Tag: Horror

Haunt-tober Day 13: Shaun of the Dead

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

Let’s be honest, it’s been a bit morose up in here (happily so) so why not venture into another horror-comedy? Cornetto style? Hell yes.

I can’t think of zombies, beer, or horror, without clocking Shaun of the Dead in my weird little brain. Edgar Wright’s film is absurd but it is chock full of campy humor, and it’s always a blast of living dead proportions.

source: Universal Pictures

Shaun (Simon Pegg) and Ed (Nick Frost), are 30 something- relative, by societal standards (and the films description)- “losers.” Shaun is unhappy at work, and at an impasse with girlfriend Liz (Kate Ashfield) who wants him to show maturity and commitment in their relationship. Then, of course, when things seem to be going badly and Liz ends things then comes… zombies.

A year prior to my delve into the world as an adult, I was venturing to the theater to see this British mirth on zombie lore. I was taken right away, and even now, I wonder, would a pub be the right place to see the end of the world out? Shaun of the Dead certainly makes a case for it. So, I’m not ruling it out.

“Take car. Go to mum’s. Kill Phil, grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over.”

It’s also always good to know which records you can afford to throw in the name of survival.

Something I love about Shaun, is how a portion of the film just follows the mundanity of the central characters, going through the hum drums of life, unbeknownst to them that the apocalypse is coming. And, once they are aware, not much really changes, they’re still the slackers as originally portrayed, though by the end their arcs show them as unexpected heroes. Who wouldn’t want these two fumbling hero’s leading their way to survival? There in lies, one of, the beauties of Shaun of the Dead.

source: Universal Pictures

Its both a parody of zombie films while being a dissection of our disconnect and ignorance as a society, we so often move through oblivious, until something pushes us to awareness. Its a wake up call and a call to action, there’s one life: live it. This was back in 2004, and I feel like it’s even more relevant now as we march on, seemingly zombiefied by our own creations.

It’s also a clever satire that melds horror and comedy efficiently, never letting up on physical gags, almost sitcom-like humor, and the hilarity that arises when one tries to figure out the “correct” thing to do in an impossible circumstance. The makeup and effects are also top-notch, making the walking corpses no less frightful, even when they are being hit with pool cues to a Queen’s song in an almost- choreographed dance. The comedic timing of our leads, who would continue, and still do, to star together in several other roles, is expertly matched. While Wright’s flair for style and smart comedy, make Shaun a real joy.

A witty riff on zombie lore with plenty of gore to suffice, if you’re a fan of comedic reprieve on a horrifying sub-genre, look no further than Shaun of the Dead, you won’t be let down.

Haunt-tober Day 12: Bram Stoker’s Dracula

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

I have no qualms admitting my love for Francis Ford Coppola’s adaptation of the classic vampire tale. I watched it as a youngin (shocker!) and loved it. At first it was eerie to me, and though it wasn’t my first or last entry to Dracula, it left an impression. (Much like Nosferatu did). It continued my appreciation for the many splendors of visual storytelling.

source: Columbia Pictures

A lot of words come to mind when I think of Bram Stoker’s Dracula but one that comes ripe with punctuation is indulgent. In many ways, and in ways that I quite appreciate, the film is excess, over the top. It takes the subject matter we know, and many love, and emphasizes it with new flourishes.

I love the use of shadows, of colors, and the unyielding score (by Wojciech Kilar). Some of those beautifully haunting shots are unforgettable: the horse pulled carriage thrusted into the darkness with a fervent pace, or the train as it whistles loudly, headed into the ominous Carpathian Mountains. It’s rich with these moments, and you can be smitten with the gothic visuals alone.

“Do you believe in destiny? That even the powers of time can be altered for a single purpose? That the luckiest man who walks on this earth is the one who finds… true love?”

It attempts to romanticize Dracula in a way, which, honestly, I don’t mind. Love never dies. Even for blood sucking vampires. It’s like a fairy tale/gothic romance, mixed with some camp and the threat of eternal damnation. There’s more to this Dracula than other iterations, because even when his actions are those we’ve seen before, and he’s the “monster” (chefs kiss by the way with the makeup, costumes and effects). There’s also the occasional glimpse of a burgeoning heart of “man” before, a reminder that he was once human.

I also adore the occasional silliness, Anthony Hopkins and Keanu Reeves (as do others) play it up and succeed. Meanwhile, one of my favorite heroines as a kid, Winona Ryder adds more emotional resonance to a film that isn’t always selling that point. Meanwhile, Gary Oldman (talk about star power) nails the performance of Dracula, giving us a reminding reason, yet again, of how versatile the actor is. He’s as haunted as the character has ever been, in his moments of reflection and pain. Dracula transforms a lot throughout the movie, not just physically, but shifts from guilt-stricken, to furious, brooding and then maniacal.

source: Columbia Pictures

It’s decadent, blood-soaked, eye-catching candy. Albeit, not one that’s for everyone, especially those relishing the older Dracula feel. That’s why I like it. James V. Hart’s screenplay takes Stoker’s tale and makes it feel modern, and yet still… ancient. But, it’s Coppola’s vision and Michael Ballhaus‘s cinematography that stands out most, and makes this a lasting feature.

Luscious to look at, and looming with a variety of delights for your senses to revel on, Dracula is spellbinding entertainment.

Haunt-tober Day 11: It (1990)

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

Yes, it’s time for another King adaptation on this Haunt-tober, and no, it’s not the newest adaptation of his popular novel, It. Nor, if I’m being completely frank, will it probably be the last (still think this deserves a larger, limited series platform). Is it the best? No! Most well-acted or conceived? Umm, no. But, was it influential and impactful for not just my horror history, but most my age? Hell yes. There is a lot wrong, packed full of that 90s TV movie feel inherent throughout, but it still has some golden moments of unease that make for a reasonable argument for why this movie/miniseries is worthy of viewing by any Stephen King fan.

It genuinely ruined sewer grates for me, for forever (because they were so important to begin with). Kids are impressionable, and many in my age range were scarred by this TV movie nugget, me- though? It kind of made me the freak I am. Even when I was irked, I was also intrigued, and appreciative of this experience that had me looking at clowns, and potentially what they could be in all their forms, more intuitively. What was It? Good question.

They all float

If you don’t know It, the story follows a group of friends “the losers club” who fight off an ancient evil that returns every 27 years to the small town of Derry, feeding off fear and murdering children. The miniseries doesn’t split the time-periods like the newer remake does, instead it often pivots from their childlike selves to adult, forcing harsh memories to flood back, as they reunite once more to fight evil. Or rather, Pennywise the clown, in one of Its many forms.

Warner Bros. Television Distribution

Yes, this miniseries leans heavily on the side of cheesy, and is often playing it safe but it doesn’t change the fact that King’s voice echoes through, loud and active. Directed by Tommy Lee Wallace this two- part series, only begins to scrape the barrel of King’s novel.

I’ve done video essays on the comparable factors from novel to adaptations on my other site, Film Inquiry, as well as diving into King’s many visions in film (and you can bet there will be one another mentioned here before this month is over). I chose this one in particular because it marries the youth in me with the person I am now. I don’t know that I would be who I am without It. This is an intimate part of my history. Film lovers know what I’m talking about. It is in our DNA. It’s like this undeniable focal point, with each movie, that inspires and influences who we become.

Yes, I recognize all of the issues with this miniseries. There are many, sometimes blindingly so. There are a lot of talented actors here, but sometimes the dialogue comes across as hokey, and it seems overacted. I find myself giggling at many moments, but then I think about how this was on network TV in 1990, and I consider how -despite all of this- it is still creepy at times. Honestly, a lot should be owed to Tim Curry. He’s so good at Pennywise, zany and disturbing. The makeup, costumes, and practical effects (at least in the first half) still stand. When I watch now I even still feel diminutive in particular scenes, in a mental fetal position, as I unwrap all that is happening here.

More than anything It falters in the tone and pacing, which wants to be terrifying (and still is at times) but ends up being a deflated balloon of inconsistency. Still, there’s a partnership of charm and an eerie semblance that makes Derry a place I have frequented over the years.

What do I love about It? It’s all about fear. It’s the basis, the starting point that allows our imaginations to run wild, into murky unspeakable places. It can be anything, as we have our own personal horrors. What’s more potent than that? It is the epitome of the genre. In many ways It is what inspired my podcast (Go On, Scare Me) because it ruminates on just that.

Warner Bros. Television Distribution

I am always struck by King’s genius here. It seems so obvious, borderline simplistic, in a way that can’t be duplicated. A story of fighting our personal fears and the enduring power of friendship, It is more than just a scary story, it’s a vestibule into our psyche, and maybe, a little, into our hearts.

Haunt-tober Day 10: The Others

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

When it comes to the supernatural in film, I adore the subtle magic of hair raising done right, and mood over excess. You don’t need special effects to heighten a picture, or to rely on jump scares to make a lasting impression. What’s unseen, unknown, and most importantly- felt before spotted- can ultimately be the most terrifying thing.

I saw The Others when I was a teenager, in a local (very tiny) theater, and I remember leaving with a wonderful sense of eerie calm. My horror needs were satiated.

source: StudioCanal

In 1945, Grace (Nicole Kidman) and her children Nicholas (James Bentley) and Anne (Alakina Mann) live alone in a large manor. Her husband (Christopher Eccleston) hasn’t returned from the war, and the home aches with a lonesome isolation. The children, who suffer from a dangerous photosensitivity, are forced to remain inside, out of the light. The curtains must be kept closed, and each door locked behind them. When strange things start happening, it seems perhaps apparitions are behind it.

From the very start things feel strange, dank and off putting, and it’s clear that something very dreadful is going on. The Others utilizes the dark, making you wonder what’s around each corner, under each table, behind each door. That, my friends, is successful suspense. The curiosity that drives the fear is part of what makes it so palpable.

At times it has the ambiance of a campfire ghost story, and can almost feel the heat from the fire and the general unease of the audience as we listen, watch, and hold our breath waiting for the unveiling finish.

Director Alejandro Amenábar expertly conveys his intentions, leaving you uneasy and appreciative of all the fine details that go into capturing the vibe that The Others does so well. It’s elegance and creepiness tied into one.

source: StudioCanal

Hauntingly effective, in near poetic fashion, it really embraces the singular locale in a way that makes the home a living breathing character of its own. The production and sound design is fantastic, further enforced by the amazing use of a star like Nicole Kidman at the helm, in a truly vulnerable performance, and the lovely cinematography by Javier Aguirresarobe.

There are some scenes that I feel could be truncated, but the visuals and performances are so enveloping that its easy to get lost in the atmosphere created. From the fog that wraps the grounds or the servants that seem to know much more than they are letting on, the subtleties lure the viewer in, using suspense and mood to see The Others through.

The Others is a haunting story done right, both in the supernatural and the psychological sense. Kidman‘s face, often frozen in terror, says it all. A ghostly delight.

Haunt-tober Day 9: Frailty

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

Bill Paxton’s directorial debut is often overlooked in the genre, which is unfortunate, because this actor’s foray behind the camera (who also stars in it) is one that is worth discovering.

I first saw this in highschool when I rented the DVD and I remember that I immediately insisted my parents watch before it’s required return. They did, much to me being relentless, and I felt like I had done my good movie deed of the day: Spreading the joy (and occasionally the permeating discomfort) of films in every way, as much as I can.

Oh, how I miss the mom and pop video stores of the past.

Frailty was gloomy in a way that burrowed in your bones, it got skeletal (and at times cerebral) as it questioned parental mental instability and religious intent. I found it powerful and thought provoking. I remember thinking “well, this is certainly something.” And, that hasn’t changed.

Part mystery/psychological thriller/horror and southern gothic, Frailty follows single parent “Dad” (Bill Paxton) after he gets a sign from god that he needs to rid out the evil of the world. Is it real? Or psychosis? When he brings in the help of his children, regardless of the validity, there’s a definite reason for concern as discomforting event, after discomforting event (ahem, bodies) pile up.

source: Lions Gate Films

It’s a violent affair, in more ways than one, both in a physical visceral way, and an emotionally manipulative one. Frailty is a very dark film and of course I mean that in tone but also in lighting, emphasizing the atmosphere that really feels lived in and worn out.

Frailty nestles under the skin, and it doesn’t stop, only moving deeper, as we begin to feel for the children (played with real empathy by Matt O’Leary and Jeremy Sumpter).

While occasionally uneven, the performances elevate and the heavy handed surety of the father is downright chilling. Once an idea is planted, it burrows, infecting the children, and the life they have built. Whenever someone is convinced of doing something so horrific with a certainty that it’s for a greater cause- it’s skin crawling.

source: Lions Gate Films
source: Lions Gate Films

I wish Paxton had gotten more of an opportunity to explore the genre, as he had starred in some iconic horror roles, and you can tell he had real promise behind the lens. There’s something that stands out about Frailty from other films of the like, and it develops into an old-fashioned feeling horror film; it’s chilling.

Matthew McConaughey and Powers Boothe also add an intriguing dynamic to the mix as the story is being told from McConaughey‘s point of view, and the two consistently size the other up as we uncover the details and the truth (to an extent).

Grim, but effective, Paxton’s debut is authentically creepy. An enduring and inventive vision of horror.

Haunt-tober Day 8: The Cabin in the Woods

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

It feels like the right time to dive into the fun corners of the Haunt-tober catalog with one of the more inventive horror-comedy experiences I can remember having. By that, of course, I mean, The Cabin in the Woods.

When I first heard of the film I wasn’t entirely sure what I would get. I went into it unknowing, unsure, and came out, ultimately impressed.

source: Lionsgate

From the beginning when we are introduced to Steve (Bradley Whitford) and Gary (Richard Jenkins) two seemingly innocent, mundane workers in ties, you’re intrigued. When the title cards hit with a scream in blood red after “are you even listening to me?” I was like, oh hell yes, I am. What unspools after that is both unexpected, and simultaneously expected because it uses cliches in inspired fashion.

“The Lambs have passed through the gates”

College friends Dana (Kristen Connolly) Curt (Chris Hemsworth) Jules (Anna Hutchison) Marty (Fran Kranz) and Holden (Jesse Williams) are headed to a secluded cabin for the weekend. Seems harmless right? Somehow, even when they meet the “harbinger” a role invented in the genre just to warn off the characters of their impending doom, they progress.

Co-written by Drew Goddard (who directed it) and Joss Whedon, The Cabin in the Woods is filled with a talented cast who balance the straddling of genres efficiently, while concocting a structured, witty script. Even in some of the more absurd moments, there’s a feeling of real drama and terror for these characters as they react, to the best of their ability, in an impossible situation. Against all odds (and trust me, they are against them) they do their best, and it’s heartfelt, once things get really, serious.

Despite the jokes that land and the self-awareness there’s still a level of fear as characters meet unfortunate circumstances, and a growing curiosity as to what, exactly, the bigger picture, is.

Not only is still movie blisteringly funny at times and wildly clever as it makes fun of every trope that horror uses, but it’s also got a wicked twist that makes the final chapter genuinely creepy. Where the movie goes (and if you somehow haven’t seen it I don’t want to spoil the lovely reveal) allows it to squeeze in dozens of movie monsters in a span of like twenty minutes. I’ll just say this, should you know of what I’m referencing: I love that sequence, it’s gold.

source: Lionsgate

This is definitely one of my comfort horror watches this time of year because I find it to always be a delight. The sheer reality that a movie can make you laugh out loud one moment and yet still be filled with a savvy intelligence that can surprise you, is something to be lauded. Not only does it highlight obvious contrived elements of the genre, but even the more deeper-level ones, which makes this horror-comedy more evolved than many of its predecessors.

It manages to be a lot of things all at once and it excels in every avenue. I have a hard time finding things to dislike about this movie every time I watch it. The fact that there can still be new takes on ideas already done, makes me so hopeful for the genre and for film in general, that I want to dance.

While being “like” so many others, it’s unlike anything you’ll see. It’s weird, hilarious, and actually scary- The Cabin in the Woods has it all.

Haunt-tober Day 7: The House of the Devil

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that creeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

It’s Day 7 of Haunt-tober, and it seemed like just the right time for a little devil worshipping.

Written and directed by Ti West, The House of the Devil was quite a surprise for me when it came out. It feels and looks like the 80s films it aspires to, truly transporting you to that time. I honestly had to verify that I put on the right movie because it looked and sounded, with even the stylish opening credits, like it was made decades prior.

Do things ever work out well for babysitters in horror movies?

College student Samantha Hughes (Jocelin Donahue) is in need of work, so when she spots a flyer on campus for a babysitting gig, even when reason after reason not to is glaringly waved in her face, she takes it. Even her best friend, played with a wry charm here by Greta Gerwig, get strange vibes from Mr. Ulman (Tom Noonan), and tries to talk her out of it. Especially, when he explains that there isn’t a child, but his elderly mother upstairs. This also just happens to be the night of a full lunar eclipse, turning the creepy knob to the max.

source: MPI Media Group

The House of the Devil is the way horror should be done. It banks on the less is more (until its bloody final act) not needing flashy effects, or overbearing subplots The result is atmospheric, slow building in tension in all of the right ways. We know what’s coming – to a degree- but the deliberately paced narrative ensures that the fear remains.

Donahue is perfect as the nuanced lead, innocent and yet not fragile. As someone who holds many scenes entirely on her own, she has to be magnetic or it won’t work. We watch her walk around the house, order pizza, dance with her cassette player, growing to care for Samantha, and never letting go of the sensation that… things are going to go badly.

The ending does feel a bit rushed, but I don’t mind it, I prefer the slow simmer to a boil that West cooks up (complete with copious amounts of corn syrup). It feels nostalgic and captures the essence of that decade and the horror classics of that time, with a rocking soundtrack and grainy cinematography, it fits like a well-worn pair of stone-washed jeans.

source: MPI Media Group

Clocking in at a lean but compelling, 93 minutes, West really shows off his talent for filmmaking here, giving us a retro vibe that seamlessly blends the chills with the eventual, gory, thrills.

I dig it: The House of the Devil is a real horror gem. It pays homage fondly, but still slips in its own distinct and eerie ambiance.

Haunt-tober Day 6: Jaws

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that creeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

I would be filled with unimaginable regret if I did not touch upon one of the best blockbuster horrors ever made, even if we are officially out of Summer (and this oozes that Summer feel). A film that takes the question of “can you make a nearly perfect film?” And answers it, with a resounding yes, through pointy white teeth.

Like so many others I have highlighted and will continue to do this month, Jaws was an early entry for me. In my household, this is a movie that was seen young, often, and prolonged through quoting and impressions throughout the years. It’s a film that I resonated with, that made me appreciate this spectacle of movie-making, as I first heard the slow build up of John William’s score, and saw the fin racing through the water. It is for this reason that I had to talk a bit about the classic that is Jaws. How do I love thee, let me count the ways:

“Lifeless eyes, Black Eyes, like a Doll’s Eyes.”

Jaws really did scare people out of the water, and provided one of the most iconic killers in film that decades later is still making a splash.

source: Universal Pictures

When a great white shark terrorizes the small island town of Amity, sheriff Brody (Roy Scheider), fisherman Quint (Robert Shaw), and Marine Biologist Hooper (Richard Dreyfuss) make up the unexpected trio tasked with hunting it down.

Steven Spielberg has made a lot of terrific films; he’s a sincere, meticulous master of the craft. Over the years, I have found myself returning to this one as a comfort watch. The effects, and the camera magic that went into making this seem real, were exceptional.

The pacing of the film never wavers, each scene is filmed and cut to perfection, with a script that ensures the tension never fades as the stakes continue to rise. Even in the moments where it lets its guard down, the characters keep it level. The three main characters bonding and humorful banter, as well as Brody’s relationship with wife Ellen (Lorraine Gary) provide a feeling of family and camaraderie to the picture.

source: Universal Pictures

Jaws also serves as a cautionary tale/wake up/allegory for handling a crisis and public safety, when the local mayor’s own greed is blinded by the risks of keeping the beaches open. Despite the terrifying conceit, and the humor that keeps the boat afloat, there’s an intelligence displayed throughout that makes it more than your normal blockbuster.

It’s immortalized for good reason. Between the thematic score, that is instantly recognizable, its perfect cast, and gut-punch of a thrill, Jaws is still very much alive.

Come for the shark, stay for the characters.

Haunt-tober Day 5: Eden Lake

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that creeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

Sometimes, because this genre can be so shocking, there’ll be a film that comes along that finds a new way to unsettle you. This one, does just that- even as I rewatch it now. Even when I know where it is going.

Eden Lake is one of the movies that terrifies, disgusts, and also… infuriates. It has a meanness ingrained within the core, and once our main characters get introduced to it, it overtakes everything else. This is not everybody’s film. Even for the horror-lovers.

The group of local youngsters feel resistant to the yuppy tourists that come their way, and once lines are drawn, things grow even dire.

source: Optimum Releasing

Jenny (Kelly Reilly) and Steve (Michael Fassbender) are headed to the countryside and lake for a weekend getaway. The couple seem happy, glowing even, and when they make it to the beach it looks like its going to be a lovely time.

When they run into some local, antagonistic kids who seem to relish provoking them, there’s a beckoning dread that sits in your stomach. When an accident happens, things spiral into a dangerous, vengeful place. Once the youth are in “it”, they feel they have to finish what they have started, becoming a cat and mouse of hunting the couple in the forest.

How the situation is handled, on many fronts, is poor, and it ensures the dominoes just keep clanging over, bringing about destruction and pain.

Eden Lake toils with the idea of pride and revenge, and dangles elements of social commentary throughout. It feels a bit like Straw Dogs, in the way that it’s developed to be a survival, realistic (to an extent) horror. For most horrors, even the ones based on true events or enveloped in realism, there are going to be a element of things that you have to suspend, in order to enjoy. Or, in this film’s case, survive.

Our tenacious duo do a lot to fight back, and what they endure is guaranteed to check your gag reflex more than once.

Something that always works throughout the film is the tension and fear, even when some of the character’s decisions don’t seem particularly wise (or for other moments where you wonder- wait, why didn’t they do this? Like most horrors). Despite the antagonists of the film being younger, there’s still a level of belief in their intent. It often reminded me of Mean Creek or Bully or even Alpha Dog in that way, because despite the age there is still a feeling of trepidation, especially once you see what they are capable of.

Jack O’Connell as their leader, reacts often with extreme anger and ill intent, with a performance that is shocking at times. As we meet some other townfolk in the film, its clear that he’s been influenced by his surroundings.

source: Optimum Releasing

Writer/director James Watkins writes some interesting looks at social interactions and skillfully uses his talented cast, as well as an excellently moody score by David Julyan to keep the fear alive. Filled with some near escapes, and lots of surprises, Eden Lake keeps you on your toes.

The movie occasionally teeters on ridiculous, but it is always enthralling. For good or for worse, for shock or recoil, you’re there, dissecting what’s happening with a keen curiosity. It’s haunting and lurid, but the performances make this British-horror quite effective. Despite how I feel about aspects of the movie, or how it makes me- in response- feel, there’s a boldness to it that I can’t ignore.

A survival thriller with no shortage of cringe inducing moments, Eden Lake hurts – no really- to watch at times. In many ways, this film will frustrate most to nauseam.

The way that Watkins creates such sustaining tension, is impressive. I think even when the film begins to rub you the wrong way, you’re still being pulled along on a string, wanting to see what’s waiting on the other side. And it isn’t pretty.

Haunt-tober Day 4: Misery

Posted on by Kstrouse

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that creeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

So much of Misery’s “charm” lies in the subtleties, in the obscure corners. While you might be thinking “Wait, what? Annie Wilkes is about as subtle or charming as a… [enter potential expletive here] it’s really quite true. Let’s consider this: Misery is primarily in one central location (nearly just one room) with a focal point of two main characters who try to psychologically outdo the other, and yet, it never feels forced. For this kind of a setup to work, a lot has to come together, and in many ways, the smaller- less obvious parts, are what makes it so great.

Stephen King knows how write an epic story. And, Rob Reiner knows how to make a King adaptation work (see, Stand By Me). Misery proves this as he delivers a suspenseful, unsettling, film. It isn’t always a guarantee when adapting the imaginative work of King, but when it clicks, it clicks.

source: Columbia Pictures

Famed writer Paul Sheldon (James Caan) has just finished his newest piece, enjoying the high that comes from completion, heading back to NYC from within the snow covered mountains. When his car goes off the road during a storm he’s rescued by his number one fan (how lucky!) Annie Wilkes (Kathy Bates), a nurse who wants to make sure he’s back in tip top shape. Mhmm.

Misery Love Company

I first saw Misery as a young teenager, and I was pleased to say that I was adequately disturbed. It had this admirable blend of tones that had me feeling as confined and confounded as Paul. I was also impressed because the performances were just so stellar. I had known Caan from my love of The Godfather, and Kathy Bates from Fried Green Tomatoes, and this was nothing like either. I was sold on these portrayals, and I’m not surprised, but quite pleased, that Bates won an Oscar for it.

Despite the fact that Misery is most certainly a horror, it’s also never skimps on the humor. In a discomforting way, it makes the terror even more potent. Every time I laugh watching it, the film reminds me moments later why the laughter will eventually die out.

This dual-sided title (another one of King’s wonderful wordplays) is not only shown, but felt. There’s a tension that festers early, and only builds as we discover Wilke’s real intentions, and the scope of her capabilities. Soon, we notice her mood swings, her intense anger, and the extent of her delusions. As an audience, the sinking realization arrives just as it does for Paul.

This is not good.

source: Columbia Pictures

Her duality is deftly delivered as Annie can offer warmth and the idea of sanctuary in one hand, while the other wields a sledgehammer. Annie’s idolization of Paul is disorienting. She wants the book she feels fans deserve, not what he has written. This makes her hostile, violent, and ultimately- tragic. Both of our main actors are transformed in these roles, with a nearly hypnotic push and pull between the two. It makes it difficult to not be wrapped up in this suspense filled examination of fandom gone, very, very, wrong.

A smile and a hobbling, what’s more horrifying than that?

There’s such a perceptible anxiety that feeds the psychological cat and mouse. There’s something scary about a person that can turn on a dime as fast as Bates does (and there are certainly some sinister scenes). As a viewer you are on the edge of your seat, wondering what she’s going to do next. She becomes obsessively dependent on what Paul writes, and what happens to the title character, Misery. The demand of her brand of “art” straight from the artist, eludes to King’s own expectations that have been put on him by fans. While there’s a lot of dark comedy and Bate’s unique choice of expressions “The Cock-A-Doodie Car”, expect a growing unease to form in your stomach, and in one particular scene… jump up into your throat.

Ouch.

I have to give kudos to the cute bickerings between the sheriff Richard Farnsworth and Frances Sternhagen, as his wife, providing brief intermissions of comic relief. The script by William Goldman ensures that this King’s adaptation is done its justice, giving this character study its bones, with the memorable performances as the lifeblood.

Utilizing close up shots of Bate’s masterful spin on the female villainy (sometimes too much), Misery works because it hits the gas, let’s go of the wheel, and sees what happens. It’s engaging, taut, and miserable…in all the right ways.