Dan Holland

Voodoo Black Exorcist (Vudú sangriento), is a bizarre choice to distribute once more in high definition. Some of the imagery in the film is most certainly impressive; however, it doesn’t quite make up for the poor dubbing, editing, and nonsensical story. The film is about ninety minutes long, and realistically, it only demanded my attention for about ten of those minutes before I sank into boredom. Perhaps my greatest disappointment was that it wasn’t really a movie I could have fun with: it was not laughably bad. So where I would normally put some effort into poking fun, I ended up remaining abnormally critical of this old horror film.
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It is always interesting to see how the history of cinema weaves its way back into the art form, especially when it is incorporated into the narrative itself. For example E. Elias Merhige’s  Shadow of the Vampire (2000) constructs its narrative around a fictional filming of F.W. Murnau’s  Nosferatu (1922). Recently, Gary Oldman announced his interest in writing and directing Flying Horse, a biopic of Eadward Muybridge, one of the founding fathers of moving images as we know them. Cinema is the only art I am aware of that artists take strides to be self-reflexive for the sake of appreciation of the medium. Apocalypse Child (2015) toys with self-reflexivity, but in a very unique way: It portrays cinema as a quasi-mythical presence through alluding to Francis Ford Coppola’s hellish stretch of filming Apocalypse Now (1979) in the Philippines.
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The early 1930’s was an excellent time for production of horror films. 1931 saw the classic productions of Frankenstein and Dracula, and 1932 The Mummy and White Zombie. These are all what I would call genre-defining films: they have refined the formulaic plots (mad scientist, supernatural threat) that came before them, but did so while incorporating the famous images we see today. Think about it; 80 years later and we still see Frankenstein’s monster with a flattened head and bolts, or Dracula with the jet-black widow’s peak and cape. As iconic as these films have become, there are countless productions that have flown under the radar of popularity. Frank R. Strayer’s The Vampire Bat is one such film that is worthy of more attention.
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Drunk History is a good example of a good idea that lost steam very quickly. I remember when initial idea was aired as a web series produced by Funny or Die in 2007, and it was a rather brilliant idea. The show was not picked up by a major network for six years; then in the summer of 2013, it made its premiere on Comedy Central. Granted, I remember being excited about this premiere. However, about midway through that first season, I realized how too much of a great idea can be a bad thing. The format just became tiresome and dull after a few episodes. Now, four years later, the show has returned for four entire seasons, but it definitely feels it has run its course.
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Let me preface this review by clarifying that this is not M. Night Shyamalan’s 2016 thriller about a dangerous man with different personalities. Instead, this review addresses Deborah Kampmeier’s Split (2016). It is an unfortunate circumstance for films to share the same name when released in the same year, especially if one of the directors has a considerable amount of fame under his belt. Thankfully, Kampmeier’s film came through the Upcoming Discs hub; otherwise, I might never have heard about it through my traditional consumption. Split is most certainly worth the watch, but the imagery is uncomfortably intense for the majority of the film. To the average film consumer, I offer a fair warning to stay away. However, Split delivers image after image of disturbing symbolism, nearing the caliber of Alejandro Jodorowski.
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Resistance was first released in the UK in 2011, and it saw its first DVD release two years ago in Finland. Now in 2017, the US is finally getting DVD distribution. However, like most distribution marketing strategies, the cover, DVD home screen, and advertised star power are an inaccurate depiction of what the film actually offers. While the film has many strengths, all the imagery that you get prior to actually watching the film (the cover and home screen), prepare you for what you think is going to be an interesting WWII-themed thriller with possible action sequences. Instead, Resistance is an interesting, yet severely slow-paced character study that doesn’t necessarily follow its own plot description.
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Contemporary horror films are in a really strange position. Gone are the days of the formulaic slasher flick or creature feature. Today we have filmmakers who only seem interested in breaking genre conventions in order to try something new and be deemed “relevant.” As  a result, we are treated to an intellectually-driven horror renaissance with films such as It Follows or The Babadook, or we must sit through the onslaught of torture-porn-infused sequels to 70’s and 80’s classics such as Evil Dead (2013), I Spit on Your Grave (2010), or The Last House on the Left (2009). If the filmmaker is trying to break genre conventions, it is important to note that they do not always succeed, as is the case with Slasher.com.
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Exploitation film has reached a point where there are just too many subgenres to count, or to care about for that matter. This film combines three of the subgenres into one incoherent amalgamation of boredom: Blaxploitation, Kung Fu flicks, and “Brucesploitation.” While the two former concepts should be familiar outside of the realm of cinephilia, Brucesploitation may be a little more difficult to grasp. Basically, after the death of Bruce Lee, filmmakers began to capitalize on Lee’s image posthumously, by using barely passable lookalikes such as Bruce Le or Bruce Li as lead martial artists.
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If you have any love for Italian horror films, then you know the names Dario Argento and Lucio Fulci are the ones that cause the most excitement. Both directors have made a name for themselves in horror cinema, each providing their own authorship within their own interests. Much like debate concerning The Beatles or The Stones, cinephiles typically side with one over the other. Yes, Argento has conjured dreamlike, character-driven horror that has haunted our minds over the decades (Suspiria, Phenomena), but the late Lucio Fulci has a seemingly innate ability to create landscapes of terror that consistently push the envelope of realistic gore (Zombi, The Beyond). While I do tend to favor Fulci, I am well aware of both of their contributions and influence to horror cinema as a whole. Even though they have notable differences, The Wax Mask offers a collaboration between the two greats prior to Fulci’s death in 1996.
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The 1960s were very important to the counterculture movement in the United States, most notably the artists of New York City. Whether it be future rock stars such as Iggy Pop and The Stooges and The Doors, or the enigmatic Phenom Andy Warhol, New York was at the crux of a lot of influential ideologies that have inspired us in the succeeding decades. However, there is only so much you can read about when it comes to discovering the cultural history of New York. That’s what makes documentaries like Brendan Toller’s Danny Says so fascinating: Sure, you know the history, but can you glean what the experience would be like? Danny Says takes you on a journey beyond the facts and delves into the personal experiences of one of the most significant music journalists New York has seen.
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If asked about my favorite genre of film, romantic comedies would not be close to the top of the list. However, I have seen enough rom-coms that I wouldn’t mind watching a second time. The Babymooners would be a film that I’d give a second watch, simply because of its charming energy. Most of this charm can be attributed to Shaina Feinberg and Chris Manley, who co-wrote and directed the film. Through explicitly stating in the synopsis that the film is “clearly influenced by old Woody Allen films,” the filmmaking duo alert audiences to exactly what they should be expecting, and they are not far off. So if you are a fan of Woody Allen, rejoice, as that is not an empty promise.
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When a movie makes a bold claim such as being “a tour de force murder flick that defies classification,” it is inviting a hefty amount of preconceived criticisms prior to anyone actually viewing the film. It’s like titling a horror film This Will Scare You. Naturally, your first thought would be something along the lines of “Yeah, whatever, movie.” Needless to say, that want to criticize burns within you until you watch it. Then, with all the satisfaction in the world, you get to say “No, that wasn’t scary at all.” In the end, you are stuck with a movie that wasn’t what it promised to be, but realistically, you knew that would be the case anyway. It is a cheap marketing ploy that entices you to watch for all the wrong reasons.
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Road to the Well is about what you would expect from an independent thriller: atmospheric and character-driven, sporting a slow pace. While the pacing was indeed slow, it was most certainly deliberate and aided in the storytelling. I can’t necessarily say that I would watch the film again, but I can say I understand why it has won awards while on the festival circuit, especially given the fact that it is writer/director Jon Cvack’s first feature length film. It is a good movie. It satisfies. And even though good movies have their faults, Road to the Well succeeds in balancing its failures with tremendous amounts of successful feats.
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All too often do indie films fall under the category of “character study”. It’s almost as if that the entire “independent” genre has divided itself into these dramas focusing on painfully slow character development or budgetless, empty husks of action films riddled with terrible CGI. I have seen independent films that held my attention with captivating writing, but they seem to be few and far between. Little Men is no exception to the trend: it did have some interesting character development, but the story had great opportunities for intense conflict that just never followed through.
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The first time I saw C.H.U.D., I was deathly afraid I was going to be watching yet another zombie movie. C.H.U.D. is an acronym for ‘Cannibalistic Humanoid Underground Dwellers,’ so with only that description, my assumption wasn’t unreasonable. For the readers who have actually seen C.H.U.D., you probably know that I was pleasantly surprised: it was actually a very fun monster movie. Yes, they were humanoid, but they were rather creepy, with bright glowing eyes and scaly skin. C.H.U.D II apparently forgot how amazing the original creatures were, because they are absent from the entire film (even though they are proudly displayed on the front cover of the Blu-ray case). Instead, we are treated to a zombie film with glam metal transition music and only the worst brand of tongue-in-cheek silliness.
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Girl in Woods is a very conflicting film. The writing and direction were wonderful, as well as the setting: I have previously written about my fondness of independent horror films set in the woods (see my review of The Interior). However, the film’s post-production and the acting were not up to par with the maturity set forth by the intricate story and overall tone of the film. The film succeeds in establishing an atmosphere of fear and mania through cleverly fragmenting the narrative through cryptic flashbacks, but it fails to impress with visuals, simply because of poor quality.
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Yet another indie horror flick has come through the Upcoming Discs hub. Although, I wouldn’t necessarily categorize The Midnight Swim into the horror genre: it’s more of a dramatic mystery. That is not to say that the film did not have any unnerving moments, but the priority of the storytelling was to study the three main characters. In an effort to capture three very different personalities while simultaneously providing a lingering suspense, The Midnight Swim created a tension that resolved to my satisfaction. Ultimately, the film favored its character study more than it did its mystery, which hurt my enjoyment as a result.
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Frank Sinatra is a man of many talents, although I had never really paid much attention to his acting, as I had never actually seen him outside a musical. Anchors Aweigh and On the Town are among my favorite musicals. That being said, I have never watched a film where I have been fully attentive to Sinatra’s talents as an actor. While Suddenly has other big names like James Gleason and Sterling Hayden, I was surprised that the entire film had an incredibly rocky start without Sinatra’s presence in the first twenty minutes.
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The continent of Australia has seen a small renaissance of horror films over the last fifteen years. Considering the continent’s rich history with suspenseful cinema, the frequency of these films is indeed exciting. Picnic at Hanging Rock and The Chant of Jimmy Blacksmith are two movies that have stuck with me over the years, considering I only watched each title once. I remember the suspense and terror created in the atmosphere of Picnic, through a combination of a simple plot of a missing child and an ominous score. Jimmy Blacksmith’s climax is one of the most psychologically tormenting experiences I have had watching a film.
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Before The Twilight Zone, Rod Serling had a fruitful career writing teleplays in the early 1950’s. One of his earliest successes, Patterns (1955), was aired on a program named Kraft Television Theatre. The popularity of the play was so enormous that a second encore performance was aired the same week of its release, and it was written as a feature film the following year. Given its impressive history and my love of Serling’s writing, I was really looking forward to watching the the film. However, I was surprised that I did not enjoy myself as much as I was expecting.
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I have seen an incredible number of independent horror films that are either shot in or around the woods. The setting makes sense for budget purposes: you are able to create a mysterious, brooding atmosphere for absolutely no cost. These films were produced even before The Blair Witch Project made the aesthetic popular in 1999. Even I hear the call of the woods as an amateur filmmaker, but I’m careful not to give into temptation and create a guaranteed flop just so that I can have a film set “in the woods.” I may seem pessimistic, but I have been disappointed by too many of these films to understand that it is not just being “in the woods” that makes the film. For these films to succeed, you need excellent writing and an unsettling/uncanny presence of which to be afraid. As is the case with The Interior.
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The Boy Who Cried Werewolf (1973) is an interesting collection piece for fans of horror film. It marks the end of Universal’s long-standing tradition of double-billing B-horror films from the 1930’s onward. That being said, The Boy Who Cried Werewolf and its companion film Sssssss (1973) are the physical evidence of the end of an era. This particular release drops the double- billing tradition, which is rather confusing to me, simply because the Universal Studios distributing system’s historical relevance is worth more to me than the actual film. Outside of the context that I have provided, this film doesn’t have many interesting qualities.
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They really don’t make horror films like they used to. I understand that each decade graces us with new, unique genre mechanics, but there is just something to be said about the horror elements found in 1980’s cinema. While Hellhole does not have any supernatural or modern science fiction qualities, it does carry the classic “mad scientist” narrative quite well. The film also boasts one of the silliest, yet terrifying, villains I have seen to date. Hellhole is a film that gracefully slips below the radar, but for the cult cinema connoisseur, the strong writing is really what makes this film a great find.
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It is with a rather heavy heart that I give this film a low rating, because it really has so much going for it. The concept of having several psychopaths escape from an asylum, only to slaughter the patrons of a horror-themed amusement park has a lot of potential when you think about it. During the times when horror attractions such as Halloween Horror Nights have become so popular, it’s hard to believe that a film like this hasn’t already been made. (Perhaps one has, but I have not heard of one yet.) Regardless, the film is pitched as a horror comedy, which is a genre that can easily lose control of itself. Predictably, I would have been much more satisfied without the comedic elements put into the film.
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