Tag Archives: gore

Bill Paxton’s Frailty

Bill Paxton’s Frailty, man what a film. It’s like a particularly warped Twilight Zone episode with heaps of southern gothic, a few plot twists that will blindside you, enough subtle hints to keep you coming back for revisits and plenty of chilling horror elements. It’s nice that the late Paxton produced a now iconic cult classic as his director’s debut because it shows that he’s a cinematic renaissance man and had talent in multiple areas, he was something special. On a rainy Texas night, a mysterious man (Matthew

McConaughey) shows up at the FBI headquarters and informs a senior agent (Powers Boothe) he knows who the God’s Hand Killer was, a case that has long gone cold. This sparks an intense, eerie tale of his growing up in midland Texas, how his father (Paxton) seemingly lost his mind and dragged his two sons (Jeremy Sumpter and Matt O’ Leary as young McConaughey) into a delusional practice of kidnapping and murdering people that god has told him are demons. It’s harrowing, blood curdling stuff because the horror is treated so bluntly, without much melodrama or shtick. Paxton was indeed a loving father and he approaches the killing with such an earnest rationality it makes one’s skin crawl. That’s just the start of it though, and watching how the past ties in with the story McConaughey weaves is a deliciously dark pathway of unexpected secrets and uncomfortable revelation. People who rag on about McConaughey’s career pre circa 2012 obviously haven’t explored deep enough. Between stuff like A Time To Kill, Lone Star, Contact, Reign Of Fire, this one and others he had one legend of a career before he even arrived at milestones like Mud or True Detective, and rocks it here. Boothe, who sadly passed the same year as Paxton, was an actor with more than a few tricks up his sleeve and he’s wicked good as the shady agent who gets visibly shook up by the gruesome campfire yarn he has to sit through. Paxton is haunting in front of the camera, turning a loving father into a conflicted killer with burrowing complexity, and in the director’s chair he proves more than competent, making this a horror thriller for the ages with its constant surprises, sickening scares and uneasy atmosphere.

-Nate Hill

Clive Barker’s Candyman

Clive Barker’s Candyman is bar none one of the best horror films ever made. Many factors can take credit for that, but the two chief among them are Tony Todd’s performance as Daniel Robitaille, the hook handed, honey voiced spectre that haunts even the frames he doesn’t appear in, and Philip Glass’s beautiful yet terrifying electronic score that rips through the story like a rogue orchestral piece with a life of its own. Production design and locations are also key here, as they filmed in Chicago’s infamous Cabrini Green Project for real, and it makes all the difference. Candyman is one of those urban legends, the angry ghost of an ex slave who was murdered, and now gets resurrected to raise hell whenever someone says his name in a mirror five times. That someone here happens to be college professor Virginia Madsen, who has heard whispered rumours among the locals and decides to research it a little too closely. Before she knows it she’s seeing Robitaille everywhere, dead bodies are starting to pile up and she begins to look an awful lot like the culprit. With the help of her boyfriend (Xander Berkeley) and colleague (Kasi Lemmons, always fantastic) she tries to get to the bottom of the mystery but Candyman is a tough curse to shake, and the killing doesn’t stop. Many of the actors here are genuine residents of the Green, providing both authenticity and a very human quality to the film. Todd is now something of a household name and has achieved cult status for this role, it pretty much set him up for good in the horror genre and it’s no wonder, he’s a hypnotic dark angel as Robitaille, with both seething menace and a crazy calm lurking behind those eyes. There’s moments of real fright that hold up to this day as truly chilling shockers, such as a kid getting ambushed off camera by Candyman in a park restroom and the horrific aftermath of a dog’s murder coupled with a missing baby, brought to life by Vanessa Williams’s vivid, heartbreaking performance as the mother. This is how you create an effective horror film, by balancing gore with story and character, creating an atmosphere in which we feel both lulled by the sights and sounds but always unsafe as to what could be lurking through that bathroom medicine cabinet or dark, graffiti scrawled hallway. A classic. There’s two sequels that aren’t too awful thanks solely to Todd’s presence, but they come nowhere close to this one.

-Nate Hill

The Crazies

Imagine if zombies weren’t just outright observable walking vegetables and it were a little harder to tell when the change happens? There’s countless variations on the theme, but The Crazies manages to be really unnerving by adding a dose of mental unrest in with the formula. After a strange toxin infects the water supply of a small town, people begin showing symptoms of instability, psychosis and then full on murdering each other at random. The town Sheriff (Timothy Olyphant), his Doctor wife (Radha Mitchell) his deputy (Joe Anderson) and a survivalist girl from town (Danielle Panabaker) band together to escape not only hordes of townsfolk infected by this mania, but also the military brought in to ‘contain’ the situation. It’s a hectic, ultra-violent affair with a doom laden apocalyptic vibe and plenty of explosions, but the real scares lie in the disconcerting way that otherwise simple townsfolk just start to slowly lose it and act mentally disassociated, before getting downright homicidal. Especially effective is a scene where a woman is helplessly strapped to a hospital gurney and one of the crazies slowly enters the room, the dread is palpable and it’s a true scene of horror. Scary stuff.

-Nate Hill

David Gordon Green’s Halloween

David Gordon Green’s update on John Carpenter’s Halloween is currently slashing its way through theatres, and aside from a few nit-picky asides, it’s a winner, both in terms of a genuinely scary horror and as the long awaited sequel to a film that practically reinvented the printing press of the horror landscape.

The new Halloween is sleek, vicious, aesthetically pleasing and brings back Michael Myers to do far more killing than he ever did the first time around, as this takes place in a universe bereft of any other sequels, an interesting choice which gives the it a fresh, immediate vibe. Also back is Jamie Lee Curtis’s Laurie Strode, who has calcified into a paranoid, blunt realist who doesn’t so much worry if Michael will come home, but just somehow knows it in her bones. Judy Greer is fantastic as her estranged daughter Karen, Toby Huss provides great comic relief as her husband and Andi Matichak is a sensational find as Laurie’s granddaughter Alyson, who echoes both the resilience and vulnerability we remember in Laurie when she was her age. Will Patton also kicks ass as the Haddonfield Sheriff’s deputy, always great to see him.

It’s nice to see references that aren’t overt or forced, but woven into the narrative almost seamlessly and with purpose. Many instances feel serendipitous, and as the infamous classroom scene always intones and reiterates here, fate is an inexorable bitch from which there is no escape. Green and his team have lovingly made Michael the relentless stalking Shape we fondly remember, using fluid tracking shots, lingering suspense, mounting dread and those classical music cues to herald his arrival on the fringes of nocturnal suburbia like a monster in a bad dream. There are impeccably orchestrated scares involving a closet and a motion sensor light that are impressively effective and nerve shredding. There were a few things that felt dumb, like the extended involvement of a Dr. Loomis proxy called Sartain (Haluk Bilginer) who at first is welcome until his arc gets inexplicably loopy, as well as some ham fisted writing for Alyson’s male friends, one of whom is so irritating I wish they’d casted an actor who looked and sounded like less of a ripe cheese, but oh well, at least he’s short lived.

Now, my favourite thing about the film: that beautiful score, and I’m not just referring to the original jangly tune. Carpenter himself, his son Cody and Daniel A. Davies worked together to not only rework the iconic theme a bit but compose swaths of new stuff, atmospheric passages and nightmarish synths that are instantly worthy of the main theme. This is definitely the best sequel since the original Halloween 2, which can be considered a companion piece to Carpenter’s first anyways as he reportedly directed chunks of it. This feels like a slasher should, but it’s also smart, deliriously stylish and scary in that elemental way where it’s not the violence itself that haunts the experience, but the spaces in between where Michael is lurking with intent and the suspense builds. That’s what Halloween is about.

-Nate Hill

Starz’s Ash Vs. Evil Dead

I feel like Starz’s Ash Vs. Evil Dead doesn’t get enough love or praise. It was always going to be a tough task to update and fluidly continue a scrappy, deranged, hyperactive, genre pioneering classic from the early 80’s into contemporary long form storytelling, but damn they kind of nailed it. Raimi himself directs the first episode to kick the party into gear, and sets the stage for two knockout seasons of nostalgic bloody mayhem, new ideas and demons worked into the existing lore and more deftly written comedic dialogue than you can shake a boomstick at. This picks up decades after the original cabin massacre, which Ash has now himself been blamed for. That pesky necronomicon isn’t quite done with him though, and pretty soon he’s on an epic, gore laced quest to defeat evil with two awesome sidekicks, the sexy, fearless and spirited Kelly (Dana Delorenzo) and courageous, scrappy Pablo (Ray Santiago). Their adventures take them on countless endeavours, side-quests and tussles with every demon under the sun, and it’s the characters who ultimately make it worthwhile. Middle aged Ash is different from the jittery youngster of Evil Dead and even the reluctant avenger he became in Army Of Darkness. He’s kind of a goof, but a goof who gets shit done in the end and lives to swill a beer and tell a grossly exaggerated tale about it. There are some truly inventive monsters, demons and deadites on display here too, from your garden variety howling, decayed possesses corpse to full on legendary denizens right out of the bible, a haunted car in a cool shout out to John Carpenter’s Christine, a possessed cadaver that literally shits and pisses all over a very uncomfortable Ash as the deadite inside takes liberties with it’s bodily functions, and all kinds of other stuff including an an evil Ash hand puppet that has to be seen to be believed. Other great supporting turns come from Lucy ‘Xena’ Lawless as an immortal badass demon hunter, Ted Raimi as Ash’s ketamine guzzling high school chum, Lee Majors as his ladies man of a father and more. I’ve only seen the first two seasons so far, but I’ve got nothing but great things to say about this show. It’s consistent with the tone and feel of Raimi’s original classic horror trilogy while building upon everything he did to blast new pathways into the Ash legacy. Punishingly, rewardingly gory, spectacularly hilarious at every turn, filled with loving references, deadites galore, this one is a keeper.

-Nate Hill

David Cronenberg’s The Fly

It’s taken me years to finally get around to David Cronenberg’s The Fly, but I’m glad I did as it’s a terrifically slimy gore-palooza boasting practical effects that are on par with classics like John Carpenter’s The Thing and Sam Raimi’s Evil Dead. Cronenberg is known as the prince of body horror, and has carved out a now legendary swath of schlock-tacular horror films (many of which I’m unfortunately not caught up on), but his nightmarish visions almost always have a brain in their heads or something to say about media, psychology, biology or the way things work. In The Fly he takes a look at the universal human fear of disease and decay, a collective primordial disgust that Jeff Goldblum and Geena Davis fuel their performances with. Goldblum is Seth Brundle, a brilliant but terminally awkward scientist who has developed a functioning teleportation device. Well almost, as he has trouble sending anything alive through it, and it has a habit of turning monkeys inside out. One night he drunkenly sends himself through, unaware that a tiny little stowaway has come for the ride. The computer gets confused, combines their DNA at a molecular level and, viola! Jeff Goldblum starts literally turning into a giant fly, and trust me when Cronenberg is at the helm of such a premise, no expense is spared on gallons of vile corrosive goo and repulsive glistening prosthetics, so don’t order in Pizza Hut if you have this one on in the living room. Geena Davis is effective as the journalist that falls in love with him and has to bear witness to the grotesque transformation, but unfortunately the film isn’t long enough to work as a romance, choosing instead to put the horror front and centre, which is where it’s strongest aspect lies. Goldblum is great as the twitchy doctor, and uses his physicality brilliantly once the metamorphosis begins, giving his lanky frame a staccato, animalistic rhythm that suits the character well. The effects are dazzling, if retro gore is your thing, a whole party bag of slime, pus and deformity that stands as a showcase for the FX team. I like Cronenberg’s horrors, or at least the ones I’ve seen, because no matter how schlocky they get, he never veers it totally into the sandbox and forgets his themes, he always seems in complete control of the nuttiness, following a specific recipe that doesn’t derail anything and that probably why he has become such a pedigree name in the genre. The film could have been a tad longer and a bit more fleshed out in places, but still serves as a slick, well drawn shocker that has not surprisingly stood the test of time.

-Nate Hill

B Movie Glory: After Dark Horrorfests’ Tooth & Nail

Tooth & Nail is part of After Dark Horror Fest’s 8 Films To Die For series that aired sometime around 2007, and concerns a post apocalyptic future where punk-esque cannibals roam the wasteland preying on people, but the film is a lot less interesting than that description, and is only really worth it for the presence of Michael Madsen and Vinnie Jones as two of the nastiest scavengers of the whole bunch, who call themselves the Rovers. There’s a group of peaceful folk called the Foragers, who are being hunted by these Rovers in some near deserted, nondescript city like Cleveland, Philadelphia or Denver, and that’s pretty much all there is to it. Some adequate gore and decent cinematography here and there, but ultimately it’s underwhelming given the potential in premise. Vinnie Jones is fun, if a bit underused as the scythe wielding Mongrel, he mostly stalks around and glowers as he hunts his prey. Michael Madsen is a barrel of fun though as axe wielding psycho Jackal, there’s something about seeing him wearing an epic fur coat and growling out lines like “this isn’t your lucky day friend, and guess what? It ain’t gonna get any better” right before he buries said axe in some poor dude’s spine. Too bad the rest of the film couldn’t keep up with his inspired lunacy, but oh well.

-Nate Hill

David Grieco’s Evilenko

Serial killer biopics and character studies have been all the rage since their inception in the early 90’s, but rarely do they get as earnest or serious as David Grieco’s Evilenko, an intense look at Russian serial killer Andrei Chikatilo (renamed Evilenko here), a heinous child murderer that took advantage of loopholes in the post war soviet region and preyed on youngsters for years. Malcolm McDowell is harrowing in the role and gives the character human depth and dimensions beyond just lurking, killing, evading capture and awaiting trial. I saw a documentary once on his career and apparently he turned this role down several times, which is interesting because he’s absolutely dynamic and almost unrecognizable as the guy, quite the piece of work. Martin Csokas plays the inspector on his case with his usual well spoken gravitas, hunting the man down but taking so many years to nab him that the body count went well above fifty victims. The crimes are shown with a disassociation and removed coldness, blunt but never exploitive. There’s two other film versions of this true story, an HBO original film called Citizen X that takes the police procedural route and Child 44, a recent one with Tom Hardy and Gary Oldman that was a melodramatic, unfocused mess. This one is an intimate look into the killer’s psyche, a definite cut above most serial murderer films and anchored tightly by McDowell’s committed performance. Disturbing stuff.

-Nate Hill

Ronny Yu’s Freddy Vs. Jason

Freddy Vs. Jason was kind of an inevitable thing as the two horror franchises paralleled and then gradually veered towards each other, it was just a matter of getting it right. Did they? Well.. yes and no. It’s better than Alien Vs. Predator, in case you were wondering, but in terms of doing a satisfactory collision and Mortal Kombat session between these two horror boogeyman, they could have done a bit better. Their first mistake is over plotting it; so much time is spent explaining how they both end up in Freddy’s hometown of Springwood that it seems redundant, who cares about specifics, any telling of it is going to seem silly anyways in a crossover like this, we just want to see the two of them kick the shit out of each other. Then there’s the painfully overdeveloped plot involving two ex Springwood teens (Jason Ritter and Brendan Fletcher) who escape the nuthouse and race home to try and warn everyone. By the time the two of them actually start physically scrapping, so much nonsense has come before that it’s almost too little too late. I say almost because the fight scenes are pretty spectacularly warped, from vicious hand to hand or glove to machete to Freddy launching giant oxygen canisters at Jason like torpedos. Choreography and effects are put to good use in these scenes, even if the filmmakers show a bizarre sympathy towards Jason that seems to come out of left field and paint Freddy as somehow more of a bad guy. There’s all kinds of stuff going on here from a cornfield rave that Jason interrupts in typical bloody fashion, a stoner character that’s a shameless ripoff of Jason Mewes’ Jay, flashbacks to Crystal Lake of yesteryear that get in the way and what have you. That’s the thing, there’d be space for all this random stuff in a film featuring only Freddy or only Jason, but in this collective dust-up there’s only really room for these two cooks in the kitchen. Still, we get plenty of deranged fight scenes between the two, Freddy utilizing his freaky dream powers and Jason swinging around that blade and any other large blunt object he can find. Who wins? Wait and see, but I’ll say it does have my favourite Freddy line of any Nightmare film: “How sweet.. dark meat!” He growls, approaching Kelly Rowland with razor glove at the ready. Fun stuff, if a bit too hectic.

-Nate Hill

The Purge: Election Year

I love the Purge films, and I find the evolution of the franchise fascinating. Trust an Ethan Hawke home invasion horror show to spawn some inspired, stylish and whacked out sequels. As good as Hawke and the horror was, it’s the concept of the Purge itself that led to ignition on the rest of series. Where Anarchy broke free from the conceptual restraints of the first and burst into all out war as we got to see full scale just what a purge looks like, Election Year builds ideas upon the carnage and gets political, though no less visceral and terrifying. There’s just something so unnerving about the premise of it, the absolute extremes in human behaviour it brings out, accented by a wry, satirical edge that seems so disturbing to me and what makes these films unique from scores of other horror fare. Here we see the New Founding Fathers, originally responsible for inauguration of the purge, challenged by a fierce new independent senator (Lost’s Elizabeth Mitchell), who has survived a particularly nasty purge night years before and wants to abolish the night forever. The evil, bitter chairman of the Fathers (Raymond J. Barry, turning the creepy Machiavellian scumbag dial up well past eleven) slightly augments the newest purge night in hopes of eliminating her from the running. Frank Grillo returns as eternally badass Sarge, now on her private security detail, and they both are forced to run through the night from rabid purgers (who have now gone international, apparently) Barry’s lethal Neo Nazi special ops assassination squad and even a bunch of crips. Help comes from a salty old deli owner (Mykelti Williamson) who wont go down with out a fight and a badass anti purger (Betty Gabriel) with a triage van. It’s loud, mean, brutal stuff that, as Anarchy did, takes lurid advantage of the premise and shows some jarringly depraved human behaviour from folks in all classes and makes a strong point towards the purge being a pretty shitty idea to begin with, especially when ulterior motives of those in power become clear. Writer director James Demonaco always attracts interesting actors to these films and has carved out quite the little legacy here. This year saw another one, a prequel called The First Purge which I’m excited to see, and Amazon just announced their own small screen version, so bring it on.

-Nate Hill