Horror Documentaries, Again!

Horror Documentaries, Again!

By Kristin Battestella

Well I suppose we can’t watch horror all the time, so this is the next best thing – a whiff of askew non-fiction, horror informatives, and otherwise macabre programming to tide over our terrible little minds.

Biography: Stephen King – This 2000 television hour chronicling the best selling horror author details his quiet, poor early life in Maine, the abandonment of his father, awkward school years, and his initial love of reading, making primitive newsletters, and adoring horror movies. Although fans of the man himself probably feel this profile could have been longer – heck, just a full forty-five minutes of talking to King would be delightful – anyone who has delusions of grandeur about being an author can learn something here. Interviews with King, his wife Tabitha, and other family and friends keep the presentation from getting into the entertainment hyperbole style that so many of the more recent Biography episodes unfortunately offer – however some of the New England accents might be amusing or tough to distinguish for broader viewers. Thankfully, the natural, honest conversations and smooth narration focus on King’s efforts as a struggling young writer and family man, and it’s refreshing to see these behind the scenes difficulties discussed so candidly by the man we so often raise as the twisted and macabre industry standard. Newer King readers can have a thoughtful, pensive introduction here along with longtime horror audiences interested in the spooky King craft. 

Corman’s World: Exploits of a Hollywood Rebel – “By mistake he made a good picture every once in awhile,” a tearful Jack Nicholson sums up the campy but beloved tone of this 90 minutes plus with extras spotlight on Roger Corman featuring interviews with Martin Scorsese, Robert DeNiro, Ron Howard, Dick Miller, Joe Dante, Bruce Dern, Peter Fonda, Pam Grier, William Shatner, brother Gene Corman, and many more. Frank conversations on the cheap, trashy, tastelessness of Corman’s low budget style are counterbalanced with insights from the unassuming gentleman himself, and time is well spent on his early Hollywood dissatisfaction before becoming a one man movie making team for American International Pictures. Interesting retrospectives on the current outrageous blockbuster obsession and Corman’s under appreciated legacy also harken back to then radical perspectives about leaving the Golden Age studio system to develop the new wave of teen cinema and social commentaries thru lesser known, controversial work such as The Intruder and favorites like Easy Rider. There’s not a major horror focus here beyond mentions of the offbeat A Bucket of Blood and The Little Shop of Horrors or House of Usher and the success of the Price and Poe cycle, and exploitation film clips, language, nudity, gore, and LSD talk make this tough for a classroom viewing. Sadly, the references and politics of the time may also not be fully understood by today’s younger audience. However, film school aficionados and cult geeks will love seeing how many Hollywood stars and styles have a Corman independent film touch.

The Frankenstein Files: How Hollywood Created a Monster – Found on the 1931 Frankenstein video releases, this bemusing and self-referential 45 minutes begins with the Mary Shelley source and continues with the still standing film iconography. Interviews with Sara Karloff, film historians, and modern filmmakers discuss the early stage presentations, make up designs, difficulties in going from page to screen, and the long lasting sympathy of the monster and his childlike innocence. These scholars, family, and film friends have a lot to say and the presentation may seem too fast paced or all over the place to some – a little bit of everything including German expressionism, James Whale influences, clips from Gods and Monsters, Dwight Frye typecasting, and Karloff opinions is covered in the time here. Most of the time is also spent on the first Universal film before touching on Bride of Frankenstein and other sequels, the monster mash ups films, and Hammer retellings in the final ten minutes, but increasing plot implausibilities and film flaws are also frankly discussed. A lot of the material is second hand reminiscing, too. However, the anecdotes will be charming for horror fans and classic film lovers alike.

The Road to Dracula – The recently late Dracula co-star Carla Laemmle – niece of Universal head Carl Laemmle – hosts this half hour look at the Stoker phenomenon’s rise from page to screen. Film historians, museum curators, and interviews with Clive Barker, Bela Lugosi Jr, and Dwight Frye’s son anchor comparisons to the 1931 Spanish version of Dracula and clips of the Universal 1979 adaptation. Laemmle’s narration is understandably a bit wobbly and sprinkled with a few old lady saucy quips, but the wealth of insights shared is too much fun for a horror enthusiast. The discussion could certainly have been longer as well, with an all encompassing look at Dracula films and adaptations, but talk on Stoker’s genesis, silent film interpretations, Lugosi casting gold, and long lasting capes and widow’s peaks setting the vampire standards are more than enough to chew on here. Intimate, nostalgic insights accentuate the behind the scenes points, making this retrospective perfect for the classroom and horror or classic movie buffs.

Witchy Films

Which Witch is the Right Witchy Movie?

By Kristin Battestella

Though often woefully inaccurate with a potion of pointy hats, warts, and broomsticks- there’s something, well…magical about a good dose of cinematic witch-ware and brouhaha.

The Craft – High school and witchcraft oh my! Boys Breckin Meyer (Clueless) and especially Skeet Ulrich (Scream) are totally lame, but gals Robin Tunney (Empire Records, Prison Break), Neve Campbell (Party of Five, Wild Things), Rachel True (Half & Half), and a crazy good Farizku Balk (Valmont) are still cool. Yes, the music is the same as 1998 sexy witch successor Charmed.  However, even with the nineties smorgasbord of cast and ideas; the supernatural effects are still sweet, and the girls don’t look super ‘96 in the moment bad fashions thanks to the school uniform stylings.  Some of the ‘back on you’ scenes are indeed scary, too- especially if you have a problem with snakes. The wonderful Assumta Serna (Sharpe) and cruel Christine Taylor (The Brady Bunch) round out the light versus dark misuses as well. What girl hasn’t wished ill on the clique wicked or played light as a feather stiff as a board? I’m not sure how accurately portrayed the titular practices are onscreen, but the appreciation here is more intelligent, mature, and consequential than lighthearted broomstick fair. Sophisticated ladies can still enjoy and boys will love the legal jiggle.

Warlock – Let’s toss in Julian Sands (A Room with a View, Rose Red, Boxing Helena) and this 1989 time traveling scare fest for some juicy- nay badass-equal opportunity magic produced by Roger Corman (House of Usher).  Director Steve Miner (Friday the 13^th Part 2 and Part 3) does great with the colonial Massachusetts backdrop and carries the demonic mayhem into the eighties with so bad its good style from Lori Singer (Footloose, Fame, or as I simply say, Marc Singer’s sister). Meanwhile, fish out of water witch hunter Richard E. Grant (Bram Stoker’s Dracula) tries to thwart Big W from assembling an evil book that will uncreate existence. Yowza!  Some of the script speaketh from writer David Twohy (The Fugitive, G.I. Jane) is a little tough and the aforementioned datedness hinders some of the design and action, but of a sweeter titular man-witch, there is none- except for the lower in quality but just as kinky Warlock: The Armageddon (1993).

The Witches (1966) – This Hammer Horror wicked fest is chock full of tribal gone awry, polite but suspiciously Stepford townsfolk, creepy grandmas, and obligatory black cats. Let’s admit the effects and finale ritual are hokey, sure.  However, there are a few great shocker moments here along with swift editing and booming music to match the scares.  The mix of seemingly upscale rural England, witchdoctor mayhem, lovely locales, and on form sixties fashion designs work wonderfully as well.  Unfortunately, some may be very wigged out by a bloodless and tame but nonetheless disturbing rabbit butchering.  Again, the mystery unravels a bit in the end, but the debate of youth- too old to play with dolls but none of that naughty naughty with each other!- is doubly interesting along with what else is behind the schoolyard sinister: “A Sabbath, a meeting, an orgy perhaps.”  Naturally, classic Oscar dame Joan Fontaine (Suspicion, Rebecca) in her big screen swansong looks lovely, adds the film’s glue and sophistication, and most importantly doesn’t treat her horror ingénue as if the part was merely some two-bit paycheck. While we always expect such a thespian to put in her all, we don’t expect someone like be-frocked Joan Fontaine to get muddy or down with the bloody ritual. Bubble, cauldron, bubble! A ‘The World of Hammer: Wicked Women’ half hour treat on the DVD was sweet, too.

The Witches of Eastwick-  The all star cast- including Cher (Moonstruck), Michelle Pfeiffer (The Fabulous Baker Boys), Jack Nicholson (The Shining), Susan Sarandon (Dead Man Walking), Veronica Cartwright (Alien), and Carel Struycken (The Addams Family)- looks a little eighties bad fashions and big hair, yes. Granted director George Miller (Mad Max) is little slow to start things until the wicked and deliciously sent up Nicholson lights up the town, and yes, the fun comes a little undone for the big finish. But the ladies look damn great and the fun is a little too naughty for younger audiences, meow!  Though the subtitles don’t exactly match the witty dialogue, the dark comedy and ham up style are just right.  The tennis match, balloons, and poolside delights are all downright silly, yet it’s refreshing that the raunchy and good fun is in what is said, not what is actually shown. Take hint bad modern slasher remakes! There’s room for sexual subtext, demented imagination, and moral insights into the battle of the sexes here, and Sarandon’s buttoned up cellist gets, uh, very passionate about her music!

One Potentially Bad Brew

Spellbinder – Though I don’t like Kelly Preston (Twins, or rather John Travolta’s woman who was once shot by Charlie Sheen), am mostly indifferent to Tim Daly (Wings), and Rick Rossovich almost always says cheese about a film (Yes there’s Top Gun and The Terminator, but Pacific Blue anyone?)- this 1988 witch in love shtick is only half bad if you can get passed the leads. Of course, the styles are low eighties dated and the story is slow to start as it gets right to the bedroom kink- naughty but tame and almost nudeless kink- before anything else begins. The cultish mystery becomes much more interesting when director Janet Greek (Babylon 5) gets scary away from the no-chemistry fronts.  Seriously concerned secretary Diana Bellamy (Popular) and for once a good guy cop Cary-Hiroyuki Tagawa (Showdown in Little Toyko) and the warnings they provide are far more tantalizing, as is Audra Lindley (Mrs. Roper on Three’s Company!) as the creepy Mrs. White. The ‘pagan is evil’ portrayal is too heavy handed and Preston’s Valley delivery ruins the exposition of it all, but the coven scares and rituals ala The Wicker Man are perhaps juicy enough to keep this watchable for a late night alone.

For more magical mayhem see our previous insights on...

Practical Magic 

I Married a Witch 

Bell Book and Candle

Hex 

Dark Shadows 

Buffy 

The Witches (1990)  

Teen Witch

Harry Potter

Merlin

Mists of Avalon

The Wicker Man (2006)

Whew!

The Black Castle and The Terror

The Black Castle A Nice Little Old Film. The Terror…Not So Much

By Kristin Battestella

I’m sure there are plenty of other famous titles that come to mind when one thinks of Boris Karloff.  Though not as popular as the likes The Mummy or his Frankenstein persona, 1952’s The Black Castle and 1963’s The Terror are fun, spooky entertainment for Karloff fans at Halloween or throughout the year. Unfortunately, one is, of course, considerably better than the other is.

To solve the murder of his friends, Sir Ronald Burton (Richard Greene) disguises himself under the name Richard Beckett and accepts the hunting invitation of the ruthless Count Karl von Bruno (Stephen McNally).  Although Beckett and his servant Romley (Tudor Owen) befriend Von Bruno’s driver Fender (Henry Corden) and the young and charming Countess Elga (Rita Corday), mysterious Doctor Meissen (Karloff) keeps to himself.  Von Bruno and his silent strongman Gargon (Lon Chaney Jr.) subject the guests to hidden castle trap doors revealing hungry crocodiles and deadly hunting challenges with caged leopards. Will Bolton survive long enough to avenge his friends and rescue the Countess?  

No, The Black Castle is not a horror or fantasy film in the style one might expect from Karloff or director Nathan H. Juran (The 7^th Voyage of Sinbad). Though there are some spooky and scary elements thanks to the ominous trappings of the Black Castle itself, writer Jerry Sackheim (The Strange Door) sticks to the mystery at hand.  The period styles, creepy suspense, and a few seriously disturbed characters up the drama ante better than the overdone bad effects of run of the mill horror can.  Of course, the old school pacing is a little slow in some spots when dealing with the onscreen protocols and pleasantries, but the pieces of the puzzle at hand are well paced. 

Our hero Richard Greene bravely goes on a potentially deadly mission seeking to save the girl and solve the murder of his friends- and all this without a hair out of place.  He is Robin Hood after all, and Greene keeps Bolton likeable and true against his swarthy enemies.  Boris Karloff, of course, is having fun as the ambiguous Doctor Meissen.  We expect him to be involved in all the bads despite onscreen evidence to the contrary.  Meissen enjoys testing the pain threshold of his patients for goodness sake!  Surely, we can’t take his doctoring at face value. Likewise, Stephen McNally’s (Winchester ‘73) Count is juicy, violent, and abusive underneath that slick layer of twisted nobility.  Somehow, he’s no less charming and fun to watch than Greene is. Today, I imagine a film would take his side as the disturbing lead.   There’s not as much of the silent Lon Chaney Jr. (The Wolf Man, Son of Dracula) as I would have liked, but his obedience and quiet violence are dang creepy.    Rita Corday (The French Line) doesn’t have much to do either as Elga, the Countess, but she’s a damsel with great style!

The Black Castle is a bit deceiving in that it looks more like a horror movie than it should- especially if it is just a good mystery.  The castle set has lots of stairs, doors, twists, and turns.  There are a few scares to go along with some of the spooky music and scary sounds- we have plenty of thunder, kitty roars, wolf howls and everything in between to match the nice, atmospheric black and white photography.  The 18^th century costumes are great as well, complete with plenty of lace, frocks, riding habits, wigs, and all.  The sword fights and hunting action is a lot of fun, and overall, The Black Castle is quite stylized for being a little old film.

Now, at least The Black Castle is a good dramatic movie. The Terror, however, is a little too bad to be good.  My viewing edition was part of Elvira’s Movie Macabre after all.   With weak effects and opening titles that seem too cartoonish, multiple directing hands seem to be the least of this film’s problems.  Though there are a few scenes that a Roger Corman (The Haunted Palace, House of Usher) aficionado can discern, some of The Terror looks like shaky handheld camerawork!  It takes quite a while to get to the ‘goods’; but with a title like The Terror, we expect something to happen that never does.  When a beautiful young woman along the sea, Helene (Sandra Knight), entrances lost French soldier Andre (Jack Nicholson), he nearly drowns to pursue her. Andre then wakes in the care of an old woman Katrina (Dorothy Neumann).  She warns him not to go to the castle of Baron Victor Von Lepp (Karloff) to find Helene, but Andre confronts the demented Baron and unravels a twenty-year-old double murder- or so he thinks.

 

Karloff of course, looks classy, but his air of deception suggests something wonderfully sinister that we don’t get elsewhere in the film.  His delivery of the silliest line is believable, because, well, he’s Boris Karloff!  Bless him; I don’t know how he stayed awake for this one. And wow, Oscar winner Jack Nicholson (As Good as It Gets, The Shining, One Flew Over the Cuckoo’s Nest) looks so young!  But um, what Yankee accent is that? He’s supposed to be a French Chasseur for goodness sake!  Nicholson also doesn’t have much to do except wonder around scary sets and chase ghosts. It’s not nearly as convincing as Sandra Knight’s (Tower of London, or that filmed called Nepotism, being she was Nicholson’s wife back then) kinky and creepy Helene. She’s deceptive and haunting in her woodenness, but nothing here carries the build up needed for the suspense and intrigue to sustain the audience.  As much as the pace and performance drag, everything comes on to easy-and we’re expected to believe young Ilsa was married to the Baron at 20?  I love Boris Karloff but that’s a bit gross.

Although the traditional spooky castle sets are indeed scary and fun and the Halloween-esque music adds charm, the early 19^th century period style is as mishmashed as the poly-direction. Designs from previous Corman pictures are obviously reused, too. Thankfully on this version, Elvira’s kitschy introduction and pop up appearances keep the viewing campy, kinky, and all in good fun.  I imagine kids can watch her hijinks and not notice any of the adult innuendo, but I don’t expect families to tune in for something like this.  Nevertheless, it’s nice to see Cassandra Peterson carry Elvira on into a new Macabre syndicated series.   She’s sporting a laptop and making The Departed jokes here and everything!

Fans of old time mysteries and period horror can take the good from both The Black Castle and The Terror.  Although these appeal to slightly different audiences, there are indeed niche fans of old school good- and campy bad- who can watch these tricks and treats again and again.  Boris Karloff completists will enjoy the hunt for these two slightly elusive films.  As of now, The Black Castle can only be found in the Boris Karloff Collection set.  Surprisingly, the disc has subtitles- but if I may make one small complaint, its dang tough to see the white lettering on the silver screen!  The Terror, however, doesn’t seem to have a proper DVD release, only the standard low budget cheapies.  It looks a little grainy and sounds poorly, too- even Elvira’s commentary scenes look odd spliced into the film.  Thankfully, for those who like this type of bad, you can find The Terror online. 

Not every film billed as a good horror movie is actually good- as in the case of The Terror- or even a horror flick- as in The Black Castle.  So what? 

Harvest Haunts to See and Skip

Harvest Haunts and More

By Kristin Battestella

Since it’s never too early to start watching spooky movies in the Halloween spirit, here’s a list of what to snuggle up with this autumn and what to avoid like cemeteries at midnight-unless you’re into that sort of thing, of course.

See

House of Usher (2006) - For a classic horror fan, little can compare to the 1960 Corman staple House of Usher.  New interest in all things Poe has however brought new remakes and takes on his macabre tales, and believe it or not, this 2006 The House of Usher wasn’t that bad. There are some good plot differences from director Hayley Cloake (Tease, Thump).   It’s creepy, yet sexy thanks to stars Izabella Miko (Coyote Ugly, Clash of the Titans) and Austin Nichols (One Tree Hill, Friday Night Lights). Beth Grant (Delta, Speed, Rock Star, Donnie Darko) as the scene stealing Nurse Thatcher also adds to the suggestion, eerie styles, and gothic feel. It’s modern and updated, yet old school and in the spirit of Poe.  Now it’s on to the fancy 3D adaptation!

Tales from the Crypt (1972) – This precursor to the anthology series has five star-studded vignettes, including a disturbing Christmas scene with Joan Collins (Dynasty) and Ian Hendry (The Avengers) in a dangerous adulterous getaway.  Peter Cushing (Star Wars, The Horror of Dracula), creepy crypt keeper Ralph Richardson (Time Bandits), Robin Hood Richard Greene, and Patrick Macgee (A Clockwork Orange) delight as well. Unlike today’s effects over-fest, director and Oscar winner Freddie Francis (Glory, The Elephant Man) keeps things largely silent, letting the creepy catacombs and twisted tales build up and progress on their mystery, suggestion, and scares. Yes there are a few jump worthy moments, and the dated seventies style only adds to the spooky atmosphere.  Perhaps there’s not a lot of rewatch value, but stick this one in amid your favorite Halloween anthology series for some old school scares. 

The Uninvited (1944) – Future Oscar winner Ray Milland (The Lost Weekend) and Nominee Ruth Hussey (The Philadelphia Story) delight in this quintessential black and white spookfest from director Lewis Allen (Bonanza, The Unseen).  Somehow, I feel this one is now unloved by the modern audience-especially in light of the also named but unrelated 2009 The Uninvited, itself a remake of a 2003 Asian horror flick.  No confusion here, however, thanks to the Oscar nominated cinematography.  The positive and negative use of candles, scary moaning, groaning sounds-the simple smoke and mirrors of early film production does wonders.  In addition to all the mood, atmosphere, and suspense, the young and tragic Gail Russell (Angel and the Badman) is as charming as Cornelia Otis Skinner (The Girl in the Red Velvet Swing) is creepy and subliminally kinky. Without thinking, I erased this one from my DVR; and since it’s not available on DVD, I’ve been kicking myself since. 

Wolf – Though this 1994 lycan tale from Oscar winning director Mike Nichols (The Graduate, Who’s Afraid of Virginia Woolf, Silkwood) is imperfect with its fair share of plot holes and unanswered questions, I like it.  Face it; this is the best, if not the only, mature wolf movie around.  Thanks to the sarcastic and witty performances by Jack Nicholson (One Flew Over the Cuckoo’s Nest, Chinatown, The Shining) and the rest of the all-star cast, Wolf smartly doesn’t take itself too seriously.  The beguiling Michelle Pfeiffer (Scarface, The Fabulous Baker Boys), a wonderfully disturbing James Spader (sex, lives, and videotape, Boston Legal), the charming Christopher Plummer (The Sound of Music, The Moneychangers), and plenty more on form supporting players are allowed to have their fun.  These are all great, big names one wouldn’t usually see in any old horror movie, either.  There’s even a good bit of scares and kinky violence here-especially on an initial viewing.  Some of the effects are hokey now, but others are very well done with fine spooky build-ups.  Despite plotting faults and a little confusion, there’s more good than bad in Wolf.  Multiple viewings are even in order to catch all of the subliminal suggestions.

Split

The Amityville Horror (1979) – The horror, scares, and fright fest from director Stuart Rosenberg (Cool Hand Luke) are all still there, and I love it.  Even the old looks and seventies styles aren’t so dated, just more nostalgic and period now.  However, it seems like out of all the other numerous sequels and direct to video drivel that follows, this original starring the fine Margot Kidder (Superman) and eerily on form James Brolin (Westworld) is too close to the real life circumstances that started the franchise.  Was this independent blockbuster made purely to capitalize on the scandalous book that was in turn highlighting the sketchy true story that started it all? Separate the supposed paranormal facts or hoax talk from the behind the scenes, and then you can enjoy this fine demonic haunted house in all its glory.  Likewise, we favorably reviewed the 2005 remake.  Again, take away the talk of Indian burial grounds and just scare us silly and we’re a okay. 

Haunted – Aidan Quinn (Legends of the Fall) and Kate Beckinsale (Underworld) shine in director Lewis Gilbert’s (The Spy Who Loved Me) great English locales and post World War I period piece decoration and styles.  There are plenty of fine but disturbing performances from Anthony Andrews (The Scarlet Pimpernel) and Sir John Gieland (Becket), too. Haunted has its share of creepy and kinky- both good and bad by design, nasty stuff.  Beckinsale fans will love to hate spotting her nude body double, too.  There are even a few genuine spooks and scares and though obvious throughout, the film is entertaining for the most part.  However, there simply aren’t enough scares for what’s supposed to be a good old haunted house ghost story.  There’s no mood and things are not as atmospheric as they should be.  Despite the lovely cast and wonderful locations, it’s as though we’ve seen this all before- namely in The Others.

Rogue -   This 2007 crocodile thriller has a great premise and fine acting from Radha Mitchell (Pitch Black) and Michael Vartan (Alias). Sam Worthington (Avatar) fans (of which I am not) will enjoy seeing his jerky performance, too. Writer and director Greg McLean (Wolf Creek) adds a tight, contained, ticking clock to the lush, exotic, and foreign cinematography.  The audience is hooked as things turn dark and dangerous- the issues among the stranded and perilous ship‘s crew build as our crocodile gets his chance in the spotlight. Its man against himself, man against nature, and man against man all in one- the tide is rising and time is running out!  And then….well, the silly and stupefied ending here kind of undoes all the goodness.  The viewer is asked to suspend belief one too many times for too preposterous an outcome.  Is the overall goodness worth the ill-conceived conclusion or does the finale undo all?

Skip

The Descent – Okay, so I don’t really know who the girls in this 2005 spelunking adventure are- but they are not the problem.  A stereotypical yet somehow refreshing group, yes, but the individualism and back-stories are acceptable enough. I suspect there’s plenty of ogle and subtext value for interested audiences, too.  The caves are also creepy and this is a dangerous sport after all- so why did director Neil Marshall (Dog Soldiers) have to resort to glowing cave mutants?  There’s enough internal strife and issues to mix in with the peril of falling rocks, being trapped or injured, and all that unknown caving.  Let our gals go bad and have their own hysteria do them in; we could still have a serious horror movie without rock people. Most of this film gets it right, but the deus ex machina of the creepy crawlies and open ending for the sequel tire the positive strides.   

Hide and Seek - Even Robert DeNiro (Casino) and Dakota Fanning’s (Man on Fire) battle of wits can’t save this familial thriller. Toss in Famke Janssen (X-Men) and Elisabeth Shue (Leaving Las Vegas) and we’ve still got the same old, same old suggestive psychological thriller. It’s tragic wasting such a fine cast on this supposedly scary evil imaginary friend but there’s a twist yadda yadda story. They couldn’t even decide on an ending here- there are count ‘em five on the DVD!

Vincent Price Tricks and Treats

More Vincent Price Tricks and Treats

By Kristin Battestella

I’ve debated about doing actor specific viewing lists before, but there’s no better time to talk about an actor and his synonymous genre like October and Vincent Price! This Halloween, classic fans and lovers of all things horror and camp should take in at least one Price picture. As for me, well, I’m just too obsessive!

Laura- While not all out horror per se, this complex and stylish 1944 film noir classic has several spooky twists, a creepy black and white atmosphere, and of course our man Price lousing it up with Gene Tierney and Dana Andrews. Serious film students can go to film school here.

The Bat- This quiet, spooky story of mystery, money, and murder costars Agnes Moorehead (Bewtiched) as a writer renting a house with hidden wealth and an unsolved murder spree courtesy of the titular killer. Price is a treat as the local doctor following the bloody trail. Though dated in its screaming ladies, the case at hand keeps you guessing until the end.

Tales of Terror- Big V introduces and stars in this series of vignettes inspired by Edgar Allan Poe and stylized by director Roger Corman. Some may not like the disjointed presentation; but the cast, stories, and decoration are delightful. The family can enjoy these witty, old time scares- and professors of Poe can share a viewing and discussion in the classroom.

The Raven- Price, Peter Lorre, Boris Karloff, and a young Jack Nicholson serve up a tale of spooky medieval sorcery with wit and charm ala Bewitched. Very loosely based on the titular poem by Poe, serious horror and gore fans may not enjoy this borderline slapstick take. Nevertheless, youthful audiences can laugh, jump, and have fun.

The Conqueror Worm- More properly known as Witchfinder General, mis-marketing and misrepresentation are the worst things here. This tale of the lawlessness and witch-hunts during the English Civil War is completely different from Price’s Poe films-not another loose rehash as the title change would have the viewer believe. Daylight filming, real castles, cinematic brutality, and a seriously fine performance by Price shine far beyond the studio packaging.

Cry of the Banshee- A little too similar to The Conqueror Worm, yet Price still puts on his Elizabethan best while judging more witches and warlocks. This one is a little more uppity than Worm- dealing with nobles rather than torturing peasants- but looks a little lesser in production. Even so, the costumes are great and the titular howls set just the right spooky atmosphere.

Some of these pictures are not available on Netflix and also appear out of print-like The Raven- but several public domain offerings can be found in varying low- budget DVD sets or are viewable online- like The Bat and Tales of Terror. I’ve reviewed several other Price, Poe, and Corman classics as well, so do use the Vincent Price label or search options for even more over the top mayhem.

As a refresher, here’s the list of canonical American International Pictures’ Poe series directed by Roger Corman:

House of Usher

The Pit and the Pendulum

The Premature Burial

Tales of Terror

The Raven

The Haunted Palace

The Masque of the Red Death

Tomb of Ligeia

And then the next wave of loosely associated Poe films from AIP:

The Conqueror Worm

The Oblong Box

Cry of the Banshee

Murders in the Rue Morgue

Boo! That’s enough for the enthusiasts, I think. Happy Halloween!

A Stephen King Viewing List

A Spooky Stephen King Marathon

By Kristin Battestella

For being such a horror buff, I’m not a fan of Stephen King and his books. Stranger still is that I really like films based on his torrid tales. As the macabre season nears, here’s a list of scary King shows to snuggle in with this Halloween.

Carrie- Yes we can all relate to the sheltered, special Sissy Spacek and her demented mother Piper Laurie-both ladies received Oscar nominations for their chilling performances. But its director Brian Depalma’s creepy look at the trauma of high school that stays with us. The gym shower, the prom, the pig’s blood, and an all star supporting cast keep this 1976 flick worthy. Forget any sequels or remakes here.

Christine- The dream of a hot rod gone horribly awry! There are a few past names here-and the film is sometimes billed under director John Carpenter’s clout-but the 1958 Plymouth is the star here. You can still enjoy these creepy car deaths today, and the early eighties motifs and fifties sentimentalities add to the scary nostalgia.

Salem’s Lot (s) - Both the 1979 release from Tobe Hooper and the quickie 2004 version starring Rob Lowe suffice for a night of vampires run amok in a supposedly safe New England inlet. If you’re looking for goth, glamorous vampires-they’re not here; but freaky, old fashioned suspense always works. Comparing both versions back to back might also be fun. Do however skip the useless sequel Return to Salem’s Lot.

The Shining- The recent miniseries adaptation isn’t bad, but you know I’m talking about Stanley Kubrick and Jack Nicholson’s crazy writer stranded at the isolated, snowbound Overlook Hotel. I get tired of all King’s writer protagonists and their hang-ups, but Nicholson owns the alcoholic Jack Torrance and all his drama. Say it with me now, ‘All work and no play makes Jack a dull boy.’

Silver Bullet- Ah, a wheelchair bound Corey Haim insists there’s a werewolf in town but no one believes him! A well-rounded cast and scary wolf mysteries make you jump in your seat the first time you see this one. Several memorable, frightening scenes here still stick with me 25 years later. Younger audiences might be too frightened-but it’s only a movie, isn’t it?

Pet Semetary- Who hasn’t lost a pet or a loved one and wouldn’t do anything to bring them back? Another simple life truth askewed delightfully into freaky charm and horror. The cast here is small but memorable-Dale Midkiff as the desperate father and Fred Gwynne as the wise old neighbor who meets a very bizarre end. And the baby, well, he’s just so dang cute and disturbing at the same time! This is another one that might be too disturbing and confusing for super young ones.

Misery- James Caan and Oscar winner Kathy Bates are exceptional as a wounded writer and the obsessive fan who’ll do anything to keep him writing what she likes best. Another one memorable and disturbing in its simplicity; the gut wrenching thought of an entire manuscript on the barbeque, the masterfully painful two by four scenes, ouch! Known more for his charming comedies and dramas, Rob Reiner spins the creepy human elements here wonderfully.

Sleepwalkers- Often frowned upon as one of the weaker King pictures; I like Brian Krause and Alice Krige as the freaky mother and son cat people lusting after young meat. It’s bizarre, sexy, gory, and all those cats are really creepy! Maybe the effects aren’t exceptional now, but the cat morphing and slick score add some extra scary spice.

Children of the Corn- This original isn’t the best, and the entire series is fairly lowbrow in plot and effects. Nevertheless, all those rustling cornfields, creepy kids, and plant worship go a long way for a Halloween Harvest marathon. Name players come and go despite the low-budget status; and even if you’ve never actually seen all-count ‘em-seven films, you’ve probably heard of ‘He who walks behind the rows.’ I prefer Children of the Corn III: Urban Harvest myself. And to think, I grew up on a farm.

Thinner- After killing a gypsy woman with his car, Robert John Burke is cursed to waste away just by the gypsy king’s touch upon his face. The gypsy plots are a bit stereotypical, yes; but this plays into our fears about what creepy curses they might be capable of. The social analysis of weight, dieting, and such stereotypes are all here, along with the freaky deterioration of body, soul, and self. I guess guilt and food do go together.

Rose Red / Diary of Ellen Rimbauer- If Rose Red were a King novel instead of a miniseries original, I might actually read it. This lengthy analysis of the haunted house, ghosts, greed, parapsychology, and telekinesis develops all its effects, scares, and talent fully. Nancy Travis, Julian Sands, and Emily Deschanel are delightfully creepy here. The prequel telefilm Diary of Ellen Rimbauer fills in King’s back-story, but it’s not as scary or in depth as its preceding sequel. Despite its period piece explanations and charming cast, I’d spend the day with Rose Red first.

Secret Window- A little obvious toward the end, yes, but Johnny Depp fans can enjoy this creepy thriller about an unreliable narrator writer shacked up in the woods with a freaky John Turturro pursuing him over a plagiarized story. There’s nothing super new here, but this one’s creepy and violent enough for a scare or two.

Summer Sees and Skips

Summer Sees and Skips for the Whole Family

By Kristin Battestella

With all the holidays and vacays, you and you’re family need to know what to watch during you’re summer movie nights. Here are some tips on what to enjoy- along with a few pictures to avoid.

See and Enjoy

Napoleon Dynamite- After finally seeing this 2004 teen comedy I was pleasantly surprised by its coming of age wit and awkward stuck in the eighties silliness. Not quite for children, but teens and folks who remember graphic t-shirts will laugh.

Little Miss Sunshine- A fine ensemble cast-including Steve Carell, Toni Collette, and Alan Arkin- gives this quiet picture the umph, charm, and plenty of humor. Some parts are a little sentimental, and you should know if you’re kids can handle some of the heavier subject matter before viewing; but this one has drama and family analysis for the intelligent audience.

Mr. Bean’s Holiday-He’s not as cruel as he used to be, but Mr. Bean’s hijinks still have laugh out loud moments and English wit for the whole family. This road trip sequel does far better than the titular Bean and even has some heart-warming charm, too.

The Departed- Put the kids to bed for this gritty undercover cop and mole game from director Martin Scorsese. Plenty of hardware and fine action from Matt Damon, Jack Nicholson, Leonardo DiCaprio, and Mark Wahlberg add spice and intrigue-and more than make up for an ambiguous ending.

The 6th Day- Sure there’s action that we expect from Arnold Schwarzenegger, but this 2000 sci-fi thriller has science, intelligence, and religious debate to thicken the mix. More than just an excuse to have two Arnolds about, director Roger Spottiswoode presents cloning issues that aren’t that far from current science.

Yes Man- Jim Carrey’s latest starts off like Liar, Liar but grows into a charming mix of humor and drama. Fine support from Zooey Deschanel and Terrence Stamp add reflection and warmth. Outside of brief nudity and innuendo, the whole family can enjoy-not often said for a Carrey picture.

Traitor- Don Cheadle and Guy Pearce are dynamite in this international thriller. Touching upon the FBI, CIA, radical Islam, and the American Way, Traitor is complex, intelligent, intricate, and yet wrapped with a fine cast and realistic action.

Donnie Darko- A little obvious and weird; but a fine ensemble, intriguing premise, and good old teen angst keep this quirky picture interesting. Go for the Director’s Cut DVD for more scenes and food for thought.

Finding Neverland- Sentimental and full of Victorian Charm, fans of Kate Winslet, Johnny Depp, and all things Peter Pan will love this little film. The whole family can enjoy the drama, fantasy, and trouble with growing up while learning a thing or too about J.M. Barrie.

Avoid

In The Name of the King: A Dungeon Siege Tale- I have tried to watch this poor imitation of the Lord of the Rings at least a dozen times. So many things are wrong with this Uwe Boll film-from the blatant Peter Jackson ripoffs to the woeful cast. Ray Liotta’s Goodfellas’ delivery does not work with Matthew Lillard and his Shaggy squeaks-and that’s if you can figure out what the hell is going on.

The Golden Compass- Another children’s fantasy book rushed to the screen, creating a mishmash of effects with an incomplete story. Nicole Kidman and Daniel Craig are wasted along with some fine young talent. Some were upset about the anti-Catholic sentiments in the novels, but there isn’t much of anything worthwhile here.

Pathfinder- We don’t see nearly enough Viking pictures, but a great story idea is lost amid all the action and barely there bad dialogue. What might have happened if Vikings encountered early Native Americans? The racial stereotypes here certainly don’t tell us.

The Other Boleyn Girl-I like Medieval films and Tudoresque material, but this adaptation of the Philippa Gregory novel boils the reign of one of England’s most infamous monarchs down to a sisterly catfight. Erica Bana, Natalie Portman, and Scarlet Johansson are wonderful elsewhere, but an international cast was not needed for what should be some definitive Englishness.