Category: General Horror

Believe it or not, READY OR NOT is about as satisfying as thrillers get. It's all kinds of suspenseful, hits you with tasty blasts of true horror and the pitch-black humor that weaves throughout is exactly the right effortless tone that never ventures into the too broad and annoying zone. The unremarkable trailer misled me to believe I was in for the standard, been-there, done-that affair but R.O.N. cleverly plays against genre expectations, guides you into areas you'd never assume existed and ultimately pulls off a completely unexpected (literally) explosive conclusion. It's kind of an irresistible combination of old school parlor room mind game mixed up with survival horror and smothered in satanic cynicism. Plus it all takes place in a sprawling mansion complete with secret doors, dumbwaiters and shadowy alcoves so even on the most basic level, it offers a cozy joint to wander around in for a while. Maybe I'm partial as I'm a giant fan of the board game CLUE which I have to assume was an inspiration even though nobody gets clobbered with a candlestick.

SAMARA WEAVING (THE BABYSITTER) portrays Grace, a woman about to dive into marriage who finds herself intimidated and weary of her fiancé's aggressively off-putting and obnoxiously wealthy family. Soon after vows are exchanged her milquetoast hubby informs her that the clan has but one request and that is for her to indulge them in the family's ritual of playing a picked at random game together. It might be checkers, it might be chess, it could be Ker-plunk or Don't Break the Ice but as luck would have it, Grace picks "Hide and Seek" which amounts to her running for her life as everyone involved tries to kill her. As you can probably guess, Grace is a far greater opponent than anyone in the family is prepared for and soon it's not quite clear exactly who might survive the night. As someone who finds themselves filled with a crimson rage every time they see a photo of a rich douchebag posing with an innocent dead animal they hunted for sport (steam is coming out of my ears as I type this), I deeply and cathartically relish every damn painful comeuppance Grace inflicts throughout this fine film. It's the feel-good movie of the summer.   

WEAVING owns this movie (although I gotta give props to ANDIE MACDOWELL as the menacing matriarch as well). Grace is such an appealing and relatable horror heroine. She bumbles and fumbles and makes bad judgment calls and succumbs to her own vices and is, in general, a beautifully flawed, exquisite mess. She doesn't secretly know karate or build elaborate Rube Goldberg booby traps on the fly either. What makes Grace even more relevant is her well-earned ferocious anger. It's glorious. At some point, she's just plain exhausted and royally pissed and so rightfully incredulous as she asks the sky, "What the fuck is wrong with rich people?" There's something so authentic about the fury that WEAVING emboldens Grace with, her every scream, curse and frazzled wail rings true and feels legit. As the character enjoys a congratulatory exhale from a cigarette at the end of the film (which strongly echoes Veronica (WINONA RYDER)'s casual smoke at the end of HEATHERS) it's almost difficult to believe she is the same character we started out with. The emotional journey she endures (through optimism, doubt, passivity, paranoia, anger, rage, profound exasperation and finally shrugging blasé victory) is one harrowing yet richly rewarding (and sometimes hilarious) haul.

If you're feeling spiritually under the weather or generally hopeless about human existence don't make the mistake of watching 1978's THE BERMUDA TRIANGLE (currently FREE on TubiTV). You may think that its sloppy ineptness, super lame dubbing and terrible acting will bring you laughter and joy (and maybe it will for a while) but eventually you'll realize that this is a bad mojo movie and it'll be too late to turn it off and you'll be trapped into riding it out to its disheartening conclusion. Maybe I just have to finally realize that ALL Bermuda Triangle movies are cursed in some way and I should have learned this when, as a child, the made-for-TV movie SATAN'S TRIANGLE ran away with my sanity and soul. I guess all Bermuda Triangle flicks lure you in with the promise of fantastic answers to the mysteries of life only to dump a cold bucket of dejection and futility upon your innocent, baffled head. RENE CARDONA JR.'s take on the legendary enigmatic location dares to place the brunt of the blame on a malignant doll that demands to eat raw meat and impolitely reveals to stressed-out people how and when they are going to die and by rights, it should be hilarious. But no, instead it's as depressing as a funeral dirge. Everybody puts up a good fight only to suffer helplessly and be lost to infinite time-mocking insanity and ricocheted transmissions of their own pathetic cries for help.

Your head is sure to ache aboard the boat BLACK WHALE III as you try to decipher the relationships between all aboard. JOHN HUSTON is apparently the father and not the grandfather of the Marvin clan who are searching for the lost city of Atlantis but stumble upon the infernal triangle instead. I can't tell who is a mom and who is a daughter but there is a hell of a lot of drinking and bickering going on. Early on, a horrifying doll with a face only slightly younger than HUSTON's is retrieved from the water and given to the youngest daughter and I'm guessing it's definitely connected to the pissed off, old-timey kid who was lost at sea in the epilogue. I should be rooting for this kid and this raggedy doll to team up and kill everybody but when they show the doll's face in close-up, they switch it to a real live child with dark circles under her eyes who looks miserable as hell and is (shoddy as it may be presented) genuinely disturbing to behold. There's a black cook that the two immediately set their sights on because he knows off the bat that the two are of the devil and I don't appreciate the racist way his voice is dubbed and how his being smart enough to know that evil is afoot is presented as comedy relief.

Everybody goes scuba diving and there's some beautiful underwater photography and just as I was beginning to enjoy things, they obviously really kill two sharks that were only minding their own business. That's not cool (what did I expect from the director of NIGHT OF 1,000 CATS?) I don't see how this movie is worth the life of one shark, let alone two. Some giant pillars representing Atlantis (I think) begin to (endlessly) topple thanks to an undersea earthquake and crushes one of the daughters underneath. They're able to get her back on the boat but her legs are royally mangled and they don't get better and she mostly just wilts on a bed for the remainder of the movie while a drunken doctor wrestles with the benefits of amputation. From here things just get worse and worse as terrible storms pound away, people fall overboard, get chopped up in the propeller, randomly disappear or just fall down on shards of glass and die. All attempts to escape are absolute failures and it's all ultimately profoundly frustrating. There's one last moment of hope when some guys on the mainland finally receive their distress signal (spoiler alert) but that is crushed too when the person who receives the message explains that the BLACK WHALE III and the entire Marvin family were lost at sea ten years ago!!! Do you know who survives this nightmare? The doll. It's sad, really. I almost like this movie for its relentlessly gloomy vibe. Almost.

A bunch of years ago HarperCollins got the not so bright idea to release an updated version of Alvin Schwartz's classic SCARY STORIES TO TELL IN THE DARK, replacing Stephen Gammell's haunting illustrations with less disturbing imagery. To say it didn't go over too well with fans of the book is putting it lightly. In some ways, the new movie based on the books can almost be taken as a vehement apology that anyone anywhere might underestimate the value of Gammell's spooky work. Director Andre Ovredal and producer Guillermo del Toro wisely decide to employ Gammell's unforgettable images as the main inspiration and they are lovingly recreated down to the last detail. In fact, it could be said that the powerful images outweigh the stories themselves at times but what SCARY STORIES may be missing in the characterization department it makes up for in sheer autumnal atmosphere. It seems any space left between Schwartz's tales and Gammell's art are plastered in by honoring the works of Ray Bradbury (THE HALLOWEEN TREE, SOMETHING WICKED THIS WAY COMES). You can almost smell the burning leaves on a cooler breeze and that's just what the doctor ordered in the dog days of summer.

SSTTITD invites us to the small town of Mill Valley circa 1968 and introduces us to Stella, Auggie and Chuck (ZOE MARGARET COLLETTI, GABRIEL RUSH and AUSTIN ZAJUR), a trio of believably nerdy misfits trying to avoid being beaten up by the local bullies. The outcasts seek refuge at the drive-in and befriend a runaway named Ramon (Michael Garza). Since it's Halloween night the group dares themselves to push for more thrills by entering a nearby notorious haunted house. It's there that they discover a book that appears to write itself and they quickly discover that the terrors it's presenting are not content to stay on the page. Like ANNABELLE COMES HOME from earlier this summer, this movie's not settling for a single boogey man and presents a swarm of threats instead, each one more freaky morbid than the last. You really get some bang for your buck with possessed scarecrows, corpses lamenting lost appendages, smiling zaftig demons and most impressively, someone called "The Jangly Man" who is basically a living dead contortionist. They're all sufficiently grotesque but fall closer to eerie than nauseating.

Warm and fuzzy nostalgia abounds but admirably this is not a movie that is afraid to show the darker underbelly of small town American life. Ramon faces multiple instances of ugly racism and we come to find that the catalyst behind the supernatural mayhem is an outspoken woman betrayed and silenced by her family for speaking out against corruption.

If I have any complaints it's that things move along at too fast a clip and we're never really allowed to learn too much about the character's home life or everyday interactions. We tend to lose some sense of mystery as the trio catches on to what's happening without a moment of logical skepticism. On the other hand, I have a feeling the pacing issue will only pose a problem for oldsters like me raised on seventies films and that the frenzied speed may be just fine for the central audience this PG-rated flick is courting. I should say too that the fate of one of the characters left a bad taste in my mouth but it's kind of hard not to give this good-natured flick the benefit of the doubt. All in all, it's a pretty neat trick to find a way to fuse a bunch of slight stories into a cohesive ode to everybody's favorite season. If nothing else, SCARY STORIES stands as a harbinger that summer is nearly done and Halloween is right around the corner– that's a message I'm not going to complain about.

I finally caught up with 1987's RETRIBUTION after years of several folks urging me to check it out (thanks to Ghastly1 and Eric's IAHTKY). Sadly, I was all set to give you guys a heads up that it was streaming for free on TubiTv but when I went back there recently to grab some screenshots, I found that it had up and disappeared without so much as saying goodbye! Drats and double drats! Oh well, I'm sure it will appear again soon on some streaming service or maybe you can track it down on its expensive, out of print DVD. It's really worth your attention and I'm officially joining the chorus of those who believe it is a highly underrated, idiosyncratic gem that should have earned much more praise and notoriety by now. This is one colorful, eye-popping film that bursts with fluorescent hues and eighties flavored exuberance. It's all around visually appealing, juxtaposing glowing neon candy colors right next to the inkiest of blacks. The movie is much more than a treat for the eyes though, your ears are bound to be equally satisfied as the score is by frequent CARPENTER cohort ALAN HOWARTH (HALLOWEEN 2 and 3, ESCAPE FROM NEW YORK, et al.) and it's one pounding electronic doozey.

I wrongly assumed in my head that because RETRIBUTION is a card-carrying possession film that it would be super religious and take place in a bunch of dusty, boring old churches. Instead, it's one of those wonderfully gritty L.A. movies with lots of punky new wave hookers leaning into cars. In fact, there's exactly zero religion in this possession film and I find that to be a sweet relief. Instead, it's more of a horror character study about a lonely oddball who very nearly finds fulfillment only to have it snatched away tragically (see THE ATTIC, FADE TO BLACK, WILLARD) and it's even got a heart-warming love story between a rather mismatched pair that you can't help routing for. Another selling point is that the action starts off on Halloween night and obviously the world can never have enough horror movies that take place on October 31^st. The opening scene involving clusters of costumed monsters witnessing a tragic event had me pretty much sold at the get-go.

Fascinatingly fastidious DENNIS LIPSCOMB (EYES OF FIRE) stars as George Miller, a failed artist who decides to kill himself only to survive the fall and have his body go all FREAKY FRIDAY with a mobster who died at the same moment who happens to have a long list of enemies he'd like to eradicate. And eradicate them he does thanks to his newfound unexplained telekinetic powers that deliver sadistic set-piece takedowns that are as cathartic for the viewer as they are to him. LIPSCOMB can go a little overboard at times when he's sniveling to his over-her-head psychiatrist (LESLIE WING) but it's a highly memorable and fully earnest performance nonetheless. Equally compelling is the endearing SUZANNE SNYDER of RETURN OF THE LIVING DEAD and KILLER KLOWNS FROM OUTER SPACE fame as yet another underage prostitute with a heart of gold named Angel. This is one of those movies that I almost want to jump inside and permanently live in regardless of the horrible events it depicts. If you like quirky eighties horror and are looking for something truly unique, something that balances gore and characterization by delivering heaping double doses of both, don't dilly-dally like I did, RETRIBUTION is a dish best served ASAP.

I just had to rent LEPRECHAUN RETURNS from my local Redbox. The pull was irresistible. This is just who I am. I can't say no to a straight-to-video horror sequel no matter how unpromising it may look. I will watch any HOWLING, CHILDREN OF THE CORN or HELLRAISER that is thrown at me. I've also got a massive soft spot for irreverent cartoon villain horror flicks and feel a profound sadness that RUMPLESTILTSKIN, PINOCCHIO'S REVENGE and DOLLY DEAREST are one-offs. It's in my video store blood. Something in my heart assures me that even if the movie is bad if I drink enough beer while watching it, I will feel one hundred percent safe from the horrors of the world. I know what I'm doing. I even told myself that if LEPRECHAUN RETURNS was horrible that I was not allowed to grumble while making the long walk back to the grocery store in the summer heat to return it because what the hell did I expect? Of course, it wasn't going to be good. The reality is the idea of renting a LEPRECHAUN movie has always been a lot more fun than the actual watching of a LEPRECHAUN movie (except maybe Part 4 IN SPACE which is pretty darn hilarious). My expectations were low. All I wanted was a time killer and maybe the nostalgic rush of feeling like I was renting from a mom and pop video store circa 1996-ish. Here's the twist…I kind of loved it. In fact, I think it's the LEPRECHAUN sequel I've always wanted. It's the best since the first (I realize that's not saying much but I do enjoy the original, silly as it is).

Much like last year's HALLOWEEN, LEPRECHAUN RETURNS wipes the sequel slate clean and is a direct continuation of the first film. It takes place in the same house (which is now home to a sorority), involves the daughter of the original's heroine and even sports a twenty-five years older survivor (MARK HOLTON). The most profound alteration is the recasting of the titular menace but remarkably, newbie LINDEN PORCO does an exceptional turn in place of WARWICK DAVIS (and sorry, he might even be an improvement). Director STEVEN KOSTANSKI (THE VOID) got his start in make-up effects, which ensures that the diminutive demon looks more horrific than ever before. PORCO's take is much more fairy tale cackling witch-like and he's prone to ripping his face off revealing a grimacing skull for added terror. The effects across the board are consistently top-notch and the creative kills are timed perfectly following the old school slasher template. The cast is pretty great too. Lead TAYLOR SPREITLER as Lila is so down to earth normal and likable and she's got wonderful comic timing. She kind of reminded me of a young LINDA BLAIR and I don't say that lightly. As you'd expect, there's a plethora of one-liners, sight gags, and double entendres; some definitely land better than others but it wouldn't really be a leprechaun movie without a couple of dad-joke groaners. Most importantly, the movie is fun. It knows exactly what made flippant horror sequels such crowd pleasures back in the day and it delivers the goods.  

This isn't prestige horror and that's precisely the point. I can't tell you it's not goofy because it was built to be goofy but goofy is such a much-needed commodity these days. It brings me such joy. I know it's lowbrow but it's lowbrow in a way that high brow just can't compete with- sorta like a hot dog. If you don't like dopey movies feel free to skip right past this but if you enjoy, snickering gore, Mr. Roper-esque 4^th wall destruction and MAD Magazine level wise cracks, you're in for a pot of gold. Personally, I needed the guffaws and let me say there's a celebrity impersonation within the movie that made me laugh out loud (it's kinda brilliant). They really went out of their way to honor the first entry (awww, the little guy is still obsessed with organizing shoes!) and it did my heart good to see the OG respected in such a way.  The poor leprechaun has always been regulated to the second tier horror icon ghetto (with folks like WARLOCK and THE WISHMASTER) and perhaps rightly so considering how lackluster his continuing adventures have been. If the little guy got a follow up like this in the first place maybe that wouldn't have been the case. As someone who had a blast seeing the original in the theater, I have to say this is the very first sequel that didn't leave me with a feeling of disappointment. Some say the third times the charm but in this case it's the seventh. Looks to me like this series luck has finally changed or maybe I'm just partial to redheads.

ANNABELLE COMES HOME is some healing, good-natured horror comfort food. It delivers in the spooky scares department and harbors a potent enough current of demonic chaos yet still plays as mellow as a seventies-era pop song. You wouldn't think a movie about a cursed doll that acts as a magnet for evil entities would be the feel-good, positive energy spouting flick of the summer but for me it is. Heck, even the simple act of offering a portal into a time when cell phones didn't exist, grocery store prices were reasonable, board games were abundant and shag carpets covered every inch of the floor was chicken soup for my horror soul. I guess it's overall rather tame (why in the world is it rated R? It should be mandatory slumber party viewing) but I can have my nerves challenged elsewhere; it's kind of a nice summer respite just seeing decent people doing decent things every once in a while. This movie is old school fun. It's sort of like THE GATE (teens battle the supernatural while parents are away CAT IN THE HAT-style), 13 GHOSTS (a menagerie of baddies crash the party) and maybe a little bit of FRIDAY THE 13th: THE SERIES (please respect the cursed objects!). It's also so much about dealing with grief and loss and residual guilt and it's all handled sharply.

I also dug this movie because it gave me the opportunity to vicariously experience the wonder of having VERA FARMIGA and PATRICK WILSON as parents. We're back in THE CONJURING universe and the aforementioned are of course (super generously) portraying paranormal investigators Ed and Lorraine Warren (the film is actually dedicated to Lorraine who recently passed away). The two are leaving their young daughter alone for the night with a babysitter and what could go wrong as long as nobody goes into the room filled with the cursed objects from hell? Daughter Judy (I just heard the theme song to the THE JETSONS in my head) is played by McKENNA GRACE who is the heir apparent to the child star throne recently vacated by DAKOTA FANNING and previously occupied by JODIE FOSTER (If you've seen MIKE FLANAGAN's HAUNTING OF HILL HOUSE you know how talented she is). MADISON ISEMAN is the refreshingly humble and likable blonde babysitter Mary Ellen and KATIE SARIFE is her troublemaking best bud Daniela who surprisingly shifts gears to become the heart of the film. I won't reveal all of the SCOOBY DOO-like supernatural no-good nicks who materialize but I will say I want to know more about the wind-up monkey with the cymbals.

All in all, this is a well-done side mission in JAMES WAN's CONJURING world. It brings a flavor all of its own by adding more humor and letting things become more surreal and dream-like and less grounded in reality. In that way, it also brought to my mind STUART GORDON's DOLLS with its use of a limited setting and its taking place in one evening "the longest night in the world". Although mostly beautifully handled, I will say that some of the cinematography comes across a little too dark and murky but it's kind of a nice contrast when the spell has been lifted and everything begins to glow with the brightness of a brand new demon-free day. I found the ending rather moving as the characters have all grown to trust each other and Judy who has been ostracized by her peers (for her parents dabbling in the occult) is ultimately embraced and celebrated. It's all very corny but that's what I needed (a tender moment of guidance between Lorraine and repentant Daniela really got to me too).

If you like haunted house flicks, writer GARY (IT, THE NUN, the two previous ANNABELLE flicks) DAUBERMAN's directorial debut is a fun stand-alone, low investment, cozy as hell, nostalgic spook dispenser that's perfect for the heart of summer. As with the doll's sophomore outing ANABELLE: CREATION, I ultimately found the bizarre looking toy to be the least interesting thing inside the much more enthralling canvas that surrounds it but I guess that's how the little dickens operates. The titular character may not amount to too much but she sure keeps great company. This is certainly not the most satisfying flick in the CONJURING canon but it may be the best suited for many a casual re-watch at home (especially when babysitting).

I've got a bunch of conflicting feelings about the new reimagining of CHILD'S PLAY. I loved the beginning of the movie, hated the middle and then somehow regained my original affection for the film's gleefully bonkers ending. My most positive endorsements would be for BEAR McCREARY's absolutely phenomenal score  (he's batting a thousand after wowing recently with GODZILLA: KING OF THE MONSTERS) and MARK HAMILL's wonderfully acute voiceover work as the killer doll. When these two combine their talents for a theme song, which plays over the closing credits, it's truly sublime (I find myself longing for the soundtrack no matter my overall mixed feelings). In general the movie looks great too and the crisp, colorful cinematography does a persuasive job of harkening back to many a fright flick from the late eighties. I found myself sitting so securely on this summer coaster throughout its first half but damn, I really did fall out of the cart during a too long bubble of time at the midpoint and really had to scramble to climb back on board.

What most differentiates this take from the original mold is that Chucky the killer doll is no longer nuts due to a voodoo possession and is now a robot who was purposely programmed to cause havoc thanks to a disgruntled (and suicidal) factory worker.  This allows the story to stoke fears of technology out of control and taking over our daily lives but it also strangely adds a level of sympathy for the faulty doll. I haven't felt so bad for a robot since HALEY JOEL OSMENT was abandoned in the forest by his mother in A.I. ARTIFICIAL INTELIGENCE (2001). I really loved getting to know this new childlike version of Chucky and found myself relating to him when his glitchy brain would confuse a roll of toilet paper for a science book. The poor guy is like a malfunctioning Casper the friendly ghost and I cared more about that than any of the film's BLACK MIRROR-esque future fretting. I kept thinking about how Chucky was like an animal taken in and loved by new owners who can't stop misbehaving due to no fault of its own (sort of like KRISTY McNICHOL's wrenching dilemma in WHITE DOG). I also have to say Chucky's eerie uncanny valley visual overhaul worked well with drumming up my sympathies.

Where the movie fails for me is on the script level in the human character department. GABRIEL BATEMAN is fine as Andy and has got an Elliot in E.T. thing going for him but I found all his friends annoying and AUBREY PLAZA (who rules in INGRID GOES WEST) comes off more like a sarcastic babysitter than a believable maternal figure (Maybe I'm just showing my age here though and that I should get used to adults acting like snarky teens). There's a bit where Andy must hide a grisly trophy that Chucky has gifted him that zapped me out of the entire move. It's played like a THREE's COMPANY mix-up and it still irks my head to think about it because it could have been so much better simplified. The entire segment feels forced, and first draft clunky. I've also found out that for some reason I'm highly bothered by the juxtaposition of Christmas lights and watermelons (who knew?). After much thought, though I have to admit that my sudden distaste for the movie occurred directly after Chucky kills a cat so maybe on a subconscious level I was kicking back at that peeve for a spell and you might want to take my disdain with a grain of salt.

.Even though I'm also not a huge fan of drones being shoe-horned into modern remakes (see also POLTERGEIST), I did end up coming around to enjoy the gleeful mayhem in the film's chaotic climax. I'm going to thank a fuzzy bear-like version of the killer doll who shows up for talking me down off the ledge with his mere presence. I really wish that I was able to have as much fun with this movie as others seem to be experiencing but I guess it just wasn't in the cards for me. It does seem to be the type of thing I'll give another chance in the future when I'm not so sensitive (truly, I recently watched INSIDE LLEWYN DAVIS and the constant cat peril within made it more nerve-rattling than SILENCE OF THE LAMBS for me). Full disclosure, I may have also been swayed by a pang of free-floating guilt for disloyally crossing original creator DON MANCINI's invisible picket line even though I justified the act by using my REGAL ticket earnings to see it for free (I didn't give them a cent, DON! I swear!)

I guess what I'm trying to say is don't listen to me because I have too many issues to count so maybe go and decide for yourself. On some level I almost believe that it's worth it for the score alone; just don't tell my cats (or DON MANCINI) I said that.