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Hello there all my good and happy Minions. I trust you’ve all been plotting some mischief lately. Good. Well, when it comes to movies, I’m not always first to the party. My cinematic jaunts are generally reserved for superheroes and my Netflix is so jammed up with kid stuff we had to create a separate profile to search for anything else.
Recently I was stricken by plague and had an afternoon to catch up on some god old scary movies. One of them was Tucker and Dale Versus Evil. Continue reading
When I was a kid my little sister watched Sleeping Beauty on infinite repeat. She had a way of getting hooked on a movie and just running it over and over until you were sure the tape would wear out. Because of this, I am very familiar with the story and to be honest, Maleficent has always been one of my favorite Disney villains. I had heard that they made her the good guy somehow in the new live-action movie and I have to say I was a bit grumpy going in to it. I don’t like it when they do the “untold story” on established characters or change them to fit some new role. That’s just not cool.
However, I was pleasantly surprised with this one. In this film, she starts out good but is horribly and violently betrayed and disfigured by her supposed ‘true love.’ When she goes dark afterward, you really feel for her. They did make a few changes to the Sleeping Beauty story that’s going to leave a lot of kids confused when the animated film’s Blu-Ray gets released later this year. And thought I dislike changes like this, they weren’t too bad except for the fact that Aurora is only asleep for about half an hour. Nobody even knew she was asleep at all and her nap was certainly not long enough to become the ‘legendary’ Sleeping Beauty. That’s a head-scratcher.
I’ve always liked Angelina Jolie, though I can’t say I’ve liked very many of her movies. She’s a really good actress who chooses bad movies to be in. Maleficent, however, seems like the role she was born to play. I was thoroughly entertained from start to finish.
Quick disclaimer though for those of you with young ones. Despite being rated PG, Maleficent is pretty dark and scary at times. I would definitely be careful unless you want lots of nightmares. This one has them.
Hello there Minions, I hope all is well. I wanted to drop in tonight and let you know that I somehow managed to see X-Men over the weekend and it was pretty spectacular. I’ve discussed before how it’s a bit difficult to be a horror fan with a Bride and two offspring who cannot be exposed to it lest they tremble and weep. X-Men is not a horror movie, but it is full of costumes and neat stuff you could dress up for for Halloween, so it counts. Continue reading
Good evening Minions, I hope you are well. Tonight we discuss the films VHS and VHS 2. I know they’ve been out for a while but I’ve only just gotten around to seeing the second one and when I saw the first one, reviews for the second one were flying around because it had just come out. So, taken together, I’ll give my impression of these two films at the same time. Continue reading
“A more exact translation would be terror. An unfortunate misnomer, for I am the mildest of men.”
– Dr. Schreck
Only fans of Horror Cinema might know Amicus Productions. Founded by Milton Subotsky and Max Rosenberg, their first two films were “It’s Trad, Dad!” (1962) and “Just for Fun (1963), both musicals. These two weren’t the flicks that this film production company would be renowned for. I was referring to their horror anthologies.
In 1945, Ealing Studios released “Dead of Night”, starring Mervyn Johns and Michael Redgrave. Walter Craig (Johns) came to a country house party, where he had been tranced. It was the assembled guests, whom he had seen in his dream. This prompted five of the guests to talk about supernatural events that they experienced, attempting to test Craig’s foresight. This flick, directed by Cavalcanti, Charles Crichton, Basil Dearden, and Robert Hamer, featured five different stories, linked by Craig’s dream. Horror films were banned in Great Britain during World War II, but these four filmmakers relied on uncanny scenarios. This would inspired Amicus to produce their own kind of horror anthology, only to refine what Ealing did.
In 1965, “Dr. Terror’s House of Horrors”, which would be the first of the series, was shown. It featured Christopher Lee and Peter Cushing, who became famous for playing Count Dracula and Professor Van Helsing respectively. Unlike the horror flicks of Hammer Film Productions, these flicks don’t rely on Gothic-inspired production design to elicit fear.
“Dr. Terror’s House of Horrors” would mislead some moviegoers, as this was Dr. Schreck’s term for his tarot cards. He looked like the Grim Reaper upon his arrival in the train station, which his fellow rail passengers didn’t notice. They were Jim Dawson, an architect, Bill Rogers, who came from a holiday, Biff Bailey, jazz musician, Franklyn Marsh, art critic, and Bob Carroll, doctor. These fellows were curious about the cards, prompting Dr. Schreck to tell about their future – and told their stories, accurately,
based from the cards they chose.
Jim visited his former home in an unnamed Scottish isle, unaware of a secret lying underneath the house. Bill, on the other hand, find it hard to leave his house, covered by vine, which had homicidal tendencies. Biff had a gig in the West Indies, where he witnessed a local voodoo ceremony. The music inspired him, such that he copied the melody in a jazz composition he created after his return home. Franklyn’s devastating wit made him a main attraction in art galleries, until he met his match. Last but not the least, Dr. Bob Carroll returned to America with his new French bride. It must have been a whirlwind romance, as he don’t have a clue on where she came from.
Subotsky’s screenplay was no different than Hammer’s feature on vampire (or werewolf, for that matter.) A discerning viewer would overlook Alan Hume’s cinematography, which had a spellbinding effect. It made me believed that something sinister was about to take place. Cushing, in the titular role, looked like a villain from a Grimms’ fairy tale. He was sweet yet dangerous, perfect for the part.
My favourite segment was “The Disembodied Hand”, about that body part that came to life, seeking revenge for a wrongdoing. It seemed absurd whenever I thought long and hard about it, until it dawned on me that this what made Horror Cinema tick. This could be said for the other segments, as well for the succeeding flicks in the series, namely “Torture Garden” (1967), “The House That Dripped Blood” (1970), “Asylum” (1972), “Tales from the
Crypt” (1972), “The Vault of Horror” (1973), “From Beyond the Grave” (1974), and “The Monster Club” (1980). (“Tales That Witness Madness” and “The Uncanny” were part of the anthology, but both were not by Amicus.)
“Dr. Terror’s House of Terror” could have been made ambiguous, like Jack Clayton’s “The Innocents”, the result of which would have been a haunting picture. But the unsettling setting and Lee and Cushing made it up. In other words, it was frightening enough to scare anyone.
Simon Huddart studied Film and Literature, had a stint in a UK essay writing company, and did some freelance jobs in writing and proofreading. He would like to pursue a graduate degree next year. Check out his blog and Google+ account.
Today I’m talking about The Conjuring with Victoria from Autodidact in the Attic. I really liked it. Victoria said, “Meh.”
In the first of what I hope will be many point/counterpoint reviews, we’re going to see who’s right. I’ll go first:
For my reviews, I typically don’t care about the writer or director or the pedigree of the film. I don’t really even care about the actors. For me there’s one question above all others: Is it scary?
Scary doesn’t need to be qualified, either. Scary is scary. Therefore, it’s all subjective. What scares me might not scare you. What’s generally the case, however, is that what scares everybody else does not scare me.
So, why was The Conjuring so scary?