Time for a book recommendation.

Years ago (1992 to be precise), Christopher Golden edited Cut! Horror Writers on Horror Film. In and among the various essays in this fascinating tome were those special joys for the dip-in-dip-out reader: the list. John Skipp and Craig Spector offered “Death’s Rich Pageantry, or Skipp & Spector’s Handy-Dandy Splatterpunk Guide to the Horrors of Non-horror Film.” And Stanley Wiater contributed an essential guide for the daredevil viewer: “Disturbo 13: The Most Disturbing Horror Films Ever Made” (collect ‘em all!).

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A few weeks ago, I sung the praises of Forrest J. Ackerman and the childhood joys his Famous Monsters of Filmland gave me. Now comes sad word, already up on numerous websites, that he is ailing, and the end is very soon. (I have seen some statements that, in fact, he passed on yesterday, but nothing, fortunately, that strikes me as authoritative, as of yet.)

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Consider this column a companion piece to my review of Last House on the Beach. I mention therein that the finale of the film obviously inspired (to put it politely) that of Quentin Tarantino’s Death Proof. I shouldn’t really use this opportunity to beat up on Death Proof all over again. But what struck me even more than the similarities between the two scenes was their instructive differences.

So, if you haven’t seen either of the films yet, consider this entire column a spoiler and leave now. Thank you.

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Oh God, here we go again with another When I Was A Wee Lad memory. Sorry. But When I Was A Wee Lad, two of my favorite books were The Hammer Horror Film Omnibus, and The Second Hammer Horror Film Omnibus. Written by John Burke, each volume contained four novelizations of Hammer films, and for many a year, this was the only way I could experience the stories. It would be a long time before I saw the films in question. Still, most of those films I got under my belt some time ago, but one remained stubbornly out of reach, seen once on TV and then never again, VHS and then DVD releases apparently never on the horizon. That film was Curse of the Mummy’s Tomb (1964), and the wait is finally over. It appears as one of four films on the Icons of Horror: Hammer Films 2-disc set. Accompanying it are The Gorgon (also novelized by Burke, and more about it another time), The Two Faces of Dr. Jekyll, and Scream of Fear.

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Just the other week, I was singing the praises of [REC]. Today, I come to bury its American remake, Quarantine. At first glance, Quarantine is a virtual photocopy of its model. Scene follows scene in the same order, to the same (intended effect), to the same final shot. And yet somehow, the whole thing falls flat. How can this be? If the movies are identical, why aren’t they identically effective?

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The other day, I was watching Pathology, a release from Fox that is terminally mediocre, but is surprisingly gory for what is, minor-to-nil theatrical release aside, essentially a mainstream release. I won’t rehash its silly, empty-headed plot here, other to suggest that you look to spend your entertainment dollar elsewhere. What interests me about the film is that gore. As our characters about their titular activities, corpses are opened up and messed around with in a manner that, not too long ago, would have been unthinkable outside the realm of the more extreme exploitation flicks. For quite a while, since the horror film was revived at the end of the 90s, much of the chatter about violence in the films conveniently forgot just how graphic the situation was in the 70s and 80s, but over the last few years, the gap has been bridged. But that’s not what I want to talk about here. It isn’t the quantity of gore or its explicit nature that I’m ruminating about. Rather, is it still possible to distinguish the genuine, wholesome sleaze from its production-line counterpart emerging from the major studios.

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The latest issue of Rue Morgue has hit the stands, and its cover story is a celebration of the fiftieth anniversary of Famous Monsters of Filmland. Naturally, there is plenty celebrating the man behind the world’s first horror/SF magazine, Forrest J. Ackerman. Permit me, then, to take advantage of the occasion to do a little celebrating myself.

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And now, another bit of musing on Mario Bava, brought on by a recent screening of Lisa and the Devil.

Coming in 1972, this was late in Bava’s career, and from a period when seeing his films the way he intended became very difficult. Until recently, when the original print resurfaced, this has been most commonly seen under the title The House of Exorcism, an exercise in butchery by producer Alfred Leone, which not only removed much of Bava’s footage, but replaced it with a ridiculous Exorcist rip-off. Fortunately, Bava’s original film has been restored to us. It is a prime example of that moment in European cinema where the distinction between horror film and art-house production vanished.

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I can’t quite decide how I feel about Paul W. S. Anderson. On the one hand, he clearly has a great deal of affection for his inspirations, and since most of his filmography, as either a director or producer, consists of adaptations, this is to the good. He is, for instance, one of the few filmmakers who actually seems to respect video games, even if his Resident Evil films consciously depart from the games’ story arc in a fairly massive way. Unlike Stephen Sommers, he does not feel the need to trivialize his material by giving up on the suspense and going for the cheap laugh.

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This is going to be half a review, and half nostalgia.

In 1980, Dario Argento’s Inferno was released, and, bizarrely, it was one of the films profiled on a kid’s SF TV show I watched back then. The scenes on display sent my terrified little self fleeing from the room. But the images I saw stayed with me, as did the spookily elegant poster I saw on Paris theatre marquees in the weeks that followed: a purple-and-blue skull with a single drop of blood forming at the still-fleshy lips.

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We have all encountered films that are less intelligent than they think they are. My favourite example of this syndrome would probably be Contact, the deeply serious Jodie Foster vehicle, directed by Robert Zemeckis, and adapted from the Carl Sagan novel. The film keeps the novel’s primary weakness (the ending, which, smacks of a writer who hasn’t worked out a full outline before starting) and introduces some unintentionally funny visual elements (the alien-inspired technology looks suspiciously like it was designed by Wile E. Coyote, and the first time out works like was designed by him, too). But the film’s biggest sin was not that it has some very silly aspects, but that it is completely unaware of same, and really seems to believe that it is Important Art. Similarly, M. Night Shyamalan has become the undisputed King of Movies Less Intelligent Than They Think They Are.

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A few weeks ago, I nattered on about how Mario Bava’s Blood and Black Lace differs markedly from the very slasher genre it helped create. The same is true of Bay of Blood, though the comparison is rather more complicated.

The connection between Bay of Blood (AKA Twitch of the Death Nerve) and the slashers is one of the purest examples of superficiality one could think of. Many of the murders in Bava’s film were lifted holus bolus by the first couple of Friday the 13th films (machete to the face, love-making couple speared in bed, and so forth).

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Apparently, achieving just the right level of success can work against you. This would appear to be the case of the recent Spanish horror effort [REC]. Co-directed by Jaume Balagueró (who gave us the underrated Darkness and The Nameless) and Paco Plaza, this was one of Spain’s biggest box-office hits last year. Does that earn it a theatrical North American release? Not a bit of it. Instead, it earns itself a remake, under the title Quarantine. Though there are, apparently, some changes being made (the unfortunate jettisoning of the supernatural angle being one), from the looks of things, the new version is going to be a pointlessly exact retread (and speaking of pointless, why give us a trailer that shows the very last shot of the film?). Not only is [REC] not gracing the theatres, it is also being deprived, at least for now, of a domestic DVD release. But if I might speak a word to the wise, it is available as a Region 2 release, so those of you with region-free players know what to do.

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Mario Bava is undergoing something of a revival of interest these days, what with Tim Lucas’ magisterial book Mario Bava: All the Colors of the Dark and the recent Anchor Bay box sets. Over the last little bit, I’ve been re-watching some of Bava’s films, along with a friend who hasn’t seen them before, and I was struck by a comment he made about Blood and Black Lace: that this was the first horror film he’d seen where the victims had no existence other than as victims. This is true, and it made me think about some of the other things that distinguish Bava’s films from the films they would influence.

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Flipping through the latest issue of Rue Morgue, I happened on a capsule review that mentioned how most grindhouse fare (whether actual or neo) rarely delivered on its promises. This is, of course, absolutely true, and I don’t for a moment pretend that this comes as news to anyone reading these words. I do want to consider this factor from two angles, though.

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A few years ago, I had the pleasure of reviewing Larry Fessenden’s Wendigo for this site. Recently out on DVD is his much belated follow-up, The Last Winter (not to be confused with the Canadian coming-of-age tale of the same name). I’m happy to report that the skill Fessenden showed in Wendigo is very much on display in his new feature.

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Last week, as I was writing about lost films, I was musing about the many films I had read about in my youth but had never seen. Many of those from the early decades of film history are, I assumed, lost forever. I was thinking particularly of the really early stuff, and particularly of the films of Georges Méliès. While many of his films are still extant (and I have extolled the previous Kino release previously), many of those I had wished to see were those Denis Gifford describes in his Pictorial History of Horror Movies. A prime example would be The Merry Frolics of Satan (1906). The single still in the book – of carriage drawn by a skeletal horse with an accordion-like torso – has always fascinated me. So I was going to mention this film as an example of the lost but lamented. Just to be on the safe side, though, I did a quick search, and discovered, to my delight, that it is NOT lost. To my further delight, I found it on a collection which can best be described as mind-blowing.

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So the news this week was very exciting for fans of vintage films, and especially for those whose dreams are haunted by thoughts of lost films rediscovered. Hot on the heels of Kino’s announcement of a new DVD release of Fritz Lang’s Metropolis, due next year and apparently a further improvement on their previous (superb) release, came word that a completely uncut version of the film had been found in Argentina. That, friends and neighbours, is BIG. The full three-hour-plus version of the film hasn’t been seen since the original release, and not everywhere at that. In recent years, we’ve seen some pretty fine editions of the film, but all of them have had to make do with extensive summaries and mouth-watering stills to fill in the gaps. Certain characters that barely show up, if at all, in what has been seen to date, actually have quite substantial roles in the full version. And now it has been found. True, it’s in pretty rough shape, but it exists, and no doubt a full restoration effort is underway. Kino has apparently said that the found footage might well be added to the forthcoming DVD.

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We’re all familiar with the zombie movie, most particularly the post-1968 zombie flick. That was the year George Romero permanently transformed the zombie into a flesh-eating ghoul – perhaps the only instance of a long-standing monster having its rules of behaviour altered almost beyond recognition, and to the point that there have been virtually no NON-flesh-eating zombies on film since Night of the Living Dead. But that’s a topic for another time. Co-existing with the neo-zombie movie, and sometimes fusing with it (as in 28 Days Later and its sequel), is the tale of mass psychosis. A recent example is the 2007 film The Signal, directed by David Bruckner, Jacob Gentry and Dan Bush.

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Well, I’m back, with apologies for a couple of weeks’ absence, and with some more facile musings. I’ve dumped all over M. Night Shyamalan in this space before, and it would be tempting to do it again, but I haven’t actually seen The Happening yet, so I won’t officially trash it right this minute. However, the vox populi has spoken, and the movie is officially a bomb, which makes three in a row for our boy, following up the atrocities of The Village and Lady in the Water. Which means it might, perhaps be time for a re-evaluation of the auteur, perhaps even time for a different branch of fandom to claim him for their own.

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Airport 1975 is the most famously bad of the franchise. It’s the one that gets all the attention. But in fairness, The Concorde: Airport ‘79 should not be ignored. Let’s give it a moment in the spotlight, shall we? Yes, let’s, if for no other reason that George Kennedy’s Joe Patroni character finally moves to centre stage.

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Last week: the lovably pathetic spectacle that was Airport 1975. This week: Airport ‘77. “Bigger and more exciting than Airport 1975!” boasted the trailer. And for once, the publicity was right. That doesn’t mean the film is good, as such. But it does represent an interesting exception to the law of diminishing returns when it comes to franchises. Three movies in, and we encounter as close to a high point as the franchise is going to get.

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So, last time, we examined Airport, which I see as something of a proto-disaster film. While it is in many ways the fountainhead of the 70s cycle, the disaster itself is a third act development. The same is not true of its follow-up: Airport 1975 (1974). This flick emerged at the height of the disaster movie craze (the same year as Earthquake and The Towering Inferno). There’s no ambiguity here. It’s all about its disaster. It’s also quite rightly featured in a little tome entitled The 50 Worst Movies of All Time.

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Recently, I’ve had occasion to go back and revisit the Airport franchise. The 70s disaster movie arguably came into being with the first film (though the first pure disaster film of that era is more properly The Poseidon Adventure). If the peak of that cycle of cinematic carnage was Irwin Allen’s The Towering Inferno, and its spectacularly lovable nadir is Allen’s The Swarm, the Airport movies fell somewhere between the two. The best are the first (Airport itself) and third (Airport ‘77). The other two – Airport 1975 and The Concorde: Airport ‘79 – approach The Swarm’s level of cosmic ineptitude.

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I’m very late to the party here, but I’ve never been shy about jumping on a bandwagon (if I might so mix my metaphors), especially one as spectacularly kitted out as this one, so allow me to add my voice to the legion who are chanting the praises of Inside (French title: A l’intérieur). Directed by Julien Maury and Alexandre Bustillo, this brutally effective piece is yet further evidence that the creative vanguard of the horror film has shifted from Asia to French-speaking Europe.

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