Showing posts with label Dario Argento. Show all posts
Showing posts with label Dario Argento. Show all posts

Monday, December 30, 2013

The Five Worst Horror Flicks of 2013



Before we move on to my top 10 films of the last year, I feel that a little air clearing is in order.  I need to get my thoughts about these five cinematic atrocities out of my system so I can get back to being positive.  2013 was by no means a bad year for horror, but there were certainly some flicks that just plain pissed me off and I wouldn’t be doing my job if I let my loyal and beloved readers wander into these pitfalls uninformed, now would I?  I would never do that to you.  So, here are 5 shitty movies that I watched so you don’t have to.  Cellmates, I present to you The Five Worst Horror Flicks Of 2013.



#5 - Texas Chainsaw 3D

For the record, I did enjoy the way Leatherface was portrayed in this flick.  He was exactly what I would imagine an older Bubba Sawyer to be – a wiser, slower, and more deliberate killer.  It made perfect sense.  Unfortunately, that’s where the “making sense” stops.  In the interest of brevity, I’m going to skip the acting non-skills of pop stars and the much touted but completely unsatisfying cameos and get straight to the two most glaring, unforgivable screw-ups.  The movie opens with a scene that supposedly takes place shortly after the first TCM flick ends.  That would make it 1973.  Then we flash forward to “20 years later.”  That would make it when, class?  That’s right, 1993.  Yet gas is almost 4 bucks a gallon and people are using Facetime on their iphones.  That would make it 2013.  Maybe the “20 Years” was a typo.  Nope.  We saw the heroine as a baby in the first scene, so in that case she would have to be 40.  She’s obviously in her mid 20’s though.  If they were playing at some kind of time shift nonsense it would be stupid but semi-logical.  In actuality, it’s just plain ‘ol sloppy writing that should have never made it out of the first production meeting.  That may seem like a nitpick, but when it’s the entire setup for the flick, it’s kind of a big deal.  Inexcusable.  Then Leatherface runs through a Carnival full of people and doesn’t kill anyone.  Read that last sentence again.  Need I say more? This flick earns its place on the list for blowing an opportunity for one of horror cinema’s all time classic bloodbaths and assuming that no one in the audience could do math.



#4 - Dracula 3D

It really does hurt to put this one on the list, ‘cause I do love me some Dario.  I remember being psyched when I heard about it.  But, just like The Misfits, Argento continues to drag his legacy as a master and innovator of the craft through the mud.  Where to start with this one?  Maybe the fact that it took four screenwriters to pen crap like “I am but an out of tune chord in the divine symphony?”  Or we could discuss just how awful the CGI is.  That credits sequence where the camera is zooming around an animated village looked like it was lifted directly out of Tenchu: Stealth Assassins for the PS1.  That’s right, Rikimaru, bitches!  I can’t imagine how bad it looked in 3D.  Then there’s the godawful acting.  It’s like they just said “Keanu Reeves was great as Harker!  Go find us a Spanish version of him.”  It also seems that working with Argento these days drags other greats down, because the score might be the worst work of Claudio Simonetti’s career.  Even Rutger Hauer looks like he’d rather be anywhere but on that set, and he’s what I was looking forward to the most.  The only things that keep it from being a total loss are the ample glimpses of Asia Argento and the gorgeous Miriam Giovanelli in all of their undressed glory and a completely batshit scene where Dracula turns into a giant praying mantis.  Yes, you read that right. Dracula 3D makes the list for making me weep for what could have been.  Can you imagine the badassery of a Dracula flick directed by the Argento of the early 80’s?



#3 - Apartment 1303

There are very few things I dislike more than American remakes of J-horror.  I’m not big on J-horror to begin with (I love Japanese gore flicks but their ghost movies don’t do it for me), but in American hands they’re atrocious more often than not.  I haven’t seen the original, which I’ve been told is a bottom of the barrel Grudge clone.  The remake, however, is about as bad as it gets.  All of the clichĂ©s are here; from the creepy kid as harbinger of doom to the wet-haired, jerky CGI ghost to the “young woman in peril must figure out what happened to the last young woman in peril” setup.  There’s no creep factor at all.  No gore.  No scares.  That’s the problem, there’s just nothing to this movie.  Well, there is the unintentional comedy of Rebecca De Mornay’s performance and Julianne Michelle’s hilarious lip quiver thing whenever she cries, but that’s about it.  It’s just a paint-by-numbers generic ghost rehash.  Apartment 1303 makes the list as a recipient of the “Cold Creepy Feeling” award for boring me to tears.



#2 - Embrace of the Vampire

This flick is number two in more ways than one.  You knew we weren’t gonna get through this list without a remake, and this may be the most unnecessary remake of all time.  The main purpose of remakes is to draw casual horror fans in with name recognition, but how many casual horror fans (aside from the Mr. Skin aficionados with a hard-on for Alyssa Milano) even know that movie exists?  Why remake it?  Just… why?   As for the movie itself, it reminded me of those commercials I see for CW dramas; slickly produced but utterly vapid.  The boring cinematography refuses to make the most of a quite picturesque backdrop.  It does that irritating “oh, things are speeding up so something scary must be about to happen” thing that insults the audience’s intelligence.  The vampires look hokey.  Do I need to mention the CGI?  The vampire lore is slightly interesting, but comes into play way too late to save the proceedings.  Hell, even the ample gratuitous nudity couldn’t save them considering they’re all dime-a-dozen anorexic starlet types.  I know that it’s a matter of personal preference, but if you’re gonna watch an awful flick just for the boobs this year, make it Dracula 3-D.  That’s your public service announcement.  This flick is an absolutely braindead exercise in tedium.   Embrace of the Vampire makes the list for sucking more than all of its on screen vampires combined.



#1 - The Purge
Sorry folks, but this is gonna be one angry rant.  How in the name of green dystopian hell do you take a premise that damn good and make a movie this damn bad?  Let’s put aside the fact that the main idea here is completely implausible.  If THAT’S your quibble with this movie, I fear that you have missed the point.  So much fun could have been had with a night of lawlessness, but all they gave us was a mix tape featuring the dumbed-down greatest hits of Straw Dogs, Panic Room, The Strangers, and a dozen other much-better home invasion flicks.  I’m normally pretty forgiving of horror characters doing dumb stuff.  Sometimes it’s necessary.  Not only did the things the characters in this one did not make sense in comparison with what an actual person with an IQ higher than their handgun caliber would do, they didn’t even make sense for the characters as written.  I lost count of the times I thought “there’s no way they’re gonna…” immediately before they did.  Stupid and predictable is a horrible combination.  Anyone that used the word “suspense” without preceding it with “not a shred of” when reviewing this obviously has never seen a horror movie.  There’s even plenty of shaky cam during the action sequences just to make sure we can check off almost everything on my “things I hate about modern Hollywood horror” list.  I think writer/director James DeMonaco had two goals with this film; beat the audience over the head with ham-fisted social commentary and see just how many times a character can be held at gunpoint and saved at the last second.  Seriously, I lost count of how many times they re-used that one.  Oh, and any flick with a 3 million dollar budget and Michael goddamn Bay listed among the producers that tries to pass itself off to the horror press as “the little low budget indie that could” before its release can kiss my ass.  Michael Bay's name should be considered a massively offensive expletive.  In fact, his name should just be a multi-use replacement for ALL expletives.  The Purge makes the list for being a predictable, dumb as Bay, suspenseless, nutless piece of Bay that squandered a Baying fantastic premise and made me want to beat Ethan Hawke, who I usually like, with a Baying crowbar.  What the Bay were they thinking?  Bay this movie.  Bay it up it’s stupid Bay.

Friday, December 20, 2013

420 Reviews: Dracula 3D, We Are What We Are, Bad Milo, All Hallow's Eve, Apartment 1303

A brief explanation: 420 reviews have nothing to do with weed, although I won’t confirm nor deny being high while watching the movies.  The deal is this: Before I had a blog, I did mini reviews on facebook.  Back then, statuses had a 420 character limit.  Now, from time to time I play my little nostalgic word game and try to express my opinions about a flick in EXACTLY 420 characters.  Think of them as fun-sized reviews.

We Are What We Are
I haven’t seen the highly acclaimed 2010 original, but this remake clicks on all cylinders. Well-built tension and good acting make this brooding, low-key creepfest stand out. It’s an intelligent, well-made thriller that still delivers enough of the red stuff to keep the gorehounds happy. I can see this being one of those horror flicks that non-genre movie buffs still take seriously. Yeah, it’s just that good. 8.5/10


Argento’s Dracula 3D
It hurts me to say this, but Argento continues to tarnish his legacy. This flick doesn’t have a hint of the trademark style that made him a master of horror. The only reason to believe he directed this crap is the presence of his naked daughter. Even a game Rutger Hauer can’t overcome painful dialogue, horrendous CGI, the worst score in recent memory, and the sheer stupidity of Dracula as a giant praying mantis. 3/10


Apartment 1303
Take every clichĂ© that the dregs of the American J-horror remake boom taught you to hate, make them dumber, duller, and more hamfisted, and you have Apartment 1303. Nonsensical story line, some of the most illogical characters ever written, and hilarious failed scares. Rebecca De Mornay is pretty funny, but I don’t think she was supposed to be. How the hell did this get a 3D theatrical release? Impressively bad. 1/10


All Hallow's Eve
Comprised of Damien Leone’s short films with a new wraparound story, this anthology came out with no hype at all but turned out to be a nice surprise. The middle segment about aliens falls kinda flat, but just like the crappy aliens in VHS2, the rest of the flick is strong enough to make up for it. I could absolutely see Art the Clown as a franchise character capable of carrying sequels. A great Halloween flick. 7/10



Bad Milo 
I got worried when all the poop jokes started, but Bad Milo manages to rise above shit humor and be low brow but not sophomoric. It’s a flick with a lot of charm, a few genuine laughs, and even a little heart. The puppeteering is as good as the CGI is bad. Peter Stormare is perfectly cast as a kooky therapist, but he’s awesome in everything, right? Don’t let the premise fool you. It’s not as dumb as it sounds. 6.5/10

Wednesday, April 20, 2011

30 Day Horror Challenge Day 20 - Your favorite horror film involving a killer animal

While it is not normally thought of as a killer animal movie, Dario Argento’s Phenomena (not Creepers, Phenomena) not only features Jennifer Connelly summoning swarms of insects, but it includes without a doubt the most frightening and disturbing killer animal in movie history. Actually, it might just be the most frightening and disturbing thing in a horror movie ever. Period. Ladies and gentlemen, I present to you a vision that will haunt your nightmares forever…………a monkey with a straight razor! See for yourself.

A MONKEY WITH A FREAKIN’ STRAIGHT RAZOR! What else could possibly need to be said? Two severed thumbs up. Nathan says check it out. I’m gonna go cower in a corner now.




Friday, April 8, 2011

30 Day Horror Challenge Day 08 - Your favorite anthology

Lets see, we’ve got my two all time favorite directors doing an omnibus based on stories by my all time favorite author. How could I not pick Two Evil Eyes as my favorite anthology? Released in 1990, Dario Argento had originally conceived of Two Evil Eyes as a much bigger project. He wanted to create an anthology flick (or a TV series depending on your source) with John Carpenter, Wes Craven, George Romero, and himself each directing a segment based on a story by Edgar Allen Poe. Wes, however, was busy making The People Under the Stairs and had to bow out. Carpenter was busy making Memoirs of an Invisible Man. Whether or not that was a good decision I’ll leave up to you. With those two out, Argento and Romero decided to split the movie between them. I, for one, am very glad they did. The result may have been a little bit uneven, but delivered in spades.

George Romero’s half comes first, and it’s an adaptation of Poe’s story. The Facts in the Case of Mr. Valdemar. The same story was also the basis for a segment in another one of my favorite anthologies, the Roger Corman directed Tales of Terror. For Romero’s take on the tale, he adds in a love triangle. A rich man is kept hypnotized by his doctor so that he and the soon to be widow, who are lovers, can swindle the man out of his fortune. His Survival is essential to their plan, but when he dies in his mesmerized state, he is trapped between the Land Of The Living and the Dead. I’ve heard many critics deride Romero’s half of the film as weak. I don’t think it’s weak, it’s just surprisingly subdued. It has none of the ferocity Romero showed at the Dawn of his career. It has a couple of great splashes of gore, but overall it almost feels like a rather tame episode of Tales From the Crypt. The addition of the EC comics style love triangle morality tale only supports this assessment. The cast is, for the most part, a Creepshow reunion. Adrienne Barbeau is excellent, and once again we have gratuitous Tom Atkins. Ramy Zada, as the doctor, is a Night and Day difference from the rest of the cast, however. He is AWFUL! Ben Stein reading from a narcoleptic’s Diary would be more interesting and exciting than him. The spirits that come for vengeance at the climax are very creepy, and the zombie makeups and “metronome scene” are well done. Overall, while it is a bit of a low key affair compared with some of George’s other work, it’s worth well watching. Plus, any time there’s a combination of Romero and zombies, I’m in. (Massive points to anyone who notices something interesting in that paragraph and comments on it.)

Argento's half of the film is where things really get good. He does an adaptation of The Black Cat, starring Harvey Keitel. As he would many times throughout his career, Keitel stole this movie. His crime scene photographer driven to homicide (in the case of his fiancĂ©) and felicide (on her cat) is so violent and unhinged that the madness is palpable. I detest cats, but the scene where he finally snaps and goes crazy on his fiance’s pussy is intense! Wait, I mean...eh, nevermind. The supporting cast is ok, but you won’t even remember that there were other people in the b-side of the flick. Dario Argento is known for his innovative camera movement and baroque color schemes and framing, and they are both present in Two Evil Eyes. My favorite example is a POV shot from the perspective of a Pit and the Pendulum style blade swinging back and forth through a bisected body. Brilliant! I think one of my other favorite aspects of Argento’s story is the constant homages to other Poe stories. Fans will notice nods to Fall of the House of Usher, Cask of Amontillado, Berenice, Pit and the Pendulum, and others. As Argento has often cited Poe as an influence, it’s not surprising that he so deftly weaves details from so many stories together. The trademark Argento bizarreness is there too. Halfway through, out of nowhere, we get a dream sequence pagan ritual complete with Harvey being impaled Cannibal Holocaust style. Just as in Romero’s offering, the gore effects by Savini are outstanding. Honestly, I would have loved to see this on its own as a full length motion picture.

Romero’s half is good. Argento’s half is great. Overall, I think this is the best Poe inspired flick since the Corman and Price cycle of the 60’s. This film often gets undeservedly criticized for being a mixed bag, but this is an anthology that is more than the sum of its parts. Considering just how good those parts are, that’s saying something. Two severed thumbs up. Nathan says check it out.

Tuesday, February 15, 2011

The Women Of Italian Horror

I love Italian horror movies. Spaghetti Splatter flicks have always held a special place in my heart. In fact, Lucio Fulci’s The Gates Of Hell was one of the first 3 horror movies I ever bought (along with Night Of The Living Dead and Plan 9 From Outer Space.) There are many reasons why I love them; the avant-garde lighting, the fantastic atmosphere, the copious gore, the bad dubbing, the unflinching violence, the copious gore, the outlandish, often nonsensical plots, the copious gore. Since February is Women in Horror Appreciation month, I decided to pay tribute to one of the big things that make Italian horror flicks like no other country’s genre output, the actresses. The Italians have a way of choosing great actresses. They are talented, usually absolutely beautiful, often have no problem with nudity (what can I say, I consider that a plus), and are willing to go all out and really sell the horrific nature of the story. This is not a definitive tribute by a long shot. There are many other greats that deserve mentioning (Barbara Cupisti, Tisa Farrow, Alexandra Delli Colli, etc), and there will definitely have to be a part 2, but here are 5 of the actresses that make l'horror italiano so good.

Barbara Steele

Barbara Steele, a British actress, was Italy’s first scream queen. Her list of credits in Italian horror films throughout the 60’s is truly impressive, including titles like Nightmare Castle, The Horrible Dr. Hichcock, The Ghost, Castle of Blood, The Long Hair Of Death, and Terror Creatures From The Grave. It is one film, however, that firmly cements her as the “gran damaof Italian Horror, Mario Bava’s 1960 masterpiece (and ironically his feature directing debut), Black Sunday. Steele plays both Katia, a 16th century witch/vampire who is resurrected seeking revenge on the descendants of those who sledge-hammered a spiked mask into her face, and Asa, the sweet, virginal damsel in distress who just so happens to be one of said descendants. Steele brings both sexy, malicious evil and innocent vulnerability to stunning life, employing those incredibly beautiful, expressive eyes. Although she would end up working in other countries and in other genres (Shivers, Pirhana, Fellini’s 8 ½) it was her Italian horror films, particularly Black Sunday (aka Mask of Satan) that made her an icon.

Daria Nicolodi

The story goes that in 1969, as a student at the National Academy of Dramatic Arts in Rome, Daria saw The Bird With The Crystal Plumage, directed by Dario Argento, and decided that she needed to meet the director at all costs. They eventually met, romance blossomed, and for the next 11 years she was his partner, muse and collaborator. The first of their collaborations was Deep Red, where she played the supporting but pivotal role of journalist Gianna Brezzi, as well as introducing Dario to his frequent collaborators, the band Goblin. Her finest acting moment would come next in a film directed not by Argento, but by another Italian horror legend, Mario Bava, 1977’s Shock. While her style is a bit over the top, her performance as a woman being driven mad by guilt, ghosts, visions, and a possessed son is amazing. She varies between looking shaken and perturbed to full on screaming, flailing panic and everything in between. Sometime after Shock, she began to write a story about witchcraft and a cult-run music academy, which became the basis for arguably the greatest Italian horror film of all time, Suspiria. Her stories would also serve as the inspiration for the other 2 entries in the “three mothers” trilogy, Inferno and Mother of Tears, which she also appeared in. She would go on to give memorable performances in other Argento films such as Tenebrae, Phenomena, and Opera. Since the late 80’s her acting work has been sparse, mainly television. Oh wait, I almost forgot, she did produce one other significant collaboration with Dario Argento

Asia Argento

As the Daughter of Dario Argento and Daria Nicolodi, Asia was born Italian horror royalty. She made her acting debut in a comedy with her mother at age 9, and then started in horror with parts in Demons 2 at 10 and the brilliant The Church at 14, both produced by her father. As she embarked on a widely varied and generally critically acclaimed acting career in her late teens, she finally began acting in her father’s directorial efforts, appearing in Trauma, The Stendhal Syndrome, and The Phantom of the Opera. Throughout these films, Asia demonstrated her dramatic range, playing both terrified and vulnerable women in peril and tough as nails survivors. While critics applauded her performances, they and fans alike have always found it strange that she is often nude and placed in sexual situations in her father’s movies. She said in an interview “I never thought it was weird that my father would have me naked and raped in his movies until a friend pointed it out to me. I was just making movies and never even thought about the possible subtext going on.” After that she disappeared from the Italian horror scene but continued acting, making everything from comedies (Viola bacia tutti), to action (XXX), drama (Marie Antoinette), and, of course, horror (Land Of The Dead.) She also began writing and directing material ranging from features to 2 Marilyn Manson music videos. Her films (Scarlet Diva, The Heart Is Deceitful Above All Things, etc), while not technically horror; do tend to be disturbing, dealing with depraved characters, seedy situations, and the darker side of humanity. In 2007, father, mother, and daughter reunited to make Mother Of Tears, the long awaited third and final installment in the three mothers trilogy. Where will her career go from here? Could her daughter be the next generation of Italian scream queen? Will I finally get to marry her? We’ll just have to wait and see.

Catriona MacColl

Catriona (sometimes credited as Katherine) MacColl is a bit of an enigma. She is a sophisticated British actress who began her career in Shakespeare plays. She has appeared in Sherlock Holmes movies, award winning European television dramas, and epic period dramas. Yet she also starred in the “seven doors” trilogy for infamous Italian horror maestro Lucio Fulci. First came The Gates Of Hell. Yes, I know the original title was City Of The Living Dead, bit it’s alternate title is oh so much cooler. Anyway, she immediately showed that she can portray terror like few others in cinema history have. Her eyes wide, her mouth wider, her face a mask of utter primal fear, she made the “buried alive” scene the most suspenseful in that movie. With a performance like that, and that incredible scream, it’s no wonder she became Fulci’s go-to leading lady for his next two films. In The Beyond, she plays a woman who inherits a Louisiana hotel built atop one of the seven gates of hell. In real life, she now runs rental vacation cottages in France. Hmmm. The ending of The Beyond, driven home by MacColl, is positively mind bending. No, I’m not going to spoil it for you. If you call yourself a horror fan and haven’t seen The Beyond, shame on you! Her performance did just as much to fuel the palpable atmosphere of dread that permeates her next film, House By The Cemetery, as Fulci’s direction and the excellent set design. When the zombie drags her down the stairs, her head bouncing off every step, it is truly a thing of macabre beauty. In only three movies, Catriona cemented her place as one of the queens of Italian horror. As an added bonus, here’s an interview where she talks about working with Fulci. You’re welcome.



Daniela Doria

Two things come to mind when I think of Daniela Doria, great death scenes and her bravery as a performer. Allow me to explain. Daniela was another of Fulci’s girls. In an interview with Deep Red magazine, Fulci stated "Ah Doria, she was one of my favorite actresses. I killed her so many times." Her first film with Lucio was The Black Cat. The image of her suffocating, topless, gasping for breath and foaming at the mouth must have led Fulci to believe that she could be trusted with more extreme material because in The Gates Of Hell, they went for broke! Daniela’s character, bleeding from the eyes, proceeds to vomit her entire intestinal tract. According to Fulci, Doria, and various crew members, she actually swallowed and vomited sheep entrails to make this shot as convincing as possible. Not only did she have to know that this would firmly typecast her as a horror actress and possibly hurt her career, but I doubt many other actresses would have physically put themselves through that for the sake of the film. That kind of dedication to the art is amazing and highly commendable. It worked too, as this scene is one of the most iconic in Italian horror film history. After being stabbed through the back of the head (with the blade sticking out of her mouth) in a great scene one year later in House By The Cemetery, she appeared in Fulci’s most infamous film, New York Ripper. In it she played Kitty, a prostitute who is tied to a bed and sliced across the torso, breasts, and eyeball with a razor blade in a scene so graphic that when it was first distributed, over 2/3 of the scene had to be removed before the film could be distributed in America, England, and almost everywhere else besides Italy. The mixing of the violent and the erotic has always been highly controversial. New York Ripper is even decried by some horror fans as indefensibly misogynistic. Nevertheless, she accepted the risks this could pose to her career and delivered a powerful performance. The scene’s disturbing strength owes as much to her eyes and muffled screams as it does to the effective gore effects. This time her bravery was not rewarded. She never worked in film again. This is unfortunate because, in only 4 films, she cemented a cult following and kudos from this particular horror geek.

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