CARNIVAL OF SOULS (1962)

October 26, 2020

(AMC+/Criterion/fubu/epix/HBO MAX/hoopla/kanopy/Paramount+/tubi/Vudu, anywhere really, although I watched The Directors Cut via my Criterion copy) One of the few films I discovered because of a video game — no, not CARNEVIL — I’d read about it influencing SILENT HILL.

CARNIVAL OF SOULS is a surprisingly singular vision from industrial film Herk Harvey, who only made this one film, but he made that swing count. A woman is the sole survivor of a three-person car crash, and goes about trying to move ahead in life, but can’t shake a gauzy hazy or the stare of a ghostly man.

It’s a surprisingly quiet film, despite the often oppressive organ soundtrack, and while it’s built upon a number of small moments, it culminates in an astounding final sequence. Art-house horror, full of tension and dread, well before such a thing widely existed.

One final note: I believe some song I’m quite familiar with sampled Mary’s meeting with a Dr. Samuels, as well as the exchange: “Now you quit licking your chops, she’s outta your class.” “You wanna bet?” If anyone knows who sampled them, let me know!

FINAL DESTINATION 2 (2003)

October 25, 2020

(HBO MAX/VOD)? I love original recipe FINAL DESTINATION — Wong & Morgan took everything they learned from THE X-FILES and expertly applied it expertly to the slasher genre, all while introducing teens to counterpointing via John Denver (Rocky Mountain High makes a brief muzak appearance in this film as well) — but goddamn, the opening sequence is one of the most memorable set-pieces of the last twenty years, and the kill scenes are astoundingly convoluted.

I’m not going to say it’s as good as the first FINAL DESTINATION, but it’s exactly what you hope for from a sequel. Also, ONE DAY AT A TIME’s Justina Machado is a supporting player!

If you haven’t read it, ‘Death Is Not the End: An Oral History of Final Destination’ is well-worth your time, if for no other reason than learning about how influential the ‘bus kill’ scene was for effect techs: https://consequenceofsound.net/2020/03/final-destination-oral-history/

ROGUE (2007)

October 24, 2020

(VOD/Vudu) Greg McLean followed up WOLF CREEK (2005) with this tremendously satisfying Australian giant crocodile film. As with all of McLean’s films, the characters are far more nuanced than necessary for the material, and he has a fantastic command of wringing the most tension out of a scene without making it feel cheap. For a giant creature flick, it has some surprisingly poignant moments. Sadly, this was the era of schlockier creature features, and the film never gained much traction.

It helps that the cast is full of brilliant-but-underrated performers: Michael Vartan (an oft-forgotten part of ALIAS) milks his shy eyes and perpetually concerned brow; Radha Mitchell (PITCH BLACK, SILENT HILL) plays it straight and extremely considered; a young, fresh faced Mia Wasikowska (CRIMSON PEAK, STOKER, DAMSEL); oh, and also Sam Worthington (MAN ON A LEDGE, THUNDERSTRUCK).

All of this said, it’s slightly hampered by early naughts CGI and more mansplaining than I remember, but it’s still a thrilling time.

THE HONEYMOON KILLERS (1970)

October 23, 2020

(Criterion/HBO MAX/VOD) Very loosely based on a true story, it’s a very straight-forward thriller about a con-man and unrequited love, but also a prototype film for similarly fraught couple killer films to come. It has a distinct rawness to it makes it far more engaging and interesting than it sounds like on the page.

PONTYPOOL (2008)

October 22, 2020

(AMC+/VOD) Based on Tony Burgess’ PONTYPOOL CHANGES EVERYTHING, the film condenses and improves on the source material, turning it into more of a WAR OF THE WORLDS broadcast, becoming more of a stage/radioplay than film. This piece about a virus transmitted via speech wouldn’t work nearly as well without Stephen McHattie’s resonant voice -and- acerbically charismatic presence. That said, even without him, it’d still be an imaginatively brilliant and horrifying work. The mid-film obituaries hit hard. It’s a masterclass in wringing the most from a smart concept by selling a lot through showing very little.

A sequel has long been rumored — I assume it’d be based on CAESAREA, which I have yet to read — but by all indications it’d be significantly larger in scope, whereas PONTYPOOL (the film) works better because of its insular scope.

“Pontypool is under quarantine. Everyone has to stay inside at all times.” Frankly, I’m shocked they haven’t re-united the cast for a COVID-19 ZOOM play. I’d pay damn good money to hear that.

BLOOD DRIVE (2017)

October 21, 2020

(SyFy/VOD) Another cheat, as it was very briefly a SyFy TV show, but I felt like it’d be a disservice to wait until November to boost this horror one-season wonder.

I can’t believe this aired on basic cable.

The show’s basically DEATH RACE 2000, but the cars are Cronenberg-ian devices that run on blood, and every episode riffs off of a different horror genre. Watch the trailer, as it succinctly explains the premise:

Now, with a premise like that, they could’ve just phoned in the eps, made them all stand-alone stories, but no — they fleshed out the lore, ruthlessly plotted it, made it super smart with surprisingly rich and empathetic characters — Colin Cunningham as Julian Slink is especially delightful — all while still managing to be one of the most amusing and disgusting things I’ve ever seen on TV. A surprisingly perfect season of TV.

If you still aren’t sold? Well, it’s basically second-wave industrial music conceptualized as a TV show.

PARENTS (1989)

October 20, 2020

(Prime/tubi/VOD) Directed by beloved character actor Bob Balaban! Scored with mambo-verve by Angelo Badalamenti! Mary Beth Hurt channelling Mary Astor! Sandy Dennis! Dennis Quaid back when he used to give a shit!

Delightfully weird, but very relatable, suburban horror coming-of-age film where the pre-teen kids’ strange imaginations run wild as they suss out that adults are really just large, hungry, hedonistic animals. We need more Sheilas in stories.

If anyone knows anything about the featured home, I’d love to hear about it because I swear I recognize it. It feels like it was ripped straight from Tati’s MON UNCLE.

https://www.youtube.com/watch?v=lHybb1zSH-g

As a treat, here’s Ebert panning the film:

BLACK ROCK (2012)

October 19, 2020

(tubi/VOD) An absolutely brutal ‘girls trip to the woods gone wrong’ tale written, directed, and staring mumblecore staple Katie Aselton. The uncomfortable dynamic between the friends is the heart of the film, but it’s also briskly paced and contains more than a few jarring surprises. The closing shot is pure cinema, haunting in a Haneke way, and has lingered in my mind for months.

THE VELVET VAMPIRE (1971)

October 18, 2020

(Plex/tubi) Extremely padded vampire seductress film, but the sexual politics make it far more interesting than most Corman fare, and visually it has more in common with giallo than most films his studio was churning out.

Katie Rife does a far better job of boosting it than I ever could, so I implore you to read what she has to say about it: https://film.avclub.com/dreamy-and-atmospheric-the-velvet-vampire-added-a-subv-1844538361

NIGHTBREED: THE DIRECTOR’S CUT (2014)

October 17, 2020

(peacock/Prime/tubi/VOD/Vudu) Apart from CANDYMAN and the short story it’s based on, and HELLRAISER, I’m not much of a Clive Barker fan, so NIGHTBREED is new to me. That said, if someone had told me that David Cronenberg was the goddamn villain of the film, I would have rectified that mistake years ago. (Instead I had to find that out from a recent DOUBLE THREAT podcast episode.)

While Cronenberg is marvelously sinister (and his mask is something special), what really strikes me about the film is that it has a distinct queer/club kid/Tod Browning FREAKS vibe to it, which I should have expected but did not. On top of that, the Nightbreed designs are strikingly unique, the script contains a surprising amount of humor, and Elfman’s score is absurdly lush. Much more delightful than I imagined. Perhaps I’m a Barker fan after all!