Feb 19, 2013

WHAT A CONCEPT


I didn't catch Texas Chainsaw 3D when it was in theaters. Based on the surprising success it enjoyed at the box office, I guess I'm one of the few who opted to stay home and...watch something better. The promise of seeing a Chainsaw film directed by the guy who made Takers, produced by the guys who made multiple Saws, and starring a rapper named Trey Songz didn't exactly lure me into theater lobbies to slap my hard earned cash down on the counter.

Look, I can sit here and pretend to be better and above it all, but I know I'll be checking it out when it hits Redbox, so I'll stow my pompousness for the time being.

Strictly by happenstance I stumbled across this very cool concept art by artist Jerad Marantz (I Am Legend, Rise of the Planet of the Apes). Because I haven't seen the film, I have no idea in what context these images might have been used, but I find the idea of an older, grayer Leatherface intriguing: 






Feb 18, 2013

REVIEW: THE CARETAKER

"The fruit and the feather fall at the same rate.
One is crushed, and one is tickled by its fate."
The world of fiction is currently saturated with vampires. I know it and you know it. And we can blame all that Twilight nonsense, which took our undead, blood-sucking creatures of the night and made them play baseball and willingly go to high school for some reason, even though they're technically corpses and can't do much with a diploma. 

So when someone goes out and makes a low budget vampire movie, I groan. How can I not groan? How can I maintain enthusiasm when someone thinks they can bring something new to the formula? How about you just go make a spoof version of Paranormal Activity with a really punchliney title? I'll wait here. 

But The Caretaker proves there's still blood to be sucked out of the old sub-genre yet. It is a clever, bleak, and even thoughtful film about the ties that bind us - and how we're better off trusting a mortal enemy than our own neighbor.


It is the very beginning of a sudden outbreak of vampirism occurring across Australia. What's believed to be the flu turns out to be something much more vicious and deadly. Soon, a group of strangers find themselves fleeing to the countryside in an effort to leave the madness of the city behind. At an isolated house in a distant rural area, a wine salesman, his ailing mother, and her doctor are already hunkering down, trying to make sense of what they are hearing about the outbreak. Our fleeing humans are surprised to find out, however, that the good doctor is actually inflicted with the vampire disease. Though the humans don't have much of a choice, the agreement is forged: the doctor will protect the humans from other vampires by night, if they will protect him from revenge-seeking humans by day.

You should have known it was all going to end very badly. 

The Caretaker effectively presents what George A. Romero has been saying in his zombie films for years: us humans are worse. Because we are selfish, and greedy, and willing to do anything to survive. At first all seems as well as it could be. Certain characters are dicks and bitches, but besides being irritating, no one seems up to anything nefarious. But that doesn't last. 

For a low budget, the ensemble cast are frighteningly good. Special mention must be made of Lee Mason, who I swear I've seen in something else, but whose filmography says otherwise. This doppelganger of C. Thomas Howell proves himself to be a domineering and strong figure - he assumes the role of leader without even trying. 


The direction by Tom Conyers is also confident. His handling of the powers vampires possess are unnatural enough to be unsettling, but never becomes cartoonish as they would have in a multi-million dollar film. The make-up effects are basic, but effective - again, just what's required is utilized. The most striking aspect of The Caretaker is Conyers' insistence that the concept be taken seriously. This is a surprisingly introspective film, filled with characters struggling with their own mortality, and with their own ruminations on what kind of life they lived leading up to this moment in time. An especially nice scene in which one of these characters unhappy with the person they have become plays a simple melody on the piano, and as each character hears her playing, they are all connected - however briefly. Perhaps because its a singular moment of peace in otherwise non-stop chaos, where people aren't to be trusted, and new bonds destroy and replace old ones.

Unfortunately, the musical score can be intrusive and even exhausting at times, as there doesn't seem to be one frame without a theme or a sting. And it doesn't help that the mournful strings you're hearing are clearly the result of a synthesizer, either. It does the film a disservice at times, reminding the viewer just how cheaply made it was. I'm always of the mind that if you're making a low budget feature, use music sparingly, unless you have access to a musician with a wealth of resources and willing to work cheap as a favor. I should stress that the score itself isn't bad...there's just too much of it, and after a while, you can't help but hear the flaws.

I also have to point my finger at its ending. Without giving anything away, let's just say it more than liberally borrows from the ending of another vampire film with a gimmick from the last decade. But, a good ending is a good ending, so I'll allow it.

Overall, I dug this undead flick. Similar thematically to Jim Mickle's Stakeland (but not nearly the same scope), it is an interesting character piece - a realistic observational experiment on what would happen in such an event, and how humanity would react. Sadly (and depressingly), The Caretaker might just be spot on.

Once again, my jaded and cynical self has been proven wrong by a film from which I expected little to nothing. It's so easy to look at a shoddy poster or video artwork and make a snap judgment, and if you did that in the case of The Caretaker, you'd be missing out like I almost did.


Feb 17, 2013

Feb 16, 2013

IN CHAINS

"Spirits surround us on every side... they have driven me from hearth and home, from wife and child."

Image source.

Feb 15, 2013

CREEP

A group of us are sitting in my friend's living room playing Xbox (Halo, nothing scary) and everyone's having a old good time. There's a couple of lamps on, but for the most part the room is dark, save for the screen glare. He lives alone, too, so there's no one about in the house, but he likes to keep the door closed to stop people's cigarettes from stinking out the rest of the place.

All of a sudden the door bursts open. There's no wind, but you could feel a sudden burst of atmosphere. One of the guys starts screaming and falls off the sofa. He then scrambles to his feet and presses himself up against the wall furthest away from the door uttering, "no... no..."

He was shaking quite badly and there were tears running down his face. We were mostly still laughing, thinking he was reacting to the game, but it became quickly apparent something was seriously up - it took about 20 minutes to calm him down after that. When we got him talkative, he says that a headless, limbless female torso was at the door when it opened and in his words, "came towards me. It wanted to kill me."

Creep.

Feb 12, 2013

Feb 11, 2013

WITCH HUNTER

 

I have not seen Hansel & Gretel: Witch Hunters. I likely never will. But I welcome any film that brings me a new score by one of my favorite composers: Atli Örvarsson. While he basically picked up where Hans Zimmer left off, that doesn't make it any less good.

Feb 10, 2013

MUGSHOTS


The Historic Houses Trust opens special exhibitions at different venues in its native Sydney, Australia. The below is a sample of one of their current exhibitions. The below photographs are:
"...a series of around 2500 'special photographs' taken by New South Wales Police Department photographers between 1910 and 1930. These 'special photographs' were mostly taken in the cells at the Central Police Station, Sydney and are, as curator Peter Doyle explains, of 'men and women recently plucked from the street, often still animated by the dramas surrounding their apprehension.' Doyle suggests that, compared with the subjects of prison mug shots, 'the subjects of the Special Photographs seem to have been allowed - perhaps invited - to position and compose themselves [for their photographs]...' "

 

 

Title: Mug shot of Alfred Ladewig. possibly Central Police Station, Sydney.
Creator: New South Wales. Police Dept.
Date: [192?]
Format: [Picture] Glass plate negative
Subject: police detainees and suspects; mug shots
Description: An entry in the Police Gazette, 15 September, 1920 reads "Alfred Ladewig, alias Wallace, and John Walker, alias Atkins, charged on provisional warrant with stealing by trick the sum of $204 AUD, at Brisbane (Q), the property of Alfred Walter Thomlinson have been arrested by Detective-constables Matthews and Jones, and Special-constable Bladen, Sydney Police. Both remanded to Brisbane." 


 


Title: Mug shot of De Gracy (sic) and Edward Dalton. Central Police Station, Sydney.
Creator: New South Wales. Police Dept.
Date: [c1920]
Format: [Picture] Glass plate negative
Place: Central Police Station (Sydney, N.S.W.)
Subject: police detainees and suspects; mug shots; fedoras (hats)
Description: A cropped print of this photograph appears in a police photo book from the 1920s, annotated in pencil "magsmen," with no further information offered.




Title: Clara Randall. State Reformatory for Women, Long Bay, NSW.
Creator: New South Wales. Dept. of Prisons
Date: 12 November 1923
Format: [Photograph] glass plate negative
Place: State Reformatory for Women, Long Bay
Subject: police detainees and suspects; mug shots; prisoners
Description: Clara Randall worked as a travelling saleswoman for a jewelry company. She reported to police that her Bondi flat had been broken into and a quantity of jewelry stolen. It was later discovered she had pawned the jewelry for cash. A career criminal, Randall was sentenced to 18 months with light labour. DOB: 1884.


 


Title: Kate Ellick. State Reformatory for Women, Long Bay.
Creator: New South Wales. Dept. of Prisons
Date: 17 February 1919
Format: [Photograph] glass plate negative
Place: State Reformatory for Women, Long Bay
Subject: police detainees and suspects; mug shots; prisoners
Description: Kate Ellick had no family to support her and no fixed address. In the early 20th century employment options were limited for women of her age and there was no aged pension. Ellick was homeless when arrested in Newcastle and was sentenced under the Vagrancy Act to three months in prison. DOB: 1860, Murrurundi.


 


Title: Dorothy Mort. State Reformatory for Women, Long Bay, NSW
Creator: New South Wales. Dept. of Prisons
Date: 16 October 1929
Format: [Photograph] glass plate negative
Subject: police detainees and suspects; mug shots; prisoners
Description: Mrs Dorothy Mort was having an affair with dashing young doctor Claude Tozer. On 21 December 1920 Tozer visited Mort's home intending to break off the relationship. Mort shot him dead and then attempted to commit suicide. She was released from jail shortly after this photograph was taken and disappeared from the public eye.


 


Title: Janet Wright. State Reformatory for Women, Long Bay, NSW
Creator: New South Wales. Dept. of Prisons
Date: 16 February 1922
Format: [Photograph] glass plate negative
Subject: police detainees and suspects; mug shots; prisoners
Description: Convicted of using an instrument to procure a miscarriage. Janet Wright was a former nurse who performed illegal abortions from her house in Kippax Street, Surry Hills. One of her teenage patients almost died after a procedure and Wright was prosecuted and sentenced to 12 months hard labour. Aged 68.


 


Title: Emily Gertrude Hemsworth. State Reformatory for Women, Long Bay, NSW
Creator: New South Wales. Dept. of Prisons
Date: 14 May 1925
Format: [Photograph] glass plate negative
Subject: police detainees and suspects; mug shots; prisoners
Description: Emily Hemsworth killed her three-week-old son but could not remember any details of the murder. She was found not guilty due to insanity. Hemsworth was to be detained in custody until judged fit to return to society - it is unknown if she was ever released. Aged 24.


 


Title: Phyllis Carmier, alias Hume. State Reformatory for Women, Long Bay, NSW.
Creator: New South Wales. Dept. of Prisons
Date: 1 April 1921
Format: [Photograph] glass plate negative
Subject: police detainees and suspects; mug shots; prisoners
Description: British-born Carmier was known as 'Yankee' Phyllis because of her peculiar accent. She stabbed her 'bludger', or pimp, to death during a violent altercation in Crazy Cottage, a sly-grog shop in Surry Hills. Carmier attracted much sympathy in the media, who labelled her crime a justifiable homicide. Aged 32.


 


Title: Eugenia Falleni, alias Harry Crawford. State Reformatory for Women, Long Bay, NSW
Creator: New South Wales. Dept. of Prisons
Date: 16 August 1928
Format: [Photograph] Glass plate negative
Place: State Reformatory for Women, Long Bay
Subject: police detainees and suspects; mug shots; male impersonators; prisoners
Description: Convicted of murder. Eugenia Falleni spent most of her life masquerading as a man. In 1913 Falleni married a widow, Annie Birkett, whom she later murdered. The case whipped the public into a frenzy as they clamoured for details of the 'man-woman' murderer. Aged approximately 43. Part of an archive of forensic photography created by the NSW Police between 1912 and 1964. 


 


Title: Ruby Furlong. State Reformatory for Women, Long Bay, NSW
Creator: New South Wales. Dept. of Prisons
Date: 15 November 1920
Format: [Photograph] Glass plate negative
Place: State Reformatory for Women, Long Bay
Subject: mug shots; prisoners; prisoners of war
Description: Petty thief Ruby Furlong was involved in an altercation with a drunk musician at Newtown. She pulled out a razor and slashed his face, leaving an ugly scar. Furlong was a feared criminal who had a string of convictions in the early 1920s. Ruby, aged 34, was serving time for malicious wounding when this photograph was taken. Part of an archive of forensic photography created by the NSW Police between 1912 and 1964.



Links and text stolen with love from the Historic Houses Trust. So many more.

Feb 9, 2013

FROM THE DESK OF ALBERT FISH

Dear Mrs. Budd: 
In 1894 a friend of mine shipped as a deck hand on the Steamer Tacoma, Capt. John Davis. They sailed from San Francisco for Hong Kong, China. On arriving there he and two others went ashore and got drunk. When they returned the boat was gone. At that time there was famine in China. Meat of any kind was from $1–3 per pound. So great was the suffering among the very poor that all children under 12 were sold for food in order to keep others from starving. A boy or girl under 14 was not safe in the street. You could go in any shop and ask for steak—chops—or stew meat. Part of the naked body of a boy or girl would be brought out and just what you wanted cut from it. A boy or girl's behind which is the sweetest part of the body and sold as veal cutlet brought the highest price. John staid there so long he acquired a taste for human flesh. On his return to N.Y. he stole two boys, one 7 and one 11. Took them to his home stripped them naked tied them in a closet. Then burned everything they had on. Several times every day and night he spanked them – tortured them – to make their meat good and tender. First he killed the 11 year old boy, because he had the fattest ass and of course the most meat on it. Every part of his body was cooked and eaten except the head—bones and guts. He was roasted in the oven (all of his ass), boiled, broiled, fried and stewed. The little boy was next, went the same way. 
At that time, I was living at 409 E 100 St. near—right side. He told me so often how good human flesh was I made up my mind to taste it. On Sunday June the 3, 1928 I called on you at 406 W 15 St. Brought you pot cheese—strawberries. We had lunch. Grace sat in my lap and kissed me. I made up my mind to eat her. On the pretense of taking her to a party. You said yes she could go. 
I took her to an empty house in Westchester I had already picked out. When we got there, I told her to remain outside. She picked wildflowers. I went upstairs and stripped all my clothes off. I knew if I did not I would get her blood on them. When all was ready I went to the window and called her. Then I hid in a closet until she was in the room. When she saw me all naked she began to cry and tried to run down the stairs. I grabbed her and she said she would tell her mamma. First I stripped her naked. How she did kick – bite and scratch. I choked her to death, then cut her in small pieces so I could take my meat to my rooms. Cook and eat it. How sweet and tender her little ass was roasted in the oven. It took me 9 days to eat her entire body. I did not fuck her tho I could of had I wished. 
She died a virgin.

Feb 8, 2013

CRITERION


I have absolutely nothing of merit to say about this film. I've never even seen it.

But that artwork is beyond fucking beautiful.

Good on you, Criterion.

Feb 6, 2013

REVIEW: CITADEL


Overcoming one's fears is a huge and reoccurring theme in the horror genre. Whether directly or indirectly, our protagonists will only find victory if they learn to confront their tormentor head on, with eyes up. In A Nightmare on Elm Street for instance, Nancy literally vanquishes her demon by saying, "You're nothing." In Citadel, this theme is the forefront of our protagonist's conflict. Quite literally, he must overcome his fears...or die.

Tommy (Aneurin Barnard) and his wife, Joanne (Amy Shiels), are moving out of their apartment. With Joanne ready to give birth any day, it would seem the time has come to vacate and find a bigger or nicer place to raise their daughter. Out of nowhere, a faceless group of hoods attacks Joanne, beating her and stabbing her in the stomach with a syringe. She is rushed to the hospital where she falls into a coma, and her baby is surgically removed, luckily having survived. Tommy, because of his limited means, has no choice but to move into a ghetto duplex in the middle of a wasteland sporting signs promising a "regeneration project." The sign itself is so worn and faded that it's obvious this project is not happening any time soon - if at all. And so this complex remains tattered and torn, with eviscerated cars littering the parking lot.

In the wake of Joanne's attack, Tommy is left with a terrible case of agoraphobia. Leaving his house is tantamount to torture, and he can only do so after coaxing himself out with his eyes squeezed shut. Self-help groups don't seem to be helping at all, and he has no one in which to confide except for Marie (Wunmi Mosaku), a nurse at the hospice center where Joanne has been for nine comatose months. After Tommy euthanizes Joanne by releasing her from her life support, Marie tries to help Tommy regain control of his life. But soon, familiar faceless hoods make an appearance, intent on finishing what they started. They kidnap baby Elsa, and the multitudes of missing child fliers hanging all over town suggests that Elsa is just one of many taken by these mysterious figures. With the help of an eccentric priest (James Cosmo) and his blind adopted son, Danny (Jake Wilson), Tommy must enter his former high-rise tenement building where the hoods seem to live, take back his child, and put an end to their terror for good.


Somewhere between all the early buzz and positive reviews, and my having seen the film for myself, I saw the plot loosely described somewhere as a man being terrorized by a bunch of hooded youths. That instantly bummed me out. I wanted something creepy and unnatural. Ghosts or demons or freaks or something. I didn't want a bunch of annoying mall teens. 

Still, I watched the film for myself, figuring it would be good for at least one scare or two, what with all the high marks it received during its film festival run. 

I was pleasantly surprised. And creeped out. Turns out that plot description I saw elsewhere was wrong. The figures were hooded, yes, and they were definitely of a kid height...but that's about where our antagonists stop being kids. They are something much more dangerous and terrifying. 

With film, but within the horror genre especially, you are asked to suspend your disbelief. But we're pretty willing to, so long as the film has earned it. Citadel asks you to refrain from asking hundreds of questions you probably should be, and which you'd be right to. Being as vague and non-spoilery as possible, those might be:

"How is it this priest knows what he knows and never told anyone?"

or

"How is it this building filled with these little monsters has sat for so long and no one has done anything about it, or even noticed?"

or...

"How is it we readily accept Tommy not calling the police whenever he is terrorized because, according to him, 'they won't come here.' "

There are many more of these types of questions that might pop up as you watch, but all of them are rendered irrelevant for one simple reason: because the film is too well made and well acted to have to answer to these questions. Sometimes it's better not to explain everything to death. Sometimes it's better to just place your trust in the filmmakers that you're being told everything you need to know - no more, no less.


Strong performances by Bernard as Tommy and especially James Cosmo ("Game of Thrones," "Sons of Anarchy") as the unnamed priest propel the film forward, hurtling us through the moments where lesser actors would allow us to stop and question what it is we're seeing and noting why the vagueness of certainly details might be a weakness. 

The script by Ciaran Foy is simple but clever, and at times feels even personal. And that's because it is. Foy himself suffered an unwarranted assault as a youth, perpetrated by a bunch of hooded miscreants who beat him and stabbed him in the throat with a syringe. It left Foy a shell-shocked, suffering agoraphobic who never found the strength to leave his home until he was accepted for film school. 

Considering its budget, the make-up and visual effects are astounding. You can't really know how good of a job the the filmmakers did until you watch the behind the scenes featurette on the DVD, which is refreshingly informative, and not just your usual glad-handing and blanket congratulatory praise for every single person involved in the production.

There's an underlying warning about a society's and/or government's disregardance of lower income areas. We, as that society, sometimes like to pretend those areas don't exist and that they're not a problem. But the longer they sit and fester, the worse they will become. Their poverty will lead to desperation, which will lead to crime. Children will be born into this environment and grow in a household where crime is perfectly acceptable, and this wicked cycle will continue. One character describes the tenement building featured in the film as having been "abandoned" - not in the sense that only vagrants live there, and the place is otherwise in shambles, but that at one point whoever was living there was trying to make a life...and it was they who were actually abandoned.

Citadel is original, and surprisingly emotional. And to watch a man confront his fears, quite literally, has never been creepier.

Feb 5, 2013

CREEP

I've always been big on paranormal stuff. As a matter of fact, I've always been fascinated with anything that's unexplainable. So much that I used to go out looking for the stuff. So all of this time trying to find ghosts and I have failed miserably. That is until my older brother moved into an old, old house with about 4 of his buddies. 
When his friend first bought the house, all of the second floor windows were painted black. Yes, the actual glass was painted black. Well, apparently, a child was murdered there. He was hung in a closet on the second floor. The body of the child was wrapped in plastic (probably because of the smell) while still hanging in the closet. He wasn't found until after the family moved out of the house 4-6 months later, because he was actually hanging between two floors in the house. 

It was a big house with 3 floors, 3 bathrooms, and if I remember correctly, there were 7 bedrooms. When the house was purchased, there were problems with the roof, so they covered it with a tarp until they could get it fixed the year after. 
Since there was a tarp on the roof of the house, on windy nights you could always hear it blowing around. It had a distinct sound - plastic slapping around all over the place... 
Whenever I went to stay there and party with them I would end up sleeping in the living room because the couch had a fold out bed. So, one night, me and a buddy are staying there on the fold out bed. I'm having trouble sleeping because the wind is blowing hard and that damn tarp is making a shitload of noise. Even though it's 3 stories above me I can still hear it. So I pull the blankets off of my head and notice that the hallway light and back porch light are on. First I turn off the hallway light, then I head towards the kitchen since the back porch connects to it... 
So, as I turn into the kitchen on my way to the back porch, all I see is black and all I hear is the tarp slapping against everything. Not just the roof, but everywhere. It's so loud that it's damn near impossible that it could make such loud noise (especially without waking up the 8 other people in the house at the time). I couldn't hear anything else. It was actually ringing in my ears. 
So I started walking through the kitchen, then BAM! I bumped into something in the middle of the kitchen and as soon as I look up, I see something that's plastic. At this point I'm completely calm thinking that they must have purchased some kind of new appliance that has not been hooked up yet, even though I would have obviously noticed it during the party when everyone was awake. 
So, I touch it for a few seconds to get a feel of what I just ran into... As I look up, I notice that it's not an appliance at all. It's a human being. It's a person. He or she is wrapped in plastic in the middle of the kitchen.

 Image source.

Creep source.

Jan 29, 2013

REVIEW: THE MILLENNIUM BUG


The year was 1999. The Brooklyn Dodgers had just won their 17th pennant.  Dewey did NOT defeat Truman. World War II had just begun.

Just kidding, of course. The truth is, nothing happened in 1999 except the Y2K scare and the release of the feature film End of Days.

If you remember Y2K, you remember how stupid you felt the minute clocks struck midnight, welcoming the year 2000, and computers did not become self-aware and begin enslaving the human race. Either that, or they didn't shut down and wipe out our account balances and cease to remember how to function. I forget which was supposed to happen.

But the point is: all the people who had stock piled water, canned foods, batteries, flash lights, etc, felt really, really embarrassed. And they should have, because, seriously. If ever there were a more ridiculous fear campaign perpetrated by the media, I haven't heard of it.


Were there some folks who took it one step further and retreated into the middle of the woods, far from technology, just to play it safe? It's possible. In fact, more than possible, because I can say for certain that the Haskin family did just that. With their car packed to the brim with luggage, Christmas cookies, and good intentions, the Haskin family 2.0 - now featuring a new stepmother - have set off for their first New Year as a New Family. It is a quasi New Year celebration mixed with a honeymoon mixed with an escape of the alleged Y2K everyone's been talking about. It was supposed to be nothing but champagne, noisemakers, and stupid hats.

Until an inbred family of maniacs crash the party and kidnap the family. 

But wait! Seems there is a large mutant bug running around the woods as well!

But wait! Seems as if there is an archaeologist or a zoologist or some kind of ologist tracking the mutant and recording nearly every move!

But wait! Seems as if someone is giving birth to a mutant baby!

For having such a stupid concept, The Millennium Bug has a lot going on. We have the Haskin family venturing into the deep dark woods; we have a minute military presence wandering around those same woods; and we have a Texas Chain Saw Massacre-inspired family of inbreeds living in a cramped farmhouse in - you guessed it - the woods. It's natural that all of these subplots would soon meet as one, and the results are...odd. 


A large part of The Millennium Bug's marketing campaign has focused on the whole no CGI/practical effects only thing. Is that something to be proud of in 2013? Even with insanely low budgets, yes, it is. For far too long filmmakers have used CGI to tell their story - and I'm not even talking about low budget productions. So many of Hollywood's biggest films are nothing more than promo reels for the visual effects artists responsible for destroying the world, or resurrecting gigantic robots, or destroying the world by resurrecting gigantic robots. The magic is gone. Demands of "how did they do that?" have become irrelevant, as the answer is now boring, and one word: "computers."

That is where The Millennium Bug shines. It wears its humble influences lovingly on its latex-covered shoulder. Rubber heads, red-dyed corn syrup, camera tricks. The golden age of cinema - in both technique and concept - is temporarily back. But with it comes the unfortunate pratfalls that littered those "classics" as well, the biggest offender being the less than convincing acting. But this is throwback territory, after all.

At times it feels as if there is a bit too much going on. The Haskin family, the scientist, the weirdo inbred clan - though they all intermingle in a perfectly fine way, it still feels a bit too crowded. The scientist, for example, could easily have been lost and not affected much. He exists for no other reason than to provide exposition, which no one requires in a movie of this ilk, anyway.

The mutants of the '50s and the grime of the '70s are ever present. What we have here are two fairly straightforward and familiar horror tropes - the mutant in the woods, and the inbred crazy family - instead they've been joined together, and the events legitimately become unpredictable. Characters whom we're led to believe will be the hero...definitely aren't. Those we're sure will survive get bullets through the head, or hatchets to the chest.

We also get multi-nippled breasts, which no one ever expects. 

The actual in-camera effects are admittedly great. This deserves special attention, as this is definitely a low budget affair. The effects become less convincing when greenscreened in behind a fleeing character, but again, given its budget, it feels spiteful to point that out.

The best thing about The Millennium Bug is that it does not want you to take it seriously. A throwaway joke involving a man carving what looks like a penis until he turns it around to reveal it's some kind of holy relic pretty much solidifies that fact. It's there for no other reason than to make its audience laugh their best Beavis & Butthead laugh and say, "that's a wiener."

Will audiences be talking about The Millennium Bug in years to come? Probably not. But it certainly makes for some good present conversation, as there is currently nothing else like it.

Jan 28, 2013

CREEP

There have been sightings of the black car near a small town an hour drive to Ottawa, Ontario. We found out out the hard way.

The place is very eerie and quiet. Myself and 2 other friends were driving to Ottawa late night when we decided to stop by for some food and use the restrooms at a nearby small town. To reach the town, you had to drive through a section that had nothing but corn fields left and right.

While we were driving, headlights shone behind us. It was pretty bright. We decided to slow down and let it pass. My friend and I both looked out to see the car (1930s classic Ford). Inside were an elderly couple. As the car passed by us, behind the moonlight, the man looked directly at us: he had no jaw, just the upper jaw and the eyes did not twinkle in the moonlight, as if they were dead eyes, or a matte black. We slowed the fuck down to a crawl, freaked out by what we saw. The driver, being the ass that he is, decided it was a good idea to chase the car down.
He gunned it. We were doing 120kph on this narrow and bumpy road. The next exit was a turnpike a few KM away. There is absolutely NO WAY that car had the speed to match us. There were no houses, no exits, just corn fields. Where it went, we had no idea.

Creep.

Image.

Jan 27, 2013

DELETED ENDING

Screenplay for the deleted original ending of The Shining. When the film was first released, a hospital epilogue was located between the shot of Jack frozen in the snow and the long dolly shot through the lobby that ends on the July 4, 1921 framed photo.

Kubrick decided to remove the scene very shortly after the U.S. opening, dispatching assistants to excise the scene from the dozens of prints showing in Los Angeles and New York City. All known copies of the scene were reportedly destroyed, although it is rumored that one surviving copy may exist.


Stolen with love from The Overlook Hotel.

Jan 26, 2013

NO SHAME

This is too amazing.

From a review of The Asylum's Hansel & Gretel by Dread Central:
No doubt designed to capitalize on the big screen release of Hansel & Gretel: Witch Hunters, The Asylum’s Hansel & Gretel is a mockbuster in name only. A different beast altogether, a Texas Chainsaw fairy tale of sorts, in which two modern teenagers named Hansel and Gretel get trapped in cannibal witch Dee Wallace’s gingerbread house of horrors where innocent young people are turned into meat pies.

Hold on a sec!

Wait just a minute!

What’s that quote on the cover art?

I guess I don’t need to bother finishing this review since, according to the box art, I already did.

“PRETTY DAMN GOOD HORROR MOVIE” – DREADCENTRAL

I’m the only person on this website who has ever written about this film so I know it has to be my quote. In fact, here’s the quote:

"…it looks like it has the potential to be a pretty damn good horror movie judging by the preview."

That’s from a story I wrote about the Hansel & Gretel trailer back in October – not a review.

I guess that’s good enough.
That is a new low, The Asylum. I am in awe of how scummy a tactic that is.

Although it's still better than the unattributed, unquoted one-line praising statements that usually appear on your garbage,

Jan 24, 2013

HOLY SHIT

Parasitic Worm VIDEO Shows Huge Nematode Emerging From Dead Spider Host, Biologist Says 

When YouTube user Brent Askwith saw a freakishly large worm slither out of a spider he had just killed, he recorded the ghoulish event and appropriately named the video "WTF IS THIS?!?" 
"I was just editing my latest montage and this huge spider came out, so I sprayed it and killed it, then this fricken alien worm came out," Askwith wrote in the video's description. 
That "alien worm" is actually a parasitic nematode, also known as a roundworm. While the nematode in the YouTube video is larger than most, Harvard University entomologist Dr. Brian Farrell told The Huffington Post that every human is infested with thousands of tiny nematodes. 
"Most have no obvious effect on us, and we are mostly unaware of their presence," he wrote in an e-mail, "but a few are large enough to cause diseases such as trichinosis."


Source.

Jan 23, 2013

THE PANZRAM FILES


I have kind of a thing for Carl Panzram. I've covered him previously here, here, and here.

I've long thought and will continue to think he might be one of the most fascinating figures in the 20th century. (If you don't know the man, catch up.)

Which is why it is beyond awesome that San Diego State University, to whom former prison guard/Panzram confidant Henry Lesser donated all the original writings by Panzram himself, has digitized and made available for free download the entire hand-written manuscript that went on to become A Journal of Murder we all know and love today.

Panzram's words are still as powerful as ever, but to see them in his own hand is pretty remarkable. 

The page below will lead to so much more. Click if you dare.


Jan 22, 2013

MANIAC


I've been on the fence about this whole Alexandre Aja-produced remake of Maniac since it was announced. While I don't love the original, it was certainly brutal and daring, and Joe Spinell made a very complex and fucked-up villain.

Still, early word on the film has been great, so I'll reserve judgment until seeing it.

What I can say now, however, is the soundtrack by "Rob" is fucking fantastic. Fans of Carpenter's early 80s synth scores, as well as those by Goblin and Tangerine Dream, are in for a treat. I've been listening to this thing on repeat since nabbing it.

Jan 21, 2013

I'M A GOOD BROTHER

Disclaimer: This has nothing to do with horror films, horror literature, etc. But what happened to me last night is so patently ridiculous that it needs to be shared. I apologize for the non-theme content, but this needs to be exorcised from my person.

Here goes.

I'm a good brother.

And it had been a good day.

As you may have read in last night's post, I took a few hours off to head to the theater to see Arnold triumphantly return in The Last Stand. It had been a mighty good time; we laughed where appropriate, and on more than one occasion I blurted out some variation of a curse word in shocked surprise at the violence or brutality I saw unfolding on screen. It had been glorious.

I then returned home to the two dogs I told my vacationing brother I would watch for the week. One of them, Lucy, I've watched before, and she is an angel. The other is a new addition:

Roxxy. The devil.

She is the catalyst in the evening that went so extremely wrong.

The perpetrator.

At this point, Roxxy is eight months old, which means she is a gigantic ball of enthusiastic, uncontainable energy. And that's all well and good because puppies! I have never watched her before, but the good part of me agreed to take her in for the week; otherwise she would have been boarded, and considering she is a shelter dog, I would not hear of her being sent back to a similar environment for that length of time.

So this is what happens:

I return home. The dogs freak out in happiness because I'm awesome. I take out Roxxy first, since she flips out otherwise and slams against either door through which she is watching me walk Lucy. Roxxy takes a couple pees and a nice sized poo (much to my relief, because she'd already been with me over twenty four hours and hadn't yet done so). I  take Roxxy back inside and switch off the leashes so I can take Lucy out for her turn.

I should probably mention that I live in a townhouse complex, which means there are no fenced-in backyards - only very spacious common areas. This means all dogs must be on leashes at all times.

I should also mention I take them out through my back patio door.

Lastly, I should mention that my door has one of these locks:


Can you see where this is headed? If not, allow me to continue.

Roxxy, with her undying energy, propels herself against the patio door, paws outstretched, over and over. During one of those lunges, she brings her paw down over the latch, sliding it down into the locked position.

I'm now locked outside with a just-as-confused-as-me Rottweiler. It's 40 degrees and falling. It's about eight o'clock on a Saturday night. My cell phone sits on the coffee table in the living room, not five feet from where I stand...on the other side of the very locked door. 

I immediately start thinking of what I can do. I figure that maybe the lock isn't fully engaged, so I try rocking the door open, pressing up with my palms against the glass to raise the door off the track a bit.

It doesn't work.

I try repeatedly opening the door with great force, hoping to somehow break the mechanism (which, if successful, would have proved it to be the most insecure door in the history of doors). 

It doesn't work.

I try the front door. Locked up nice and tight, which is what I generally do after arriving home from anywhere. 

I try the small kitchen window right next to my front door. I tear the screen permanently and bend the corner nearly in half, finally ripping the entire screen free from the jamb.

For nothing, it turns out, as my windows are surprisingly secure from the outside. 

During this, Roxxy is on the other side of the window barking her head off, wanting to know why I am messing around when I should be inside entertaining her. 

I go to my neighbor's house - let's call him Carl. 

I explain the situation to Carl and ask to borrow a screwdriver, figuring I can jimmy the small separation that appears between my patio door and the jamb and try to work loose the lock. He lets me borrow a flat-head, and on my way back to the patio door I have a genius thought. As I look at the lock box on my front door knob (because my home is currently listed for sale) I realize that if I could just get the code from my realtor, I could unlock it and retrieve the spare key. I would have to call her cell phone - a number I don't have memorized (who would?) and, again, is stored in my cell sitting uselessly in my home. I realize the only way to retrieve this number is to get into my e-mail and find one of the many trails in which she and I had taken part to snag her number from her signature. 

I ask Carl if he has a computer. He doesn't. (Can't say I blame him.) 

Using Carl's kitchen phone, I call the only friend of mine whose phone number I have managed to memorize.

He doesn't answer.

I leave a message telling him it's me, acknowledging that he's probably not picking up because he doesn't recognize my neighbor's number, and tell him to call this number back as soon as he can.

Meanwhile, I go across the street to knock on another neighbor's door, whom I know has a computer.

No one answers. 

I go back across the street to Carl's. I use the phone to attempt to make up variations of what I believe my parents' house line to be. (My mother does not answer her cell phone, you see, because she keeps it in the car for some very inconvenient reason.) After a few wrong numbers (all of whom I was incredibly tempted to ask for help, anyway) I ditch that idea. I try locating the number through automated information instead. I'd've been better off trying to dissect a dead frog with a hammer. 

In the meantime, I look across the street to the neighbor's house I had just attempted and see that another of them has arrived home, confirmed by the newly-arrived car in front. I go back over there to knock again, hoping someone will actually answer this time.

No one does. 

I should note that all this time, Lucy is leashed to my arm. She has no idea what's going on, and she is freezing to death. There's nothing I can do with her. I have no backyard where I can stick her, and I can't even accept Carl's invitation to come inside his house where it's warm because I would have to leave the dog tied up outside somewhere, and that's something I just wasn't going to do. If suffering was to be had, we would do it together.

Carl gives me the cordless phone to let me make calls from outside. I try calling the only uncle whose number I remember in an effort to get my parents' house line. No one is home. I leave a voice mail along the same lines of the one I'd left for my buddy explaining I am next door and that's why they don't recognize the number and OMFG PLEASE CALL. 

As I make my way back across the street to the unanswering neighbor's house for one more attempt, Carl pops out of his house and says my buddy has returned my phone call. I run across the street and grab the phone. I've nearly interrupted his Spam-A-Lot (haha) so I kind of feel like a dick. I have him access my e-mail through his wife's phone to retrieve my realtor's cell phone number.

He does.

I thank him and hang up.

Someone walks by with their tiny dog and Lucy nearly tears my arm out of its socket. I tie the leash around a lamppost in front of my townhouse to give myself a break.

I call my realtor. Her voice mail confirms she is out of town for the weekend and not listening to messages or reading e-mails until Monday. I nearly cry. I leave a message anyway, explaining I've been locked out and need the lock box key. The tail end of her outgoing message had advised me, in the event of an emergency, to call the phone number she provided.

For the hell of it, I do.

I successfully reach a fax machine.

I hang up and retry my mother's cell phone.

No answer.

I call automated information to reach the local real estate office for whom my realtor works, hoping their recording would provide a different emergency hotline.

It doesn't.

I go back across the street yet again to the unanswering neighbor's house, and along the way, yet another neighbor - let's call her Elaine - pops out with her dog. She can clearly see I am distressed. She asks what's wrong and I explain the situation. (She can see that I have lashed Lucy's leash around the lamppost that sits in front of my townhouse.) She asks if there is anything she can do to help, and I ask if she has a computer.

She does.

I ask her if I can hop on it for two minutes to shoot an e-mail to my mother, father, and brother, hoping that at least one of them is in front of their computer (or smart phone) at that very moment.

She lets me in and I send this e-mail:
FOR THE LOVE OF GOD, SOMEONE CALL ME AT THIS NUMBER: 

[number removed] 

 It is the number for Carl and his wife next door, I am with them. CALL ME. 
Part of me considers adding that I'm fine and this should be considered only a semi-emergency, but then I remember the odd, odd fact that my mother leaves her cell phone in her car for no particular reason, so I send the message above as-is, deciding a little alarm on my parents' part is warranted, and it will give me some spiteful satisfaction.

I go back to Lucy, who is shaking from the cold. Though I keep telling Carl otherwise, I am beginning to freeze. I stand with her for a few minutes.

I go back inside Carl's house and he has his phone book waiting for me, open on a very specific page: locksmiths. I start flipping through, really regretting that this is what it's come to. 

As I do, he asks: "Why not just call the operator directly, give them your parents' city/state, and ask them for the house line?"

This was something I had briefly considered much earlier, but then quickly dismissed, as there was no way my parents had allowed themselves to be listed in any possible way. But, figuring I literally had nothing to lose, I call. A very impatient and rude operator asks for the city and state. I give it. I am transferred elsewhere, and the line rings for what feels like full minutes. Someone finally asks what listing. I tell her.

And just like that, she gives me the number.

I am beside myself, thinking I could have avoided a whole lot of damage, cold, and embarrassment, if I had just called the goddamn motherfucking operator. 

I finally get my mother on the phone. Through unrestrained fury, I explain that I've been literally locked out of my house by an eight-month-old puppy, and I need her to come with the spare and let me in. Naturally she agrees, but here's the rub: she lives an hour away, and it's getting so much colder. Lucy is cold to the point that she is crying. I give the phone back to Carl, explain that all is "well" - my mother is coming - so I am going to continuously walk the dog to keep us both warm.

And I do. I walk Lucy around my complex about three times before expanding our journey to a neighboring barracks-like 55+ community. We walk for a long time and we're successfully keeping the cold at bay. I also take this time to marvel at how many people still have up their Christmas decorations, and also how many people have dogs that look like baby sheep. Lucy stops and attempts to piss so much that after a while she's shooting out dust and rain checks labeled "urine."

After a while (I have no watch, so I can't say specifically how long), we head back to the house. We walk up to the back patio door to see if I can check on Roxxy. She trots over to the door and becomes insanely jealous that the walk I am giving Lucy is much longer than the one she got. She begins barking and jumping up against the door again, as if recreating the event that has led to this disaster. If I could have somehow breached that glass and punched her in the face, I would have.

I sit there against the patio door for about ten minutes and watch an audioless portion of This Means War, with Chris Pine and Reese Witherspoon. Even without audio I can somehow tell it's terrible. 

At this point Lucy is so cold that I am concerned. I sit down next to her and start rubbing her chest, sides, and stomach, trying to generate some heat. It seems to be working, as she sits perfectly still and lets me, for once not being incredibly distracted by all the outdoor smells surrounding her. 

I bring her to the front of our townhouse row and start walking her back and forth to keep our blood pumping. At one point a cop drives by, and I secretly hope he'll think I look suspicious and pull over to talk to me, because this story of mine is so fucking unbelievable that I feel the need to tell someone. He passes right by, not even slowing down. Why would he? Not many robbers take their dogs on a job. 

Finally, I see the headlights of my mother's car as she makes the turn into the complex. She sees me and flicks her high beams to let me know salvation has arrived.

She unlocks the front door. I push Lucy inside, Roxxy away from us, and shut the door again. I immediately hug my mother and apologize for having flipped out on the phone. She's a mother, so she's just glad I'm okay.

My body is somehow freezing and on fire at the same time. My head is killing me, the need to...er...evacuate is overwhelming, and I am starving.

We go in, share a cup of coffee, and discuss Ben Affleck's suspicious snub at the Oscars.

I ask her if she, during the drive, listened to the very angry voice mail I left her, in which I derided her for leaving her cell phone in the car.

She says no.

I tell her to erase it without listening to it.

She laughs and agrees, and leaves soon after.

I eat, I take head pills, and I settle onto the couch. Finally, my tumultuous night has come to a close. I can finally enjoy some semblance of a relaxing, trauma-free night.

Then Roxxy shits on the living room floor, right in front of me.

I had no choice. I killed her, right then and there, on the spot. Here is her body:


(Just kidding.)

But seriously, I'm the best fucking brother who has ever lived.