Vermonsters

My twin sister Joy and I have much in common aside from a birth date and pasty legs – we love her kids and mine; we love Pee-wee Herman; we enjoy a lovely nap and we eat soft boiled eggs over dry cereal – the important things. But our differences become more pronounced as we age.

She lived in Boston for maybe a decade, just a couple minutes’ drive from the greatest video rental place on the globe, Video Oasis.

Truly, it was an oasis of all things horror movie. It had everything. I would search the internet, compile lists, plot out every inaccessible horror film in creation and take said list with me to this glorious font of B-movies, where the overweight smoker of an owner always, always had what I was looking for.

1974 Blaxploitation classic Abby (aka The Blaxorcist)? Yep.

Martin Landau’s lost 1982 insane asylum flick Alone in the Dark? Got it.

Often I’d have to settle for VHS, sometimes for what was clearly a handmade, pirated copy, but what did I care? Sisters of Satan (noted by Satanist and film critic Nikolas Schreck as “the best soft core Satanic lesbian nun film that Mexico has ever produced”) wasn’t just going to find its own way onto my TV screen.

Alas, city life grew tiresome for my sister and her burgeoning family, and they uprooted to the wilds of Vermont. Only about three hours from Boston and its magnificent pool of schlock horror, Hinesberg, Vermont may as well have been another planet.

A heavily wooded planet.

They searched out their dream home, nestled in the woods on a lake. Technically – and by that I mean, if you ask Joy – they don’t live in a log cabin in the woods. For my purposes, it’s a log cabin. It is definitely in the woods.

I am not one with the woods.

In fact, of all my countless and paralyzing fears, nothing evokes the kind of panic in me that the woods does. The forest fills me with a pathological, deep and abiding, blind terror.

And yet—as if to get away from me—Joy moved her clan into one of my nightmares.

Joy’s family adapted quickly. I was on the phone with her and her wee one Vivian, then two, when Viv caught a fat frog. From my end of the phone I could make out Joy’s side of the conversation.

“Wow, it’s a big one. He has orange marks on his belly, can you see that? He won’t let you pick him up, though. Oh, look at that, he did let you pick him up. Be gentle. Be careful with him.”

“Don’t squeeze. Don’t Squeeze. DON’T SQUEEZE!”

The wildlife didn’t bother my little Vermonsters one iota. Ruby, Vivian’s older sister and bunkmate, came nonchalantly down the stairs one morning to announce on her way to eat breakfast, “There’s a bat in my room.”

“It’s black with a gray head,” she clarified as her dad Jeff made his way upstairs, as if he might mistake this bat with some other.

Given her utterly nonplussed response to the invader, Jeff assumed it was something else – a big moth, maybe. Ruby sleeps on the top bunk. Surely if an actual bat were flying around that close to her sweet little head, she’d be a bit more excited about it.

It was indeed a bat.

A good sized bat, which only made it all the more embarrassing for Jeff and Joy when they freaked right the hell out while their baby girls yawned and ate their morning granola.

But you have to get used to critters if you’re going to live where Joy and Jeff live.

At one point, their neighbors’ chickens were being picked off one by one.

“I think it’s a fisher cat,” Jeff said.

What’s a fisher cat?

fisher_th

“It’s not a wolverine,” Joy explained to me.

Wait, what?!! Is that supposed to be calming?

She has seen bears.

There are fucking predators in Joy’s yard.

Forgive me my ignorance. These are not worries we have at my house.

Off the deck out back Joy often sees woodchucks (according to Ruby, their babies are called chucklings), a fox or two, any number of birds – all of which possess a rustic charm when I can see them through the safety of a securely locked window.

At night, though, when these critters become nothing but glinting eyeballs, I prefer the comfort of the basement.

That’s where I stay when I visit, and that’s A-OK with me.

There are no windows in the basement.

In fact, I kid you not, the basement is so dark that Joy keeps a plastic miner’s helmet equipped with a light near the futon so guests can find their way around at night.

Whenever I visit the Family Vermonster I bring with me horror films set in the woods. I don’t know if it’s masochism or a clumsy attempt to face my fears, but it has become a ritual.

On one visit, after the girls went to bed, Joy, Jeff, and I lounged around the basement guest quarters and watched the sub-par Aussie camping nightmare Lost Weekend.

You know it? Fools dumb enough to spend time in the woods are unceremoniously picked off by angry animals.

Afterward, Jeff retired and Joy and I sat up making fun of people, as is our way.

We were interrupted by the sound of critters.

Joy kept talking, though through a nervous smile.

I silenced up and waited for Joy to share some comforting words about what that noise was and how it meant me no harm.

The noise came again.

It wasn’t a mouse, wasn’t even mice. It sounded like a multitude of medium sized mammals with claws skittering across the first-floor hardwood.

“What the fuck?” I queried.

She smiled again, shrugged her shoulders and held her hands out in a ‘kids do the darndest things’ kind of expression.

“What does that mean?!!”

“I don’t know,” she offered anxiously. “Maybe keep the basement door closed?”

AAaaaaaahhhhhhh!

That night I naturally lay awake until images of rodents and scurrying varmints overcame me, their glinting eyeballs creeping toward me from every dark recess in the basement.

Slowly the beings morphed with my dreamier brain into furry little beasties. Some were feline and fanged. Some had orange markings on their bellies, others, gray heads.

They dashed in and out of the shadows, under furniture, around corners, looking for what – meat?

It seems to me they were searching for meat.

I swear some of them were wearing miners’ helmets.

Fright Club: Sisters in Horror

Oh, siblings—our closest friends and the bane of our existence. Horror movies know that, which is why both sibling rivalry and sisterly bonds populate so many worthwhile flicks: Sisters, Excision, Mama, Only Lovers Left Alive, Kiss of the Vampire. Too many to count, really, but that’s exactly what we plan to do: count down the five best.

5. The Lure (2015)

Sisters Gold (Michalina Olszanska) and Silver (Marta Mazurek) are not your typical movie mermaids, and director Agnieszka Smoczynska’s feature debut The Lure is not your typical – well, anything.

The musical fable offers a vivid mix of fairy tale, socio-political commentary, whimsy and throat tearing. But it’s not as bizarre a combination as you might thing.

The Little Mermaid is actually a heartbreaking story. Not Disney’s crustacean song-stravaganza, but Hans Christian Andersen’s bleak meditation on the catastrophic consequences of sacrificing who you are for someone undeserving. It’s a cautionary tale for young girls, really, and Lure writer Robert Bolesto remains true to that theme.

But that’s really too tidy a description for a film that wriggles in disorienting directions every few minutes. There are slyly feminist observations made about objectification, but that’s never the point. Expect other lurid side turns, fetishistic explorations, dissonant musical numbers and a host of other vaguely defined sea creatures to color the fable.

https://www.youtube.com/watch?v=vxhi_3hDUPE

4. Ginger Snaps (2000)

Sisters Ginger and Bridget, outcasts in the wasteland of Canadian suburbia, cling to each other, and reject/loathe high school (a feeling that high school in general returns).

On the evening of Ginger’s first period, she’s bitten by a werewolf. Writer Karen Walton cares not for subtlety: the curse, get it? It turns out, lycanthropy makes for a pretty vivid metaphor for puberty. This turn of events proves especially provocative and appropriate for a film that upends many mainstay female cliches.

Walton’s wickedly humorous script stays in your face with the metaphors, successfully building an entire film on clever turns of phrase, puns, and analogies, stirring up the kind of hysteria that surrounds puberty, sex, reputations, body hair, and one’s own helplessness to these very elements. It’s as insightful a high school horror film as you’ll find, peppered equally with dark humor and gore – kind of A Canadian Werewolf in High School, if you will.

https://www.youtube.com/watch?v=Zoa1A987A_k

3. Raw (2016)

Justine (Garance Marillier, impressive) is off to join her older sister (Ella Rumpf) at veterinary school – the very same school where their parents met. Justine may be a bit sheltered, a bit prudish to settle in immediately, but surely with her sister’s help, she’ll be fine.

Writer/director Julia Ducournau has her cagey way with the same themes that populate any coming-of-age story – pressure to conform, peer pressure generally, societal order and sexual hysteria. Here all take on a sly, macabre humor that’s both refreshing and unsettling.

A vegetarian from a meat-free family, Justine objects to the freshman hazing ritual of eating a piece of raw meat. But once she submits to peer pressure and tastes that taboo, her appetite is awakened and it will take more and more dangerous, self-destructive acts to indulge her blood lust.

In a very obvious way, Raw is a metaphor for what can and often does happen to a sheltered girl when she leaves home for college. But as Ducournau looks at those excesses committed on the cusp of adulthood, she creates opportunities to explore and comment on so many upsetting realities and does so with absolute fidelity to her core metaphor.

2. What Ever Happened to Baby Jane? (1962)

Bette Davis and Joan Crawford? Yes, please!

The two then-aging (just barely, if we’re honest) starlets played aging starlets who were sisters. One (Davis’s Jane) had been a child star darling. The other (Crawford’s Blanche) didn’t steal the limelight from her sister until both were older, then Blanche was admired for her skill as an adult actress. Meanwhile, Jane descended into alcoholism and madness. She also seemed a bit lax on hygiene.

Blanche winds up wheelchair bound (How? Why? Is Jane to blame?!) and Jane’s envy and insanity get the better of her while they’re alone in their house.

Famously, the two celebrities did not get along on set or off. Whether true or rumor, the performances suggest a deep, authentic and frightening hatred borne of envy that fuels the escalating tension.

Davis is at her unhinged best in a performance that earned her an Oscar nomination. Crawford pales by comparison (as the part requires), but between the hateful chemistry and the story’s sometimes surprising turns, this is a movie that ages well, even if its characters did not.

1. A Tale of Two Sisters (2003)

A lurid Korean fairy tale of sorts – replete with dreamy cottage and evil stepmother – Jee-woon Kim’s Tale of Two Sisters is saturated with bold colors and family troubles.

A tight-lipped father returns home with his daughter after her prolonged hospital stay. Her sister has missed her; her stepmother has not. Or so it all would seem, although jealousy, dream sequences, ghosts, a nonlinear time frame, and confused identity keep you from ever fully articulating what is going on. The film takes on an unreliable point of view, subverting expectations and keeping the audience off balance. But that’s just one of the reasons it works.

The director’s use of space, the composition of his frame, the set decoration, and the disturbing and constant anxiety he creates about what’s just beyond the edge of the frame wrings tensions and heightens chills. The composite effect disturbs more then it horrifies, but it stays with you either way.

Tale masters the slow reveal, and the dinner party scene is a pivotal one for that reason. One of the great things about this picture is not the surprise about to be revealed – one you may have guessed by this point, but is nonetheless handled beautifully – but the fact that Tale has something else up its sleeve. And under its table.

Third Course

The Trip to Spain

by George Wolf

“I’m asking you if you’ll come with me.”

Steve Coogan may be inviting his travel buddy Rob Brydon to join another tasty road trip, but he may as well be asking us if we’re game to ride shotgun.

Once again it’s a witty, breezy, sometimes utterly hilarious getaway.

If you’re hip to The Trip, The Trip to Italy or even the original The Trip TV series, you know what’s coming. For the uninitiated, it’s Steve and Rob playing slightly fictionalized versions of themselves as they tour a particular region to sample the finest restaurants and write reviews for the U.K. Observer.

This time out The New York Times is in on the action, too, as our boys are off on The Trip to Spain. They’ll eat well, deliver sarcastic barbs (Rob: “We welcome Philomena back to the conversation, it’s been a good 5 or 6 minutes.”), and of course try to one up each other with dueling celebrity impersonations from Bowie to Brando and Mick Jagger doing Shakespeare.

But in Spain, Roger Moore becomes the new Michael Caine. After trading rapid-fire imitations, Steve detours into a lecture on the Spanish history of the Moors while Rob continues on as Roger.

It’s LMAO funny and the film’s most uproarious bit.

Director Michael Winterbottom is back for this third go ’round as well, and while you’re right to expect more of the same, all involved sense a need to deepen the characterizations.

Understandable, but ultimately a bit of a double edged sword.

There’s bittersweet humanity mined from how Steve and Rob have settled into separate lives, but as the running time begins to feel bloated, the sense that this premise is treading water makes the slightest of appearances.

Not enough to derail the journey, mind you. These boys are still good fun, and so is The Trip to Spain.

 

 

Goon Baby Goon

Goon: Last of the Enforcers

by George Wolf

Seven years ago, we got three successive blasts of fresh air released in roughly 18 months: Kick-Ass, Machete and Goon. Sequels for the first two quickly followed, each doomed by an approach that seemed oblivious to all that made their origin stories so appealing.

It’s taken quite a bit longer, but Goon: Last of the Enforcers is here to complete the unfortunate trifecta.

Lovable hockey goon/overall simpleton Doug Glatt (Seann William Scott) is touched to be named captain of his Halifax Highlanders squad, but when he’s beaten to a bloody mess by new goon on the block Anders Cain (Wyatt Russell), Doug faces some tough decisions.

His girl Eva (Alison Pill) is pregnant and really doesn’t want him fighting anymore, so Doug takes a sad gig handling “insurance documents.” But with his team in disarray and a familiar itch to scratch, Doug starts training with old foe Ross Rhea (Liev Schrieber) for a possible return to the ice.

Familiar sports movie cliches follow, but that’s not what makes this new Goon so disappointing. The problems come from forgetting to give us any authentic reasons to care about Doug, or any attempts at humor that rise above sophomoric.

Jay Baruchel returns as co-star/co-writer, and takes the big chair for his debut as a feature director. His vision falls well short of the bawdy bulls-eye the first film delivered, sorely missing the script input from original co-writer Evan Goldberg (Pineapple Express, This Is the End, Sausage Party, Superbad). Goldberg’s smart brand of humor is just what this film needs more of, as it relies instead on silly gags aiming for the lowest hanging fruit.

Also gone is the goon so easy to love. Doug is much too broadly drawn this time, reduced from a big-hearted brute we rooted for to a village idiot merely there to laugh at, not laugh with.

Goon was an underdog winner. Last of the Enforcers earns the penalty box.

 

Tale of Two Spitters

Patti Cake$

by George Wolf

Glamorous dreams in a hardscrabble town. Local rappers “spitting” in free-style battles, gunning for the neighborhood respect they that can’t get at home or work. A rousing hip-hop anthem showcasing star making talent.

Sure, Patti Cake$ often smells what 8 Mile was cooking, but writer/director Geremy Jasper’s feature debut is loaded with enough exuberant sincerity and earnest button-pushing to succeed on more levels than it probably should.

And since somebody mentioned star making, just try to turn your eyes away from Danielle Macdonald’s lead performance as Patti Dombrowski, a twenty-something bartender in New Jersey who stares across the river and dreams of NYC stardom.

While the kids still call her “Dumbo,” Patti calls herself “Killa P,” rapping her original rhymes with constant support from her pharmacist friend Jheri (Siddharth Dhananjay) and no support from her drunky mom Barb (Inside Amy Schumer’s Bridget Everett).

But when scary new musician friend “Antichrist” (Mamoudou Athie, The Get Down‘s Grandmaster Flash) turns out to be pretty handy with the beat boxes and recording equipment, a homemade CD just might punch Patti’s ticket out of Jersey poverty.

Macdonald, a television vet plenty worthy of this move to features, keeps the entire film grounded in authenticity, which is good, because this entire film needs some grounding in authenticity.

While contrived events and manipulative strings may be pulled around her, Patti’s daily struggles never feel false. The ways she deals with drunks at her bar, a potential new boss at a job interview, or the failing health or her grandmother (Cathy Moriarty, nice to see despite being too young for the role) are filled with a mix of exhausted resignation and cautious optimism well known to countless Americans just trying to get ahead.

Jasper throws in enough stylish dream sequences and weirdly awkward close ups to expose both his inexperience and potential. What Patti Cake$ lacks in originality is made up in creative spirit, because like Patti, Jasper is a talent dreaming big.

With Macdonald as a perfect muse, he’s making sure his own homemade CD has too much fairy tale pixie dust to ignore, with a final track too proudly shameless to resist.

I Don’t Want to Go Out – Week of August 28

Cutie pies—that’s what’s available for home entertainment this week. Whether you’re in the mood to eyeball ab-tastic beach bods or baby pandas (and we will totally judge you if you pick the wrong one), what hits your screen will be far cuter than it should legally be.

Click the title for a full review. And as always, please use this information for good, not evil.

Baywatch

Verdict-3-0-Stars

Born in China

Verdict-3-0-Stars

https://www.youtube.com/watch?v=PGJh7Zhq6SE

Fright Club: Best Hammer Horror

With more than 200 films to their credit, there are almost too many directions you can take when whittling down the best in Hammer horror. Ingrid Pitt could have her own countdown, and fans of the sultrier side of Hammer may be disappointed with this countdown. Fans of Terence Fisher should be pleased, though, but there are still many other films in their repertoire worthy of note, which is why Phantom Dark Dave joins us with his own list!

5. The Devil Rides Out (1968)

Terence Fisher directed many—most—of Hammer’s best films. The Devil Rides Out was his last good movie.

We open on Christopher Lee, tall and brooding, his hair slicked back and his goatee dark. He is the picture of Luciferian evil. But he’s the good guy, which is just one of the ways the film toys with you.

Lee is the wealthy, occult-intrigued de Richleau, and he’s trying—God help him!—to save the life of his young friend whose very soul is in the hands of the evil Mocata. (Rocky Horror’s Charles Gray, which, let’s be honest, may be why we love this movie. The man has no neck! It’s just a jump to the left! We digress.)

There’s a black mass followed by a white mass followed by a black mass. What more do you want from a Hammer film?

Well, if you want loads of extreme close-ups of Charles Gray’s evil looking eyes, then you are in luck!

4. Frankenstein Created Woman (1967)

It turns out, we have kind of a thing for Terence Fisher. Did not even know that until we started working on this list.

In this late-life sequel in Hammer’s Frankenstein franchise, the idea of the female equivalent gets upended in sometimes fascinating ways. The film’s prelude, as a little boy sneaks to watch his drunken father’s execution, sets the stage for a surprisingly touching yet moralistically ambiguous film. Hooray!

Yes, Hammer dried this well up, returning to the Frankenstein tale for sequels and re-toolings throughout the sixties and into the seventies. One constant – Cushing – never fails the picture. Committed to his evil doctor – whom he based on the real-life British Dr. Knox he would later portray in earnest in 1960’s Flesh and the Fiends – Cushing excels where the films around him fail.

This time, it’s the human soul (as well, of course, as the idea of the ideal woman) that preoccupies the doctor and the film. It’s a topic that generates surprisingly little traction in the world’s many Frankenstein efforts, and though this one is hardly flawless, it’s still consistently intriguing.

3. Curse of Frankenstein (1957)

Beginning in the late 1950s, Britain’s Hammer studios begin making lurid period horror, banking on the awesome duo of Peter Cushing and Christopher Lee. Their first collaboration was longtime Hammer director Terence Fisher’s take on the Shelley text, Curse of Frankenstein.

All bubbling potions and bunsen burners, Cushing’s laboratory (don’t forget to pronounce that middle ‘o’) is as fine a home to unholy alchemy as any. Jovially laissez-faire in matters of a moral nature, his sinister acts in the name of science are well played.

Cushing’s mad doctor is, at heart, a spoiled child. His behavior is outrageous, repugnant, but fascinating.

Christopher Lee made a fantastic Dracula – all elegance, height and menace. As Frankenstein’s monster, he’s rotty flesh, dead eye and sutures. Nasty! But the film’s real moment of genius was in making the doctor such a nonplussed agent of evil.

2. Curse of the Werewolf (1961)

The great, sultry, unseemly Oliver Reed makes his big screen debut in this one as Leon, the stricken ward of Spanish wealth with a hairy, toothy secret. So, that is awesome, but it is hardly the most interesting thing about this Terence Fisher movie.

Set in 18th Century Spain, the film opens on a cruel nobleman’s imprisonment of a beggar, who rots in a dungeon for decades, his only reminder of humanity the jailer and his lovely mute daughter. Naturally, that daughter is nearly raped by the nobleman, tossed into prison, and subsequently raped by the beggar. The territory is about as dark as Hammer gets, and it raises a lot of questions. Like, why is his offspring a werewolf?

Never explained, but a wealthy man takes pity on the dying girl’s offspring, raises him up and protects him from his own darker self. This is where Oliver Reed shines, because very few actors were ever more convincing when it came to the idea that they had unsettling impulses.

Fisher’s real fascination here is just that duality of man, and with Hammer flourish and Reed’s overacting, he makes a big splash in investigating it.

1. Horror of Dracula (1958)

In 1958, Hammer Films began its long and fabulous love affair with the cloaked one, introducing the irrefutably awesome Christopher Lee as the Count.

Their tale varies a bit from Stoker’s, but the main players are mostly accounted for. Peter Cushing steps in early and often as Van Helsing, bringing his inimitable brand of prissy kick-ass, but it’s Lee who carries the film.

Six foot 5 and sporting that elegant yet sinister baritone, Lee cuts by far the most intimidating figure of the lot as Dracula. Director Terence Fisher (what?!) uses that to the film’s advantage by developing a far more vicious, brutal vampire than what we’d seen previously.

Still, the film is about seduction, though, which gives Lee’s brute force an unseemly thrill. Unlike so many victims in other vampire tales, it’s not just that Melissa Stribling’s Mina is helpless to stop Dracula’s penetration. She’s in league. She wants it.

Ribald stuff for 1958!

The Screening Room: Dreaming and Connecting

Click HERE to join us in the Screening Room to break down Leap!, Ingrid Goes West, Good Time, Whose Streets?, Lemon, In This Corner of the World and what’s new in home entertainment!

Single White Follower

Ingrid Goes West

by George Wolf

Oh, look, some Hollywood elitists want to wag a finger in our general direction and lament how our obsession with social media connections keep us from making real ones. Can’t wait.

Hold on, Ingrid Goes West is smarter than your average wag, and the feature debut from director/co-writer Matt Spicer sports a welcome swagger that holds the film’s satirical bite just when you think it’s going soft.

Aubrey Plaza is Ingrid Thorburn, a shall-we-say “high strung” young woman in Pennsylvania who earns some mental health evaluation after an unsavory incident at a friend’s wedding. Ingrid’s spirits are lifted when she comments on a post by Instagram star Taylor Sloane (Elizabeth Olsen), and Taylor actually responds.

Uh-oh.

Newly motivated, Ingrid is off to California, where she finds a way to insert herself into Taylor’s perfect life, maybe make a boyfriend out of her Batman-obsessed landlord Dan (Straight Outta Compton‘s O’Shea Jackson, Jr.) and definitely live out her social media fantasies.

Though Spicer freely uses contrivance to set up and maintain his narrative, the comedy is deliciously dark and the characters keep us invested even when they’re far from likable. Plaza (earning another producing credit) easily makes Ingrid an appealing mix of sympathetic and psychotic, while Olsen crafts the perfect embodiment of insufferably attractive hipster.

The metaphors aren’t always subtle, but Ingrid Goes West finds a delicate balance in its travels, one that understands the allure of a volatile facade.

Verdict-3-5-Stars

 

 

 

 

 

Hope Madden and George Wolf … get it?