Join Frank and filmmaker turned Podcasting Them Softly co-host, Derek Wayne Johnson as they unveil PTS’s Halloween episode featuring a lively chat about Fred Dekker’s 80s masterpiece, NIGHT OF THE CREEPS.
John Carpenter’s Halloween
Halloween
1978. Directed by John Carpenter.
Plausible nightmares are one of the most engrossing forms of horror. John Carpenter’s legendary film Halloween, uses a simple premise, devoid of supernatural influence, to construct a muted Giallo homage that uses outstanding compositions and wonderfully understated performances to present a homespun tale of suburban terror.
On Halloween night in 1963, six year old Michael Myers repeatedly stabs his sister to death with a kitchen knife. Michael is then placed in a mental hospital and his therapist, Dr. Loomis spends the next 15 years trying to heal the child’s fractured sanity. On Halloween night in 1978, Michael escapes from the sanitarium and returns home to resume his unfinished killing spree. He sets his sights on Laurie, a teenager who is having a party with several of her friends. Loomis pursues Michael, planning to set a trap, however Michael has other plans in store for this very special All Hallows’ Eve.
Carpenter’s direction uses artistic discretion and eerie lighting effects to masterful ends, presenting the events of the film as a possible reality in which the blurred and obscured backgrounds are filled with true evil, and it is their contrast with the red blooded American victims that is so unforgettable. Jaime Lee Curtis does an admirable job as one of the first incarnations of the American “scream queen”, but even her role is subdued. Carpenter outright refuses to allow anything to rise to the level of parody, imprisoning the teenage cast in a pubescent purgatory. Starting a long held horror film tradition of the victims being the ones to engage in substance abuse and sex, Halloween’s brilliant narrative conceit is that its killer is not overly intelligent, but simply opportunistic and inhumanely relentless.
Long time collaborator Dean Cundey’s cinematography captures the precise blocking of the cast with vivid close ups that use blurred backgrounds to present Myers as a spectral force. Shadows and light are manipulated in such a fashion that even the most innocent looking hallway is presented as a diabolic jack in the box waiting to unleash it’s malicious payload anytime a character deigns to walk down one alone. One of the best scenes involves a looming shot of a crowd of mental patients in a field at night, their white gowns wandering aimlessly through a rainstorm, partially illuminated by a car’s fluttering headlights, giving the viewer a taste off the atrocities that Michael endured to make him the monster that he has become.
Made on a shoestring budget, Carpenter’s quiet mastery of every element of this film is what makes it so cherished. From Carpenter’s iconic, character-like score to the dime store William Shatner mask that Michael dons prior to his rampage, Halloween is a film in which small, intimate details meld together into a murderous magnum opus. Light on the blood and heavy on the suspense, Carpenter’s control is meticulous. Considering that many of Halloween’s influences and contemporaries were exploring the boundaries of the medium and creating visual mind benders and extreme splatter features, Carpenter’s minimalist approach was the perfect counterbalance, appealing to mainstream audiences with an organic and morbidly possible story line.
Available now for digital rental, this is a film that requires no selling. An all time trick or treat classic, Halloween is the best film ever made for the October holiday season. A stripped down horror epic whose paramount craft is the result of its astute director, the incomparable John Carpenter.
Highly. Highly Recommend.
Victor Sjostrom’s THE PHANTOM CARRIAGE
‘The Phantom Carriage’ (1921) dir. Victor Sjostrom
‘Lord, please let my soul come to maturity before it is reaped’
There’s a certain feeling that Halloween used to invoke when I was younger. It was a fun combination of dread and danger, ghost stories, candy and staying up late. It was crawling under a blanket on the couch and watching PG-Rated haunters with my parents or friends who would come over for a sleepover.
As I grew older this ambiance was replaced with R-Rated films and even more R-Rated shenanigans. It became profanity-laced MST3K style drinking bashes with my friends while watching zombies tear flesh and women get naked. Over the years that ‘old Halloween feeling’ if you want to call it that had all but been forgotten. But then the other day I crawled under the covers and watched Victor Sjostrom’s ‘The Phantom Carriage’ and that Halloween Spirit I hadn’t felt in so long – came roaring back and it felt fucking great!
This film had been on my list for a while. I’m ashamed it took me so long to get around to it. ‘The Phantom Carriage’ is a timeless tale of the macabre. The kind of horror that seeps into your bones. It does a tremendous job of combining the visceral elements of your old-timey chiller with a deeper, more philosophical message. Age has only benefitted this film. Its eerie tone enhanced by the years. The seamless F/X work gives one the impression they are experiencing something truly supernatural and the minimalist score by Mattie Bye for the 1998 restoration really underscores the film’s foreboding tone. Each frame simmers with a sorrowful terror that is captured magically by cinematographer Max Wilen. This is a special cinematic experience and one can see why it was a personal favorite of Bergman’s and Kubrick lifted an entire sequence of it for ‘The Shining’.
‘The Phantom Carriage’ opens with a couple ne’er-do-wells drinking in a graveyard on New Year’s Eve and one of them tells an old tale – that the last person to die each year has to drive the Carriage of Death that goes from door to door collecting the souls of the departed for the following year. When one of the men is killed in a brawl he joins an old friend on the doomed carriage and must revisit the shitty life decisions he made and their consequences before being able to reconcile the ghosts of the past which haunt him in the present. The film unfolds with flashbacks within flashbacks but is shrewdly broken up into 5 parts as to not become convoluted or tiresome.
This Halloween if you’re looking for a truly atmospheric and unsettling film that will get under your skin, turn the lights off and watch ‘The Phantom Carriage’. Trust me.
Review by Damian K. Lahey
Christian Alvert’s Antibodies
Christian Alvert is a wicked sharp German director who has quietly been making terrific films for years that have somehow slipped past the nets of notoriety (his SciFi horror Pandorum is one of the most underrated films of the decade). If you haven’t seen his highly disturbing, Silence of the Lambs esque psycho shocker Antibodies, you’re in for a treat. Perverted, intelligent, psychological, skin crawlingly freaky, the story unwinds in uncomfortable revelations following a gruesome discovery in an apartment by a Berlin police officer, who curiously enough, is played by a silent Norman Reedus. This turns into a raid in which prolific serial killer Gabriel Engel (a bone chilling portrayal by André Hennicke) is finally captured. After sometime, top cop Michael Martens (Wotan Wilke Möhring) runs into a series of murders that bear similarity to Engel’s Crimes, and brings the killer into the fold in consultation capacity. From there it’s a devilish madhouse of deception, sickening mind games and one cracker of a suspenseful ending. I’ll warn you: this shit ain’t pretty. There’s a lot of seriously dark stuff, thematic matter that blasts through the western taboos we find in films over here, and buckets of clinical, shudder inducing gore. If you enjoy smart horror that piles on thought provoking notions in with the carnage and asks questions along the way, you’ll dig this.
-Nate Hill
Friday The 13th Part VIII: Jason Takes Manhattan
Friday The 13th Part VIII: Jason Takes Manhattan is kinda guilty of shitty false advertising, as well as just being an overall laughable effort in the franchise, which by that time had already run thin on new ideas. It was after Jason had run amok in the Camp Crystal Lake Woods, but before he got to go to hell, space or slap fisticuffs with Freddy Krueger, and kind of suffers in limbo at a juncture of the franchise that’s stuck in a quagmire of dumb ideas. Of all the evocative, atmospheric locales they could have switched his bloody tirades to, the big Apple just doesn’t seem like the ticket. That isn’t even the real problem anyways, as a good two and a half thirds of the film isn’t even set in NYC, but rather on a luxury cruise liner out on the coastline straights, bound for Manhattan and stuffed with more idiotic graduating high schoolers than you can shake a machete at. Lazy writing, nonexistent plotting and goofball acting are hallmarks in this terrain, but even more so with this flick, literally every non Jason character just being an insufferable ignoramus. The kills are passable but don’t even come halfway to topping the franchise charts, Kane Hodder shows up for his shift as the big lug in full gear, hockey mask and slimy mongoloid prosthetics included at no extra charge. When the boat does finally land on New York shores, it’s jarring to see Jason waltzing down fifth avenue looking like a homeless nut whose stairs don’t quite reach the attic, machete in hand in broad daylight as he pursues the few remaining partygoers through the crowded streets. Really, guys? Keep the big guy in his shrouded summer camp forests where he’s at home, and the feng-shui of his murders rings true. Or at least let him go to space where there’s still dark hallways and hidden alcoves. Probably the biggest misfire in the series.
B Movie Glory- Brian Yuzna’s Faust: Love Of The Damned
I think Goethe might do a few barrel roles in his grave if he ever saw Brian Yuzna’s Faust: Love Of The Damned, an unhinged, risible and obnoxious rendition of his literary works, filled with Spawn inspired effects, heavy metal music, extreme nudity and a general sense of debauched commotion running through it. When regular guy John Jaspers (Mark Frost) sells his soul to the mysterious M (Andrew Divoff) in order to exact revenge on those who killed his girlfriend, things don’t… quite go as planned. Before he knows it he’s transformed into some ridiculous walking demon vigilante thing, given snazzy superpowers and set loose on the city. M, being the devil, is naturally not a man of his word and is planning some horrific apocalyptic mayhem using Faust’s unwitting help, and it all goes so monumentally haywire it’s hard to tell what is even going on, for fuck’s sake. Much of the film consists of him just running about with blaring music in the background, killing people in over the top, spectacularly gory ways. Story has little place here amongst the ruckus din of VFX and soft core porn sensibilities. Divoff is in Djinn mode as M, sporting a startling blonde dye job and Mayan inspired costume design, and having as much fun as every Hollywood character actor has playing Old Scratch himself. There’s a scene where he reprimands his hot sidekick by causing her to melt into a moaning pile of her own bodily fluids that will have everyone nervously shifting on the couch and wondering just exactly what the fuck they’re watching. The Reanimator himself Jeffrey Combs has an eccentric police detective role that somehow just gets swallowed up by the orgy of visual and auditory assault that the film consists of. Nothing remotely similar to the original tale of Faust, you’ll either get a sick thrill, laugh the whole way through or get up and walk out. I loved it.
-Nate Hill
Hellraiser: Inferno
Hellraiser: Inferno marks the first juncture in the franchise where ideas deviated beyond the formula set in place by the first borderline surreal, masochist piece.
Gone is the dreamy, sordid aesthetic used back then, the Cenobites who were front and centre are reduced to limited appearances and the story is less otherworldly and something decidedly more noirish and down to earth. Whether that’s accepted by franchise die-hards and horror hounds alike is subjective, but I didn’t mind it’s slow burn approach or sidewinding tone. Craig Sheffer, the closest thing you’ll get to Josh Brolin without breaking the bank, plays a crooked Detective who finds himself dragged down a rabbit hole of creepy, murderous goings-on when he’s assigned to hunt a serial killer known as ‘The Engineer’. Of course the murders always seem one step ahead of his grasp, and naturally dark secrets from his sketchy past are brought to light as he gradually begins to lose his mind. Doug Bradley does eventually return as the iconic Pinhead, with a few members of the Cenobite posse, but their presence is kept mostly on the back burner for quite a while. Taking antagonist duties for a while instead is Sheffer’s eerie psychiatrist, played with sinister charm and knowing charisma by James Remar, a dubious fellow with a few tricks up his own sleeve. This is the one entry that sticks out from the franchise in it’s diversion from the usual path of distinct, abstract psychosexual horror and mutes the whole icy nightmare down to rebuild a story in it’s own image. You’ll either appreciate the initiative, or you’ll miss the good ol’ freakshow of the original film. Up to you.
-Nate Hill
Freddy’s Dead: The ‘Final’ Nightmare
I’m not sure what they were going for with Freddy’s Dead: The Final Nightmare, but the summation of what they produced is simply… bizarre. Of course it’s not the final round, they never can resist churning out meta reworking, crossovers and remakes, rendering the ‘final’ titles hilariously redundant (the ‘final’ Friday The 13th chapter is only the fourth entry in a franchise that soared into double digits). It’s silly more than anything else, like the New Line Cinema boardroom passed around the laughing gas and spit-balled out this cartoonish, random, cameo stuffed looney bin of a flick. Actually, writing credit goes to director Rachel Talalay, who also helped the equally silly rumpus cult classic Tank Girl, which is lovable in it’s own right. Speaking of silly, Robert Englund’s Freddy Krueger has never been more buffoonish than here, the culmination of every one line and quip throughout the franchise. He’s back, hunting down the last remaining Springwood teenager, as well as a woman (Lisa Zane) whose connection to his past could be dicy for him. There’s also a weird backstory angle involving dream demons that look like sentient tadpoles who apparently are responsible for Freddy’s initial resurrection and powers. Hmm. The cameos seem like they just made a celebrity collage on a dartboard, blindfolded each other and flung them all over. Alice Cooper shows up in flashbacks as Freddy’s sadistic stepfather, Roseanne Barr and Tom Arnold are around, plus Breckin Meyer and Yaphet Kotto. The rule of randoms is excepting Johnny Depp of course, an Elm Street veteran who has a quick bit as a TV advertisement dude. The dream sequences are wild and wacky, but never really frightening or as atmospheric as they used to be, the one springing to mind being a video game themed thing where pixelated Freddy chases a victim Super Mario style, not exactly the most bone chilling setting, but oh well. This does mark the last of the initial franchise before they moved on to deluxe entries like the super meta New Nightmare and the gong show that was Freddy Vs. Jason. If you’re looking for the weirdest Elm Street flick, you’ve found it, and if you’re looking for a scary, coherent one then you’ll have to backtrack earlier in the franchise, or skip ahead to Wes Craven’s excellent next one.
-Nate Hill
Mike Nichol’s Wolf
Mike Nichol’s Wolf cleverly combines comedic character study, spoofs the high profile business scene and whips it together with a far more literal lycanthropic horror story than I’d ever imagined before I watched it. It’s neat that dry metaphor went full on genuinely real monster flick, while losing none of it’s smarts along the way. Jack Nicholson, that old devil, plays an aging publisher whose livelihood is threatened by the arrival of a roguish young upstart (James Spader laying down that smarm) with designs on his job. It doesn’t help that he’s worn out, weary and not as sharp as he once was. Cue a werewolf mauling, which fixes those things right quick and turns him into a new man, in more ways than one. He’s fiercely competitive, virile and on the ball, but he also has to keep his hairy secret, well, a secret. Christopher Plummer is great as his fiery tempered boss, whose daughter (slinky Michelle Pfeiffer) begins to have eyes for the old dog, and the supporting cast has well coloured turns from Kate Nelligan, Ron Rifkin, Om Puri, David Hyde Pierce, Eileen Atkins, David Schwimmer and Richard Jenkins as a wily detective who begins to sniff the rat. The Wolf effects by Rick Baker and team are refreshingly old school, practical prosthetics and nice and gooey too. It’s also a tongue in cheek examination of male potency and territorial behaviour, so what better avenues of exploration than instinctual canine interaction and the politics of the workplace? Cool stuff, neat genre blending, a wicked cast and cool horror elements.
-Nate Hill
Marcus Nispel’s Texas Chainsaw Massacre
In most cases, Michael Bay’s Platinum Dunes label has made dismal attempts at horror remakes (see their Elm Street and Friday The 13th for cringe cases in point). However, the version of Texas Chainsaw Massacre they did was pretty damn good on my barometer, a brooding, darkly humorous and fiercely frightening piece that reworks the barebones, grainy vibe of Tobe Hooper’s original classic into something more dingy and atmospheric. It’s the 70’s, and rural Texas is as humid and inhospitable as ever, particularly so in Travis County, right in time for a Volkswagen bus full of nimrod partygoers to trundle through and get caught in the snare of the severely disturbed Hewitt clan, spearheaded by big ol’ Leatherface (Andrew Bryniarski), a mute, disfigured monster with a penchant for taking a chainsaw to people’s vitals and wearing their skin over his own, inspired by the less imposing real life killer Ed Gein. Sexy Jessica Biel, Jonathan Tucker, Eric Balfour and Mike Vogel plays these ill fated kids, serving mainly as power tool sharpening blocks. I love the slow, eerie buildup of this one, as they begin to realize that the town isn’t just sleepy or hidden, it’s pretty much dead save for these last straggling residents who are clearly off their head. A huge asset for the film is R. Lee Ermey as the creepy, hostile county Sheriff, who let’s just say… isn’t really the Sheriff at all. He gets many chances to mean mug, terrorize and intimidate these kids and the old gunnery sergeant has a ball. The rest of the townsfolk are a creepy bunch of hayseed yokels without a brain or conscience between them, and serve as a luring posse to Leatherface. The killings are appropriately gory, and hats off to director Marcus Nispel for a striking opening shot that sees his camera pan through the still smoking head-wound of a poor girl who’s just blown her dome off with a giant revolver. Ew. The high praise I’m giving this one does not apply to the follow up prequel called The Beginning, which ditches all mood and pacing for an exercise in abrasive, unforgivable sadism and lazy plotting. Ermey goes full nutso in that one and still is having fun, but not even he can pull it out of the shit. I’d imagine same goes for the host of others that came after, including a new entry that’s slated for this year, if memory serves. This one got lucky because it played it’s cards right, and earned the position of a remake that does indeed hold a candle.
-Nate Hill
Podcasting Them Softly 