Coen brother Joel delivers a vision that’s both decidedly theatrical and profoundly cinematic with his solo directorial effort, The Tragedy of Macbeth.
This film is gorgeous, in an almost Bergman manner. Hardly aesthetic for aesthetic’s sake, in true Coen fashion, every inch of screen is dedicated to a purpose. The square aspect ratio, off-kilter framing and specific use of black and white add to the film’s look of madness. Up is down, black is white, and the ground is always moving beneath your feet.
Denzel Washington and Frances McDormand play the Lord and his Lady and this, friends, is a dream team. Two of the most celebrated and talented actors of modern cinema square off. The veterans give the relationship a depth that tinges the eventual madness with grief.
Washington humanizes Macbeth with a turn full of pathos. And no soliloquy, no matter how well-worn by time and pop culture, feels stale in McDormand’s bloody hands. The adaptation and cast forego lust for something deeper and more tender, but that tradeoff does rob the film of some excitement. If there is a chink in Macbeth’s armor, it is the muted emotion of it.
A supporting cast including Brendan Gleeson, Bertie Carvel, Harry Melling, Stephen Root and Ralph Ineson impresses scene after scene. A slippery Alex Hassell is particularly memorable as Ross, but Corey Hawkins’s powerful turn as Macduff is the film’s biggest surprise.
Let us pause a moment on the witches. The spectral sisters are played by Kathryn Hunter: spellbinding, contorted and unsettling. Her voice and image poison the beauty onscreen as they poison the mind of the Scot. The choice is inspired.
It’s not the only one. Coen’s writing — or editing, as he adapts the Bard – is precise and pointed. When is it not? Coen’s venture into Shakespeare, though it strips away the humor and quirk you may associate with Coen Brother filmmaking, stands as a strikingly Coen film. And that has never one time been a bad thing.
This season has inspired so much horror. You have classics like Black Christmas, foreign masterpieces like Inside, Calvaire and Sheitan, and tons upon tons of guilty pleasures. Today we narrow the focus to the best of the Santas – those fur coated, black booted terrors that can really ruin a festive noel. Here are our favorites.
5. Christmas Evil (1980)
Lewis Jackson’s yarn about a damaged boy growing up to be a murderous Santa may sound like every third holiday horror to come out in the 80s, but because it was one of the first to do it, it doesn’t fit the predictable pattern. More importantly, Brandon Maggart’s sympathetic performance elevates this film above schlock horror like Silent Night, Deadly Night (and its sequels) to something considerably better.
Yes, childhood memories of Dad and Mom getting cozy under the mistletoe while Dad’s dressed as Father Christmas have had an ill effect on Harry. His zealotry concerning the season, the ribbing he takes from people he knows, and the naughtiness he sees all around him finally push him over the edge. Predictable enough, and with a low budget that allows for very few jingle bells and whistles. Still, Jackson’s script goes unexpected places and Maggart delivers more than standard fare as the marauding Claus.
4. A Christmas Horror Stor ( 2015)
A trio of Canadian directors – Steve Hoban, Brett Sullivan, and Grant Harvey – pull together a series of holiday shorts with this one. Held together by Dangerous Dan (William Shatner), the small-town radio announcer who’s pulling a double shift this Christmas Eve, the tales vary wickedly from three teens trapped in their own wrong-headed Nativity, to a family who accidentally brought home a violent changeling with their pilfered Christmas tree, to a dysfunctional family stalked by Krampus, to Santa himself, besieged by zombie elves.
Yes, there is a second film out this holiday season with Krampus in it. You know what? This one’s better – in fact, it’s almost patterned after Krampus director John Dougherty’s cult favorite Trick r’ Treat and it offers more laughs and more scares.
Plus Shatner! He’s adorably jolly in the broadcast booth, particularly as the evening progresses and his nog to liquor ratio slowly changes. This is a cleverly written film, well-acted and sometimes creepy as hell. Merry f’ing Christmas!
3. Deadly Games (1989)
That mullet! That house! Rene Manzor’s 1989 holiday horror predates Home Alone by one year, but both films have the same idea in mind. What if an incredibly rich family leaves a kid to defend himself against home invaders on Christmas Eve?
Except in this case, rich doesn’t begin to cover it and the home invader isn’t a couple of suburban thugs, it’s a psychotic dressed as Santa. Patrick Floersheim brings layers of tragic man-chid mental instability to the role, and that gives the film a lot of depth. Alain Lalanne is adorable as the mulleted boy who believes in Santa, and Louis Decreux – as his go-along-with-anything grandpa – is equally precious.
The editing leaves a lot to be desired, so the action sequences and montages lack propulsion. But the set decoration is amazing. This is a fun one.
2. Saint (Sint) (2010)
What is every child’s immediate reaction upon first meeting Santa? Terror. Now imagine a mash-up between Santa, a pirate, and an old-school Catholic bishop. How scary is that?
Well, that’s basically what the Dutch have to live with, as their Sinterklaas, along with his helper Black Peter, sails in yearly to deliver toys and bag naughty children to kidnap to Spain. I’m not making this up. This truly is their Christmas fairy tale. So, really, how hard was it for writer/director Dick Maas to mine his native holiday traditions for a horror flick?
Allegorical of the generations-old abuse against children quieted by the Catholic Church, Saint manages to hit a few nerves without losing its focus on simple, gory storytelling.
1.Rare Exports (2010)
It’s not just the Dutch with a sketchy relationship with Santa. That same year Saint was released, the Fins put out an even better Christmas treat, one that sees Santa as a bloodthirsty giant imprisoned in Korvatunturi mountains centuries ago.
Some quick-thinking reindeer farmers living in the land of the original Santa Claus are able to separate naughty from nice and make good use of Santa’s helpers. There are outstanding shots of wonderment, brilliantly subverted by director Jalmari Helander, with much aid from his chubby-cheeked lead, a wonderful Onni Tommila.
Rare Exports is an incredibly well-put-together film. Yes, the story is original and the acting truly is wonderful, but the cinematography, sound design, art direction and editing are top-notch.
Step right up, folks, and witness a master of the macabre! See Guillermo Del Toro twist the familiar tale of ambition run amuck! Gasp at the lurid, gorgeous, vulgar world of Nightmare Alley!
Bradley Cooper stars as Stan, good lookin’ kid on the skids taken in by Clem (Willem Dafoe, creepy as ever) to carny for a traveling show. Stan picks up some tricks from mentalist Zeena (Toni Collette) and her partner Pete (David Strathairn), then lures pretty Molly (Rooney Mara) to the big city to set up their own mind-reading racket.
Things are going swell, too, until Stan gets mixed up with psychiatrist Lillith (Cate Blanchett) whose patient list includes some high rollers with large bank accounts ripe for the picking.
That’s already one hell of an ensemble, but wait there’s more! Richard Jenkins, Ron Perlman, Mary Steenburgen and Tim Blake Nelson all add immeasurably to the sketchy world Stan orbits.
What Del Toro brings to the tale, besides a breathtaking cast and an elegantly gruesome aesthetic, is his gift for humanizing the unseemly. Edmund Goulding’s 1947 adaptation of William Lindsay Gresham’s novel (a solid slice of noir with Tyrone Power in the lead) dulled the edges of any seediness. Even Tod Browning’s Freaks – maligned as it was – found the unsettling carny life mainly wholesome.
Cinematographer Dan Lausten and composer Nathan Johnson create a delicious playground for Del Toro’s carnival to call home, one where even the most likable members of the family turn a blind eye to something genuinely sickening and cruel happening in their midst. The filmmaker plumbs that underlying horror, complicating Stan’s arc and allowing the film’s climax to leave a more lasting mark.
As usual, Del Toro wears his feelings proudly on his sleeve, with unmistakable but organic foreshadowing that ups the ante on the stakes involved. Anchored by another sterling performance from Cooper, Stan’s journey rises to biblical proportions. An actor whose gifts are often deceptively subtle, Cooper makes sure Stan’s pride always arrives with a layer of charming sympathy, even as it blinds him to the pitfalls ahead.
And Blanchett – shocker – is gloriously vampy. She swims elegantly through the sea of noir-ish light and framing that Del Toro bathes her in, as Lillith casts a spell that renders Stan’s helplessness a fait accompli.
Nearly every aspect of the screenplay (co-written by Del Toro and Kim Morgan) creates a richer level of storytelling than the ’47 original. The dialog is more sharply insightful, the finale more dangerously tense and the characters – especially Mara’s stronger-willed Molly – more fully developed. All contribute greatly toward the film rebounding from a slightly sluggish first act to render the two and a half hour running time unconcerning.
For Del Toro fans, the most surprising aspect of Nightmare Alley might be the lack of hopeful wonder that has driven most of his films. As the title suggests, this is a trip to the dark corners of the soul, where hope is in damn short supply.
So as much as this looks like a Del Toro film, it feels like a flex just from taking his vision to the sordid part of town. But what a vision it turns out to be – one of the year’s best and one of his best.
Don’t believe me? See it with your own eyes, step right up!
Legendary indie horror filmmaker Charles Band joins Fright Club this week to talk about his new book Confessions of a Puppet Master, Marilyn Monroe, spotting talent, and VHS art. He even gives us some advice on our first feature film.
5. Trancers (1984)
Directed by Charles Band, the film follows a hard-boiled Blade Runner style mercenary into the past. Jack Death (Tim Thomerson) must stop a villain from killing off the ancestors of those who keep him from ruling the world. If they’re never born, he will be unstoppable, thanks to his army of zombielike Trancers.
The point is, Helen Hunt. To say that she makes the most of this material is an understatement. She’s adorable, charming, and she carves a memorable character out of less-than-stellar written material. The rest is fun, cheesy scifi.
4. Troll (1986)
The 1986 original Troll boasts a surprising hodgepodge of names in the ensemble: Julia Louis-Dreyfus, Michael Moriarty, June Lockhart (the mom from the Lost in Space TV show), Sonny Bono, as well as a who’s who of “Hey, I got to get out of here in time to be on that Love Boat episode” stardom. It’s a grab at the burgeoning genre Joe Dante created in 1984 with Gremlins, comic stuff about a troll king turning San Francisco apartment dwellers into plants.
The other thing that stands out in this 1986 flick is that the protagonist (and his father, come to think) is named Harry Potter. There’s a witch, too. Coincidence?
A good mash-up of humor and gore highlighted by the young Louis-Dreyfus in a small but funny role, it’s the kind of movie that epitomizes what producer Charles Band (who has a cameo) did best.
3. Rawhead Rex (1986)
Clive Barker penned this one. No, he did not like the film it turned out to be, but you might. Band produced this Irish horror that sees a wildly unhappy couple, their doomed children, and a small town on the Emerald Isle accosted by a reincarnated demon with a face that looks like raw meat.
Another memorable VHS cover made this one of those movies you immediately associate with video stores, and though the acting is hardly top quality, the creature design is hideous and fun.
2. Puppet Master (1989)
If any movie capitalized on the VHS box, it was Puppet Master. The tag Evil comes in all sizes looms large above a theatrical trunk, wedged open to show a group of hideous little puppets. And the film didn’t disappoint, because those little evildoers get themselves into all manner of bloody, slug-spewing trouble.
The point-of-view camerawork, fun cameos and inspired creature designs make up for a lot of script and acting weaknesses and the film easily carries that Charles Brand stamp: low budget, funny, campy, gory fun.
1. Re-Animator (1985)
Re-Animator boasts a good mix of comedy and horror, some highly subversive ideas, and one really outstanding villain. Band knew a movie worthy of distribution when he saw one, and this film became a surprising theatrical hit for him.
Jeffrey Combs, with his intense gaze and pout, his ability to mix comic timing with epic self-righteousness without turning to caricature, carries the film beginning to end. His Dr. Herbert West has developed a day-glo serum that reanimates dead tissue, but a minor foul-up with his experimentations – some might call it murder – sees him taking his studies to the New England medical school Miskatonic University. There he rents a room and basement laboratory from handsome med student Dan Caine (Bruce Abbott).
They’re not just evil scientists. They’re also really bad doctors.
Just four years ago, director Ridley Scott deconstructed the Getty family’s wealth of dysfunction in the masterful All the Money in the World.House of Gucci shows he’s still got money on his mind, and his mind on the rot that can take root in such mind-altering luxury.
Based on the true events detailed in Sara Gay Forden’s bestseller, the film dissects the complete unraveling of the Gucci family dynasty, a fuse seemingly lit by the unlikely relationship between Muarizio Gucci (Adam Driver) and commoner Patrizia Reggiani (Lady Gaga).
Though the Gucci name gets Patrizia’s attention at their first introduction, Muarizio didn’t seen to have much interest in the empire shared equally by his father Rodolfo (Jeremy Irons) and uncle Aldo (Al Pacino). But once he puts a ring on it, the mix of Patrizia’s ambition and Aldo’s invitations finally bring Maurizio into the family business.
Aldo’s own son Paulo (Jared Leto in some nifty makeup) is the Fredo in this clan, and it isn’t long before Paulo is trying to form his own back door alliance with Rodolfo, and Patrizia is Lady Macbeth-ing it everywhere from Italy to New York (complete with bewitching help from Salma Hayek as psychic Pina Auriemma).
You may have noticed that this is a pretty impressive cast. True, and even with their wheel-of-accents there’s little doubt that watching them all try to out-Italian each other in this trashy mash of The Godfather, I, Tonya, Shakespeare and The Real Housewives of Milan is the film’s biggest pleasure. But Scott and screenwriters Becky Johnston and Roberto Bentivegna can never establish a consistently compelling tone (overly random soundtrack choices don’t help, either), and the two and a half hour run time takes on curious contrasts. Even as the overall narrative has moments that drag, Maurizio’s transformation to the dark side still feels too rushed and convenient.
But Gaga proves worthy of another Oscar nom, and though the film never reaches the level of crackling relevance Scott mined in his look at the Gettys, she proves a fascinating window for the legendary director’s latest foray into an iconic family’s arc of greed, suspicion, betrayal and worse.
And if your Thanksgiving ends up going completely off the rails, House of Gucci is a star-powered and entertaining way to feel a whole lot better about your own family.
Claustrophobia is a common terror, which makes it a common theme in horror films. Whether the entire film generates a sense of entrapment (The Thing, Rec, Pontypool, Misery) or the filmmaker inserts moments of claustrophobic terror (Shadow in the Cloud, The Pit and the Pendulum), these movies hit a nerve. Today we spend some time in tight quarters counting down the most claustrophobic horror movies.
5. The Hole (2001)
Nick Hamm’s 2001 thriller finds a handful of spoiled boarding school teens sneaking away while the school’s on holiday. They want to see what kind of trouble they can get into with a couple of undetected days in the underground bomb shelter they discovered well behind the school.
It’s all fun and games until they can’t get out.
Thora Birch delivers a brilliant turn as the lead — vulnerable and yet entirely conniving and psychotic, her Liz is mesmerizing. Kiera Knightly shines as well, as does Embeth Davidtz as a detective who won’t be fooled by Liz’s psychosis.
Or will she?
4. Cube (1997)
Making his feature directing debut in 1997, Vincenzo Natali, working from a screenplay he co-wrote, shadows 7 involuntary inmates of a seemingly inescapable, booby-trapped mazelike structure. Those crazy Canucks!
Cube is the film Saw wanted to be. These people were chosen, and they must own up to their own weaknesses and work together as a team to survive and escape. It is a visually awe-inspiring, perversely fascinating tale of claustrophobic menace. It owes Kafka a nod, but honestly, stealing from the likes of Kafka is a crime we can get behind.
There is a level of nerdiness to the trap that makes it scary, in that you know you wouldn’t make it. You would die. We would certainly die. In fact, the minute they started talking about Prime Numbers, we knew we were screwed.
3. Buried (2010)
Almost did not make it past the trailer for this one. A tour de force meant to unveil Ryan Reynolds’s skill as an actor, Buried spends a breathless 95 minutes inside a coffin with the lanky Canadian, who’s left his quips on the surface.
A truck driver working in Iraq who wakes up after being hit on the head, Paul Conroy finds himself inside a coffin. He has a cell phone and a lighter, but not the skill of Uma Thurman, so he is pretty screwed.
The simple story and Reynolds’s raw delivery make this a gut-wrenching experience.
2. The Descent (2005)
A bunch of buddies get together for a spelunking adventure. One is still grieving a loss – actually, maybe more than one – but everybody’s ready for one of their outdoorsy group trip. Writer/director Neil Marshall begins his film with an emotionally jolting shock, quickly followed by some awfully unsettling cave crawling and squeezing and generally hyperventilating, before turning dizzyingly panicky before snapping a bone right in two.
And then we find out there are monsters.
Long before the first drop of blood is drawn by the monsters – which are surprisingly well-conceived and tremendously creepy – the audience has already been wrung out emotionally. The grislier the film gets, the more primal the tone becomes, eventually taking on a tenor as much like a war movie as a horror film. This is not surprising from the director that unleashed Dog Soldiers – a gory, fun werewolf adventure. But Marshall’s second attempt is far scarier. For full-on horror, this is one hell of a monster movie.
1. The Vanishing (Spoorloos) (1988)
Back in ’88, filmmaker George Sluizer and novelist Tim Krabbe adapted his novel about curiosity killing a cat. The result is a spare, grim mystery that works the nerves.
An unnervingly convincing Bernard-Pierre Donnadieu takes us through the steps, the embarrassing trial and error, of executing his plan. His Raymond is a simple person, really, and one fully aware of who he is: a psychopath and a claustrophobe.
Three years ago, Raymond abducted Saskia (Johanna ter Steege) and her boyfriend Rex (Gene Bervoets) has gone a bit mad with the mystery of what happened to her. So mad, in fact, that when Raymond offers to clue him in as long as he’s willing to suffer the same fate, Rex bites. Do not make the mistake of watching Sluizer’s neutered 1993 American remake.