VOD

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.

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!)

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.

THE LADY FROM SHANGHAI (1947)

September 27, 2020

(fubo/Plex/Prime/VOD) Arguably Orson Welles’ most influential noir — although not the best, as that honor belongs to TOUCH OF EVIL — in that you’ve almost certainly seen a film or TV show that has lifted from its carnival scene.*

(If you’ve watched Lindelof’s WATCHMEN mini-series, you know what I’m talking about.)

The film itself is a bit of a mess, and Welles’ absolutely ridiculous accent doesn’t help matters, but Rita Hayworth is a fantastic femme fatale — it’s worth noting that she was married to Welles at the time — as is significant character actor (and a member of Welles’ Mercury Theatre stable) Everett Sloane, and the piece is elevated by audacious visuals.

  • Fun fact: The carnival scene was originally meant to last twenty minutes. It ultimately was cut down to under four.

DARK PASSAGE (1947)

September 26, 2020

(VOD) Another undersung Bogart film, this time coupled with Bacall. Based on David Goodis’ novel — which, sadly, I have yet to read — it’s a far more sophisticated first-person noir than the gimmicky adaptation of Chandler’s THE LADY IN THE LAKE (also 1947). Burton’s infamous Joker reveal scene in BATMAN (1989) was absolutely cribbed from DARK PASSAGE.

IN A LONELY PLACE (1950)

September 25, 2020

(Plex/Prime/VOD) Adapted from the groundbreaking Dorothy B. Hughes novel, Nicolas Ray’s film is less of an examination of PTSD and toxic masculinity than that of a melodramatic noir of a distrustful couple. It’s a completely different beast, but no less powerful, mostly because Ray was contractually obligated to make the film with his recent ex-wife Gloria Grahame, who he divorced because he caught her in bed with his 13-year-old son, whom she later married. (Yes, really. https://medium.com/@stowens/the-not-so-wonderful-life-of-gloria-grahame-2d996a843c83 )

It’s a gorgeous, sad, film that utilizes Bogart’s charisma and volatility, while also leveraging some pitch-perfect production design, and puts post-WWII emotions on display.