Home Invasions and Family Horrors

 

Home Invasions and Family Horrors

by Kristin Battestella

It's time for another round of contemporary family dramas mixing home invasion horrors, haunted houses, and supernatural intruders – the good, the bad, and the ugly.

Us – Lupita Nyong'o (12 Years A Slave) and Winston Duke (Black Panther) star in Jordan Peele's (Get Out) 2019 doppleganger chiller. Warnings of underground unknowns, VHS, retro boob tubes, and ye olde 1986 commercials for Hands Across America set the scene before Santa Cruz carnivals, Thriller t-shirts, dark beaches, thunderstorms, and fun house horrors. Her parents' banter was already strained before the trauma, and the now adult Addy hasn't told her husband of the experience, either. They return to her family home, but their daughter's too busy with her phone, the son's really too old to be playing with toys, and her oblivious to her discomfort husband wants to keep up with the Joneses with a cool boat. The spooky basement, cabinets big enough to hide in, and mirrors with reflections that seem to look back at you lead to the same eerie fun house, crazy beach folk, repeated twin moments, elevens, jinx, and double jinx. Peering through dark windows and talking with your back to a person layer visuals and dual suggestions while our husband jokes about what was in the hall of mirrors coming to get Addy and their rich white friends remain out of touch snobs more interested in alcohol and plastic surgery. Our Mr. thinks he can handle trespassers with threats and a baseball bat, but power outages and unresponsive lookalikes banging at the door make for a fearful home invasion. This unarmed, mid century beach house and its many windows aren't exactly secure, and the entire break in happens in real time without frenetic cameras and zorp boom music. Croaking, unaccustomed to speaking accounts tell tales of the tethered and shadowed receiving pain below while we have light and warmth above, and each of the underground confronts their compatriots with disturbing torments, freaky pursuits, and mimicking pantomime. Ironic Beach Boys cues and sardonic smart home devices are no help at all! Addy starts timid, but this threatened mother turns bad ass, angry, and desperate to save her son as the bizarre deaths and replacement reveals escalate with distorted reversals, fractured experiences, and not quite right through the looking glass. The timely titular we and the American initialization mirror the united privileged for some but underbelly torment for many. We kind of know what's what going in here and the wither tos and why fors aren't as important as the underlying social statements. However, drawn out, unnecessary moments and repeated, uneven showdowns make this a little long. Chases, defeats, and hard violence are easy or contrived depending on if the tethered is conveniently primitive and animalistic or agile and adept as needed. Elaborate underground talk and random fights don't explain how big this takeover is. Police are called but never arrive, both a horror trope as well as a commentary on the system, but the supposedly self aware genre send ups make characters stupid or erroneously humorous. Homages don't upend but play into the horror cliches as car keys are forgotten, no one worries about food or weapons bigger than a fireplace poker, and they get out of the car in the middle of the woods. And how did they get so many pristine, matching underground supplies? The final act explanations and intercut dance parallels descend into stereotypical horror with quick editing and that obnoxious zorp boom music, but with so many great things here, there's no need for generic horror designs. There are flaws, the audience must take a lot of leaps, and final twists should have been told in the big reveal rather than montaged at the end. Our writer/director/producer needed a tighter edit in the last act, but the excellent foreshadowing, dual visuals, and social commentary make for repeat viewings and scary entertainment.

An Unfortunate Skip

Marrowbone – An ill mother on the run with her children moves back to her dilapidated Maine home in this 2017 Spanish production co-starring Anya Taylor-Joy (The Witch). Old toys, vintage fashions, and retro cameras set the sixties scene as the family reverts to the titular house's maiden name, starting over with forest explorations, beach side fun with the pretty girl next door, and a summer to remember. Their dying mom insists they bury her in the garden and hide her death until the soon to be twenty-one oldest can legally keep the children together. Unfortunately, the terrible father they're fleeing arrives, and six months later the isolated children live in fear of ghosts, cracked and covered mirrors, stained ceilings, and a bricked up attic. A visit from the family lawyer needing house funds and paperwork signed provides forgery suspense and close calls on the ruse amid pesky raccoons, creaking sounds, and something moving upstairs. A lot of what's seen and heard is the kids scaring themselves, but they hide in a blanket fort and play The Beach Boys' “Wouldn't It Be Nice,” which are always good choices. The middle siblings, however, are unhappy at the oldest having all the fun while they're trapped at home, and they wonder if his girlfriend would be interested if she knew the truth. Newspaper clippings fill in the details, but the point of view should never leave the house. Contrived, jealous lawyer out to get them love triangles and blackmail are unnecessary, padding an already long run time with too many deflections. The nonsensical, non-linear revelations have both little foreshadowing yet obvious blackouts and head injuries cast doubt. What is real, supernatural, or unreliable? Within, within, around and around, leap after leap deaths, ghosts, delusions, truths, and twists descend into some kind of knock down, drag out fight yet the romance survives it all as the scares fall apart. If they never really happened, what is the point? This very thin concept would have been over fast if we saw each trope and twist in real time, and once again, maybe an outside eye should have told writer and director Sergio G. Sanchez (The Orphanage) enough is enough.

This Should Not Have Been A Horror Movie

The Darkness – Orange deserts, blue skies, Bear Grylls quips, and ancient evil stones ruin the sunny Grand Canyon vacation for Kevin Bacon (X-Men:First Class) and Radha Mitchell (Silent Hill) in this 2016 Blumhouse misstep from director Greg McLean (Rogue). Their son wanders away, falling into an underground cave and taking its ominous rune stones home. Mom works at home amid the hectic appliances and electronics but we don't know what she does beside grocery shop for liquor and let her son pick out any balloons or toys he wants while dad's at the office with a hot young thing. Creaking attic scenes and teen girl in the shower scares are unnecessary because not only are they never referred to again, but mom also has bathroom and swimming pool moments that amount to nothing. Most of the scares are fake – a startling reflection, loud television, dreams, the boy being weird, or the daughter screaming at her parents when they finally notice she's bulimic. The family doesn't discuss their issues, just sends the boy to grandma's house for snakes and cat shocks that the parents refuse to believe. Mom continually defends her son even after he sets his room on fire, wondering if this is karma for something they did but her husband thinks they shouldn't blame themselves for their children's behaviors because his autism is at fault. o_O The product placement for everything from Absolut Vodka to Diamond dollar store matches is bemusing and the photoshopped spirit in the family portrait is lolz, however the mystical Asian friend, making autism itself part of the scares, and blaming evil Native Americans are so, so not cool. But hey, an internet research montage explains that bad smells are demonic manifestations and there's even a grainy online video! A video which our wife sends to her husband's work email so he can look up supernatural autism abilities at the office! They head to the presidential hotel suite and make Gideon Bible jokes while admonished Spanish speaking healers wear turquoise to prove they can handle these bad Anasazi, and the research montage is shown again because nobody bothered to watch the end of video explaining about the stones. This playing at Poltergeist is a chore to finish, and the horror of a bad family would have been better as a straight drama with no supernatural try hard. If these parents had been paying attention before everything hit the fan, there wouldn't have been a problem. And who pays the price? The neighbor's dog dagnabbit.

Cults and Religious Frights!

Cults and Religious Frights!

By Kristin Battestella

Rural or international, old school, medieval, or modern – these tales of good versus evil, devils, voodoo, and cults provide enough unique horrors and spiritual frights. 

 The Church – Three films claim to be Demons 3 in the somewhat confusing Italian Demoni series. Fortunately, this 1989 Dario Argento produced stand alone sequel opens with galloping knights versus witches, scary organ music, demonic signs, prophecy, torches, and head chopping slaughter. So what if it is kind of small scale, the helmets look like spray painted buckets, and kids literally have baskets on their heads! Crosses, stonework, church bells, Gothic spires, and gargoyles bring the medieval ecclesiastic yet sinister atmosphere to the modern day prayers, Biblical quotes, maze-like catacombs, and dusty library tomes. The titular temple was built to sanctify mass burials and keep evil caged below, and the tale sticks almost exclusively to the sanctuary setting as Indiana Jones temptations for buried treasure lead to coded parchments, architectural clues, suspicious altar sounds, and ghostly horses. A crusty old bishop, the new librarian reading backwards Latin, an art restorer cleaning morbid murals, the rebellious custodian's daughter – innuendo, icky saucy, and nasty behaviors increase as evil seeps out over this interesting variety of trapped people also including a school trip, one bickering old couple, and a couture photo shoot. Even dripping water becomes suspect once the bloody spouts, blue smoke, booby traps, gruesome deaths, and reptilian hands spread evil manifestations and infestations. Frightening confessions, decaying bodily possessions, literal bleeding hearts – today's audiences may not appreciate the slow burn one by one, but knowing it is just a matter of when adds to the robes, stained glass, rituals, and chanting. How can one fight the bestial Satan when he's entered the hallowed itself? Although the past and present connections can be confusing and remain unexplained beyond a happened before and will again warning, the skeletons, gory bodies, wings, and horns make for a very wild finale. This picture is not shy with its imagery nor its parallels – the demons only escape because human corruption was already there, using unleashed horrors to remind us that it's safer to leave well enough alone. 

 

Sacrifice – Radha Mitchell (Pitch Black), Rupert Graves (Sherlock), and David Robb (Downton Abbey) star in this 2016 adaptation of Sharon Bolton's novel beginning with brisk New York pregnancy emergencies before moving to Scotland's great mountains, rocky coasts, and end of the world island isolation for an adoption. Standing stones, jokes about mistaking “runes” for “ruins”, and talk of Druids, Normans, and ritual sacrifice pepper the scene setting job interviews, hospital tours, and dinner with the wealthy, well-connected, but secretive in-laws. A dead animal on the property reveals a buried body, and our lady obstetrician butts into the police investigation of this bog discovery, studying creepy photos and x-rays of the corpse to suggest the victim had recently given birth before her insides were excised. Quality science, Tollund Man references, and flood clues jar against trow myths, unique folklore, and inscription evidence. The authorities don't want to hear any of that old sacrificial talk, but these mothers and lady cops are intelligent women talking about history and murder rather than men or gossip. While the well-paced, multilayered investigations may build the spooky versus facts with suspicions and tense cloak and dagger, this is not an overt horror picture. The story here feels caught in the middle when it should have been either a straight crime drama or gone with all out fantastics. There are some plot confusions as well – who is who and all the details aren't totally clear, leaving an abrupt end with serious unanswered questions. Fortunately, surveillance, shadows, chases in the dark office at night, and lights going out add suspense. Late wives, a clinic full of pregnant but anonymous women – who doesn't want this medical mystery solved and why? This is a small island, and not being in on its secrets can prove fatal with dangerous bridges or fiery car accidents. Body switches, clandestine interviews, identifying tattoos, hidden passages, and bagpipes tossed in for good measure seemingly tidy the case, and a likable, mature cast anchors the maternal fears and cult demands of this unique little thriller.

Voodoo Moon – Charisma Carpenter (Angel), Jeffrey Combs (Re-Animator), Dee Wallace (The Howling), and John Amos (Good Times) anchor this 2006 blend of voodoo motifs and Biblical parallels with crows, skulls, casting stones, flooded steeples, rusty sickles, and naked chicks strung up on crosses. Yowzah! Evil shoehorns itself into a decaying body where it doesn't really fit or belong, and mausoleums add a whiff of New Orleans macabre alongside a few flayings alive and backwoods Tennessee mood. Tested faith, psychic connections, and prophetic drawings escalate as this team of multi-faith mystics with varying gifts come together against possessed priests and a devil in their midst. Some flashbacks and character backstories are hokey, but the better seen than told addresses the absurdity of “some psychic holy war against the devil.” An old bed and breakfast sanctuary sheltering the fun and likable cast also makes up for the lame, trying to be suave villain – most of the time here is spent with the people battling such evil elements rather than spectacle wham bam. Granted, when we do have them the fire and lightning effects are meh; the music is over the top, zombie henchman are confusing, loud effects are bemusingly bad, and weak humor or evil exposition get corny fast. There are silly floating in the air battles, unused underwater possibilities, unnecessary people, and unexplained powers – how does the good guy have all the same powers as the bad guy? This introductory, at times light or blasé feeling over the decidedly dark themes and supernatural character focus with potential for more seems almost like a backdoor pilot, which could have been an interesting series. I wasn't expecting much and the title is misleading, however, the audience gets invested in the fight fast. We care about the people in this avenging religious battle and want to see them through their demons both real and fantastic.

Split Call

Children of the Corn 666: Isaac's Return – Black silhouettes and orange sunsets open this 1999 sixth installment branching from the original Stephen King source with Stacy Keach (Prison Break), Nancy Allen (Robocop), and an adoptee born on Halloween returning to her Gatlin birthplace. Despite car accidents, bizarre police, warnings to leave, and a Bible toting hitchhiker quoting Hannah name origins and Samuel prophecies, the snooping about town goes on undeterred with snotty hoteliers, creepy hospital machines, and road rage chases. Unfortunately, slow motion, obnoxious music, and town in on it scares meander in the first half with dusty scenery and corn mazes cluttering the plot holes rather than setting the rural mood. Poor bookend narrations don't help the pointless filler, nonsensical moments, and padding on the standard new person in town sacrifice/pregnancy we know to come. Although the teen rule is juvenile by design, dated millennial looks, hip lingo, a lame sex scene, and fake shocks are DOA – dead birds and bloody writings don't add spooky atmosphere but delay the inevitable with silly visions and laughable visuals. The golden patina looks like October, but the palette is often too dark to see the crazy patients and ward action. Creative or vengeful deaths don't get anywhere until the finale, and the adult characters deserved more. The ties to the initial film, however, remain interesting. The devout waiting for Isaac to rise from his coma and these children of the children plots should have happened sooner in the series, as now the audience is left scratching our heads wondering how and when a comatose boy had the time to get busy. The hospital horrors, insemination fears, and outdoor rituals come too late to correct the connections to the first film, leaving this a predictable, messy not scary tale in need of a watertight rewrite. Everyone has Children of the Corn movie they prefer or loathe – mine is the bad glory of Urban Harvest – yet each entry feels pretty interchangeable. This leg is good in a fall marathon of the series when the details are fresh in your mind, but one also has to let logical thought go to have fun here. 

 

Olympus Has Fallen

Olympus Has Fallen an Entertaining Action Yarn

By Kristin Battestella

Even after seeing a resurgence of ‘Butler Did It’ charm in all the press, interviews, and promotions for Olympus Has Fallen, it still took me more than six weeks to catch Gerard Butler’s latest kick ass action release at the cinema. This first of two 2013 ‘Save the White House’ thrillers is waning in theatres now, and only three other people attended my early morning showing.  Don’t you know it; two of them talked most of the time! What are the odds?

Ex-Ranger and Secret Service Agent Mike Banning (Butler) is removed from President Benjamin Asher’s (Aaron Eckhart) detail after a deadly car accident. Secret Service Director Lynne Jacobs (Angela Bassett) places Banning in a desk job at the U.S. Treasury where he watches helplessly as Kang Yeonsak (Rick Yune) and his North Korean terrorists lay siege upon the White House.  Kang holds President Asher and Secretary of Defense Ruth McMillan (Melissa Leo) hostage in an underground bunker while Speaker of the House Allan Trumbull (Morgan Freeman) must take control of the Nation. Using his previous knowledge from his time with the President, Banning is able to infiltrate the locked down White House in hopes of rescuing Asher and stopping Kang before valuable codes and nuclear fail-safes are compromised and threaten the globe.

That indeed pretty much sums up Olympus Has Fallen, which has understandably been compared to classic action fair like Die Hard or Under Siege. Honestly, when I first saw the trailers and promotions several months ago, I was reminded not of Die Hard so much as a more obscure, cheesy film called Chain of Command. This White House under attack story from new writers Creighton Rothenberg and Katrin Benedikt is simplistic enough, but director Antoine Fugua (Training Day) unfolds all the places, characters, and situations nicely.  Critical people are in peril – some are brave and heroic while others are stupid and make mistakes. The first hour of the film smartly layers this character angst, and one may even suspect Olympus Has Fallen has something more sinister up its sleeve.  Despite a few surprises and the opportunity for more round table depth and crisis emotion from the excellent ensemble – which might have taken this flick to the next level – there’s no need to make this straightforward action tale too complex. The second half of the film dispenses with any possible subterfuge and sticks to a strictly procedural execution. The clock is ticking and predictable firefights and kicking butt has to happen – and this is where the Die Hard motifs are most apparent. There is some humor, catchy quips, and chuckle moments both intentional and unintentional, but any more wit or sarcasm might have been a total Die Hard rip off.  It’s played serious and may be a little rough around the edges, but Olympus Has Fallen does exactly what it set out to do, no more and no less.

Granted, it’s preposterous that the mass movements and aviation logistics of these North Korean radicals would go unnoticed much less proceed as swiftly as they do to set Olympus Has Fallen in motion.  However, even with a suspension of disbelief and over a decade on since 9/11, it is very difficult to watch such an effective, action packed terrorist attack on the White House. The large-scale but character based intensity may be outlandish and movie cool but it doesn’t resort to bombastic impossibilities every second ala Transformers. Thus, Olympus Has Fallen stays disturbingly real, graphic, and hard hitting. The expected action approach and systematic twists are entertaining in their heavy, if overly serious delivery and it’s pleasing to see a solid R rated film instead of a watered down PG-13 easy.  Olympus Has Fallen stays smart with precious little blood and no over the top glorification of violence, but the editing feels uneven. Some scenes simply happen too fast to see all the action. This frenetic camera style works for the daylight attack action, but it’s tough for dark or nighttime scenes. Despite being a solid two hours, Olympus Has Fallen seems a bit too quick, with a hasty ending lacking in hugs, handshakes, ceremonies, or a literal picking up the pieces. A few more minutes of resolution might have gone a long way in resolving some of the characters left hanging.

He’s back!  After toiling in the Hollywood banal with these crappy ass rom coms, 300 star Gerard Butler surprisingly fits the role of Mike Banning to a T.  Yes, viewers immediately realize he’s not an American, but it almost doesn’t even matter. We believe Butler to start Olympus Has Fallen when all is cool for Banning just as we believe his disgrace and redeeming progression to kick ass. The character may be mostly superficial and not as sardonic as audiences may have hoped, but there’s nothing wrong with having a straightforward hero in a film like this. Banning’s secret service formalities and protocols are shed as the action gets down, dirty, and deadly, and Butler proves his special forces, one man killing machine presence and all around bad assery with some intense mano y mano fight scenes. There’s no need for a clichéd, over the top camouflage painting, shouting in the mirror muscle flexing, or beefing up weapons montage ala Rambo or Schwarzenegger here. It’s nice to have someone take names and save the day instead of the 21^st century trend towards ambiguous, grey, anti-heroes taking things down dark and deep, too.  Banning’s suave in a suit whether he’s stuck at a desk or killing bad guys with his bare hands and saving kids.  What’s not to love? I do wish Butler could have used his natural Scottish accent, but nowadays one is accustomed to his in between American sound anyway. Unfortunately, there should have been more scenes with Banning’s onscreen wife Radha Mitchell (Pitch Black), who is doubly under utilized as a wife in crisis and a nurse on the frontlines of the terrorist trauma. It might be a bit much, but I dare say I’d like to see further Banning, Secret Service Detail sequels or adventures. Butler produced Olympus Had Fallen, after all, so why not? Let him making steady action yarns like this – as opposed to some of those erroneous, desperate comedies. Butler needs to reinvent himself with this action effectiveness, but he has to stop doing most of his own stunts. In addition to whatever health issues and Hollywood vices with which he may struggle, some of this stuff really has to hurt!

Although there isn’t much character development in Olympus Has Fallen, the supporting players deliver as expected.  Angela Bassett (What’s Love Got to Do with It), Morgan Freeman (seriously?), and Melissa Leo (The Fighter) may each seem too big a talent for their respective roles, but they keep things entertaining when the camera is away from Butler. Iffy dialogue aside, Freeman shows his usual cool, with a touch of argument and crisis for good measure. Unfortunately, once each in the ensemble has his or her moment, they seem to disappear from the picture or have their stories easily resolved in a few scenes. Olympus Has Fallen hints to further scandal, intrigue, interactions, and emotion from these players, but as is, we get just enough to move the plot along. Cole Hauser (Ironically also of A Good Day to Die Hard) doesn’t get to do much, and although he’s good, the script fails Dylan McDermott (The Practice). Fortunately, Rick Yune (Die Another Day) as Kang adds some strong twists and suspense to what could easily have been clichéd villainy, but I’m not sure why his plans and most of Ashley Judd’s (Kiss the Girls) element are spoiled in the trailer. Aaron Eckhart (The Dark Knight) also suffers in the suave department, as he is, after all, a president taken hostage. Nonetheless, he delivers the tough lines whilst also keeping the family moments tender. In some ways, it feels like he and Butler make a good buddy team, and I wish there was a bit more back-story on their friendship. How did Banning and POTUS become friends? What if there had been a history between Banning and the First Lady? Why did Banning tell the Trumbull to go F himself? Touching upon these little things more would have added further dimension to Olympus Has Fallen, so here’s hoping there are some deleted scenes on the forthcoming DVD.  

 

Action may be its primary focus, but Olympus Has Fallen has some surprisingly unfinished effects and CGI. Not only is some photography simply too dark, but the Washington Monument scenes look incomplete, even amateur. Tricks and a reliance on computer imagery to recreate the White House are also apparent, even if the subsequent destruction is eerily well done. Naturally, I imagine the security protocols, call signs, and nuclear specifications aren’t genuine, but the use of intercut news and media footage is awkward. CNN can get closer to the action then the Pentagon and national security decisions are made based upon our crisis center’s watching of this news coverage? Misspellings on the news scrolls and television screens are plain to see, too. Whoops! Thankfully, the helicopter action, plane explosions, and machine gun fire exceed expectations. Perhaps the lengthy shootouts, gunshot wounds, and triage scenes even feel too realistic – but Olympus Has Fallen must show this action realism in order for the audience to accept the eventual rah rah heroics. The man-to-man fight choreography is intense and very well done, if tough to see at times due to claustrophobic, close quarters locations or the aforementioned dark filming. However, these are blessedly not 3D fake, Matrix panoramic, overly lit, and seemingly unrealistic ninja standoffs. I’m so glad Olympus Has Fallen didn’t resort to stereotypical, racist martial arts fights on top of today’s often awe struck, over produced action. Blows are exchanged, shots are fired, kill moves are made, next. The design isn’t super high tech, either – although some of the basic flat screens, standard smart phones, and current computer technology depicted will surely be dated soon. The hash tag reference is also too of the moment and the brief video game appearances have a whiff of product placement. Mercifully, there isn’t as much cool gizmos, fictitious gadgetry, or pop culture crutches as there could be, and Olympus Has Fallen smartly keeps the action more mature, even traditional. Yes, why not have another eighties action hey day this century?

For those interested in the trailers along with Olympus Has Fallen, there wasn’t much for which I’d return to the theater to see. Monsters University had a fun, college commercial angle to it, but The Internship feels like the same old Vince Vaughn and Owen Wilson retread. How many times are these middle-aged guys going to hang around with the same twenty something college plot elements? After Earth does look very good, but Will and Jaden Smith’s paging Dr. Nepotism takes over its charm. Thankfully, Man of Steel looks promising.  Of course, there was no trailer for that other Die Hard in the White House flick White House Down, hehe. Olympus Has Fallen is already available for pre order on blu-ray from Amazon – probably to keep it fresh in audiences’ minds as the R rated, badass, cheaper home video alternative now that White House Down is indeed afoot for the summer.  Though it’s not uncommon to have annoyingly similar but different dual approaches in Hollywood – Mirror Mirror and Snow White and the Hunstman for example, or the musical Sweeney Todd compared to Ray Winstone’s straight adaptation – it is ridiculously bizarre to have two so similarly plotted films out at nearly the same time. Could Olympus Has Fallen have shaken itself up by making Banning an intriguingly traumatized secret service agent who messes up and bleakly doesn’t save the day? Haven’t we seen enough of that cynicism or forced political propaganda and self-referential heavy already? I really enjoyed Olympus Has Fallen’s win the day John Wayne modern hero and modestly mature if sometimes mindless action.  

Terrorist violence, possible political controversies, and unevenly fleshed out but mostly straightforward telling notwithstanding, Olympus Has Fallen has been a box office success and a return to form for Gerard Butler. Audiences will shout at the screen during the White House takeover or call out other plot holes, but there were times when I was holding my breath at the intensity and smiling at the kick ass. This is either a film you love and can watch over and over or something you immediately hate and will not finish much less ever see again. Non-action fans or viewers expecting a complex political thriller will probably dislike Olympus Has Fallen, but old school action audiences and fans of the cast can delight here. Is Olympus Has Fallen a bad movie? No. Could it have been a heavy, emotional, political thriller? Sure, but this isn’t meant to be a statement making movie – even if the cast is here for such meaty. Take Olympus Has Fallen for what it is, a fictional, entertaining depiction of us kicking some butt. 

Silent Hill

Silent Hill an Entertaining Horror Treat

By Kristin Battestella

 I like the 2006 video game-based horror film Silent Hill, yes, it’s true. However, I suspect the convoluted plot and unconventional video game-esque effects may be divisive to audiences expecting a more simplistic slice and dice pursuit.  Gamers and fans of the Silent Hill franchise, on the other hand, will delight.

Rose (Rahda Mitchell) and Chris Da Silva (Sean Bean) are concerned by the increasingly disturbing behavior of their young adopted daughter Sharon (Jodelle Ferland). In addition to horrific artwork, the girl sleepwalks and dreams of a place called Silent Hill.  Against Chris’ wishes, the desperate Rose researches an abandoned town of the same name and takes Sharon to this mysterious Silent Hill. There, a coal fire continues to burn underground and the nightmarish darkness brings forth deadly monsters, fiery hysterias, and cultish quests.

Director Christophe Gans (Brotherhood of the Wolf) provides a great, hefty atmosphere – both in the darkened threats and ash falling bizarre of Silent Hill and the real world desolate and desperations. Of course, with some of the abysmal video game movie adaptations abound, we might not expect so much despite a story from Oscar winning writer Roger Avary (Pulp Fiction, Rules of Attraction). The who is who, why fors, and evil dream world ala purgatory back story is muddled at best and certainly confusing at times. Though the tale benefits from those lowered video game expectations and provides above average horror, the plot suffers from this increasingly obvious trend of making your scary set up and horror graphics more important than a clear story resolution.  Implication and speculation are nice, yes, as are the flashback expositions here. However, the cool, old fashion reel camera effects can’t hide the plot holes hampering the script. Religious iconography, sin, fire, and hell motifs sometimes come off as a lot of double talk. When chicks end up throwing stones at other chicks, you wonder why nobody just came out said, ‘Let he who is without sin cast the first stone.’  These potentially high concept Inquisition parallels, anti religion, and fanaticism hints never receive their due revelations in Silent Hill. 

 

Fortunately, we have a talented cast to help us forgive Silent Hill’s flaws. Radha Mitchell (Pitch Black, Man on Fire) is very likeable as a mother searching for her daughter. Yes, she makes some stupid mistakes in her search- including bringing her daughter back to exactly the place she isn’t supposed to be. However, Rose is understandably desperate for her child, realistically strong in her search, and believable enough for the action.  We don’t need her to be uber badass, and I’m glad Silent Hill didn’t become some sort of Rambo chick cliché. Besides, Laurie Holden (The Walking Dead) fits the bill as Rose’s semi-warrior woman and bitchy cop sidekick Cybil – although her haircut, mannerisms, and attitude do feel a little stereotypically butch at times. I don’t understand Cybil’s weird offshoot Mother is God mama love fest vibe, either.  She’s action good, effective in her police work, and there’s a teamwork build between her strong and Rose’s sensitive. Enough is happening in Silent Hill – we don’t need these extra feminine examinations littering the story if there is no follow thru for them. Thankfully, Cybil doesn’t go off the Xena deep end, as there aren’t many cool for the sake of cool weapons uses or outlandish CGI stunts here.  Most of the time, our gals are only armed with flashlights and six bullets, and its refreshingly frightening.

Although, there are more female arch types to be had in Silent Hill – it seems like one of each thanks to the zealous Alice Krige (Star Trek: First Contact) and a bad mother pariah Deborah Kara Under (The Game). Both gals are on form as always and fun to watch, but unfortunately, they aren’t given much to do beyond sin and dark, who is right and who is wrong backtalk before the special effects take over for the finale. Likewise, the obligatory horror I was there! investigator Kim Coates (Sons of Anarchy) is sadly not given more to do with the historical pieces. Today, a film based upon a video game could have been set solely in the past, and Jodelle Ferland (The Twilight Saga: Eclipse) is asked to do some freaky stuff for her alternate reality, past and present multi faceted role. Unlike those other early 21^st century blonde American woman with a creepy kid horror pictures, Sharon and her incarnations are neither annoying or goofy and unintentionally humorous.  In fact, the audience is both concerned and freaked as Sharon’s history unfolds.

Of course, Silent Hill is also a bit of role reversal for Sean Bean (Game of Thrones, Lord of the Rings) as Chris.  This film’s dynamic is special in that it is a mother and daughter quest – as opposed to the much more often seen husband, father, or all around man hero. Chris is a dad on the sidelines, butting heads with police and getting fraught in his research montage. He’s the out of the loop stay at home wife who’s side tangent doesn’t exactly do anything to help. It’s also interesting that this plot was added to Silent Hill not from the gaming source but rather as a studio insistence to break up the chick fest for the mostly male dominated viewing demographic.  Not so long ago, a leading lady was the one shoehorned in as a mere wife or required romance.  Although Bean also played a similar role in The Dark the same year as Silent Hill, it’s nice to see a leading lady have a realistic, supporting husband – and in a horror movie no less!  Besides the Bean factor, I like Silent Hill because it doesn’t go for today’s horror brand of naked teens in peril with a lot of sex, drugs, and rock and roll.  Even with its video game approach and patchy writing, there is a familial maturity and close-knit fear to keep the audience on the edge of our seats.

Pleasing cast notwithstanding, I do however fear the special effects in Silent Hill may polarize modern audiences.  Despite our big and expensive CGI 3D hysterias, the smart uses of darkness, light, sounds, and derelict dangers here still make for a great mood and atmosphere. The creepy, stilted slice and dice mobs add to the scares, too. However, some scenes and visual shots expressly look and feel just like a video game. Perhaps it is only noticeable to those who pay attention to movie effects and watch a lot of video games being played, but this design will be either ‘These effects look so crappy like a video game’ or ‘Awesome visuals like a video game!’ for the viewer. Rose has to unlock doors in a school, jump over grates and holes in the floor, find hidden hotel rooms, and weave thru frozen undead nurse monsters. Although these scenes advance the plot of finding Sharon, they also feel like quests done in a video game, and thus make Silent Hill seem thinner as it goes on. Are these critical events or mere checkpoints needed to accomplish your search? Are we playing a game or watching a movie? Likewise, Cybil feels like a non-playable helper in these sequences, another piece to help one along the way. Though this simplistic style is relatively harmless, occasionally character motivations are sacrificed because one has to do an action rather than stick to his or her persona. For some serious horror fans, Silent Hill won’t be worthwhile thanks to these repetitive searches, staged accomplishments, or running to and fro scenes. Then again, to the 18 to 34 gaming demographic, Silent Hill plays like a freaky movie and supersized video game combination.  As video games have become increasingly realistic and as well designed as films thanks to motion capture and mainstream voice talent, maybe Silent Hill isn’t dated in its game design, but a bit ahead of its time. Outside of some archaic cell phones, one wouldn’t know this wasn’t a more recent picture.

If the focus of Silent Hill had been the horrific errors and transgressions of the plot at hand and not it’s very scary looking build up of video game action and effects, this could have been a seriously good and freaky piece for this talented ensemble. As is, Silent Hill is a little bit of both – an action horror picture with sweet effects and better than expected characterizations, maturity, and casting.  Ideally, Silent Hill should have decided to be one or the other – a scary period piece or an all game horror action – but this creepy and unusual mix of both is still entertaining if you accept the movie for what it is. Despite a confused vision and the resulting flaws, fans of the cast, atmospheric horror audiences, and gaming lovers can delight in this surprisingly special video game turned movie. 

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!