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Reviews
Masquerade (1988)
Trust & Betrayal
A handsome gigolo (Rob Lowe) charms his way into the life of a beautiful young woman, heiress to a multi-million dollar fortune. After the loss of her mother, she lives with her selfish and domineering stepfather, a ruthless cad intent on controlling both his stepdaughter's inheritance and her relationships. The local police officer also shows emotional interest in the heiress, having known her since childhood. But who can she really trust?
'Masquerade' was filmed around the time of 'Bad Influence' and Rob Lowe's scandal --- a sometimes underrated actor who, for a while, was typecast as the bad boy (see 'Waynes World', 'Tommy Boy' and 'Austin Powers'). Lowe has nevertheless proved his versatility as an actor with leading roles in films such as Stephen King's 'The Stand' (a deaf mute), Frank and Jesse (as Jesse James) and Stephen King's 'Salems Lot' (2005). He adopts the role of deceptive gigolo with veritable ease, appearing simultaneously charming and devious. It is the script that inevitably lets the film down.
In short it is a dark and moody thriller, which focuses on the themes of money and greed, trust and betrayal. It is reasonably-paced and contains a multitude of twists and turns, though could be a bit more lively in places. Furthermore, it boasts a talented supporting cast that includes Meg Tilly, Doug Savant, John Glover and Kim Cattrall.
Matthew J Lee-Williams, Review.
Hulk (2003)
Green Goliath
Flawed. This is the key word used by critics to describe HULK after its initial cinematic release. I think, in general, the fans were happy with the film. I'm going to go with 'very good'.
Synopsis: ~ David Banner is a scientist working on human DNA. After the birth of his son, Bruce (Eric Bana), he becomes concerned, the child being quiet and withdrawn. The child only shows emotion when he is angry, his skin tinged with splotches of green during these moments of rage. Banner disbands his research after attempting to find a cure for his son. He causes an explosion at the research centre, accidentally killing his wife, and is subsequently condemned to a mental institution. Bruce is put into the care of foster parents.
Twenty years later Bruce Krenzler (Banner) is a successful scientist like his father. David Banner (Nick Nolte) returns, working as a janitor in the research centre, watchful of his son as history seems to be repeating itself. Betty Ross (Jennifer Connelly) is the ex-girlfriend of Bruce and daughter of Thaddeus "Thunderbolt" Ross (Sam Elliott), the military commander who originally shut down David Banner's research. Ross is concerned that his daughter is working with Bruce, chiefly because Bruce is conducting similar experiments to those of his father. An accident in the lab results in Bruce being hit with large amounts of gamma radiation, which mixes with his already altered DNA. Enter the Hulk ~ Ang Lee's effort, I think, comes close to the original Marvel comic book created by (Stan Lee) and (Jack Kirby), especially with the use of picture-in-picture multiple scene framing. The juxtaposition - and movement of - these frames on screen is effective in that the viewer could be simultaneously watching a film and reading a comic book. A radiant score by (Danny Elfman) compliments the picture, the composer seemingly discarding his dreamy - almost whimsical - melodies like those found in films like 'Edward Scissorhands' and 'Batman'. The idea of science and experimentation is conveyed with this 'new' almost off-beat electronic Elfman music while the tense scenes are punctuated by brass instruments; the stark sequences - the arid desert and the military base - enhanced with Middle Eastern vocal interludes.
Lee has kept the storyline - the origin of the Hulk - along with the imagery - close to the pulp comic book whilst injecting his own style, drawing influences from Greek mythology and texts like 'Frankenstein' 'King Kong' and 'Beauty and the Beast'. The storyline running alongside this is the unstable relationship Bruce and Betty have with their fathers. This is not just a rampaging monster movie, but a film with depth and heart.
What keeps 'Hulk' from being a five-star film is the effects used to create the Hulk. He is a computer-generated monster who could be just as comfortable on a Playstation or X-Box machine. Granted the effects are impressive when compared to the 1970s 'Bill Bixby' Hulk, but perhaps a little too impressive.
Of particular importance - and what many critics have missed - is that Lee has captured the essence of who (or what) the Hulk is with the proficiency of a well-established director. The Hulk is neither hero or villain; rather, he is a tortured soul wandering the land in search of solitude ... and Betty Ross, of course.
Lou Ferrigno (Hulk in the TV series) and Stan 'the man' Lee both have cameos in the movie as security guards.
Matthew J Lee-Williams, Review.
Spider-Man 3 (2007)
Spider-Man Vs Venom
This time Raimi goes Gothic, incorporating the Spider-Man~Venom battle in the bell tower as seen in the Amazing Spider-Man comics ~ Spider-Man first took the venom costume in Secret Wars # 8 (1984), when his own red-and-blue costume was damaged. He discovered the symbiote costume in a facility in the world where a whole host of Marvel heroes and villains had been sent by the Beyonder to battle.
In Raimi's film, the costume finds its way into Parker's bedroom, the alien substance attaching itself to Parker (Tobey Maguire), lending him a new costume which in turn lends him a far greater albeit more dangerous power. The costume also changes his characteristics, making him more confident, arrogant and at times aggressive. It is at the bell tower scene where he loses the costume to reporter Eddie Brock (Topher Grace). Parker realizes the costume is vulnerable to high pitched sounds. Brock has been humiliated by Parker, while Parker is under the influence of the black costume, and follows him to the church. Brock becomes venom, one of Spider-Man's most deadly foes.
The second villain to appear in Spider-Man is the Sandman (Thomas Haden Church), a criminal who is caught in an experiment gone wrong; his physical state is that of a malleable sand-like substance that can be shaped according to the Sandman's will.
The third is the return of the Green Goblin, the character this time taken by Harry Osborne (James Franco) after his father (Willem Dafoe) died in the first movie.
Villains aside, the other storyline is the ongoing troubles between Peter and Mary Jane (Kirsten Dunst), their relationship still on the slide here, and not eased by Parker's new-found powers born out of the symbiote~alien costume. Even the villains claim some small shred of empathy in Spider-Man 3, their own personal lives being as troubled as Parker's, or else their lives affected by the symbiote~webslinger.
As a bonus there is the Gwen Stacy~Captain Stacy (James Cromwell) storyline, Gwen being the girl who attempts to steal Spider-Man's affections from MJ ~ Too many villains, some say? I thought this was almost as good as the first movie (the origin). The scene from the bell tower taken frame-by-frame from the original comic was as well-made as the 'Spider-Man No More' sequence in 'Spider-Man 2'.
Action-packed yet dark and Gothic in places, Spider-Man 3 is another triumph for Sam 'Evil Dead' Raimi.
Also stars Bill Nunn (Robbie Robertson), J K Simmons (an amazing transformation as J Jonah Jameson), Bruce Campbell (Maître d'), Teddy Raimi, Emma Raimi, Lorne Raimi and Henry Raimi.
Matthew J Lee-Williams, Review.
Spider-Man 2 (2004)
"Face it, Tiger ...
... you just hit the jackpot", Mary Jane Watson ~ Dialogue straight out of the comic book ensuring that this sequel is going to be well worth the wait! OK, not quite as good as the first - sequels seldom are - but a valiant effort on the part of Sam Raimi.
Here we have the next big Super Villain, Dr Otto Octavius/Doctor Octopus (Alfred Molina), who is about to further complicate Spider-Man's (Tobey Maguire) already failing personal life: Parker is experiencing financial difficulties and his studies are slipping. To top it all off, Mary Jane (Kirsten Dunst) is now engaged to astronaut John Jameson, son of Parker's overbearing newspaper editor, Jonah. Things just go from bad to worse for the web-slinger.
Meanwhile, following the death of his father (the Green Goblin), Harry Osborn has now now taken over Oscorp Industries and is in business talks with Dr Otto Octavius. The Doctor, Parker's idol, has created a set of mechanical arms that are impervious to heat and magnetism; the experiment goes wrong and the arms become fused to the spine of Octavius, taking complete control of the doctor both mentally and physically.
Aunt May is later captured and taken hostage by Dr Octopus. Spider-Man too falls prey to capture and is delivered to Harry, where his true identity is under threat. How much can one guy take? 'Spider-Man 2' is all about choices for Peter Parker: lose his alter-ego and concentrate on number one or continue with the responsibility he chose after the death of Uncle Ben ~ Raimi has skillfully recreated the classic scene - panel-for-panel - from Amazing Spider-Mam #50, Spider-Man No More, written by Stan Lee, pencilled by John Romita, and inked by Mickey Dimeo. Here Parker is seen leaving a rainy alleyway where his discarded costume hangs from the throat of a garbage can. Raimi has concentrated on the Parker who is forced to deal with actual everyday problems in Spider-Man 2, one we can all sympathize with. Parker's character outweighs that of other superheroes, for the simple fact that - at heart - he is just an ordinary guy trying to exist in a complicated world.
Also stars: Bill Nunn, J K Simmons, Ted Raimi, Bruce Campbell with Cliff Robertson and Willem Dafoe.
Matthew J Lee-Williams, Review.
Friday the 13th (1980)
"You're Doomed!" You're All Doomed!" Friday 13th (1980)
Released alongside a series of slasher-movies during the late-seventies and early-eighties - including 'Halloween' and 'A Nightmare on Elm Street' - all of which were influenced by the original slasher movie, 'Psycho' (1960), this particular film has since increased in popularity and earned itself classic status amongst horror fans worldwide.
It has spawned no less than ten sequels (if you include 'Freddy Vs Jason') and a TV series.
~ Young Jason Vorhees was drowned in Crystal Lake way back in 1957. A subsequent fire and spate of murders resulted in the camp being shut down. Years later Steve Christy decides to reopen Camp Crystal Lake and hires a new group of councillors to have the place ready for the summer. Ignoring warnings from the local lunatic, they go ahead with the reopening regardless. Things seem to be going as planned until the killings begin again ~ 'Friday 13th' is based on the age-old superstition that a Friday falling on the 13th day of any month is considered to be a bad omen. Victor Miller (screenwriter) picked up on this idea and along with Sean S Cunningham (dir.) completed the independent slasher film in 1980. 'Friday the 13th' has since become the most popular franchise in the history of the horror film.
The film offers teenagers indulging in sex, drugs and high jinx; an eerie setting comprising of rain-and wind-torn woods, the silent and still black lake; opposing cinematography - that of the gentle countryside come morning - and a 'whodunit' storyline that will keep you guessing until the finale. A neat twist - suggested by Tom Savini and supposedly stolen from 'Stephen King's 'Carrie' (Brian De Palma; Larry Cohen) - allows for a string of sequels that just keep coming.
With great special effects (Tom Savini - 'Creepshow' & 'The Burning'), a chilling soundtrack (stringed instruments providing a frenetically-paced tempo similar to 'Psycho'), and skillfully executed directing (right up until the end, the murder scenes are shot from the killer's point-of-view) 'Friday the 13th' will make you think twice about your next camping trip.
Stars Kevin Bacon and Betsy Palmer.
Matt Lee-Williams, Review.
The Dark Backward (1991)
Dark Comedy & Carnivalesque
Cult director Adam Rifkin (Never on a Tuesday, The Chase, Detroit Rock City) delivers once more. Those of you familiar with his work will undoubtedly be familiar with his oddball characters and outlandish plots. For those of you new to his work, 'The Dark Backward' is the best place to begin. Marty Malt (Judd Nelson) is the worst stand-up comic in the entire world. He is equally terrible at his day job, a garbage collector. It seems that Marty is not destined for stardom ... until one day something strange happens that changes his life forever.
His accordion playing, garbage-collecting co-worker, Gus (Bill Paxton), notices a lump growing out of Marty's back while they are doing the rounds. This odd growth is diagnosed by the disturbingly incompetent Doctor Scurvey (James Caan) as a third arm.
What would normally be an embarrassingly freakish human deformity, turns out to be Marty's comedic calling. Before, Gus was his sole fan; now he has a mass following. Enter the slimy Dirk Delta (Rob Lowe), who offers Marty the chance of Hollywood stardom. So begins a successful career in comedy ... ?
Seemingly straight out of a Ray Bradbury short tale, Rifkin's film is furnished with carnivalesque characters. You will be astounded and revolted by characters like 'the fat woman', 'the muscle man', and 'the human xylophones'. Rob Lowe is unrecognizable in his role as slick Hollywood bigwig (a role he would later reprise in 'Wayne's World','Tommy Boy', 'Austin Powers' 1-3 and 'Thankyou for Smoking'). James Caan is frighteningly brilliant as Dr. Scurvey, and leading man, Judd Nelson, puts in his best performance since 'St. Elmo's Fire' and 'The Breakfast Club' (look out for Judd's oddball cameo in Rifkin's 'Never on a Tuesday').
'The Dark Backwards' is arguably Rifkin's best film, not having directed anything since to equal it. It is certainly his strangest movie since 'Never on a Tuesday'. If you are a fan of cult movie directors like David Lynch and John Waters, check this film out. If you are afraid of zombies, freaks, midgets and men with three arms I suggest you look elsewhere.
Cast: Judd Nelson, Bill Paxton, Rob Lowe, James Caan, Lara Flynn Boyle, Wayne Newton, et al
Matthew J Lee-Williams, Review.
The Breed (2006)
Breeding Ground
~ Five teenagers take a vacation on a remote island where brothers, Matt and John, have inherited a cabin. Matt's girlfriend Nicki, Sarah and Noah also accompany them. Before they can get settled in, Sara (Michelle Rodriguez) is bitten by a vicious stray dog. The brothers are immediately prompted by memories of a facility for training dogs somewhere on other side of the island. Fearing the worst - rabies - they head for their sea plane, but the dogs have already set it adrift. In small packs they wait in the surrounding hillside, watching, waiting to attack ... the five friends find themselves fighting a battle for survival against these genetically redesigned and intelligent canine killers ~ From the director of 'A Nightmare on Elm Street' and 'Scream', 'The Breed' is one of the better films produced by Wes Craven. It is a simple slasher-style flick, well written and directed, with a good cast and a nice little twist at the end. There are plenty of tense moments here also. Apparently they used real dogs for this film, not computer generated hounds.
Think Scream~ meets~Cujo~meets~Wilderness.
Overall a pretty scary film.
Matthew J Lee-Williams, Review.
Quicksilver Highway (1997)
Highway to Film Hell?
'Quicksilver Highway' is the collaboration of two of the world's most talented literary horror writers, Stephen King and Clive Barker. It is a rather short anthology of two terrifyingly twisted tales, with an inset story featuring Christopher Lloyd (Back to the Future). But do they terrify the average film-goer? A wandering storyteller, Aaron Quicksilver (Lloyd), narrates the tales in two strikingly different locations: Stephen King's 'Chattery Teeth' along a deserted stretch of desert highway and Clive Barker's 'The Body Politic' within the carnivalesque setting of a funfair.
The more interesting of the two tales is 'Chattery Teeth', which tells of a psychopathic hitchhiker who falls prey to a relentless and dangerously-sharp set of chattering teeth owned by the travelling salesman driving the car. 'Chattery Teeth' is taken from a short story written by King and first published in 'Cemetery Dance' magazine in the nineties. Similar to the stories found in 'Creepshow' and 'Creepshow 2', it is a bizarre and disturbing story with a twist in the tail (think 'Twilight Zone' and the 'Ray Bradbury Theater').
The lesser of the two is Barker's 'The Body Politic'. Here, a hand comes alive, goes completely out of control, and eventually attacks its owner. The story is taken from Clive Barker's 'Books of Blood: Vol 4' and is actually quite an entertaining and intelligent story ... in print. However, attempting to re-create this story on film just doesn't work. The effects are nothing short of laughable, which inevitably ruins a good tale.
'Quicksilver Highway' is directed by Mick Garris, who has collaborated with Stephen King on more than one occasion (see 'Sleepwalkers', 'The Stand', 'The Shining' (TV), and the forthcoming 'Riding the Bullet' and 'Desperation'). He is also the man behind some of the 'Twilight Zone' episodes and 'Freddy's Nightmares', the latter explaining his less than efficient effort with 'Quicksilver Highway'.
Nevertheless, the cast is well chosen - Matt Frewer (The Stand), John Landis (dir. 'An American Werewolf in London'), Bill Nunn (Kiss the Girls), and Clive Barker - and although the movie does have its tedious and ridiculous moments (check out Lloyd's fetishistic leather garb), it is watchable. Fans of 'Tales from the Crypt' and 'Tales from the Darkside' will certainly want to give this film a look-see.
Matthew J Lee-Williams, Review.
An Unfinished Life (2005)
Life-Changing
~ Years before, Gill Gilkyson and her husband flip a quarter to see who will drive through the night in order to avoid a much needed rest stop. Tragedy strikes and Gill (Jennifer Lopez) is left alone and pregnant, and disowned by her father-in-law, Einar Gilkyson (Robert Redford). Life for Gill has since been spent living with abusive husbands until one day she finds the courage to leave the latest, Gary Wilson (Damian Lewis) and return to Wyoming and Einar's ranch.
Einer has since been looking after his life-long friend Mitch (Morgan Freeman), who was mauled by a bear and is now left crippled for life. Here begins the troubled story of three characters, each attempting to deal with their troubled pasts. Can Einar forgive his daughter-in-law for an accident that occurred so long ago, accept that life is not always fair and, most importantly, accept Gill and his new-found granddaughter into his life? Can Gill face her own demons and become a responsible mother? And, after years of healing, will Mitch once more confront and forgive the animal who crippled him? ~
Based on the terrific novel by Mark Spragg and set in the backdrop of rural Wyoming, director Lasse Hallstrom (What's Eating Gilbert Grape; Chocolat) has hit the mark once again with this tense and heartbreaking drama. There are outstanding performances from all the cast, most notably the ill-tempered Redford and the world-weary Freeman, who share a simultaneously tragic and amusing relationship --- and the scenery is stunning. The film maintains an optimistic feel despite the tragedies that have occurred and the viewer is kept secretly hoping that a happy conclusion is achievable.
Matthew J Lee-Williams, Review.
Edward Scissorhands (1990)
A Modern Classic
~ Once upon a time there was a man who had scissors for hands ...
He lived in a castle on a hill that looked down upon a small suburban town. An elderly inventor (Vincent Price) created the man, giving him all the body parts required of a human except hands, for the inventor died before he could finish his creation ...
Edward Scissorhands (Johnny Depp) lived alone in the castle for many years until one day someone raps hard at the door and in walks the local Avon Lady, Peg (Dianne Wiest). Disheartened by the way Edward is living, she invites him to leave the damp and dismal castle and live with her family back in colorful suburbia ...
Here he settles in and befriends Peg's husband, Bill (Alan Arkin) and their son, Kevin. He quickly falls in love with their daughter, Kim (Winona Ryder)and astounds the neighborhood with his 'chopping talents' that range from topiary to haircutting. But it soon becomes obvious that his scissor-hands are deadly sharp ...
Throughout the film Edward is transformed from freak to celebrity and inevitably back to freak once more, as the townspeople - who are initially enchanted by his oddball talents - soon tire of him. Once trouble rears its ugly head - mainly in the shape of Kim's jealous boyfriend, Jim (Anthony Michael Hall) - Edward is rendered an outcast once more ...
The final confrontation aptly takes place one snowy Christmas Eve, a nice touch for this modern-day fairytale ~ What Tim Burton has created here is a modern-day Frankenstein, loved by a few but shunned by an angry mob, who inevitably fear and hate him. Like Mary Shelley's creation, Edward is the Other, an outsider who knows little about life in the real world and finds it equally hard to adapt to his new life and surroundings; he is extremely naive and vulnerable, imaginative yet misunderstood like many of the characters in Tim Burton's films (see Ed Wood).
For the film's setting, Burton offers two strikingly different locations - a stereotypical 1980s suburban village and a Gothic castle - which works perfectly when comparing the uninspiring and viciously petty suburbanites to the lonely gentle spirit that is Edward.
Matthew J Lee-Williams, Review.
Silver Bullet (1985)
Full Moon Frightfest
A cycle of terror ...
Every month, when the moon is at its fullest, the usually quiet town of Tarker's Mills is visited by what the townspeople think is a homicidal maniac. Mutilated corpses begin to turn up and a curfew is administered upon the residents of Tarker's Mills. One crippled boy nevertheless decides to ignore the curfew - which led to the cancellation of the Fourth of July Fireworks - and meets the mysterious murderer face-to-face one night. So begins a quest to discover the true identity of this monster.
Daniel Attias has produced one of the creepiest Stephen King films ever with 'Silver Bullet'. The screenplay (written by King) is an adaptation of his novella, 'Cycle of the Werewolf', about a lycanthrope who hunts down the townspeople of Tarker's Mills. The film is well paced and has a 'whodunnit' feel, as well as plenty of extremely scary moments that will ensure you do not head for the 'eject' button, feeling you have wasted your hard earned dollars.
Moreover, there is a great cast here, headed by veteran actor Gary 'Point Break' Busey, Corey 'The Lost Boys' Haim, and Terry 'The Stepfather' O'Quinn.
I first watched this film when it came out for rental in the mid-eighties and it scared the Hell out of me. So, take the nightmare ride of your life through the fog shrouded woods of Tarker's Mills, but beware the moon.
'Silver Bullet' also stars Everett McGill of 'Twin Peaks' and 'The People Under The Stairs', and Megan Follows, star of 'Anne of Green Gables'.
Matthew J Lee-Williams, Review.
Square Dance (1987)
Hidden Gem
Anyone who is of the opinion that Rob Lowe comes across as being 'dull' on screen, or perhaps 'just a pretty face', should take time out to watch 'Square Dance'. His 'Golden Globe nominated performance' was justly deserved for his portrayal of the 'mentally-impaired man-child', Rory.
There are some films watched during your childhood or teenage years that have a profound effect on you and, for me, 'Square Dance' is one such film. It is nice to see it released on DVD format so promptly.
Lowe skillfully plays the role of Rory, eliciting what can only be described as an emotional reaction from myself and, I'm sure, many others who have watched this heart-warming drama. It is roles like this and his portrayal of deaf mute, Nick Andros, in Stephen King's 'The Stand' that substantiate Lowe's talent and versatility as an actor.
'Square Dance' also features Winona Ryder in her acclaimed screen debut as Gemma, a 13-year old girl tired of living in Texas with her quarrelsome grandfather (Jason Robards), and who decides to go live with her mother (Jane Alexander) in Fort Worth. Whilst there, Gemma falls in love with Rory. She also discovers some hidden truths about her mother and the father she has never met. Life in Fort Worth turns out to be not as exciting and uncomplicated as she had initially expected.
Critically acclaimed, 'Square Dance' is an emotional drama that will remain with you forever.
Matthew J Lee-Williams, Review.
The Fog (2005)
The Fog (2005)
This re-telling of the 1980 horror film was given the go-ahead by John Carpenter who apparently was not completely satisfied with his original effort. The story remains pretty much the same:
~ exactly one hundred years before, a clipper ship makes its way through a thick fog and is lured towards the light of a campfire burning on the mainland. The flames of the campfire are a trick used to invite Blake and his crew to crash onto the rocks of Spivey Point; the conspirators then steal gold from the ship which they use to build the town of Antonio Bay. The plan is a success and the crew - a colony of lepers - are murdered by the conspirators. A century later, the ghostly figures rise from the depths of the ocean and, accompanied by a strange glowing fog, make their way towards the now prosperous town of Antonio Bay, seeking revenge for their deaths. The descendants of those who committed the atrocity now have one night in which to survive death at the icy hands of those who perished on the Elizabeth Dane ~
This (2005) version of 'The Fog' can be described simply as a teen-slasher flick, the director obviously keeping in-step with both re-makes like 'The Texas Chainsaw Massacre' (2003) and comeback slasher films such as 'Scream' and 'I Know What You Did Last Summer'. The first mistake, I think: the pace of the film is increased compared to Carpenter's - the cast seems much younger and intense, although typically moody and troubled. Indeed, the craggy and gruff-voiced Tom Atkins who played fisherman, Nick Castle, in the first film is far more convincing than the flawless Tom Welling (Smallville).
A second aspect of this film that detracts from the original is evident in the revised screenplay, where the back story - the murder of Blake and his crew - has been extended considerably, resulting in much of the mystery being lost. This, and the enhanced special effects - especially the wall of fog that looks ferocious here - takes away the classic ghost story feel Carpenter achieved.
Critics and fans alike should, however, not be too hard on the film. It is, for all intents and purposes, a re-make of a film twenty-five years its senior. Things change. Each subsequent generation of horror fans will always enjoy watching the classic horror films, but they will have 'their' films, the films that they will remember in time. And is there any point in making a scene-for-scene re-make of any film? Look at Psycho (1998): an excellent film, true to Hitchcock in every respect, and yet seemingly pointless.
Matthew J Lee-Williams, Review.
Creepshow (1982)
~ Let the Show Begin ~
Stephen King and George A Romero, horror's finest, collaborate to churn out arguably the best horror movie ever made.
~ A miserable old millionaire returns from the grave to seek revenge against his greedy offspring ~ a jealous husband rises from the depths of the ocean bent on destroying his wife and her lover ~ frozen for almost a century, an arctic beast escapes from an old crate and terrorizes a college campus ~ a comet loaded with a verdant virus sweeps across the land, covering everything in its path, including a backward farmer (played here by Stephen King) ~ and an army of cockroaches terrorize the life out of a stuffy billionaire businessman ~
Romero has hit the mark with his inclusion of picture-in-picture multiple scene framing. The juxtaposition - and movement of - these frames on screen is effective in that the viewer could be simultaneously watching a film and reading a comic book.
A cool and creepy horror film that recaptures the 1950s E.C. Comics with cinematic perfection!
Features a young Joe (Hill) King (star of the wraparound story and cover of the subsequent graphic novel) reading his very own copy of Creepshow, immortalized in comic book literature and the horror hall of movie fame.
"That's why God made fathers, babe. That's why God made fathers."
Matthew J Lee-Williams, Review, UK.
Halloween III: Season of the Witch (1982)
Season of the Witch
Where is Michael Myers? This question relates to the majority of reviews that slate 'Season of the Witch', the third instalment of the 'Halloween' franchise that appears as relentless as the psychopathic killer himself. How can there be a 'Halloween' movie without Michael Myers? I disagree.
'Halloween III: Season of the Witch' was never meant to include the psychologically-disturbed menace of suburban America. Tommy Lee Wallace (Stephen King's 'IT') - in his first attempt at directing a feature film - wanted to avoid another 'slasher' sequel and instead concentrated on exploring the domestic roots of Halloween and its relationship to Celtic folklore.
So what is the general plot here? Conal Cochran (Dan O'Herlihy), a demented toymaker, has produced millions of Halloween masks, inside which pieces of the monument Stonehenge are buried. Through corporate advertising, Cochran has the world spellbound and craving for the day when they can don the masks and watch 'the great giveaway' on 31 October. His plans are to commit mass genocide, his victims mainly being the world's population of children, thus re-enacting the sacrifices that supposedly occurred hundreds of years ago at ritualistic monuments like Stonehenge. The story closely follows the legend of Samhain, the Celtic lord of death - the very God that children and animals were supposedly offered to as a sacrifice on the one night when the dead and the living walk together and children go 'begging for candy'. Indeed, Cochran is attempting to re-awaken the Celtic festival by way of the traditional elements of witchcraft and modern technology.
Dr Dan Challis (Tom Atkins, 'The Fog' & 'Creepshow') decides to investigate the goings on within the confines of Cochran's toy factory in the remote Irish state of Santa Mira, California. He is suspicious of the Silver Shamrock masks - skull, witch & Jack-o'-Lantern - that are being produced inside the factory. The building and surrounding town are guarded by androids resembling humans, mechanical slaves created by the toymaker. He must stop Cochran and warn the world before the advert goes out on Halloween night.
'Not enough gore' is the general consensus, and critics have universally damned the film as a sub-average thriller. The film is nevertheless a breath of fresh air - Michael Myers returning from the grave (alongside his other 'slasher' brothers, Freddy Krueger and Jason Voorhees) becomes tiresome despite their ongoing popularity; the story lines being weak and predictable. 'Season of the Witch' boasts originality and examines the real legend of Halloween, the Festival of Samhain.
John Carpenter produced and wrote the score for Halloween III: Season of the Witch, and it is good to see that the director of the first film (arguably the best horror movie ever directed) was involved in the project. 'Halloween III', I think, was the only original sequel in the series and the most accomplished of the subsequent 'Halloween' films ... until Rob Zombie came along and directed 'the' best re-make of a 1970s/1980s horror film.
But that's another story.
Riding the Bullet (2004)
Riding the Bullet
I liked this Stephen King adaptation of his short story taken from 'Everything's Eventual', the author's most recent collection. Mick Garris ('The Stand', 'The Shining (TV)') has not strayed too far from the path with this macabre tale of a hitchhiker who is offered rides from a handful of weird and wonderful characters one Halloween night.
The year is 1969 and Alan Parker (Jonathan Jackson) learns that his mother (Barbara Hershey) is dying of cancer, so instead of going to see Lennon and McCartney, the troubled teenager is forced to hitchhike back to his hometown. He is eventually offered a ride by a young man with a sinister secret. Parker is then forced to confront all the demons from his past if he is to survive what could be the last ride of his life.
Like the original story, the film has all the makings of a campfire tale. There are lonely stretches of highway flanked by tall pine trees - roads that are interspersed with graveyards and other dark places one shouldn't venture into after the sun sets. There are carnivals and rollercoasters. There are plenty of laughs as well as scenes that will chill your soul to the bone. Even Death himself makes an appearance.
Terrifyingly entertaining, 'Riding the Bullet' will also make you question what really is important in life.
Also stars David Arquette and Cliff Robertson.
Matthew J Lee-Williams, Review.
Black Christmas (2006)
Black Christmas (2007)
It's going to be a black Christmas at the Alpha Kappa Gamma sorority house, where a group of young women have been snowed in for the holidays ... for a crazed killer is having his Christmas dinner a few miles distant in the local mental institution ...
~ Years before, Billy Lenz was born with a liver disorder rendering his skin yellow. Loved by his father, hated by his mother, Billy is locked in the attic for most of his childhood. After being told by his mother that the Russians have shot down and killed Santa Claus, Billy witnesses her kill his father following a drunken argument. Billy is later seduced by his mother in the attic and a new baby comes along, a girl named Agnes ...
Billy becomes jealous of Agnes over time and one day pulls out one of her eyes, stabs his stepfather, and beats his mother to death with a rolling pin. His is quite rightly condemned insane and sentenced to the mental institution, after being found by the police eating human-mince pies. Agnes is sent to an orphanage ...
Hopefully you're still with me at this point ...
Back in 2006 the girls are still trapped in the sorority house and Billy is on the loose once more ... one-by-one they are picked off, their eyes missing like carrion left in the desert ... outside the blizzard rages and it's hours before help can arrive ~ I enjoyed this Yuletide Slasher Film, perhaps because it was set over Christmas. Like Halloween, there's something cool and mysterious about this holiday, even after one grows-up. It was certainly one of the better horror re-makes I've seen of late - the original was filmed in 1974 - though it may not pander to all tastes, especially those of a Christian orthodox. Although the plot isn't exactly original, the film is watchable throughout and there is a neat little twist at the end. The killing is extreme and graphic at times, and there are plenty of scenes that will keep you on the edge of your seat, even make you jump! The production design and picture quality are very good - this film doesn't have a low budget feel to it - and the acting is good all round. In a nutshell you need to take the content - in-breeding, serial killing, psychologically disturbed behaviour - with a pinch of salt, like you would if you were watching an episode from Tales from the Crypt. Take this film too seriously and you too could be spending Christmas in the nut house ...
Wrap up warm and grab a sherry and mince pie, 'cause you're gonna have a very bloody Christmas with this slasher flick! Contains scenes of violence and gore, sex and nudity, and strong language.
Matthew J Lee-Williams, Review.
Blood and Chocolate (2007)
Shape-shifters
OK, unlike most reviewers out there, I am not going to give this film a poor rating. It is true, the film does not proceed at a lupine pace; rather, it moves with the dexterity of an injured wolf. Far too much attention in the script-writing has been focused on the use of clichéd dialogue and squelchy love scenes. The acting is bland at best, especially the lead actress, Agnes Bruckner, and co-star, Bryan Dick. Hugh Dancy ('Poe', 'Bronte', 'Black Hawk Down') saves this film with a good solid performance as the debonair waif-like comic artist who is surprisingly self-sufficient when it comes to battling these creatures.
I was nevertheless impressed by the darker aspects of the film (when they did appear), especially the opening sequence where the hunters, flashlights mounted on their rifles, tracked down and killed Vivian's family one snowy night. In fact, the directing at the beginning of the film is sharp - the well-written voice-over of a young Vivian and the complementary camera work showing her stretched out in the snow, arms and legs working to form a pattern on the earth like that of an angel. Director, Katja von Garnier, cuts effectively from the hunt scene into Bucharest as it is today and an older Vivian using her inherited powers to work out through the city and its surrounding parkland. There are some further scenes shot in the woods after dark, which also lend this film a Gothic aspect: the scenes where Alpha Male, Gabriel, commands his pack to hunt certain humans who have crossed this outcast race at some point. Here the changes from human into wolf are not ingenuous compared to a lot of special effects, but they seem to work well in this film - the pack simultaneously change while leaping into the night, like glittering moon dust. And I like the fact that they become actual wolves as opposed to great lumbering beasts.
The idea behind the story is clearly that of 'shape-shifting' as opposed to the ideology of becoming a werewolf after being bitten; that these people were born with the disease and not infected with it. Is this 'supposed' to be a werewolf movie per se? It is certainly not billed as such. The metamorphosis that involves werewolves is involuntary, occurring when the moon is full; shape-shifters transform at will. Perhaps a mythic-romantic film at heart? For the juxtaposition of myth and romance works - in general - very well. It is also evident that some careful research has been done here, most notably into legend and folklore.
Flawed perhaps by too many romantically-clichéd scenes, the film is crying out for more of the Gothic, like the opening which promised so much. Overall, though, not that disappointing.
Matthew J Lee-Williams, Review.
The Stand (1994)
The Stand 1993
I saw a pale horse and upon it a pale rider. The name of the horse was Pestilence. The name of the rider was Death ... Revelation 6:8
Stephen King's epic novel was finally brought to the small screen in the mid-nineties. The long-awaited adaptation features an array of carefully crafted characters, survivors of a plague that wipes out most of the world's population. Essentially there are two groups who have survived the man-made virus known as the super flu: one who will follow Mother Abigail Freemantle (a messenger of God), and those who are tempted by Randall Flagg (suggested in the story as being the devil). Each character experiences vivid dreams that feature either Mother Abigail or Flagg and is told to meet others of their kind in order to prepare for the ultimate fight between good and evil. The super-flu itself represents the end of mankind as told within the pages of the bible, Flagg being likened to one of the Four Horsemen of the Apocalypse, Death, who rides a pale (sickly) horse and spreads plague and pestilence among those mortals who walk the earth. Those who are immune to the disease signal a chance for a new beginning.
As the streets become choked with bodies and the survivors light funeral pyres for the dead, it becomes evident that only one of the two groups can triumph. It is time for those who can still see good in mankind to take a stand.
The TV mini-series - 6 hours in total - tracks the progress of each character in detail, although not in nearly as much depth as King achieves in his book. Like Dickens before him, King's characters are colourful and diverse:
Those who follow the ageing Mother Abigail (Ruby Dee) to the Free Zone include a deaf mute (Rob Lowe), a retarded man-child (Bill Fagerbakke) a female student (Molly Ringwald), a quiet homely guy (Gary Sinise), a musician (Adam Storke), a retired judge (Ossie Davis) and a professor of sociology (Ray Walston) ... oh, and Kojak the dog, who outlived his master.
Those who follow the Darkman (Jamey Sheridan) to Las Vegas include a criminal (Miguel Ferrer), a schizophrenic pyromaniac (Matt Frewer), an unstable teenage girl (Shawnee Smith) and two troubled characters who are seduced by Flagg and defect (Laura San Giacomo; Corin Nemec).
The result being: educated, creative and good-natured characters Vs the dregs of humanity.
Mick Garris is the man to bring 'The Stand' from book to screen, having directed other King works such as 'The Shining' TV, 'Quicksilver Highway', 'Riding the Bullet', 'Desperation' and 'Sleepwalkers'.
'The Stand' also features Ed Harris and cameos by Stephen King, Mick Garris (director), Sam Raimi, John Landis (dir. American Werewolf in London) and Tom Holland (dir. Thinner & The Langoliers). The double-sided DVD boasts many extras including director's commentary and interviews with the cast and crew.
Matthew J Lee-Williams, Review.
Se7en (1995)
Se7en
Long is the way, and hard, that out of hell leads up to light ... (John Milton, Paradise Lost, Book II. Line 432)
"Seven deadly sins, seven ways to die" is the tag-line for this intense psychological thriller directed by David Fincher:
~ Detective Sergeant Mills (Brad Pitt) is set to replace Detective Lieutenant Somerset (Morgan Freeman), a world-weary cop retiring after years on the force. Somerset can see no end to the harrowing crimes he has witnessed, the sickness that is the City. Dealing with murder, rape, abuse, and poverty has become the Lieutenant's life and he now hopes for some small shred of peace. Mills, on the other hand, is new to the city; he is arrogant and brash, having little time for Somerset's thoughtful and analytical techniques.
As retirement beckons, so a new spate of killings begin. Like it or not, Somerset is given the investigation by the Captain (R Lee Ermey) while Mills is put on a different case. The murders are soon linked to the same killer - a twisted genius who chooses his victims based on the seven deadly sins in Dante Alighieri's 'The Divine Comedy' - and Mills and Somerset are paired together once more.
Despite their clash of personalities Mills and Somerset strike up a good partnership, Somerset's introspectiveness and Mills's self-confidence turning out to be a useful combination. Each one learns a lot from the other; indeed, Mills's wife (Gwyneth Paltrow) thinks Somerset is a good influence on the husband she is rapidly growing concerned about.
It soon becomes apparent that the 'sins' killer is playing a deadly cat-and-mouse game with the detectives, enjoying watching them either stumble or succeed at every turn in the case ... while he continues to kill according to the seven deadly sins: gluttony, greed, sloth, envy, wrath, pride, lust. They must stop him before he can finish his murder spree and most probably disappear forever ~ Se7en is not only the most accomplished film by David Fincher (Zodiac) but almost certainly - from a writing and directing viewpoint - the best psychological thriller in the history of film and television. There are none of the stereotypical clichés found in countless thrillers of violence, no room for the predictable, for the viewer is kept constantly in the dark until the very end. And the climax is both ferocious and awe-striking ... for once Hollywood kept the outcome a secret until the day of release, not an easy thing to do.
Whatever vision Andrew Kevin Walker had before he took his script to screenwriter David Koepp (Secret Window) was ultimately realised once in the hands of David Fincher. Fincher's dark and rain-driven sewer, his city of sins, has yet to be matched on film. His choice of cast was spot-on. Se7en is a true classic, crossing genres like crime, horror, thriller and police procedural ... dark and moody, harrowing and painful, Se7en will appeal to the darker side within us all.
Co-stars John C McGinley as California (captain of SWAT team)
Matthew J Lee-Williams, Review.
Dazzle (1999)
A Dazzling Children's Film
Tom Nightingale (Maxwell Caulfield, 'Electric Dreams'), a writer of children's books, falls prey to a serious case of writer's block, after the loss of his wife. He now spends his time reading fairy stories to his young daughter, Melissa.
But they are not alone, for each night a real fairy, Crystal, listens in on the stories. Meanwhile, Tom's pet dog is keeping an eye on Crystal and one night decides to chase her. Crystal collides with a tree and is knocked out. She is suddenly transformed into human form and subsequently suffers amnesia.
Tom finds crystal and eventually falls in love with her, much to the disappointment and disapproval of Melissa's teacher, Miss Martinet (Mia Sara, 'Ferris Bueller's Day Off). The only trouble is Crystal has to return to Fairyland before The Collector (Jeff Fahey, 'Darkman III') can capture her and send her to the dark world. And she only has six days!
With only the help of two clumsy midget detectives, Oddkin and Bodkin, can Tom find the spell that will save Crystal?
'Dazzle' is an enchanting film, suitable for all the family, but especially for children. It is a tale of courage and love, spiced with a sprinkling of humour and a dash of madness. The cast put in good performances all round, and there are some dazzling special effects.
Matthew J Lee-Williams, Review