What Halloween Means To Me '13 Day 16: Patrick Rea

While I don’t know this to be a fact, I think it’s a pretty safe guess that there is not a more prolific maker of short films on the horror scene today than Patrick Rea.  The 30 or so that he has made in the last decade are consistently awesome and have racked up awards up and down the festival circuit.  A Man and His Finger was one of the winners of the inaugural Fangoria Blood Drive back in 2004.  Having lived in Savannah and dealt with the green vest demon bitc… I mean Girl Scouts, I think Get Off My Porch is probably my favorite of his shorts.  Many of them are available online, so get over to his imdb and start Googling some titles.  You’ll be glad you did.  I discovered him through his excellent feature Nailbiter, which I reviewed back in June of 2012.  It’s currently available at Redbox, so you have no excuse for not seeking Mr. Rea’s work out.  So Patrick, what does Halloween mean to you?

                       

“Halloween has always been my favorite holiday, but like anything else, the lead up to Halloween is better than the actual day itself; especially if the day of Halloween falls on a weekday.  Early in my childhood in the 1980's, Halloween was a big deal because I got to dress up and get candy.  I think I dressed up as Skeletor twice and Mumra (Thundercats) at least once.  I was always excited heading to the store and going through the long rows of costumes that had the plastic suits and masks.  It wasn't until the late 80's, early 90's that Halloween became something different all together.  It was my chance to see what horror movies were popping up in the TV Guide.  I would circle the ones that I wanted to watch without my parents knowing and pray I didn't get caught. 

My fondest memory was in 1990, when I attended a Boy Scout Halloween Party at a cabin near the Platte River.  The older scouts decided to bring the original "A Nightmare on Elm Street," "Child's Play" and the recently released on home video, "Friday the 13th Part VIII: Jason Takes Manhattan."  I'll never forget coming home and bragging to my mother about what we watched.  That was the real beginning for me, because the following year I was in charge of bringing movies, and I remember despite various parents protesting, I selected the newly released "Misery", "Graveyard Shift" and "Tremors" to the Halloween party that fall.  The following year I was relieved of my film renting duties, and we were forced to watch less horrific fair.  I remember one specific year where we watched the movie "Geronimo" at our Halloween party. 

While in high school in the 90's, there was a small competition between the classes to see who could smash the most pumpkins on the local viaduct.  Our senior year, I remember thinking we hit the jackpot when we found a handful of pumpkins sitting out by a mailbox near the street.  Foolishly, we immediately grabbed the pumpkins and ran, only to hear a voice from the house yell, "Smell your hands!".  We realized at that point that we had been duped by several students from the freshman class.  They had covered the pumpkins in 'raccoon urine'!  The smell burned the eyes and nose.  We rushed back to our friends house and washed all over our clothes.  Sadly for those dastardly freshman, they would later have to answer to several senior football players who decided to avenge us. 

Halloween has lost a little of its allure, mainly because I watch so many horror movies over the course of the year.  But really for me, it's now about the change in the weather and the excitement of knowing that other people are gathering to enjoy horror movies and other traditions.  We have also started a new family tradition of staying at a cabin over an October weekend in Nebraska and going to the pumpkin patch.  So, the Halloween season continues to be special to me.  Most importantly, this year will be my daughter's first Halloween, so I'm excited to introduce her to some of our traditions, granted she won't be able to cognitively understand the holiday for some time.  Hopefully she won't mind that we are dressing her up as an Ewok!”

 15 days ‘til Halloween, Halloween, Halloween.  15 days ‘til Halloween, Silver Shamrock.

Buried Alive Film Fest Recap: Day 2

Day two at the Buried Alive Film Fest offered a block of shorts, a block of local shorts, a great feature, and the 5^th Anniversary of Splatter Cinema featuring an uncut 35mm print of Argento’s masterpiece Suspiria.  As far as the shorts go, the festival was a little top heavy, with most of the award winners playing on day 1.  There were definitely gems on day 2, including one whose audio alone gave me chills and another visit from our buddy, Lobster Spaceman.  As far as the features, Nailbiter delivered and Suspiria was, well…Suspiria.  As I said in my day 1 recap, if one of these flicks sounds like something that would tickle your boat (or is that float your fancy?), then hunt them down online.  A lot of them you can watch in their entirety for free.  Also, this seems like a good place to sound the SOC battle cry…SUPPORT INDEPENDENT HORROR!  There.  Now that we’ve got that out of the way, I present…

Day 2

The Shorts:

Between Friends - Two friends learn that some secrets must stay buried.  This intimate little horror flick was well acted, well paced, and well shot.  Both ladies put in good performances, and the tension never relented until the ending, which elicited one of those evil conspiratorial laughs from the crowd.  Good stuff.

Hike - Hike is about what can happen when you go into the woods.  The third of the “shaky cam forest” flicks at the festival this year, and the second one that I really didn’t dig at all.  One problem that short films often fall into is having a plot that feels like a scene from a movie instead of a complete story.  At the end of hike you’re left with a “that’s it?” feeling.  They did make good use of the woodland shooting location though.  Oh, and while I’m not usually a stickler for realism in my movie violence, I’m sick of seeing people tear someone’s tongue out.  That’s just not possible.  Cut it out.

Ethereal Chrysalis – repeat – See Day 1 HERE for my review.

Silence - A married couple in their bedroom. Something unexpected will disturb their connubial peace. A brief reinterpretation of the homonymous poem by Edgar Allan Poe.  This one had a very nice atmosphere and some really good ideas, but the suspense never really took hold, and the twist was pretty obvious.  There were moments when I thought “ok, now we’re getting somewhere, and then it was back to the lead actor making faces at the camera again.  Not bad, not good, not much.

Un Jour Sang – Winner:  Earf**k Award.  She’s not free. Still, in her distant, haughty, sublime perfection, she’s everything. Intolerable. He has no alternative : Destroy her, ruin her, profane her, cut her into shapeless and painful pieces and squash them in a dustbin. This story is not new. Let’s tell it differently…  I’ve got a confession to make; I always thought “Best Sound Design” was a lame ass Oscar.  Imagine my surprise, then, when I found myself lobbying for Buried Alive to give an award for sound design. We promptly christened it the “Earf**k Award.”  Anyway, while we watch a man and a woman separately get ready to go out, we hear an encounter between a captive woman and her torturer.  It’s rare in a horror movie to hear great voice acting, but this was just plain brilliant.  The audio track is harrowing, and I couldn’t even understand a word of it.  While I had to read the subtitles to get the actual words, the sheer emotion and bloodcurdling realism of the exchange literally gave me goosebumps.  Outstanding.

Him Indoors – Winner: Best Actor (Reece Shearsmith).  Gregory Brewster is a serial killer, only problem is, he’s agoraphobic! Facing an impending eviction from his family home, Gregory has a plan that will save him from being subjected to the one thing he’s terrified of… the outside world. Things don’t quite go to plan however, when a surprise visit from his new neighbor finds him in a very awkward situation.  This comedic short succeeds in large part due to the acting.  Reece Shearsmith earned every bit of his best actor award as a slightly snarkier Norman Bates type of character.  After seeing Offspring and The Woman, it was kinda off to hear Pollyanna McIntosh speak.  She did great however.  The dialog is sharp, with some good horror references thrown in, and I really liked the ending.  Someone’s Rondo Hatton Award even makes a cameo appearance.  I’m gonna have me one of those someday.

Crowscare - Tasked with watching over a creepy house while the owners are away on vacation, pretty coed May finds herself dealing with both a deranged murderer AND a living scarecrow!  My only issue with this one is that at times it was tough to tell if they were going for funny or scary.  It ended up being both in some spots and, sadly, neither in others.  Aside from a very inconsistent tone, I thought it was shot well, the score was decent, and I really dug the design of the scarecrow.  The filmmakers even had the scarecrow in attendance at the screening in full costume.  Big time bonus points for the ballyhoo guys!

Travel Size - Three ounces of pure terror!  I had to check to be sure, but this is from the same director of Wet Dream On Elm Street from last year, and it’s the same kind of short joke involving a toy of a horror icon.  Once again I found the joke pretty funny, but once again I have a bone to pick with director Andrew Shearer.  Andrew is the master of the “almost” titty shot, which makes him my natural enemy.  Just show some nudity already, especially when your actresses are that well endowed.  Yeah, I admit it, I’m a boob loving horror perv and I don’t like being teased like that.  If you’re gonna be sleazy, be sleazy.

Mae of the Dead - A one-night stand during the zombie apocalypse.  The Good: Both of the actresses did an excellent job with what they were given.  The Bad: What they were given.  This was 5 minutes worth of story stretched into 20.  The pace was absolutely glacial.  Like I said, both actresses were excellent, but they needed more to do, or snappier dialog, or more action, or something.  The “scratching on the bathroom door” scene was goddamn interminable.  I’d like to see these gals and their onscreen chemistry again, but with a story next time.

The Transmission – repeat – See Day 1 HERE for my review.

Decapoda Shock – repeat – It was just as good the fourth time around.  LONG LIVE LOBSTER SPACEMAN!  See Day 1 HERE for my review.

Nailbiter - Finding themselves trapped in the basement of an abandoned roadside house by the storm outside, a mother and her three daughters soon discover that they are not alone and they have sought refuge in the worst place imaginable.  I already did a full review of Nailbiter a few months ago, so I’m not gonna go into a lot of detail here.  If you want a full analysis, go HERE.  In short, this is a damn good flick.  The CGI effects of the storm look better than what you see in Hollywood blockbusters (yes, I just praised a flick’s CGI), the monster design was excellent, Grandma was a hoot, the suspense was built well, and the lighting deserves special mention.  My only real complaint was that we never got a really good look at the monsters; but it feels like the first movie out of a series, so maybe next time.  While a few audience members thought it got a little slow in the middle, just about everyone I talked to had good things to say.  Buried Alive alum Patrick Rea’s first feature is an old school slow burn horror tale that delivers.

Suspiria – I’m still kinda miffed that we couldn’t vote for this one in the best feature category.  I thought it was pretty good.  I like this Dario kid’s style.  He’s got a bright future ahead of him.

The Breakdown:

Two Severed Thumbs Up: Un Jour Sang, Suspiria (duh!)

One and a half Severed Thumbs Up: Him Indoors, Nailbiter

One Severed Thumb Up: Between Friends, Crowscare

One half Severed Thumb Up: Silence, Travel Size

One Severed Thumb Down: Hike, Mae of the Dead

Review: Nailbiter

Before I get into the review, the first order of business I need to get out of the way is to publicly apologize to Patrick Rea, the director of Nailbiter. I told him that I was gonna review his flick before I went on vacation, but the Atlanta Horror Guide project came up at the last minute and my review schedule got thrown into all kinds of chaos. Sorry about that man.

I was a little apprehensive going into Nailbiter. The last screener I got that basically spelled out in the title how it wanted the audience to feel/react was Cold Creepy Feeling, and that one…well…it blew harder than the gale force winds in this flick. Thankfully, Nailbiter is a really good flick. Horror cinema has a long history of using storms to trap people in a central location where they can be menaced. Nailbiter takes this tradition, blends it with another tried and true horror trope that I particularly enjoy but won’t discuss in the interest of not revealing too much, adds some interesting twists and elements, and delivers a satisfying and effective indie thriller.

Synopsis: The Maguire women, consisting of recovering alcoholic mother Janet, angsty teen daughter Jennifer, mousy bookworm middle child Alice, and sweet little Sally, are off to the airport. Mr. Maguire is returning from a tour of duty in the Middle East, and Janet has decided that nothing is going to stop them from being the first faces he sees when he arrives, including the storms that are rolling in. The ladies brave the foreboding skies and threatening forecasts, which proves foolish when a tornado hits mid-trip, forcing them to take shelter in the storm cellar of a nearby house. The tornado then picks up the house, eventually dropping it on top of a witch in a magical land populated by little peop…wait a minute. Scratch that last sentence. I get my twisters confused. Anyway, the storm passes and the gals find themselves trapped in the cellar when someone topside nails the door shut. When Sally tries to escape through a window, something takes a bite out of her, and it sure doesn’t look like any dog bite. Something is out there, and it has them trapped right where it wants them. Worse than that, they just might not be alone in the cellar…

The first thing that really struck me when watching this flick was the CGI, but not in the way CGI usually does. Regular readers of SOC know that when I bring up CGI, 99.9% of the time it’s not gonna be flattering words. I loathe CGI. I hate CGI as I hate hell and all Montagues. That’s not necessarily always the case, however. I will never condone the use of CGI to do something that can be done practically, because without fail the practical effects will look better. I’m pretty sure Nailbiter’s budget wasn’t quite big enough to hire a tornado though, as I’ve heard that they charge ridiculous rates, so CGI was their only choice. I forgive bad CGI when there is no other way. The thing is, I didn’t have to forgive a damn thing here. That storm looked GREAT! I seriously cannot remember a storm looking that good in a major studio motion picture, much less an independent film. You know it’s gotta be spectacular if I’m raving about how good a flicks CGI is, and folks, it definitely was.

Speaking of the storm, another aspect of this film that warrants special discussion is the lighting. I was particularly impressed by the lighting in the early scenes right before the storm. As anyone who lives in an area that is susceptible to severe storms knows, right before it gets nasty everything takes on a very distinct hazy glow. I have never seen that particular hue of light captured in ANY other movie. That blew me away. It was absolutely perfect. After over 100 years of cinema history, and nearly 20 years of watching every horror flick I can get my hands on, any time I can say “I’ve never seen that in a movie before” it excites me. Bravo. As far as the rest of the lighting goes, I think the way the cellar was lit added a lot to its effectiveness as a setting. At no point is it well lit, leaving shadows everywhere where something could be lurking. The lighting added exponentially to the creep factor. My only qualm about the lighting is that, with the flickering lantern and flashing lightning being a bit overdone, sometimes it felt like the entire second half was filmed under a strobe light.

I dug the fact that a lot of the character development of the ladies in peril was accomplished through the family structure. While we learned a little about the characters individually, Janet especially, their identities were closely interwoven in a very realistic family unit. The sibling and mother/daughter interaction displays the “contentious and sometimes hostile yet loving underneath it all” relationship beautifully. By tying our knowledge of these characters together, the audience views them as a unit. Unlike, say, a Friday the 13^th flick where the group of survivors is a loosely connected bunch and one getting knocked off doesn’t profoundly change the group dynamic, each member of the family in Nailbiter is an integral part of a greater whole, making a death mean much more. This was a very smart move on the part of the writers as it amplified the danger, put more at stake, and helped ramp up the tension. Then again, this technique would have fallen flat on its face had the actresses not have been able to pull it off. Luckily all four actresses are up to the task.

***SPOILER ALERT*** Grandma just might be my favorite part of this flick. I’ve always loved the evil Grandma character. Granny being a bad guy takes a beloved, safe source of comfort and completely mindf**ks you with it. I’m not talking about Rabid Grannies style full on monster Maw-Maw. It’s when she just goes about doing Grandma stuff, baking cookies and whatnot, while aiding those in her care in insidious pursuits that it’s particularly chilling. Joicie Appell plays it to a T here. She’s the perfect mix of matronly and menacing. She’s a walking contradiction worthy of one of those Starburst commercials. Mrs. Shurman definitely steals the show in my book.***END SPOILER ALERT***

The story definitely takes the slow burn approach, but it never really drags. The tension is kept high and it builds steadily until a major tonal shift in the third act, when it becomes more action oriented. When the movie picks up speed, it’s sudden and jarring in a good way. You’ve been waiting for the confrontation, but it happens in such a way that you’re not quite ready for it. As far as gore and violence, Nailbiter goes with the “less is more” philosophy. I’m cool with that. I am a gorehound, but a bloodbath isn’t always necessary. What I wish there had been a little more of is the monster, however. The monster is shown piece by piece and in very quick, choppy, shadowy shots. From what is shown, I could tell that there is a really good practical makeup job there. With a creature design that strong, I wish they had shown a little more of it. I’m not suggesting a full on monster mash, but I think one really good “money shot” clear look at the monster could have added to the flick without feeling overdone. It looked too good not to get a chance to fully appreciate.

Nailbiter is an old school type of monster movie with some new school ideas. The cinematography, acting, story, and effects are all very well done. Actually, my only problem is what I feel was a slightly weak reveal, but I can see what they were going for. Overall, it certainly lives up to its name. They also left us with a nice (and refreshingly non-contrived) setup for a sequel. I hope it comes to fruition, because the world of Nailbiter is definitely somewhere I would like to visit again. One and a half severed thumbs up. Nathan says check it out.

Nailbiter’s official website can be found HERE.