A Ghost at My Sister’s House

The story of Miss Hanes begins when my sister Julie Anne and her young family moved from a small apartment above a Toledo wicker shop to a charming old house in the suburb of Point Place.

It was a very pretty first home for Julie Anne, her husband Brett, their toddler Brenna, and their sweet but excitable Dalmatian, Gonzo. It offered a homey neighborhood and plenty of room for the family to grow. But there was always something off about the place.

Immediately upon moving in, my sweet baby niece Brenna began to take on odd qualities.

Odd, even for my family.

Brenna’d always had an almost eerie calm about her, even as a toddler, quietly observing with the hint of judgment. But somehow, in the new house, she seemed almost otherworldly.

Need an example? One of Brenna’s more unsettling games during this particular period was called Magic Fingers. It was a game of her own creation, where she’d cast a spell by wiggling her fingers above her head, chanting. After calling on the power of the magic fingers, Brenna would utter a command.

“Magic Fingers, make Hope be dead,” for instance.

At that time, I didn’t know whether to fear that some demon intended to steal my beloved niece or take comfort in the more realistic notion that Brenna would be the child who could summon and command the spirit world.

It wasn’t just Brenna’s unusual playtime antics, though. Things moved around the house. Not before your eyes, but objects just didn’t remain in the spot you remembered putting them or seeing them last.

This was particularly problematic for Brett.

Not long after they’d taken residence, Brett’s wedding ring came up missing. After an exhaustive search and a little drama, they replaced it.

He lost that one, too.

It was an ugly time until Julie Anne – doing laundry down the basement – found both rings on the floor under a pile of clothes. She handed one to her husband, who promptly lost it again. Julie Anne returned to the basement to check and found the ring right where she had spied it the last time – in the center of the basement floor under a pile of dirty laundry.

Had it been only the ring, well that would have been weird enough, but it wasn’t.

Items moved around Brenna’s room as well, winding up on surfaces too high for her to reach. The front and back door would be standing open, even if you were certain you’d closed and locked them. And worst of all, the dog refused to go into the nursery.

That is never a good sign.

Fascinated, Julie Anne talked to neighbors, who spun a yarn about a tragedy in the Hanes family, who’d lived in Julie Anne’s house a few years before.

A story emerged. The teenage daughter babysat all around the neighborhood one summer. She was well-liked by the area kids and their parents. She had a nice enough family, herself, although maybe a little strict, overprotective.

That might be why she decided to sneak out her bedroom window, across the porch roof and down the tree one night to meet a boy at the little wooded patch beyond the cul de sac.

Neighbors couldn’t remember whether her father claimed to suspect an intruder, or if he thought he was catching that boyfriend sneaking into his daughter’s room.

Or if Mr. Hanes was just a psycho.

Whatever he was thinking, Mr. Hanes shot his daughter. She never left the house again.

Now the troubled, lovesick teen wandered Julie Anne’s halls, stealing wedding rings and hiding them where Brett would never find them – under a pile of work needing to be done.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Little evidences of Miss Hanes’s presence filled Julie Anne’s house, from the bedazzled basement floor to the little knickknacks that moved around Brenna’s room – all harmless enough reminders that we were not alone in Point Place.

And then one night I would have more of a one-on-one run in.

My twin sister Joy and I were sleeping over, sharing Julie Anne’s bed upstairs. Julie Anne was sleeping with Brenna, and Brett was working the night shift.

It was late and Joy and I were both long asleep when I was roused by a stomping sound.

It didn’t wake Joy up. I lay there a while in the dark. The house was quiet.

Then I heard it again – it sounded like footsteps from above, which was odd because I hadn’t even realized that Julie Anne had an attic. Certainly, no one was walking around in the attic at this hour, but by now I was absolutely awake and a clear footfall could be heard coming from beyond the ceiling above me.

What could it be? I considered.

Squirrels?

Nope, squirrels scurry.

Deer.

Now that’s just idiotic.

How would a deer get into Julie Anne’s attic? 

Stomp. Stomp. Stomp. Stomp. Stomp.

Ooooooh. I did not care for this. I shook Joy.

Nothing.

“Joy! Joy!”

Nothing. A sound sleeper, that one.

Stomp. Stomp. Stomp.

I decided to ignore it. Maybe block it out. I landed on the age-old, truly courageous plan to roll over and pull the covers over my head.

I rolled to my side, facing Joy, covers in hand.

I tugged.

The covers would not move.

I really yanked them toward my head, but they wouldn’t reach. They were held firmly in place.

I tugged and tugged, but it was as if someone was sitting on the bed with me, sitting on top of the blankets.

I imagined her there, right behind me. Her bloody nightgown, her mournful face…

I looked at the peacefully sleeping Joy, the sister I was about to abandon to a ghost.

Then, without a thought to her safety or so much as a peek over my shoulder at whatever was back there sitting on the bed with us, I hopped up, stood on the bed, stepped over Joy and toward the bedroom door, and fled to the TV room downstairs.

And, like big, dumb Gonzo, I never went back upstairs.

Fright Club: Best Anthology Horror

We finally did it. We finally took a look at short compilations and horror anthologies—all sixty million of them—and found that there are many great ones. So many, in fact, that filmmaker Jeff Frumess teamed up with us so we could cover twice as many. Here are our five favorites.

5. Creepshow (1982)

Campy, gruesome and trashy like the comic books that inspired it, Creepshow benefits from two of the most impressive pedigrees in the genre world. Written for the screen by Stephen King and directed by George Romero, the grimly comedic film demands attention.

Though some of the shorts are less effective than others, the hits are strong enough to carry the effort.

Though the cake in “Father’s Day” remains maybe the movie’s most lasting image, the shorts “The Crate” and “Something to Tide You Over” offer the strongest bursts of horror.

Bridged with inspired comic book art bumpers, the film maintains a juvenile aesthetic that helps its mean spirit and humor land. It doesn’t hurt that getting to see Hal Holbrook, Leslie Nielsen, Ted Danson and Ed Harris wade into such garish and campy territory is forever fun.

4. The Signal (2007)

A transmission – a hypnotic frequency – broadcasting over TV, cell and landline telephones has driven the good folks of the city of Terminus crazy. David Bruckner, Dan Bush and Jacob Gentry created a film in three segments, or transmissions.

Transmission 1 introduces our lover heroes as well as the chaos. Can Mya (Anessa Ramsey) and Ben (Justin Welborn) remain sane, reunite and outrun the insanity?

Transmission 2 takes a deeply, darkly funny turn as we pick up on the illogical logic of a houseful of folks believing themselves not to have “the crazy.” The final transmission brings us full circle.

The movie capitalizes on the audience’s inability to know for certain who’s OK and who’s dangerous. Here’s what we do know, thanks to The Signal: duct tape is a powerful tool, bug spray is lethal, and crazy people can sure take a beating.

3. Fear(s) of the Dark (2007)

This animated French film brings nightmares almost too beautifully to life. The film showcases a glorious variety of black and white artistic style, each animating a different short that tells a tale of phobias, bad dreams and shadowy terror.

Though the styles change, there is a shadowy fluidity to most of these pieces that feels slippery and alarming. One piece about a man who finds refuge in an abandoned house emphasizes a slow-building dread while another tale about a grim-faced man and his menacing hounds generates more vibrant bouts of terror.

The program morphs from the supernatural to the cerebral, each piece filling the screen with disturbingly gorgeous sound and image.

The film as a whole has the feel of childhood nightmares. The collection digs into anxieties in a way far more subtle and sophisticated than what you’ll find in the balance of films on this list, but the lingering effect is haunting, even disturbing.

2. Three…Extremes (2004)

Three of the most promising genre directors Asia had to offer came together in 2004 to cast a grisly spell. Two—Chan-wook Park and Takashi Miike—would blossom into two of the most respected filmmakers in the world. Miike just released his 100th film. While Park may be a bit slower with his output, he’s not made a single misstep in his filmmaking career. Everything he’s ever made is required viewing.

Fruit Chan’s career may not draw as much attention, but this piece in this anthology may be the strongest. “Dumplings” offers a savvy if distasteful piece of social commentary boasting two magnificent performances and sound design destined to disturb.

Miike’s “Box” is a serpentine riddle of sideshow freaks, ghosts, destiny and twins. Beautiful, grotesque and hypnotic, it showcases the filmmaker’s knack for visual storytelling and spell casting.

Park’s “Cut” offers a cynical and bloody look at the film industry. Though it’s the least in keeping with the filmmaker’s overall canon, as a part of the series it offers bold visuals and uneasy humor.

1. Trick or Treat (2007)

Columbus native Michael Dougherty outdid himself as writer/director of this anthology of interconnected Halloween shorts. Every brief tale compels attention with sinister storytelling, the occasional wicked bit of humor and great performances, but it’s the look of the film that sets it far above the others of its ilk.

Dougherty takes the “scary” comic approach to the film—the kind you find in Creepshow and other Tales from the Crypt types—but nothing looks as macabrely gorgeous as this movie. The lighting, the color, the costumes and the way live action bleeds into the perfectly placed and articulated moments of graphic artwork—all of it creates a giddy holiday mood that benefits the film immeasurably.

Dylan Baker (returning to the uptight and evil bastard he perfected for his fearless performance in Happiness) leads a whip-smart cast that includes impressive turns from Brian Cox, Anna Pacquin, Leslie Bibb and Brett Kelly (Thurman Merman, everybody!).

And it’s all connected with that adorable menace, Sam. Perfect.

The Screening Room: Fire and Ice

Jump inside The Screening Room podcast with us to talk through everything you can find in cinemas this weekend and everything newly available in home entertainment. We cover Only the Brave, The Snowman, Same Kind of Different as Me, Mark Felt: The Man Who Took Down the White House, Jungle and Human Flow. Listen HERE.

Blinder Side

Same Kind of Different as Me

by George Wolf

It’s been over a year since the trailer for Same Kind of Different as Me arrived, and was promptly met with the widespread mockery it deserved.

Planned release dates came and went. Was it retooling, or rethinking? Maybe they weren’t really going to put out a film with so much apparent racial condescension and white guilt?

They were, they are, they did.

It’s based on the best selling memoir – steady yourself if you haven’t heard this title – Same Kind of Different As Me: A Modern-Day Slave, an International Art Dealer, and the Unlikely Woman Who Bound Them Together.

Subtle.

Ron and Debbie Hall (Greg Kinnear and Renee Zellweger) were rich white Texans in an unhappy marriage. They met homeless man Denver Moore (Djimon Hounsou) and struck up a friendship which led to millions of dollars raised for the needy.

It’s a nice story. Helping thy neighbor is a lovely message. Why does it have to be delivered this way?

Denver seems like an interesting character, and he’s listed as a co-author on the book. Did anyone think to tell the story from his point of view?

No, we must get more precious white saviors, and celebrate them for taking a black friend to their white country club while they wash their hands of violent racism with empty voiceovers (of course there are voiceovers!) such as “there are things I just don’t understand.”

Bless your heart.

Not one thing in director/co-writer Michael Carney’s feature debut feels authentic. Even smaller details, like Debbie sleeping in full makeup or a young, poverty-stricken Denver sporting gleaming straight teeth, feed the notion that this is all just a self-congratulatory show.

Well, congratulations, this might even be worse than The Blind Slide.

 

Humanity in the Time of Displacement

Human Flow

by Alex Edeburn

The “overview effect” is a phenomenon known only to astronauts who experience a shift in consciousness when looking back at the Earth while in orbit. Edgar Mitchell, a member of the Apollo 14 mission, once described the effect as “instant global consciousness, a people orientation, an intense dissatisfaction with the state of the world, and a compulsion to do something about it.”

Director Ai Weiwei’s attempts to recreate this profound effect with his stunning and timely documentary, Human Flow.

The film is a sprawling examination of the millions of refugees around the world and allows us to bear witness to the lives of that increasing number of displaced people. It is a film that serves to humanize those who are suffering and who are too often maligned in this unfortunate age of travel bans and Brexits.

Weiwei’s artistic eye for calming cinematography paired with the brutal theme of the film forces us to assess all that we’re witnessing over the course of two and a half hours.

We’re lured in by the harrowing beauty of the Greek coastline in winter, only to then come to terms with the situation at hand once the camera exposes the countless life preservers that litter the rocky beach. There is much to consider with this film, including the continuous ticker of information providing alarming statistics regarding this global crisis.

Human Flow does not contain itself to one specific region or group of displaced people, but rather addresses all the ongoing plights such as the Rohingya fleeing ethnic cleansing in Myanmar, those escaping famine in East Africa, and the supposed “bad hombres” crossing America’s southern border.

Ai Weiwei’s documentary is not trying to prove any point or win any argument regarding this highly politicized and misunderstood crisis. Rather, he presents a film that works in earnest to be objective through the statistics it provides and the subjects it highlights.

Human Flow is a powerful film that puts faces to the 65 million people we are quick to dismiss as nothing more than refugees, rather than see them for what they actually are: humans.

 

 

Deja Vu

Mark Felt: The Man Who Took Down the White House

by Hope Madden

Imagine what could go wrong if one group of power hungry thugs could subvert any investigative body, discredit the press and cover their corrupt, nation-degrading tracks.

Yes, in light of pussy grabbing, Nazi accepting, wall building, election tampering, hurricane victim abandoning and countless other inconceivable abominations, Watergate seems quaint.

But maybe that’s where Mark Felt: The Man Who Brought Down the White House could find its power. It could not only underscore the nearly incomprehensible severity of our current climate but also remind us that change is possible.

Liam Neeson plays Felt, the Associate Director of the FBI under J. Edgar Hoover who found himself so aggrieved by the corruption overtaking the bureau after Hoover’s passing that he leaked confidential information to the press, earning himself the affectionate nickname Deep Throat.

Writer/director Peter Landesman takes on nearly 45-year-old history perhaps to draw comparisons between then and now. For the former New York Times investigative journalist, the material may have been too tempting.

Since his leap to filmmaking, Landesman’s been concerned with true-life tales, but he’s been stronger as a writer (Kill the Messenger) than a writer/director (Concussion). Here, he stumbles with both.

The script wedges in too many clunky connectors to help the audience figure out who each participant is rather than creating a set of characters. Ensemble dramas have loads of characters. Watergate has loads of characters and drama. Let it breathe.

Worse still are the soliloquies Landesman saddles onto poor Diane Lane as Felt’s wife Audrey. Lane does what she can but her overwritten monologues beg the question: why is she telling him these things? Surely her husband already knows. The answer, of course, is that she’s telling us, which is just weak writing.

On paper, Felt’s a fascinating character, as any lifer in the bureau must be. And Liam Neeson’s a fine actor. So why is it the film never plumbs any deeper than a distant stare, a grimace, an errant curse word?

Mark Felt is onscreen for maybe 4 minutes in All The President’s Men and I understood him as a character more fully than in his full 2-hours here.

What may be the most interesting idea Landesman shares is that Felt was less interested in criminal activity at the highest level than he was in the idea that the FBI would become beholden to the White House. He was busy looking beyond a single presidency to the power and necessity of an independent investigative body when everybody else was too stunned by the felon in the White House to notice.

You know what, though? I bet Nixon knew he was president of the US Virgin Islands.

The Fire Inside

Only the Brave

by George Wolf

As wildfires continue to devastate areas of California, it seems incredibly timely for the debut of a populist firefighter tribute full of bombast and manipulation.

Thankfully, Only the Brave is not that movie.

Director Joseph Kosinski seems well aware of overwrought pitfalls so easily indulged, taking care to deepen our connection to major players as events build to a terrifying, true-life conclusion.

Based on the GQ article “No Exit,” co-writers Ken Nolan and Eric Warren Singer deftly adapt the story of Arizona’s Granite Mountain Hotshots, the first group of municipal firefighters to achieve elite “Hotshot” status.

Josh Brolin stars as supervisor Eric Marsh, a firefighting vet trying to ready his seasoned pros and new recruits for both the upcoming season and the essential state evaluations. Rookie Brendan McDonough (Miles Teller) is the team’s biggest question mark, a recovering drug addict and new father who’s determined to turn his life around.

While filmmaker Peter Berg has perfected a successful formula of quick character intros, then frenetic action for his “unsung hero” films (Deepwater Horizon, Patriots Day), Kosinski (Oblivion) is committed to a separate but equally effective path.

There are cliches here, such as a frequent “lost cause” metaphor and the obligatory stoic women standing by their men, but Kosinki and his writers are able to keep them in the background through an emphasis on intimate storytelling. We see the fires battled in often spectacular fashion, but we also come to feel the toll the job takes on family life. We learn firefighting tactics along with the newbies, and as Brendan fights to prove his worth to the mother of his child (Natalie Hall), Teller finds a nicely subtle groove to get us on Brendan’s side as well.

Even better are Brolin’s scenes with Jennifer Connelly as Marsh’s wife Amanda. Through these two skilled actors and some pointed dialogue, a couple’s fight to hold on to each other feels authentic, and the film finds an emotional core that will pay later dividends.

Often powerfully gripping and thrilling to watch, Only the Brave is a fitting salute to real people that deserve one.

 

 

 

Bring a Shovel

The Snowman

by Hope Madden

The Snowman, a Norway-set serial killer thriller, runs like a 3-hour flick that someone gutted for time without regard to sensibility, leaving a disemboweled and incoherent pile in the snow for audiences to puzzle over.

Not what I had expected.

I love director Tomas Alfredson. Well, I love his 2008 gem Let the Right One In and so, by extension, I love him. His writing team, adapting Jo Nesbø’s novel, includes the scribes behind such bits of brilliance as Drive (Hossein Amini) and Frank (Peter Straughan), and Michael Fassbender is the lead. Rock solid, that’s what that is.

And yet, The Snowman went horribly, embarrassingly, head-scratchingly wrong.

Fassbender plays Detective Harry Hole. (I swear to God, that’s his name.) He’s a blackout drunk in need of a case to straighten him out. He finds it in one misogynistic mess of a serial killer plot.

All he and his new partner Katrine (Rebecca Ferguson) know is that the killer leaves snowmen at the crime scene and has complicated issues with women. What follows is convoluted, needlessly complicated with erratic and unexplained behavior, ludicrous red herrings and a completely unexplained plot point about prescription pills.

The Snowman is not the first in Nesbø’s Harry Hole series, so a lot of “catch us up on this guy” exposition gets wedged in. From there, the writing team took a buzzsaw to Nesbø’s prose, leaving none of the connective tissue necessary to pull the many, varied and needlessly lurid details together into a sensible mystery plot.

It all leads ploddingly, frustratingly to an unearned climax heavy with needless flashbacks and convenient turns.

Everybody smokes, so it almost works as a cigarette ad, but as an actual story? No.

Fassbender, an inarguable talent, offers little to a clichéd character whose tics are predetermined—a shame because this is an actor who can dig deep when it comes to character tics. Ferguson and Charlotte Gainsbourg, as Hole’s ex, fare even worse. And an entire slew of heavy hitters gets wasted completely, including J.K. Simmons, Toby Jones and a weirdly dubbed Val Kilmer.

Alfredson films snowcapped carnage with a grotesque beauty few directors can touch, but that’s hardly reason enough to sit through this muddled mess.

Jennifer Titus Accompanies Premiere to Nightmares Film Festival

Actress Jennifer Titus has never been to a horror film festival. Hell, she’s never been to Columbus, but she’s all set to accompany her new film and enjoy Nightmares Film Festival this weekend.

Titus stars as Ashley, a serial killer’s neighbor with the skills to take care of herself in Tom Holland’s newest Rock, Paper, Dead. The film, which has garnered several festival nominations, will make its world premiere at Nightmares.

A longtime horror fan, Titus was thrilled to be offered a role in the film penned by Friday the 13th creator Victor Miller.

“My very first horror film was Friday the 13th,” she says. “Honestly, I was so honored to be reading this. And it was a page-turner. When I met Victor Miller, he was such a real, down to earth guy and such a calm, beautiful soul. And I thought, I would be honored to do this.”

Acting was not exactly her first career choice.

“When I was about 6 or 7, my grandfather asked me what I wanted to do when I grew up,” she remembers. “I said I wanted to be a professional figure skater, a doctor and a movie star. He told me, ‘Well I have no doubt you will do all three.’”

He was right.

A figure skater throughout her childhood, Titus turned professional at 18, touring the country and the world with ice shows. Eventually, she returned to school, earning a degree from UC San Diego in science and theater, then moving on to medical school.

“Toward my last year I really missed acting,” she says. “I just wasn’t getting that creative fulfillment in medical school, so when I graduated I got right back into acting.”

But her medical degree came in handy.

“I got into a situation where I was acting and they needed a doctor for an emergency,” she says. “We were actually in the jungle and there was a guy who had a bamboo stake driven into his leg underneath his muscle. I jumped right in and did field medicine surgery on the guy and I ended up saving his leg – bamboo is very toxic. When I visited him about three days later, about 30 people there to meet me and thank me. It was so rewarding I just thought to myself, I need to go back, get licensed.”

Titus returned to medicine, completed her residency, passed the board exam, got licensed and returned to acting.

“I always knew I wanted to do these things,” she laughs. “It’s not like I was confused and I was career jumping. I was just knocking them off the list.”

Titus sees a connection among the professions.

“When I was little, I was always interested in blood and guts,” she says. “Honestly, that’s one of the things I always loved about medicine. It never was scary to me or gross to me, it always fascinated me.”

Titus says her character in Rock, Paper, Dead—a black belt in karate—was the ideal role for her.

“My best friend and I, every Saturday night, would go down to the video store and rent one to two horror films. We’d get under the covers, cover our faces with pillows and squeal. That went on for years.”

“I specifically remember Nightmare on Elm Street 4: The Dream Master,” she says. “The main character was a girl that took on all the powers of her friends who were killed off by Freddy Krueger. She became just a ninja master by the end. And I thought, oh my gosh, that is just the coolest character I have ever seen in all these horror films. I thought, what a great example, finally, of a strong female who can take this guy on. And when I got this script for Rock, Paper, Dead, I thought, oh my gosh, it’s the dream master. I have to do it. It’s so cool.”

Nighmares Film Festival runs from Thursday, October 19 through Sunday, October 22.

Rock, Paper, Dead, which makes its world premiere this Saturday, October 21 at 8pm, is nominated in the categories of Best Thriller Feature and Best Screenplay Feature.

For tickets and showtimes visit gatewayfilmcenter.org

Welcome

Jungle

by Hope Madden

It is hard to go wrong with a story as viscerally affecting as that of Yossi Ghinsberg, an Israeli who took a year off from his life to seek adventure. He found it in the Jungle.

Beautifully portrayed by Daniel Radcliffe, Yossi heads to Bolivia where he befriends Swiss schoolteacher Marcus (Joel Jackson) and American photographer Kevin (Alex Russell).

Director Greg McLean (Wolf Creek) invests a good chunk of Jungle in letting us get to know this amiable, romantic trio—searching souls that seek some kind of connection with nature, humanity and life.

They find something that may be too good to be true when Yossi meets the mysterious jungle guide Karl (a wonderful Thomas Kretschmann). Together the foursome head into uncharted territories in search of lost tribes, rivers full of gold and other wonders not found on the typical tourist to-do list.

You know what they say about things that sound too good to be true.

Frustrations run high, mercy runs low, faith in leadership wanes, and eventually, an accident separates Ghinsberg from the group. He is on his own to survive the jungle, starvation, delirium, and one nasty, squirmy head wound.

Adapting Ghinsberg’s autobiography, screenwriter Justin Monjo sticks to highlights, which gives the film an artificiality it never fully shakes. McLean’s camera embraces both the overpowering beauty of the extreme environment as well as its shadowy, jagged, sometimes toothy menace. He just needs to learn when to leave it alone.

Speaking of alone, Radcliffe spends about 1/3 of the film on his own. For anyone still wondering whether Harry Potter can act, this film should set aside all doubt. Radcliffe is a natural fit for deeply decent characters, and his expressive face helps him communicate an enormous amount of unspoken content.

He’s great, as is the story and the balance of the cast. It’s just the writer and director who let us down from time to time.

Jungle is at its worse when McLean shows how little faith he has in his material and his audience, leaning on emotional manipulation and an almost oppressively leading score to ensure we are getting his point.

There are other questionable decisions, like the dream sequences, which offer little to the film besides the opportunity to objectify the few—all lovely, all nameless—women who grace the screen.

Jungle is, if nothing else, a powerful testament to Daniel Radcliffe’s potency as an actor. It’s also an unbelievable story, and Radcliffe’s performance ensures your keen interest regardless of McLean’s antics.