More Hammer, Lee, and Cushing!

More Hammer, Lee, and Cushing Trinity!

By Kristin Battestella

Why not spend the summer delighting in another batch of Christopher Lee, Peter Cushing, and Hammer Horror treats both vintage and anew?

The Bloody Judge – The battle scenes are awesome in this twisted 1970 historical from the late writer and director Jess Franco (The Awful Dr. Orloff). The music is sweet; the colorful design looks the part and doesn’t feel cheap at all. One can even forgive the bad English dubbing, mixed languages, and sudden subtitles amid the otherwise fine script, dialogue, and native Anglo delivery. The persecution plots and political intrigue are nice, too – even if it has been done better and feels too Witchfinder General knock off.  Unfortunately, the fake blood is obvious, and the nudity presented is just too bizarre. The skin scenes are actually almost too subdued to start – one expects more in early seventies euro horror. However, the flesh gets awkward quickly with an out of place full frontal sex scene and lots more much too much shocking and fleshy torture. It’s initially effective to see the cruel rack and sadistic pain thanks to its great juxtaposition – these wicked, supposedly in the right officials against the nature loving, harmless witchcraft accused.  Sadly, the exploitative sex and violence goes overboard as the hour and forty-plus minutes goes on. It’s just too dang nasty – talk about torture porn! Ultimately, this uneven attempt at horror and sexploitation detracts from what could have been a seriously fine, macabre historical lesson. It’s a pity, as it’s certainly fun to see Birthday Boy Lee rocking that judicial wig! He’s just right as the creepy lawman checking out the bodices, bosoms, and wenches on trial but doesn’t have much else to do. Although Big C is great when he does get some demented ups and downs and crime and punishment and fans will enjoy his scenes, the entire picture would have been better served by doing a complete history on the titular mayhem.

From Beyond the Grave – Peter Cushing sports a hint of accent for this final 1974 anthology from Hammer rival Amicus Productions, and the creepy antiques and curiosity shop themes are an interesting precursor to Friday the 13^th: The Series. Demented music, great sounds, and smoke and mirrors effects add to the fun seventies styles, colors, askew camera angles, and shadow techniques. Séances and possessed mirrors take over in the first story, “The Gatecrasher,” and David Warner (The Omen) is delightfully tormented into murder for this largely one-man tale. “An Act of Kindness” continues the weirdness thanks to street peddler Donald Pleasence (Halloween), his kind of kinky daughter Angela (Symptoms), and some deadly voodoo for good measure. Some dark humor sets off the psychic warnings, demonic touches, and poltergeist effects in “The Elemental,” and lastly, Ian Ogilvy (Witchfinder General) and Lesley-Anne Down (North and South) discover centuries-old occult disaster behind “The Door.” The character developments may seem slow to start or the writing somewhat soft or tame today, but there’s enough blood and action to carry the macabre mood. This one makes we want to marathon all the Amicus anthologies for one massive, eerie late night! We don’t see Cushing too much, but we shouldn’t be fooled by his seemingly so cute and innocent proprietor. Don’t these people know not to cross Big P?!

The Resident – I didn’t like the last Hillary Swank horror attempt The Reaping – actually I dislike any time she goes off her Oscar winning type coughP.S. I Love Youcough. Thankfully, she’s solid as a strong but socially awkward and somewhat man needy doctor in an ominous apartment for this 2011 nuHammer thriller. Likewise, Jeffrey Dean Morgan (Grey’s Anatomy) is effective, even if it’s obvious he’s the too good to be true handyman in a horror movie. At the standard 90 minutes, precious time is wasted with cool opening credits – not usually a good sign for a recent horror film – and the story is slow to get going and ultimately quite predictable. The cheating boyfriend explanation for her moving comes a little too late and the color gradient looks over processed, but the hospital blood and gore are well done. Of course, Christopher Lee has a great introduction. He looks like a perfectly respectable grandfather, yet there’s something just a bit creepy old man about him, and I love it! Although the casting and plot could have easily gone the college bimbo route and it sets up some naughty, eerie hi jinks, the brief Swank nudity and up close lingerie shots are surprising. Fortunately, smart shadows, lighting, reflections, and some unique camera angles add to the suspense. The frenetic flashback answers a lot of questions and ups the stalker vibe, too. Yes, it turns this film from a seemingly haunted house bump in the night horror tale to a nasty if somewhat typical real world thriller, and there isn’t a lot of mood, atmosphere, or truly spooky feelings as a result. Though pleasant, the New York contemporary city vibes and final reliance on plot holes, tools, hardware horror, and chases hamper the “it could happen to you” fears. It’s a bit misguided and could have been more, but the cast is likeable and some quality character twists win out.

Wake Wood – Perhaps this type of child death and parental grief horror is too familiar – it’s been done before, certainly. Fortunately, there is enough relate-ability, disturbia, and morbid in this frightening 2011 nuHammer ‘be careful what you wish for’ lesson. Despite the seemingly happy family introduction, things will obviously go bad for Aidan Gillen (Game of Thrones) and Eva Birthistle (Ae Fond Kiss) thanks to the creepy Timothy Spall (Auf Wiedersehen, Pet) and his abacus of life and death calculations! The dramatic, intercut opening scenes don’t feel like a horror film. However, the subsequent despair, blood, gruesome effects, animal terrors, creepy townsfolk, and nasty rituals make for some very upsetting visuals. Some of the swift editing and quick camerawork is a bit too flashy, and those rituals do become overlong and too complex, yes. The voices are also tough to hear compared to the violence, and the accents will be tough for some stateside. Thankfully, the Irish locations and country scenery are very colorful and bright, making for a pleasant contrast and ‘what lies beneath’ the quaint eerie.  More unique filming angles and photography accentuate the desperation and delightfully build the slow, sinister reveals. I don’t want to give everything away, but this one stands out among the standard crop of recent horror clunkers. There’s enough macabre for the expectant horror fan to enjoy, and a level of dramatic maturity with serious consequences and a few twists.  

The Woman in Black – Harry Potter star Danielle Radcliffe does well in this 2012 nuHammer creepy haunted house ghost story adapted by Jane Goldman (Stardust, X-Men: First Class) from Susan Hill’s source novel. There’s a very nice gothic spirit at work thanks to the moody history, ghostly atmosphere, and mostly silent, one-man scares. Suspicious townsfolk and freaky kid deaths add to the sudden effects and camera tricks, and candlelight and darkness up the sinister for an overall, quite effective spooky.  Though the period settings are perfectly decrepit in addition to the smart, darker photography, there is just a little too much drab unnecessarily weighing down the film’s look. Perhaps there was an intentional kinship to something black and white or a depressing palette meant to mirror Radcliffe’s widower Arthur Kipps and his desperate state of mind. However, this devoid, colorless, overly digital, saturated dreary feels amiss –we have the spooky and disturbing elsewhere in set decorations, story, and character.  There’s no need to add this layer of off putting heavy – in fact, some rich late Victorian color and flair would have gone a long way in the household fears, local smarmy, and child scary simply because the viewer would have found something pleasing, if creepy, for the eye.  This doesn’t look fun to watch, and some horror audiences expecting more action or panache may be disappointed by this style. There’s also a few plot holes and missed opportunities or speculation with Ciaran Hinds (There Will Be Blood) as the upstanding, decidedly not superstitious Sam Daily. Were there townsfolk involved in the ghost causing history? Did Kipps really bring the titular vengeance as the bereaved claim or was something else at work? What the F happened to the dog? There’s room for some debate in the tale as it isn’t all explained in one big reveal, but a few clarifications would have been nice – especially since this budding sequel talk sounds kind of crappy. Despite a few questions and visual flaws, the 90-plus minutes here keep things ominous – the shocks and suspense happen without resorting to the crassness, gore, or nudity we so often find today. Bravo!

I was worried the nuHammer films would, well, stink, but two have been good, one’s decent with star power, and I’m looking forward to more! 

The Gift

The Gift An Intelligent Mystery

By Kristin Battestella

With its big names and creepy storyline, you would think The Gift should have stood out upon its release in 2000. Fine performances, an intelligent murder mystery, and supernatural innuendo-The Gift deserves a second look.

 

It’s the sleepy South, and recently widowed Annie (Cate Blanchett) provides for her three sons by giving psychic readings and advice to troubled Buddy (Giovanni Ribisi) and abused wife Val (Hillary Swank). When socialite Jessica King (Katie Holmes) is murdered, Annie grows close to Jessica’s fiancé Wayne (Greg Kinnear). Unfortunately, disturbing dreams begin to haunt Annie, and Val’s husband Donnie (Keanu Reeves) is not pleased with her meddling.

 

The Gift is a complex tale. On one hand, it’s very obvious and has you calling out who is who. Then again, some sequences from director Sam Raimi (Spiderman, Army of Darkness) and writers Billy Bob Thorton (Yes, that Bily Bob Thorton. Before he was famous for drinking Angelina Jolie’s blood, Thorton showed his writing skills with Sling Blade) and Tom Epperson (Camouflage, also with Thorton) are very subtle and fool you into believing exactly what they want. Instead of making you feel stupid or relying on supernatural effects, The Gift holds the audience’s interest with strong characters and some good old fashioned wit.

Cate Blanchett (Lord of the Rings, The Aviator, Elizabeth) is on form as Annie. I was surprised to hear her put on a southern drawl compared to her usual formal Brit and Aussie speak. Sometimes it’s trying too hard and annoying, but other times it is just right. A viewer not familiar with Southern accents might be put off, thinking her voice severely fake. But the truth is, a lot of deep Southerners really talk like that. Once your ears adjust, Blanchett’s skill shines through. She’s compassion with her customers and sons, but we feel for Annie when things aren’t kosher. We root for Annie and want her to help solve this murder- not because we liked Jessica, but because we like Annie. There is a bit of the amateur detective in over her head feel, but Blanchett keeps Annie human and fearful of the crimes and her ability.

 

The Gift is largely a Blanchett vehicle, but the supporting cast does fine. Oscar winner Hillary Swank (Million Dollar Baby, Boys Don’t Cry) and Keanu Reeves (The Matrix) don’t have much time in this ensemble, but their transformation into a twisted, abusive, white trash couple is a bizarre delight. We know Katie Holmes’ (Dawson’s Creek) Jessica and Greg Kinnear’s (As Good As It Gets) Wayne aren’t meant to be together, and Kinnear shows his chops mourning opposite Blanchett. Likewise, Giovanni Ribisi (Boiler Room) plays Buddy as a ticking time bomb, and Sheriff Pearl Johnson (J.K. Simmons, The Closer) is a thorn in Annie’s side. Who can be trusted? The supporting cast is firm in their performances but no less ambiguous about their character’s motives.

 

Okay, there are a few supernatural spooks in The Gift, but if you’re looking for major effects and thrillers, you won’t find them here. We get the usual dreamy, shock and gore, in your face psychic vibes as needed; but outside of done up dead Katie Holmes, the creepy vibes come from Blanchett. Naughty boys will however, enjoy those nude Holmes’ bits.

Rated R for all that goodness, The Gift is not for kids or prudes. Straight horror fans might find this complex thriller too tame on blood, scares, and gore; however, audiences looking for something with a little more intelligence, character, and emotional will enjoy The Gift. Online viewing or renting and affordable DVD options give you every reason to love The Gift.

P.S. I Love You

P.S. I Don’t Love You

By Kristin Battestella

 

I really need to stop watching romantic comedies at 3 a.m. My last gander was the 2007 chick flick P.S. I Love You, starring Oscar winner Hillary Swank and 300 hunk Gerard Butler. Why do I bother?

 

Holly (Swank) and Gerry (Butler) live in a small New York apartment and argue like normal couples, but they truly have a great life and love at heart. When Gerry dies from a brain tumor, Holly struggles with his death despite help from her family and friends. Shortly thereafter, on her 30^th birthday, Holly begins to receive predated letters from Gerry. These treasures help her remember the good times, make new experiences, and find herself again.

 

She has had many an out there role, from The Next Karate Kid to Boys Don’t Cry, but I wonder what it was that drew Hillary Swank to this role. Holly is by no means a pretty part. For some reason the character dresses like an idiot, and there’s a lot of crying and why questions ala Nancy Kerrigan and the whole knee bashing thing. I can see the emotion in the grief and overcoming the death of a loved one, but for personal reasons alone, not from Swank’s trying. I don’t know what I’d do without my husband. Do I care if Holly gets over Gerry? Not really. She’s given plenty of opportunity to do so, and after chance after chance, not only did I not care, but I wanted to smack Holly to her senses. Why Hillary, why?

 

P.S. I Love You was hyped largely as the next big thing after Gerard Butler’s success in 300. I understand his not wanting to be typecast, and his work prior to 300 was quite diverse, from Dracula 2000 to The Phantom of the Opera. I just find this film of all the choices, to be so…weird. Some girls may be charmed by all the romance and such, yadda yadda, but otherwise, this is a very unflattering role. His singing is wrong here, and there isn’t an Irish actor out there to fill our Irish onscreen Gerry’s shoes? Not only is the whole ‘dead Gerry’ and Gerry Butler vibe a little creepy, but he disappears halfway through the film-before the last letter arrives. I don’t get it. Butler has one scene before the opening credits, then spends the rest of the film in flashbacks or as figments of Holly’s imagination. It’s as if the performance technically doesn’t exist. Star Trek fans complain if an entire episode is a dream or a big reset button. It’s not as if the ghost of Holly’s dead husband is really haunting her, that would be worthwhile I think, ala The Ghost and Mrs. Muir. It would have to be funny, not serious, Ghost cornered that. I just don’t see the appeal of a film that turned out to be a complete misstep for both leads. Why Gerry why?

 

Not only have the two leads been unfortunately miscast, but the absolutely stunning supporting cast of P.S. I Love You has been completely wasted. Oscar winner Kathy Bates (Misery) receives her token obligatory weepy scenes as Holly’s mom Patricia, and Gina Gershon (Bound) and James Marsters (Spike, People! Spike!) disappear from the film with no explanation whatsoever. We get a tacked on reunion with Lisa Kudrow (Friends) and a cop out at Yankee Stadium with Harry Connick, Jr.(Copycat). I found myself more interested in these fine supporting players and their complex relationships, but their trials and troubles are dropped in favor of Holly’s obvious and typical story. The eclectic mix has the comedic and dramatic-and heck musical-talent needed, but it’s never used by writer Steven Rogers (Hope Floats) and director Richard LaGravenese (The Fisher King, Freedom Writers, and The Bridges of Madison County).

 

It’s not woeful leads and misused support, however, that undoes P.S. I Love You- it’s the whole dang story from author Cecelia Ahem. Maybe the movie took its liberties from the source novel, but I’m certainly not rushing down the street to Borders to get the book, that’s for damn sure. The bemoaning of Holly just goes on and on. As I said, grief is something everyone can relate to, but enough with the letters already. They are too obvious and convenient. The first message is on a tape recorder. Why aren’t all the others? In this day and age, Gerry couldn’t videotape himself and email it to Holly everyday? How is she really expected to get over her dead husband if new information and good memories of him are technically coming from him after death?

Gerry and Holly are so poor, but he can plan elaborate bar trips and vacays to Ireland? And all this while dying of a brain tumor over the course of one year? The soul searching of what grief can do to one person is undone by the unrealistic nature of the story’s plan. Never mind the horrid soundtrack and all that omigod chick stuff about turning thirty, marriage, divorce, babies, and looks. And after all this, how does Holly get on with her life? By designing shoes! Could you alienate the male audience more? I can’t believe guys wrote and directed this.

Fans of the cast will tune in for P.S. I Love You, but I don’t think it will be a Gerry dream for the ladies or a tour de force for Swank fans. The DVD supposedly has more scenes and interviews with Ahern-something I would normally find interesting, but I don’t think its worth the full price of the disc. Unless you are a big chick flick fan, please avoid. Fans of the individual cast are better off finding clips on youtube.