More Rural and Residential Scares
by Kristin Battestella
Be it the middle of nowhere, isolated
communities, or dangerous households, such environments are a big how
about NO when it comes to these frights and thrillers.
The Commune – Celtic music and disturbing hospital room
self-harm open this 2009 creeper before going back nine months (wink)
to tell of an ingenue sent to visit her hippie zen dad. A DVD
introduction with writer/producer/director/stripteasing co-star
Elisabeth Fies (Scream Queen) is also included with
commentaries and bonus scenes. However, there are no subtitles for
the poor dialogue, and goofy dances, amateur acting, and modern style
hurt the attempted seventies feeling. Hectic camerawork may echo the
weird afoot, but the flashing dreams are jarring – naked
meditations, awkward hugs, vagina symbols, and stag motifs are
discomforting enough. Knockoff moon goddess robes, bright colors,
hazy purple hues, tarot card warnings, and blended Celtic and
Egyptian designs invoke a better heady. Wise viewers will recognize
the free love gone wrong thanks to names like Pomegranate and Puck
with bonus weak teen moments, guitar playing wannabes, “Frodo
Rules” stickers, and a born on the solstice destiny. Everybody
seems flaky or suspicious, but the chores and sustainable rustic
wouldn't be so bad if not for, you know, voyeurs at the window,
naughty moonlight shenanigans, waking naked, poolside weird, and
visions of a potentially nasty past. There's enough skin, minimal
technology, and a whiff of humor – “You reek of french fries!”
– yet no real likable spark or personality. The ninety minutes
moves as expected, remaining familiar despite increasingly dark
visuals reflecting the would-be psycho-sexual throwback, rapacious
rituals, and cult sacrifices. This picture seems mislabeled in its
lack of suspense and gives itself away from the start. The grassroots
production needed an outside perspective even if being filmed in a
commune with family support adds to the weirdness at hand. Yes, it
could have been better, but it's not bad if you're looking for
something naughty, offbeat, and indie obscure.
Late Phases – A pleasant,
mature ensemble including Ethan Embry (Can't
Hardly Wait), Tina Louise
(Gilligan's Island),
Karen Lyn Gorney (Saturday
Night Fever), Dana Ashbrook
(Twin Peaks),
Tom Noonan (The Monster
Squad), and Lance Guest
(The Last Starfighter)
battle the werewolves afoot as blind veteran Nick Damici (We
Are What We Are) moves to a
fishy retirement community in this 2014 tale. Headstone shopping,
senior discounts – it's expensive to die, and such issues acerbate
the grief, discomfort, and difficulty adjusting to new surroundings
nevermind ominous hooded visitors, suspicious animal attacks, or
finding a gunsmith to make silver bullets no questions asked. Cranky
encounters with nosy old ladies build humor and drama, investing the
audience with a likable protagonist and quips about old people all
smelling the same before dog door scares, shadows at the window, and
werewolves breaking and entering. Granted, some will be put off by
the hokey wolf suit. However, darkness, smart camera angles, and
suspenseful canine versus lycanthrope action hide most of the monster
design while good gore, echoes on the fallen telephone, and violent
sounds on the other side of the wall add fear. Monthly preparations
mount as neighborhood clues and a keen sense of smell could identify
the wolfy during the countdown till the next full moon. The cops may
be tired of answering elderly calls and family ditches their
defenseless parents, but those left behind must grapple with
religious redemption, Vietnam fallout, and haunting sacrifices –
familiar topics not often discussed in horror. Yes, there are some
flaws here with confusing logistics, poor editing, and weak effects.
Fortunately, this grown up Silver
Bullet and
endearing last hurrah makes
its scares and emotions felt with
horror and mystery amid
a refreshing real world honesty.
The Passion of Darkly Noon
– The titular Brendan Fraser stumbles injured upon the unwittingly
tempting Ashley Judd and her mute but charming boyfriend Viggo
Mortensen in a surreal wood for this 1995 psychological thriller.
While the DVD has low volume and an odd aspect ratio, there's a
golden glow and crisp country white to match the pretty outdoors and
should be quaint cottage. Minimal music parallels the natural cricket
sounds and rainstorms – but the idyllic springs and hidden grotto
are no match for ostracized Judd's tight tops, tiny dresses, and
sweaty mellow. Extremist Ma and Pa picked my name from the Bible
Fraser stutters over past cult persecutions. We don't see the trauma
he recounts but immediately sense the disturbed attraction and late
blooming Oedipal complex as “Lee” remains buttoned up in the heat
and standoffish, not hearing the notion to leave strict religious
groveling for not necessarily sinful ideals. There's much to explore,
a fresh start on a new homestead, but he's too distracted by the
nineties Skinamax. The naughty atmosphere rises with obsession
turning into mea culpa
harm, but Viggo (“He is Vigo! You are like the buzzing of flies to
him!”) does well with no dialogue as the tensions mount. Backwoods
colloquialisms add to the kooky yet friendly characters, but what's
with the literally flaming, giant, glittering shoe floating down the
river? A Circus, elephants, apples, religious stewing – viewers
must be in the right mood to digest this slow burn symbolism. Here
tell of who's crazy, a witch, or the monster of the woods adds to the
secrets and rival testimonies. Is it an evil bewitchment when your
husband has a heart attack over a tempting woman appearing in the
forest? Fear mongering, curses for one's sins, justice, punishment –
where's the happy medium beyond the escalating blood, barbed wire,
and bizarre visions? The brooding drama becomes increasing unreliable
as this purgatory cycle repeats, for each fanatical person entering
this Eden-like grove ruins it a little more. A savage siege leads to
red warpaint, hellish flames, and howling in a fine performance from
Fraser, who is perhaps more known for his comedies rather than
dramas. While
this could have been totally horror or straight steamy, some
serious, tender, or scary scenes are dated, laughable, and bemusingly
infantile. Fortunately, this character study on passion as both sex
and sacrifice is an interesting in limbo morality play with saucy fun
and temptation extremes perfect for a late night trippy.
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