Author: unkle lancifer

The 1973 U.K. public information film entitled "Lonely Water" should be of particular interest to horror fans. First of all, it's scary as hell and features a robed figure that introduces himself as, "The spirit of dark and lonely water." The spirit then explains how he spends his day drowning any child he can get his hands on. It's all filmed as starkly and as coldly as possible, and the spirit's voice is haunting and familiar. That's because it is delivered by a pre-HALLOWEEN DONALD PLEASANCE. I don't have to tell you that Mr. P. has a way with a line that can turn a mere whisper into a spine chilling epitaph that you can't shake. His promise of, "I'll be back!" has effectively scared a generation. Check out this classic traumatizer below and then reward yourself for your bravery with its more modern drum and bass incarnation.

Which is not to say that its wild, melodramatic strokes are not laughable at times. (Writer TOMMY LEE WALLACE also penned the borderline campy HALLOWEEN 3 and FAR FROM HOME). Still, all of the actors assembled do an above average job even as the film's humorlessness reaches unintentionally hilarious boiling points. Although based on very real incidents, AMITYVILLE 2 draws outside the lines frequently and proudly and its presentation of believable police procedure is virtually nonexistent. That said, as a tale of horror, unlike most American productions, it has a single mindedness that is potent and persuasive.

Whereas the ultimate possession film THE EXORCIST mined adolescent female sexuality for its mettle, AMITYVILLE 2 takes on that of the poised-toward-adulthood male. Sonny Montelli (JACK MAGNER), who is destined to destroy his entire family with a shotgun, ostensibly succumbs to the demons that reside within this legendary address. The truth is, as supernatural and Satanic as the Amityville presence may be, with the Montelli family half of the work is already done upon their arrival; the ingredients are all there, just add holy water.

The preexisting demons in Sonny's life are the anguish of being in the limbo between child and adult, and the guilt and fear associated with his sexual feelings, particularly those toward his adoring sister Patricia (DIANE FRANKLIN). Framed within the family's constant tug of war between passive faith and aggressive control, as represented by bickering parents RUTANYA ALDA and BURT YOUNG, Sonny's slide into madness is a short trip. Notably much of Sonny's early "demonic" behavior coincides with his standing up to his bullish and physically abusive father. Even the comparatively innocent youngest siblings seem marked for darkness, little sister Jan's (ERIKA KATZ) idea of a lark is pretending to suffocate little brother Mark (BRENT KATZ) with a plastic bag!

The fact that Sonny and his sister actually do eventually commit incest adds yet another layer of creepiness. Patricia's shame attracts the attention of a priest when she admits to the incident during confession. She leaves out the fact that the act involved her brother, but reveals that the inspiration for it was Sonny's attempt to, "hurt God." Father Adamsky's (JAMES OLSEN) subsequent impotency in aiding the Montellis, particularly Patricia, adds to the persistent cloud of hopelessness that lingers throughout. Adamsky's guilt is tangible. A phone call from Patricia begging for aid just before her death is put on hold in favor of a ski outing with a close male friend.

Released in 1982, AMITYVILLE 2 fits in snugly with other body horror films popular at the time. When Sonny is ultimately taken over by the evil, it is staged as a P.O.V. rape with the camera lens standing in as predator. His later inability to control what is within is shown by bubbling and retracting skin and veins. At one point he seems about to sprout a secondary head. The voice that taunts and tempts him to demolish his family, to "Kill the pigs!," once consigned to his Walkman earphones is now residing inside his skull.

Even non-fans of this movie have to admit that the staging of the brutal slayings is effectively upsetting. Imagine a home invasion scenario where the perpetrator is hidden within someone who sleeps under your roof. Italian director DAMIANO DAMIANI uses just about every camera trick conceivable to kick the legs out from under the audience, and the use of color and especially shadow is exquisite.

Even as the frustratingly feeble Patricia, DIANE FRANKLIN is virtually impossible not to have sympathy for, and her final moments, when face to face with the now monstrous Sonny, are painful and even a bit heartbreaking. As much as I appreciate the film as a whole, I have to admit that a lot of what makes it so compelling departs with FRANKLIN.

AMITYVILLE 2's finale does closely follow the lead of THE EXORCIST, but due to its earlier originality, I think it is nit-picky to fault it for eventually playing this card. The final confrontation between Sonny and Father Adamsky is, if not entirely original, at least garnished with some pretty impressive transformation effects. Thankfully, we are also granted one last moment with FRANKLIN, as the demon in temptress form, as she accuses Adamsky of his own repressed lust. (Apparently the producers pushed this more standard ending and another one was intended involving the lost souls within the house making an extended appearance. Stills do exist of this alternate take and are available on the U.K. special edition DVD).

A film like AMITYVILLE 2: THE POSSESSION has its work cut out for it as far as being viewed impartially. It's a sequel, a prequel, and a bastardization of actual events. Its subject matter is unpleasant and its tone is repellent and grim. If AMITYVILLE 2 came up to your home unannounced and rang your doorbell, I wouldn't blame you for turning off your lights and hiding behind the couch.

As for me, I have to give props to a movie that avoids heroics and false sentiment and dives head first into the pit. Where other possession films are more likely to showcase pure, innocent victims that require heavy pushing into the dark-side, AMITYVILLE 2 suggests the more frightening concept that some people just need a little nudge.

NOTE: You can watch AMITYVILLE 2: THE POSSESSION for free HERE

The very first film I can recall seeing in an actual movie theater was GODZILLA VS THE SMOG MONSTER. I can't claim to have ever become a huge die hard Godzilla buff, but my love of this particular adventure of this continues to this day. Growing up, Godzilla was a Saturday afternoon staple in my home, yet although I readily admit to having a certain fondness for the tiny fairies that summoned sometime collaborator, sometime foe MOTHRA, most of his movies seem to blur together in my mind. Not so with SMOG MONSTER, a.k.a. GODZILLA VS HEDORA, a movie that stands out like a pulsating purple sore thumb. In fact, Godzilla producer TOMOYUKI TANAKA was so flabbergasted by the film that he disowned it and even claimed that it ruined the franchise.

One might assume that my affection for SMOG is based simply on blind nostalgia or a need to be contrary since it's widely perceived to be the King of Monster's red-headed step child. The truth is, it's just a great movie. Filled with gloriously grim imagery, crazy psychedelic tuneage and bizarre animated inserts, SMOG holds up better than should be expected, and its environmental message is, of course, even more timely today.

As a monster, HEDORA/SMOG is quite a specimen. The creature, speculated to have come from space via meteor, begins life as a crazy tadpole that consumes water pollution and grows to an enormous size. Soon it's large enough to knock over oil tankers and eventually take to land. Once land mobile, it jumps at the chance to take long bong hits from toxic smoke stacks that empower it even further. Eventually the slimy glutton is capable of flight and shooting mud pies from his grey, goopy torso.

The aerial attack scenes are what struck me the most as a child. Shaped like a giant horseshoe crab HEDORA is shown flying over schools while children below in the playground drop like flies. Many of the monsters victims are memorably left as mere skeletons after exposure. The most disturbing image perhaps is shown during a television news broadcast of an infant crying, neck deep in sewage and mud. (O.K, I'm lying here, The most disturbing image SHOULD be the one of the infant drowning in filth but for me it's actually the image of a poor confused Alley cat covered in mud howling at the camera!…What's wrong with me?)

I guess there may be something undeniably silly about a film that climaxes with two men in rubber suits wrestling on a miniature train set, but the eco-disaster that frames the action is notably ahead of its time. Long time GODZILLA fans may call foul when it's revealed that the big guy has been keeping them in the dark about his ability to fly over the years (he propels himself with his atomic breath), but I get a kick out of this reveal every time. Regardless of its initial reception, nobody could argue that the film's heart is in the right place. For me, the one two punch of dismal disaster and goofy broad slapstick is pretty irresistible.

As much as I love HEDORA/THE SMOG MONSTER in all of his guises, and as much as I am still riveted by a scene in which a character inexplicably hallucinates that everyone in a disco has turned into fish-faced ghouls, my favorite thing about this movie is its marvelous opening song. Taking a cue from JAMES BOND, a beautiful woman is shown singing before a screen of pulsating hues as clips of pollution and decay flash by. The song, "Save the Earth" (in the American version) is just about the greatest thing ever, and it's sure to be running around in your brain for days after you hear it.

If I could go back in time and pick what movie should be the first that I ever saw in a movie theater, I don't think I could do much better than this one. Balk if you like, but GODZILLA VS THE SMOG MONSTER is a trippy, gonzo free-for-all that had me instantly falling head over heels in love with the film going experience.