June 11, 1996
My sickness left me unable to work for exactly a week. This morning I woke up with the realization that I had only felt strangely on the days after I’d taken care of Sybil. I was frightened to return to work. Perhaps if I was late, she would get tired of waiting and leave. I waited until two o’clock, and nervously went to the clinic. My hand paused on the doorknob, and as I slowly entered, I breathed a sigh of relief. Sybil was not in the waiting room. When I asked, the secretary told me that Sybil had not arrived. This day, I decided, I would find out who the woman really was. I walked to the check-up room to retrieve her papers, and opened the door to find Sybil staring directly at me, as if she had been waiting. I was frozen. No longer did the woman’s gaze seem empty and passive. Now it was devilish, laughing, taunting me, daring me. I didn’t want to look at her, and tried to ignore her, but her presence permeated the white room. I felt her gaze like a hand perpetually on my shoulder. Walking towards the desk, I picked up the folder and noticed there was a wet spot in the lower right corner. I opened it up to find the pills and the notecard once again. The pills were the same sick yellow, in the same suffocating bag. The notecard was torn into pieces and soaking. It had dampened the corner of the envelope and the papers inside. I screamed at Sybil. “Who the hell are you? What do you want with me?” She pointed only at the folder. “**** you.” I responded. “**** your pills!” I threw the envelope on the floor, feeling the capsules crush beneath my shoes. “Looks like you’ll be awake for a while now,” I said spitefully. Sybil stared with her hollow eyes for what seemed like years. Finally she spoke, with a voice that was not of a 96 year old lady. “Goodbye, Dr. Richards.” She got up, and left.

I was fuming, and terrified. Why had she told me “goodbye?” What’s more, how did Dr. Yates put up with this woman for two years, when I had been pushed to the edge in under a month? Suddenly I remembered. Dr. Yates was dead. He had died in his sleep. I raced into the secretary’s office and demanded Dr. Yates’ medical records. The secretary looked startled and handed them to me, and I promptly drove as fast as I could home. I dumped the contents of Yates’ folder onto my kitchen table and, rifling hastily through the papers I found another, smaller envelope labeled with the words CORONER’S REPORT. Inside the envelope my horror was embodied. Pictures of Yates on his deathbead revealed a terrifying truth. Dr. Yates had not died peacefully. His body was contorted from seizing, his face twisted into an expression of horror and pain, blood leaking from his mouth and nostrils. I had to cover my mouth and hold back cries. His expressions were horrific, eyes rolled back, joints turned backwards. In all my years practicing, I had never seen someone frozen in such pain. On his certificate, the coroner had listed his cause of death as undetermined. That failed to satisfy me. I needed to know. I examined the pictures long into the night, and in one photograph of his mangled face I noticed a square, white corner poking out from underneath his pillow.

June 12, 1996
Mustering up all my courage, I grabbed a flashlight, got in my car and drove to Dr. Yates’ house. It was about four miles away and isolated. I knew it would be empty. The night was strangely cold and damp. I walked up to the front door and, turning the knob with shaking hands, opened it and stepped inside. Only moonlight filtered in through the windows. Light switches failed, the power had already been cut off. Assuming I knew where his bedroom was, I stumbled up the staircase to the second floor. Adrenaline pumping in my veins, I reached toward the first doorknob my flashlight reflected off of. Hesitating only for a second, and before I could change my mind, I twisted and pulled. It was a small bathroom, and smelled sickly of vomit. The mirror/drug cabinet above the sink was flung hastily open, revealing a mess of capsules spilling off the shelves. The same capsules I had been giving to Sybil for the past three weeks. The cause of my terror. I slammed the door closed and looked around the landing with my flashlight. There was only one other door at the end of the hallway. I could hear the blood flowing past my ears as I walked toward what I knew was the bedroom. Again, my hand stood still over the doorknob for only a second before I hastily turned it and swung the door open. The bedroom frighteningly resembled my own, with a queen sized bed and two nightstands on either side. The pale moonlight desaturated the colors of the room into stark black and white; I could clearly see the bloodstains from Yates body, vivid on the pale sheets of his mattress. Remembering the picture, I gathered myself and walked towards the pillow, which was a bloody mess. Sure enough, the white corner was jutting out, daring me to grab it. I lifted the pillow to reveal a familiar looking folder. I shined my flashlight to reveal one word scribbled on the front. Sybil.

Suddenly, I heard a creak and a door open, the sound of a hundred pills falling to the floor. The noise shocked me out of my reverie and I snatched the folder, ran out of the house, and got into my car as fast as I possibly could. There was much more inside this folder than I had in my measly papers at the clinic. I scoured Sybil’s records. She had hundreds of different charts from hundreds of different doctors, and each said the same thing. Sybil was a victim of hyperinsomnia. She never slept. I rifled through the records as quickly as I could. Hyperinsomnia. Sleeping pills. Hyperinsomnia. Sleeping pills. The oldest chart was from 1912. Diagnosis: hyperinsomnia. Prescription, sleeping pills. I set the paper down, my forehead dripping in cold sweat. If Sybil’s charts were correct, the woman had been awake for 84 years.

Suddenly I was emboldened. The woman no longer frightened me. I had figured her out. I would confront her. I would maybe even try to help her. If she never slept, I could even go to her house now. It was one thirty in the morning. Finding Sybil’s address in her records, I wrote it down on a slip of paper and got into my car a third time. I drove for about two miles, and then realized things were starting to seem familiar. As I turned onto her street my confidence shattered like a bone. I realized in utter horror where the address I had written down had brought me. Bringing my car to a slow halt, I stepped out and made the now terrifyingly familiar walk up to the clinic doors. In a last ditch effort to resolve the mind I was sure I was slowly losing, I checked the paper I had written the address down on once more. Three words showed themselves to me. Only the pills.

I can’t bring myself to reveal what happened when I entered the clinic that night. All I can tell you is that it is the last time I will leave its doors. It is the last time I will see Sybil, and that I am about to go to sleep for what will be the last time in my life. I hold a small yellow capsule in my hand that could save me. But I can’t. I refuse end up like her. I would rather die than stay awake.

Story source.

Image source.

WHAT A CONCEPT

 

Though the creepy doll named Annabelle that appears in #TheConjuring was actually in "real life," a Raggedy Ann Doll, the decision was made early on to design something that would have more of a jarring on-screen presence.

The final product, as seen in the above poster, is rather creepy, but early concept art suggested something far more disturbing:

IT AIN'T THAT BAD: HELLRAISER: INFERNO

In this column, movies with less-than-stellar reputations are fairly and objectively defended. Full disclaimer establishes that said movies aren’t perfect, and aren’t close to being such, but contain an undeniable amount of worth that begs you for a second chance. Films chosen are based on their general reception by both critics and audiences, more often than not falling into the negative. Every film, no matter how dismal, has at least one good quality. As they say, it ain’t that bad. 

Spoilers abound. 

I know what you must be thinking: I’ve lost my mind to even consider a direct-to-video sequel to Hellraiser (a Part Five, even) as not just good, but deserving of your praise and attention.

As long-running horror franchises tend to do, the Hellraiser series fell further off the rails with each new entry—many would argue as early as its third, after which the Hellraiser brand never really recovered. Following the debacle that was Hellraiser: Bloodline (featuring a revolving door of directors and consistent script changes), there was really nowhere else to go, continuity-wise. Perhaps that’s why each sequel to follow Bloodline (Inferno, Hellseeker, Deader, and Hellworld) were original non-Hellraiser scripts doctored to appear part of the franchise. (The Weinsteins were somewhat infamous for doing this to their horror properties – I believe Children of the Corn suffered the same fate.) And maybe that’s why these entries were better than any of the theatrically released sequels. (Yes, I am including Hellbound in that group, for I was never a fan of that entry.)

With interest, I delved into negative reviews by movie fans to ascertain what it is about this entry they just didn’t like. After all, Inferno had all the requisite Hellraiser iconography: chains tearing through flesh, creepy sexual intonations, an array of masticated cenobites, and gruesome bloody deaths. “Pinhead is barely in it!” I read. (Count his screen time in the first Hellraiser.) “He’s not even the villain!” (Was he ever meant to be?)

If a person wanted to argue with me that Inferno was a weak Hellraiser film because it failed to carry on the spirit established by Clive Barker in the first two films, I wouldn't have much of an argument. That person would be right. But that doesn't mean Hellraiser: Inferno should be outright dismissed, either. Because it's a rather strong film with strong performances, creepy imagery, and unflinching gore gags.

Detective Joseph Thorne (Craig Scheffer) is a born puzzle solver. His affinity for chess and word riddles alludes to his natural decision/desire to become a detective with the police department. He's not exactly a model human being, however. This comes across rather quickly.

While tending to the scene of a homicide along with his partner Tony Nenonen (Nicholas Turturro), he discovers that the slain was actually an old school mate of his. Discovered at the scene are a child's dismembered finger (somehow embedded into the wax of a candle) and the infamous puzzle box—one, if opened, that releases all manner of evil onto the world. Being that it's in Joseph's nature, he opens the box...and his private hell begins. He's soon thrust into a nightmarish world where he begins tracking a faceless figure responsible for the methodical killing off of individuals who played a part in Thorne's own misspent life. This investigation leads him into the most wild of places—even crossing paths with a cowboy for whom the faceless figure seems to be working. By film's end we realize that Thorne isn't just trying to find the mastermind behind all of this—dubbed The Engineer—but he's also trying to salvage his own innocence.

Craig Scheffer was born to play a douche bag. He’s immensely talented as an actor, but with that grating voice and that evil smirk, he was genetically designed to be a character that dares you to sympathize with him. He plays Joseph incredibly close to the vest, pushing the idea of “unlikable” to its limits, but yet you still do manage to hope he can somehow find his way out of the rabbit hole through which he descends for nearly the entire running time. Watch him steal money from a crime scene, blackmail his partner, do coke and bang whores, and physically assault suspects—all while his family waits for him at home. But also watch him feel compelled to do his job and attempt to save this child he believes kidnapped and in the possession of a severely fucked-up madman. Watch him care about another human being that he’s never met. The character of Joseph is as gray as they come: not all good, but not all bad, either. He’s flawed, as we all are, but not undeserving of empathy.

Doug Bradley returns for his fifth time, donning the pins and leather bondage costume to play Pinhead, and though in later years he never withheld his extreme dissatisfaction with the film’s end result, he does his typical job here. Pinhead, as well as Bradley’s interpretation of him, hasn't really changed since the first film, so the continuity is serviceable and satisfying. Bradley, a self-proclaimed atheist, claims that the “hell” featured in the first two Hellraiser films wasn’t of the Christian idea of hell, but the indefinable idea of hell. He sums up his presence in the film as being a “folksy moralist”—a sort of “Uncle Pinhead” who equates his monologue at the film’s conclusion to him warning children to look both ways before they cross the street. Clearly he’s not happy to have been a part of the experience (and is even one of those who claims he was barely in it—which, again…count his screen time in the first film). While I don’t have an encyclopedic knowledge of his opinions on each entry, I’d be utterly mystified to hear that he considered something like Hellworld or Deader to be superior. Still, Pinhead remains very much a behind-the-scenes figure (as his character works best in small doses) and acts more as a judge and jury rather than the executioner. It’s less like he’s the primary motivator in all of Joseph’s victimization, and more like he happened to be walking by Joseph in hell and opted for a closer look.

Dad from "Dexter" (James Remar) shows up, nearly unrecognizable behind his beard and priest garb, to play Joseph's psychoanalyst of sorts. He offers a rather soft and paternal performance—one of the rare uncorrupted characters in Inferno's line-up. He helps Joseph to organize his frazzled mind and provides him with a rational voice.

Hellraiser: Inferno was directed by Scott Derrickson, with whom I like to think horror fans have grown quite familiar. He did, after all, direct this year’s creepfest Sinister (sequel coming soon!) and the similarly dismissed and unheralded The Exorcism of Emily Rose. His script (co-written with Paul Harris Boardman, who is also providing the screenplay for the Memphis Three film Devil’s Knot) is certainly unlike the other films in the series, but not unlike films we have seen before. There is a reason why the film is called Inferno, after all, as it’s about a man journeying through his own private and specific hell. Only this time his goal isn't to save his departed beloved, but to confront a life lived poorly and selfishly with little regard for how he treated others.

One of Derrickson's strong points as a filmmaker is his ability to create unnerving imagery. Except for his overblown (and studio-tampered) big budget remake of The Day the Earth Stood Still, he has yet to make a genre film that doesn't contain at least one legitimately creepy set piece. The Exorcism of Emily Rose was bolstered by passersby with dripping faces and Jennifer Carpenter's own unnatural abilities as a dancer to contort her own body to uncomfortable positions. And Sinister was dripping with eerie visages—namely the creation of main boogey baddie Bughuul. Inferno's new Cenobites (featuring a new take on 'The Chatterer") are quite effective—they tread that fine line Barker established by making them horrifying, but also undeniably erotic.

Being that I am a horror aficionado, I have quite a few films at home on the ol' shelf. I used to be of the mind that if you owned one entry in an established series, you should own all of them. I was a completist in that sense. Which means that even though I may have only liked Child's Play 1 and 2, I owned all five. I eventually defeated that mindset and cleaned out a lot of garbage. As far as the Hellraiser series is concerned, I own two entries: the first film, and this one. If you remove yourself from the idea that the Hellraiser series tells one continuous story (and dear god, you know it doesn't—they gave up on that long ago), you'll find a lot to admire about Inferno. Yes, the name Hellraiser was bulldozed into the title, but blame the Weinsteins. Don't blame the filmmakers. Because they contributed a pretty solid horror film—one that predates the 1987 release of the first film and harks back to the real inspiration: a divine poem from the 14th century.

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

---

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.