Month: February 2008

A desperate woman slowly loosing her grip on reality; is she being haunted or is she just plain nutzo? A young boy seemingly possessed by a deceased adult male; is he a monster or a victim? You've seen these screws turned before no doubt, but here the guy manning the screwdriver is Italian film legend MARIO BAVA and the results may surprise you. SHOCK, released in America as BEYOND THE DOOR 2 has little to do with its EXORCIST cash-in predecessor BEYOND THE DOOR, save for the presence of child actor DAVID COLIN JR. This is BAVA's last film and some of it was helmed by his son/protégé, the also very talented LAMBERTO BAVA. Two BAVAs for the price of one? Count me in! Unlike the Big B's best work, you're unlikely to find yourself salivating over every scene, but that's as it should be as the story really doesn't call for it. There's a natural everyday vibe here not usually associated with the director. No worries, though. When the gloves come off, we are treated to nearly every camera trick in the book, and though some may find their patience tested during the slow build up, few will be dissatisfied by film's conclusion. One scene in particular is a visual doozy and is a testament to what can be achieved without optical effects when real creativity is involved. DARIA NICOLODI, frequent collaborator with DARIO ARGENTO (one such collaboration was named ASIA), is a joy to watch sliding down the slippery slope to cuckoo town. The insular, claustrophobic, constant grinding of her psyche brings POLANSKI's REPULSION to mind. Her bizarre, sometimes apparently incestuously-inclined offspring fares equally well. COLIN JR.'s lack of acting chops is easily compensated for by the fact that he's just one of the freakiest looking kids ever. If his jack-o'-lantern old man mug and MARJOE GORTNER locks don't get under your skin, then it's gotta be cuz you're all crazy looking yourself. SHOCK is a great farewell card from a true artist. It may not burst with the power of some of his earlier work, but its stealthy psychological approach sets it apart from the pack.

• The soundtrack by GOBLIN-infected rock band LIBRA is a rocking jack-in-a-box
• Razor blade in a piano keyboard!
• Window replaced by brick wall followed by floating box-cutter
• Voodoo swing set threatens to down an airplane
• Yikes! Haunted Slinky®!

 

If you're going to do a remake of a sci-fi/horror classic you couldn't find a better man for the job than JOHN CARPENTER. CARPENTER's THE THING is arguably the best remake of all time and the go to answer when questioning whether "reimaginings" should even exists. But let's face it, even God himself has his off days and although J.C.'s VILLAGE OF THE DAMNED has a few good moments, it's certainly a far cry from the master's best work. The set up works great and fans will immediately recognize and feel at home with the same gorgeous coastal surroundings he took advantage of in THE FOG. As in that film, we are introduced to a large group of interlapping characters that are about to be confronted with an outside force whose intentions are at first shrouded in mystery. Much like his approach to THE THING, Carpenter returns to the original story the film was based on (in this case, JOHN WYNDHAM's THE MIDWICH CUCKOOS) for inspiration whenever he can. A priest character deemed too sacrilegious to appear in the 1960 telling is finally represented here. He even makes attempts to conquer the first film's major criticism of shirking the female perspective on events all to no avail. Sadly, as soon as the first badly wigged baby appears, all these good intentions go up in smoke. This film hinges on the creep factor provided by the children, but rather than deliver chills these kids deliver guffaws. It's not simply because the iconic white hair does not translate well to color film, it becomes exceedingly clear that without the commanding power of a child actor like the original's MARTIN STEPHENS the whole house of cards crumbles. It doesn't help that the film jumps about franticly, never allowing the more interesting elements to congeal and instead routinely lingers on the inconsequential, or that the adult cast with the possible exception of the suspiciously BARBEAU-esgue MERIDITH SALINGER fade into the woodwork. There are still plenty of CARPENTER hallmarks about to keep you from completely losing interest, from his usual full use of the widescreen to the out of date yet still effective musical cues. If this was any other director, I would probably devour this movie's constant camp insanity but considering the potential of the material and the genius behind the wheel, this interesting failure's dull glow truly disappoints. 

• STREETS OF FIRE fans beware MICHAEL PARE's screen time here is shorter than a FIRE INC. song!
• Man falls asleep on open grill
• CHRISTOPER REEVE (in his last role before his accident) and David (THOMAS DEKKER) chat in the cemetery under rolling clouds. Where's the rest of THIS movie?
• Jedi mind tricks force MARK HAMILL to blow his brains out!
• Rather than drive into a brick wall as in the original, hapless PETER JASON hits a poorly placed fuel tank DUKES OF HAZZARD style!