Satanism Happens. (No it doesn’t.)

When my son was about 8, our eye doctor retired and we inherited a newer, better version. The new eye doctor was explaining some of the specifics of Riley’s condition to him, and mentioned that he had astigmatism. To which Riley naturally replied, “And how is that related to stigmata?”

Perplexed and maybe a little frightened, our ophthalmologist looked to me.

I explained to the boy:

“Well, there’s a lot less blood.”

Why was my 8-year-old already familiar with the term stigmata – the spontaneous appearance of wounds corresponding to the wounds of the crucifixion? Well, why isn’t yours?

I myself was trained in the gorier aspects of the Catholic faith when I was very young, so why not my boy? Though I doubt I could provide the appropriate tutelage on the darker edges of Catholicism that I’d received from Sister Cleofa.

Sister Cleofa was my first grade teacher. Back in those days, twins were separated in school to encourage individual development, so my sister Joy was across the hall in Sr. Angela’s class.

Ah, Sr. Angela’s – the envy of all Sr. Cleofa’s pupils. Sr. Angela was youngish. She wore the more lightweight habit, sometimes in a jaunty pale blue. She played acoustic guitar. She smiled routinely.

Sister Cleofa, she was not.

No, my teacher wore the full black garb, boasted heavy facial hair, and never smiled once. (I promise you I could not vouch for the fact that she had teeth at all, though I would predict fangs.)

And while the 6-year-olds across the hall drew pictures of angels and learned folk gospel tunes, we studied the Stations of the Cross.

If you’re unfamiliar, these are the pivotal steps of Christ’s condemnation, death, and – if you’re brave enough to make it through the tale of innocent blood and carnage without sobbing so loudly you drown out that final station – resurrection.

My mustachioed teacher terrified us all. Catholicism had been utterly run of the mill for me up until then: my dad worked for the Catholic church and my mother was deeply devoted in an unadorned, tight lipped way. We gave up meat during lent. We genuflected as we entered pews. We made the sign of the cross with holy water. We never missed Mass.

Even when we went on vacation, my dad may not have been able to find a public restroom, but by God he’d find a Catholic church.

But Sr. Cleofa’s obstinate devotion to the darkest, ugliest, most purple robed and mysterious elements of the religion began to fester in my young mind. And though Satan was never studied outright, he always seemed present in her teaching, hiding just beyond all that blood, misery and fear. Maybe that’s why the great devil worship scare of ’88 felt so natural, obvious even.

What great devil worship scare of ’88, you ask?

You probably didn’t know what stigmata meant, either.

Let me introduce you to my hometown sheriff, Dale Griffis. In the Eighties, Griffis was considered an expert in Satanism. I swear this is true. Look it up.

He claimed that the rural counties of Ohio were home to dozens of covens, and that ritualistic human sacrifice was commonplace out among our heartland corn rows.

A lot of people think the Necronomicon is a pretend anti-bible used in movies like Evil Dead, but Griffis claimed to own a copy.

He witnessed on all the talk shows – Geraldo, in particular. He even appeared on 20/20 at least once. Naturally, this suggested to us in Tiffin that our hometown and its outlying agriculture was the hotbed of Satan.

And there was proof!

Rossford, Ohio’s telephone exchange is 666 – I swear to God!

The streets in the town of Gallipolis take the form of sixes, and townsfolk chase outlanders to the town center for sacrifice. (This is unverified, but so obvious if you know anyone from Gallipolis, which you probably do not.)

Plus, our town founder was killed as he camped in what would one day be called Hedges Boyer Park. He was skinned alive, his bones all that was left of him, because he’d disturbed a coven.

(Note: This may not be true. My brother-in-law Brett told this story to my sister and me at bedtime one night. This makes him a likely liar, and an undeniably poor babysitter.)

OK, maybe we were looking for evidence where none existed, but we were only following Griffis’s lead.

His tales of rural demons were eventually uncovered as an overripe paranoid frenzy. For a truly horrific example of the damage done, though, Griffis was the prosecution’s “expert on the occult” in the trial of the West Memphis Three – you remember, those teenage boys wrongly convicted of child murder?

The court ruled they were Satanists, based largely on expert witness testimony, but would later find that they’d been wrongfully imprisoned for 18+ years based on superstition, ignorance and poor police work.

Between Griffis’s stories and Cleofa’s grim teachings, I’m lucky all I have to show for their influence is a keen interest in horror films and a son with unusual questions about vocabulary.

I’m lucky I didn’t end up with repressed memory syndrome or some other lasting stigma.

Now, how again is that related to stigmata?

 

Thanks to James Garze for the kick ass illustration!

Fright Club: Best Tobe Hooper Movies

The film community lost another of its greats, and we want to celebrate the wonderful and the weirdly watchable of Tobe Hooper.

Hooper’s ability to pervert social expectations, his unsurpassed gift for creating terrifying atmospheres among America’s backwoodsfolk, and his nonchalantly visceral presentation made every film an experience worth attempting. Not every one paid off, but those that did left a nasty mark.

5. Eaten Alive (1976)

We open on a backwoods Florida whore house. A bewigged young pro loudly protests the request of her new customer, Robert Englund, who plays a hillbilly who prefers backdoor action. She’s cast out of the cathouse with nowhere to go and nothing to do with that ridiculous wig, until kindly maid Ruby (Betty Cole, wardrobed in a traditional maid’s uniform because hookers are such sticklers about the way their help looks) offers her a stack of cash so she can afford a room at the nearby motel.

Unfortunately, the guy who runs that motel is a sadistic pervert who feeds his problematic borders to the gator out back.

Hooper’s follow up to The Texas Chainsaw Massacre is a lurid affair once again focused on delicious interlopers who misunderstand the customs of the locals.

Eaten Alive tries more openly at humor, mostly failing to find laughs (other than the ironic sort) but succeeding in creating an unsettling atmosphere for the carnage. It’s a B-movie, the kind that screams for a drive-in theater and a tub of greasy popcorn, but there is a time and a place for those movies, too.

https://www.youtube.com/watch?v=MSRpivA1mgo

4. Lifeforce (1985)

A naked alien vampire woman sucks seemingly willing men dry on her first trip to London.

Nope, Lifeforce is not a porno. It’s a silly horror film, especially if you come in expecting the kind of visceral gut punch Tobe Hooper tends to deliver. But as a SciFi guilty pleasure (and mash note to Hammer’s Quatermass and the Pit), it’s a bit of fun.

Mathilda May sure is naked. She plays one of three aliens saved from an otherwise decimated space ship found hiding in the tail of Halley’s Comet by European astronauts. Mysteriously, that European ship meets its own disaster before safely dropping off the three aliens on earth.

But wait! Don’t open her case!!

Of course they open her case, and she and her two henchmen begin sucking the life force from all they can find, creating their own kind of Brit zombipocalypse in one of the film’s nuttiest and greatest scenes.

The movie is a mess that lacks any hint of the characteristic Tobe Hooper vision, but it is more than peculiar enough to be compelling.

3. The Funhouse (1981)

Hooper creates a creepy atmosphere on the Midway with this periodically tense freak show. Double dating teens hit the carnival and decide to spend the night inside the park’s funhouse. What could go wrong?

Well, as would become the norm in every carnival-themed horror film to come, the ride is the secret hideaway of a carny’s deformed and bloodthirsty offspring. He hides his misfortune beneath a Frankenstein mask, but he can’t contain his violent rage when teased. (Not that it’s ever wise to pick on a premature ejaculator, particularly in a horror film.)

Sure, The Funhouse follows all the protocol of a slasher set inside an amusement park, and is, for that reason, somewhat predictable. Still, Hooper delivers pretty well. He develops a genre-appropriate seediness among the carnies, as well as an unwholesome atmosphere. He also pays open homage to the genre throughout the picture. (As a way of paying him back, the genre would rip off this film for years to come – most blatantly in 2006’s Dark Ride.)

It’s hard not to find Hooper’s post-Texas Chainsaw Massacre films lacking. This one’s no masterpiece, but it is a tidy, garish, claustrophobic and unsettling piece of indie filmmaking.

2. Poltergeist (1982)

This aggressive take on the haunted house tale wraps Hooper’s potent horrors inside producer Steven Spielberg’s brightly lit suburbia. In both of Spielberg’s ’82 films, the charade of suburban peace is disrupted by a supernatural presence. In E.T., though, there’s less face tearing.

Part of Poltergeist’s success emerged from pairing universal childhood fears – clowns, thunderstorms, that creepy tree – with the adult terror of helplessness in the face of your own child’s peril. JoBeth Williams’s performance of vulnerable optimism gives the film a heartbeat, and the unreasonably adorable Heather O’Rourke creeps us out while tugging our heartstrings.

Splashy effects, excellent casting, Spielberg’s heart and Hooper’s gut combine to create a flick that holds up. Solid performances and the pacing of a blockbuster provide the film a respectable thrill, but Hooper’s disturbing imagination guarantees some lingering jitters.

1. The Texas Chainsaw Massacre (1974)

Not everyone considers The Texas Chainsaw Massacre a classic. Those people are wrong. Perhaps even stupid.

Tobe Hooper’s camera work, so home-movie like, worked with the “based on a true story” tag line like nothing before it, and the result seriously disturbed the folks of 1974. It has been ripped off and copied dozens of times since its release, but in the context of its time, it was so absolutely original it was terrifying.

Hooper sidestepped all the horror gimmicks audiences had grown accustomed to – a spooky score that let you know when to grow tense, shadowy interiors that predicted oncoming scares – and instead shot guerilla-style in broad daylight, outdoors, with no score at all. You just couldn’t predict what was coming.

He dashes your expectations, making you uncomfortable, as if you have no idea what you could be in for. As if, in watching this film, you yourself are in more danger than you’d predicted.

But not more danger than Franklin is in, because Franklin is not in for a good time.

So, poor, unlikeable Franklin Hardesty, his pretty sister Sally, and a few other friends head out to Grampa Hardesty’s final resting place after hearing the news of some Texas cemeteries being grave-robbed. They just want to make sure Grampy’s still resting in peace – an adventure which eventually leads to most of them making a second trip to a cemetery. Well, what’s left of them.

http://www.youtube.com/watch?v=eY4ldz615FA

Nightmares Film Fest Unveils “Early 13”

For filmmakers and fans alike, Nightmares Film Festival (Oct. 19 to 22) is making the number 13 lucky again.

The renowned genre and horror festival, watched by critics and ranked first on FilmFreeway by filmmakers, today revealed the first thirteen films and screenplays to be included in its 2017 worldwide program of “#BetterHorror.”

The dazzling list includes feature-film world premieres, a 3D feature, shorts from the director of Turkish horror feature Baskin and a Dr. Who writer, and a horror screenplay by a poet laureate finalist from Michigan.

“We are tradition-rich at Nightmares, and this is one we’re always excited about,” said NFF Co-founder and Programmer Jason Tostevin. “Each year we unveil thirteen early selections as a way to give Nightmares attendees a taste of the program we’re building to present in October.”

The 2017 Early 13 is composed of three features, eight shorts and two screenplays. Highlights include:

  • NFF’s first-ever 3D feature presentation, Found Footage 3D, produced by Texas Chainsaw Massacre co-creator Kim Henkel.
  • The world premiere of controversial feature Flesh of the Void,The Ring video, if it were released on the Deep Web.”
  • One of the first-ever screenings of horror comedy short Blood Shed, from director James Moran (Cockneys Vs. Zombies, Dr. Who).
  • A rare screening of Can Evrenol’s (Baskin) early short, To My Mother and Father.

“We’re particularly proud of the diversity represented by the selections,” which include women, people of color, international and homegrown filmmakers, said co-founder Chris Hamel. “The horror community is about inclusion, and for us, that means making sure we include all kinds of voices.”

Nightmares Film Festival is held every October in Columbus, Ohio at the world-renowned Gateway Film Center, named a top 20 North American art house by Sundance. There, one of the last dedicated movie projectionist teams ensures every Nightmares film looks and sounds its best as exuberant fans – affectionately called “The Sleepless” for marathoning the program – mingle with filmmakers from around the world.

Both VIP and festival passes for Nightmares will become available on August 13 on the Gateway Film Center website, www.GatewayFilmCenter.org.

COMPLETE LIST OF NIGHTMARES FILM FESTIVAL “EARLY THIRTEEN”

FEATURES

  • WORLD PREMIERE: Flesh of the Void, midnight feature, directed by James Quinn, NFF Best Midnight Short winner in 2016.
  • Found Footage 3D, horror feature, directed by Steven DeGennaro and produced by Texas Chainsaw Massacre’s Kim Henkel – will be presented in 3D at NFF 17.
  • WORLD PREMIERE Bong of the Living Dead, horror feature, directed by Columbus-based Max Groah and four years in the making.

SHORTS

  • To My Mother and Father, horror short; an early, rarely-screened short by Baskin director Can Evrenol.
  • Dickeaters, midnight short, directed by Aaron Immediato.
  • The Cure, midnight short, directed by Slamdance winner and Columbus-based filmmaker Mike Olenick.
  • Blood Shed, horror comedy short, directed by James Moran (Cockneys vs. Zombies, Dr. Who) and co-written by Cat Davies (Connie).
  • La Sirena, thriller short, directed by Columbian filmmaker Rosita Lama Muvdi.
  • Creswick, thriller short, directed by Australian-Japanese filmmaker Natalie Erika James.
  • Your Date Is Here, horror short, directed by Todd Spence and Zak White.
  • The Naughty List, horror comedy short, directed by Paul Campion (The Devil’s Rock) and adapted from the story by best-selling horror novelist Brian Keene (The Rising).

SCREENPLAYS

  • The Knife Association, feature screenplay by Ron Riekki, finalist for Poet Laureate of Michigan’s Upper Peninsula.
  • The Wood, short screenplay, written by B. Maddox.

Hope Madden and George Wolf are thrilled to be part of the judging panel for Nightmares Film Festival, a nationally-renowned horror and genre film festival dedicated to inspiring horror filmmakers and promoting #BetterHorror. Its 2017 edition will be held Oct. 19 to 22 in Columbus, Ohio at the celebrated Gateway Film Center.

Just Comply

Detroit

by George Wolf

Detroit burns with a flame of ugliness, rage and shame that simmers well before it burrows deep into you. It is brutal, uncomfortable, even nauseating. And it is necessary.

Director Kathryn Bigelow and writer Mark Boal, the Oscar-winning duo behind The Hurt Locker and Zero Dark Thirty, bring craft and commitment to the story of Detroit’s infamous Algiers Motel Incident.

In July of 1967, during days of rioting from civil unrest, a riot task force raided an annex of the Algiers amid reports of sniper fire coming from the building. After hours of beatings and interrogation, three young African American men were dead.

Bigelow and Boal wrap this tragedy in their meticulous brand of storytelling, and it bursts with an overdue urgency. Layering timelines, characters, and bits of archival footage, the filmmakers achieve the stellar verite effect that has become their calling card. We become part of these events through an authenticity that brings terror to you, takes the breath from you and quickens your pulse. In conveying atrocities now decades old, the film builds its lasting power from how it makes us confront our present while depicting our past.

John Boyega (Star Wars: The Force Awakens) carries the film’s soul with thoughtful nuance as Melvin Dismukes, the black security guard at the scene for assistance. In one of the film’s most quietly powerful scenes, the gravity of his situation begins to hit Dismukes, and he quietly trembles. It’s one of the many instances the film deepens its feeling by letting events speak for themselves.

Ironically, it is precisely the subtle and organic nature of Detroit’s truths that call attention to the few moments of heavy-handed overreach, more from surprise than their effect on the overall narrative.

With a chilling, award-worthy turn, Will Poulter (The Revenant) makes the sadistic Officer Krauss all the more terrifying for how casually his violence erupts. There is excellence throughout Bigelow’s ensemble cast, and from Anthony Mackie’s embodiment of African American veterans denied the very rights they fought for to Algee Smith (The New Edition Story) as an aspiring R&B singer whose life is forever altered, sharply defined characters are revealed regardless of screen time.

Concerns about the voyeuristic nature of running this brutality through a white filmmaker’s lens are legitimate, but Bigelow also delivers a level of sensitivity that is palpable and frankly surprising for a tale so inherently savage. The strive to get this right is felt in nearly every frame, down to the end title card explaining the need for dramatic license.

Intimate in scope but universal in reach, Detroit shows a shameful part of the American experience, one rooted in white power and black fear, that continues to be perpetuated.

It is not a pleasant film, but it is necessary.

Verdict-4-5-Stars

 

Tenacious M

Kidnap

by Hope Madden

Let me admit this from the start – I may have liked Kidnap better than I should have. Why? Well, I saw it immediately after The Dark Tower, and it is Citizen Kane compared to that festering pile.

In this film, Haley Berry plays Liam Neeson. It’s her second time in the role, actually.

Back in ’08, Neeson – with help from the pen of Luc Besson – revolutionized film with the (wildly over-appreciated) genre flick Taken. Mid-budget “I have a particular set of skills” thrillers have littered the cinematic landscape since, wreaking righteous vengeance and prolonging the careers of middle aged actors everywhere.

In 2013, Berry made The Call, which was not a bad B-movie thriller and her first turn as Liam Neeson. Kidnap sees the Oscar winner playing a loving mother whose 6-year-old (a very sweet Sage Correa) is nabbed from a busy park. Mom sees the napper shoving her son into a car, she jumps in her minivan and the pursuit begins.

The film amounts to a 90-minute car chase with one unreasonably attractive mom behind the wheel. Several of the action sequences are interesting and flashy (for a film with this level of budget – do not go into this hoping for Fast and the Furious: Minivans).

Writer Knate Lee can’t really justify the lack of cell phone or police presence, but he does what he can. Meanwhile, director Luis Prieto ably assembles car chases and panicked driver close ups, then competently shifts tone for a final act that toes the line between thriller and horror.

There’s nothing exceptional about Kidnap. Not one thing. You’ll forget it existed as quickly as you forgot The Call was ever made. But for a getting-the-phone-bill-paid flick, it’s not too bad.

Verdict-2-5-Stars

https://www.youtube.com/watch?v=R-Ht8VRPRvU

 

“It” Looks Good, though, Right?

The Dark Tower

by Hope Madden

So, there’s this tower, see. And it sits at the center of all the parallel worlds of the universe and as long as it stands, it keeps the monsters away. Why? How did it get there? No time!

Anyhoo, an evildoer (Matthew McConaughey) wants to knock it down, let in the monsters and rule it all. But there’s this kid – you know what, let me not summarize what amounts to little more than a summary in the first place. Suffice it to say, The Dark Tower is not very good.

There are a lot of bad Stephen King movies. But even Dreamcatcher, The Night Flier and Sleepwalkers (three of the worst) offered a sort of B-movie charm. The Dark Tower is not even the fun kind of bad. It’s tedious, lumbering and schmaltzy, visually unappealing, narratively embarrassing and a woeful waste of Idris Elba.

McConaughey, on the other hand, makes the most of his time onscreen as Walter – which is a much funnier name for the prince of darkness than Man in Black. As the antagonist, he brandishes a restrained evil and moves with a little swagger, plus there’s that wig. Glorious! Real Shatner – hell, even Travolta-esque.

But McConaughey and Elba – true talents, no doubt – are hamstrung from the beginning by the production’s meat-cleaver-and-band-aid approach to screenwriting.

Nobody is more convinced than I am that Stephen King uses too damn many words. Too damn many! Succinct he will never be. But to believe you can boil his multi-volume, many-thousand-page Dark Tower series into a coherent 90 minutes is just brazen idiocy. No offense to the team of writers working on the adaptation – some of whom have talent; the other one is Akiva Goldsman.

Director Nikolaj Arcel (A Royal Affair– also credited with writing) is zero help, managing to take this Cliff’s Notes version of King’s prose and still produce something bloated and slow.

I remember reviewing the Tom Cruise debacle The Mummy earlier this year and thinking, this isn’t even any fun, it’s just bad. Dark Tower makes The Mummy feel like a rollicking good time.

But, hey, the trailers for It look great, don’t they?

Verdict-1-5-Stars

Protect This House

An Inconvenient Sequel: Truth to Power

by George Wolf

Plenty of movie sequels hit theaters every year, and plenty are unnecessary. Too bad this isn’t one of those.

If the Oscar-winning documentary An Inconvenient Truth sounded a dire alarm over ten years ago, Truth to Power conveys how vital the climate change crisis still is, while channeling its most prominent spokesman to remain ever hopeful in the face of gut-wrenching setbacks.

Taking the reins from Davis Guggenheim, co-directors Bonni Cohen and Jon Shenk (producer and director, respectively, of another stirring climate-based doc The Island President) shift the format to one less about filmed lecture and more focused on Al Gore’s daily commitment to the cause he has championed for over two decades.

We still see the charts, the data, and the photographic evidence, all never less than bracing and some frequently stupefying. But this time, we also see how vast the political and bureaucratic roadblocks have grown, as Gore laments the “democracy crisis” now looming large over any progress toward climate change reversal.

Are Cohen and Shenk preaching to the choir? Is their shared admiration for Gore constantly evident? Yes on both counts. But the sermon is damned persuasive and the man has earned it.

Gore’s commitment, often appearing both tireless and lonely, might be most evident while under pompous questioning by ardent climate change denier Jim Inhofe. Gore’s exasperated olive branch to Inhofe is both patient and sincere, revealing an eye for the long game he continues to fight.

And yet, even as the rise of Donald Trump threatens every inch of hard-won climate progress, Gore’s meeting with a staunchly conservative mayor shows common ground is still possible.

In what the mayor calls “the reddest city in the reddest county in the entire state of Texas,” they’ve made the switch to renewable energy because it not only makes economic sense, it makes common sense. Imagine that.

Supreme Court decisions have consequences, and while Truth to Power might make you hopeful for another presidential run from Gore, it never lets you forget he’s right where he needs to be.

Verdict-4-0-Stars

Still Just a Rat in a Cage

Some Freaks

by Christie Robb

High school, amirite? Setting of so many movies: The Breakfast Club, Heathers, Clueless, Mean Girls… and lately, Some Freaks, written and directed by Ian MacAllister McDonald.

McDonald’s perspective on high school is bleak, lonely. The other kids whisper about you behind your back, when not being physically menacing. The adults are absent. And even your closest friends are kind of douchey, sensing your weak spots and needling them under the guise of jokes.

The action starts with a one-eyed dude named Matt (Thomas Mann), who is stalked by classmates desperate to see what’s under the eyepatch. And maybe capture a photo of the gaping hole to upload to the internet.

He’s partnered up with the new girl, Jill (Lily Mae Harrington), to dissect a fetal pig in biology. Turns out she’s related to his only friend Elmo (Ely Henry), a fast-talking wannabe popular kid who monologues about getting into his jock crush’s gym shorts, but is quick to lash out at anyone but Matt who seems clued into his sexuality.

After school, Matt and Elmo chat while playing video games on Elmo’s couch, sharing some misogynistic fat girl jokes. Then Jill walks in.

She’s living with Elmo’s family for a while. She’s fat – and the clear butt of the jokes. But she just lets it slide. Jill has clearly been putting up with this bullshit for years and has a fairly thick skin when it comes to sexism and body shaming.

With this auspicious beginning, Jill and Matt stumble into the sort of romantic relationship you have when your main reason for being there is to put a temporary patch on the gaping wound of your own loneliness and poor self-esteem.

Jill flies across country to college, but Jill and Matt take their relationship long distance with Jill sending Matt provocative selfies.

After six months, Matt flies out, step one in his plan to move in with Jill permanently. She’s lost 50 pounds, changed her formerly green hair to a sunny blonde, and traded in her punk gear for a more boho vibe. All the photos she’d sent him were taken before her transformation. He hates it.

Unwilling to let Jill change, Matt attempts to regain the status quo. A quo in which Matt was the only man who could find her attractive (besides “elderly degenerates”), and thus, had no competition. No reason to think about how he measures up to other guys.

Contrary to movies like John Hughes’s The Breakfast Club, the coming together of these teenage misfits doesn’t do much to bond them and bolster their self-esteem. Instead, each of the central characters remains isolated with their own damage, even if sometimes physically close. Their very proximity gives them increased ability to wound each other.

The climax of the film, in which each character attends a party that provides a setting for them to confront their greatest insecurities, seems a little contrived. Some characters are underwritten, making their motivations in these moments a bit confusing.

However, the film is well acted. Each member of the cast does a decent job of portraying their character as a mixture of victim and aggressor. Harrington stands out, providing emotional depth behind her wariness and verbal armor, undergoing an impressive physical transformation for the role.

Some Freaks does not provide a cheery John Hughes ending, but may be a more authentic representation of the high school experience for some.

Verdict-3-0-Stars

https://www.youtube.com/watch?v=WFtR28a6Qf8