CAST A DEADLY SPELL (1991)

October 8, 2020

(HBO MAX/YouTube) There was a weird time during the late 80s/early 90s in which studios were keen on peculiar supernatural/weird neo-noir films (see: ANGEL HEART (1987), WHO FRAMED ROGER RABBIT? (1988), DOG CITY (1989), etc.), which apparently resulted in this strange, surprisingly expensive, made-for-HBO TV film that merges the two. It’s an extraordinarily exacting love letter to those who love strange fiction and noir — the lead is named H. Phillip Lovecraft, blood occasionally rains from the skies, TWILIGHT ZONE-ish gremlins clog car engines, and magic is everywhere.

The dialogue is whip-smart, the plotting intersects with all your favourite Chandler and Hammett novels, and the casting is (mostly) perfect, with Fred Ward as a fantastic Marlowe, and Julianne Moore as the quintessential noir woman of interest.

Honestly, I can’t believe I’ve never heard of this film before stumbling upon it while scanning HBO MAX’s recent additions. Speaking as someone who has penned my own Lovecraft/Hammett mashup and has the rejection letters to prove it, this film knocks it out of the park, and the fact that they did so in ’91 is to be applauded. Hell, even without the supernatural hokum, it’d still be an entertaining Chandler fanfic.

As you may expect from a 90’s Lovecraft mashup, it’s a pretty problematic film when it comes to race, but it also features some transphobia that I’m pretty sure writer Joseph Dougherty originally thought was very clever, but has aged very poorly.

Fun Fact: Apparently there’s a 50s-centric sequel, WITCH HUNT (1994) also penned by Joseph Dougherty, but directed by Paul Schrader, and stars Dennis Hopper. I have yet to hunt down a copy, but I’d appreciate it if anyone could lead me to one.

DON’T LOOK NOW (1973)

October 7, 2020

(kanopy/VOD) Well-known for director Nicolas Roeg, but certainly one of the lesser-known Daphne du Maurier (THE BIRDS, JAMAICA INN, MY COUSIN RACHEL, REBECCA, etc.) stories. A haunting thriller about a husband and wife in Venice, coping with possibly being haunted by their drowned daughter.

I initially saw part of it while on-the-job in college — many moons ago — but didn’t fully see it until relatively recently, after reading the original novella, and was glad I did, as I’d recently visited Venice and both the novella and film take place there.

Yes, the film is over forty years old, but it perfectly captures the atmosphere of the city, the verticality, the claustrophobia and overwhelming aging presence of the city’s architecture. Oh, and of course being constantly surrounded by water that threatens to swallow you up.

It’s an absolutely perfect setting for du Maurier — the master of detailing one’s attempts to maintain a relationship amongst metaphorical crumbling buildings — and Roeg captures it perfectly, while amplifying the thriller aspects that are somewhat lacking in the source material. The end may or may not work for you — it’s definitely something you’ll remember — but it’s authentic to the source.

THE OLD DARK HOUSE (1932)

October 6, 2020

(hoopla/kanopy/tubi/VOD/YouTube) It’s an early James Whale pre-code piece, directed after FRANKENSTEIN (1931) but before THE INVISIBLE MAN (1933), and the progenitor of the classic ‘overstuffed featured players haunted house’ film genre.

It’s based on J. B. Priestley’s BENIGHTED novel — I’m not familiar with the novel itself yet — but the film excels as the same sort of trapped room psychological horror/thriller that’d become extremely popular — even routine — a decade or so later.

As always, Whale and his cinematographer Arthur Edeson (one of Whale’s regulars, who also shot FRANKENSTEIN and THE INVISIBLE MAN, but also CASABLANCA (1942)) play with visual planes, and maximize the height of the titular house.

EXCISION (2012)

October 5, 2020

(Plex/Prime/tubi/VOD/Vudu) A thrilling, often very funny, horror tale about a teen girl discovering herself, despite her parents (including Traci Lords). Delightfully horrific and fucked up, features a small part with John Waters, and not nearly as campy as the casting may sound.

I’m pretty sure they had the rights to NINE INCH NAILS’ CLOSER for a split second and this is a fan-captured trailer but, even if it’s a fan-made trailer, it’s goddamn perfect — far better than any of the other trailers (NSFW):

GRETEL & HANSEL (2020)

October 4, 2020

(epix/Hulu/Paramount+/VOD) One of the last films I managed to catch in an actual theater before lockdown. Lushly shot — often explicitly evoking Jodorowsky’s THE HOLY MOUNTAIN — and exquisitely paced, with striking production design — as you’d expect from Oz Perkins — but mostly, it’s another triumph for actress Sophia Lillis.

The characters are a bit more fleshed out, the circumstances are broadened a bit for a modern horror audience, but it’s still the Hansel & Gretel you know. It’s not trying to be IN THE COMPANY OF WOLVES (1984, see yesterday).

(As a film nerd, I was unreasonably delighted to see the ORION PICTURES card on the big screen for a new film. Dumb, yes, I know, but I have many weaknesses.)

THE COMPANY OF WOLVES (1984)

October 3, 2020

(kanopy/tubi/VOD) A small set of horrific coming-of-age fairy tales from Neil Jordan (THE CRYING GAME, GRETA), adapted with feminist horror author Angela Carter, based on several short stories from her THE BLOODY CHAMBER short story collection. As a bonus, Angela Lansbury appears, as does a mostly silent Danielle Dax! (If you’re goth, you’ll get it.)

Neil Jordan bemoaned upon seeing the theatrical cut that he’d “made a movie where the target audience is only girls and dogs,” but it holds up as a genuinely taut and thrilling anthology that re-contextualizes cautionary childhood tales into cautionary tales for the recently sexually awoken. Visually, it’s very stagey, but the effects and wall-to-wall predators will stick in your mind for at least a decade or two.

TIGERS ARE NOT AFRAID (2017)

October 2, 2020

(AMC+/SHUDDER/VOD) Fantastical horror from Issa López that conveys the fear of being an orphan trying to survive in extreme, but supremely realistic, times. Visually marvelous and features fantastic performances from all kids involved.

TRAGEDY GIRLS (2017)

October 1, 2020

(hoopla/kanopy/Hulu/VOD) The story of two teen murderesses and the trials of their friendship. Riffs on all of the great teen horror films — probably the most quotable teen horror film I’ve seen in years (it’s been endlessly compared to HEATHERS (1989)) — but still manages to be something completely different, while also being emotionally satisfying.

I’ve said this before but, while there’s a trailer? Best not to watch it, as it gives away all of the best moments & lines. That said, it’s an endlessly re-watchable trailer.

“You’re just hitting bone, dude.” “I’m trying!”

(I know we’re all loving A24 and ANNAPURNA right now, but GUNPOWDER & SKY doesn’t get enough credit, as they’ve shipped some amazing works out into the world within the past several years. Hell, they don’t even have a proper Wikipedia page!)

BLUE (1993)

September 30, 2020

(kanopy) This is the last of my dramatic film recommendations for a while — October will be 100% horror (mostly film, some TV) and November will be all about TV, and I expect I’ll be too exhausted to write anything for December, so I’m closing September out with my favorite movie ever: BLUE, the final film in Krzysztof Kieślowski’s THREE COLORS trilogy. (Don’t worry, you don’t have to have seen RED or WHITE to get it, but you might want to circle back.)

Please excuse my indulgence, but it’s the film that crystalized to my teen mind what, emotionally, a film could imbue. A story of love and loss, of legacy and exploitation and regret, exquisitely and silently and loudly told. A woman coping with the sudden death of her husband and daughter and the lies she dealt with when they were alive, and those she tries to convince herself of while she’s trying to live. Its economy is devastating; a perfect film for the walking wounded.

That said, Zbigniew Preisner’s score does -a lot- of heavy lifting. (I still hold dear a very nicotine-stained CD of the soundtrack.) So many films cheap out on trying to showcase ‘iconic works created by their protagonists’, but SONG FOR THE UNIFICATION OF EUROPE — Julie’s version, of course because, well, spoilers — is a goddamn masterpiece:

and brings everything full-circle in a moving end-scene (NSFW):

https://www.youtube.com/watch?v=4X3gWrby52I&t=427s

So, yes, there you go. I’m not one for best of lists, but BLUE is undeniably my favorite film ever, and I don’t see that changing any time soon. I hope these words move you to watch it, if you haven’t already. Onto October, and some scary fun!

THE GHOST & MRS MUIR (1947)

September 29, 2020

(VOD) One of the first adapted novel-to-film paranormal romances I can think of. A story of the ghost of a sea pirate overseeing his land, and those who currently inhabit it. Harrison’s stilted as always, but handsome and aloof enough to get away with it. Tierney’s supremely regal, and the closing scene is perfect.

Fun fact: it was also adapted into a late 1960s TV sitcom, including Charles Nelson Reilly as a landlord-ish figure you’d later see on THREE’S COMPANY.

Also, if anyone reading this knows someone at the CW, well, I have a pitch to sell.