Snuff, that's funny in a sick sorta way.
Hey Peg,
I found this article on horror films. Maybe there are some here you haven't seen. I think there are a couple I haven't seen either.
I should be getting "Dracula: Pages from a Virgin's Diary" in the mail tomorrow. I haven't seen it at home yet, I saw it at a friends house, so it will be nice to see it here.
Hope everyone is doing okay.
luv,
heart
Alternative Horror Movies Consumer Guide
Tired of the same old horror recommendations? Here is our idiosyncratic guide to some lesser-known Halloween shiver-flicks ...
By Kathleen Murphy
PSYCHOS AND SLASHERS
"Raw Meat" / "Death Line" (Gary Sherman, 1972)
I first saw this supercreepy British flick at a drive-in, in a car full of weed-smokin' folk looking to get off on another silly monster mash. By the time the camera snaked its way deep into the bowels of the London subway system to slither through a stomach-turning abattoir where some thing encouraged its pregnant mate to drink from a corpse, we'd fallen dead silent. Seems that, back in 1892, an unfinished tunnel collapsed, cutting off a clutch of men and women laborers. Too expensive to dig them out, so the survivors were left to die -- but somehow they didn't. And now one of the last descendants of the tribe has come up for food. Trust me, you will never be able to scrape his mush-mouthed moan, "Mind the doors," out of your nightmares.
"Black Christmas" (Bob Clark, 1974)
The Canadian blandness of the characters and location in "Christmas" -- sorority girls (young Margot Kidder and Andrea Martin among them) bouncing around a fusty old mansion -- ups the horror generated by this little classic. Sure, the sisters may have some problems (unwanted pregnancy, possessive boyfriend, unloving parents), but these are human-sized in light of persistent phone calls from someone (or something) emitting bestial grunts, howls and slobbers. At the beginning, the camera sneaks into the sorority house like an unclean stalker or voyeur. By the shocker ending, as the film withdraws from what's become a slaughterhouse, the POV has devolved into something dead-eyed, inhuman -- making your flesh crawl even as you exit this very bad place.
"Reeker" (Dave Payne, 2005)
A terrifically smart, self-reflexive addition to its genre: A group of stereotypical twentysomethings (spunky heroine, dim sexpot, amoral cut-up, good guy, et al.) gets marooned at an abandoned motel in the middle of a desert and picked off (and apart, in variously inventive ways) one by one, each atrocity heralded by a god-awful stink. The creepiest bloodbath, set in a dilapidated outhouse, taps into our primal fear of what might be down there in that dark hole over which we trustingly place our most vulnerable parts. A black-caped figure wielding a huge scythe, the reeking horror jump-cuts across the screen like a bat out of hell. But "Reeker" kicks things up a notch, literally forcing us to see how getting the bejesus scared out of us is one way of laughing off death. Trouble is, the Grim Reaper himself is the star of this nasty little horror show.
Other recommendations:
- "Frailty" (Bill Paxton, 2001)
- "May" (Lucky McKee, 2002)
- "Hatchet" (Adam Green, 2006)
THINGS THAT GO BUMP IN THE DARK
"The Descent" (Neil Marshall, 2005)
This one is proof positive that the best scarefests, the ones that sink their teeth deep into your soul, conjure monsters out of our very own lives and psyches, David Cronenberg-style. A tribe of women spelunkers, one of whom is half in the grave with her recently dead husband and child, gets trapped deep in a cave after a rockfall. As these Amazons crawl into ever more claustrophobic wormholes, their psychological fault lines begin to fracture. And then there begin to be glimpses of ... what? Maggots? Mutants? Whatever the horror is, it's utterly alien, the color of corpses, as ravenous as death itself. "The Descent" is like being nailed up alive in a coffin with your worst nightmare.
"Wendigo" (Larry Fessenden, 2001)
From a child's point of view, the complexity of parental conflict, the awful mystery of death, everything that unsettles his world can look and feel like a horror movie. For Miles, sitting in the back seat of a Volvo, listening to his quarreling dad and mom lacerate each other, the sudden shock of a deer hitting the windshield seems like a natural externalization of the emotional violence assaulting him. It's not long before this shell-shocked little boy dreams up an antlered demon -- the Native American Wendigo -- that embodies everything that threatens him. This low-budget gem gets way under your skin, imbuing ordinary rural landscapes and behavior with a heightened quality of hellish hallucination. Father and son joyously sledding down a hill, a pair of boots sitting in an empty hospital hallway -- images that signal that your world can end anywhere, anytime.
"Pulse" (Kiyoshi Kurosawa, 2001)
Watching this atmospheric horror movie is like sinking into dark, warm waters in which amorphous black forms embrace you while you drown. The plot's relevant only insofar as it references a contemporary, particularly Asian, distrust of technology: Something feeding on our Internet "circuits" inspires those who hope for connection to commit suicide. What little impact these isolated souls had on others is reflected in the chilling "footprint" of their passing: a human-sized smear on the wall, a Hiroshima shadow. This is a movie that can mine extreme terror out of the slight movement of a see-through plastic curtain. And the shot of a dark boneless "thing" undulating across the floor toward us arouses pure, unadulterated revulsion.
Other recommendations:
- "They Came From Within" (David Cronenberg, 1975)
- "The Brood" (David Cronenberg, 1979)
- "The Keep" (Michael Mann, 1983)
VAMPIRES
"Habit" (Larry Fessenden, 1997)
Like David Cronenberg, writer-director-editor-actor Larry Fessenden often works the horror genre to expose our need (and incapacity) for love. Sam's an alcoholic bohemian, adrift in the mostly impersonal environs of New York. His emotional fecklessness has just driven his live-in girlfriend away, so he's eager to hook up with an androgynous, oddly exotic brunette he meets at a party. Their lovemaking is ultra-passionate and frequent, and Sam begins to notice what he thinks are bite marks on his body, along with feeling generally drained of energy. Yes, all the signs of vampire love -- but is it? Could Sam have AIDS? Delirium tremens? Could our sexual vagrant be overreacting to his fear of something more than skin-deep connection? "Habit" is deliciously scary, rife with spooky detail, and the line between vampirism and problematic human love remains tantalizingly blurred.
"The Wisdom of Crocodiles" (Po-Chih Leong, 1998)
Another tale of terror -- upscale arty in contrast to the slacker realism of "Habit" -- that tickles our nerve endings with the notion of love and lust as forms of vampirism. A handsome young fellow (Jude Law) almost absentmindedly pulls a suicidal woman back from plunging onto the subway tracks. They become lovers, she begins to bloom with happiness and then, in the midst of passionate embrace, her savior bites out her throat. In a journal in which he comments on his meals, he labels this one "disappointing." A gourmand, our vampire is dying for more refined, complex emotional flavors. An affair with a smart, sensual woman (Elina Lowensohn, exquisite as a New York vampire in 1995's "Nadja") only seems to derange the wisdom of this crocodile. Languid and introspective, "Crocodile" is a perfect showcase for Jude Law, an actor who always projects impenetrable narcissism.
"Let the Right One In" (Tomas Alfredson, 2008)
A sweet, dangerous love story between a teenage drinker of blood and a prepubescent boy, lonely, much-bullied and full of fury. Feral and amoral, the girl-vampire is touched by human loneliness that mirrors her own. Playing out in wintry Stockholm streets dark with what seems permanent night, this movie takes its bloody time, constantly surprising us with imaginative images of horror, like carmine splashes on snow or a roomful of maddened cats, turned savage by the scent of a tainted human. There's gore and terror galore in this Grimm fairy tale, but the terrible tenderness that binds an outcast Hansel and Gretel can't help but bewitch you.
Other recommendations:
- "Lifeforce" (Tobe Hooper, 1985)
- "Dance of the Damned" (Katt Shea, 1988)
(I really liked this one, there are many variations.)- "Nadja" (Michael Almereyda, 1995)
(Very good too).GHOSTS
"Carnival of Souls" (Herk Harvey, 1962)
This no-budget ghost story out of Kansas is a classic, never failing to raise the short hairs. From the moment the film's bland, blond protagonist lurches out of a river covered in mud, reality begins to decay. Like "Night of the Living Dead," "Carnival" mines terror out of the mundane, so that its every black-and-white image glows with a kind of eerie, toxic phosphorescence. Even the retro quality of early-'60s period behavior and locations (drag racing on back roads, everyday life in a Heartland town, the abandoned carnival pavilion out on the salt flats) contributes to the dreamlike, dissociated state into which the film's lost soul (and we) slowly and inexorably sink.
"Beloved" (Jonathan Demme, 1998)
The specter that haunts this adaptation of Toni Morrison's novel is the long, dark shadow of slavery's history in America. But it takes flesh-and-flood form when an infantile, almost bestial, creature crawls out of swamp muck, covered with buzzing flies. This broken thing, stuttering, grunting, slobbering, insinuates itself into a post-Civil War black family and begins to suck the life out of them. Thandie Newton deserved an Oscar for her superb performance as Beloved, the sexually omnivorous "vampire" whose delicate beauty masks grossest appetite.
"The Orphanage" (Juan Antonio Bayona, 2007)
From the moment a wife and mother returns to the creepy orphanage where she grew up, she's haunted by memories from the past, as well as present weirdness. Out in the dark, a swing creaks as though a child has just jumped off; her own son, in fragile health, has made friends with a boy who shouldn't exist; and then there are those worrisome bones out in the lime kiln. For a while "The Orphanage" plays like a superior haunted-house flick, but it soon ratchets up its emotional charge, becoming a celebration of maternal love so powerful it gifts a woman with the courage and will to breach the gates of death. Think of a grown-up, much darker take on Wendy, Peter Pan and the lost boys.
Other recommendations:
- "The Frighteners" (Peter Jackson, 1996)
- "Soft for Digging" (J.T. Petty, 2001)
- "The Dark" (John Fawcett, 2005)
ZOMBIES
"Dead Alive" / "Braindead" (Peter Jackson, 1992)
Jackson often lards his horror with gross-out comedy, but still delivers the goods when it comes to images of archetypal dread. A momma's boy beaten down and figuratively castrated by his horrific dam is forced into manhood when practically everyone in his hometown turns zombie after being bitten by a savage Sumatran rat-monkey. Savor taboo-flaunting scenes like Lionel in the park, battering an undead infant into submission as horrified dowagers look on. Lick your chops during the orgy of communal feasting -- a gorefest that beggars belief -- while our hero takes on a primally terrifying monster of motherhood.
"I, Zombie: The Chronicles of Pain" (Andrew Parkinson, 1998)
A low-budget zombie flick of shocking originality, this one's a companion piece to David Cronenberg's brilliant remake of "The Fly," another exploration of the tragedy of incurable, flesh-disfiguring disease through horror-movie metaphor. An ultra-ordinary fellow bitten by an injured woman he tries to aid is soon driven to consume human flesh. The day-by-day chronicle of his truly awful descent into physical decay and dissolution is punctuated by interviews with folks who knew him, even loved him, before he fell "sick." Horrified, nauseated, we watch as he kneels over a corpse, eating bits of flesh from its face; masturbates while holding a snapshot of the woman he loved, until that part of him is gone as well; tries to nail the putrefying parts of his body back together. Not for the squeamish.
"Land of the Dead" (George Romero, 2005)
Romero's at the top of his game in "Land," typically lacing a wicked-scary zombiefest with acid commentary on contemporary life in these United States. What's left of humanity has holed up in a consumer's paradise, an island-fortress under permanent siege by the "stenches." The movie looks more and more prescient in its portrayal of an America populated by folks bent on amusing themselves to death as though good times would never end -- and we all know where that fiscal philosophy has landed us! Romero even takes apart the kind of mindless patriotism that casts other nations as bit players in our drama of manifest destiny: In "Land," the Fourth of July becomes a bloody Independence Day, as the disenfranchised, hungry dead overrun the citadel of high-living consumers. How's that for a metaphor with teeth?
Other recommendations:
- "White Zombie" (Victor Halperin, 1932)
- "Children Shouldn't Play With Dead Things" (Bob Clark, 1972)
- "REC" (Jaume Balaguero and Paco Plaza, 2007)