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Fright Club

Fright Club: Best Werewolf Movies

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In honor of George Wolf’s birthday on “the 21st night of September” (thanks Earth, Wind & Fire!), we celebrate Wolf men today. Not the fuzzy abomination of the Twilight wolf boys – let’s skip them. In fact, in prepping for this one we noticed an awful lot of really bad werewolf movies, and even more decent efforts undone by the real curse of lycanthropy – the prosthetics and make up. There’s also one we leave off this list that will piss a lot of people off. It was a close call, but we gave goth poetry the nod over Eighties social commentary.

5. The Company of Wolves (1984)

Neil Jordan’s poetic tale of sexual awakening is saturated with metaphors and symbols – most of them a bit naughty. A young girl dreams a Little Red Riding Hood type fable. She was just a girl, after all, who’d strayed from the path in the forest.

Jordan looks at a lot of the same themes you’ll find in any coming of age horror – the hysteria surrounding the move into womanhood. It’s just that he does it with such a sly delivery.

Theatrical and atmospheric, it’s not a classic horror tale, but it is creepy and it builds genuine dread. It also takes some provocative turns, and it boasts a quick but outstanding cameo by Terence Stamp as the Prince of Darkness.

4. The Wolf Man (1941)

Obviously this classic needs to be remembered in any examination of the genre. Lon Chaney, Jr.’s incredibly sympathetic turn as the big American schlub who keeps accidentally killing people anchors a film that has aged surprisingly well. Just compare it to its heinous 2010 reboot and you, too, will long for the grace of the original.

Sure, the score, the sets, the fog and high drama can feel especially precious. And what self-respecting wolf man goes by the name Larry? But there’s something lovely and tragic about poor, old Larry that helps the film remain compelling after more than sixty years.

3. 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.

2. Dog Soldiers (2002)

Before Neil Marshall freaked us all out with the excellent genre flick The Descent, he breathed new life into the werewolf tale by abandoning a group of soldiers in the Scottish highlands as bait.

Wry humor, impenetrable accents, and a true sense of being out in the middle of nowhere help separate this from legions of other wolf men tales. Marshall uses an army’s last stand approach beautifully. This is like any genre pic where a battalion is trapped behind enemy lines – just as vivid, bloody and tense. But the enemies this time are giant, hairy, hungry monsters. So the idea (fantastically realized here) of traitors takes on a little extra something-something.

1. An American Werewolf in London (1981)

We’ve mentioned John Landis’s groundbreaking horror comedy in the past. It is the best of the bunch for a number of reasons: a darkly funny script, sharp writing that propels the action, Oscar-winning effects, a cool looking wolf. But is there one scene that encapsulates it all?

A pasty, purse-lipped Brit businessman leaves the train in an otherwise empty, harshly lit subway station. He pumps a small vending machine with change and comes out with mints. A tiny smirk of satisfaction crosses his face as he begins to unwrap the item, but the look turns to a grimace of unpleasant surprise. Echoing through the empty, rounded corridor comes a far off growl.

“Hello? Is there someone there?”

Again the growl.

Stern voice: “I can assure you that this is not the least bit amusing. I shall report this.”

There now, those hooligans have ruined his happy mint moment.

The camera follows him up an escalator, around a turn, into a rounded tunnel-like corridor uninterrupted for a long stretch by doors or windows. It’s a claustrophobic nightmare.

The camera takes the beast’s eye view, rounding a nearby corner, eyeing the Englishman. We see the terror as he backs away.

“Good lord.”

That awful howling sound.

And then David wakes up naked in the zoo.

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There’s No Vaccine for This

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Cooties

by Hope Madden

Welcome to the dog eat dog and child eat child world of elementary school.

Kids are nasty bags of germs. We all know it. It is universal truths like this that make the film Cooties as effective as it is.

What are some others? Chicken nuggets are repulsive. Playground dynamics sometimes take on the plotline of LORD OF THE FLIES. To an adult eye, children en masse can resemble a seething pack of feral beasts.

Directing team Jonathan Milott and Cary Murnion harness those truths and more – each pointed out in a script penned by a Leigh Whannell-led team of writers – to satirize the tensions to be found in an American elementary school.

Whannell – co-creator of both the Saw and Insidious franchises – co-stars as the socially impaired science teacher on staff. He’s joined by a PE teacher (Rainn Wilson), an art teacher (Jack McBrayer), two classroom teachers (Alison Pill, Nasim Pedrad), and the new sub, Clint (Elijah Wood), in a fight for survival once an aggressive virus hits the student population of Fort Chicken.

School-based horror abounds – even Wood’s done it previously, having starred in Robert Rodriguez’s 1998 alien invasion fantasy The Faculty.

Cooties is also not the first horror film to mine tensions from the image of monstrous children turned against us. Come Out and Play (both the 2013 American version and its Spanish predecessor Who Can Kill a Child?) generate tensions based on the presumed difficulty an adult would have in slaughtering children.

Two things set Cooties apart. One: It is often laugh out loud funny. Two: It is willing to indulge the subversive fantasy of (possibly all) school teachers.

They kill a lot of children in this movie.

If Murnion and Milott couldn’t find the comedic tone to offset the seriously messed up violence, the film would be a distasteful, even offensive failure. But, thanks in part to a very game cast, as well as an insightful screenplay, Cooties comes off instead as a cathartic (if bloody) metaphor and an energetic burst of nasty fun. It might be welcome after school viewing in the teacher’s lounge.

Verdict-3-5-Stars

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Up Where We Don’t Belong

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Everest

by George Wolf

First and foremost, the film account of a legendarily tragic Mt. Everest expedition has to look the part. By that measure, Everest is a masterpiece.

Director Baltasar Kormakur displays pristine craftsmanship and finely-tuned instincts in displaying both the awe-inspiring enormity of the mountain – and the folly of believing you are not at its mercy. Blessed with Salvatore Totino’s breathtaking cinematography, Kormakur (Contraband, 2 Guns) effectively translates the punishing nature of an Everest climb, using a gracefully fluid camera to build set pieces of wonder and true gut-wrenching tension.

You will feel cold, tired, and small.

Based on the deadly 1996 Everest trek chronicled in the best-seller Into Thin Air, the more intimate aspects of the story present some inherent disadvantages for acclaimed screenwriters Simon Beaufoy (127 Hours, Slumdog Millionaire) and William Nicholson (Les Miserables, Gladiator).

The sheer number of real people and unique personal angles involved makes it much more difficult to establish the deep connection of a more singular experience such as 127 Hours. Add in the hoods, hats and masks that cover many faces on the climb, and those not familiar with the book may find it hard to keep track of just who is who.

A mere 20 years seems too recent to siphon the events through fictional characters (a la Titanic), and Everest aims for as much humanity as each character’s screen time will allow.

These writers are more qualified than most to tackle it, and they are able to make some moments resonate, particularly with long-distance conversations between expedition leader Rob Hall (Jason Clarke) and his pregnant wife back home (Kiera Knightley). Their script also tackles the “why do you climb” question with welcome understatement, never elevating any one individual in the equalizing event that the group is marching into.

Ultimately, Everest feels like an earthbound bookend to Gravity. It’s a magnificent, grand scale achievement – the 3D IMAX version is a must – with a slightly less developed human side.

Verdict-3-5-Stars

 

 

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A Bloody Communion

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Black Mass

by Hope Madden

Johnny Depp is a remarkable talent whose film choices can be frustrating. Who’s to complain, just because he often buries his unique take on human foibles underneath quirky caricatures in wigs and eyeliner or a handlebar moustache?

I am – but not today. In Scott Cooper’s Black Mass, Depp may undergo a physical transformation, but it’s his skill and authenticity that leave an impression.

In this biopic, Depp plays Southie mob king James “Whitey” Bulger, a “ripened psychopath” who strikes a sweet deal with neighborhood pal turned FBI agent John Connolly (Joel Edgerton).

Front to back, Black Mass spills over with reminders of other films – in particular, The Departed and, thanks in part to the outstanding soundtrack, American Hustle. How could it avoid comparisons? How many new ways are there to tell a story about dodgy criminal/FBI alliances or the Irish mob in Boston?

Wisely, Cooper’s focus is on the complex relationship between Bulger and Connolly. Edgerton handles his character arc, from misguided idealist to blindly loyal accomplice, with subtlety, but this is Depp’s movie.

Depp’s nuanced evolution from friendly neighborhood sociopath to cruel monster leaves chills. He can turn on a dime, as he does in the now required Joe Pesci-esque episode. (Just substitute “funny how?” with “family recipe.”) But the more powerful scenes are the ones that sneak up on you – a situation with a colleague’s step daughter, or Bulger’s moments alone with Connolly’s wife.

The balance of the cast manages to keep pace with Depp’s forbidding performance – Rory Cochrane, Corey Stoll, Dakota Johnson, Juno Temple, and Peter Sarsgaard are all particularly impressive in small roles.

For all the truly fine performances, Cooper’s somber effort can’t seem to define itself. There are flashes – frames resembling a cross between a crime scene photo and an old picture postcard; or individual, eerily crafted moments – but the effort on the whole limits itself to by-the-numbers storytelling.

Depp, on the other hand, sporting vampiric blue contacts that emphasize Bulger’s eviscerating contempt and barely restrained violence, excels. Black Mass may not be quite able to separate itself from the pack, but Depp’s performance will leave a mark.

Verdict-3-5-Stars

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Royal Pains

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Queen of Earth

by George Wolf

Don’t bother trying to guess where Queen of Earth might be going, you’ll miss the beauty of getting there.

It’s a wildly enigmatic take on the dynamics of female friendship, ambitiously (and surprisingly?) told by writer/director Alex Ross Perry, who laces the character studies with descents into madness and subversive humor.

Catherine (Elisabeth Moss) is reeling from a traumatic breakup that hit not long after her father’s death. Her longtime friend Virginia (Katherine Waterston) offers the family lake house for some girl time, much like their getaway a year earlier when it was Virginia who was suffering.

As the women meet at the picturesque setting, it is clear they have grown apart from their days as BFFs, and Perry is no hurry to tell you why. Catherine’s ever-present sketch pad is an apt metaphor for the narrative structure at work here. Perry utilizes extreme closeups, shaky cameras, out of focus shots and quick fades to provide beautiful glimpses into a complicated relationship.

Slowly, the often combative dialogue and the out of sequence flashbacks provide some possible answers, even as more questions are raised. With a Gothic soundtrack and a constant sheen of despair, you begin to wonder if Perry’s vision will ultimately include a murderous rampage. 

But that would be too easy, and a betrayal of all that’s been building. Perry presents a perceptive tableau of emotions, all driven home to perfection through wonderful performances from his leads. Moss is downright electric, rolling through a spectrum of emotional outbursts and withdrawn silences with an authenticity that leaves you nervous to look away. Waterston may have the more “straight woman” role, but she gives Virginia a steely resolve that grounds the film, and invites curiosity into her side of this story.

Perry (The Color Wheel, Listen Up Philip) makes the comedy less overt and the psychological warfare more pointed this time out, but his familiar elements remain. Queen of Earth brings unlikeable characters who struggle with alienation, disenchantment and dangerous depression, and leaves you glad you didn’t pass on the chance to spend time with them.

 

Verdict-4-0-Stars

 

 

 

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You’ll Never Guess How It Ends

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Slow Learners

by George Wolf

“When was the last time you went on a date?”

“What day is it?”

“Sunday.”

“1986.”

That’s an amusing bit, and a great example of the wit that Slow Learners leans on to try and elevate a strikingly unoriginal premise.

Jeff (Adam Palley) and Anne (Sarah Burns) are desperate and dateless. He has women tell him he looks like a “lesbian newscaster” while she needs friends to remind her not to wear “the cat sweater.”

They’re buddies! They can’t get together because, you know, they just don’t think of each other that way! It would be weird…nervous laughter…ewww!

So of course they hatch a plan to help each other break out of their respective ruts, and before long Jeff is juggling more women than he can handle and Anne is finally catching the eye of that hottie who was always ignoring her. But still, they’re just not finding happiness, what ever will they do?

It is nice that for once, the can’t-find-lovers don’t look like Anne Hathaway or Jake Gyllenhaal. Palley makes you squint because he might be Jimmy Kimmel and Burns seems like that new SNL cast member you can’t name. They’re perfectly fine looking and likable enough, just not matinee idols, which becomes ironic when you think of the possibilities that the film leaves unexplored.

In his debut screenplay, writer Matt Serwood ignores the satire potential for a straightforward rom-com, managing consistent smiles, if only a couple laugh out loud moments. Directors Don Argott and Sheena M. Joyce, documentary vets behind the excellent The Art of the Steal, seem equally tentative about branching out. Too many scenes reek of improv class, while many production elements seem better suited for a small screen sit com.

Slow Learners is all in good fun, I guess, but you wonder if the effort might have been saved for something a little less stale.

Verdict-2-5-Stars

 

 

Fright Club

Fright Club: Best Horror Sequels

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Who says a sequel can’t be better – or at least as good – as the original? If you look closely, there are loads of excellent horror sequels: New Nightmare, Scream 2, 28 Weeks Later, Ringu 2, The Devil’s Rejects. But which are the best of the best? We have the answer!

5. Exorcist III (1990)

William Peter Blatty wrote and directed this dialogue-dense sequel to the 1973 phenomenon William Friedken had made of his novel. Blatty starts strong enough, garnishing shots with vivid, elegantly creepy images. He enlists George C. Scott to anchor the tale of a cop drawn back into a supernatural case. In other inspired casting, New York Nicks great Patrick Ewing plays the angel of death in one of Kinderman’s freaky dream sequences, joined by romance novel coverboy Fabio as another angel. Also, the always great character actress Nancy Fish plays the bitchy but reluctantly helpful Nurse Allerton.

There are also two of the scariest scenes in cinema. Eventually the story moves into a hospital and stays there, but just before that move, there’s a terrific confessional scare – crazy spooky voice, effective cackle, blood – that elevates the entire project.

And then there’s that insane flash of terror as one nurse crosses the narrow hallway in front of the camera, quickly followed by some gauze-draped figure, arms outstretched. Eep!

4. Dawn of the Dead (1978)

Romero returned to the land of the undead in ’78 with a full-color sequel to Night of the Living Dead. The film follows a news producer, her chopper pilot boyfriend, and two Philly SWAT cops ready to abandon the organized zombie fight and find peace elsewhere. The four board a helicopter, eventually landing on the roof of a mall, which they turn into their private hideaway.

Romero, make-up legend Tom Savini, and Italian horror director Dario Argento teamed up for this sequel. You feel Argento’s presence in the score and the vivid red of the gore. Bloated, dated, and suffering from blue zombie make up, the film does not stand up as well as the original, but it still packs a punch.

Ken Foree and Scott Reiniger as the buddies from SWAT create the most effective moments, whether character-driven tension or zombie-driven action. Romero’s politics are on his sleeve with this one. He uses the “z” word, digs at Eighties consumerism, shows full-color entrails, and reminds us again that the undead may not be our biggest enemy once the zombie-tastrophe falls.

3. The Texas Chainsaw Massacre 2 (1986)

Tobe Hooper revisited his southern cannibal clan 12 years after unleashing The Texas Chain Saw Massacre on an unsuspecting world, and he had the great Dennis Hopper in tow. Hopper plays a retired Texas Marshall. He joins forces with a radio host, played gamely by Caroline Williams. Together they flush the Sawyer family out of hiding. And just in case we’d missed how Leatherface got his name, the act of removing someone’s face to wear as a mask is revisited in a kind of weird wooing ritual.

TCM2 certainly gets weird, and boasts an unhinged performance by Hopper as a lawman willing to make some ugly choices to follow his obsession. Jim Siedow (The Cook) returns, and veteran genre favorite Bill Moseley adds a quirky ugliness to the proceedings. There’s also an awful lot of screaming, even for this kind of a film, but it’s a worthy genre flick. It pales in comparison to the original, but it deserves its own appreciation. Hold it up against any other low-rent horror output of 1986 and it’s a standout.

https://www.youtube.com/watch?v=xUyEaYxTI2U

2. Evil Dead II: Dead by Dawn (1987)

In 1981, Sam Raimi and Bruce Campbell crafted the single bloodiest film ever made. Six years later, Raimi gets a little Ray Harryhausen and Campbell gets a makeover in a sequel that’s mostly a remake. An even broader comedy, with clay-mation monsters aplenty, Evil Dead II works harder for laughs than for scares.

Expect a lot of the same: Necronomicon, possessed friends, demonic woods, dismemberment, and fun. Plus hundreds of gallons of black, green, and red goo. Nice.

The wide eyed, romantic Ash from episode one slowly morphs into the ass kicking, catch phrase spouting, boom-boom stick toting badass we’ll see in all his glory in the third installment. Ash would finally learn how important it is not to listen to tapes left by the owners of the cabin you’re secretly squatting in for the weekend. And we’d eventually learn never to wear Michigan State paraphernalia when camping with Bruce Campbell.

1. The Bride of Frankenstein (1935)

James Whale and Boris Karloff returned to Castle Frankenstein for an altogether superior tale of horror. What makes this one a stronger picture is the dark humor and subversive attitude, mostly animated by Frankenstein’s colleague Dr. Pretorius (Ernest Thesiger).

Thesiger’s mad doctor makes for a suitable counterpart to the earnest and contrite Henry Frankenstein (Colin Clive, again), and a sly vehicle for Whale. This fey and peculiar monster-maker handles the most brilliant dialogue the film has to offer, including the iconic toast, “To gods and monsters.”

The sequel casts off the earnestness of the original, presenting a darker film that’s far funnier, often outrageous for its time, with a fuller story. Karloff again combines tenderness and menace, and Elsa Lanchester becomes the greatest goth goddess of all film history as his Bride.

Listen to the whole conversation on our FRIGHT CLUB PODCAST.

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To Grandmother’s House We Go

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The Visit

by Hope Madden

The Last Airbender. The Happening. After effing Earth. Man, it has been a long time since M. Night Shyamalan made a decent movie. If you keep that in mind – if you manage your expectations – his latest film, The Visit, is pretty enjoyable. It’s a step in the right direction, anyway.

A single mom (a very believable Kathryn Hahn) reluctantly allows her two teenagers visit their estranged grandparents in rural Pennsylvania for a week. You’ve seen the ads – things don’t go well.

Whatever the flaws, no matter the lack of originality, The Visit generates creepy dread punctuated by some genuine laughs, and it boasts several fine performances.

Ed Oxenbould is endearing, fun and funny as little brother/would-be rapper Tyler. Olivia DeJong is slightly less compelling as his sister/budding filmmaker Becca. (Yes, tragically, this is a found footage film – but it’s an M. Night Shyamalan film, so expect some weirdly beautiful vistas and panoramas given Becca’s age.)

She’s decided to make a documentary of the visit as a gift to her mother, and an attempt to rebuild the relationship that went south long before she was born. (This is a theme that echoes, somewhat tediously, throughout the effort.)

Nana and Pop Pop are played, quite eerily, by Deanna Dunagan and Peter McRobbie, respectively.

Per usual, Shyamalan peppers the mystery with more than enough clues, which you look right past. He’s a master at sleight of hand, and his film – modest as it is – showcases his enviable craftsmanship.

The Visit will absolutely not stand up to the filmmaker’s greatest efforts – Signs, Unbreakable, The Sixth Sense. Hell, it may just be the result of a flagging filmmaker turning backward, falling into patterns that garnered early success, but bringing less inspiration with him to the project. Whatever the reason or craft behind it, The Visit is easily the best film Shyamalan’s made in more than a dozen years.

Verdict-2-5-Stars

 

Fright Club

Fright Club: Best Onscreen Satan

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In honor of our next Fright Club Live – where we unspool the unhinged French horror show Sheitan (French for Satan) – we decided to pick through all the performers who’ve played the dark lord onscreen. George Burns to Dave Grohl, we considered them all. Here, though, is our list of the best of the best.

5. Jack Nicholson (The Witches of Eastwick– 1987)

Old Jack really breathed life into the idea of wretched excess in this one, coming across equally as frightening and charming. Appropriate. He seems to be playing off of his own persona, but given the comedic nature of the effort, and the absurdity that this slovenly old cuss could seduce three stunning, intelligent women (Susan Sarandon, Cher, Michelle Pfeiffer) – well, it’s a charm Nicholson seemed to come by naturally, so why not exploit it here?

4. Peter Stormare (Constantine – 2005)

There are two reasons to remember this film – Tilda Swinton and Peter Stormare – and luckily they have one epic scene together. But Stormare manages to even outdo the effortlessly glorious Swinton – androgynous perfection as Gabriel – and that’s something to crow about. He’s been preparing to play the dark lord ever since he pushed Steve Buscemi into that wood chipper in Fargo. Once he got the shot, he was sinister, funny, frightening…and eventually undone by Keanu Reeves, which was almost enough reason to leave him off the list, but not quite.

https://www.youtube.com/watch?v=7rVFse1LLQs

3. Viggo Mortensen (The Prophecy – 1995)

There is no question this film belongs to Christopher Walken – as do all films in which he graces the screen. His natural weirdness and uncanny comic timing make the film more memorable than it deserves to be, but when it comes to sinister, Viggo Mortensen cuts quite a figure as Lucifer. Unseemly, gorgeous and evil, he seethes through his few scenes and leaves the celluloid scorched.

2. Robert DeNiro (Angel Heart – 1987)

De Niro’s well manicured and articulate Louis Cyphre perfectly balances Mickey Rourke’s handsome slob, and both fit beautifully into this sultry version of 1955. It’s really a beautifully made film, courtesy of Alan Parker, who adapted William Hjortsberg’s novel Fallen Angel and directed the film. Deceptively bloody, unusually classy, effortlessly creepy, Angel Heart stays under your skin. Maybe it’s the casual evil, the lurid atmosphere. Maybe it’s De Niro’s understated menace, with those long nails and that hardboiled egg.

1. Tim Curry (Legend – 1985)

Best Satan Ever. That voice, the sultry way he drawls out every syllable, the sweltering inappropriateness of his seduction, the look. Wow. This image clearly influenced both South Park‘s vision, as well as the Dave Grohl part in Tenacious D’s Pick of Destiny. But Curry pulls it off like no one else. Tim Curry is the world’s greatest sweet transvestite, the world’s greatest terrifying clown, and the world’s greatest Satan. Too bad the character is trapped in such a crap film.

Join the whole conversation on the FRIGHT CLUB PODCAST.

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War of the Words

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The Best of Enemies

by George Wolf
It was the insult heard ’round the world, and it just might have given birth to an entire industry of blowhard political pundits, talking loud and saying nothing.

Which is ironic, because Gore Vidal and William F. Buckley, Jr. did neither. Both seasoned intellectuals who proudly sat poles apart on the political spectrum, they came together during the presidential campaign of 1968 for a series of legendary, highly volatile debates.

Best of Enemies, a rich and entertaining documentary from directors Robert Gordon and Morgan Neville, gets inside the battles and studies their lasting effects on politics, the media and the men themselves.

In ’68, last-place ABC needed a spark for their coverage of both the Republican and Democratic conventions. They turned to Buckley, the conservative hero, and Vidal, the liberal champion, to end each day’s coverage with a spirited tête-à-tête.

“Spirited” was being polite, as the wordplay escalated to name-calling and a shocking (for the times) moment on live TV that Buckley regretted the rest of his life.

No less a TV icon than Dick Cavett sums it up succinctly: “The network nearly shat.”

Regardless of your political leanings, you can’t help but be impressed by what each man brings to the skirmish. Intelligence, wit, biting humor and thinly veiled disgust are all on display, conveyed with such a beautiful command of the language you can’t help but smile in the midst of their blood sport.

The debates, of course, were a ratings winner for ABC, instantly revealing the insatiable American appetite for argument.

Perhaps the most striking aspect of Best of Enemies is how little those arguments, and the divisiveness surrounding them, have changed. We have these same debates today, with sides that are just as clearly drawn.

The rulebook? That’s another story.

Best of Enemies lives in a time before you could “ignore the other side and live in your own world.”

If only for 87 minutes, it’s a welcome bit of time travel.

 

Verdict-4-0-Stars