Tag Archives: Possum

Fright Club: Evil Uncles in Horror Movies

Did Shakespeare start it all with Uncle Claudius? Maybe, but horror movies have really dug in. Yes, there are some excellent uncles, like drunky Uncle Red from Silver Bullet. That guy was the best! But that’s not what we’re after, and author Eric Miller, writer of the new novel Whatever Happened to Uncle Ed? knows a thing or two about uncles and horror, so he’s joined us to count them down!

5. Uncle Maurice, Possum (2018)

Sean Harris is endlessly sympathetic in this tale of childhood trauma. Philip (Harris) has returned to his burned out, desolate childhood home after some unexplained professional humiliation. His profession? Puppeteer. The puppet itself seems to be a part of the overall problem.

I don’t know why the single creepiest puppet in history—a man-sized marionnette with a human face and spider’s body—could cause any trouble. Kids can be so delicate.

Writer/director Matthew Holness spins a smalltown mystery around the sad story of a grown man who is confused about what’s real and what isn’t. As Uncle Maurice, Alun Armstrong cuts as dilapidated and corrosive a figure as Philip’s home and memories themselves. The melancholy story and Harris’s exceptional turn make Possum a tough one to forget.

4. Michael Myers, Halloween 4, 5 & 6 (1988, 1989, 1995)

In 1988, no one realized the Halloween franchise could be saved. Tarnished by the (now unreasonably popular and beloved) Halloween III, The Return of Michael Myers was expected to be a last gasp. it was not. The film, about the adorable little orphan left behind when Laurie Strode and her husband died in a car wreck, Halloween 4 not only saved the franchise with its remarkable popularity, but gave the slumping slasher genre a boost.

Danielle Harris starred, charming her way into our hearts as surely as the child in peril plot line kept us engaged. The film did so surprisingly well that it spawned a quickly slapped together, wildly inferior sequel a year later, also starring Harris. And then, to beat a dead horse and absolutely horrify anyone with fond memories of little Jamie, 1995’s Halloween 6 turns Myers from and uncle to a great uncle/father. Yeesh.

3. Uncle Kouzuki, The Handmaiden (2016)

Director Park Chan-wook had already investigated the influence of a sinister uncle in the woefully underseen Stoker in 2013. In 2016, that not-so-stable branch of the family tree inspires the auteur to mesmerize again with this seductive story of a plot to defraud a Japanese heiress in the 1930s.

Weird is an excellent word to describe this film. Gorgeous and twisty with criss-crossing loyalties and deceptions, all filmed with such stunning elegance. Set in Korea, the film follows a young domestic (Kim TAe-ri) in a sumptuous Japanese household. She’s to look after the beautiful heiress (KimMin-hee), a woman whose uncle (Cho Jin-woong) is as perverse and creepy as he is wealthy.

Smart and wicked, stylish and full of wonderful twists, The Handmaiden is a masterwork of delicious indulgence.

2. Uncle Charlie, Shadow of a Doubt (1943)

Alfred Hitchcock did the most damage with his mother/son relationships, but the unnerving bond between Charlie Newton (Teresa Wright) and her favorite Uncle Charlie (Joseph Cotton) picks some festering scabs.

After a series of heiress murders, Charlie heads to smalltown America to lay low with his older sister, who adores him. Loves him so much, she named her oldest after him, even though it was a daughter. And oh, newly teenaged Charlie is a firebrand and just as spunky and smart as her namesake!

The film examines narcissism as unnervingly as any ever has, Uncle Charlie an amiable enough guy, and he might really regret having to murder his niece. All within that weirdly stilted performance style Hitchcock preferred, the cracks and anxieties and almost sexual innuendos play against the wholesome Midwest aesthetic in a way that gnaws at you.

1. Uncle Frank, Hellraiser (1987)

Hellraiser, Clive Barker’s feature directing debut, worked not only as a grisly splatterfest, but also as a welcome shift from the rash of teen slasher movies that followed the success of Halloween. Barker was exploring more adult, decidedly kinkier fare, and Hellraiser is steeped in themes of S&M and the relationship between pleasure and pain.

Hedonist Frank Cotton (Sean Chapman) solves an ancient puzzle box, which summons the fearsome Cenobites, who literally tear Frank apart and leave his remains rotting in the floorboards of an old house. Years later, Frank’s brother moves into that house with his teenage daughter Kirsty (Ashley Lawrence), who begins to unravel the freaky shit Uncle Frank and stepmom Julia (an amazing Clare Higgins) get up to.

Smart, weird, transgressive, and most importantly, CENOBITES!

Fright Club: Frightful Homecomings

They say you can’t go home again. Horror filmmakers are more apt to say that you shouldn’t. For our latest episode, we look at some of horror cinema’s most memorable homecomings.

5. Coming Home in the Dark (2021)

Making his feature debut with the road trip horror Coming Home in the Dark, James Ashcroft is carving out a very different style of Kiwi horror than the splatter comedy you may be expecting.

A family is enjoying some time alone in the countryside when approached by two armed drifters. A car passes without incident. Mandrake (Danielle Gillies, chilling) say, “Looking back on today’s events, I think this will be the moment you realized you should have done something.”

Riveting, tricky storytelling to the last shot keeps you on your toes.

4. Salem’s Lot (1979)

Novelist Ben Mears decides to focus his next book on that creepy old Marsten House from his hometown of Jerusalem’s Lot, Maine. At around the same time he arrives, townspeople start dying and disappearing. It could only be Ben, or the antique store owner Richard Straker, who bought the old Marsten hours in the first place.

Tobe Hooper’s miniseries version of the Stephen King novel is still the best retelling. So many individual images stand out: the kid at the window, the Count Orlock (original) style vampire, the always saucy James Mason.

3. Possum (2018)

Sean Harris is endlessly sympathetic in this tale of childhood trauma. Philip (Harris) has returned to his burned out, desolate childhood home after some unexplained professional humiliation. His profession? Puppeteer. The puppet itself seems to be a part of the overall problem.

I don’t know why the single creepiest puppet in history—a man-sized marionnette with a human face and spider’s body—could cause any trouble. Kids can be so delicate.

Writer/director Matthew Holness spins a smalltown mystery around the sad story of a grown man who is confused about what’s real and what isn’t. The melancholy story and Harris’s exceptional turn make Possum a tough one to forget.

2. The Orphanage (2007)
Laura (Belén Rueda) and her husband reopen the orphanage where she grew up, with the goal of running a house for children with special needs – children like her adopted son Simón, who is HIV positive. But Simón’s new imaginary friends worry Laura, and when he disappears it looks like she may be imagining things herself.

A scary movie can be elevated beyond measure by a masterful score and an artful camera. Because director Antonio Bayona keeps the score and all ambient noise to a minimum, allowing the quiet to fill the scenes, he develops a truly haunting atmosphere. His camera captures the eerie beauty of the stately orphanage, but does it in a way that always suggests someone is watching. The effect is never heavy handed, but effortlessly eerie.

One of the film’s great successes is its ability to take seriously both the logical, real world story line, and the supernatural one. Rueda carries the film with a restrained urgency – hysterical only when necessary, focused at all times, and absolutely committed to this character, who may or may not be seeing ghosts.

https://www.youtube.com/watch?v=J7FD6tR6zOc

1. Halloween (1978)

The night he came home.

No film is more responsible for the explosion of teen slashers than John Carpenter’s babysitter butchering classic.

From the creepy opening piano notes to the disappearing body ending, this low budget surprise changed everything. Carpenter develops anxiety like nobody else, and plants it right in a wholesome Midwestern neighborhood. You don’t have to go camping or take a road trip or do anything at all – the boogeyman is right there at home.

Michael Myers – that hulking, unstoppable, blank menace – is scary. Pair that with the down-to-earth charm of lead Jamie Lee Curtis, who brought a little class and talent to the genre, and add the bellowing melodrama of horror veteran Donald Pleasance, and you’ve hit all the important notes. Just add John Carpenter’s spare score to ratchet up the anxiety. Perfect.

We also want to thank Derek Stewart for sharing his short film Possum with us! If you didn’t get to join us for Fright Club Live, give yourself the gift of his amazing animated short: