Contemporary Chillers versus Cold Ducks

Two Contemporary Chillers versus Two Cold Ducks

by Kristin Battestella

While some of these recent releases can leave audiences cold, other contemporary pieces provide just the right amount of seafaring suspense and psychological chills.

The Reef – Sunrises and sunsets, stunning blue water panoramas, and lovely reef life create coastal bliss for this 2010 Australian fright loosely based on a true story. Shark teeth foreshadowing, statistics about the likelihood of shark attacks, and an inexperienced crewman aboard invoke the ominous to come alongside natural water fears, racing to beat the tide, trouble raising the anchor, and leaky rafts. Capsizing thuds, flooding, and underwater hectic don't need any herky jerky action cam as the innate water movement makes the audience feel like we are there amid the missing keel, sinking hull, no supplies, and outdated distress beacon. It's frightening when viewers can just make out the shark silhouette beneath the surface for themselves, but headless turtle shocks and false suspense moments go for cheap thrills. Instead of keeping us on edge with every chop in the water, over the top music tells the audience when something bad is happening. Unlikable characters inspire little conflict amid a lot of childhood friends and lookalike blonde cliches – they are completely unprepared for any aquatic disaster and there's no sense of ocean vast, the slow passage of time on the water, sunstroke, or thirst. These helpless followers holidaying on this deliver the yacht job are also over reliant on their macho, supposedly world water traveling leader who messes up tide times, can't find north, and thinks they can maybe swim to an island perhaps twelve miles away. Wishy washy, don't know they are in a horror movie stupidity compounds the uneven pacing as the strong girl suddenly in tears stays behind while others risk this uncertain swim before she changes her mind thirty seconds later so they wait in the possibly shark infested seas. The women rightfully call out the guy who orchestrated the trip under false pretenses before apologizing that its not his fault but yes it is. Weak men say they are tired and laugh over sex stories, breaking the swimming scenes to stop and stand on reef rocks rather than shape any kind of epic endurance risk. Fortunately, seeing the nonchalant great white cruising past the hysterical people as they flounder and panic both justifies the yell at the television aspects and makes the viewer recoil. Mirage visions of land and thought they saw something paranoia frays the group as one by one they must leave the dead behind in the ocean. The fatal attacks are well done, and eventually – disturbingly – those remaining can see land but can't get to it. Despite loose characterizations and an uneven narrative in need of taut focus – again all the negatives in low budget horror appear due to one writer/director wearing too many hats – overall this is well filmed with several quality sequences featuring fine scenery and practical shark work perfect for a late night scarefest.

Split – Suspicious rear view mirrors and distorted camera angles turn pity party invites into parking lot abductions for this 2016 multi personality thriller from director M. Night Shyamalan starring James McAvoy (X-Men: First Class) and Anya Taylor-Joy (The Witch). Subtle dolly zooms and sideways panning emphasize the bolted doors, dark basement, and huddled girls amid their captor's sinister calculations and ominous childhood flashbacks. Can three girls defend themselves against one violent man? Two gang up on the third, pressuring her to take action as scary switches from one personality to the next are subtle and well done amid local CBS Philly news reports, King of Prussia Mall insults, and distinct city skylines. However it's a mistake to cut away from the dungeon suspense so soon – especially for a foolish psychologist falling for the abductor personality's pretending to be his calm fashion designer persona. Product placement Skype conferences debate multiple personality disorders as a trauma in need versus a new brain chemistry gift, interfering with the tense internal layers we're already seeing. Rather than the Hooters eating Security Guard M. Night's exposition, the reveal should be with the audience as the girls peer through the keyhole and hear both male and female voices. Styling, accent changes, and stuttering show the killer versus child personalities, and the captives speculate on what is crazy or ruse though details from each persona. Location hints, hidden ducts, and underground tunnels lead to possible escapes as the victims are separated thanks to foolhardy attacks and mean girls still being selfish – expanding the cat and mouse between the abductees and a captor who is a prisoner himself. Once the warped situation is established, then the audience can appreciate when he departs for a psychologist session stroking the current dominant, gloating personality's vanity. He deflects on the history of abuse and the cause for this latest psychotic break, resenting his weak host as the kinder personalities blur our sympathies. The female personality of our male abductor, disturbingly enough, may be the most unstable, yet these rogue personas insist another “Beast” alter is coming. One persona needs glasses, another is diabetic – can multiple personalities create mind over matter physiological traits? Videos of all the personalities become an inner monologue paralleling the eerie train station wait for this new evil to manifest its super human abilities and sub human behaviors. Past and present revelations double the uncomfortably frightening suggestion that purity breaking pain awakens the strength and instinct needed to achieve greatness, and certain disturbing subject matter will be tough for some audiences. Though mostly realistic horror and psychological drama, there's a reason things progress into the fantastic with an overlong, somewhat flat ending. Such surprise Shyamalan connections both need viewers to go in cold and appreciate the payoff being held back for sequel winks, perhaps leaving this with reduced repeat value unless you marathon it with Unbreakable. Fortunately, the nuanced performances and no twist just twisted horror meets fantastic does make for some entertaining psychoanalysis.

Two to Skip

A Cure for Wellness – A corner office climber must retrieve his unstable boss from a spa in Switzerland so the company crimes can be pinned on him in this overlong two and a half hour 2017 twister starring Jason Isaacs (Awake) and Harry Groener (Buffy). The bitter work obsessed opening, haunting skyscrapers, and ominous hand written letter describing the darkness of superiority and sickness of men with wealthy people and their wealthy problems are ruined early by tiring product placement and laughable horror clichés. Our unlikable lead is also a wannabe edgy, Shutter Island DiCaprio interfering with the on location castles, mountain vistas, and ruthless baron history complete with blasphemy, incest, and townsfolk with torches. Distorted angles, askew pans, assorted reflections, and upside down inside out views add to the unnatural greenery of this apparent oasis in the middle of a dark cloud. White robes, bright rooms, aqua aerobics, and happy rich people throwing their money at the latest health fad contrast the dark tunnels, taxidermy, and well filmed car accidents despite momentarily confusing flashes amid the forward moving violence. Incidental old folks nudity at the spa increases the discomfort of the eerie steam, maze like hallways, and hazy series of doors, creating ambiguous atmosphere that may be surreal mind, warped structure, or Hotel California influence. Creepy girls by the fountain, bathhouse altars, and whispers of special case patients build to specimens in jars, skin graphs, and creepy urine samples. Body shocks, elevators, dehydrated corpses, and hydraulic assembly lines stir viewer suspense while shadows of what else may be in the tank loom and the smiling staff enjoy a little suspect saucy. Exam chairs, buzzing dental drills, vintage file folders, period lockets, relics of the baron's obsession to cure his sickly family – there are a lot of cool spooky things happening here. Unfortunately, unnecessary flashbacks, Robocop dolls, ridiculous animal gore, and the repeated insistence that something's in the water like it's all just a bad joke take the audience out of the dark atmosphere. Giant eels in the toilet frights are lost in scenes that serve no purpose, and the so-called mystery being given away all along contributes to the increasingly downhill lag. German speakers having cryptic conversations – in English for the underestimated, uninvested viewer's benefit – break the protagonist's point of view as more tunnels, hidden chambers, and early medical equipment expedite the watching fatigue well before the two hour mark or the coincidental timing in the final act. Public declarations, shoving the breakables off the desk, research montage reveals, menstruation and red lipstick a la Little Red Riding Hood, shovels to the face, fiery knockouts, nonsensical villain tell alls, and a Phantom of the Opera-esque lair borrow much too much before yet more tacked on candle light cults and child bride nasty. I hung on for this? o_O

Red Lights – This 2012 tale stars Cillian Murphy (Peaky Blinders), Sigourney Weaver (Aliens), Robert De Niro (Goodfellas), Toby Jones (Berberian Sound Studio), Joely Richardson (Lady Chatterley), and Elizabeth Olsen (I Saw the Light). However, the drive to the horrors, rattling séance, family in fear screams, and early jump shocks are just a lengthy opening before longer credits, jet setting introductions, and debunking seminar restarts. These physicists don't think all paranormal cases are frauds, but they haven't witnessed any miraculous proof against logical controls. Cute coeds, slight of hand platitudes, Occam's Razor – each scene repeats who they are and what they do without saying what university they represent or why authorities call them to expose these supernatural frauds. Editing creates suspense rather than letting the viewer catch the hidden earpiece or audience plant as news reports recount the fire and brimstone psychic selling comeback tour tickets and newspaper clippings on the laptop become the research montage. Weaver's doctor is brash, admonishing a telepathy card test due to the reflections in a doctor's glasses, but we never see her confront a real psychic challenge. The talk show debate better explains the parapsychology fails, seminar versus performance, and religion versus science while the behind the scenes meta television filming makes nicer statements than the shaky cams or booming music. Weaver and De Niro's rivals have personal history – he used the limbo of her vegetative son, adding doubt and emotional pain to her debunking crusade against his dramatic on stage healings. Unfortunately, this intriguing one on one of facts against faith and catching those who think they can get away with it is not the point of this picture, and the focus veers to Murphy's amateur exposé attempts and angry manpain complete with bizarre visions, unexplained electrical explosions, and characters who even say conversations with him are a waste of time. Although academic trials trying to set controls while testing paranormal phenomena, university video reels showing the experiments, and no scientific explanation for the bending spoons provide study for the viewer, there's no chill up the spine scary or awe inspiring wonder at the unexplained because the story completely changes what it started out as. Obnoxious final speeches waxing on man versus monsters, lines of salt, magnetism, and levitation are all over the place. Any commentary on the media, spectator sales, and money made off people who want to believe is lost thanks to the in the in your face protagonist, uneven plot focus, and the movie's failure to heed its own advice with falling flat deflections. If the simplest answer is the correct one, then why does it take an hour and a half to ask why the blind guy wears a watch?

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.

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!

More Family Friendly Science Fiction and Fantasy

More Family Friendly Science Fiction and Fantasy.

By Kristin Battestella

Who wants to go out and enjoy the nice Spring weather when there’s great, fanciful film fanfare to be had indoors? Save these science fiction and fantasy tales both old and new for a rainy family friendly day together. After all, it’s cheaper than Chucky Cheese. 

Crouching Tiger, Hidden Dragon – Okay, maybe this 2000 stylized kung fu drama directed by Ang Lee isn’t really fantasy per se, but it has the best fantastical flying kung fu I’ve ever seen. Yes, it can be a little slow, serious, and long winded- some youth will certainly have a tough time with the essential subtitles, too. However, there are lovely performances, fine story, exceptional scenery, and sweet choreography to awe teens. This one proves not all kung fu movies were low budget seventies clunkers where the voices don’t match the mouth movements-and its dynamite on blu-ray.

Edward Scissorhands – This 1990 tale of a lonely, incomplete man with scissors for hands is a little more mature and dark then some of my other suggestions. However, this early, spooky, and yet heartwarming collaboration from director Tim Burton and star Johnny Depp has all the whimsy and freakiness needed without getting too comical, bizarre, or just weird. Fine performances from a lovely ensemble cast including Winona Ryder, Kathy Baker, Dianne Wiest, and Vincent Price blend humor, love, and innocence into one charming little tale young and old can enjoy.

E.T. the Extra Terrestrial – Sometimes I fear that due to some serious eighties styles, younger audiences might not tune in for this wonderfully personal 1982 film from Steven Spielberg. Reintroduce Reece’s Pieces and ‘E.T. phone home’ to the next generation ASAP. No matter how old you get, who can’t relate to this one- it’s got divorce, evil governments, and loveable aliens to rescue. Some super young viewers might be a little afraid of E.T., but the joy of sharing this one is worth the effort.

Frequency – This 1999 tearjerker starring Dennis Quaid and Jim Caviezel is a little melodramatic and has us taking a considerable leap of faith, but it does have a lovely and relatable premise that will touch your heart: What if you could talk to your deceased father again thanks to ham radio and aurora borealis? What if you could change the past and have one more moment to be face to face with your dead father, hug him, and introduce your child to him? Sappy, yes, but there’s also enough mystery, action, and suspense here for your own guys night in.

Harvey – My nieces may not remember the title or the wit of this 1950 classic, but they do remember ‘that old movie about the guy with the invisible rabbit’. James Stewart is wonderful as Elwood P. Dowd, and though the black and white photography might make it tough for the youngins’ to pay attention, you can’t take your eyes off the charm and subtle tricks onscreen. Josephine Hull is delightfully fanatical as the sister trying to commit Elwood and his six-foot Pooka- it’s all just a case of misunderstanding, really, but the bemusing and somehow mellow hysteria hasn’t gotten old yet. If you don’t believe me, do believe the American Film Institute’s Top Ten Fantasy List-Harvey is number seven.

Independence Day – There was a time not so long ago when one could find this aptly named 1996 sci-fi thriller on any given channel every July 4^th. In light of more recent visual effects spectacles, I think young audiences might have forgotten about this touching yet funny popcorn and kick-ass disaster movie. Roland Emmerich and Dean Devlin’s not so little movie still looks good and makes us laugh just as much as it binds us together for the big moments from Will Smith and Jeff Goldblum. Barbecue is not required with a viewing.

Sleepy Hollow – Here’s another less bizarre and family fun spookfest from Tim Burton and Johnny Depp. This 1999 period piece also starring Christina Ricci isn’t as dark and decrepit as a film about Ichabod Crane could be, but its hint of goth and turn of the century humor is perfect for a scary night in for families growing beyond Hocus Pocus. The suspense, ensemble cast, and surprisingly disturbing performance from Christopher Walken as the Headless Horsemen keep this one worthy as the successor to The Adventures of Ichabod and Mr. Toad. Who doesn’t love that one?

Stardust – I was very pleasantly surprised with this 2007 fantasy based on Neil Gaiman’s illustrated novel. Though familiar with Gaiman from his Death: The High Cost of Living comics, Stardust is not as dark or heavy. There’s plenty of mature whimsy harkening back to Victorian ideologies and fantasy for Claire Danes and Michelle Pfiefer with which to have fun. Some of the picture is a little uneven, and Robert DeNiro seems completely miscast as a latently fruity pirate, but all in all this was an exciting and enjoyable little film. Teens growing out of Potter will love this one.

Who Framed Roger Rabbit? – I have to confess, every time this 1988 Robert Zemeckis spectacle is on cable, I can’t help but watch. Despite all our CGI advances, this mix of live cast and animated favorites still looks wonderful. Bob Hoskins, Christopher Lloyd, and Joanna Cassidy all look great in forties fashion; and the blend of humor, music, and mystery holds up. If nothing else, it amazes me that we can see Disney and Warner toons together! There’s delightful fun for the kids and some old fashioned innuendo for the adults- what’s not to love?